Dhurtakhyan

Author(s): Haribhadrasuri, Jinvijay
Publisher: Saraswati Pustak Bhandar Ahmedabad
Catalog link: https://jainqq.org/explore/001861/1

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zrIharibhadrasUriviracita dhatAkhyAna zrIharibhadrasUriviracitaprAkRtadhartAkhyAna, zrIsaMghatilakAcAryaviracitasaMskRtadhartAkhyAna, tathA purAtanagujarAtIbhASAnibaddha bAlAvabodhAtmaka dhUrtAkhyAna Adiyukta DaoN. AdinAtha neminAtha upAdhye likhita AMglabhASAmaya suvistRta samAlocanAtmakaviziSTanibandhAnvita Vain Enations saMpAdaka zrI jina vijaya muni sarasvatI pustaka bhaNDAra amadAvAda www.

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zrIharibhadrasUriviracita dhUrtAkhyAna zrIharibhadrasUriviracitaprAkRtadhUrtAkhyAna, zrIsaMghatilakAcAryaviracitasaMskRtadhUrtAkhyAna, tathA purAtanagujarAtIbhASAnibaddha bAlAvabodhAtmaka dhUrtAkhyAna Adiyukta DaoN0 AdinAtha neminAtha upAdhye, ema. e., DI. liTa. likhita AMglabhASAmaya suvistRta samAlocanAtmakaviziSTanibandhAnvita saMpAdaka zrI jina vijaya muni pUrva AcArya, bhAratIya vidyA bhavana - muMbaI sarasvatI pustaka bhaNDAra ahamadAbAda

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Published By: SARASWATI PUSTAK BHANDAR HATHIKHANA, RATANPOLE AHMEDABAD - 380001 Ph. 535 6692 FIRST PUBLISHED IN 1944 UNDER SINGHI JAIN SERIES NO.19 BHARATIYA VIDYA BHAVAN, BOMBAY Reprint 2002 Price : Rs. 250/ Printed at Himanshu Printers, Main Yamuna Vihar Road Maujpur, Delhi 110092

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zrIharibhadrasUriviracita dhUrtAkhyAna zrIharibhadrasUriviracitaprAkRtadhUrtAkhyAna, zrIsaMghatilakAcAryaviracitasaMskRtadhUrtAkhyAna, tathA purAtanagujarAtIbhASAnibaddha bAlAvabodhAtmaka dhUrtAkhyAna Adiyukta DaoN0 AdinAtha neminAtha upAdhye, ema. e., DI. liTa. likhita AMglabhASAmaya suvistRta samAlocanAtmakaviziSTanibandhAnvita saMpAdaka zrI jina vijaya muni pUrva AcArya, bhAratIya vidyA bhavana - muMbaI sarasvatI pustaka bhaNDAra ahamadAbAda

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prakAzaka sarasvatI pustaka bhaNDAra 112, hAthIkhAnA, ratanapola ahamadAbAda 380001 phona 535 6692 prathama saMskaraNa 1944 siMghI jaina granthamAlA saM0 19 ke antargata bhAratIya vidyA bhavana, muMbaI dvArA prakAzita punarmudraNa san 2002 mUlya 250.00 ru. mudraNa himAMzu prinTarsa, galI naM0 14, anUpa mArkiTa mena yamunA vihAra roDa, maujapura, dillI 110092

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A Short History of the Series I Editor's PREFACE CONTENTS 1 II HARIBHADRA'S AGE, LIFE AND WORKS XIV-XXIII Haribhadra's Age 2 Haribhadra's Life 3 Haribhadra's Works III The DHURTAKHYANA: A CRITICAL STUDY 1 The Prakrit Text 2 Summary of the Contets 3 Purpose, technique and form 4 Sources of the Puranic Legends 5 Sanskrit and Gujarati Dhurtakhyanas 6 Dhurtakhyana and Dharmapariksa 7 Prakrit Dialect and Style of Dhurtakhyana Index of 'A Critical Study' IV DHURTAKHYANA TEXT 1 Prakrit 2 Sanskrit 3 Old-Gujarati V Index of the Proper Names of the Dhurtakhyana VI Index of the Quotations II-VIII IX-XIII XIV XVII XX 1-56 1 2 12 25 36 41 49 55 1-65 1-32 33-48 49-65 66 69

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SINGHI JAIN SERIES [A Short History Of The Series ] Babu S'ri Dalchandji Singhi, in whose sacred memory the present Series is inaugurated by his son, Babu Sri Bahadur Singhji Singhi was born in Azimganj (Murshidabad) in the Vikrama Samvat 1921 ( 1865 A. D. ), and died in Calcutta on the 30th December, 1927. The Singhi family of Azimganj occupies almost the foremost rank among the few hundred Jaina families which migrated to Bengal from Rajputana in the latter part of the 17th century and took their domicile in the district of Murshidabad. The family rose to its present position and prominence chiefly through the energy and enterprise of that self-made man, Babu Dalchandji Singhi. Owing to financial difficulties, Dalchandji Singhi had abruptly to cut short his educational career and join the family business at the early age of 14. The family had been carrying on business in the name of Messrs Hurisingh Nehalchand for a long time though, in those days, it was not at all a prominent firm. But having taken the reins of the firm in his own hands, Babu Dalchandji developed it on a very large scale; and it was mainly through his business acumen, industry, perseverance and honesty that this comparatively unknown firm of "Hurisingh Nehalchand" came to be reckoned as the foremost jute concern with branches in almost all the impor. tant jute centres of Bengal. The fruits of Dalchandji Singhi's toils were immense, and the reputation of the firm in commercial circles was indeed unique. Having thus brought his jute business to the most flourishing condi. tion, Babu Dalchandji Singhi diverted his attention to the mineral resources of India and spent many lacs of rupees in prospecting the coal fields of Korea State (C. P.), limestone deposits of Sakti State and Akaltara, and the bauxite deposits of Belgaum and Sawantwadi and Ichalkaranji States. His scheme for the Hiranyakeshi Hydro-Electric Project and manufacture of aluminium from bauxite ores, the first of its kind in India, is yet to be developed. His mining firm, Messrs Dalchand Bahadur Singh is reputed to be one of the foremost colliery proprietors in India. While so engaged in manifold business, he also acquired and possessed vast Zamindary estates spreading over the districts of 24-Perganas, Rangpur, Purnea, Maldah, etc. But the fame of Babu Dalchandji Singhi was not confined to his unique position in commercial circles. He was equally well-known for his liberality and large-heartedness, though he always fought shy of publicity attached to charitable acts and often remained anonymous while feeding the needy and patronizing the poor. A few instances of his liberality are given below.

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(ITI When Mahatma Gandhi personally visited his place in 1926, for a contribution to the Chittaranjan Seva Sadan, Babu Dalchandji Singhi gladly handed over to him a purse of Rs. 10,000, His War contribution consisted in his purchasing War Bonds to the value of Rs. 3,00,000; and his contribution at the Red Cross Sales, held in March 1917, under the patronage of H. E. Lord Carmichael on Government House grounds, Calcutta, amounted to approximately Rs. 21,000, in which he paid Rs. 10,000 for one bale of jute which he had himself contributed. His anonymous donations are stated to have amounted to more than one lac cf rupees. In his private life Babu Dalchandji Singhi was a man of extremely simple and unostentatious habits. Plain living and high thinking was his ideal. Although he had been denied a long academic career, his knowledge, erudition and intellectual endowments were of a very high order indeed, His private studies were vast and constant. His attitude towards life and the world was intensely religious, and yet he held very liberal views and had made a synthetic study of the teachings of all religions. He was also wellversed in the Yoga-darsana. During the latter part of his life he spent his days mostly in pilgrimage and meditation. Noted throughout the district and outside for his devoutness, kindness and piety, he is remembered even now as a pride of the Jaina community. During the last days of his life, Babu Dalchandji Singhi cherished a strong desire to do something towards encouraging research in important works of Jaina literature and publishing their editions scientifically and critically prepared by eminent scholars. But fate had decreed otherwise; and before this purpose of his could become a reality, he expired. However, Babu Bahadur Singhji Singhi, worthy son of the worthy father, in order to fulfil the noble wish of the late Dalchandji Singhi, continued to help institutions like the Jaina Pustaka Pra caraka Mandala, Agra; the Jaina Gurukula, Palitana; the Jaina Vidyabhavana, Udaipur, etc.; and also patronized many individual scholars engaged in the publication of Jaina literature. Besides, with a view to establishing an independent memorial foundation to perpetuate the memory of his father, he consulted our common friend, Pandit Sri Sukhlali, Professor of Jainism in the Benares Hindu University, an unrivalled scholar of Jaina Philosophy, who had also come in close contact with the late Babu Dalchandji Singhi, and whom the latter had always held in very high esteem. In the meanwhile, Babu Bahadur Singhji Singhi incidentally met the late Poet, Rabindranath Tagore, and learnt of his desire to get a chair of Jaina studies established in the Visva. Bharati, Santiniketan. Out of his respect for the Poet, Babu Sri Bahadur Singhji readily agreed to found the chair (provisionally for three years) in revered memory of his dear father, and invited me to take charge of the saine. I accepted the offer very willingly, and felt thankful for the opportunity of

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[V] spending even a few years in the cultural and inspiring atmosphere of Visva-Bharati, the grand creation of the great Poet Rabindranath. During the period of 10 years of my principalship of the Gujarat Puratattva Mandir, Ahmedabad, and even before that period, I had begun collecting materials of historical and philological importance, and of folk-lore etc., which had been lying hidden in the great Jaina Bhandars of Patan, Ahmedabad, Baroda, Cambay, etc. I induced my noble friend Babu Bahadur Singhji Singhi, also to start a Series which would publish works dealing with the vast materials in my possession, and also with other allied important Jaina texts and studies prepared on the most modern scientific methods. Hence the inauguration of the present Singhi Jaina Series. Babu Bahadur Singhji Singhi is himself a great connoisseur and patron of art and culture. He has an unbounded interest in creative researches in antiquities, and has a very good collection of rare and historic paintings, manuscripts, coins, books, and jewellery. On many occasions the organisers of various exhibitions throughout India have had to call upon him for loan of his art collection; and he has gladly responded to their requests without fail. In 1931 he was the recipient of a gold medal from the Hindi Sahitya Sammelan as a mark of appreciation of his unique collection. He is a Fellow of the Royal Society of Arts (London); a member of the Royal Asiatic Society of Bengal, Bangiya Sahitya Parisat, the Indian Research Institute, and many other similar institutions. He is also one of the Founder-members of the Bharatiya Vidya Bhavan, Bombay. He was one of the prominent working members of the Executive body of the "All-India Exhibition of Indian Architecture and Allied Arts and Crafts" held in Calcutta in February, 1935. Babu Bahadur Singhji Singhi is a prominent leader of the Swetambar Jaina community. He was elected President of the Jaina Swetambar Conference held in Bombay in 1926. He is also connected with many other Jaina conferences and institutions either as president, patron or trustee. Though thus a leading figure in the Jaina community, Babu Bahadur Singhji Singhi has always maintained a truly national and non-sectarian spirit and helped also many institutions which are outside the Jain fold. For example, he has donated Rs. 12,500 for constructing a building at Allahabad for the Hindi Sahitya Parishat. In fact his generosity knows no distinction of caste or creed. Really speaking, he does not in the least hanker after name and fame ever though he is a multi-millionaire and a big Zamindar, and even though he is a man of superior intellect and energy. He is by nature taciturn and a lover of solitude. Art and literature are the pursuits of his choice. He is very fond of seeing and collecting rare and invaluable

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[V specimens of ancient sculpture, painting, coins, copperplates, inscriptions, manuscripts etc. He spends all his spare time in seeing and examining the rarities which he has collected in his room as well as in reading: He is seldom seen outside and he rarely mixes with society and friendly circles. Wealthy persons like himself usually have a number of fads and hobbies such as seeing the games and races, visiting clubs, undertaking pleasure trips etc., and they spend enormously over them, but Singhiji has none of these habits. Even the managers of his colliery and zamindari travel in first class while he, the master, travels mostly in the second class. Instead of wasting money on such things, he spends large sums on collecting ancient things and valuable curios and on the preservation and publication of important literature. Donations to institutions and charities to individuals are, by him, for the most part given anonymously. I know it from my own experience that these gifts, donations and charities reach a very high figure at the end of every year. But he is so modest that on his being requested so often by me he did not show the least inclination to part with the names and whereabouts of the individuals and institutions that were the recipients of such financial aid from him. By chance I came to know of a very recent example, just now, indicative of this characteristic of his nature. Last year he shifted, like other innumerable inhabitants of Calcutta, his headquarters to Azimganj (Dist. Murshidabad) when the fear of the Japanese invasion was looming large, and decided to stay there with his whole family during war time. Taking into consideration the present grievous condition of the country as well as the excessive scarcity of the grains in Bengal, he had stocked grains in large quantities with a view to distributing them gratis according to his capacity. Thereafter the problem of food became rather more serious and at present the prices have risen inconceivably high. Babu Bahadur Singhji Singhi could have earned four to five lacs of rupees if he had, like many other miserly merchants, sold off the hoarded lot of grains, taking undue advantage of the prevailing conditions. But he resisted the temptations, and has been daily distributing freely the grains among thousands of poor people who shower blessings on him; and he enjoys a deep self-satisfa. ction. This is the most recent example that puts us in adequate knowledge of his silent munificence. Really he is a very silent and solid worker and he has no desire to take active part in any controversies, social or political, though he has sufficient fitness and energy to do so. Still however he is skilful enough to do what is proper at the particular time. The following incident will best illustrate this statement. It was in the fitness of things that a wealthy multi-millionaire like him should give an appropriate contribution in the war funds. With this view he arranged in the second week of December, 1941, an attractive show, styled Singhi Park Mela in the garden of his residential place at Calcutta in which all the local people and officers of name and fame, including the Governor of Bengal, Sir John Arthur Herbert and lady Herbert as well as the Commander-in-chief (now the Governor.

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VIJ General) Viscount Wavell, had also taken part with enthusiasm. This show fetched thousands of rupees which were considered substantial financial help to the war funds. The series was started, as mentioned above, in 1931 A. D. when I worked as a Founder Director of the Singhi Jain Chair in Visvabharati at Shantiniketan, at Singhiji's request. It was, then, our aspiration to put the Singhi Jain Chair and the Singhi Jain Series on a permanent basis and to create a centre at Visvabharati for the the studies of Jain cult in deference to the wishes of the late Poet Rabindranath Tagore. But unfortunately I was forced to leave this very inspiring and holy place on account of unfavourable climatic conditions etc. which I had to face during my stay of about four years there. I shifted, therefore, from Visvabharati to Ahmedabad where I had formerly resided and worked in those glorious days when the Gujarat Vidyapith and the Puratattva Mandir had been established as a part of the movement for national awakening and cultural regeneration. I went there in the hope that the reminiscences of those days and the proximity of those places would serve as sources of inspiration in my literary pursuits. In the intervening period the activity of the Puratattva Mandir had languished and along with the arrest of its many scholar-workers the vast, precious collection of books also was confiscated and placed in custody by the British Government. After some years when it was resurnedit layunadored, like images, without its worshippers in the Mandir. My old friends and colleagues of the Puratattva Mandir and the Vidyapith had, like myself, taken to different pursuits at different places. When some of them, namely, Prof. R. C. Parikh (who is, at present, the Director of the Postgraduate and Research Departments of the Gujarat Vernacular Society, Ahmedabad), Prof. R. V. Pathak (who is, at present, the Vice-Principal of the S. L. D. Arts College, Ahmedabad), Pandit Sukhlalji (who is the Head of the Department of Tain Studies in the Hindu University, at Benares) and myself occasionally met, we all revived our old sweet memories of the Vidyapith and the Puratattva Mandir, and of also the possibility of a regeneration of the Mandir or of the establishment of another similar institution at Ahmedabad and enjoyed in dreaming dreams of schemes of such institutions. During this period my aim of life had centred round the Singhi Jain Series and I devoted every iota of my energy to its development and progress. 2 (who is Research hmedabad In June, 1938, I received, to my agreeable surprise, a letter from Sri K, M. Munshi (who was, then, the Home Minister of the Congress

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[VII Ministry of the Bombay Presidency), my esteemed friend and the originator and the founder of the Bharatiya Vidya Bhavan. In that letter he had mentioned that Sheth Sri Mungalal Goenka had placed a liberal sum of two lacs of rupees at his disposal for the establishment of a good academic institution for Indological studies and he had asked me to come down to Bombay to discuss and prepare a scheme for that. Accordingly, I came here and saw Munshiji. Knowing that he had a fervent desire of founding at Bombay an institution of the type of the Puratattva Mandir, I was extremely delighted and I showed my eagerness to offer for that such services as might be possible for me. We, then, began to draft out a scheme and after some deliberations and exchange of ideas the outline of the Bharatiya Vidya Bhavan was settled. Accordingly, on the auspicious full-moon day of the Karttik of 1995 (V. S.) the opening ceremony of the Bharatiya Vidya Bhavan took place amidst the clappings and rejoicings of a magnificent party which was arranged at the residence of Munshiji. The Bhavan has completed. five years of its career on the last Karttiki full-moon day. The brilliant achievement and the wide publicity which the Bhavan has been able to secure in this short period of five years, bear eloquent testimony to the inexhaustible fund of energy and unsurpassed skill of Munshiji. As I am inseparably linked up with it from the very conception, I also feel the same amount of joy and interest at the Bhavaa's progress as Sri Munshiji, its Founder-President and therefore I have been always offering my humble services in its various undertakings and activities. On the other hand, the Singhi Jain Series is the principal ai of my remaining life and the results of my thinking, meditation, researches and writings have all been devoted to the development of the Series. As life passes on, the time of activity is also naturally shortened and therefore it is quite appropriate, now, for me to chalk out lines of its future programme and permanence. As Babu Bahadur Singhji Singhi, the noble founder and the sole patron of the Series, has placed the whole responsibility of the Series on me from its inception, he has also the right to expect that more and more works may more speedily and splendidly be published. I have neither seen nor come across any other gentleman who can match with him as regards generosity and unbounded zeal for the revival of ancient literature. On the works of the Series he has spent through me more than 50,000 rupees till now. But he has not even once asked me, during this long period of a dozen years, as to how and for what works the amount was spent. Whenever the account was submitted to him, he did not ask for even the least informatiou and sanctioned it casting merely a formal glance on the account sheets. But he discussed very minutely the details regarding things such as the paper, types, printing, binding, get-up, etc. as well as internal subjects like Preface. and others, and occasionally gives very useful suggetrions thereon with deep

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VIII] interest. His only desire being to see the publication of as many works as possible in his life-time, he is always ready to spend as much, after it, as required. He does not labour under a delusion that the things should be done in this or that way when he is no more. As these were his ideas and desires concerning the Series and as every day that passes leaves me all the more convinced of the fickleness of my advanced life too, it was imperative for us to draw out a scheme for its future programme and management. Just at this time a desire dawned in the heart of Sri Munshiji, to the effect that if the Singhi Tain Series be associated with the Bharatiya Vidya Bhavan, both the institutions would not only be admirably progressing but the Series would get permanence and the Bhavan, unique honour and fame by its hereby becoming an important centre for the studies of Jain culture and the publication of Jain literature. This well-intentioned desire of Munshiji was much liked by me and I conveyed it in a proper form to Singhiji who is, besides being a Founder-Member of the Bhavan, also an intimate friend of Munshiji since long. Eventually he welcomed this idea of Munshiji. I also came to a final decision of associating the Series with the Bhayan, having consulted my most sincere friend, life-long companion and co-worker, Pt. Sukhlalji, who is a well-wisher and an active inspirer of the Series, and who is also an esteemed friend of Babu Bahadur Singhji. Luckily we all four met in Bombay in the bright half of the last Vaisakh and on one auspicious day we all sat together and unanimously resolved, at the residence of Munshiji, to entrust the Series to the Bhavan. According to that resolution, the publication of the Series is now under the management of the Bharatiya Vidya Bhavan and the office of the Series is also permanently located in the building of the Bhavan. AU. In addition to transferring all sorts of copyright of the Series, Singhiji has also donated a liberal sum of Rs. 10,000 which will be spent on erecting a hall, to be named after him, in a prominent place in the Bhavan. In appreciation of this generous donation of Singhiji, the Bhavan has also resolved to style permanently the Department of Jain Studies as the "Singht Jain Sastra S'iksapith". Thus the Singhi Jain Series, which is the fruit of the enlightened liberality of Babu Bahadur Singhji Singhi, is flourishing under the management of the Bharatiya Vidya Bhavan and contributing to the advancement of para fa -Indological Studies - in all their aspects. thing under the JULY 1. 1943 BHARATIYA VIDYA BHAVAN, BOMBAY JINA VIJAYA MUNI

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NAVAJAYAMLONI A saMjJaka prAkRta grantha pratigata antima patra pratikRti A print of last page of Prakrit Ms. of Dhu. 'A' siMghI jaina granthamAlA ] [ dhUrtAkhyAna mAmI zradArika bayAnA 4yavasAyI hala rasAlAga mijahanA // manAzI davA 6 mA phalAnyarAmAyaNe mahAjavAna umansa sabhI viniyA kAraNa sAUgAlAi paramakaM tadaNizramIjadA i kamara miyA ra samihaMgayA hai| kAraNa paviNi zrAsi dhuNIzravirANa pani shraadaayaadi| mAidi viDi hazraya vANAmunI kitI jina vinA // api nipii saya madAmatapatra vidyAlayANamakhizrAdi manApAtA vidhimA jAgrA kA dila nima dilaaeN||6|| sirimANAkaNAta simA samAyaDi kyA upasamaja nAma di piza dhImAnisamA nizciyaH pratyanidhAnakAlA vadanijI nAravinA karANi // vadiMDa nAma zrI zamazrale avita skAyAlA mizravammada rAmAdA mahaMgA yA musuvAdhAra sunila mitra sadA // 1057 isa ga kaSTAviti sAmArtinAni sokaviditamapi nizrayAlA zramitimA japaNArI mala mutrAvayavaM dhy|| khesA maNizramaNa jada kA vAsa ke DalI jaaeN| ja da sirakavAla mAtrA rukSimiNA rAma yApsana sudikAyAjIvAlA nivAtrAmA vA tAtekrama zikSAsaha tAjakiya ekonAidanicanAdie mimAbAka samaya dAdA miyAna mahAsayayAtrA darimaNa 20 DiDasiritiya mitramurizrama hAijammasa sivadhayAnA (jigAma parisAsanI // 22 // // khaMDavAlAvara kathAnaka daza // tiriyAdevamAkhyAnakaM smaaii|| kanyANama 6 A saMjJaka saMskRta grantha pratisatka antima patra pratikRti Last page of Sanskrit Ms. of Dhu. 'A' S/35 (1239) 133121 grzeczna 1.2 po.3 -kh manorathaH / hadAdusamanAnena namo ziva daMtinA / [10] patratA gatto lokAvaNijA nagariNA / mA ritastramA brAhmaNA mamapA manA // 11 // nADI tI virAjadacanaH punH| namani kAkapAla mAneneti vilalApasa / 12 vihastosa chAyazreSThA parikarAvitaH vilapanI bana potamA kolAhala 12 khaDikA meM hAra nA mAnavAlA azoka dadatA teyAjA vikaamyaaH||14k siko sAkhupAdAya niragAdUhA pitApAyo dAnamAhAtmyator3a DA nirmA15 evaM vApi suditA svatasyAntama / pro sanmaNimArI karana 16 kAnAmAdAya vastU nivividhA nisA / yatojayAmAsa hijJAni // 17 teH sArvatropasargabhanarake satyavate / DemAvevajAnI mojA vimaMsunizcita // yadvayAviggIi vijityati nodanA tobA devAH samAnajano jAne // 1e sui kisAna vibudhAstanna jAnaM nijapi catrizakimAmrapivanaH pradadeti yaraMganAH // 20 // dhAtyA khAli vimRpAghanAniva puruSAH sa maH / yAni striyaH pratpattidhAnakA le tilI lA ravi tArANi 21 caMdrezvAyu mAravatA dharmAniyo pic| ikhitA nikhilA lo ko smarApa saarroginn||22|| vAsarAlA sUkUlavite data bhagavAn sarvago vinitika tigiiyt| 24 yadi sarvagato vibhuritisa 24 se amAlA kemAmalAna ( jAtopivAsAce nRpH| pa vaha becaa| gIta tipadaMdviyakaraNa visAritAH // 26to dolA ki vAk nitariyAnaM samApte // // bojave tadAsmarA rogopI kiMcitayatikAmivat // gnnaadhip| 25 ityete ki kAlA purANAdisamudra samajA thA shvdi| rampataciMtyamAnaM navA // 202 30.

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PREFACE ALMOST from childhood, I had an aptitude for hearing and knowing the A Puranic and Epic stories. When I was fourteen-fifteen, and could read a bit, I became a pupil of a monk of the Sthanakavasi sect of the Jaina Svetambara community. Born in a Rajput family devoted to Siva and Visnu, and brought up under the influence of Hindu samskaras in my childhood, quite instinctively I looked upon Rama and Krsna as the divinity and addressed Siva as the Paramesvara. A gradual change came on me after my becoming a Jaina monk. The monks, according to their religious prescriptions, visit different places and preach religious and ethical principles to their audience by narrating stories. The Jainas in villages are not quite conversant with the ideology and principles of their religion; and ordinarily they are accustomed to listen to the various topics of the Mahabharata, Ramayana, Bhagavata etc. which are commonly popular with the orthodox Hindu community. Being a minor community, the Jainas, on many occasions, it is quite natural, are influenced by the samskaras and ideas of the other Hindus who form an overwhelmingly majority community with dominating social position. To guard against such an influence and to confirm them in the Jaina faith, the Jaina monks often criticise the inconsistent and unnatural details of the Puranas, Mahabharata, Ramayana etc, in the presence of their Sravakas whom they want to convince about the hollowness of Vedic and Puranic tales and whose faith in Jainism they want to nourish by didactic tales and religious sermons. Literary example, as we know, is a powerful instrument for the moulding of character. To impress on the mind of the masses the specific ethical and religious principles, the religious teachers and preachers, all over the world and from times immemorial, have used the legends and tales which provide the hearers with examples and principles which they can easily follow. The Jaina monks are in no way an exception. After attending such sermons of Jaina monks, my instinctive inclinations were being gradually changed, and my attachment for Jaina traditions and tales became deeper and deeper. As a rule, the Sthanakavasi monks possessed no liking, worth noting, for the study of any branch of literature. They were least acquainted with Sanskrit and Prakrit languages, nor did they care to study them. They had, consequently, no idea of the vast and varied heritage of Jaina literature enriched by the remarkable contributions of eminent Svetambara and Digambara authors. At the most, they were conversant with and repeatedly read a few late, vernacular texts such as Dhalasagara and Dhanyasalibhadra-caupai which are of quite ordinary merits. After

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x] DHURTAKHYANA: reading a couple of such texts, my desire for reading many more such stories went on increasing, but they were not then available to me. A couple of years after my initiation into the order, I happened to go to Ujjain with my teacher and other brother monks. In the Dharma-sthanaka there, among the Sastras collected by the ancestor monks of my teacher, I chanced to see certain Mss. of Balavabodha paraphrases on some Sutras and Kathanakas. It was for the first time in my life that I saw there the Mss. of the Bhuvanabhanucarita-Balavabodha and Dhartakhyana-Balavabodha. At that stage I could not read their script, nor could I understand their language, with ease; still, after strenuous efforts and repeated reading, I could manage to grasp the contents of the Bhuvanabhanucarita-Balavabodha. I liked it immensely, and I mentioned it to my Teacher. He grew angry with me; he at once snatched away the Ms. from me, and quietly put it in the box as before. I came to know, later on, that my Teacher had heard that the Carita contained references to the worship of Jaina temples and of images of Jina: of course, my Teacher had never read it himself. His intention was that a raw mind like that of myself should not be influenced by such stories that did not conform to the accepted creed of the Sthanakavasi Sampradaya. Fascinated by its very title, he, however, kept with himself and began reading the Dhurtakhyana-Balavabodha. He finished it in a couple of days, and also recommended it to me that it contained nice stories which are quite useful for sermons. He had read it for the first time; and under his advice I began to read it zealously and respectfully. I read it so often, and mastered its contents so thoroughly, as if it was a text book for some examination. The Ms. furnished no details about its author and date; nor did I possess any curiosity to know these things at that time: my mental horizon was not wide enough for such an enquiry. When we left that place after the Caturmasa, the Ms. was put in its box; that must be, if I remember right, during the rainy season of 1905. That is how, quite indirectly and accidentally, I came to be acquainted, during my student-life, with the Dhurtakhyana of Haribhadra. Later on, after some 8 or 10 years, as a monk of the Svetambara Murti pujaka Sampradaya, I had the good fortune of inspecting the Jaina Bhandara at Patan. In the meantime I studied Sanskrit and Prakrit; and my zest for perviewing the rich and varied range of Jaina literature was increasing. The Mss, on which the present edition of the Dhurtakhyana is based were first seen by me at this time. After studying more about the work and its authors, I desired that this work should be printed and published. When this desire occurred to me, I never dreamt, being quite aware of my ability then, that some day in the future I would have the opportunity of editing it. After some more years of study my mastery of Prakrit increased; and at the suggestion of my scholar-friend, the late lamented C. D. Dalal, the original organiser of the Gaikwad Oriental Series, I began to edit the Kumarapala-pratibodha of Somaprabhacarya for that Series from a single palm-leaf Ms. found in the Patan

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PRAPACE (XI Bhandara. Since then I earnestly hoped for an opportunity to edit the Dhurtakhyana. It was in 1931, at santiniketana, that the idea of the Singhi Jaina Granthamala was conceived; and along with many other Sanskrit and Prakrit works, I decided to include the Dhurtakhyana also in the Mala. The Mes. of it, seen by me many years back at Patan, were procured; and the press copy was prepared. But as my hands were fully occupied with many a book in the press, its printing could not be begun till as late as 1941. The Patan Mss. were lying with me for years together; and when the eminent organiser of the Patan Bhandaras, Muniraj Sri Punyavijayaji, specially pressed me to return the Mss., the happy moment of beginning its printing arrived. Consequently, today I feel happy to see that I am able to present this work to the scholarly world as the 19th volume of the Singhi Jaina Granthamala. My original plan was to present the Prakrit text, to give a Hindi or Gujarati translation, and to reproduce, in an appendix, the various relevant extracts from the Mahabharata, Ramayana and Puranas. In fact, some excerpts were collected too. In the meanwhile, an old and independent Ms. of Sanghatilaka's Sanskrit Version of the Dhurtakhyana also was found at Patan; and I was tempted to include that also in this edition. When the Prakrit and Sanskrit texts were printed, I learnt that there is a Ms. of the Gujarati Balavabodha of the Dhu. in the Govt. collection of Mss. deposited at the Bhandarkar Oriental Research Institute, Poona. I got the Ms. and inspected it. Finding that the study of its language would be of special importance in grasping the earlier phases of Gujarati and western Rajasthani, I thought it proper to put that also in this Volume. Thus we have, in this edition, the critical text of the original Prakrit Dhurtakhyana of Haribhadrasuri of the 8th century, then the metrical Sanskrit version of the same by Sanghatilaka of the 15th century, and also an anonymous rendering in the Lokabhasa of the 16th or 17th century. I intended in the beginning to write an Introduction in Hindi or Gujarati, giving some details about Haribhadra's date and the contents of this work. But when I learnt that this book was prescribed by the University of Bombay in the B. A, course for Ardhamagadhi, I thought that the edition should contain a thorough study of the work for the benefit of students for whom it was being prescribed. With this idea in mind, I requested my learned friend Dr. A. N. Upadhye, whose study in this connection is both deep and wide, to contribute a critical essay on the Dhurtakhyana for this volume. In connection with his original paper on the Apabhramba Dharmapariksa which was submitted to the All-India Oriental Conference, Hyderabad, and of which he sent to me an advance copy, he had already made a close study of the Dhurtakhyana. It was very kind of him that he willingly and readily acceeded to my request. Though he was occupied with editing various important works, within a comparatively short time, be sent to me

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XII] DHURTAKHYANA: quite an original, thorough, critical and elaborate Essay on the Dhurtakhyana which forms a most important and valuable part of this volume. In his learned dissertation, Dr. Upadhye has made a searching study of the different aspects of the Dhurtakhyana with remarkable penetration and judiciousness. I am not aware of any such substantial contribution on this subject by any other scholar. in Dr. Upadhye has not, however, discussed in his essay any details about the life, date, and works of Haribhadrasuri; he left them to me. Some twenty-five years back, the date of Haribhadrasuri had become a point for difference of opinion and dispute between European and Indian scholars. After reaching a decision in this matter, in the light of various fresh materials, especially the specific reference in the Kuvalayamala of Uddyotanasuri, I presented to the First All-India Oriental Conference, Poona (1919), an essay Sanskrit, Haribhadracaryasya Samaya-nirnayah' in which I definitely proved that Haribhadra flourished at the close of the 8th century and at the beginning of the 9th century of the Vikrama era. That great German Orientalist, the late lamented Dr. Hermann Jacobi, had discussed this topic thoroughly and with remarkable originality; and he could be looked upon as an authority on the subject. When he read my paper, with typical impartiality he relinquished his earlier view and wholly accepted my conclusion; and that was a great encouragement to me. In the Introduction to his monumental edition of the Samaraiccakaha, published in the Bibliotheca Indica, No. 169, Asiatic Society of Bengal, 1926, he has presented a valuable and learned discussion about the date, life and works of Haribhadrasuri; and therein he has accepted the date of Haribhadra proposed by me and stated the same as an indisputable fact. I am not aware of any other article than this which concisely presents the requisite details about Haribhadra: his date, life and works. The time has not come to add anything specially new; so I thought it proper to give in this Volume the relevant portion of Dr. Jacobi's Introduction of the Samaraiccakaha. * The following Mss. have been used for the edition of Dhurtakhyana in Prakrit, Sanskrit and Old-Gujarati. A = This was procured from the Frakrit Text Samgha Bhandara of Patan. It contains eight folios, measuring 11 by 4 inches, of thin and strong indigenous paper, and written on both sides. On each page there are 16-17 lines. The hand-writing is clear and beautiful. One inch square unwritten space is left in the centre of the page. A print of the halftone block of the last page of it is given herewith. B = This also belongs to the Samgha Bhandara at Patan. It contains 11 folios measuring 103 by 43 inches, with 15-16 lines on each page; and its general condition is the same as that of Ms. A.

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PREFACE [x111 These two Mss. mention neither the name of the writer nor the date of writing. But from the general appearance, it seems that they might have been written at the close of the 16th century of the Vikrama era. C = Besides the two above Mss., I got a modern Ms. from the Jnana Bhandara of Baroda. In all probability it is copied from Ms. A of Patan, described above. The copyist has not rightly understood the old script; and he has often written for 9, 9 for , #for #, #for # With such mistakes the text has become quite corrupt. The readings of this Ms. were not thought to be necessary, and hence they are not recorded. Sanskrit Text A = This belongs to the Samgha Bhandara, Patan. It contains 7 folios. It is quite old, and perhaps belongs to the close of the 16th century of the Vikrama era. In some places it shows corrections. A print of the halftone block of its last page is given here with. B = It is a modern Ms. from the Baroda Bhandara; some of its various readings are duly recorded. Perhaps due to hurry the copyist has altogether omitted the numbering of the concluding verses on the last two pages. Gujarati Text A = This Ms. containing 20 folios was procured from the Vijayadharmasuri Joana Bhandara, Agra. From the concluding remark, it is clear that it was written in Vikram Samvat 1758 by Taracanda, the pupil of Laksmi canda of the Kharatara Gaccha, at Udayapura, in Rajputana. B = This belongs to the Govt. Collection of Poona. It contains 17 folios. No information about the copyist etc. is available. From the language, however, it looks somewhat older than A. In conclusion, I wish to express my sincere thanks to my loving and learned friend, Dr. A. N. Upadhye. But for his willing and friendly cooperation, it would not have been possible for me to present this edition in such an attractive and appropriate form. CHAITRA SUKLA 19, V. S. 2000 MANAVIRA JANMATITHI JINA VIJAYA MUNI BHARATIYA VIDYA BHAVAN BOMBAY

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XIV 1 An appreciation and opinion of Dr. MANOMOHAN GHOSH, M.A., Ph. D., "Kavyatirtha' Lecturer in Skt., Pkt., and Modern Indian Languages, Post. Graduate Department, Calcutta University. Among the many series of works on the culture of ancient and medieval India published during the last few years, the Singhi Jain Series occupies a very prominent place. Dealing mainly with varied Jain texts of which the general students of Indian History up till now have no clear idea but which can in many ways supplement their fragmentary knowledge of different aspects of the cultural life of pre-modern India, this series should be reckoned as one of the most important contributions to Indological studies of our times. Sixteen volumes which have been published in the series during its brief existence of thirteen years include no less than fourteen texts and two translations. It is a pleasure to see that these texts edited with great diligence and the most careful scholarship belong to varying subjects like history, biography, logic, philosophy, poetry and folk-tales etc. Acarya Sri Jinavijaya Muniji whose name is a guarantee to the worth and accuracy of any publication, be it in Sanskrit, Prakrit or Apabhramsa or similar language, is the general editor of the series and is mainly responsible for its remarkable success. Hence it is needless to discuss individually the merits of works published. Of the published works no less than seven have been edited by Muni Sri Jinavijayaji himself and among his colleagues he has wellknown and ablc scholars like Pandit Sukhlalji and Dr. A. N. Upadhye, who have edited some of the publications in the series. A review of the names of more than forty works which are either in the press or under preparation for the series will convince any student of Indology of the various aspects of its worth and usefulness. The excellent printing and get up of the volumes already published very pleasantly turn our attention to the princely munificence of Sriman Bahadur Singh Singhi of Calcutta and Murshidabad (Bengal) who founded the series in memory of his late father Shri Dalchandji Singhi. The general editor as well as the founder of the series are to be very sincerely congratulated on their highly valuable publications It is our very earnest wish that the series may continue uninterruptedly with uniform success. 4-4-43. (sa.) Dr. Manomohan Ghogh.

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HARIBHADRA'S AGE, LIFE AND WORKS BY Dr. HERMANN JACOBI 1. Haribhadra's Age. The death of Haribhadra, the author of the Samaraicca-Kaha, is placed by Jaina tradition, which in this particular can be traced to the beginning of the 13th century A. D., in Vikrama samvat 585 or Vira samvat 1055, corresponding to 529 A. D. This date, however, was recognised to be wrong, since Haribhadra was acquainted with the philosophy of Dharmakirti wlio flourished about 650 A. D. The discussion at that time turned on the following point. Siddharsi who finished the Upamitibhava prapanca Katha on the 1st May, 906 A, D., calls, in the Pras'asti of that work, Haribhadra his dharmabodhakaro gurun. Now the question arose whether Haribhadra was actually Siddharsi's teacher of the Sacred Law, or his Parampuraguru; in this investigation I took what eventually turned out the wrong side of the question. Meanwhile the Jainas had been publishing a number of Haribhadra's works which were found to contain many interesting details. But the evidence that finally settled the question of Haribhadra's age, was not furnished by any of his own works, but by the Kuvalayamala, a Prakrit poem by Uddyotana, which he finished on the last day but one of the S'aka year 700,- equal to the 21st March, 779 A. D. In the Pras'asti of 1 At the end of an old Ms. in Jesalmer of Haribhadra's Laghuksetrasamasavstti tho date of the completion of this work is given in two versos as Vikrama 585, Jyestha su-di 5, Friday, Pusya naksatra; this corresponds to either Tuesday, 9th May 528 A.D., or Saturday, 28th April 529 A.D. In the first case the naksatra was Pusya, in the second Panarvasu. As the week-day comes out wrong in both cases, the date must be considered spurious. The naksatra carries loss weight, because for every day of the lunar year the choice generally lies between three nakssatras only which may be ascertained beforehand. 2 See my edition of the Upamitibhavaprapafica Katha (Bibl. Ind) preface p. vil f. 3 L. c. p. VI. 4 A full statement of all particulars about Haribhadra's works, their commentators and the latters' dates is furnished by Mani Kalyanavijaya in the preface (granthckaraparicaya) to his edition of Haribhadra's Dharmasamgrahini, Devendra Lalbhal's Jainapustakoddhara No. 42, Bombay, 1918. 5 alget fata Beqafi i, e. Caitra ba-di 14. This date is interesting from the point of view of the calendar. As the Caitradi-yoor invariably begins with the Suklapaksa of Caitra, the date in question would seem to be recorded according to the purnimanta scheme in which the dark fortnight precedes the bright one. But as Kielhorn (Ind. Ant. 1896 p. 271 f) has shown from dates in inscriptions that in connection with Saka years almost always amanta months are used, the prima facie interpretation of our date becomes extremely doubtful. In the year under consideration however there was an adhika Caitra which precedes the nija month; therefore in this case adhika Caitra ba-di 14 is the last day but one of the preceding year, if the year began with nija Caitra, as it ought to do, since the new moon initiating true Caitra immediately preceded by Mesasamkranti. I, therefore, believe that Swamikannu Pillai's assertion (Indian Ephemeris Vol. I, part I, p. 65), "when there is an adhika Caitra that begins the your", applies only to modern usage.

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XVI] HARIBHADRA: his work Uddyotana mentions Haribhadra as his teacher in philosophy, praising him as the author of a great many books, the latter statement puts it beyond doubt that the great Haribhadra is the person intended.' The first who rightly understood the passage in question and recognised its chronological bearing, was Muniraj Shri Jinavijaya. In his article "The date of Haribhadrasuri," road at the First Oriental Conference, November 1919, Poons, and published under the title "S'ri Haribhadracaryasya Samayanirnayah" in the Jaina Sahityasams'odhaka Granthamala, Poona, he discusses the whole question, examines the evidence, and puts his case in the clearest light. The following remarks are chiefly based on his paper. We cannot make out from Uddyotana's remark whether Haribhadra was still alive or not, when it was written; some twenty or thirty years before that date, however, he must have been actually teaching Uddyotana. We may, therefore, take that epoch, say, 750 A. D. or later, as the time of his literary activity, which considering the extraordinary number of prakaranas he wrote must have extended over twenty years at least. He quotes many authors, Brahmanical, Buddhist, and Jaina; a list of them containing thirty names has been drawn up by Jinavijaya, L. c., p. 11. From among them the following may be mentioned as interesting from a chronological point of view: Dignaga, Dharmakirti, Bhartrhari (author of the Vakyapadiya, about 650 A. D.), and Kumarila. Haribhadra quotes, in his Vivarana of the Nandisutra, several passages from the Carni of that Sutra by Jinadasagani-mahattara without mentioning his name. The Curni was finished in the S'aka-year 598-677 A. D. To about the same time belongs Siddhasenadivakara whom Haribhadra quotes; for he uses, no doubt, Dharmakirti, though he does not name him. We thus see that Haribhadra quote l many of the celebrities who flourished in the century preceding his own. On the other hand he does not quote Sankara who rose so high above all his contemporaries that Haribha Ira could not have ignored him if he had lived at or after his time. We, therefore, conclude that the tradition of S'ankara's school is right, or at least not far wrong, in placing his life in 788-820 A. D. Nor does Haribhadra, as Jinavijaya states (L. e., p. 13), discuss the Mayavada. He knows the Advaitavada, and refutes two or three different branches of it in his S'astravarttasamuccaya VIII, 1 ff, but none of them can be identified with the Mayavada. 1 The passage in which Haribhadra is referred to is corrupt as is shown by the metre. In the MS. of the Deccan College, the only one that seems to be available, it runs thus : so siddhaMtaguru pamANanAeNa jassa haribhado bahuggaMthasatthavittharapayaDasaccatthA || Muniraj Jinavijaya has satisfactorily emended the text and supplied the missing syllables as follows: T siddhaMtammi guru pamAganAtha va jasta haribhado bahuvasatyacitrapaTa Tha Best pada is connected with the preceding verse which eulogises Uddyotana's teacher Virabhadra; and the following verse names his father Vatesvara who was a Ksatriya and became a Ksamasramana. [It is interesting to note that my emendations have been lately confirmed by the readings of the Jessalmer Ms. Jinavijaya.] 2 Dharmakirti qualifies pratyaksa as abhranta (and Dharmottara expressly says bhrantam hy anumanam while Siddhasenadivakara in Nyayavatara 5 ff claims abhrantata for pratyaksa as well as anumana; similarly he extends the distinction of svartha and parartha, which properly applies to anumana only, to pratyaksa also, ibidem 12f. Apparently he thought to improve on Dharmakirti by a wholesale generalisation of nice distinctions! He is different from Siddhasenagani the author of the Tattvartha-vrtti, because the latter quotes ad. II 25 from Haribhadra's commentary on the Nandisutra, see Kalyanavijaya, 1, e., p. 29; Haribhadra, therefore, intervenes between both Siddhasenas. It may be mentioned that the younger one quotes ad. I, 10 a verse by Arya-Siddhasena, who may or may not be Siddhasenadivakara. 3 We should like to know more details about these early Vedanta schools than Haribhadra gives in the work quoted in the text; perhaps he may have given them in his avopajna-vitti to the passage in question. But the vrtti is not available to me.

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HIS AGE, LIFE AND WORKS [XVII This fact is of considerable interest, since it proves that before S'aikara the Mayavada was practically unknown outside of tho circles of Aupanisadas; for it had already been established by Gaudapada, the guru of S'ankara's guru. It is not the intrinsic value of a system, or the originality of its teachings, that secured it notoriety throughout India, unloss a great author and debator takes it up, systematically developes it in every detail, and successfully upholds it against all opponents. His fame thon outshines that of the original thinker whose merit was apt to be overlooked,' 2. Haribhadra's Life, We know very little about Haribhadra from himself; all that he chooses to tell us is containel in the subscriptions to his numerous works. From them we collect the following information: (1) he obeyed the command of Jinabhata, an acarys of the Sitambaras (S'vetambaras); (2) he was the pupil of Acarya Jinadlatta, an ornament of the Vidyadhara kula. (gaccha); (3) he was a spiritual son of the nun Yakinimahattara Some more facts are directly manifested by the works of Haribhadra: (4) the us, in the last verse of most of his works, of the word virala, which may have reference to some event in his life; (5) his intimate knowledge not only of Jainism, but also of the teachings of the heterodox systems, evinced in his Anokantajayapataka and his Tika of this work, as well as by his writing a commentary on Dignaga's Nyayapraves'a; (6) his writing a great number of works. It goes without saying that the contemporaries of Haribhadra knew a great deal more about his life than is contained in the above six items, but it is equally true that in oral tradition sober history is apt to be gradually changed into legend, a strange mixture of facts and fiction, which we can separate from each other with some degree of plausibility only in the simplest cases. Occasionally, however, tradition has stories of an entirely fictitious kind and originally unconnected with its hero. Thus, in the ease in hand, curiosity was naturally excited, by point (4), to satisfy which a tale full of miraculous and wholly incredible incidents is added in the legendary life of Haribhadra; it exceeds in length all remaining parts of the legends taken together; but no reference to it is made in the oldest accounts. + Before analysing the traditions about Haribhadra's life, I enumerate the sources from which it is known. (a) A short paragraph at the end of Municandra's Tika of Haribhadra's Upadesapadani; this Tiki was finished in Vikrama Samvat 1174-1118 A. D.; the passage in question has been printed by Kalyanavijaya 1. e. p. 5a and Jinavijaya 1. c. p. 4, note 14. (b) Eight gathas (52-59) in Jinadatta's Ganadharasardhas'ataka, written between Samvat 1169 and 1211-1112-1154 A. D. The text is edited in A. Weber, Verzeichniss der Sanskrit und Prakrit-Handschriften, II p. 982 L (a) The ninth S'rniga of Prabhacandra's Prabhavakacarita, finished Samvat 13841278 A. D. (the name of the author is wrongly given as Candraprabha on the title of the N. S. edition, 1909). 1 Thus the Dhvani-theory also seems to have been ignored until Anandavardhana composed the Dhvanyaloka, the commentary on the original treatise in Karikis by an unknown author, and thereby brought this theory to such prominence, that nearly all later writers on Alamkara have adopted it. I am, therefore, also persuaded that nihilistic and idealistic teachings which did exist in early Buddhism passed unnoticed by, and did not provoke the opposition, of Brahmanical philosophers until Nagarjuna did for the Sunyavada and Vasubandhu for the Vijanavade, what long after them Sankara has done for the Mayavada. 2 All the details stated above are given in the subsoription of the Sisyahita, bis Tika of the Avasyakasutra ; in other places only one or other detail is mentioned. 3

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xvII] HARIBHADRA: (2) Rajas'okhara's Praban thakos'a, written in samvat 1405 = 1349 A. D. I know only some extracts of this work given by Kalyanavijaya l. c. p. 8a, 2ta. (c) Sumatigaui's Vrtti of the Ganadharasardha-s'ataka (see 1) finished samrat 1295=1239 A, D., occasionally referred to by Kalyanavijaya. An abridgement of Sumatigani's narrative is given in the Laghurrtti of Sarvarajagani, see A. Weber, I. c. p. 988. (f) Kathavali of Bhadres'vara, dato unknown; mentioned by Juavijaya and not otherwise known to me. I shall now discuss some traditions about particulars of Haribhadra's life which may be regarded as substantially true. The birth place of Haribhadra was, according to a c, d, e, Citrakuta the modern Chitor. The ancient fort on the crest of the hill' was the capital of Newar from about the 7th century till 1569 when the seat of government was moved to Udaipur, Haribhadra probably lived in Chitor up to his initiation. But the scene of his later life as a monk seems to have been chiefly the neighbouring parts of Rajputana and the kingdom of Guzerat. In that country, he became the teacher of Uudyotana? Another indication of Haribhadra's activity in Guzerat is furnished by the annals of Ja na families: for according to Kalyanavijaya (1. c. p. 7b ) they assert that Haribhadra organised the clan of the Porevals (Porurada, Prugvata ) and converted them to Jainism. Now we learn from the Neminahacariu that the Poreval elan originated in Srimala, that a warlike member of this clan Nimaya, was inducel by Vanaraja (746-806 A. D. ) to settle in his new capital Anahilla pataka, and that he there erecte a temple of Reabha for the Vidyadhara-gaccha. Since Haribhadra, the organiser of the Poreval clan, belonged to the Vidyadharagaccha," it is likely that that clan owed some sort of allegiance to that gaccha, whereof the statement in the Neminahacariu seems to furnish a proof. Although Haribhadra may have lived for the greater part of his life in Guzerat and the adjoining States of Rajputana, yet his wanderings as a Yati probably extended to far distant parts of India. Some hints about his knowledge of India may be gathered from the Samaraiccakaha. In this regard it is significant, that he does not lay the scene of any of his tales in one of the renowned towns of the Deccan or Southern India. but all towns that can be identified' are situated in Northern India, from Hastinapura to Tamralipta. He evinces a more intimate acquaintance with Eastern India between Ayodhya 1 The phrase in e: S'ricitrakutacalacalanivasino olearly refers to the ancient town on the hill. 2 The verses 4 and 6 in the passage quoted from the Kuvalayamala by Jinavijaya (1. o. p. 15 ) prove that Uddyotana belonged to a line of yatis that flourished in Guzerat. 3 See my edition of the 'Sanatkumaracaritam' in the Abhandlungen der Bayerischen Akademie der Wissenschalten, Munchen, 1921, p. 152, der Bayerischen Arademie der Wissenschaften, Munchen, 192 1, p. 152, VIII-V, and the additional note on p. VI ib. 4 The modern Bhinmal in the extreme south of Marvad. Udd yotanasuri names the town Siribhillamala. It was the capital of Guzerat before the foundation of Anahillapataka by Vanaraja, the first of the Capotkata or Cavada kings. 6 For he calls his teacher Jinadatta an ornament of the Vidyadbaragaccha. According to the Harshanandanagani (1616 A. D.) he was a member of Vrddhagaocha, see Kalyanavijaya. l. o. p. 11b. 6 The cause of his want of acquaintance with Peninsular India was probably the circumstance that in his time there were few, if any, Svetambara communities south of the Tapti. 7 Those in the fabulous country of Aparavideha, of course, do not concern us.

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HIS AGE, LIFE AND WORKS [xix and Campa; in these countries Buddhism was still flourishing, and it is, therefore, possible that Haribhadra there acquired his accurate knowledge of Buddhist philosophy, especially as taught by Dignaga and Dharmakirti. That Haribhadra was a Brahmun by caste is stated in e' and implied in c, where he is said to have been the purohita of King Jitari. Though there is no such statement in O and I, I have no doubt that it is true. For the learning peculiar to Haribhadra, apart from his comprehensive knowledge of Jaina Lore, is of such a kind as was natural with a Braluman, but quite exceptional in any other case, before Jain literature had received a new impulse from brahmanical science. Municandra (e) truly describes Haribhadra as one 'who had studied the eight grammarians, and was the leader of those whose understanding is hardened by the discussions connected with all philosophical systems.' It is chiefly due to Haribhadra, as will be explained in the next paragraph, that Sanskrit became the learned language of the S'vetambaras and replaced Prakrit in several departments of their literature; he would, lowever, not have had this influence unless he was a perfect master of Sanskrit, an accomplishment which required the customary training of the Brahman. And as regards his mastery in philosophical discussion conducted in Sanskrit it is such that his Anekantajayapataka with Tika favourably compares with any philosophical work of the same age. It may be added that the story of Haribhadra's conversion, the main features of which are already contained in our oldest source (a), points also to the same conclusion, that he was a Brahman by caste. Haribhadra by acknowledging the nun Yakini as his spiritual mother (dharmato Yakinimalattarasunu) unmistakably ascribes to her his conversion to the true faith', which may be regarded as a second birth. How his conversion was brought about, has been recorded by tradition which, in this regard, is probably substantially trustworthy. I shall first give an abstract of the narrative about this part of Haribhadra's life in the Prabhavakacarita (IX, V. 4-47), and discuss it afterwards. Haribhadra was purohita of King Jitari iu the town of Citrakuta. He was so proud of his knowledge, that he proclaimed that he would become the pupil of anyone whose proposition he could not understand, and this vow was engraved on & golden plate he wore on his belly (11). Once a mast elephant having got loose and causing great havoc in the streets, Haribhadra fled before him and made his escape by climbing on Jain temple. Thence he perceived the image of a Tirthakara whom he derided in a 'sloka (vapur eva tava'caste, etc. ) ( 18 ). On the next day when he went home about midnight, he heard an old nun reciting a gathat (calkidugan Haripanagan, etc.), which utterly baffled his understanding. He asked her to explain its meaning, but she referred him to her guru (27). So he went to see him on the next morning. Passing on his way by the same temple he pronounced the same s'loka (vapur era tava'caste) changing one word so that it redounded to a praise of Jina. There he saw Jinabhatasuri who promised to teach him after he had been initiated. Haribhadra consented, and acknowledged mahattara Jakini as his 1 Kalyanavijaya l. c. p.5a, bote. 2 Apparently a fictitious name standing for Jitasatra, the usual name of tho king in countless legends and stories of the Jainas, but never met with, as far as I know, in any historical document, inscription etc. The name is absent in the list of Guhila kings of Mewad, see Mabel Duff, Chronology of India p. 282. 8 It is true that the Buddhists possessed many other older works of a similar description but the Buddhists had come into contact with Brahminical schools of philosophy at a much earlier time, and many of their great writers have notoriously been Brahmans by caste. 4 This gatha ooours in the Avasyakaniryukti.

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xx] HARIBHADRA: spiritual mother (42). He became so well versed in the sacred Lore of the Jainas, and his conduct was such that the guru appointed him his successor. Thus Haribhadra became a Yogapradhana (47). Now all essential points in this account are confirmed by Municandra in the short passage' referred to above, with the exception of the incident of the mast elephant (v. 12-18) and, as said before, of his being the purohita of King Jitari. There the same gatha and the s'loka are mentioned and the name of the guru is given as Jinabhadra2 apparently by mistake for Jinabhats; some minor details which may be regarded as embellishments, are omitted. It is, therefore, clear that the tradition, on the whole, is old, and as there is nothing extravagant or incredible in it, we may regard it as coming very near the truth. It remains to mention a curious notice in the Ganadharasardhas'ataka v. 5f: 'Some, misled by the similarity of the name, have erroneously asserted that Haribhadra was initiated and instructed by the Caityavasins' The Caityavasins were those monks who abode in temples, while their opponents advocated the vasutinivasa, i. e. the dwelling in the houses of laymen (paragrha). Both sections seem to have coexisted for some time and no separation to have taken place; Silika" is said to have been a Caityavasin. But in the end the Cityardsa seems to have become discredited, and Jines'varasiri, the founder of the Kharataragaccha in Samvat 1080-1024 A. D., established the satiniven, at least for his sect. It is just what might be expected that at a time when the enmity between those two sections, or rather sects, was at its height, the Caityandsins should have claimed the famous Haribha lra for one of their own, and their opponents should have repudiated their claim as null and void; but it is equally certain that if at Haribhadra's time the mode of the monks' lodging had already become an important point of controversy, there wouldhave been no occasion to doubt which side of the question he espoused. The descriptions of monastic life in the Samaraicca Kahu illustrate the practice of monks in his days, or at least one he would approve of; according to it monks put up stay in a park near the town, where they were visited by the faithful and the curious. It is not said explicitly that they lodged there in a temple, but it seems to be excluded that Haribhadra supposed them to lodge in houses belonging to, or furnished by, laymen. 3. Haribhadra's Works, Haribhadra's fame as a yugapradhana chiefly rests on his literary activity for the sake of Jainism; he is one of the most fertile authors in Jaina Literature as regards not only the number of the works he wrote, but also the diversity of the subjects he treated. Jinavijaya (1. c. p. 3) enumerates 26 works of H. as the most renowned ones, of which 20 have been edited and Kalyanavijaya (L e. p. 13a-19a) has drawn up a list of all his works, actually 1 With it agrees the very short notice in the Laghuvrtti of the Ganadharasardhasataka v. 56 p. vi. It mentions besides the golden plate worn by H. on his belly. 2 The same form of the name is given in the Laghuvrtti mentioned in the last note. 3 In the Laghuvrtti v. 60. According to that source and to the Pattavalt of the Kharataragaccha Silanks was a successor of Haribhadra; but that is impossible, since the date of his Acarangattka is said to be Saka 798-872 A. D. or more than a century later than Haribhadra. According to the same source Silanka's successor was Uddyotanasuri, whose successor was Vardhamanasuri, the teacher and predecessor of Jinesvarasuri. These statements are, no doubt, arbitrary and entirely wrong, for Uddyotanasuri who wrote his great poem in 779 A. D., cannot have been removed by one teacher only from Jinendrasurl, who flourished more than two centuries later. Apparently there was no solid, if any, tradition concerning the period which preceded the foundation of the Kharataragacha.

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HIS AGE, LIFE AND WORKS XXI preserved or known from quotations only; his list contains 88 ontrias. Great as this number is, still it would ba but a small fraction of the total of his writings if tradition might be credited, which ascribes to him the composition of 1, 400 prakaranas. This tradition is found already in our oldest sources of H.'s life (a and b), and it can be traced further back to 1068 A. D., being contained in Abhayadeva's Tika on H.'s Pancas'aka finished in that year. Now it is altogether incredible that the Jainas should have been so extremely careless in handing down the works of their famous author that a few centuries after his death even the titles of the great majority of them should have been forgotten, seeing that two works which he left unfinished, viz., Tattvartha-laghuvetti and Pinda-niryukti have nevertheless been preserved. Unless, therefore, the number 1,400 be a mere hyperbole without any special meaning, we must assume that in this connection prakarana does not denote as usually & separate systematic treatise, but is used in a more restricted sense so that the Panca'saka contains 50 prakaranas, Astaka 32, Sodas'aka 16, etc., but on what principle in other cases his books were split into a great number of prakaranas it is impossible to say. Haribhadra wrote in Sanskrit and Prakrit both in verse and in prose, mostly of course in illustration of Jaina doctrines. Two sides of his literary activity deserve special notice, his commenting on canonical works in Sanskrit, and his discussing with an intimate knowledge, the doctrines of Brahmans and Buddhists. The old commentaries on the canonical books, the Niryuktis, Curris and old Bhasyas were written in Prakrit throughout. As already mentioned abova p. iii) Jina. dasagani's Curni on the Nandisutra was finished in 677 A, D., it is, of course, written in Prakrit. Haribhadra composed a commentary on the same Sutra, making use of the work of his predecessor; but he wrote it in Sanskrit, as well as his remaining commentaries on Sutras. As we know of no older Sanskrit commentary on any Sutra in S'vetambara Literature, it is very probable that the innovation was due to Haribhadra; at least the new practice was firmly established by him, though it was further developed in the sequel. For according to Prof. Leumann (1. c. p. 582) Haribhadra commented on the text in Sanskrit but retained the kathanakas and certain other parts of the Curni in the original Prakrit; while Silanka who flourished more thaa a century later, translates such passages also into Sanskrit. Haribhadra is emphatically the author of prakaranas in the technical meaning of the word; a prakarana is a systematic treatise in which the subject is exposed in a scientific form, unlike the unsystematic, either diffuse or episodical, treatment of subjects in canonical books; it may be in Prakrit, but as a rule it is in Sanskrit. This way of writing originated, of course, with the Brahmans in whose literature the models of it are to be found. The first instance of it in Jaina Literature is Umasvati's (or Umasvamin's) Tattvarthadhigamasutra, which is claimed as their own by both S'vetambaras and Digambaras. The early literature of the latter, who do not recognise the existent Siddhanta, consists largely in the prakaranas both in Prakrit and Sanskrit. But the first undoubtedly S'vetambara author of prakaranas some of whose works have come down to us, is Siddhasena-divakara. Haribhadra, who is removed from him, as shown above p. x., by two or three generations at the utmost, raised this branch of S'votambara Literature to a high degree of perfection. Though a few of these books of his are in Prakrit, the majority of them are in Sanskrit; they contain besides an exposition of the Jaina tenets, concise information about, and discussions or refutations of, the doctrines of opposite schools, Brahmanical and Buddhist. in this connection one of Haribhadra's works, though not a prakarana, has a peculiar interest, viz, his commentary on Dignaga's Nyayapraves'a. Siddhasena-divakara had written a Nyayavatara which unmistak. 1 Rajasekhara (1349 A. D.) assigns him 1440 pr, and four writers (between the 15th and 18th century ) 1444 pr. see Kalyapavijaya, l. o. p. 116 12. 2 See Professor Leumann's learned paper on Dasa yaikalikasutra and Niryakti; 2. D. M, G., Vol 46, p. 681 ff.

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xxii] ably presupposes Dharmakirti's Nyayabinda' apparently intending to provide the Jainas with a manual of Logies. But it is decidedly inferior to the masterly work of Dharmakirti which it was designed to supersede; nor had it any lasting success. Haribhadra, however, instead of attempting to find a logical school of the Jainas, induced them, by commenting on Dignaga, to study the original works of Buddhist Logicians. He apparently appreciated their paramount importance, though he controverted, at great length, some logical propositions of Dharmakirti in his Anekantajayapataka. The interest of the Jainss in Buddhist Logics continued long after his time; we owe to it the preservation of Dharmakirti's Nyayabindu and Dharmottara's Nyayabindutika in the original Sanskrit; for the oldest manuscripts of these works and of a fragment of a commentary on the latter come from Jaina bhandars. The endeavours of great teachers like Siddhasena-divakara and Haribhadra to raise the S'vetambaras to the high level of Indian mental culture were brought to their conclusion by Hemacandra who provided them with admirable text books of the principal Indian sciences besides such standard works as more directly concerned their own creed. Thus the Svetambaras, who for many centuries seem to have remained in a comparative obscurity as an exclusive sect, emerged to notoriety, probably about the seventh century, till at last they became, in Guzerat and the adjoining countries, the most influential religious communi ty, and could even, under Kumarapala, be called the established church of the kingdom. HARIBHADRA! But to return to the works of Haribhadra, it remains to be noticed that he usually employs, in the last verse of them, the word viraha which is known as his "mark". Kalyanavijaya (1. e. p. 20a ff) quotes in full the passages where this mark occurs. exceptions he mentions (p. 12b.) the commentaries on the Das'avaikalika, Avas'yaka Prajnapana-sutras, 'ete.' and Samarudityakatha, Saddars'anasamuccaya, Lokatattvanirnaya 'ete.' It is, however, doubtful, whether the Samaridityakatha is an exception to the rule, since three Mss. read the word virala in the last verse. (See the footnote to the passage in question). According to the legend the 'mark' virala refers to Haribhadra's loss of his nephews and pupils Hamsa and Paramahamsa whom, however, he does not mention anywhere in his writings as far as I know. There may be some truth in this report; but out of the simple fact, if fact it was, there grew a long story full of miraculous incidents, which as I have already said above, forms the grester part of the legendary life of Haribhadra. I subjoin an abstract of it as given in the Prabhavakacarita. (IX 48-206). His sister's sons Hamsa and Paramahamsa, who had left their father's house in disgust, became his pupils and were instructed by him in logic. They desired to go to a Buddhist town in order to learn their S'astra, but Haribhadra foreseeing some disaster entreated them not to go; nevertheless they insisted on it and went, in disguise, to the Buddhist town, where they were instructed by a Buddhist muni. Having learnt the objection raised by the Buddhists against Jainism, they wrote a clever refutation of them on some leaves. A blast of wind carried the leaves away and they were brought to the Buddhist muni, who thus became aware of the presence of some Jaina Yati amongst his pupils. In order to find him out, he had the image of a Jina placed on the gateway so that all must trample on it on entering. But the two brothers painted with chalk the sacred thread on the breast of the image, and then they were not afraid to put their feet on it. Now the Buddhist muni employed another trick. All pupils were confined in an upper room and watches were placed with them; and when they were asleep he caused a number of jars to be rolled down from the upper storey. The sleepers started up in terror and invoked their istadevalds. The two brothers invoking the Jins, were thus found out; but they took a couple of umbrellas and spreading them jumped out of the window. They reached the ground without hurt or injury and fled at great speed. Buddhist soldiers pursued them. When they were approaching them, 1 See above p. III note 1.

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HIS AGE, LIFE AND WORKS [ XXIII Hamsa advised his brother to take refuge with Sirapala, king of a nearby town, who would give him protection; he then fought his enemies of whom he killed a great many, but at last he fell and lied. (94.). Paramahansa went to Surapals who granted him his protection. Soon after the host of pursuers arrived and demanded the delivery of their enemy. The king, however, did not give up his protege, but proposed that a disputation should be held, and if their speaker should vanquish him, he might do with him as is proper in such cases. The Buddhist agreed under the condition that their opponent should remain behind a curtain, because they would not look at the face of one so infamous. The ensuing disputation was conducted, on the side of the Buddhists, by their S'Asanadevata, who was invisible and spoke from the mouth of a pitcher. When the disputation had gone on for some days Paramahamsa despaired and invokel Ambi, the Sisauadevata of his gana. She told him, who had, all the time, spoken against him, and advised him how to act in the disputation. He was thus enabled to reduce his opponents to silence; then lifting the curtain he smashed the pitcher and charged the opponent with fraudulent behaviour. The king. conscions of the sinister intention of the Buddhists, said to them he who after vanquishing me in battle will take hold of him, may do so without fault. Then he gave Paramahamsa a wink, who guessing his meaning fled as quick as possible; he was, however, closely pursued by horsemen whom he eluded by the following trick. Seeing a washerman at work he persuaded him to get away as a sudden attack was coming, and he himself resumed his work. When a horsemen enquired of him whether he had seen someone on that road, he pointed out the washerman at a great listance. The soldiers made the washerman prisoner and then returned. Paramahamsa having thus put off his pursuers proceeded in his journey and after a few days reached Citrakuta where he met Haribhadra. Ile told him what he and Hamsa had done; but when he had related his brother's death, he was so overcome with grief that his heart burst and died. (122). Haribhadra was deeply afflicted by the loss of his nephews and pupils. He conceived an intense hatred of the Buddhists and resolved to destroy them. (133). He went to Surapala and told him his intention. Confident that Haribhadra would vanquish his opponents the King sent a messenger to the town of the Buddhists and persuaded their leader to sign a contract making it binding on him who should be vanquished in disputation, to plunge into a cauldron filled with boiling oil. (157.). The ensuing disputation turned on the Buddhist proposition of the impermanence of everything existent. Not being able to answer Haribhadra's arguments, the Buddhists had to undergo the punishment agreed upon. Some more Buddhist disputants suffered the same death. (168). The Buddhists reviled the Goddess Tara for having caused their defeat by deserting them; but the goddess explained that it was the just punishment for their having killed Hamsa and Paramahamsa. (179). Jinabhata, who had heard of Haribhadra's cruel revenge, sent him, through two bhiksus, the three gaths which contain the argument of the Samaradityakatha (see p. 6, 1, 2 ff). Haribhadra guessed his meaning; just as Agnis'arman's hatred had lasted through nine births, so his enmity towards the Buddhists would have the most disastrous consequences for him. He, therefore, took leave of the king and went to his guru; full of contrition he asked his forgiveness and did severe penance as ordered by him. (196) The goddess Amba rebuked him for still grieving at his bereavement; it was due to his Karma that he left no successors in his line of teachers; his books would stand in their stead. (203). He composed the Samaradityakatha and according to the three gathas sent him by his guru, and wrote 1,400 prakarana they all exhibit the mark virala in remembrance of his two nephews. (206). 1 The text is corrupt in this place. A similar situation described in Parisista Parvan, 275ff.

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XXIV ] HARIBHADRA : The narrative in the Prabhavakacarita is written to say the least, in a most unconventional style of poetry, rendered frequently unintelligible by the bad preservation of the text. It seems to be based on a popular story, perhaps on a kind of Ras. We are acquainted with another version of the same subject, similar on the whole but differing in many details, from an abstract, or rather skeleton of an abstract in Rajasekhara's Kathakos'a (1350 A. D.), the greater part of which has been given by Kalyanavijaya (1. c. p. 8b.). According to this account: Hamsa and Paramahamsa made three strokes on the throat of the image of Jina, thereby changing it into one of Buddha. But remarking that the Buddhist guru regarded them with suspicion they pretended to be ill and escaped taking with them a Budelhist relic (ka palika or karparika). To recover the relic the king sent a troop of soldiers after them; but as H. and P. were sahasrayodlins", they defeated them. Now the king despatched a large army, with which H. fought, while P. fled with the relic. H. was at last overcome by the great number of his enemies, who cut off his head and brought it to the King. But the guru insisted on recovering the relic. Therefore soldiers went in search of Paramahamsa They discovered him sleeping before the walls of Citrakuta the gates of which were closed, and cut off his head. Haribhadra finding the corpse of his pupil and nephew, fell into a tremendous rage. He filled cauldrons with boiling oil and attracted by charm 1,440 Bauddhas through the air to be made a sacrifice of. His guru sent him the three gathas. Haribhadra's wrath was appeased, and he composed 1,440 granthas in atonement of his passion and sins. A comparison of this version of the story with the preceding one is of interest for those who investigate the growth of popular tales; but a critical inquirer, will, no doubt, reject both alike as sources for the history of Haribhadra's life. Even that he had two nephews and pupils named Hamsa and Paramahamsa who perished in an attempt at learning by stealth the doctrines of the Buddhists, statements which form the foundation of the legend and are by no means incredible in themselves, must be accopted with the utmost reserve. The legendary account of the circumstances which led to Haribhadra's composing the Samaraiccakaha will be discussed in the next paragraph. The rest of the account in the Prabhavakacarita contains some details not un worthy of remark. I, therefore, add an abstract of the concluding part of the 9th s'raga of that work (v. 206-221). Haribhadra diverted the layman Karpasika from his partiality for the Bharata and Itihasa by telling him the five stories of rogues (211), and won him over to the Jaina faith. He ordered him to make an edition of his works and to distribute them among the yatis (217). He caused other people to construct 84 temples on one platform (ekapathe ), 218. He also produced the Mahanis'ithasutra from a decaying manuscript, ( 219 ). Ending his life by anas'ana he ascended to heaven ( 221 ). * * 1 2 There is an allusion to their drstimelapaka preceding the oombat, the meaning of whioh is not clear, This partionlar is apparontly an adaptation of Janamejaya's snako-saorto. In Mahabharata, I, adhy. 51ff. This apparently refers to his Prakrit Kavya Dhurtakhyanam. 3

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THE DHURTAKHYANA: A CRITICAL STUDY BY Dr. A. N. UPADHYE, M. A., D. Litt. 1. The Prakrit Text THE DHURTAKHYANA of Haribhadrasuri, whose career is to be assigned to the middle of 8th century A. D., is a typical literary work that has a special significance in Indian literature. It had already attracted the attention of E. Leumann some forty years back; and it is through him that N. Mironow could refer to some parallel stories in his dissertation on the Dharmapariksa of Amitagati. Some Gujarati and Hindi renderings of Dhu. have appeared in India, but they were primarily concerned with the contents and not with the Prakrit text of that work. This unique work, in Prakrit, is now brought out for the first time in this Singhi Jain Series having been critically edited by Acarya Sri Jinavijayji. Its Sanskrit version by Sanghatilaka and an Old-Gujarati prose rendering by an unknown writer have also been included in this edition to facilitate its comparative study. The Prakrit text, presented here, is based on three MSS., A, B, and C. They do not bear any dates, but A and B, as described by the learned editor in his Preface, look quite old; and they may be assigned to 16th century A. r. C is quite modern and just a copy of A prepared by an inexperienced scribe; consequently the readings of C are not noted. A and B are sufficiently independent and do show some variants noted in the foot-notes. Confusion in numbering the verses is seen in both. B looks not only older but is also more accurate than A. The Ms. A shows necessarily y-gruti for the udvrtta vowel (as I surmise, irrespective of the preceding vowel); while B very often puts a (or a) for the lost consonant: this possibly means that B is following the more strict rule about y-srutt specified by Hemacandra in his Commentary, and its so-called accuracy perhaps betrays the hand of some revisionist or copyist possessing a thorough mastery over Hemacandra's Prakrit grammar. 1 Jinavijayaji: Jaina Sahitya Samsodhaka, vol. I, i, pp. 21-58; Jacobi: Samara iooskaha, B. I., No. 169, Caloutta 1926, Intro. 2 Die Dharmapariks des Amitagati, Leipzig 1903. 3 For their description, see elsewhere. 4 Bee Biddha-Hemacandra, VIII. L. 180.

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DHURTAKHYANA: These two MSS., A and B, do not show any recensions as such. If B omits a verse (V. 26) and A repeats some line (V. 47), this is duo just to scribal lapse. The concluding verse (V. 125) cannot belong to Haribhadra. His composition ends with V. 124 which mentions bhava-viraha, Haribhadra's distinguishing mark; and the contents of the following verse do betray that it is composed by some zealous follower of Haribhadra. Certain portions of the Prakrit text are not specifically covered by the Sanskrit (III. 830, 84; V. 115-18) and Gujarati versions (III. 83-84; V. 111) which closely follow it; but looking to the context etc., this cannot be a conclusive proof to suspect those portions as later additions in Haribhadra's text. At the kind request of Acarya Sri Jinavijayji, I have attempted below a study of this important literary work. Before subjecting its different aspects to a critical scrutiny, it would be proper to give a short outline of the stories occurring in this work. 2 2. Summary of the Contents I Adjacent to the prosperous town of Ujjain, there was a fine park of luxuriant vegetation with a garden-house. During their wanderings there arrived hundreds of confirmed rogues who had acquired specific proficiency in the tricks of their trade. They had five leaders: Mulasti, Kandarika, Elasadha, Sasa and Khandapana. Every one of the first four had five hundred male cheats and Khandapana had an equal number of female cheata, as their retinue. Mulafri was their foremost chief. During the height of rainy season, when it was heavily pouring all over the week and when it was not possible to move about, all the rogues, shivering and hungry, began to deliberate as to who would give them a feast for the day. Muladeva stipulated thus: Every one should address the chamber of cheats about what one had heard or experienced; and he who proves it to be an incredible lie should give food and drink to the gathering of rogues. But he who confirms the same by quoting parallels from various scriptures like the Purana, Bharata and Ramayana and convinces the audience, is not to give anything; and he would be made the lord of rogues. They all agreed to this and requested Maladeva to narrate his experience (I. 1-16). Maladeva said: "I shall tell you what I experienced as a youth. Yearning for prosperity, I went to the abode of Levara to receive the stream of Ganga on my head. As I was travelling with a gourd-kettle and umbrella in hand, a mad wild-elephant rushed at me like a moving mountain. I trembled with fear; I saw no shelter and escape; so I lept into the gourd-kettle that my life might be saved. The elephant was infuriated and followed me into the gourd-kettle where I deceived it by hide-and-seek for a period of six months. 1 For the convenience of general readers I have given the names in Sanskrit, though some of them appear to be un-Sanskritic in origin. 2 Muladeva and Mulasri are alternative names.

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A CRITICAL STUDY At last I escaped through the spout of the gourd-kettle; but when the elephant also followed me, its tail-hair was caught in the spout-hole. I approached, however, the ocean-like river Ganga, crossed the rushing stream, and reached the abode of Isvara. Standing hunger and thirst, I received the stream of Ganga on my head for six months. Thence I came to Ujjaini and met you all here. If you accept all this as true, confirm it by evidence; if you think this to be a lie, well, give us a feast." Kandarika observed that one who has read Bharata, Puranas and Ramayana would not call this a lie (I. 17-34). Kandarika continued: "What we hear in the Bharata and Purana is reliable, therefore your experience also is true. 1) It is said that the Vipras are born from the mouth, the Ksatriyas from the arms, Vaisyas from the thighs and Sudras from the feet of Brahman: that means the entire population could be accommodated in Brahman's body. 2). Uma could lead a married life with Isvara whose male organ could not be measured even by Brahman and Vinnu. 3) The saint Vyasa has narrated thus in the Bharata : "The chief queen of Virata king had no progeny. She propitiated a certain saint who asked her to go to the bamboo-bower and eat the dish whereby she would have one hundred children. She did so and went home. After some time there arrived the saint Gagali' and sat practising austerities under the bamboo-grove. He glanced passionately at the nude nymphs bathing in the lake; and out of his first drop of semen there was born Kicaka, as mighty as elephant. Thus were generated one hundred Kicakas who were all first accommodated in bamboos and who were later received by the queen' 4) Ganga was deluded by Hara in his matted hair for one thousand years. 5) Visnu, the creator of the world, was practising penance on the bed of ocean; the lotus-seated Brahman, with staff and gourd in hand, came out of the navel of Visnu, but the lotus was caught stuck there. 6) It is narrated in the Bharata that Brahman began practising penance for thousand years; and the jealous gods wanted to frustrate his efforts. Indra counselled thus: "Woman has been a mighty temptress, and none except Mahavira could stand the arrows of Madana. Seeing the limbs of Uma, Pasupati became passionate even at the sacred hour of marriage; and Dronacarya was generated from the semen-drop fallen in a pot. Similarly eminent personalities like Gautama, Vasistha," Parasara, Jamadagni, Kasyapa, Agastya, Indra, Hara, Hari, etc, are all victims of cupid. So Tilottama should be sent to tempt Brahman; and thus his penance would be destroyed." Accordingly Tilottama approached Brahman in a beautiful dress and began to dance before him like a Campaka flower. When Brahman began to gaze at her, she stood dancing, by his right side. With a passionate craze for her Brahman developed four faces, as she shifted herself in different directions. When she jumped up, he had on his head a fifth face; but it was plucked by Rudra Brahman was very much irritated and infuriated. Erom the drop 1. Gagali perhaps stands for Garga. 2 I have normalised these names according: to the popular tager

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DHURTAKAYANA: of perspiration on his forehead was born Svedakundalin' who, at Brahman's oi der, overthrew Samkara (=Rudra = Isvara - Hara) who ran to Visnu for alms while the latter was practising penance in the Badarikasrama. Visnu opened the vein on his forehead, but the skull of Brahman, which Isvara held, could not be filled. When Isvara dipped his finger in the blood, a man Raktakundalin by name, was generated. At Rudra's behest Raktakundalin fought against Svedakundalin. Their long battle was declared drawn by the gods; one was given in charge of the Sun and the other in charge of Indra so that they might continue their fight in the Bharata war. When the Sun was enamoured by Kunti's beauty and cohabited with her, Karna was conceived by her and delivered through the ear. 7) It has been narrated in the Ramayana that Pavanasuta, a monkey, crossed the ocean by his arms at the order of Raghava and reached Lanka. 8) For the benefit of the world, Ganga was invited from the heaven by gods; and her stream was received on the head by Isvara for thousands of years, If the above events are acceptable, then that you were accommodated with the elephant in the gourd-kettle (Nos, 1-3, that you deluded it for six months (No. 4), that its tail-hair was stuck in the spout (No. 5), that you could escape through the spout (No. 6), that you crossed Ganga (No. 7), and that you received her stream on your head (No. 8) are all quite true, You are a good man endowed with wisdom and fame." (I. 85-98). together in gallam All of a sudden them from the fair, II Being requested by Mulasri, Kandarika began to narrate his experiences: "Naughty as I was in my boyhood, my parents drove me out of the house. I reached a rich village on the frontier. There a Yaksa, Kamaladala by name, lived under the Vata tree; he possessed miraculous postars; and he bestowed boons on women. A fair was held in his honour, and people gathered together in gallant dress. I joined the fair, paid respects to the deity, and attended the horse-play. All of a sudden there was an attack from a well-equipped party of robbers; consequently one and all from the fair, even the horses, entered into a cucumber; the sports continued therein; and the party of robbers returned saying that the village had disappeared. There arrived a flock of animals; a goat swallowed that cucumber; a boa gulped that goat; and a crane flew up to the top of the Vata tree, after eating up the boa. A king was camping under that tree. Mistaking the crane's leg for a bangansloot, a mad elephant was tied to it by the driver. When the crane took up ita ley, the elephant was lifted up; and the driver raised a cry that some one snatched away his animal. Skilled archers rushed forth and shot the cranu 1 Both Sanskrit and Gajarati Texts read Site- or Sveta-kundalin which has no etymologioal justification. S'veta or sita is being used to balance against rakta, hut we have to remember that one is born from sveda and the other from rakta. La round brackets are given the numbers of legends, noted above, in the light of which partionlar remarks are said to be true,

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A CRITICAL STUDY dead. It fell lifeless on the earth like a mountain-peak. At the king's order, its stomach was opened; and vivisection was continued on the inner contents, till at last all the people, horses, etc. came out like a swarm of moths from a nest. They went to their respective places, and I went home. I have myself experienced all this; well, if you disbelieve, give us a feast." (II. 1-25). Elasadha, who had studied Purana, Bharata, etc., at once said that whatever Kandarika described was quite believable without any doubt. He continued to confirm the same:"1) According to the Visnupurana, in the beginning, when the five elements had not come into existence, there was the extensive ocean on the waves of which rolled an egg for a long time. It broke into two halves; and out of one half came this earth. Thus all the living beings, gods, men, beasts, etc. were found accommodated in that egg. 2) In the Aranya-parvan, Markandeya has narrated his experience to Dharmaputra thus: 'At the time of universal deluge, when there was water everywhere and the world was devoid of living habitation, an extensive and lofty Vata tree was seen. A handsome boy was seated on a bed which was spread on its branches. The saint Markandeya stretched his arms to receive the boy' lest he might succumb to the floods. He visualised in the stomach of that boy the whole world with its mountains and forests. He entered the stomach and dwelt there for one thousand years, but could not reach its end : 80 he came out at last. Thus a child's stomach could contain the whole world.' 3 ) Devaki's waist was so slender that it could be caught in a fist; still Kelava dwelt in her womb; and his stomach contained the earth with its mountains, forests, etc. 4) Without being suffocated to death, all the people on the earth lived comfortably in the stomach of Vasudeva and continued their activities such as agriculture, trade, battle, festivals, etc. There is no doubt that the world was contained in Kegava's stomach. Once Brahman claimed that he is the creator ( karta), because the four Varnas emerged from his mouth, arms, thighs and feet; but Kesava retorted that his claim was ridiculous and that he (Brahman) was as good as his boy. Kesava continued that the earth and sky formed the cavity, the mountains his jaws and the ocean his tongue; if necessary, Brahman should enter his stomach and see that the whole world was there. Kesava further added that Brahman was ungratefully talking thus when he too was born from his navel. 5) At the time of Draupadi's self-choice, it is reported that the mighty bow of Drupada was presided over by deities. Drupada announced that he who strung his bow and shot the specified target would win the hand of Draupadi. Many kings failed to string it. That mighty Sisupala' was nearly successful, but Krona frustrated his attempt by putting into the bow some additional weight in the form of elephants, mountains, planets, etc. The bow was so heavy that even the earth could not bear the load. Arjuna, however, took the aid of Bhima's palm for its support, ably strung the bow, and successfully hit the target. 1 2 If we read risino, then it would mean that the boy received that saint. The text reads Sasipala.

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DHERTAKHYANA: Draupadi was given to him in marriage. Thus the bow could contain mountains, planets, etc. 6) We hear in the Ramayana that Jatayu, the vulture, fought with his wings against Ravana who cut his wings in the fight; and when Jatayu fell on the ground, he appeared as big as Mandara mountain. Sita blessed him that his wings would be restored after meeting the messenger of Rama. Hanumat was sent by Rama in search of Sita; and he mistook for a mountain that body of Jatayu who gave him the necessary information about her. Jatayu got the wings and flew to the heaven. So it means that a vulture can be as big as the Mandara mountain. If the above events are true, then quite reliable are the incidents that the whole village could be accommodated in a cucumber (Nos. 1-3), that all the people could come out of it with their lives safe (No. 4), that a crane could contain all that (No. 5), and that there could be a big crane of that description (No. 6.)." (IL 26-75.). III Elagadha narrated his experiences thus: "In my youth, greedy as I was, I pursued the fad of metallic transmutation and wandered everywhere in search of the specific juice, etc. On getting the information, I travelled a long. distance with steps covering hundred Yojanas, lifted a huge lid-stone, took the necessary juice from the golden pond, put the lid as before, and then returned home. Through the favour of that fluid, I had plenty of wealth and abundant possessions : servants waited on me, bards praised me, and young girls sang and danced round me. I gave gifts to the poor and needy. Hearing about my wealth, a party of well-equipped robbers besieged my palace at night. thought, I must defend my well-earned property. With a bow in hand fought against them and finished many of them on the spot. The rest of them attacked me at once, cut my head, put it on the badara tree, and went away After robbing all my property. My head comfortably began eating the badara fruits, and this was seen by people early in the morning. They realized that it was still living and joined all my limbs; and here I stand before you in person. If you find my personal experience unreliable, well, then give a feast." (III.1-19). Sasa affirmed that Elasadba's experience was quite reliable, because there are similar cages in Puranas, Bharata and Ramayana: 1) Jamadagni suspected the fidelity of his wife Renuka who was enamoured of king Asvapahrta and ordered his son [Parasu-7 Rama to cut her head. He was pleased with his son Rama who carried out the order and asked him to demand a boon. Rama solicited that his mother should be restored to life; and she was made aliveby Tamadagui. 2) The two halves of his body were conjoined by Jara; and lejer on he became the great king Jarasandha. 3) The gods conspired to ciestroy the two mighty brothers, Sunda and Nisunda, who proved a terror to them. They contributed bits from their bodies and thus created an extremely beautiful nymph, Tilottama, by name. Humbly, she received: orders from gods Sad staried on her mission to destroy the two brothers. Seeing: her, tempting

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A CRITICAL STUDY limbs, Sunda and Nisunda grew passionato for her; they fought mutually for her sake and destroyed each other. Thus the gods could create Tilottama by putting bits from their own bodies. 4) In his childhood Hanumat was instructed by his mother Anjana that he was to eat red fruits whenever hungry. He mistook the sun for a fruit; and when he jumped up to snatch the solar orb, his body was reduced to pieces. Seeing his wife lamenting and the son killed, Pavana became enraged and retired to Patala. There was no breeze in the world, and people were very much worried. The gods approached and appeased him. The limbs of his son were put together, and he was made alive. His chin was missing; so in the absence of it, he came to be called Hanumat. Thus Hanumat could be made alive by putting together bits of his body. 5) When Rama went to Lanka, a fierce fight ensued between his army and that of Ravana. In course of fight prince Laksmana fell heavily wounded, and Rama began to lament. Hanumat, however, went to Dronagiri and brought Nissalya herb. Not only Laksmana was cured thereby but all the monkeys that were lying wounded were also healed and made alive. 6) Siva and Parvati were enjoying amorous pleasure in a Himalayan cave for a los time; and all the gods were anxious, because they did not want any progery from them. After long deliberations, they decided that Agni, obliging as he was, should go to Isvara who might then perhaps abstain from coition. Agni was rather unwilling, because Siva was a terrible and uncongenial fellow. Indra, however, prevailed upon Agni who was assured that Siva would certainly behave better in the company of Uma. Though intervened by Uma, Isvara was enraged to see Agni there and forced him to drink his semen. Agni was in flames as it were due to that semen; he rushed to the ocean; and he felt some relief only after vomitting it there. It is said that jewels arose out of this semen. Whatever bit was still remaining in his stomach Agni vomitted in a lotus-lake. Six nymphs, called Krttika, were bathing in that lake; and they happened to conceive at the contact of semen. After the necessary period of time, they delivered the head, arms, thighs, trunk, etc. When they brought together the limbs with surprise, they got joined mutually at their proper placas; and thus Mahasena was born. He leads the rigorous life of a celebate and dwells in a forest in the South. Thus the limbs produced from different wombs could get joined and Mahagena could be produced. 7) Rahu has no head; still he moves in the sky and swallows (or eclipses) the sun and the moon. 8) Visnu, in the guise of a Dvija, begged of Bali only three steps of the ground, pervaded thereby the whole world, and deprived him of the earth. 9) It is reported in the Ramayana that Hanumat, when Laksmana fell wounded in the battle between Rama and Ravans, brought the lofty mountain Drona with its vegetation, as he wanted some herb. 10) Madhumatha, in his incarnation of V&raha, lifted up the earth with its mountains, trees, etc. If the above events are true, it is quite believable that the limbs of your body could get joined (Nos, 1-6), that your head could taste badana fruite

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DAURTAKAYANA: (No. 7), that you could have a step measuring one hundred yojanas (No. 8), and that you could lift up the heavy stone of the lid (Nos. 9-10)." (III. 20-98). IV Sasa narrated his experience thus: "I have my field near the mountain, and once I went there from my village during autumn. An elephant rushed on me from the mountain. I trembled with fear and somehow managed to climb a lofty sesamum tree. The elephant whirled round the tree; sesamum seeds were showered all round; and when they were crushed under its hoofs, there was a flood of sesamum oil. Stuck deep in mud, the elephant died of hunger and thirst. I breathed a sigh of relief, got down the tree, drank some ten pots of sesamum oil and ate a load of seed-stuff, prepared a bag of that elephant's hide, filled it with oil, and entered my village after placing that bag on a tree outside. I asked my son to bring the bag; but he could not see it; so he pulled out the tree and brought it home. This is my personal experience; well, if any one does not believe all this, he should entertain us with a feast." (IV. 1-13) Khandapana said that there were parallels to Sasa's experience in the Bharata, Ramayana etc. She continued to confirm the same:" 1) It is reported that, at Pataliputra, a drum was carved from the wood of masa plant. 2) According to the Bharata the ichor fluid of elephants flowed like a flooded river, washing down elephants, horses and chariots. 3) Bhimasena killed the demon Baka at Ekacakra and gulped pots of rice, a buffalo and a thousand jugs of wine. 4) It is said that Kumbhakarna, whenever he woke up, ate hundreds of men and drank a thousand pots, of water. 5) According to Puranas, the saint Agastya drank the ocean in order to destroy Asuras. 6) On her way from heaven, the river Gaiga passed through the matted hair of Hara. When she lowed through the hermitage of Jahnu, he gulped and retained her in his stomach for one thousand years. 7) The saint Kasyapa had two wives, Kadru and Vinata. These cowives once betted: the loser should either become a life-long slave of the other or give nectar for her freedom. Vinata became the slave of Kadru who tried to disgrace her now and then. She was always miserable. Once she laid three eggs: the first produced a balf-grown scorpion, and the second, the thighless Aruna who later on became the charioteer of the sun. She learnt a lesson, and broke the third egg after it was fully ripe. The mighty Garuda was produced ; and he proved a great danger to the sons of Kadru who, on that account, constantly teased Vinata. On her being requested by Garuda, Vinata explained to him how she was miserable due to her slavery and how she would be freed by the nectar the source of which was known to his blind father, now staying in the Badari Asrama. He went to Kasyapa who recognised him by touch. According to his father's wish, that hungry Garuda satisfied his hunger by eating a huge elephant and an equally huge tortoise which were constantly disturbing the lake by mutual quarrel. On his way back he saw a huge, extensive Vata tree under which millions of Valakbilya saints, the progeny of Brahman, were practising penance.

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A CRITICAL STUDY Garuda sat on its branches, but they cracked easily. Fearing that the saints underneath might be killed, Garuda picked up that tree in his beak, flew across the sky to the great surprise of gods, and dropped it on an island which is known as Lanka and which is the abode of Ravana. Once more he feasted on the Nisadas. He learnt from his father that the nectar-pond is situated beyond the hells and Patala; it is surrounded by burning flames; and that it is constantly guarded by gods, etc. One has to offer oblations to the flames, and then perhaps it might be obtained. He went thore, satisfied the flames, and picked up the nectar-pot. Gods equipped with arms and weapons pursued him; and a heavy battle took place with Garuda on one side and the rest on the other. When the party of gods was routed away, Indra came on the field and used his missile without any effect. He invoked the help of Visnu who pursued Garuda with his Cakra. Saints, planets, etc. approached Visqu and told him that it was below his dignity to follow Garuda like this. Treaty was effected between the two, and Garuda became the banner of Visnu. Vinata was set free by tint nectar. Thus the elephant and tortoise could be killed and the banyan troo could be carried by Garuda. 8) When it was heavily raining for a week, Madhumatha lifted the mountain Govardhana. 9) While building the dam the monkeys brought mountains from a long distance and dropped them in the 10) In destroying the park Hanumat easily rooted out big trees. If the above details are true, it is quite believable that there could be such a big sesamum tree (No. 1), that there could be a stream of oil (No. 2), that you could eat a load of seed-stuff and drink ten pots of oil (Nos. 3-6), that you could carry the bag made of elephant-skin (Nos. 7-8), and that your son could pull out the tree and carry it home (Nos. 9-10)." (IV. 14-94). V i) Then that Khandapana, the authoress of the Arthasastra, suggested that all others should humble themselves before her to get a feast. Of cours they were too proud to fold their hands to her. She smiled and began to narrate her experience: "In my youth I was enchantingly beautiful. After the monthly bath, while sleeping in the veranda, I was enjoyed by the passionate Wind. Immediately I delivered a son; and after taking my leave, he went away somewhere. Tell me whether it is a lie; if it is true that the Wind can procreate a son, no barren woman would be found in this world." (V. 1-10). Maladeva confirmed her experience thus: "1) According to popalar scriptures, the Wind procreated Bhimasena from Kunti and Hanumat from Nila. 2) Vyasa, born from Parasara and a fisher-woman, Yojanagandha by name, walked away soon after his birth, instructing his mother to remember hin on occasions. Through the favour of that saint, Yojanagandha became a virgin again, was married to Santanu and had a son Vicitravirya who died without issues. She remembered Vyasa fearing that the family might become extinos; and he procreated Pandu, Dhrtarastra and Vidura, but cursed his bed-mates in 2

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10 DAURTAK TANA: the end. In the light of these events, it is quite natural that the Wind generated a child in you; and it walked away immediately after delivery." (V. 11-19). ii) Khandapana narrated further: "Once my friend Uma entrusted me with miraculous syllables whereby I attracted the burning Sun who procreated in me a mighty son; but no harm was done to me." 3) Kandarika said that it was quite possible, because Kunti too was not burnt in any way by the Sun (who generated Karna from her). (V. 20-23). iii) Khandapana added further: "A second time I attracted Agni, the mouth of gods, by whom a brilliant son was born to me; and I was not burnt in the least. How is it?" Elasadha silenced her thus: "4) The wife of Yama was being enjoyed by Agni; but on seeing that her husband arrived there, she swallowed Agni, Yama gulped her, and entered the assembly of gods who welcomed him as 'Mr. yourself, the third'. He vomitted his wife; and she vomitted Agni who ran into the forest being pursued by him. The elephants did not give Yama any report', so he deprived them of their speech. Thus if Yama's wife was not burnt, how could you be burnt?" (V. 24-31). iv) Khanda added again that once she attracted Indra by whom she had a son; and she asked how Indra could come to her in preference to celestial nymphs. Sasa told her that it was quite possible: 5) Ahalya was enjoyed by Indra who thereby suffered heavily at the hands of Gautama and whose consequent bodily pores became his thousand eyes; 6) secondly, Kunti also got a son by Indra. (V. 32-37). v) On her inquiry, Muladeva told Khandapana that she was the daughter of Nagasarman and Somasri of Pataliputra and her Gotra was Gautama. Khandapana complained that her identity was confused, and narrated a bit of her biography thus: "My name is Dagdhika, the artisan's daughter, well-known among royal washer-men. My profession has been low, though our family is quite prosperous. Thousands of washermen worked under me; and with them, one day, I went to the river with a cart-load of clothes which were all washed clean and spread in the sunshine. Suddenly they were blown off by a whirl-wind. I asked the servants to run away and took the responsibility on me. Lest the king might punish me, I assumed the form of a lizard and reached the city park at night. Early morning I feared, I might be killed for a dish. After a good deal of thought, I changed myself into a mango plant, After day-break I heard the royal drum declaring all washermen to be excused; and once again I became a woman. The leather straps, etc. from the carts were eaten at night by jackals and dogs; but my father procured a mouse-tail out of which he got all of them once more prepared." Sasa said that it is quite believable that the tail of a mouse was so big as to prepare straps, etc., 7) because we know that the male organ of Siv.. was immeasurably long, and 8) 1 See the Sanskrit version of the Dhurtakhy

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A CRITICAL STUDY 11 because the tail of Hanumat was so long as to encircle the city of Lanka which was burnt by it on its being covered with clothes, sprinkled with oil and ignited, He further added : It is quite possible that you became a lizard and a manga plant, because we hear in the Puranas thus: 9) Gandharikavara transformed himself into a Kurabaka tree. 10) Then there was that mighty king Nahusa who vanquished Indra; but being cursed by Bphaspati, he became a boa in a forest. When Pandavas were banished into wilderness, the boa swallowed Bhima. Dharma gave necessary replies to the boa which consequently vomitted Bhima and which became the king at last.' Khandapana requested the rest of the rogues to accept quietly her authority, and then she would entertain them with a feast. In case she were to defeat them actually, they would be as worthless as a broken cowrie. The rogues thundered in reply that no one, not even a divine rogue, can vanquish them. With a view to put them to shame, she continued her biography and addressed them further: "With king's permission, I visited many places in search of those clothes blown off by the wind. I had lost, moreover, four of my servants since long; and in search of them I came here. I find now that you are those very servants and that you are wearing those very clothes. Either you accept this as true and be my slaves; or if you do not, well, give the feast." All of them felt ashamed; as they were outwitted, they accepted her as their chief; and they requested her to entertain all the rogues during the rainy week, (V. 38-78). Khandapana smiled to see that their manly vanity was smashed; but when they all insisted on getting a feast from her, she agreed to that. Sho went to the burial ground which presented a hedious and horrible spectacle. She managed to get a dead baby which was physically intact and lately dropped there. After bathing it and muffling it in rags, she entered Ujjaini, approached a banker's mansion, and addressed the busy banker that she was a Brahmin's daughter, that she had lately delivered a son, and that she was badly in need of money. The busy banker got irritated and asked his servants to drive her out. When force was used, she fell on the ground; and she started beating her breast etc. and lamenting loudly that her son, the only hope of her life, was killed by the banker who was so proud of his wealth. The banker was upset, and with all efforts tried to console her, requesting her not to raise a cry. He gave her an ear-ring and asked her to remove the child quietly. She removed the dead body, and by that banker's gift everything was allright. After throwing the dead babe, she went to the jewel-market jubilantly; she sold the ring and gave a rich feast to the rogues who were shivering with cold. They all heartily congratulated her on her skill and generosity, and openly confessed that woman is wiser by birth than man. (V. 79-110). In this world various personalities like Candra, Indra, Vayu, Surya, Agni and Dharma are all oppressed by passions. According to the scripture,

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12 DHURTAKHYANA! Kreps is ubiquitous and all-pervasive'; then where is the need of his thinking about those (Gopis) who are anxious for him! There are many other unbelievable legends current in the world, such as, the origin of (Pavana) Ganapati from the limbs of Parvati; the births of Brahman, Tilottama, Urvasi, Drons and Sanmukha; the release of Narakubara through Krsna; the procreation of Svedakundala through anger and that of Nara (i. e., Raktakundala) from a pot of blood; and the birth of Yadava Balarama through Maya's mediation. Parvati was the daughter of mountain: if mountains are to deliver children, the world would be too small for human population. These and such other stories from the Bharata and Ramayana are like artificial gold; and they do not stand the test of rational scrutiny. The popular scriptures do not contain any attractive stuff. Leaving them, therefore, one should follow the path preached by the Sarvajfia with a steady and pure faith. (V. 111-22). This fine Katha, with its various legends, has been narrated to the pious residents of Citrakata; it has been composed by Haribhadrasuri for purifying the faith; and may it bestow bhava-viraha on the faithful who hear and narrate it. (V. 123-24). Let Haribhadra, the Svetambara Suri, who has such a faith in the brilliant Jaina doctrine, bestow welfare on us. (V. 125). 3. Purpose, Technique and Form Whatever may be their historical explanation and symbolical signi fication, there are innumerable legends, scattered all over the epics and Puranas, which, on account of some detail or the other, are unnatural, inconsistent, exaggerated and unacceptable to reason. The 'precious blossoms of immortal poetic art and profound wisdom' seen in the epics are often overpowered by an array of irrational legends. "It is only unpoetical theologians and commentatora and clumsy copyists who have succeeded in conglomerating into a heterogeneous mass parts which are actually incompatible and which date. from different centuries." What is true of the Mahabharata is much more true about the Puranas which are well-known for their sectarian multiplication of myths and legends and hyperbolic exaggeration of details. Even from amongst the custodians and adherents of these texts the revisionists have tried their hands on them partly to make the legends conform to the changing ethico-moral notions and partly to rationalise and humanise them by removing glaring inconsistencies etc. This is amply borne out by the recensions and textual variations detected by critical editors. The episode of Draupadi's 1 Some of these verses present difficulties for interpretation. 2 Is there any implication here that Ganapati was the leader of the party of Maruts! 3 The phrase Cittauda-dugga-siri clearly refers to the ancient fort on the crest of the hill. For its description, see Peterson's Reports, I, pp. 46 f. 4 Winternitz: A History of Indian Literature, I, p. 328. The Adiparvan, Poona 1933, Prolegomena, p. 431.

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A CRITICAL STUDY marriage and the way in which the later Kavyas etc. use the Puranic legends sufficiently illustrate the above tendencies. We cannot expect the zealous follower to ridicule in any way the Puranic legends or to raise a moral protest against the sins in the world of gods, held by him in reverence. That Kannada poet Sarvajna is an exception. He has spared none from his severe satirical stings. According to him our Mahabharata is a tale of brothers killing brothers and of looseness of marriage institution (hadara); and those who respectfully attend to it degrade themselves. Haribhadra's attack, in the Dhurtakhyana, is directed against such legends found in the epics and Puranas. His conclusion is threefold: the popular scriptures, when one scrutinizingly studies them, are found to contain worthless stuff that looks smooth only from outside (V. 120); the legends narrated in them do not stand the test of rational scrutiny and are unacceptable like artificial gold (V. 119); and the pious, who believed in them so far, should abandon them and follow the path of Sarvajna (V. 121). Indirectly, but inevitably, these works being religious scriptures, the entire Puranic religion and its followers are being exposed to criticism; the former for having contained such legends and the latter for their acceptance of the same. 18 Logical polemics and witty criticism are the two recognised modes of attack; their ultimate purpose is to knock down the opponent; but their ways and intermediate tactics are different, and the weapons in their armouries and their movements on the field are dissimilar. The former necessarily requires an elaborate and systematic seige and a trained audience to pronounce the judgement; while the latter needs alert wit and adroit movements. If one is a trenched battle, the other is a guerilla warfare. The success of the former leaves behind acrimony that might involve endless attacks and counter attacks; but that of the latter wounds the opponent without leaving a scar and pricks him without bleeding. Logicians can be trained for the purpose, but a witty critic is an artist by birth. Haribhadra is an eminent logician, no doubt; but, in this work, on the whole, we see him more as a witty critic assailing the citadel of Puranic legends. The plot of the work is simple. It is a story of five rogues each of whom recounts an impossible, fantastical experience which is confirmed to be true by one or the other colleague after quoting parallels from the Mahabharata, Ramayana, etc. In the last chapter this mode of presentation is slightly modified. It is their female accomplice that narrates her experiences; and the remaining take their respective chances to confirm the same by Puranic parallels. She narrates her biography, and suddenly puts them on the horns of a dilemma: if they accept her statement, they have to submit to her as slaves; and if they refuse, they have to give a feast to the whole gathering. They find that they are outwitted; her superiority is accepted; she trickily extracts wealth from a merchant by charging him with the murder of her child; and all the rogues get a grand feast from her. To this plot, which is mainly

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DHURTAKHYANA: made up of conversation with casual descriptions, there is a Preamble (I. 1-16) which introduces the rogues, their stipulation and their agreement, besides the opening mangala; and there is also a Conclusion (V. 111f.) which summarily denounces some of the legends, besides giving the author's conclusion, aim and personal details. 14 The improbable and fantastic tales narrated by the rogues as a part of their experience, are consistent and compact units. Even the elements of exaggeration are quite in keeping with medieval tales. If they were not followed by any legendary confirmation, they could be easily passed off as amusing and adventurous tales, quite innocent in their constitution. But when the author holds them up side by side with the Puranic legends, their sarcastic potency becomes at once apparent. The tales by themselves speak highly for the skilful inventiveness of Haribhadra. As they stand, I think, they aro composed by Haribhadra himself, keeping in view the Puranic legends to be denounced. The stories thus are his creation; but quite well-known in Indian literature are some of their motifa: namely, a wild elephant pursuing a traveller; people holding a fair in honour of a Yaksa; a robber-party attacking a caravan; an ambitious youth pursuing the mirage of metallic transmutation by procuring some juice from an inaccessible pond; etc. It is the use of these motifs that at once lends a popular air and a sort of reality to the tales of rogues. The first four stories illustrate the author's ingenuity as also the richness of his imagination, whereas the story of Khandapana shows his wit and fund of worldly wisdom. Haribhadra has a special fascination for popular stories of humorous and satirical style. Some of thema in Prakrit he quotes in his commentary on the Dadavaikalikasutra. In one we have a group of Karpatikas; they begin narrating their fantastical experiences; but a rational Sravaka tries to expose the weakness in the narration. In another context he quotes a fine dilemmatic short story which reminds us of the dilemma of Khandapana In a certain town there was a Parivrajaka who roamed about with a golden bowl declaring that he would give it to one who narrated to him an unheard event. Sravaka addressed him thus, Your father owed to my father one hundred thousand coins: if you know this already, please return the amount; but if you do not know it, please give the golden bowl as declared by you.' He also quotes A 2 1 Sri Dasavaikalikasutram with Haribhadra's commentary, Bombay 1918, pp. 54, 56 f. kApaDiyA miliyA bhagati me bhave kini accheriyaM di tatva ego kahigo nagara gae diTThati / jai puNa pattha samaNovAsabha natthi to sAhemi / tao sesehiM bhaNiyaM / Natthittha samaNovAsao / pacchA so bhaNai / mae hiMDateNaM pubvaveyAlIe samuddasta taDe rukkho maddazmahaMto diTTho / tassegA sAhA samudde paiDiyA egA ya thale / tattha ANi pacANi jale pati tANi jalacarANi sattANi hvNti| jANate tANi carANi iti te kappaDiyA bhati / aho accherayaM deveNa bhaTThAraeNa NimmiyaM ti / tatthego sAvago kappaDio / so bhnnr| jANi addhamajjhe paDaMti tANa kiM havaMti / tAhe so khuddho bhaNai / mayA puvvaM ceva bhaNiyaM / jai sAvao natthi to kahemi / PP. 54-5. 3 egammi nagare ego parivvAyago sovaNNaraNa khorapaNa tahiM hiMDai / so bhaNai / jo mama asuyaM suNAveha tassa eyaM demi soramaM tattha ete sAno roga bhaNidaM insapiyA gama padhAre sadasahara puSpaM dikha anasUyaM khorayaM dehi //

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A CRITICAL STUDY a fine satirical verse in Sanskrit, possibly summarising some earlier conversation in Prakrit, made up of questions and answers. It is said to be put in the mouth of a Dhurta and addressed to a Buddhist monk who had a net-like garment on his person. The verse may be freely rendered thus: "Sir, why is your garment thread-bare? Well, it is for netting fish. Do you eat fish? I take them when excited by wine. Do you drink wine? When I mate with a hetaera. Do you visit a prostitute? After kicking on the necks of my enemies. Whence have you enemics? Those whose houses I have broken into. Are you a burglar? Just for the purpose of gambling. Are you a Rogue? Because I am a slavegirl's son." These illustrate Haribhadra's acquaintance with and aptitude for humorous and satirical folktales, Haribhadra is an adept story-teller. If we casually glance through his Samaraiccakaha, we find that he is well-informed about the workings of human mind and about the human behaviour in general. His experience is wide; naturally he creates characters and situations of engrossing interest. The Samaraiccakaba gives many counter tales which go to confirm the central idea of the main story. He possesses a special liking for symbolical epilogues, apparently meaningless, but full of significance and instruction when they are. explained. Enlightenment by absurd stories and situations is a fine weapon which Haribhadra brandishes quite successfully. Arhaddatta (Sixth Bhava), for instance, was enlightened when he was incurably attached to the pleasures of body by telling him that he was as foolish as a person extinguishing fire with grass. Absurd situations are presented illustrating such motifs. Similar tendencies are seen in the Dhu. as well. The fantastic tales expose the absurdity of Puranic legends, and thus enlighten and correct those that put faith in the Puranic religion. 15 It is the agreement of rogues that supplies a graceful bracket for the projection of the plot. Lest he would be required to give the stipulated feast, every rogue is anxious to confirm the fantastic stories by quoting similar Puranic legends. It is in the fitness of things that every rogue should be given the chance of confirming the experience of their female companion; otherwise, if only one were to be given this chance, there would arise some jealousy and others would not have the opportunity of being chivalrous. It is not the story as a whole, but just some of the convenient points of it that are eclected for confirmation with one or more similar legends and episodes from the epics and Puranas. The legends get automatically ridiculed, because they are closely parallel to the incidents or points in the fantastic story. As the rogues go on attempting to prove the impossible with the aid of Puranic 1 kila ko Ni (bIDa) maccharAe caliyo roga agara Adharida apaNA te kaMthA / so bhagai / jAlametamityAdi zlokAdava seyam / 'kanthAcAryAghanA te, nanu zapharavadhe jAlam, aznAsi matsyAn; te me stree, f, g gat kvar, sifa kume, gerlini nase, 44 m frat, ky elfa fonter; caurastvaM, dUtahetoH kitava iti kathaM yena dAsIsuto'smi // ' idaM laukikam etc. p. 54. 2 Ed. H. Jacobi, B. I., No. 169, Calcutta 1926.

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16 DHURTAKHYANA: legends, the legends themselves get ridiculed. Thus, to a certain extent, the author is using the mode of reductio ad absurdum in denouncing the legends. All of them are confirmed rogues, quite expert in their business; and it is not without some significence that they should be made to dabble in Puranic legends, as if this was quite on par with their usual routine! It looks like a bit of irony that the legends should be put in the mouth of rogues and that they should come forth to prove the impossible by quoting them! Akhyana is usually a serious tale, especially an epical or Puranic episode. It is certainly a piece of pungent sarcasm, if Akhyana refers here (V. 6) to the fantastic tales narrated by rogues. If it refers to the series of Puranic legends and episodes, it is equally ironical that they should be put in the mouth of rogues and that both of them should prominently figure in the title of the book! Thus the plot, the mode and accessories of attack and even the title: all these are not only appropriate but also partial and favourable for the artistic performance which Haribhadra has achieved here. Even minor touches add to the ironical flavour of the atmosphere: Muladeva declares that he is putting up with parisala such as hunger and thirst (I. 28), a veritable Jaina monk indeed!; Kandarika salutes the feet of Jina like a pious devotee (II. 24); Khamdavana qualifies herself as attharasa-dosavivajjiya (V. 98), an adjective usually applied to the Tirthakara; and lastly, that hypocritically exacted tip is glorified as a Dana, a pious donation, which renders everything allright (V. 102). There are some drawbacks: sometimes the same legends and motifs are repeated and in some places there is some obscenity. As to the first one wished that the author avoided this repetition; but as to the second, it was inevitable, if the author wanted to expose the obscenity of some of the Puranic legends. By assimilating different traditions Western literature has come to possess an astonishing variety of literary expression. The fact becomes obvious even to a superficial student of English literature, if he simply notes its chief landmarks and growth. Scholars comparing the ancient Indian literature with that of the English are struck with the manifold variety, range and artistie appeal in the latter. The disparity can be explained away on the basis of the peculiar lines on which each civilization advanced. Apart from its intrinsic merits and abiding values, in a way, by taking into account the range of time covered by the civilization, the extent of the land and the magnitude of the population, one has to admit that the ancient Indian literature, available to us today, is comparatively small in quantity and limited in variety. The reasons are apparent. On the whole, the Indian mind has enjoyed the comfort of dignified isolation from constant foreign influence. Religious spirit has permeated not only Indian life, but also Indian literature: even secular compositions could not escape religio-moral influence. Both men of letters and literary life in India are confined, as a rule, to an insignificant minority of hereditory intellectual aristocrats. Antiquity is an asset, but not necessarily a virtue. Old arns of expression and moulds of

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A ORITICAL STUDY 17 thought got stereotyped, and as conventions they had a metallic grip on ancient Indian literature. Even the training of an Indian poet or author is of a standardised cast: the aims are settled; the themes are dictated; type-characters are supplied; and even ready-made descriptions and stylistio devices are kept at the disposal of an author in the making. Ordinary intellect got crippled, though sufficiently trained; it is only the extraordinary genius that attempted to open new literary paths somewhat deviating from the accepted standards. In isolated branches of literature, the Indian mind exhibits remarkable elevation, successful finish and consummate polish; but the lack of variety is apparent everywhere. The fact that ancient India, which could boast of the greatest master-pieces in epic poetry and certain kinds of fiction and drama, has neither a tragedy after the manner of the Greeks nor satire in Roman fashion is to be attributed to the peculiar way in which the Indian mind evolved and the Indian author was trained for his job. The Sanskrit or even Indian 'poetic theory of super-individual emotion and its complacent attitude towards life', as Dr. De remarks, 'precluded any serious cultivation of the satiric type of literature.' Satire as a form of literature has been conspicuously absent in early Indian literature. India, however, has not been lacking in literary geniuses that were trained according to standard discipline. Every age has its follies and faults; and these geniuses, on account of their righteous indignation and as a wholesome correction, must have brandished their satirical whip against social disorders and diseases. Such satirical compositions could not have the same sanctity as that enjoyed by religious works; and it is not unlikely that many specimens have not come down to us, even if the art of satire was duly cultivated. Satire, moreover, is an indispensable stylistic quality in some forms of literature, and the elements of this quality are found scattered, here and there, in early Indian literature: in stories, in minor poems and in plays. The Dasakumaracarita, on account of its setting, substance, characters and events, is far from possessing the stereotyped orthodox outlook : in fact, it is a remarkable contribution of a novel type in Sanskrit. It presents a lively and realistic picture of the society, some glimpses of which we get in the Mscchakatikam. Dandin is unconventional by temperament. Though it is not his aim to give his composition the form of a satire, he has easily meted out some satirical lashes against gods who are dragged down to illustrate the disgraceful deeds of the characters (pp. 29, 44), against Brahmanas who are greedy for wealth and divert themselves by cock-fighting (p. 96), against hypocritical ascetics whose passion is easily enkindled (p. 44 f.), against the Digambara Jaina monk who is made to confess the worthlessness of his mode of life (p. 47 f.), and against Buddhist nuns who are ridiculed as go-betweens. The adventurous tales of young princes have an enchanting grip on the reader's mind; and Dandin's tendency to ridicule certain aspects of the society by satire

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18 DHURTAKHYANA: and caricature, quietly but effectively, is apparent in various places'. In this context attention may be drawn to the Bharataka-Dvatrimsika', a late work of the fourteenth century A. D. in popular Sanskrit. The term bharataka means a kind of Saiva monks; and this collection of thirty-two tales is designed for purposes of exposing the murkha-jana-carita so that one might understand sadacarana. The Saiva monks are satirized by means of stories illustrating their moral depravity and stupidity. The bharataka is made to quote the parallels of gods and saints to justify his behaviour, thus ridiculing the gods and saints as well with himself. Some of the stories exhibit a good fund of worldly wisdom, wit and humour. Somehow the element of satire seen in poems and plays is not of a very high order: the art of satirising becomes bald abuse and coarse ridicule, if it does not leave behind a healthy and correcting influence. The Kuttinimata of Damodaragupta (c. 779-813 A. D.) is more erotico-comic than satiric." Another polymath who has studiously worked in this line is Ksemendra, of the middle of the eleventh century A. D. Some of his works deserve special attention in this context. His Samayamatrka deals with the traditional erotic topics. It presents varied pictures of the society, and the situations are sketched in a pointed style. "The merit of the work lies not in its unsavoury story, but in its heightened, yet graphic, picture of droll-life, painted with considerable sharpness of phrasing and characterisation, and with an undertone of mocking satire directed against many forms of prevalent deformity." His Darpadalana is equally interesting. His salutation to viveka in the opening Mangala is quite significant. In seven sections it demonstrates the folly of pride based on kula, dhana, vidya, rupa, saurya, dana and tapas. Besides the gnomic verses on each, they are illustrated with tales invented for the purpose. The form is interesting. More than once the author drags the Puranie deities and personalities on a lower plain by citing how they have not been immune from these flaws (I. 17 f., III. 79 f., IV. 18 f., etc.). The moral tone is quite predominant; and the attack on holiness, though casual, is sufficiently pungent. His Kalavilasa is a satirical discourse in ten sections, put in a legendary setting. The first chapter lashes the roguish hyprocrisy, dambha, Been in different walks of life, found not only among men and women of different classes but also among birds and vegetables. He is harsh on Gaudas; and now and then even sacred deities and sages are not spared. The remaining chapters deal with greed, erotic impulse, harlot, Kayastha, pride, etc. scourges on the greedy merchant, quack doctor, pretending astrologer, crooked His Dadakumaracarita of Dandin, Revised in one vol. by G. J. Agashe, 2nd ed., Bombay Sk. and Pk. Series, Bombay 1919; Keith: A History of Sanskrit Literature, Oxford 1928, pp. 296 f.; S.. K. De: The Prose Kavyas of Dandin, Subandhu and Bana, Festscript Prof. Kane, pp. 112-44, Poons 1941. 2 Ed. J. Hertel, Leipzig 1921. 3 Keith: A History of Sk. Literature, pp. 230 f.; 8. K. De: Some Satiric Poems in Sanskrit, Indian Culture, vol. VIII, No 1, pp. 1-8. 1

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A CRITICAL STUDY 19 Kayastha, etc., are bitter and wounding. This work is thus a remarkable and comprehensive discourse, with a legendary framework, on the various activities of notorious tricksters known to Ksemendra; and his easy and elegant style makes the descriptions amusing and the satire effective.' As observed by Dr. De, Ksemendra's compositions are 'noteworthy satirical sketches exaggerated cum grano salis but substantially faithful, having less frequent lapses into squalor or coarseness, and composed in the best literary manner of Ksemendra. There is nothing of melancholy wisdom in Ksemendra. Knowing full well the castigating use of satire, he deals out his blows too liberally, but with precision, with bitter and often foul-mouthed presumption, but with the unerring, insight of a shrewd observer'. Ksemendra's satirical writings assume all the more importance, because his successors like Jahlana, Nilakantha Diksita, etc. never rose to his heights. They are all steeped in the time-honoured mould of religious didacticism and hackneyed eroticism. 'Anxious to maintain respectability, they are afraid of descending to the repellent reality which their subject demands, and only touch the fringe of it, from a safe distance, with the stick of romantic verse.' Among the plays, it is the Bhana and the Prahasana types that contain a great deal of satirical element. Bhana is a monologue play; the only character is a Vita or Dhurta who narrates, with imaginary questions and answers and with various gestures, either his experience or that of others. Most of the existing specimens of bhanas are comparatively modern and belong to the South; they lack variety and are of the same pattern, almost made to order; and they are predominantly permeated with erotic sentiment, very often coarse in taste. There is very little of genuine satire in them; we get, however, satirical touches in the descriptions of the licentious Pauranika, the old Srotriya, the fraudulent astrologer and (but this rarely) the Jangamas, Saivas and Vaisnavas (as in the Srngaratilaka).' The Hasyacudamani of Vatsaraja ridicules the Bhagavatas; while the Mukundananda pours a great deal of pungent satire against the Gurjara people. Such satirical touches are almost thrown into back-ground by their mechanichal characters, the roguish parasites and the haterea and by excessive eroticism. The four Bhanas, which are edited as Caturbhani and which definitely belong to an earlier age, present 'more variety, greater simplicity, a larger amount of social satire and comic relief, a more convincing power of drawing individuals rather than types, easier and more colloquial style, and some measure of real poetry in spite of certain coarseness." In the Padmaprabhrtaka, the Vita, Sasa by name, a friend of Karpiputra Muladeva (both of them of Ujjaini), gets a specified individuality. The racy speeches of the Vita, in the Padataditaka, are remarkably satirical; 1 I have derived much help from two important papers by Dr. 8. K. De: A Note on the Sanskrit Monologue-Play (Bhana) with Special Reference to the Caturbhani, JRAS 1926, pp. 03-90; and The Sanskrit Prahasana, The Poona Orientalist, VII, 3-4, pp. 149-56, 2 Caturbhapi, ed. by Kavi and Sastri, Patna 1922.

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20 DAURTAXHYANA: his ridicule is abundantly directed against the Latas and the Buddhist order; and the Dagerakas, Saurastras and Malavas are not spared from casual hits. These Bhanas are often obscene, if not vulgar; and the primal sensations are portrayed with a rough realism and terrible sincerety. For a student of literature, as Dr. De rightly remarks, 'it is more than useless to read austere morals into these old-time play-wrights or damn them for want of morals.' Turning to the Prahasana, the popular farce, there is ample scope for social satire in it by the very nature of its subject matter; but the specimens that have survived are far from being satisfactory. Their wit and humour, which would make one laugh, lie in deliberately vulgar exhibitions and expressions: in short, the whole atmosphere in the Prahasana, on account of conventional characters and incidents and the high-strung erotic sentiment, is low and depressing. The Mattavilasa of Mahendravikrama (7th Century A. D.) is a slight farcical sketch depicting the drunken and passionate revelry of a Saiva mendicant, calling himself a Kapalin on account of the human skull carried by him in lieu of his alms-bowl which is said to be stolen by a hypocritical Buddhist monk. A degenerate Pasupata comes to settle the case of theft, and finally the missing bowl is obtained from a madman who had retrieved it from a dog. Thus the wreckless wrangling in the monastic order is broadly satirised. The Prahasanas like Lataka-melaka, Dhurtasamagama, etc. have much to do with rogues and knaves; the Jaina and Buddhist monks are held in ridicule; but with their symbolic characters, whatever little wit and satire they possess is often defaced by open vulgarity and erotic descriptions. Stray satirical verses in Sanskrit and Prakrit may be collected from anthologies and from illustrations on the rhetorical device called vyaja-stuti; but they cannot, being isolated verses, exhibit any sustained style as such. Thus this survey leaves us cold that early Indian literature has not achieved much in the field of satire. Haribhadra is a genius by birth and a satirist by temperament. He has bequeathed to posterity a valuable contribution to Indian literature through his Dhurtakhyana which is unique in various respects. We might try to assess its Falae, as a work of art, from the point of view of a modern critic of letters. The terminology of English criticism' cannot be literally applied to Indian works, because the terms have sometimes specized associations and import, The Dhu, apparently looks like a parody in as much as it ridicules by imitation, but if we go into details we find that it cannot be called a parody for various reasons: no work or class of works is continuously ridiculed through word-, form- or sense-rendering ; secondly, the imaginary tales narrated by rogues do not easily remind us of any one story or of any work or class of works; thirdly, the legends that are ridiculed do not come serially or at random from any one composition, but they are heaped from different sources to hold in ridicule their common motif i see the artioles on Parody by Christopher Stone and on Satire by Gilbert Cannan ia The Art and Craft of Letters Series. See also English Satires, in the Casket Library Sories, especially the Introduction.

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A CRITICAL STUDY 21 something like what is already noted in the invented tale; and lastly, there is no deliberate attempt on the part of the author to confound issues by distortion or exaggeration of facts. The Dhurtakhyana, therefore, can be better and more appropriately called a satire of incredible Puranic legends and episodes and against the credulity of those that believe them, using parodical imitation as its chief vehicle and casually taking recourse to irony, sarcasm, banter, wit and humour. It is a satire, and a perfect one, because of its unique construction, a delicious mingling of phantasy and reality, subtle sense of characterization (though in a limited quantity) and above all the startling situation of devils discussing scriptures which make it an inimitable piece of raillery and a good humoured amusement for all. Haribhadra possesses a righteous indignation which is passionate, noble and fearless. Like a true satirist, he thoroughly ridicules rather objectively, in his Sambodha-prakarana, the vices that had perhaps crept into the Jaina monastic order of his times : he detests, pities and condemns the vices and the irreligious routine of the ascetic life; while in the Dhu. he satirizes the folly of the degenerating belief of the masses in Puranic legends. Monks are morally and religiously degraded, and the public is on the verge of rational bankruptcy; and here Haribhadra comes like an expert surgeon to ply his satirical instrument, before he can put the bandage of religious and didactic teaching. Like Voltaire, Haribhadra was out to cure, and he had a panacea, Reason. Haribhadra is a champion of rational and logical attitude; he declares in one place :* I am not partial to Mahavira, nor do I bear any ill will against Kapila and others; whose words appeal to reason, his mission is to be upheld. He has given vent to this spirit more than once. The good satirist, we know, holds a place half-way between preacher and the wit. He has the purpose of the first and uses the weapons of the second. He must both hate and love. For what impels him to write is not less the hatred of error and folly than the love of right and wise vision. The satirist's appeal is always to the intellect, and rarely does he play upon the emotions. His is a perfectly rational attitude strengthened by the nicest sense of proportion. Like & rationalist, Haribhadra's approach is intellectual, apart from his being a champion of logic and reason; but his atill greater asset is the mental poise with which he meets his opponents. He is not a logician infuriated with religious fanaticism, but he is a genuine rationalist of a balanced mind; and to a certain extent we see this even in the Dhurtakhyana. As & genius Haribhadra has at his back a fund of good logic. Quite skilfully and humorously, like a creative artist, he applies it to the incredible Puranic ideas which have a sway over men's minds; the invented tales are full of logical extremos and absurdities; and when the Puranic legends are set on par with them, they cannot but be ridiculous and absurd. The minds that start doubting 1 Ed. Jaina Grantha Prakasaka Sabha, Ahmedabad 1916, especially Garvadhikars. 2 In his Lokatattva-nirnaya: qarat #maraforlag 1 gftiga qerrer qfar: ll' and in his Yogabindu : 'amet Aaltola yriti 747 ARE AET I Tantra yuktiyatra tatra matireti nivezam / / ' :

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DHURTAKHYANA: the veracity of invented tales are easily led to denounce the Puranic legends. With untiring assiduity he scrutinizes, sorts and shifts the Puranic legends according to their points of weakness, and pours them forth to substantiate the most ridiculous extremes and distortions with the result that not only the purpose of proving the unprovable fails but the Puranic legends themselves get ridiculed as improbable and absurd. The result is startling, though inevitable. He satirizes the legends rather by exposing them by selection and comparing them with ridiculously fantastic tales than by vehemently denouncing them. As we see below, Haribhadra exhibits a remarkable intellectual honesty ; so far as the main motifs are concerned, he does not tamper with the Puranic legends: he does not distort them to ridicule them. 22 " 'The true end of satire is the amendment of vices by correction', says Dryden; and he is perfectly right in hitting at the end and aim of all great satires so emphatically. Haribhadra has undoubtedly a religio-moral purpose, hinted rather than elaborated (V. 122, 124), in writing this Akhyana. As has been observed, the polished raillery and the good natured satire have an ethical under-current, otherwise 'the satire which only seeks to wound is as dangerous as arrows that fly in the dark'. It must be said to Haribhadra's credit that the satirical artist in him has successfully, and also rightly, predominated over the religious preacher in him. No artist can do more than set his practised and controlled talent to work on the subject chosen and constantly developed for him by the inspiration of his genius.' Our author just exercises his imagination in the way laid down for him by his characters and circumstances; and one feels that even if he had stopped his work at V. 109 (of course followed by V. 119-24). nothing fundamental would have been missed. Nowhere does he show the temptation of preaching moral lessons like a professional religious teacher. Any other mediocre author would have introduced a Kevalin at the end to give a dhamma-kaha whereby all the rogues would be turned into pious believers who would ultimately reach liberation after observing samlehand. Haribhadra has fully and rightly restrained himself from adding to his composition any such conclusion so usual and normal in Jaina tales. The Dhurtakhyana, therefore, has a literary form, nothing specially religious about it; it is an out-and-out satire, an artist's creation; and as a literary product, it is far ahead of its time. In fact, coming so early as in the 8th century A. D., Dhu. reveals such an artistry and management of the material as one oan simply marvel at. Not even the works of Ksemendra, who does possess a satirical skill and whose performance we have reviewed above, can match the Dhurtakhyana, which is Bearly three hundred years older than him, with regard to construction and subtle satirical effect. Haribhadra is throughout an artist, while Ksemendra's satire is overladen with and defaced by heavy didacticism. If one understands our author's bhava-viraha as an escape from the tedium of life, Haribhadrasuri will have the credit of hitting at an accepted standard of the greatness of satire in modern times.

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A CRITICAL STUDY The characters introduced by Haribhadra are not altogether imaginary; but, in fact, most of them are well-known figures in Indian popular tale and picaresque literature. Mulasri or Muladeva' is a famous character as a Jack of all trades given to gambling and attached to courtezan Devadatta. It appears that he had alternative names such as Karpisuta, Mulabhadra and Kalanikura. Even a treatise on theft or erotics is attributed to him by tradition. Certainly he is an old figure. Haribhadra himself quotes a Prakrit story in his commea. tary on the Dasavaikalika-sutra (p. 57 f.) in which Muladeva figures as a tricky rogue. The Avantisundarikatha (veres 7) mentions him; Bana also, in his Kadambari, refers to him with his friend Sasa; and both of them are introduced (with Devadatta) in the Padmaprabhrtaka. He figures as a typical hero in the Kalavilasa of Ksemendra. The Kathasaritsagara also gives his story, and ho is associated with the court of Vikramaditya. We get a Jaina edition of the tale of Muladeva and Devadatta quoted in Devendra's commentary on the Uttaradhyayana'. Thus Muladeva appears to have reached the status of a popular hero typifying all that is tricky and roguish. The name Kamdariya is met with in the Ardhamagadhi canon"; he is not a rogue, but a worldlycomfort-seeking character destined to go to hell. Jaina stories mention names like Ilaputra and Agadhabhuti; and according to the Abhidhana-Rajendra, Elagadha is a famous rogue from Avanti referred to in the Nisitha-curni. Sasa, as noted above, appears to have been a close associate of Muladeva. We do not know anything about Khamdavana from other sources: her name has a popular ring and baffles Sanskritic etymology. Though most of the characters are already known, there is very little of characterization in the Dhurtakhyana. It is only Khandapana, with her coarseness and sharp intellect, that is a bit individualized. She is a good combination of a woman and a rogue. She is intelligent, hypocritical, scheming and witty; her success in getting the wealth from the merchant is quite worthy of her nature and trade; without any difference of opinion she becomes the President of Rogues; and she smashes the vanity and satisfies the appetite of her colleagues by a well-earned and sumptuous feast. One wishes that Haribhadra spent more labour and greater insight in making the characters and stories more individualistic as has been done by Chaucer in his immortal Canterbury Tales. 1 On Maladeva see Dr. De's paper on the Bhana, JRAS, 1926; Avantisundarikatha, Madras 1924; Kavyamala I, p. 36, foot-note 1; Caturbhapi, Intro. p. ii; Maladeva's story from Devendra's commentary on the Uttaradhyayana is edited by Jacobi in his Ausgewahlte Erzahlugen in Maharastri, Leipzig 1886; its English translation Hindu Tales' by Meyer, London 1909; also Prakrtakathaeamgraha by Jinavijayaji, Ahmedabad. A paper 'The Character and Adventure of Maladeva' by M. Bloomfield has appeared in the Proceedings of the American Philosophical Society, vol. 52, 1913, pp. 616-650; but it has not been accessible to me. 3 Set-Uttaradhyayanant, Bombay 1937. 23 3 Nayadhammakabao, I, 19. This work is not accessible to me, and it is neccessary to see what details are given by the Orol.

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na master-Pmould of & Ors Canterbury art an air 24 DAERTAKHYANA: The literary device of picaros narrating their experience with a satirical vein is seen to a certain extent in the Dasakumaracarita and in the Bhana type of dramas, but the manner in which and the purpose for which Haribhadra has adopted it is remarkable. We know some of his successors like Amitagati etc., but we are absolutely in the dark about his predecessors in the field. The forin, however, is dramatic in which characters are made to speak; Haribhadra tells us that it was narrated as a tale (V. 123), and not enacted as a play; but with minor changes the whole piece oan be turned into a fine Prahagana of open satire. The most astonishing thing about the Dhurtakhyana is not that it is satirical, nor that it is one of the rare pieces of the kind in early Indian literature, but that it should be so thoroughly modern both in thought and spirit, and such a master-piece of construction. Most of the Roman or the English satire is cast in the mould of a dream or an allegory. This makes it stilted and artificial. It is only in Chaucer's Canterbury Tales and Boccacio's Decameron that an ingenious frame-work is used to impart an air of reality to the narration. The device of emboxing stories within a story is a common trait in most of the Indian sagas. Apart from this consideration, the frame-work of the Dhurtakhyana is certainly one of its notable features. The rogue-chiefs, each telling a fantastic story of his own and asking others to prove its truth or to accept defeat and give feast to rest of them, as they were all hungry during the rainy week and had run thither into the garden in order to manage to get food, afford the satire an amusing yet natural setting. The truth of their wonderful and wild stories is immediately proved by parallels from the Bharata, Ramayana and Puranas. The last chief who is a female recounts a number of autobiographical incidents which are likewise regarded as credible. But then, all this still keeps the main problem unsolved! How are they to get food for themselves and for their retinue ? Their female accomplice proposes that she would give them a feast only if they acknowledged her supremacy. This they would never accept. She then, continuing her narration, leads it to such a point that they have to recognize her suzerainty or give feast. Thus the woman is triumphant, and her wit and wisdom enable them all to satisfy their most immediate need of food. The impossible yarns concocted by the Rogues, the replies thereto, and above all the witty and surprising end of the story reveal its architectonic skill and the beauty of design. The Dhurtakhyana has a unity and compactness that can be distinctly felt; and except for the one or two obscene references and bluat outspokenness and crudity of Khandapana's experience, there is nothing superfluous or inartistio in the satire. Besides, its perfeotly original structure is one of its highest distinctions, and sufficient by itself to proclaim the author's genius. In speaking of the unity of the Dhurtakhyana it was the organio unity, therefore unity of form and spirit both, that was hinted at. E there is an indirect reference in favour of Jainism at the close of the work

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A CRITICAL STUDY (V. 121-22), the satire as a whole is general, directed against oredulity and superstition that deaden man's reasoning faculties and lead him away from the path of Truth. According to accepted critical standards, it is modern and not medieval, and it is more Horacian than Juvenalian. It is throughout rational and convincing. It shall be as well called good-humoured, as there is no deliberate attempt to distort or exaggerate facts or indulge in repeated rancour, The main point is that we should not be foolishly credulous and accept the mythological stories as literally true. As seen below, almost all the references to Puranis, etc. are traceable to their origins. The author is always implicit, and never vituperative in his criticism, and makes an intelligent use of dilemma, not only to prove or disprove things but also to give a witty air to everything that is ridiculed. Khindapana's cornering and outwitting her male accomplices is a brilliant example of this device. The use of such dilemmatic situations has given a logical tone (quite inevitable and essential in the work of an outstanding logician like Haribhadra) and balance to the narration. Except for a few repetitions (elephant-pursuit, mating with Sun, Wind etc.), the story has the fullest variety with its strange, mysterious, awe-inspiring and terrible phantasies set in a realistic back-ground and provided with a rollicking humorous close. Some of the descriptions, short or long, for instance that of the cemetery, are quite epical in style and make-up. The story element in the frame-work is comparatively slight, but has gained a remarkable poise because of Khandapana's flashing victories over her partners and the banker whom she dupzs by her superior intelligence and womanly wiles. The precocious genius of the author', obvious in this unique work, indeed, provides a delightful field for researches in literary developments; and it is hoped that the publication of this edition of Dhurtakhyana will inspire others to unearth still richer treasures that lie buried in the literature of ancient India, 4. Sources of the Puranic Legends Throughout the Dhu., in order to confirm the fantastic tale narrated by one Dhurta, other Dhurtas have presented a series of Epic and Puranic legends. It is necessary to study them, wherever possible, in comparison with 1 Most of the works of Haribhadra are yet to be studied critically. The following are the chief sources where some points about bis life, works and date are discussed. H. T. Sheth: Haribhadrasuri-caritram (in Sanskrit ), Benares 1917. Sri Kalyanavijayaji: Introduction (in Sanskrit) to tho od. of Dharmasangrahanih, Dayachandra L. P. Fund Series No. 42, Bombay 1918, Jinavijayaji: Haribhadrasurika Samayanirnaya (in Hindi), Jaina Sahitya Samsodhaka, Vol. I, part 1, pp. 21-68, also his The Date of Haribhadraguri (in Sanskrit)', Poona 1919; his conclusion, based on sound proofs, is that Haribhadra should be assigned to A. D. 700-770. Becharadas Jivaraj: Introduction to his Jaina Darsana (in Gujarati), Ahmodabad Samvat 1980. H. Jacobi: Introduction (in English) to tho ed. of Samaraiccakahi, B. I., Caloutta 1926; Jacobi accepts 750 A. D. or later as the time of Haribhadra's literary activity: in his account of Haribhadra's life, he has scrutinised the traditional biographies and given a connected narration.

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26 DHURTAKHYANA: the legends as preserved in present-day texts. Haribhadra is not very particular in mentioning his sources, specifying the work and its author. Usually he refers to them in general terms like Sruti, Purana etc. (I. 14, 31, 35, 53, 89; II. 27, 51; III. 20, 53, 88; IV. 15, 27; V. 11, 64); Bharata1 and Ramayana, however, are repeatedly mentioned (I. 14, 31, 35, 41, 82, 85; II. 27, 62; III. 20, 93; IV. 14, 15, 19; V. 60, 119); and there are single references to Visnupurana and Aranya-parvan (of the Bharata) and also to Vyasa, the author of Bharata (II. 27; II. 31; I. 41). Once Arthasastra is casually mentioned (V. 1) but not as a source. In the following paragraphs are presented the Legends found in the Dhu., their sources traced by us, and critical remarks on the same in some cases. I. *1*. 37-38: FOUR VARNAS IN BRAHMAN'S BODY. Rgveda X. 90. 12; Mahabharata, Aranyaka-parvan (critical ed.), 187. 18. I. *2*. 39-40: HARA'S MALE ORGAN. Vayupurana (Anandasrama ed., 1905), chap. 55. 23-28. Verse 26 mentions that they tried to measure its limits for one thousand years. - I. *3*. 41-51: BIRTH OF KICAKAS (Bharata of Vyasa). -- [?]. Haribhadra specifically mentions the Bharata of Vyasa as his source. According to Mbh., Virataparvan (critical ed.), App. I, p. 313, passage No. 19, Kekaya, a Suta king, had from his wife Malavi one hundred and six sons of whom Kicaka was the most mighty and was appointed as the commander by the Virata king. This is all that we learn about their origin; and in this context the legendary details noted by Haribhadra are not found. Kicaka does mean a hollow bamboo. I. *4*. 52: GANGA FOILED IN HARA'S JATA. Ramayana (Nirnayasagara ed. 1921), Balakanda, 43. 9.- Haribhadra says vasa-sahassam, while in the Rama. we have samvatsara-ganan bahun. I. *5*. 53-7: BIRTH OF BRAHMAN. Mbh., Aranyaka-parvan (critical ed.), App. I, pp. 1084-5, passage No. 27, especially II. 13-30. -There is some verbal agreement with the Mbh. passage; but in this context it is not mentioned that Brahman came out with Danda etc. and that the lotus was stuck, as noted by Haribhadra. According to the Vayupurana, chap. 55. 14, Brahman is equipped with Kamandalu. -- - - I. *6*. 58-84: i) TILOTTAMA RUINS BRAHMAN'S AUSTERITIES; ii) BIRTH OF DRONACARYA; iii) BIRTH OF SVEDA AND RAKTA-KUNDALIN; iv) KARNA BORN THROUGH THE EAR (Bharata). i) Mbh. Adi. (critical ed.) 201 ff. and Matsyapurana (Anandasrama ed. 1907), Adhya. 3. 31 f.; ii) Mbh. Adi. (critical ed.), 57. 89, 121. 3-5, 154. 1-5; iii) Padmapurana (Anandasrama ed. 1894), Srstikhanda, Adhya. 14; iv) [?]. i) According to Adiparvan 201 ff, Visvakarmian, at the instruction of Pitamaha (203. 10-17), created Tilottama, a veritable mine of jewels of beauty, for the destruction of Sunda and Upasunda. 1 Haribhadra uniformly mentions Bharata and never Mahabharata. 2 The legend is split up for referential convenience. A story, much similar to No. 1; is found in tho Brhat Kathakosa of Harisena ( Bombay 1943), chap. 99.

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A ORITICAL STUDY 97 She was called Tilottama, because she was made from small portion of every kind of gem. Mahideva developed four faces to look at her as she went round (203, 23-25). According to the Mateyapurana, however, Brahman created Satarup out of his body; and to look at her, he developed four faces (in four directions) with a fifth on the head. This temptation ruined his austerities. ii) Haribhadra attributes Dropa's birth to Pasupati and Uma, but according to Mbh, it is attributed to Bharadvaja and Ghrtaci, the circumstances being similar. iii) Though the names noted by Haribhadra are not given, the Padmapurana narrates a story quite similar to this in the context of the earlier births of Arjuna and Karna. Brahman produced a man from the perspiration of his forehead. According to the Padma., Visnu offered blood from his arm. iv) Karpa is considered to be the area of the Sun by whom he was generated from Kunt! (Mbh. Adi., 57. 82, 61. 89); and his birth is described at length in the Adi. 104. But I do not find any reference to his being born from the ear. The Mbh. mentions, however, that he was born with the Kavaca. Rama I. 7. 85-88: HANUMAT CROSSES THE OCEAN (Ramayana). yans, Sundarakanda, Sarga 1, versos 27, 54, Sarga 2, verse 2, etc. The Ramayana gives a graphic description how Hanumat jumps (his long arms and the root tr being more than once mentioned) across the ocean. The Sanskrit quotation put in the mouth of Hanumat I have not been able to spot in the Nirnayasagara ed. in this context. I. 8. 89-92: HARA RECEIVES GANGA ON HIS HEAD. Ramayana, Balakanda, Sargas 42, 43 (verse 3f.); Mbh. Acanyaka., 108. 9 f.; see also the remarks on I. *4*. 52 above. Mbb, simply describes how Ganga was received by Hara; and there is no reference to her vanity us in the Ramayan II. 1. 27-30: PRIMORDIAL EGG (Visnupurana). Visnupurana, Wilson's Translation (London 1864), Book I, chap. II, pp. 39-40; Mbh. Adi. (critical ed.) 1. 27 f.; Matsyapurana, 2. 32 ff.; Brahmapurana (Anandasrama ed. 1895), 1. 40 f. This is described almost in every Purana. - II.2. 31-39: THE WHOLE UNIVERSE IN A CHILD'S STOMACH (Aranyaparvan). Mbh., Aranyakaparvan, 186. The details closely agree with a few common words even. According to our text, it is the Sage that calls the Boy; but in the Mbh, the Boy calls the Sage asking him to take shelter in his stomach (verses 88-9). The Mbh. says that Markandeya was in the stomach of that Boy only for varsanam adhikam satam (verse 110); but according to Haribhadra divvan vasa-sahassam. The Boy is none other than Vispu-Krspa, as it is clear from the names like Srivatsadharin, Pitavasa, Pundarikakca etc. II. 3. 40-41: KAVA IN DETAKI'S WOME Bhagavata (Nirnayasagara ed.) 10. 7. 34-36; also the references on II. *2*. 31-39 above. When - 1 The Sanskrit Text (verse No. 102) mentions Bharata also along with Vispupurana. 2 The Sanskrit Text (verse 106) mentions Aranyapatha, a Sastra; but I feel no doubt that Haribhadra is referring to a Parvan of that name in the Mbh.

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28 DHURTAKAYANA: Yasoda was feeding Krsna, she liappened to see the whole universe in his mouth which he opened while yawning. II. *4*. 42-50; BRAHMAN AND KES'AVA. - Compare Vayupurana, Adhya. 24; see also the references on I. *5*. 53-7. - A legend somewhat corresponding to Haribhadra's version is found in the Vayu. Brahman once approached Narayana who was sleeping on the great serpent in the ocean and who had produced a dignified lotus out of his navel for his sport. They do not recognise each other, and each one claims that he is the Adikarta. First Visnu enters the stomach of Brahman and sees the whole universe there, but could not reach the end even after one thousand years; so he comes out of his mouth. Then Brahman enters Visnu's stomach and experiences the same. When Visnu closed the outlets of his body, Brahman assumed a subtle form, came out through the lotus stalk, and took his seat on the lotus. There is some jealousy between the two; but it is quieted on Brahman being admitted as the putra of Visnu ( verses 57-53) born from his navel-lotus. II. *5*. 51-61: THE MIGHTY Bow OF DRUPADA.--Compare Mbh., Adi. (critical ed.) 174ff.--The Adi. describes the bow as drdham, anayamyam (176. 9), devadattam (foot-note p. 716, No. 1809*), samhanopapannam ( 178. 15). Is it that Haribhadra's Mbh. text read 178. 13 as an adjective of karmukam in verse 15? Then alone the bow can be possessed of Nagas etc. According to the Mbh., Krsna and Bhima are present at the gathering but merely as spectators. Sisupala is humiliated, as noted by Haribhadra (Sasipalo being perhaps a misreading); but the passage concerned is found only is S (foot-note p. 725, No. 1828*) and not included in the critical text. 11. *6*. 62-74: HILL-LIKE JATAYS (Ramayana). Compare Ramayana, Aranyakanda, 50-53.-The opposition of Jatayu when Ravana carried Sita, their mutual fight, Jatayu wounded by the sword of Ravana: all these events are described in the Aranyakanda. Further that dying Jatayu gives all the details to Rama, accompanied by Laksmana (Sarga 67), and dies in their presence. They perform the last rites (Sarga 68). According to Haribhadra, Sita blesses Jatayu that he would get wings after meeting Rama's messenger; Hanumat, in his search for Sita, meets Jatayu who gives him all the details about her and who gets back his wings after meeting him; but I see no proper context for these in the present text of the Ramayana of Valmiki. Jatayu is, however, qualified in the Ramayana as parvata-ssagabhah (50.2). The Mbh., Aranyaka. (critical ed.), 262-63, which gives this episode, describes Jatayu thus : Jatayur giri-yocarah (262, 41), grdhrar nihatan parvatopamam (263. 15), III. *1*. 21-25: RENUKA REVIVED TO LIFE.Mbh., Aranyakaparvan (critical ed.) 116.-That the trees respected her chastity is not specifically mentioned in the Moh. The name of the king in the Mbh, is Citraratha and not Asvapahrta as given by Haribhadra. III. *2*. 26: CONSTITUTION OF Jar SANDHA.Mbh., Sabhaparvan Madras 1932), Adhyayas 19 (verses 54-55 ), 20 (verses 1-7). His explained thus: Jaraya sandhito yasmaj Jarasardho bhavaivayam,

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CRITICAL STUDY 29 Haribhadra; perind Upasunda. Acousmaha, by putting and her body w III. *3*. 27-37: SUNDA AND NISUNDA DESTROYED BY TILOTTAMA.-Mbh., Adi. (critical ed.), 201-4.-Upasunda of the Mbh. is called Nisunda by Haribhadra; perhaps it is & contamination with Nikumbha, the name of the father of Sunda and Upasunda. According to Mbh., Tilottama was created by Visvakarman, at the instruction of Pitamaha, by putting together all that was beautiful in the three worlds. She was like Laksmi, and her body was a veritable mine of jewels ( 203. 12-17). Haribhacira, however, says that she was created by taking bits from gods. III. *4* 38-44: HANUMAT PIECED TOGETHER.- Compare Ramayana, Kiskindba-kanda, 66. 8-28, also Uttara-, 35-36.--Hanumat's life in his childhood is given in the Ramayana according to which it is Indra that wounded him, while he jumped at the Sun, on the left chin whereby he came to be known as Hanuman (66. 24). The instruction of the mother that he should eat red fruits, her lamentation, smashing of his body by the Sun's kick, subsequent piecing together of the same, and the substitution of the chin : all these events, though referred to by Haribhadra, are not mentioned in the Ramayana in the above contexts. III. *5*. 46-52: HANUMAT BRINGS WOUND-HEALING MEDICINE. Ramayana, Yuddha-kanda, Sarga 101, also Sarga 74 (especially verse 70) and Sarga 50.-The details noted by Haribhadra are practically covered by the above contexts in the Ramayana. III. *6*. 53-86: BIRTH OF MauASENA.-Compare Mbh., Aranyakaparvan (critical ed), 213-14; Brahmapurana, Adhya., 128.7-23; Matsyapurana, chap. 158. 26.; Vayupurana, Chap. 72.--According to the Mbh., Svaba, the daughter of Daksa, satisfied the passion of Agni by assuming the formy of the six wives of Saptarsis (excepting Arundhati, whose form she couid not assurde). She received the semen in hand; and with a desire that she should not be seen, she flew taking the form of a Garudi. The semen was dropped in a golden pot six times, and therein was born Mahasena with six heads etc. He is also called Rudra's son, Rudra being identified with Agni (218. 27f.) and Svaha with Uma (220.9). According to the Brahma- and the Matsya-purana, Agni assumes the form of a parrot and approaches Sambhu and Uma. Agni drops semen in the Krttikas and Kartika was thus born. Haribhadra plainly says deva gabbh'uvaghuyam vicimtamti, but the Sanskrit and Gujarati versions indicate that gods wanted from Siva and Uma a son who would destroy Tarakasura. Something like the legend which Haribhadra has in view is found in the Vayupurana. The text of Vayupurana admits a sad confusion of various myths about Mahasena, but it clearly says that Indra did not want any issue to be born from Sankara and Uma; so he cent Agni to them. The concluding details are slightly different. Seeing that the semen had fallen out of her body, Uma forced Agni to hold it in his stomach; he later sought the help of Ganga who delivered in a Himalayan valley; and a mighty son was born. 1 The relevant lines run thus: Brutalface HTIRTTUIR GETI Bfa: fic & II tAbhyAM maithunasaktAbhyAmapatyodbhavabhIruNA / tayoH sakAzamindreNa preSito havyavAhanaH / / anayo rativighnaM ca tvamAcara hutAzana / sarvatra gata va tvaM na doSo vidyate tdaa|

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DHERTAKHYANA: III. *7*. 87-88: SUN AND Moox ECLIPSED BY Rahu's HEAD.-Mbb., Adi. (critical ed.), 17. 4-8.---The corresponding story in the Mbh, runs thus: The Sun and Moon reported to Visnu that Rabu, under the guise of a god, was just drinking nectar churned from the ocean, Visnu immediately cat his head which began eclipsing the Sun and Moon with enmity towards them. III. *8*. 89-91: Visno COVERS THE UNIVERSE BY TAREE STEPS.-Mbh, Aranyakaparvan (critical ed.), p. 1086, App. I, extract No. 27, lines 66-81. III. *9*. 92: HANUMAT CARRIES TAE DRONA MOUNTAIN WITH ALL ITS VEGETATION (Ramayana).-Ramayana, Yuddhakanda, Sarga 101. 30-46, see also Sargas 50 and 74. III. *10*. 96-7: The EARTH LIFTED BY Varana.'-Mbh., Aranyakan parvan (critical ed.), 187. 11; also Brahmapurana, chap. 213. 40-42. IV. *1*. 18: A DRUM FROM MAsa PLANT.--[?..The details are too meagre to indicate the source. IV. *2*. 19-21: A River OF ELEPHANT ICHOR (Bharata).[?].-This quotation can be traced only with the aid of the Verse Index of Mbh. IV. *3*, 22-4: BHIMA AND BAKA (Bharata, according to the Sanskrit Text).Mbh., Adi. (critical ed.), 145-152.The critical edition describes the demon's share of food at 148. 6; but more detailed descriptions of it are found in different recensions of the Mbh.: see Adi (critical ed.), p. 942, passage Nos. 91-92. Haribhadra's details are more than covered by them. IV. *4*. 25-6: KUMBHAKARNA'S MEAL.-Ramayana, Yuddhakanda, 60 (especially verses 32-38, 62-63, 91-92) IV. *5*. 27: AGASTYA DRINKS THE OCEAN.Mbh., Aranyakaparvan (critioni ed.), 101. 10; 102. 18 f. ; 103. 1-10. IV. *6*. 28-29: Ganga DRUNK BY JAHNU.Ramayani, Balakanda, 43. 84-38.-The exact period of one thousand years, noted by Haribhadra, is not mentioned in this context by the Rama. IV. *7*. 31-87: The MIGHTY GARURA. - Mbh. Adi. (critical ed.), 14-32. -- These chapters practically cover all the details noted by Haribhadra. There are, however, some points of specific difference: The Mbh. notes only two eggs (14. 12) of Vinata giving birth to Aruna and Garuda, while Dhu. mentions one more egg which was impatiently opened first and which produced a scorpion. Secondly, it is the mother, according to Mbh., that tells Garuda the whereabouts of the nectar and that asks him to eat Nisadas (24. 2); but according to Haribhadra it is Kasyapa, the father, that gives these instructions. Thirdly, the Mbh. does not connect the dropping of Vata tree with Lanka. Lastly, Visnu is quite partial to Garuda almost from the beginning in the Mbh. (129, 12 f.). IV. *g*. 88: GOVARDHANA MOUNTAIN LITTED BY KRSNA. - Brahma. purana, chap. 188. 14 f.; Bbagavata (Nirnayasagara ed.), X. 25. 19. IV. *9*. 89--80: MONKEYS Broogur MOUNTAINS FOR THE Setu. - Ramayanu, Yuddhakanda, 22 (especially verses 50-60). i The Sanskrit lost does not include this legond.

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A CRITICAL STUDY 92 IV. *10*. 91-93: HANUMAT Roots OUT TREES IN THE PARK'.-Rama. yana, Sundarakanda, 41 (especially verses 10-21). V. *1*. 11: Bhima AND HANUMAT GENERATED BY WIND, -Mbh., Adi. (oritical ed.), 57. 97, 61. 84; Ramayana, Kiskindhakanda, 66. 8-20. - According to Rama. Hanumat's mother is called Anjana and not Nila. Or is it that Haribhadra is paraphrasing anjana by nila? V. *2*. 12-18: BIRTE OF Vysa, - Mbh., Adi. (critical ed.), 57, 55-74; 99-100; also the additional passage No. 37 on p. 895. - Accord to the Mbh., Vidura is born from a maid servant (100. 23), and there is no reference to any curse on the three by Vyasa. V. *3*.23: Kunti's SON BY THE SUN. -- Mbh., Adi., 57-82; see also the references and remarks on I. *5*. 58-84, para iv. V. *4*. 25-31: VOLUPTUOUS AGNI. - [?]. - According to the Mbh., Aranyaka (critical ed.), 213, Agni was passionate for the wives of Saptarsis ; and with his mind upset with passion, he ran to the forest. It is Svaha, the daughter of Daksa, that satisfied his passion. V. *5*. 33-37: i) INDRA'S MISBEHAVIOUR WITH AHALYA, AND u) His Sox FROM Kunti. - i) Rimayana, Balakanda, 48. 15-28; Muh., Anusagana (Bombay ed.) 41, 21; also Brahmapurana Adhya. 87. ii) Mbh., Adi. (critical ed.) 57. 97. - According to Rama., Indra misbehaves with Abalya, the wife of Gautama who curses him to lose his testicles. According to the Mbh., be bas thousands of pores on his body as a result of the curse; and they were afterwarde changed to eyes. According to the Dhu., he was handed over to passionate pupils, but I do not find any such details in the above contexts. The Brahman purana, however, tells us that Indra became a cat, but was cursed by Gautama to have thousand pores ( sahasra-thagavan) on his body. When he prayed for mercy, he was blessed to be Sahasraksa. V. *6*. 59: See above 1. *2*. 39-40. - The natural inference is that there could be a pretty long tail of a mouse. V.*7*. 60--63: THE LONG TAIL OF HANUMAT (Ramayana).-Ramayana, Sundarakanda, 53 (verses 5-8), 54. V. *8*. 64-69 : i) GANDHARIVARA CHANGED INTO KURABAKA; ii) AKUSA 1 Here Haribhadra quotes a rhyming couplet (No. 92) in Prakrit which he calls Khamdao. Though I could spot the necessary context, I do not find these lines in the Paumacariya, 53. 78. The Sanskrit and Gujarati Texts have Anjana for Nila in this context, see verse No. 336 and p. 62, 1. 1. Harisona gives, in his Brhat Kathakosa, 83, a story corresponding to Haribhadrakt story. Therein Samtana, or Samtanu, has three sons, Citra, Vicitra and Citrangs, who leave behind three widows, Amba, Ambika and Balika (Ambalika) from whom Vyasa generates Dhrtarastra, Papdu and Vidura respectively. Haribhadra's phrase bhuujjaya tinni vi presumes such a story; see also story No. 96 from the same. 4 The Sanskrit text gives the name Nahusa, verse 385; but the Gujarati ono Naghusa, p. 64. Is it that kira 80 is a wrong improvement on the original pahuo, being misread as na h16 80 ?

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32 DAURTAKHYANA: BECOMES A BOA :-i) [?]; ii) Mbh., Aranyakaparvan (critical ed.), 175-178, also App. I, passages 19-20, pp. 1065f.-i) It is not clear whether Gamdharivara refers to Dhitarastra ; ii) The Mbh. text has undoubtedly grown, and the present text shows more than seven questions. As distinguished from the above legends, the sources of which we have tried to trace, there are some casual references in the Dhu. (I. 62-4; V. 114-18) to Puranic personalities and events. Some of them are mere names; so some additional information may be noted here from second-hand sources. Haribhadra expresses (once through the mouth of Indra) that Malavira alone is an exception; and that all other so-called great personalities have been victims of cupidity and womanly temptations (I. 64-4), or of passions in general (V. ii): Gautama had a wife Ahalya by name; at times, whenever taken as identical with Dirghatamas, he is painted to be quite voluptuous.--Vasistha had for his wives Urja, Arundhati etc.; and he had one hundred sons.-Parasara, unmindful of place and time, fell in passionate love with Satyavati, the fisher-girl.-Jamadagni demanded, from king Renu, Renuka in marriage; he had five sons from her; but he was a terribly suspicious husband.Kasyapa had more than a dozen wives and a pretty large number of sons.Agastya once realized that his ancestors could not be rescued without his begetting a son. Then he formed a girl out of the most graceful parts of different animals and passed her secretly into the palace of the king of Vidarbha. When the child grew up, he demanded her in marriage; somehow the king consented; and she became his wife Lopamudra. To satisfy his wife, who had grown up in palace, he begged wealth from different kings.-Indra selected Indrani to be his wife because of her voluptuous attractions; he employed celestial nymphs to excite the passions of holy men; he is called parastrikamc-curin, a habitual adulterer; he tried to seduce Ruci, wife of Devasarman; and his endevour to seduce Ahalya, wife of the sage Gautama, is wellknown.-Hara's attachment for Uma, who occupies half of his body, is often mentioned in the Purana.-Visnu has his wife in Laksmi; and in his incarnation of Krsna, he had 16000 wives, apart from his sports with Gopis to whom he is so much attached (V. 112-13).-Candra has twenty-seven wives, of whom Rohini is the most favourite. He carried off Tara, the wife of BIlaspati, from whom he had a son Budha by name.-Vayu generated Bhima from Kunti and Hanumat from Anjana. The hundred daughters of Kucanabha would not comply with his licentious desires, so he made them crooked in physique; and thus their city came to be called Kanya-kubja.-Yama-Dharma had several wives as Hemalata etc. Dharma, one of the Prajapatis, had married thirteen (or ten) of the daughters of Daksa, and had a numerous progeny. Ile generated Yudhisthira from Kunti. 1 The following works are mainly used: A Classical Dictionary of India by J. Garret (Madras 1871) and its Supplement (Madras 1873); A Ciassical Dictionary of Hindu Mythology etc. by J. Dowson (London 1879); Vodie Mythology by A. A. Macdonell (Strassburg 1897); Epic Mythology by E. W. Hopkins (Strassburg 1915); Index to the Names in tho Mahabharata ote. by S. Sorenson (London 1901-25); Bharatavarsiya caritrakosa by Chitrava (Poona 1932).

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A ORITSOAL STUDY In conclusion, Haribhadra refers to a series of legende, particularly the births of Puranic personages (V. 114-18), and summarily denounces them as unnatural and unworthy of any credence. Some of them, viz., the births of Brahman (1. 53-7), Tilottaina (1. 58-84 ; 111. 27-37), Drona (1. 60-61), Sanmukha (III, 53-86), and of Svedakundalin and Nara, i. e., Raktakundalin (I. 58-84) are already referred to in the earlier discussion; and we have noted the relevant sources above. Some particulars about the rest may be added here : There is a legend that (Pavana-?) Ganapati originated from the scurf of Parvati's body.--Urvasi was so named, because she was born from the thigh.Nalakubara and Manigriva were excessively drunk and sporting in a nude condition in the river Ganges. When Narada came there, the ladies clothed themselves; but these two remained naked. Narada was offended, and cursed them to become trees for one hundred years. They were relieved by the contact of Krsna who pulled the mortar, to which he was tied by his mother, through the interspace between the pair of Arjuna trees in which they were transformed..Vasudeva and Devaki were in the prison of Kamsa, and it is there that Devaki conceived Balarama. But in the seventh month, through the mediation of Maya, the embryo was transferred to the body of Rohini who was staying at Gokula. This Balarama of the Yadava race is considered to be an amou of Sesa.-Parvati is the daughter of Himalaya and Mena. The success of Haribhadra's performance depends primarily, if not entirely, on the intellectual integrity and fidelity with which he has presented the Puranic legends that are being satirised. We can start prima facie that he would not dare to change the popular, mythological stories, at least their fundamentals, current in his locality and at his time; for, if he were to do so, he would be cutting the very ground under his feet, and his work would fall in the estimation of his contemporaries to whose gathering it has been already narrated at Citrakuta (V. 123). On the whole, we have been fairly successful in tracing the counterparts of the legends, quoted by Haribhadra, to their sources available today. Haribhadra is not actually quoting in the very words of the original, but he is rewriting the legends in his words and mostly from memory. Naturally we will have to make ample concession for omissions and minor variations in expression and presentation. In some cases, Haribhadra's legends, when studied in comparison with those in the present-day texts, show differences in details. Their significance depends upon their position in the story and on their relative bearing for the purpose of denunciation. Some divergences are of minor significance: for instance, the names of the parents of Drona (I. *6*); whether the Sage called the Boy or vice versa (II. *2*); whether Renuka's chastity was respected by plants (III. *1*); whether Upasunda or Nisunda is the name (III. *3*); whether Vinata laid two eggs or three (IV. *7*); whether Yudhisthira asked the boa seven questions or more (V. *8*); etc. Such differences do not affect the chief idea that is selected as the target for the satirical shaft. There are other differences of major significance : for instance,

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DHURTAKHYANA : whether; according to the Puranic legend, Kicakas were accommodated in and born from bamboo-hollows (1. *3*): whether the lotus was caught stuck at Visnu's navel (I. *5*); whether Karna was born through the ear (I. *6*); whether Drupada's bow is described in the epic to contain Nagas etc. (II. *5*); whether Hanumat climbed the mountain-like Jatayu (II, *6*); etc. If these events have no basis in the Puranic stories, the very edge of Haribhadra's criticism is blunted; and his denunciation of Puranic legends becomes impertinent. Before we raise the question, whether Haribhadra has really taken liberty with some of the legends, we have to remember that our epics and Puranas have not come down to us exactly in the same form in which they were current at the time of Haribhadra. Their texts have been subjected to so many vicissitudes in different localities and for centuries together that the authenticity of every episode, nay of every passage, is to be judged on its own merits. This is fully demonstrated by the critical edition of the Mahabharata. The condition of the text-tradition of the Puranas is much worse. They present such an indiscriminate fusion of text-tradition and such a bewildering medley of myths that the wits of a text-critic would be completely stunned. Very good results have been achieved by the study of Mbh. Mss.; and the late lamented Dr. V. S. Sukthankar has brilliantly sketched the pros and cons of the text-variation in the Mbh. in his following observations": "All the difficulties in the explanation of this phenomenal variation vanish, however, as soon as we assume that the epic was handed down from bard to bard originally by word of mouth, as is clearly implied by tradition. That would explain, without any strain or violence, the existence of the mass of variants, of differences in sequence and of additions and omissions. If the text has been preserved, for any considerable period of time, only in memory and handed down by word of mouth, those are just the changes that could not possibly be avoided. It is evident that no great care would be layished on the text by these custodians of the tradition to guard it against corruption and elaboration, or against arbitrary emendation and normalization: to reproduce the received text, which was not guarded by canonical authority or religious sanction, with any degree of precision would be neither attempted by the bards nor required of them. Whenever and wherever the text was then written down--and it was probably written down independently in different epochs and under different circumstances--these transmissions by word of mouth must have contaminated the written text and innumerable variations in it. The assumption of some such complicated derangement, beyond the normal vicissitudes of transmission, is necessary to account for the abnormal discrepancies and strange vagaries of the Mahabharata manuscript tradition. In other words, we are compelled to assume that even in its early phases the Mahabharata textual tradition must have been not uniform and simple, but multiple and polygenous." In another context Dr. V. S. Sukthankar has observed thus with regard to citations; and what is true about 1 The Adiparvan, Poona 1933, Prolegomena, p. 79.

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A CRITICAL STUDY 35 thothstand wharata there haribha them nearly holds good with regard to legends and their contents?: "Then in the case of citations we must allow for failures of memory, and the quotation was never compared with the original. Moreover we must never forget that probably from time immemorial there have existed local versions of the Mahabharata. The citations made even by very old writers were from these local versions. A citation by a writer of the eighth century or even the sixth century proves nothing for the Ur-Mahabharata, that ideal but impossible desideratum; though the citation is far older than our manuscripts, it is evidence only for the text of the local Mahabharata in the eighth, respectively in the sixth century, notwithstanding that the differences between the various recensions and versions of the Mahabbarata must diminish as we go back further and further." No doubt there must have been Mss, of the epics and Puranas (III. 53) in the days of Haribhadra, but generally the narratives were heard from the mouth of rhapsodists. That they were handed down by word of mouth, as suggested by Sukthankar, is to a very great extent confirmed by the fact that, whenever Haribhadra appeals to the authority of Puranas etc., he uses almost uniformly terms like suvvai, suam, etc. (I. 35, 41; II. 27, 31, 61; III. 27, 38, 53, 63, 93; IV. 19, 27; V. 11, 33, 37, 60, 64, 112, 114; etc.). It is not unlikely, therefore, that some discrepancies in the details, whether minor or major, might go back to the traditional narration which was recited round about Citrakuta at the time of Haribhadra; and we can hardly hope to trace the same necessarily in the present-day texts. It is equally possible, in some cases where Haribhadra's statements show deviation from the sources, that he is criticising the legends which passed as such according to the tradition from which he got them. One cannot be dogmatic on one or the other explanation, because the sources, so far tapped, are comparatively limited. Further, when legends are quoted from memory, contamination, confusion and variation in details are inevitable. The very fact that most of the legends or their nearest counterparts we have been able to trace to their sources clearly indicates that Haribhadra did not want to put forth imaginary legends and then to condemn them. Though it is quite plain, it may be noted that the sources recorded by us do not indicate that all those works are necessarily older than Haribhadra, but it only means that those legends belong to a period earlier than that of Haribhadra. He mentions only three works by name, Bharata, Ramayana and Visnupurana; and all other sources are our suggestions. At times there is no agreement even among the Puranic legends. For instance, according to one version, Agni was sent by gods to Siva and Uma for a mighty son who can destroy Tarakasura; while, according to another version, though less popular, he was sent by Iudra to prevent Uma from conceiving a child. Haribhadra narrates clearly the latter version, though the Sanskrit and Gujarati versions of the Dhu. read there, wrongly of course, the popular legend. The legend given by Haribhadra has its place in the present-day Vayupurana, as noted above. It is interesting to note that, in some cases 1 Prolegomona p. 29.

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36 DHURTAKHYANA: (I. 5; II. *5*; IV. *3*), the details of the legends are more specifically traced in the additional passages recorded in the foot-notes and Appendix of the critical edition of the Mbh. That only means, the recension of the Mbh. which reached Haribhadra's ears was more inflated than our critical text which is constituted according to well-established and judiciously evolved canons of text criticism based on the available Mss. Some of the legends quoted by Haribhadra appear to have been pieced together from different sources, even with mutual contamination (I. *6*; III. 3). It is creditable to Haribhadra that the number of such cases is quite small. This is inevitable in those days when one had to depend mainly on memory, which was a storehouse of all traditional lore, and not on books, as we do today. Among the legends, the sources of which Haribhadra has clearly mentioned, some are found in the present-day texts with substantial agreement in details (I. *7*; II. *1*, *2*; III. *9* V. 7); but in three cases (I. *3*, 6; II. 6), though the sources are given as Bharata and Ramayana, we do not find any passages in the present-day texts to support Haribhadra. That Karna was born from Kunti's ear is a common story, quite popular even to this day, though not found in the Mbh.; and it is not surprising, if it was current in the days of Haribhadra too. First, karna means the ear, and popular etymology would certainly weave out such a story; secondly, there is as well a psychological motive, namely, by Karna's birth through the ear Kuntr's virginity remains intact, his generation by Surya being after all miraculous, nay supernatural. Though Mbh. makes no mention of such a legend, I think, the birth of Kieskas from ktcakas or bamboo-hollows is similarly based on popular etymology; such a legend might have been current in the days of Haribhadra; and it is quite in tune with a host of legends in the epics and Puranas with which the miraculous germination of the semen into human beings' is a regular apparatus for the generation of the great men of the past about whose birth nothing exciting was specially known to the chronicler'. Coming to the episode of Jatayu, the epics do mention the mountain-like shape of Jatayu; and thereby Haribhadra's purpose is served. But the details of the story cannot be fitted in the present mould of Valmiki's Ramayaps. Haribhadra is quoting a Sanskrit vereo in that context; and it would indicate that he has some definite source before him. My observations on the sources of Haribhadra's legends, I am quite aware, are tentative; and I hope that those scholars, who have better library facilities at their disposal and who have a closer study of the Puranas, would try to shed more light on this topic, 5. Sanskrit and Gujarati Dhurtakhyanas The Sanskrit version of the Dhartakhyana, included in this edition, I The Sanskrit and Gujarati Versions do not give this quotation.

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A CRITICAL STUDY 37 is extracted from the Tattvakaumudi' which is a Vivarana or Vrtti by Sanglia. tilaka on the Samyaktvasaptatika, attributed to Haribhadra himself. The prasasti of the Vrtti gives a good bit of information about Sanghatilaka and his predecessors in the ascetic line. It opens with the glorification of Candragaccha to which belonged the following teachers : Vardhamana, Jinesvara, Abhayadeva I (rangan naangi-mahaurtti-Stambhana-Parsvanatha jinarat-murti-prakaraikakrt the author of the commentaries on the nine Angas, ( who became a Suri in Samvat 1088 or 1031 A, D.))", Jinavallabha, Jinasekhara, Padmacandra, Vijayacandra, Abhayadeva II (from whom started the Rudrapalliya-gaccah ) Devabhadra, Pralbananda, Sricandra & Vimalacandra, Gunasekhara and lastly Sanghatilaka, the author of Tattvakaumudi, Sanghatilaka had his vidya-guru in Jinaprabha' whose erudition had pleased, Sahi Mahammada at Dhilli'. He composed the Vitti at the request of Devendra who was an anuja of Somatilaka, an eminent pupil of Sanghatilaka himself. It was composed at Sarasvatapattana (Patana?) (and finished] during Dipotsava (i. e., October-November) in the year 1422 ( frimadVikrama-vatsare dvi nayanamthodhi-ksapakrt-prame) of the Vikrama era, i, e.,-57 = 1365 A. D. This Sanskrit Dhurtakhyana is neither a Cbaya nor a literal and studious metrical rendering or paraphrase of the Prakrit original, though it is solely based on it. Sanghatilaka, there is not the least doubt, has the Prakrit text of Haribhadra before lim; he is trying to present its contents, in simple Sanskrit verses, with sufficient closeness and strictly adhering to the same 1 This is published by the Devachandra Lalabhai Jaina Pustakuddhara Fund, No. 35, Bombay 1916. This copy reached my hands rather late, so some details I have noted in the foot-notes. This Sk. Dhurtakhyana forms a part of the commentary on verse No. 12 which runs thus : ARTE HAR TUR vaihteistor af7791 for x aagate 11 821). The story is introduced with this remark: VaT HETT Tafegerat cafea de afas: FT, Tie- after etc. At the close there are 28 verses more than what is printed here; they have nothing to do with Dhu. proper. They tell us that Vaisramana, by hearing all this from Susthita, developed firm Samyaktva. Ho accepted the vows of a householder. His wife also accepted ratna-traya-dharma. Even when liis wife was troubled by a Vyantari, Vaisramana's faith in Jina was unshaken. In due course he attained liberation. The concluding portion runs thus: Fri 1 cAra caritaM zrutvA zrutiprINaka, mA raamaaynnbhaartshrutibhvairvaakyairvicaaraakssmaiH| mAlinyaM nayatAtinirmalatamaM saddarzanaM pAvana, # gaan framrafaat stafra aferty: #1 84411 [ ] Fia t *#07FMT II. This edition of the commentary does not give any chapter headings or endings. Sanghatilaka does not appear to have mentioned either Haribhadra or the name of the work, Dhurtakhyana. Jaina Granthavali, p. 191. 4 Peterson: Reports I, pp. 92-4; Reports III, Index of Authors, p. 124; also the Prasasti in the above edition p. 237. 8 Peterson : Reports IV, p. iv. 6 Peterson: Reports IV, Index of Authors, pp. 37-8. This king is apparently Mubammad Tughluq (1325-1351 A. D.) of Delhi. For a detailed biography of Jipaprabhasuri, see the Intro. by Nahta to the Vidhimarga. prapa, ed, Jinavijayaji, Bombay 1941,

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38 DHURTAKHYANA : sequence of narration; and he attempts to include most of the ideas from the original, at times in identical expressions (Pl. I. 76, Sk. 66 etc.). He is more after narrating the story with as few secondary details as possible. Whenever there are lengthy descriptions in the Prakrit text, he either summarises them or adds his own with a bit of independence. It may be that even metrical exigencies have frustrated his attempts to be more close and literal in his rendering. Sometimes he expresses the original with remarkable compactness (verses 82, 103, etc.) and in a few cases with elegance and beauty (125, etc.). He shows that he is fairly acquainted with the details of Pura nic mythology : the proper names are freely substituted by other synonyms (Svamin - Skanda, Mahasena = Sanmukha, etc.); once an additional source, Bharata (102) is rightly added; and sometimes are added supplementary details, such as, the names Dhumorna and Nahusa (verses 351, 385) and the birth of Kartikeya for the destruction of Tarakasura (204 f.). Sometimes his references to the sources are not quite to the point (169) and in one place (106) it is a bit obscure. Perhaps a verse between Nos. 86 and 87 is missing. Possibly in his zeal of summarising the story, Sanghatilaka skips over certain portions of the Prakrit text, viz., I. 30-4, V. 115 f. The contents of some verses, for instance, III. 83, V. 80, are not fully covered: the latter, it may be noted presents some difficulties of interpretation. The legend of Varaha lifting the earth (III. *10*) is missed by him, somewhere between verses 236-38. As to the quotations in the original, it appears that the author wants to present his text purely in Sanskrit: some of the Prakrit quotations (II. 50, III. 67) are nicely rendered into Sanskrit (125, 215); some of those in Sanskrit are duly reproduced; but it is difficult to say why some (II. 73, IV. 92, V, 4, 5, 103) are skipped over without any trace. More than once Sanghatilaka not only shows difference in ideas but also adds new ideas, when compared with the Prakrit original (see for instance: Nos. 210, 23d, 1596, 1610, 199d, 2046, 239d, 242d, 243d, 316ab, 409d, 416d, etc.). Some of these are apt similes, quite creditable to any poet. There are many places where one can easily take exception to Sanghatilaka's rendering of the original: lhasiya-celan (I. 60)=dusita-vasasam (52); seam (I. 74)= sesam (64); Sea-kurd ali nama' (I. 75)= Sitakundali-nama (65); namiuna Jin varisdom (II. 24)= nrpatin natva (99)"; phuttar du bhaga. juyam (II. 29 ) = trividhatam agamat (104); etc. His statement that the urogeny of Gauri and Samkara was required for destroying Taraka (203-4), On comparing with the ed. of the commentary, I find an additional verse which runs thus: 7 HET HE! 19: Tit 224734:1 P EP9 f agfa 1[***] . 2 The Gujarati text reads S'vetakundali nami. 3 In this particular case, as required by the context, Sanghatilaka appears to have had before him a reading like namiuna naravarimdam, beoa use Jina is not at all introduced in the earlier part of the story. The presiding deity is a Yaksa. The Gujarati text also says: rajane pranami.

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A CRITICAL STUDY 39 though quite in agreement with a Puranic tradition, is contradictory to the explicit statement of Haribhadra (III. 55) who follows a slightly different tradition'. On account of its being a part of the commentary, the opening and concluding portions of the Sanskrit Dhurtakhyana do not give it an appearance of & self-sufficient unit. More than once, it comes to our help in clearly under standing the Prakrit text of Haribhadra. The Dhurtakhyana in Old-Gujarati, included in this edition, mentions at its close that it was written (lisitam) or copied by Pt. Laksmikirti, the pupil of Ratnasundaragani of the Jinamanikya-sakha of the Kharatara-gaccha at Udaipura in Sarivat 1758 (-57 = 1701 A, D.), Kartika Sukla, 12, Saturday. The word lisitam should ordinarily mean 'copied'; so this proof is not enough to infer that Laksmikirti is the author of this Gujarati work. In fact, we do och know the name of its author; and all that we can say about him is this much he flourished carlier than 1701 A. D.; he had realised that the Dhurtakhyana was an effective attack against the Puranic religion and the Puranas; and he wrote the tales, from the Dhurtakhyana of Haribhadra, in the loka-bhasa, that they might be intelligible to laymen (baldvabodha-rupah kathah). The author's primary aim is to narrate the stories included by Haribhadra in his Dhu. He closely follows the Prakrit text, and mainly concentrates his attention on narrating the stories, ignoring the mosaic descriptions of Haribhadra and spicy similes of Sanghatilaka. At times his rendering is quite literal. To make the narration effective, he amplifies the original by additional remarks (p. 49, 11, 19, 22-3; p. 60, 11. 5-6; p. 64, 11. 21-23; etc.). Some verses in the Prakrit (III. 83, V. 80) are not duly covered, and some details (V. 115 f.) are disposed off summarily. Partly agreeing with Sanghatilaka, some quotations are not included (II. 73, IV. 92, V. 4, 5, 18, 103). Somehow I. 87*1 is quoted with some different readings. There is not the least doubt that the author is mainly following tho Prikrit text: his Gujarati rendering, as a rule and throughout the work, agrees more with Prakrit original than with the Sanskrit version of Sanghatilaka; two quotations (II. 50, III. 67) which are rendered into Sanskrit by Sanghatilaka, are quoted in Prakrit, as in the original, by our author (pp. 54, 57); and one legend, III. *10*, omitted by the Sk, text, is duly given by him (p. 58). Though the Prakrit text is mainly and closely followed, there is sufficient proof to indicate that he has consulted the Sanskrit text of Sanghatilaka. Many points and remarks, which are not found in the Prakrit but are present in 1 Bee III. *6* above. 2 In continuation of what my friend Dr. A. M. Ghatage has said (New Indian Antiquary, 1, 5, August 1938), I might record here that Sanghatilaka uses the form mutkalapya (334, 394), gerandive from the root mutkalap; and it stands opoe for aucchitina, 'having taken leave' (V. 9), and once for pucchiun, 'having takon pormission' (1.74) in the original Prakrit.

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40 DHTRTAKBYANA: the Sanskrit text, are seen in this Gujarati version. At I. 35 Haribhadra has Bharahe purane a; Sanghatilaka has in the corresponding passage (29) Sri-Ramayana-Bharate; and the Guja. text has Bharata Ramiyanadilcro granthe (p. 50, I. 24). This is perhaps the only reference, in the first two chapters, indicnting explicitly the influenco of the Sk. text. From the third chap. onwards we see more of this influence, and even some phrases here and there remind us of the Sk. text: Pk. dhcuvvuya-pisaena (III, 1), Sk, ahatuvadddyair vycesanaih (150), Guj. dhatuvadudika vycesanai (p. 55); Pk. no specific number, Sk. stenah panca datimitah (159), Guj. punca sui caura (p. 56 ); etc. Then in describing the origin of Skanda (p. 57 ) to destroy Tarakasura, the Gujarati version closely follows the Sk, text, so also in supplying the names of Dhumorna Nahusa, etc. Thus the writer of the Guj. Dhurtakhyana has used Sanghatilaka's work here and there. The author claims that these stories are being written in loka-bhasi which means the popular language (current, say roughly, in Northern Gujarata, sometime before 1701 A. D.) as distinguished from the literary languages like Sanskrit, Prakrit and even A pabhraisa. The author, it is clear, is well-versed in Pakrit and Sanskrit; and inevitably the large sprinkling of Sanskrit words, seen in these stories, is due more to the author's command over Sk. vocabulary than to the actual usage of the contemporary loka-bhasa. This inference is quite natural when we look at the percentage of pure Sanskrit words in any modern Indian language as used by a Sastrin, or even an educated man, and an illiterate villager. Loan words are an unsafe evidence in understanding the essential grammatic structure of any loka-bhasci, because they can be easily grafted anywhere; and it is all the more true in the case of religious books whose topics were usually described in Sanskrit terms. So the loka-bhisi, or Old-Gujarati, in which our author wrote could not have contained so many Sk. words; and we should study its nature by taking into account declensional forms, verbal formations, particles etc. An exhaustive study of the language cannot be attempted here; but I would simply note a few formations which are interesting to a student of Apabhramba and post-Apabhramsa stages especially in Rajasthana and Gujarata. Nominal forms : joyana, thama 'a place', tarasi 'thirst', payaka 'a foot-soldier', be striu, bhojaio (Pk, bhaujjaya), machini 'a fisher woman', rata phala 'red fruits'. Pronominal forms: tur, mujha, hur (also hure) etc. Particles: jima, pina 'also, but', v.l. pani (p. 50, l. 11, foot-note 13), ma, hethui, hethi, v. l., hethur. Verbal forms: upana, kahau, chai, jour, jovai, dajhato, paithum, paisur, parani, paranai, biha, bhago, muo, mokalajyo, lago, sakai, hurto, etc. 1 Compare Sanskrit verses 231, 236, 262 with the corresponding Gujarati portions. 2 It is interesting to compare these forms with those recorded in the Index of A Study of the Gujarati Language by T. N. Dave, London 1935. The prose commentary in Old Gajarati (on the Upadesamala) on which Dr. Dave's study is based is called Balavabodhs; and it may be noted that the Gujarati version of the Dbo. also boars the same name.

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A CRITICAL STUDY The above illustrations are picked up at random, and there is no pretension to an exhaustive study. Apart from the large number of Sanskrit loan words, this loka-bhasa shows many words used in Prakrits; and some of the particles are the same as those in Apabhramsa. The pronouns and verbal formations of the Apabh. stage have undergone a great deal of change which is natural and unavoidable in the evolution af spoken languages. Some changes are just a matter of shifting pronunciation: kahau>kahau, dajjhamto >dajhato, mokkalijjai>mokalajyo, sakkai>sakai, etc. Rajasthani and Gujarati are more lucky than any other modern Indian language because of their rich heritage of earlier stages of the language; and a careful study of the texts, from century to century, would certainly demonstrate the evolution of these languages through Prakrit, Apabhramsa and post-Apabh. stages of the Middle Indo-Aryan. The Sanskrit and Gujarati Dhurtakhyanas cannot be judged as original contributions like their Prakrit counterpart; they definitely indicate, however, that the performance of Haribhadra did appeal to subsequent generations; and, as they stand today, they are useful aids to understand and check the Prakrit text of Haribhadra. 41 6. Dhurtakhyana and Dharma-pariksa We come across a pretty large number works called Dharma-pariksa (Dp.). Most of them are not critically examined as yet. It is Amitagati's Dp. that has been exhaustively studied, and it can be accepted as a representative of Dp. texts for all practical purposes. Vrttavilasa, Padmasagara and others have mechanically followed Amitagati's Dp. By the discovery of Harisena's Dp. (Samvat 1044,-56A. D. 988), which was written 26 years earlier than that of Amitagati (Samvat 1070, -56A. D. 1014), it is clear now that Amitagati is not the creator of the plot of Dp. Amitagati tells us that he composed his work in two months: no doubt, he is a gifted didactic poet with a flowing Sanskrit style; but he does not mention his predecessors. Harisena, however, frankly says that the Dp. which was formerly composed by Jayarama in Gatha metre is now composed by him in Paddhadiya metre. Unfortunately Jayarama's Dp. has not come to light so far. Harisena's Dp. is in Apabhramsa; there is no conclusive evidence to establish that Amitagati solely followed Harisena; the plot of the story, adopted by both Harisena and Amitagati, is remarkably identical; what Harisena says would indicate that almost all his material was present in Jayarama's Dp.; and Amitagati's Sanskrit expression betrays Prakritisms in narrative portions. All these facts go to indicate that Jayarama's 1 See my paper 'Harisena's Dharma-pariksa in Apabhramsa' in the Silver Jubilee Number, Annals of the B. O. R. I., vol. XXIII, pp. 592-608. 2 N. Mironow: Die Dharma-pariksa des Amitagati, Leipzig 1903. 3 The Sanskrit text with Hindi translation has been published by Pannalal Bakaliwal, Bombay 1901; another edition giving the Marathi translation of Pt, Bahubali Sharma has appeared lately, Sangli 1931. One feels the necessity of a critical edition of Amitagati's text. 6

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42 DRURTAKHYANA: work was in Gatha metre, the language being Sauraseni or Mabarastrl; and for the present we might presume that the plot of Dp. owes its birth to Jayarama. Comparing the works of Harisena and Amitagati one finds that, so far as the the events of the plot and their sequence are concerned, both of them are in close agreement. This indicates that Amitagati has not taken much liberty with the structure of the plot. Harisena's text is not available in print; so I give below the analysis of the narrative structure of Amitagati's Dp. which would enable us to compare and contrast the two works, Dhu, and Dp. In Jambudvipa, on the southern range of Vijayardha, in the town named Vaijayanti, there lived a Vidyadhara king Jitasatru and his queen Vayuvega who had a son Manovega, endowed with faith in Jina's doctrines. His friend Pavanavega, prince of Priyapuri, had no such faith; and he was much worried on that account. Once returning from his visit to Jina-temples, his vimuna stopped at Ujjaini, in Malava; and in its northern park there was an omniscient monk, Jinamati, on whom he waited with reverence. Jinamati expounded to the audience the proportion of pleasure and pain in samsara with the explanation of madhu-bindu-drstanta and the consequences of religious and irreligious life. Manovega asked Jinamati whether his friend Pavanavega would possess samyaktva; and he got a reply that he could enlighten his friend by taking him to Pakaliputra. Pavanavega was anxious to meet his friend Manovega whom he met on the way to the joy of both, Manovega told him how he visited various Jaina holy places and came to Pataliputra, a prosperous centre of Brahmanic ritual and learning. Pavanavega expresses his impatience to visit Pataliputra, and next morning both of them reached there and got down in the park. I. Both of them, though decked with ornaments, assumed the form of faggot-grass-sellers. It was a surprising sight to one and all who began to speculate about them. They reached the Brahma-sala, bet the drum, and sat on the golden seat. At this challenge, Brahmanas rushed forth for dispute. They wondered at their splendour and race, and almost mistook them for gods. On being pointedly questioned, Manovega, requesting them not to be irritated, told them that all that they did was out of mere curiosity and that they were mere grass-selling boys whose prototypes were found in Bharata stories. One Brahmana asked : 'How can there be grass-faggotsellers decorated with jewels? If such cases are found in the Ramayana 1 Mironow follows the rule divide et impera' and presents the summaries of various stories separately. The method is admirable and quite suited for studying the stories. But the analysis of disjoined stories does not clearly bring out the effect of entire work, especially of the fantastio tales and the bearing of subsequent legends on their points. Just to bring out this aspect of Dp. clearly, I have added here a bit detailed summary. Those who want more particulars about individual storios may either consult the original Sk, text or Mironow's dissertation,

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A CRITICAL STUDY 43 and Bharata, we would like to hear them. Manovega said that he would explain everything, if there are any thoughtful (visaraka) among them i otherwise his fate would be like that of Madhukara who received 16 strokes for telling the truth about the heaps of pepper and grains in different parts of the country. The leader assured him that they were all thoughtful Brahmanas. Further Manovega told them that he feared to speak, if any of them belonged to the following ten types of men (about whom ten stories are narrated): 1) rakta, a passionate husband duped by his younger wife; 2) dvista, who wants his son to take revenge on his enemy by using his dead body; 3) mudha, a silly priest outwitted by his unchaste wife and pupil; 4) vyudgrahin, a blind block-head prince; 5) pitta-dusita, a bilious fellow mistaking sweet as sour; 6) cuta, a wreckless king who pulled out the mango tree; 7) ksira, a foolish Tomara chief who illtreated a milch cow; 8) aguru, an ignoramus who could not understand the value of aguru plantation; 9) candana, a washerman incapable of recognising sandal; and 10) balisa: Four fools, once upon a time, saluted a Jaina saint, endowed with various religious and ascetic virtues, who uttered the blessing dharma-vrddhi'. They began to quarrel as to whom it was meant for; and when they asked the monk, he told them that it was meant for him who was decided to be the most foolish by the wise people of the town after hearing their biographies. 10a) Visameksana narrated thus: One day I was sleeping with my two wives on both sides. Just for joke, I placed the lamp on my forehead. A mischevous rat pulled the burning wick, and one of my eyes was scorched. Afraid of disturbing my wives, I allowed my eye to be burnt. 106) Kuntahamsagati spoke thus: 'Rksi and Khari are my most ugly wives; their mutual jealous abuse and quarrel made me lose both my legs; and being afraid of them, I tolerated all this.' 10c) Bota (or Boda) said thus: I had been to my father-in-law. At night, I had a bet with my wife that one who speaks first should give a rich feast. A thief entered the house and collected all the treasure. He began stripping my wife of her clothes on the body. I kept quiet. She began to abuse me at the loss of wealth and at her insult. I at once told her that she lost the game by speaking first, and she should give the feast now.' 100 ) Gallasphotika told his tale thus: 'I had gone to the house of my father-in-law. Out of bashfulness and seeing some hedious sight, I did not take my meals. As time passed, I was overpowered by hunger. I was just gulping a handful of fine rice kept in a basket below the cot when my wife came there, and I could not swallow them. My mouth was full to the brim; I cauld not speak; and my cheeks grew hard. There was a great row, and different explanations were offered about my disease, A skilful physician diagnosed my trouble, calling it tanduliya ailment; he quietly bored my cheeks and took out rice particles. Thus I made myself an object of ridicule.' After hearing these tales, the Brahmanas assured Manovega that none from them belonged to any of the ten types and that he should answer their question. Manovega spoke thus: Visnu is a mighty divinity, full of glory, grace and power; then how is it that he stayed

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44 PHURTAKRATNA: as a cowherd-boy at Gokula sporting in various ways, that he became a messenger of Pandavas and a charioteer of Arjuna, that he begged at Bali's door, and that he suffered from Sita's separation? If that divine Visnu could do mean acts, what is wrong in our selling grass and faggots? The Brahmanas felt disillusioned; and they could see how god Visnu was exposed to so many blemishes and inconsistencies, and how Purapas were full of contradictions. II. Second time Manovega became a rough hunter, and his friend, a cat without ears, put in a pot. They met Brahmanas as before, and told them how the cat had the power of warding off rats at miles' distance and that it was for sale. Brahmanas realized its utility and were ready to buy it at the quoted price. On examination, however, it was found that it was devoid of ears which, Manovega explained, were eaten by ferocious rats one night. Brahmanas laughed at his daring contradiction. Manovega refused to admit. that the single flaw of not having ears spoiled all other virtues of the cat. The Brahmanas assured him that they were not Frogs in the Well'; but they questioned him straight: How can this flaw of the cat be tolerated?" Manovega then narrated the legend of passionate Agni (or of Yama and Chaya): The ascetic Mandapakausika feared that he might lose heaven for want of progeny, so he married a widow from whom he had a beautiful daughter Chaya by name. While going on piligrimage, he just thought to what god he should entrust his daughter who would not be able to stand the strain of journey. He began scrutinizing the acts and character of different gods: Isvara is extremely passionate; Hari is not satisfied with 16 thousand Gopis; Brahman was mad after Tilottama and lost his head, and once he generated Jambava from a bear; and Indra misbehaved with Ahalya. All these gods are victims of cupid. So he kept Chaya with Yama who too, as days passed, fell in love with her and always carried her in his stomach. Agni was jealous of Yama's prize. One day when Yama had taken her out on the bank of Ganges, Agni mated with her. Just at that moment Yama came there. She swallowed Agni, and Yama swallowed her. Agni was missing to the distress of all. At last Vayu managed to expose both Chaya and Agni. Agui tried to conceal himself when pursued by Yama. If Agni can still be a god with all this blemish, my cat's virtues can remain intact without ears." Brahmanas admitted that Puranas were inconsistent. Manovega further pointed out the blemishes of Samkara, Visnu, Brahman, Indra, Yama, Agni, Sun, etc. III. Third time Manovega assumed the form of a nude Jaina monk; and accompained by Pavanavega, he met Brahmanas as before. They assured him that they were not like that king of Campa who illtreated his truth-speaking minister, and requested him to narrate how he became a monk etc. Manovega spoke thus: 'My father is Munidatta, a Sravaka from Sripura; and he entrusted me to an ascetic for study. Once I was sent out with the Kamandalu to bring water, but I sat playing with it on the road. Having learnt from other pupils that the teacher was angry, I ran towards the town. On the way a mountain-like elephant

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CRITICAL STUDE 45 Puebed against me. Helpless and terrified I entered into the Kamandalu which was placed on the branch of bhinda; the elephant also rushed into it, and began tearing my clothes with its trunk, I ran out through the spout; the elephant also followed me; but with its tail stuck there, it fell on the ground. I reached a Jaina temple, and not getting ctothes I accepted this traditional form of a Jaina monk.' The Brahmanas laughed at him as a fantastic lier telling impossibilities, Wbon they assured him to abandon such scriptures as contained these details, be narrated to them the following episodes: Arjana brought the Nageloka through an arrow-hole; Agastya drank the whole coean, and his Kamandale containing the universe was put on the branch of an atasi plant; and Brahman's hair was caught at Visnu's navel when the former came out of latter's stomach after seeing there the universe which was once missing. If these legends are true, it is quite possible that the elephant could pass through the Kamandalubole, be accommodated in the Kamandalu, and have it's tail stuck in the spout. The Brahmanas were thus silenced, and they were further instructed by him on the faults of divinities and on the true nature of God. IV. Fourth time Manovega became a Tapasa, and accompanied by his friend, met the Brahmanas as before. On condition that they are yuite considerate, he narrated his tale thus: 'At the time of my mother's marriage there was a confusion created by an elephant. She rushed out with the bride groom at whose touch she fell in a swoon, but he ran away. It was discovered that she was pregnant due to his toueh. Hearing of a 12 years' famine from Tapasas, I remained in the womb all the while and came out when the famine was over. As soon as I was born, I took a pot and demanded foou! It was considered ominous; and I had to leave home and become a Tapasa like Wais. My mother was rigblty married again, as though she tried to follow Drauli's example. I came here on my religious tour.' The Brahmanas said that he vas a first-rate lier talking impossible things; they admitted that they were open to correction, if such details were found in their Scriptures. Manovega, to confirm his experience, narrated the following legends : Bhagiratha was conceived at women's mutual contact; Gandhari became pregnant by embracing a jackfruit tree; Abhimanyu understood cakra-vyuha while he was in the womb; Mandodari conceived at the contact of her father's semen, had her footus restrained in the womb for seven thousand years, and delivered Indrajit after being married to Ravana; Vyasa accepted renunciation immediately after his birth, and his mother remained still a virgin ; Kunti remained a kanya even after begetting a son from the Sun; and Candramati was still a kanya after Nagaketu's birth and was married to Uddalaka. If these Puranic legends are true, there is nothing incredible in my mother conceiving me at her beloved's touch, in my hearing about the famine from the womb, in my remaining there for twelve years, in my becoming an ascetic soon after my birth, and in my mother becoming again a kanya after delivering me.' Manovega further enlightened Pavanavega and all others there by narrating the true tales about Karna, Vaga Pandavas, etc. He illustrated to them how people mechanically and thoughtlessly follow others, as in that story of the Copper Pot.

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46 DHURTAKHYANA: V. Fifth time Manovega, along with Pavanavega, became a Buddhist monk (rakta-pata); and on being assured by Brahmanas that they were thoughtful, he narrated his wonderful experience: 'We are devotees of Buddhist monks. Once with sticks in our hands we were appointed by them to guard their clothes spread in sun-shine. Two terrific jackals came there, and we mounted the Stupa with fear; they, however, lifted it up, and flew away speedily. When they dropped us with a view to devour us, there arrived Bhillas with dogs; and the jackals ran away. As we were in an unknown country, we easily became Buddhist monks.' Brahmanas wondered at his astonishing lies; but he reminded them of the following legend: According to the Ramayana, each monkey lifted five mountains. If this is true, two jackals can easily lift a Stupa. VI. At last Manovega and Pavanavega became Svetambara monks (sveta-bhiksu) and met the Brahmanas who asked them why they became monks and who was their guru. Manovega continued in reply: Once our father Arunasrika sent us into the forest to graze the sheep, because the shepherd had to attend his father who was down with fever. I requested my companion to tend the sheep, so that in the meanwhile I might eat some kapittha fruits. The desire for fruits was very strong, but the tree was too tall. I went near, cut my head, and threw it on the tree requesting it to eat the fruits; as it ate fruits on the tree, my stomach was getting full below; and when I was satisfied, the head came down and joined the body as before. I looked for my brother, but found him asleep and all the sheep lost. We feared that our father would beat us; so we went away to a distant territory and accepted this comfortable garb.' Manovega further confirmed to the Brahmanas the truth of his experience by narrating the following legends: Cutting his nine heads Ravana offered them to Sambhu, and these were again joined to his body; Dadhimukha's head could get itself joined with another's trunk; parts of Angada's body were joined by Hanumat; Jarasamdha's body was constituted of different parts; Skanda's person was made up of six portions; and when the priests are fed, the ancestors are satisfied. If all this, narrated in Brahmanic scriptures, is true, there is nothing improbable in my own head joining the body, and in my stomach being filled when my mouth eats kapittha fruits.' The Brahmanas were discomfited, and had no replies to give. Manovega explained to Pavanavega various other flaws in the religion and scriptures of Brahmanas; he expounded to him how the heretical creeds originated; and he also propounded Jaina principles and practices at length. Pavanavega came to possess samyaktva and duly accepted the vows of a Sravaka. Both Manovega and Pavanavega led a happy life of religious householders. The Purana-like beginning, the religio-didactic discourse in the form of madhu-bindu-drstanta, the abnormal proportion of folk-tales introduced by way of illustration, the different names of characters, immediate purpose of converting Pavanavega to Jainism by his pious friend Manovega, constant repetition of moral teachings and religious prescriptions, casual and side attacks on gods

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A CRITICAL STUDY and holy men, and above all the general frame-work of the story make Dp, much different from Dhu. But if we go a bit deeper and study Dp, more analytically and scrutinisingly, the inner kernel of Dp., though heavily superimposed with good many accessories and details, remarkably corresponds with that of Dhu. The mode of presentation is somewhat different, but the purpose is the same. Dhu. is a satiric attack on the Puranic legends referring to deities and holy personalities; and Dp., as indicated even by its name, is out to scrutinize the credentials of other religions by criticising their deities and mythology, of course for a specified and immediate aim of converting Pavanavega. Haribhadra's concluding suggestion (V. 122) that the study of Dhu. leads to darsana-ruddhi has been fully developed later: Dp. actually converts Pavanavega who comes to possess samyaktva; and the narration of the Dhu,story, according to Sanghatilaka, makes Vaisramana-sresthin a pious believer (84-8raddha) with firm faith in Jina. What is implicit, artistic and detached in the Dhurtakhyana becomes outspoken, religio-didactic and propagandistic in the Dbarmaparikna. In Dhu. the five Dhurtas narrate tales of fantastic personal experience, and some points from them are confirmed to be reliable by other Dhurtas after quoting parallel legends from Paranas. In Dp. Manovega himself, being a Vidyadbara, assumes six different forms; and then he either presents an inconsistent situation or narrates an improbable tale of personal experience. When his inconsistencies are exposed by the learned gathering of Brahmanas, he silences them by quoting similar episodes from their Puranas. Besides this fundamental similitude between Dhu. and Dp., there are closely corresponding motifs in the fantastic autobiographical tales; and some of the confirmatory legends are common. Muladeva and the Jaina monk tell nearly the same episode of Kamandalu and Elephant'. Immediatly after their birth, Khandapanas son walked away taking leave of his mother; and Tapasa demanded food and accepted renunciation. Sasa lifted up the elephant-hide-bag full of oil; and the two jackals, in the Buddhist monk's tale, lift up a Stupa, Elasadha's head, cut off by the thieves, eats badara fruits on the tree; and the Svetambara monk throws his head on the tree in order to eat kapittha fruits. Legends like Brahman's lotus or hair sticking at Visnu's navel, Vyasa's birth, Monkeys lifting mountains, and the physical make up of Jarasandha and Sanmukha are quoted in both Dhu. and Dp. to confirm almost common motifs. Though not in identical contexts there are many details and legends common to both Dhu. and Dp.: loose morals of gods (Dhu. I. 60 f.; Dp. XI. 21 f.); Brahman and Tilottama (Dhu. I. 58-84; Dp. XI. 29 f.); 1 Though the Dhu. does not mention any such event, the Prabhavakacarita of Prabba. candra (A. D. 1277) records that Haribhadra diverted that layman Karpasika from partiality for the Bharata and Itibasas by telling him the five stories of rogues (kitava-kathanaka-pancaka), and won him over to the Jaina faith (verses IX. 207-12). Prabhacandra quotes V. 120 thus: i 40 Tatot a at aglat caja The au gorill; and to explain this verse Haribhadra is said to have composed the Dhurtakhyana. 3 Two adjectives of the elephant are almost common to Dhu, and Dp.

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48 DEURTETANA: Indra and Abalya (Dhu. V. 89-36; Dp. XI. 61 f.); Agni's mating with Yitha's beloved (Dhu. V. 26-30; Dp. XI. especially 82 f.); Agastya drinking the ocean (Dhu. IV. 27; Dp. XIII. 18 f.); Kunti's sons from Sarya etc. (Dhu. I. 82 f. V, 11, 28, 37; Dp. XIV. 91, XV. 11); the male organ of Siva (Dhu. I. 88V, 59; Dp. XIII. 80); etc. The hungry Dhurtas narrating their experiences and confirming the same with Paranic legends during a rainy week, with their dinner depending on the decision of their discussion, present & back-ground (in Dhu.) which is much dissimilar to that depicted in Dp. in which a learned gathering of Brahmanas of Pakaliputra is visited on six successive days by Manovega ( with his friend Pavanavega) who, modestly avoiding debate with Brahmanas even after bo beats the drum and sits on the golden seat, narrates fantastic tales and himself confirms the same with Puranic legends, when challenged about the veracity of his statements. In Dhu. it is the autobiographical experience that forms the back-bone of the story, the points of which are confirmed by Puranic legends; and so it is in the last four stories, i, e., III-VI, of the Dharma-pariksa. Tho first two contexts in Dp., i. e., I and II, present not an inconsistent and improbable story, but an incredible situation presented to the eye: those who have ornaments on their body cannot be grass-faggot-sellers, and a cat which is claimed to scare away rats at miles' distance by its presence cannot have its ears eaten by rats. The first situation is justified by the example of Visnu; and the second by saying that a single flaw of the cat can be tolerated or ignored as in the case of god Agni. The Dhu. has no Brahmanic audience explicitly before it, while in Dp. Manovega is actually made to encounter the Brahmanas in their own citadel and to outwit them by openly pointing out and criticising inconsistent elements in the Puranic mythology. The episode of the Buddhist monk in Dp. (No. V) is not quite successful, because it affords opportunity to satirize only one legend from the Ramayana. Jayarama's Dp. is not available to us, and Harisena's Dp. is still in mss. If we are to be guided by Amitagati's work, we find that he attacks vehemently the Puranic deities, even when they do not figure in the legends satirised; here and there he adds certain Puranic stories, as they ought to be and as they are accepted by Jaina tradition; now and then he offers pithy maxins of worldly wisdom and sections of didactic teaching; he loses no opportunity to denounce worldly pleasures and prescribe religious discourses; and he not only criticises Puranic religion but adds also substantial details on Jaina mythology, dogmatics and ethics. These are some of the specialities of the Dp, text as it came to be shaped by Amitagati. 1 The legend in Dhu. is shorter; and we do not. there the name of Chaya and her association with Manilapakausika, given in Dp. 2 The town of Ujjaini with its northern park is introduced in both Dhu. (I. 2-3) and Dp. (I, 38, 64), though in different contexts,

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A CRITICAL STUDY 49 The points of similarity, already noted above, do indicate that Jayarama must have used the Dhurtakhyana of Haribhadra or some subsequent recension of it. The agreement is of a fundamental character and cannot be brushed aside as accidental or incidental. The illustrative sub-stories and the tales of four fools, included in Dp., show that some other popular stories have been intelligently used. Haribhadra by liis satirical genius of a very high order merely smashed the structure of Puranic mythology, but the authors of Dp, have gone a few steps ahead that they tried to erect instead a superstructure of Jaina religious preaching. The artistic mould of Dhu. is missed; but a form of effective propaganda has been evolved, and it became much popular in subsequent centuries as indicated by the number of Dp. texts in different languages'. It is quite natural that Amitagati, or even his predecessors, utilised different and additional Puranic legends for the same purpose. The Dp. texts are stamped with a definite religious Lias: perhaps that prohibited them from admitting a character like Klandapana, and on that account some of the fantastic tales are toned down, in some cases being followed by a few Puranic legends. It is interesting to note that sometimes Amitagati, though he is a full-fledged propagandist, writes in a half-serious, mocking mood, even when he introduces a Digambara monk (Dp. XII, 88 f.). That is a befitting tone for 8 satirical writer. The Dhurtakhyana of Haribhadra, we have seen, is a unique satire; and its successors like the Dharma-pariksa are a fine specimen of Indian. literature which is both interesting and instructive. The caustic prick, which such works might have given to the zealous followers of Puranic religion, has not much effect on the dispassionate student of Indian literature: for him every novel aspect adds to the wealth of the great literary heritage of the past. 7. Prakrit Dialect and Style of Dhurtakhyana The Prakrit text of Dhurtakhyana, presented in this edition, is based only on two mss.; and still one is faced with difficulties, here and there, in construing and interpreting it satisfactorily. It is, therefore, far from being final; and any attempt to prepare an exhaustive grammar of it is out of question at present. It is intended here just to note a few salient features of the Prakrit dialect of Dhu., as it stands in this edition. It has been a recognised convention with the editors of Ardhamagadhi and Jaina Mabarastri texts to use almost uniformly initial n and non-initial n; 1 My friend Prof. D. L. Narasimhachar, Mysore, draws my attention to one more Dp. (in addition to those which I have mentioned in my paper on Harisena's Dp.) in Kannada by Candrasagara Varni. He has seen a M3., and has kindly sent some extracts to mo. We learn the following details from them: The Dp. of. Vittavilaga, the pupil of Ravala Yatisvara, could be understood only by the learned; so the Sravakas of Belugula requested Carukirti Papditacarya to get propered a rendering of it in modern Kannada (Kannada-vyakhyanadalli mad isi kodiemba dagi). This thon, at the instance of Carukirti, came to be composed by Candranagara who offers salutation to both Carukirti and [Laksmisena) Svami of Kolhapur. It is written in simple Kannada, mostly in prose. Following Vittavilasa's Dp. it has ten chapters. It is said to be written in Saka 1770 (+46 1848 A.D.), Ananda Samvatsara.

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50 DHERTAKHYANA: Hemacandra's rule (VIII. i. 228-9) is optional; and Dhu. shows definite partiality forn, whether initial or non-initial. Perhaps following the ms. B, which conforms to the more strict rule of Hemacandra', 4j-sruti is not introduced after vowels other than a or ; but tlie text shows many exceptional cases, for instance: kurdiyn I. 58, dazija III. 48, duggarija V. 92, dhariija I. 91; mujaha IV. 71, sujan II. 51, lconuijii III, 4t. It appears that us. A represents a more correct situation, namely, to put y-sruti along with the adurtta vowel, a or a, irrespective of the preceding vowel; and Jacobi also uniformly follows this rule in his ed. of the Samaraiccakaha of Haribhadra. In the absence of separate Nagari orthographical synbols for c and , as distinguished from those for e and o, we find that i and u are easily substituted for O and o before conjuncts etc., where e and o are to be pronounced sbort. The point at issue is complicated by the fact that beside the writing of i and 2 for and , we must also admit, in some cases, the change of these short vowels to i and 2. General principles like the weakening at the end, the original Sanskrit formation, and analogy would establish some system and decide a few points. Sometimes this gives quite a deceptive appearance to certain nominal and verbal forms etc.: ckatah eva >elketto ccia >iklatti (also ekatto = ckkatto?) ccia IV. 73; ettio >ittio I, 38; kundite I. 40 but givai I. 84 and Nilai V. 11; Kumtie and Kumtii V. 11, 37; gotra > goita >gutta V. 39; cakrah iva >cakko vva >cakku vva IV. 5; ksetra >chetta>chitta IV. 1-2; yogya > jogga >jugga V. 78; donni > dunni I. 81; pecchan>picchan II. 5, 9; potta>putta II. 44; birinti>binti I. 11; samuho tti >samuhu tti III. 57; sresthi >stthi>sitthi V. 94; so cciya > su ccirco I. 94, V. 113; hojja>huja I, 59, 88; etc. Now and then we come across certain forms which show a change in the quantity of vowel: -1 of the Present 3rd p. sing. III. 97, IV. 6 (cf. Samara. p. 249, 1. 18; p. 276, 1. 6); uahi IV. 30; jia IV, 35; maria IV, 47; laya I. 3; -mmi of the Loc. sing. I. 4, 23, 35, 51, II. 34, IV. 37, 88, V. 14, 78, 112 (usually at the close of a pada; cf. Samara. p. 80, 1. 12; p. 652, last line); vi V. 17, 32 (also Pauma., 17. 12); suc III, 54; etc. All these are due to exegencies of metre rather than being special grammatical forms. In this category may be included arani for aranya: II. 31, tesi for tesim I. 6, kadu for kaddu IV. 35, etc.; also banilho88c1 for banchassa in Samara., p. 652, 1. 17. There are many forms which show that a short vowel followed by an anusvara and the corresponding long vowel get mutually exchanged; in some cases the text itself preserves both the forms: chammaisa (metrically 1 It has to be noted that Hemacandra limself knew cases which went against his rule; and it is probable that he is following some grammatical tradition, whilo the practice even in his own days was to write it in all places irreapective of the preceding vowel. 2 Pisohel: Grammatio der Prakrit-Sprachen (Strassburg 1900), $84. References to Pischel have the sections of this grammar in view. 3 For the change of y to y comparo a(6)bhyantara >abbhintara, ma(d)dhyama > majjhima.

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Maram, required) I. 52, chammasan I. 32, chammas, 28-9; mukkhatha IV. 37 (also Paumnenriya karapathi 5. 87): vahattha IV. 27, 80; sakka III. 20; Sia for Stan II. 67 (Patima. jatta kaaya 5, 86); nivou for niveuih V. 51 (see Pauma. uppatti 1, 38, nivvui 5. 121, rai 6. 240); vilavamani V. 100; sitthi for sitthim V. 99; bhaniu III. 20. The Abl. sing. of mas, and neu. in am, noted by Alsdorf' in the Vasudevahindi, appears to me a similar case in which amh and - are being interchanged. The Paumacariya gives plenty of such cases: I have noted only a few. This exchange has not resulted from any defective writing. Both of them have the same metrical value and phonetic quantity, and they mutually alternate as a purely phonetic variant. This interchange is not sporadic just affecting a few forms of our text. It appears to have been a regular phenomenon which has left its influence on the different aspects of Middle Indo-Aryan. Once we accept it, many strange words anl forms (besides those noted above) get easily explained, for instance, samrakkhana & surakkhana, simh & sila, mamsa & masa; in Pali vagisa & varigisa, sunatana & munamtana; etc. Probably this has arisen out of uncertain pronunciation of a short vowel followed by an aruseara. Intervocalicy is not only retained sometime: jage IV. 43; nage IV. 46; sagara III. 75, also sayara IV. 27, but also is softened to y: egagina IV. 31; kamalayara V. 53; etc. Intervocalie d is retained in some cases: udara III. 85; dahi IV. 89; tilloda IV. 21, also tillo IV. 7. Instances like ten'ayagarena V. 67, divas'evasine IV. 9, Bharah'avayur-kale I. 82 illustrate Jacobi's rule of dropping of the final a of the first word when followed by a even when in turn followed by a short syllable. As typical Samdhis we might note asti + esa atthesa IV. 14, plusnata>uunhaya> unhaya V. 8. Some of the proper names show some phonetic changes: Agastya Aga tthi I. 63, IV. 27, the Sanskrit verse regularly reads Agastin 265; AhalyaAhilla V. 33, Markandeya Makkamda II. 31, Parasura I. 63, V. 13, (note the v. l.), Ramana II. 62, 68, 71 and rarely Ravana III. 93, Vasistha= Visittha I. 63. Some words change their bases: kumandalu I. 32-3, beside kamamdalu I. 21-3; Bambhana V. 116 (also Pauma. 5. 122); manasa I. 50; Khamdavanal for Khanidavana IV. 14. A few words stand without the 1 See his paper The Vasudevahindi, a specimen of Archale Jaina-Maharastri', Bulletin of the School of O. Studies, vol. VIII, parts 2 & 3. 2 Consult also Pischel's Grammatik. SSSS 75, 114, 181 and 339. Dr. A. M. Ghatage has discussed this in his paper 'Linguistic Nature of Prakrit Languages' read at the 11th All-India Oriental Conference, Hyderabad. He regards it as a case of extension of the original alternance arising from cases where it is due to normal causes. 3 Sanatkumaracaritam (Munchen 1921), Intro. p. 6. 4 Jacobi: Bhavisattakaha (Munchen 1918) Intro. p. 60*, line 1.

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52 DAURTAKHYANA: termination of the subject or object: yammaganmu IV. 85, gaya-kacchava IV. 61, *sarbhama IV. 81, hiahia IV, 85 (for similar cases see Pauman. 1. 6, 36 etc.). - The form Agatthinar is Inst. sing.; such forms are already noted by Pischel ($ 379) in Ardhamagadbi; and plenty of them are found in the Paumacariya 12. 113, 13. 10, 15, 20, 16. 32 etc. A form like Agatthinx would be quite regular in Apabhramsa, Urvasiya! V. 115 is Gen. sing. (for such forms cf. Tiloyapannatti 1. 241, 2. 208, etc., also 4. 42, the termination for Gen, and Loc. being the same). Loc. sing. kucchimmi II. 41, also kucchie II. 38. - Inst, sing, of asmad is me III, 3, V. 21, 32; perhaps me is represented by mi at V. 32, second line. Looking at the use of mi at II. 2 and IV. 2, 4, one finds that it is serving the purpose of both aham (through Inst. sing. me, with p. p. p. as the predicate) and asmi (through the forms amhi, mhi, ammi, ami). Hemacandra is quite aware of such forms; and Pischel has square-bracketed them in the absence of authentic usage. Lately Alsdorf has noted such cases from the Vasudevahindi; and it will be seen that the forms of asmaul have affected analogically those of vusmad. -- At IV. 24 tan stands for tvam. Instr, sing, is te I. 87, also tume. Of the verbal forms we may note a few. Present 1st p. sing.: paribhanami IV, 3, V. 51, also paribhamami III. 1; 3rd p. sing. : tuppai I. 55, 59, perhaps from the passive base (also Pauma. 9. 55). Imp. 2nd p. sing de V. 78; in the light of the available material, its stages of evolution can be shown thus: dehi dehi>de-dehi, naturally then de can stand for dehi. Our text gives a form chehi II, 36 (v. l. che chi, perhaps a scribal improvement on ceni); and the Paumacariya gives some such forms: hana huna 69, 112, chehi 44. 53, c-ehi 8. 174, tha-thchi 45. 10. The form sunijasu I. 53 (cf. Pauma. 38. 46 khameijasu ) started perhaps with the passive augment but here in the active sense*. - The lengthening of i in bhanihamo V. 3 has parallels in the Paumacariya : vaccihamo V. 190, bhavikami 118. 63, etc. - ahesi IV: 33 is to be traced back to Aorist *abhavisit (Pischel 516 and Hema. VIII iii. 164), - peccham II, 5, 9, is apparently used in the sense of the Present 1st p. sing. - At III. 15 chinna is used as the base. um or turn is the well-known termination of the Infinitive; but many forms in this text are used with the Gerundive sense : oyarium IV. 2, kaum IV. 50, gamtum I. 66, III. 40, 43, chinnium III. 15, namium II, 9, snattheum III. 9, 28, 56 (cf. Pauma. 1. 10, 2. 60, 5. 33, etc.), The Gerundives with ittu and -unu are available in this text, see I. 71, V. 43, 48, 87, 102. The form pindevi III. 18 is Gerundive, quite usual in Apabhraisa; and parallels ara found in the Pauma, 11. 99, 41. 63, 43. 48. - There is one usage of the Infinitive paribhu 1 Such forms are found also in the Vasudevahindi, as noted by Alsdorf in his paper referred to above, 2 See his paper referred to above. 3 A. M. Ghatage: Repetition in Prakrit Syntax, New Indian Antiquary, vol. IL 1. p. 55. 4 See also Hemacandra's Grammar VIII. iii. 177-8.

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A CRITICAL STUDY ttum-je I. 45 which deserves special attention. je is used as a proclitic here. Such forms are found in the Patimacariya also ghetturh-je 1. 14, hamtumn-je 53. 54, nauh-je 118. 62. According to Hemacandra (VIII. ii. 217) this je is merely an expletive for pada-purane." At III. 58 and V. 111 jattena and loena are used in the sense of Loc., so also santhiehimh & rattehi either stand for Loc., or even Gen. Similar instances are found in the Acaranga as well. It is interesting to note that Apabh. has a common termination -him in the Instr. and Loc. pl. Loc. for Inst.: valaggate I. 24, 53 (cf. Paum. 8. 42, 94); Loc. for Abl.: paes II. 45, bahasu I. 37, urusu I. 37 (but uruhim II. 46'). nama namena I. 7, IV. 7, is just a repetition". Parallels for it are found in the Mahabharata (Virata 2. 1), Ramayana and Paumacariya 2. 8, 21. In the Pauma. (41. 46) and Vasudeva-hindi (p. 12) nama is suffixed to the proper name, Aggikeu-namo, Jambu- namo; and these are later on again followed by namena. One feels from giri vva II. 34, limda vva V. 120 that perhaps vva is being used for vat. The dialect used by Haribhadra has much common with that of Patmacariya; and some of the traits have definite stamp of antiquity in the evolution of Prakrits. In view of its inheritance of certain Ardhamagadhi characteristics and its close affinity with the idiom of Palmacariya, we may call it Jaina Mabarastri, following the terminology of Jacobi and Pischel. 53 ---- The style of Dhirtakhyana, on the whole, is simple and fluent, and quite suited to the conversational tone in which the rogues are carrying on their learned wrangling. Haribhadra follows here the epic model, and is addressing an audience of mediocre education and not a learned gathering. No artificial attempt is made to embellish the language with poetic ornaments. The author's mastery over canonical language has unconsciously introduced expressions like sannihia-padihero, sannddha-baddha-kavayd etc. (II. 6, 10) which remind us of Ardhamagadhi phrases. In descriptions, however, the normal style has not been maintained: long compounds are easily introduced in describing the rainy season (I. 8 f.), Ganges (I. 25 f.), Tilottama (I. 62 f., II. 29 f.), etc. The description of the cemetary (V. 82f.), though quite dignified as a piece of composition, is not only out of place and proportion, but also conspicuously pedantic in its construction in this small work. The first four fantastic tales are remarkably racy in their style, and the handling of expression is quite in keeping with the presentation of events. 1 Some illustrations are already noted from the Paphavagaranaim; and Dr. Sen has observed thus: "The infinitive with je, which occurs twice (ginhium-je p. 122a, ginheum-je p. 113a), occurs in the canon not earlier than in some late gatha-prakirnaka." A critionl Introduction to the Paphavagaranaimh, Wurzburg 1936, p. 13. See also Das Mahanisihasutta by W. Schubring, Berlin 1918, p. 92. 2 Jacobi: Some Ancient Jaina Works, Modern Review, pp. 574-77, December 1914; also his Bhavisattakaha, p. 60 of the Intro. Ghatage: Instrumental and Locative in Ardha-Magadhi, Indian Historical Quarterly, vol. XIII, NO. 1, 1931. 3 See the paper 'Repetition in Prakrit Syntax', p. 50, noted above.

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54 DHERTAKHYANA: My most sincere thanks I offer to Acharya Jinavijayaji, the learned Editor of the Dhurtakhyana in Prakrit, Sanskrit and Gujarati, who kindly requested me to associate myself with his edition by contributing a critical Essay. I had realized the importance of this work a couple of years back, and I gladly welcomed this opportunity of studying the Dhurtakhyana which is a remarkable satire in Indian literature. My thanks are also due to Dr. R. N. Dandekar, Poona; Dr. S. K. De, Dacca; Dr. A. M. Ghatage, Kolhapur; and Mr. K. D. Pednekar, M.A., Kolhapur, who helped me with some books, references and suggestions, Rajaram College, Kolhapur: 1 25-10-19.43. A. N. UPADHYE *

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INDEX OF A CRITICAL STUDY'. This Index includes informative references to important names of authors and works, as well as to a few topics, occurring in The Dhurtakhyana: A Critical Study'. It is just a supplement to the Index of names, added at the end of this volume, which registers all the proper nouns mentioned in the Dhurtakhyana of Haribhadra and referred to in the Critical Study. The references here are to the pages of the Study. Abhayadeva, 37. Agni, voluptuous character of 31. Ahalya, Indra's behaviour with 31. Akhyana, 16. Amitagati, 41. Aahabhati, 23. Avantisundarikatha, 23. Balarama, transference of the embryo of 33. Bana, 23. Bhapa, satire in 19 f. Bharataka-dvarilik, 18. Bhima, Baka killed by 30; birth of 31. Boccacio, 24. Brahman, varnas from 26; birth of 26, 28, 33. Candragaccha, 37. Canterbury Tales, 23, 24. Catarbhaut 10. Chaucer, 23, 24. Damodaragupta, 18. Dandin, a satirist 17. Darpadalana, 18. Dasakumaracarita, satire in 17. Dasavaikalikasutra, 14, 23. Decameron, 24. Devabhadra, 37. Devadatta, 23. Devendra, 23, 37. Dharmapariksa, 1, various texts of 41; summary of the contents of 42f.; Dha. compared and contrasted with 46 f. Dhirtakhyana (Prakrit) acquaintance with, Mss. and the Pk. text of 1 f.; contents of 2 f.; purpose, technique and form of 12 f.; a parody or a satire 20 f.: a literary piece 22; characters in 23; a masterpiece of construction 24; sources of the legends in 33 f.; legendy divergences found in 33f.; Sanghatilaka's Se: version of 36 f.; Gujarati rendering of 39f.; Dharmapark compared and contrasted with 461.; Prakrit dialect of 491.; style of 53. Dhartakhyana (Sanskrit) 36f.; the author ete, of 37; compared with Pk. Dhu. 37; text of 38. Dhurtakhyana (Gujarati), age of the Ms. of 35; compared with Pk. and Sk. texts 39: on the language of 40. Dhartasamigama, 20. Drona, birth of 26, 33. Drupada, bow of 28. Epics, nature of 12 f.; Haribhadra's attack against 13; textual vicissitudes of 34 f. Ganapati, origin of 33. Ganga, foiled in Hara's hair 26, 27. Garuda, the mighty one 30. Govardhana, Krena lifts 30. Gunasekhara, 37. Hanumat, ocean crossed by 27; his body pieced together 29; medicine brought by 29; trees rooted out by 31; birth and tail of 31. Hara, male organ of 26. Harisena, 41. Haribhadra, epics attacked by 13; a logician and a witty critic 13; inventive skill of 14; his fascination for humorous and satirical tales 14; a story-teller 15; corrupt asceticism and blind belief in the society attacked by 21; a logician and a rationalist 21; bibliography on the works etc. of 25 foot-note; intellectual integrity of 35. Hasyacadamani, 19. Ilaputra, 23. Indra, Ahalya seduced by 31; 32. Jahlana, 19, Jahnu, Ganga gulped by 30. Jarasandha, constitution of 28. Jatayu, shape of 28. Jayarama, 41. Jinaprabha, 37. Jinatekhara, 37. Jinavallabha, 37. Jinesvara, 37.

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56 Kadambarl, 23. Kalavilasa, 18, 23. Kandariya, 23. Karan, birth of 26. Kathasaritsagara, 23. Kesava, Dovaki's womb containing 27; 28. Khamdavana, character of 23. Kicakas, the birth of 26. Ksemendra, satirical works of 18 f.; 22, 23. Kumbhakarna, meal of 30. Kunti, sons from 31. Kuttinimata, 18. Latakamelaka, 20. Mahasena, birth of and two stories about 29. Mahendravikrama, 20. Mattavilasa, 20. Mrechakatikam, 17. Mukundananda, 19. DIURTAKHYANA: Nalakubara, release of 33. Nilakantha Dikaita, 19. Nisthacurpi, 23, Padataditaka, 19. Padmacandra, 37. Padmaprabhrtaka, 19, 23. Padmasigara, 41. Parvati, birth of 33. Prabhinanda, 37. Prahasana, satire in 20 f. Rahu, sun and moon eclipsed by 30. Raktaknndalin, birth of 26. Renuka, revival of 28. Rudrapalliya-gaecha, 37. Sahi Mahammada, 37. Samayamatrka, 18. Samyaktva-saptatiki, 37. Sanghatilaka, 37. Sanmukha, birth of 33. Sarasvatapattana, 37. Sarvajna, Mbh. criticised by 13. Sata, 19, 23. Spigaratilaka, 19. Svedakuplalin, birth of 26, Tattvakaumudi, 37. Muladeva, 19; various names of and references Tilottama, Brahman tempted by 26; Sunda to 23. etc. destroyed by 29; birth of 33. Urvasi, birth of 33. Satire, in Indian literature 16 f.; works containing elements of 17 f.; in Bhana and Prahasana 19 f. Somatilaka, 37. Sricandra, 37. Varaha, earth lifted by 30. Vardhamana, 37. Vatsaraja, 19. Vijayacandra, 37. Vikramaditya, 23. Vimalacandra, 37. Visnu, Bali outwitted by 30. Voltaire, 23. Vrttavilasa, 41. Yama-dharma, 32,

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zrImadharibhadrasUriracitaM dhU to khyA nm| % 3D- - [prAstAvikam ] namiUNa jiNavariMde tiasesaravaMdie dhuakilese / viusajaNayohaNatthaM dhuttakkhANaM pavakkhAmi // laliasamiddhajaNavayA atthi purI surapuri' visesNtii| ujjuajaNAhivAsA ujjeNI NAma NAmeNaM // tIse uttarapAse NANAvihakusumagummalayagahaNaM / mahuarigaNovagIaM ujANaM NaMdaNasaricchaM // tatthujANagihammI nnaannaavihruuvkmmnnijjuttaa| dhuttANa sayANegA samAgayA kahavi hiNddtaa|| mAyANiaDipahANA akajaNicujuA NiraNukaMpA / thIbAlavuDDhavIsatyaghAiNo vaMcaNikaparA // dhUvaMjaNajogehi a osoaNi-thaMbhaNIhiM vijAhiM / sara-vannabheyakasalA tesi paha paMcime kmso|| mUlasiri kaMDarIo elausADho saMso a khaMDavoM / ikikassa ya tesiM dhuttANaM paMca-paMcasayA // dhuttINaM paMcasayA khaMDavaNAe a Navari privaaro| savvANa vi tANa pahU mUlasirI lovikkhaao| vaha a tANa kAlo jalayasamucchannasUra-sasimaggo / iMdadhaNuvijugajiajalayaramuhalo vrisyaalo|| sattAhaduddiNammi a samaMtao bhariavappakUvasare / kayacikkhillacilipphiladussaMcArAsu racchAsu // eArisammi kAle te dhuttA siiavddlaabhihyaa| bhukravattA viMti tahiM-ko amhaM dija bhattaM' ti // aha bhaNai mUladevo-'jaM jeNa suraM ca samaNubhUaM vA / so taM kaheu savvaM miliANeANa dhuttANaM // jo taM na pattiijjA asaccavayaNaM ti teNa savvesiM / dhuttANa samuiANaM dAyavvaM bhattapANaM ti // 1 B surpurvriN| 2 B log| 8 B degmuhro| 4 B va / 5 A nn| 6 A dhuttANaM /

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haribhadrasUrikRtaM dhUrtAkhyAnam / jo puNa purANa-bhAraha-rAmAyaNa-sui-samuttha'vayaNehiM / taM vayaNa samatthittA mahAyaNaM pattiAvija // so dhuttANa ahivaI mahAmaI atthi ssthnnimmaao| mA deu kiMci kassa vi-'a bhaNie mUladeveNa / te savve vibhaNiyA-'ia hou susohaNaM tae bhnni| kiMtu tumaM paDhamaM cia kahehi jaM te samaNubhUaM // [1. atha mUladevakathitaM kathAnakam / ] aha bhaNai mUladevoM-jaM aNubhUaM mae taruNabhAve / taM NisuNeha avahiA kahijamANaM sujuttiie|| taruNattaNammi ahayaM icchiasuhasaMpayaM ahilsNto| dhArAdharaNahAe sAmigihaM patthio suiraM // chattakamaMDaluhattho paMthaM vAhemi gahiapacchayaNo / mattaM pavvayamittaM picchAmi a gayavaraM iMtaM // mehamiva gulaguliMtaM pabhiNNakaraDAmuhaM mahAmattaM / vaTTaNa vaNagaiMdaM bhaeNa vevaMtagatto hN|| attANo a asaraNo kattha nilukAmi haMti ciNtNto| to sahasA ya agao kamaMDalu bhrnnbhybhiio|| aha so vi mattahatthI Usaviakaro srosrttccho| majhANumaggalaggo kamaMDalu agao sigdhaM // to haM bhayasaMbhaMto samaMtao vihu ploaNto| hatthiM kamaMDalummI vAmoheUNa chammAsaM // gIvAi Niggao haM hatthI vi mamANumaggao nninto| laggo vAlaggaMte kuMDiagIvAi chiddammi // ahamavi a Navari purao gaMgaM picchAmi raMgirataraMge / pheNaNiaradRhAsaM vnngydNtkkhytddggN|| ummIsahassapauraM jhasa-mayara-ggAha-kummapariyariyaM / juvaihiaya vvagAhaM uahi vva sudUraparapAraM // pahamannaM alahaMto to haM isuveavAhiNiM sigcha / bAhAhiM samuttipaNo gopayamiva bhArahiM viulN|| to sAmigihaM gaMtuM chuha-taNhAparisahehiM sahamANo / chammAsA sIseNaM dharemi dhArA dhrhaae|| 1B degsamattha / 2 A pabhaNiyA te ! 3 A mUladeo /

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1. mUlagoktaM kathAnam / dhAreUNa ya ghAraM payao ahivaMdiUNa mahaseNaM / saMpatto ujeNiM tubbhehi samaM ca milio hN|| to jai sacaM evaM to me heUhiM pattiAveha / aha maNNaha' aliaM taM dhuttANaM deha to bhttN'| aha bhaNai kaMDarIo-'ko bhaNihI tumamasacaSayaNaM ti| bhAraha-purANa-rAmAyaNANi puriso viANaMto' // paribhaNai mUladevo-'so hatthI kuMDiAI' kaha maao| kaha bhamio chammAsaM kamaMDale tammi vnnhtthii|| 'suhamacchiddeNa kamaMDalAoM kaha Niggao ahaM so a| NiggaMto vaNahatthI vAlaggaMte kahaM lggo|| kaha gaMgA uttiNNA bAhAhiM mae sudUraparapArA / kaha chammAsaM dhariA bhukkhiatisieNudayadhArA?' // dhUrtAkhyAne mUladevenoktaM kathAnakamekam // [atha kaNDarIkoktaM mUladevakathAnakottaram / / aha bhaNai kaMDarIo-jaM summai bhArahe purANe a| taM jaha savvaM sacaM to sacaM tujjha vi vayaNaM / / hasthI kamaMDalummI ahaM pi mAo kahaM tija bhaNasi / ittha diAipasiddhaM kyaNaM suNa paJcaNimittaM // baMbhANassa muhAo vippA, vattiyajaNo a bAhAmu / UrUsu NiggayA kira vaisA, suhA ya paaesu|| baMbhANassa sarIre jai mAo ittio jnnsmuuho| to kaha kamaMDalummI Na mAsi taM vnngysmggo|| aNNaM ca baMbha-viNhU urlDa ca aho abevi' dhaataa| aMtaM jassa Na pattA vAsasahasseNa divveNa // liMgaM mahappamANaM kaha mAyaM tassumAsarIrammi / evaM jai kuMDiAeN hatthI mAo tti ko doso|| aNNaM ca imaM suvvai risiNA vAseNa bhaarhe'bhihi| jaha veNupavvamajhe kIamabhAiasayaM jAyaM // kIo vaMso bhaNNai tahiM jAyA kIaga tti bhaNNaMti / kaha tesiM uppattI virADarAyaggamahisIe / 420 1B mNnnnnh| 2 B kuNddiiaai| 3 B suhumi| 4 B supuurtrpaaraa| 5BpurANami / 6A dI vynnN| 7 B ahe ya dovi| 8B bhaNiyaM /

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haribhadrasUrikRtaM dhUrtAkhyAnam / tIe vi Natthi putto to sA risiAsamammi risimikaM / ArAhilaM payattA teNa vi so sAhio cruo|| bhaNiA teNa' ya risiNA eaMcaruaM tumaM kuDaMgammi / muMjAhi pahihamaNA hohI te tattha puttasayaM // sA taM paribhuttuM je vaMsakuDaMgammi to gayA sagihaM / kassaha kAlassa tahiM gaggaliNAmo risivaru tti // vaMsIjAlapaviTTho carai tavaM Navari tattha paumasare / accharasA pahAyaMtI risiNA diTThA vigayavasthA / khuhiyassa mukkabiMdu paDiaMNAlI kIago pddhmo| NavaNAyasahassabalo saMjAo pddhmbiNdummi|| jaha jaha NijjhAi muNI accharasaM pavararUvalAvaNNaM / taha taha khirai abIaM jAyaM tahiM kIagANa sayaM // vaMsINAlIauM risI Nikkhiviu NiyayamAlayaM ptto| su ciya vaMsakuDaMgo rAyA rakkhAvae NicaM // saMjAyasavvagattA gahiA devIi tuhamaNasAe / taM tIe puttasayaM bhaNNai NAlIsamuppannaM // jaha vaMsasamuppannaM bhAyasayaM kIagANa mAi tahiM / to kaha kamaMDalummI Na mAsi taM vnngysmggo|| vAsasahassaM gaMgA jaDAsu vAmohiA jai hareNaM / chammAsaM kuMDiAe vimohioM vaNagao sacaM // *4*52 laggo vAlaggaMte hatthI ayaM ca Niggao kaha nnu| jaM bhaNasi taM suNijasu purANasuiAgayaM vayaNaM // viNhU jagassa kattA so kira egaNNavammi logammi / AgAsabhUmimArUatasathAvarajalaNa rahiyammi // NaDhaNarAsuratirie taaraassisuurvirhiaaloe| tappai tavaM aNaMto jalasayaNagao aciMtappA // tassa kira paMkayattho baMbho NAhIi pumgmbhaao| daMDakamaMDaluhattho viNiggao paMkayaM laggaM / evaM' kamaMDalugIvAi Niggao jai tumaM gayasamaM pi| hatthI vAlaggaMte laggo to ittha kimajuttaM // jaM pi a bhaNasi guNAgara kuMDiyagIvAi Niggao kimahaM / bhArahapasiddhamittha vi vayaNaM suNa paccayaNimittaM // 58 divvaM vAsasahassaM baMbhANo tappaI tavaM rnne| to khuhiA tiasagaNA bhaNaMti kaha hujja se viraghaM // 1Bya tenn| 2A vimoho| 3A jnn| 4Baaynnggo| 5Beva /

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1. mUladevoktaM kathAnakam / to bhaNai suravariMdo thIlolo pasuvaI vivAhammi / aggIkammaNiutto daTTaNa umaM lhasiyacelaM // khuhio bIanisaggaM kareha vihuNai NiyaMsaNaM tAhe / paDiaMbIaM kalase doNAyario smuppnno|| erisiaitthiAhiM eso khubhijja' ruuvkliaahiN| ko itthIhiM na khuhio muttUNa jiNaM mahAvIraM // goama-visiTTha-pArAsuro a jmyggi-kaasvo-'gtthii| ahayaM ca surAhivaI haro harI tihuaNavarihA // aNNe vi evamAI tavasattaNihI jayammi vikkhaayaa| cammahabANAbhihayA itthIhiM karAviA ANaM // tA gaMtUNaM sigdhaM tiluttamA uttamA suravahaNaM / khoheu tavavisiTuM iTTeNa piAmahaM vihiNA // to sA saMgayavesA tiasAhivavayaNagahiasaMdesA / gaMtuM vibhussa purao divvaM NaDaM payAsei // jahaNuvvahaNabhamirayA ucchAliahAramaMtharucchohA / ghaNamasiNaMsiathaNaharasukaM puapelava dugullA // laliapaNayaMgalaTThI sakaDakkhunbheabhualayAjualA / rehaha paNaccamANA pavaNeriyacaMpayalaya vva // dadNa NaJcamANaM baMbhA egidio vva sNvutto| NijjhAi aNimisaccho sesiMdiamukkavAvAro / / NAUNa tassa bhAvaM to sA sNgymnnohrsuvesaa| vivihAharaNavihUsA dakkhiNapAse ThiyA vihuNoM // to taM apicchamANo baMbhANo maNasi mnnsijaabhiho| taM dahaNa sataNho karei bIaM tao vayaNaM // itto'vareNa taiyaM cautthaM kuNai uttareNaM so| uDe uppaiAe paMcamavayaNaM uvarihuttaM // to tassa pamattassa ya tiluttamAgayamaNassa ruddeNaM / taM vayaNaM paMcamayaM NaheNa ukTi sahasA // to baMbhA' parikuvio dAhiNahatthappaesiNIe u| uvva i NilADe asarisarosuTiaM seaN|| tatthuppanno see balavaMto seakuMDalI nAma / baMbheNANatteNaM ukkhitto saMkaro teNaM // ___1 B khubhij| 2A puaaplv| 3A capaya / 4 B bNbho| 5 B vibhuusaa| 6 B vihiNo / 7 B bNbho| 8 A nnilaao|

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5 10 15 20 26 haribhadrasUrikRtaM dhUrtakhyAnam / to so bhayasaMbhaMto NAsaMtI bayariAsame patto / tattha harI yimattho bhikkhaM dehi tti saMlatto // tA teNa takkhaNaM cia mukkasirA appaNo NilADammi / baMbhANasirakavAle ruddeNa samuddiaM' hiTThe // vAsasahasseNa vi taM Na bharijai tIi ruhiradhArAe / taM ruhira maMgulIe pasuvaiNA DohiaM NavAreM // baMbhANasirakavAle kesa varuhiraMgulIi ruhassa / to rattakuMDaliNaro tinhaM saMjogao jAo // so ruNANatto pajujjhio seakuMDalIi samaM / jujjhatANaM 'tANaM vAsasahassaM aikaMtaM // to gihiUNa dunni savvehi vi suravarehiM miliehiM / sakassa garo sUrassa samapio bIo // bhaNiA bhArahakAle bhArahajujjhassa kAraNaTThAe / bhArahavayArakAle uvaNijaha maNualoyammi // to kAle saMpatte sUro kuMtIha rUvaummatto / kayasaMjoo tIe kucchIi jaNei taM ganbhaM // saNNaddhabaddhakavao kuMtIkaNNeNa Niggao kaNNo / to kiM tumaM Na NIsarisi kuMDIgIvAi mUlasirI // gaMgA aNorapArA kahamuttiSNa tti bhaNasi me jaM tu / ittha vi pacayajaNaNaM suNehi rAmAyaNe vittaM // sIApauttiheuM pavaNasuo rAhaveNa ANatto / laMkApuriM aigao bAhAhiM mahoahiM tariuM // diTThAe sIAe piapaDivattiM suNittu tuTThAe / bhaNio kaha te uahI tiNNo haNuaMta so bhaNai // bhavati cAtra zloka: 11 R mirikavAlaM / 2 A samuDimaM / 3 Btaa| 4 A tuma nara NIsarati / 6 B tinA / tava prasAdAttava ca prasAdAd bhartuzca te devi tava prasAdAt / sAdhUna te (?) yena pituH prasAdAt tINNoM mayA goSpadavat samudraH // 1 // jaha teNa samuttiSNo tirieNa mahoahI duruttAro / to kiM tae Naruttama Na hujja gaMgA' samuttiNA // jaM bhaNasi kaha Nu dhArA chammAsA dhAriyA sireNa mae / itha vi me suNa heuM diAisuiAgayaM vayaNaM // logahi aTThAe kira gaMgA anbhatthiyA suravarehiM / avayarasu maNualoaM saggAo bhaNai sA tAhe // * * * A | 8 8 8 8 76 77 78 79 81 82 83 * 6 * 84 85 86 87 *7*88 89 5. B. gaMgAM /

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*892 2. kaNDarIko kyAnakam / ko maM dhari sako nivaDati bhaNai pasubaI ahayaM / dhAremi tao paDiyA dhariyA sIseNa pasuvaiNA // divvaM vAsasahassaM jai dhariyA jaNhavI umaavinnaa| to kaha na dharesi tumaM chammAsaM sireNudayadhArA // uttamapuriso si tumaM viNNANAgamaguNehiM sNpunnnno| Niggayajaso mahappA vikkhAo jiivloammi|| [ evaM ] kaNDarIkenoktaM mUladevaM prati pratyuttarakathAnakASTakam / // iti dhUrtAkhyAne prathamAkhyAnakam // [2. atha kaNDarIkakathitaM kathAnakam / ] aisaio mUlasirI kaMDari bhaNai-'su(bha)Nasu ittAhe / jaM diheM jaM ca suaM aNuhUyaM jaM ca te ihii|| aha bhaNai kaMDarIo-'aviNayapuNNo mi Asi bAlatte / ammApiiduIto roseNa gharAu nnikkhNto|| parihiMDato a ahaM patto desaMtasaMThiaM gAmaM / go-mahisa-ajA-elaya-khara-karahasamAulaM muiyaM // ArAmujANavaNehiM sohiyaM kusumaphalasamiddhehiM / ayalApurisAricchaM bahugharasayasaMkulaM rammaM // tassa bahumajhadese picchaM vaDapAyavaM maNabhirAmaM / mehaNiubabhasauNasahassANa aavaasN|| tassa ya hiTTe jakkho kamaladalakkho guNehiM parikiNNo / saNNihiapADihero dei varaM so varatthINaM // jakkhassa tassa jattA vadRi bahujaNasamAulA muiyA / tatthei jaNo muio dhuuvbliipupphhtthgo|| pahAyapasAhiyajimioM svvaalNkaarbhuusiysriiro| NANAvihavatthadharo cNdnnprivnnnnnnvilitto|| to haM sakouhallo uvAgao taM mahAyaNasamUhaM / jakkhassa kame NamiuM ramamANe ghoDahe picchaM // saNNabaddhakavayA gahiAuhapaharaNA ya aibhulaa| kalayalaravaM karitA paDiyA corA'Navari tattha // to so sabAlavuDDo saithio jaNavao sapasuvaggo / aha ghoDaehiM sahio vAluMkaM aigao savvo // 1B sNpnnnno| 2 B deglogaMmi / 3A kthaankaassttkmidm| 4 B mUlasiriM kNddriio| 5A timio| 6A rviN| 7A coraannuvri| 8 BghoDAehiM /

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haribhadrasUrikRtaM dhUrtAkhyAnam / tattha vi te ghoDahae ramaMtapicchAjaNe a muiamaNe / corA vi paDiNiattA NaTTho gAmo tti jaMpaMtA // Navari tahiM pasuvaggo caramANo Agao suviisttho| ikAi pasUi tao oiliaM cibbhaDaM sahasA // sA ayagareNa ghatthA so vi a DhiMkIiNavari oilio| sA tattheva NilINA tuMge vaDapAyave viule // tassa ahe khaMdhAro Navari Thio rAiNo a mttgo| TiMkIpAe jamio vaDapArohu tti kAUNa // AuMciammi pAe kaDvijaha gayavaro gulguliNto| to ravai miNThavaggo keNAvi gao smukkhitto|| soUNa tANa saI saMpattA saddavehiNo johaa| isucAvagahiahatthA kalayalarAvaM karemANA // chiNNA' ya tIi paMkhA se sIsaM hathiehiM dkkhehiN| sA vilavaMtI paDiA pazcayasihara vva mahivaDhe / phAlAviA ya raNNA' puDhe diTTho a ayagaroM viulo / sagaDassa Idaro viva khoDI viva mahiale paDiA // aha bhaNai paravariMdo phAlijau esa ayagaro viulo / eyassa vi mA majjhe mANusatiriaM ca hujAhi // aha phAliammi uare diTThA sA chAliA mahAkAyA / tIe vi uaramajjhe ramaNijjaM cinbhaDaM diDheM // hI hI aho mahallaM ti cinbhaDaM jAva jaMpae raayaa| to ghoDayA vi ramiGa Navari ThiyA ujjavaMsakarA // NiggaMtuM ca pavatto vAlukAo tao jnnsmuuho| jaha salabhANa ya seNA repphabilAo viNikagvamai / / NamiUNa jiNavariMdaM to so sacauppao' jaNo smvo| NiyaNiyaThANAI gao ahaM pi patto imaM yariM // eaM me aNubhUaM paJcazvamiheva mANuse loe| jo me Na pattiAyai dhuttANaM deu so bhuttiM // // kaNDarIkenoktaM kathAnakamidam // [atha elASADhoktaM kaNDarIkakathAnakottaram / ] aha bhaNai elasADho- 'pattijAmo " kiMci sNdeho| paDibhaNai kaMDarIo- 'gAmo kaha cibhaDe mAo? // 1A ttiNkiirie| 2 B chinnnnaai| 3 BhAthIpahiM / 4A rNnaa| 5 B aigro| 6A cheliA / 7 A so cuppo| 8 A na /

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31 // 2. kaNDarIkakathitaM kathAnakam / paDibhaNai elasADho puraann-bhaarh-suiididvttho| kiM tuha viNhupurANaM kaNNasuipahaM na pattaM te // puTiva Asi jagamiNaM paMcamahAbhUavajiaM gahiraM / egaNNavaM jaleNaM mahappamANaM tahiM aMDaM // vIIparaMpareNaM gholaMtaM acchiu~ sucirakAlaM / phujhaM dubhAgajAyaM addhaM bhUmIi saMvuttaM // tattha surAsuraNAyaramaNuacauppayamayaM jayaM savvaM / jai mAyaM tA gAmo kaha Nu Na mAija vAluMke // aNNaM ca imaM suvvaI' araNIpacammi' dhammaputtassa / kahiaM suamaNubhUaM makaMDeNaM ca aNNajae / so kila jugaMtasamae udaeNegaNNavIkae loe / vIIparaMpareNaM gholiMto udayamajjhammi // picchaha gytsthaavrpnntttthsurnnrtirikkhjonnii| egaNNavaM jagamiNaM pNcmhaabhuuapnbhttuN|| evaM vihe jagammI picchai 'NaggohapAyavaM aha so| maMdaragiri vva tuMgaM mahAsamudaM va vitthiNNaM // khaMdhammi tassa sayaNaM acchai tahiM bAlao mnnbhiraamo| saMpuNNasarIrudao miumddvkuNciasudeso|| hattho pasArio se risiNA ehehi vaccha! bhaNio a| khaMdhe mamaM vilaggasu mA marihisi udayavAhIe // teNa ya cittuM hattho oilio so risI tao tassa / picchaha uarammi jayaM saselavaNakANaNaM savvaM // divyaM vAsasahassaM kucchIe so risI pribhmNto| aMtaM na ceva patto viNiggao risivaro ttto|| jai dArayassa uare sasurAsuramANusaM jayaM mAyaM / to cinbhaDammi gAmo kahaNu Na mAija kNddria!|| dikoare ayagaro tassa pasUI a cinbhaDaM uare / tastha vi ya jaNasamUho kahamAo bhaNasi suNasu imN|| muTThIgijhasumajhAi kesavo devaIi kucchimmi| vutto tassa ya uare saselavaNakANaNA puhaI // aha bhaNaDa kaMDarIo cinbhaDapasuayagarAimajhammi / acchato kaha Na maoM evaM me pattiAveha // 1-39 40 42 1B smb| 2A punymmi| 3 B degjonniyN| 4 B jiggoh| 5A herhi| 68 syo|

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haribhadrasUrikRtaM dhUrtAkhyAnama / bhaNai a elAsADho taddiasaM cea Niggao taM si / puiI kaha 'Na vivajaeN vasudevasuassa putthA // puDhe kisi-vANijjaM saMgAmA bahuvihA ya AraMbhA / AvAha-vivAhA 'vi a ussava-pasavA ya vahati // kaha puNa havija eaM jayaMtu uare vi jassa jaM vutthaM / baMbhANa-kesavANaM puTiva kira bhaMDaNaM Asi // kattA ahaM ti baMbhA bhaNai jao vynn-baah-uuruuhiN| pAesu aNikkhaMtaM cAuvvaNaM jagamiNaM ti // paDibhaNai taM aNaMto baMbhANaM saparihAsavayaNehiM / taM si mama ceDarUyaM Na jujjae erisaM vuttuM / abbhA-bhUmi kauTTe pavvayadADhe samuddajIhAle / pavisehi majjha uare jA piccha savibhamaM puhaI // maha ceva samuppaNNo jalasayaNe NAhiNiggae paume / baMbhANa! taM Na sohasi gurupurao ittiaM vuttuM // avi yajassa pabhAveNummilliyAi~ taM ceva kaha kygghaaii| kumuAi~ attasaMbhAviAI caMdaM uvahasaMti // aha bhaNai kaMDarIo porANasuIsu kattha ya suyaM te / DhiMkI mahappamANA jassuare ittiyaM mAyaM // paribhaNai elasADho dovaidevIsayaMvare pttaa| jaha kira dhaNuM paviTThA mahiharaNAgA ya aggI y|| dupayaNariMdassa dhaNuM sumahalaM devayApariggahiyaM / jo Aruhio viMdhai vAme acchimmi sUariyaM // jijai kalAsu kusalA kira kaNNA tassa dovaI souM / rAyANo taM dhaNuhaM AruhiuM to samADhattA // Na cayaMti AruheDaM aha sasipAlo mahAbalo taahe| saMdheUNa payatto Navari dhaNuM taM ayatteNaM // to kaNheNaM tAhe garulo NAgA gayA ya saMkhA ya / cakkaM NaMgalamusalaM bhaMdaramerU a pakkhittA / saMgheha to vi jAhe tA sasisUraggiudahiselA ya / pakkhittA savva ciya vasuhA aha dhaNuhare tammi / addhaMgulamitte.kira asaMdhie kesaveNa ThANaM so| pAeNa vi moavilaM tAhe paDio sahadhaNU NaM // *4*50 1Anne| 2 A nivaahoci| 3 B jayaM ta uyare / 4 B vuttN| 5 B bhuusimiH| 6A kre| 7 B'krghaaii| 8.B mahAbale tiihe| 9 A vANaM /

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2. kaNDarIkakathitaM kathAnakam / pattheNa ya taM gahiyaM aha aibhAreNa Na sahaI dhrnnii| bhImassa tao hatthe Aruhia taM payatteNa // kaNNavidinneNa sareNa vidhiuM ajuNeNa taM rAhaM / laddhA dovaikaNNA vIrapaDAgaM haraMteNa // jai taM 'mahalladhaNuaM NAgaggigayA ya aigayA jattha / to kaha Na hoi DhiMkI mahaI jatthittiyaM mAyaM // rAmAyaNe vi suvvai sIAharaNe jaDAugiddha tti / paMkhAuho mahappA jujjheNaM rAmaNassa tthio| teNa vi se ruTeNaM caMdAhAseNa lUDiA paMkhA / to luapaMkho paDio maMdarasiharu vva mahivaDhe / sIAe so bhaNio sIlavAINaM saINa teeNaM / daTTaNa rAmadUaM hohiMti puNo vi te paMkhA // kassa ya kAlassa tao haNuaMto rAhaveNa aanntto| sIApauttihe hiMDato Agao tahiyaM // ciMtei ya haNuaMto aho girI esa uNNao'tIva / itthAruhiUNa ahaM pulaemi samaMtao vasuhaM // saMlatto akhageNaM ko'si tumaM eriseNa veseNa / so bhaNai rAmadUo ahaM ti sIA(?) gavesAmi // bhaNio jaDAuNA so rAmavaha rAmaNeNa vilvNtii| telukaDAmareNaM laMkApurapaTTaNaM nniiaa|| mA bhamasu araNNAI sIAdevIi mggnnhaae| daharahasuassa sigdhaM gaMtUNa piaM Niveehi // ahamavi sIaTTAe jujjhaMto NisiarAhiveNevaM / asiNA duve vi paMkhe chittUNa ajaMgamo muko|| aha bhaNai vAuputto jaM si Thio rAmaNassa jujjheNa / jaM vA vi amha kahi hohi tti tuma pi piabhaagii|| soUNa dUavayaNaM to se jAyA puNaNNavA paMkhA / AyAseNuppaioM gao a saggaM NiruvasaggaM // bhavati cAtra zlokaHAkhyAsyati khagaH kharge piturdazarathasya me / ekastrIparipAlye'pi na rAmaH zaktumarhati // maMdarasiharAgAro jai Asi jaDAu khahayaro giddho| tA kaha Na hoi DhiMkI kaMDaria ! mhppmaannaao|| *6 *74 1B mallatha12 A mehii| 3A erisNmi| 4 A hohi vi umN| 5 Bnnuppeo|

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haribhadrasUrikRtaM dhUrtAkhyAnam / elAsADheNevaM kaMDario jaMpio bhaNai tAhe / elAsADha ! iyANiM kahehiM jaM te samaNubhUaM // elASADhenoktaM kaNDarIkaM prati pratyuttarakathAnakaSaTamidam / // iti dhUrtAkhyAne dvitIyamAkhyAnam // [ 3. atha elASADhakathitaM kathAnakam / ] aha bhaNai elasADho ahayaM taruNattaNe dvinnbuddhii| dhAuvAyapisAeNa bhAmio paribhamAmi jgN|| ittha bilaM ittha raso eso so pavvao jahiM dhAU / evaM lakkhagaeNaM NaDijamANo paribhamAmi // laddho a Agamo me jaha puvadisAi joaNasahasse / NavaraM gaMtUNa giriM sahassavehI raso tahiyaM // joaNavitthiNNAe silAi taM rasathilaM samucchapaNaM / ukviviUNa silaM so cittavyo knnykuNddaao|| AsApAsaNiSaddho joaNasaiehiM to kamehiM ahaM / gaMtUNa giripaese ukvivia silaM rasaM ghiuN|| pariDhakiUNa ya SilaM silAi to AgayaM imaM bhavaNaM / to jAo me vibhao'dhaNayasariccho rasapasAyA // aha paNaiNiparikiNNo thumvaMto taha ya mAgahasaehiM / varataruNisaMpauttehiM NADaehiM ca gijjto|| acchAmi vilasamANo accharasA parigao dhaNavaha vva / tAlAyara-mAhaNa-bhikkhuANa dANaM payacchAmi // to dhaNayavihavasa risaM NAUNa mamaM viNiggayajasohaM / corA sAmattheuM rattiM paDiA mama gihammi / saNNabaddhapaThehiM tehiM gahiAuhappahArehiM / kayasIhaNAyabolehiM veDhiyaM mama varabhavaNaM // para(ri)saMciyassa atthassa kAraNe maraNamAga tehiM / sabhuavalajjiamatthaM Na demi hari viciMteuM // sahasA ya uhio haM dhaNuaM cittUNa sarasahassaM ca / to bhaMDaNamADhattaM corANa mahaMtabhIsaNayaM // 1 B dhaNasayasariccho /

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3. elASADhakathita kathAnakama / sattaTThadasaduvAlasa aha] yaM' ikkeNa sarapahAreNaM / jatto valAmi tatto pesebhi jamAlayaM core // to corANa sayaM me muhuttamitteNa ghAiyaM tahiyaM / hayasesA sayarAhaM paDiA majjhovari savve / / to maM khaMDAkhaMDiM kAuM sIsaM ca chipiNauM majjha / bayarIe ThaviUNaM musiUNa gharaM gayA corA // saruhira-sakuMDalaM ciya sIsaM me bayaritaruvarArUDhaM / vIsatthamaNuzviggaM khAyai bore kasakasassa // taM sIsaM sUrudae diDheM loeNa bayariuvarimmi / SayarAiM khAyaMtaM esa sajIo tti kAUNa // 1710 majjhaM aMgovaMgA jaNeNa piMDevi meliA turi| jAo puNo vi to'haM NiruvahayasarIralAyaNNo / eyaM me aNubhUaM sayameva imammi mANuse loe| jo puNa Na pattiaha maM dhuttANaM deu so bhuttiM // // elASADhenoktaM kathAnakamidam // [atha zazoktaM elASADhakathAnakasamAdhAnam / ] bhaNai saso sabbhUaM kaha sakA bhANija() aliameaN| jaM porANamaIe bhAraha-rAmAyaNe AyaM // jamayaggI Asi risI pattI tassAsi reNuA NAmaM / tIe sIlavaIe NamaMti kusumathie rukavA / / diTTho aNAi rAyA assAvahio maNoa se khuhioN| Na NamaMti tao rukkhA tAhe jamayaggiNA raamo|| ruTeNa samANatto sIsaM chiMdAhi 'duTThasIlAe / teNa vi sIsaM chipaNaM jhaDa tti piuvayaNakAreNa // bhaNai tao jamayaggI varasu varaM putta ! jo tuhaM iho| so bhaNai majjha mAyA puNo vi jIvaMtiA hou // iya hou tti pabhaNie jAyA sA takkhaNeNa sjjiivaa| jai sanbhUaM eaM tuma pi jIvosi taM sacaM // * 1 * 25 rAyA vi jarAsaMdho smrprkkmpyaavvikkhaao| so saMdhio jarAe rAyasahassAhivo jaao|| *2*2630 aNNaM ca imaM suvvaI suMda-NisuMdA sahoarA suuraa| balavIriasaMpaNNA suraloabhayaM jaNemANA // 1 B appN| 2 B hysNsaa| 3 B tissaasi| 4 B duTTa0 / 5A piuvayaNaM kArINaM; B degvayaNakArINaM / 6 B bhnnie| 7 Bdegpyaavivkkhaao| 8 B savvai /

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haribhadrasUrikRtaM dhUAkhyAnam / sAmatthetu surehiM tilottamA tesi vaha NimittaM tu / NimmaviyA tilamittaM ivikasurassa vittaNaM // aMgovaMgasuaMgayalAvaNaguNAgarA aNovamnA / kamalAgaravatthavvA lacchi vca sayaM samuttigaNA // viNaoNAmiyagattA sarasAmalavikayakamaladalaNayaNA / NamiUNa surasamUhaM mahurullAvA samullavai / / jaM kAyavvaM taM ANaveha devehi jaMpiaM innmo| suMda-NisuMdA surasatyakaMTayA te samuddharasu // ia hou tti a bhaNilaM tiluttamA gihiuM surANattiM / pattA khaNaNa ya tahiM suMda-NisuMdA surA jattha // hAraddhahArakeUrabhUsiA jaNamaNassa bbhuuaa| vithaDapaNayathaNavaTTA do vi jaNe te palobhei / / to te mayaNavasagayA tIi kae jujjhiuM aha pavattA / NihaNaM ca gayA duNi vi parapparaM satthaghAehiM // bhavati cAtra zlokaH-- strINAM kRte bhrAtRyugasya bhedaH saMbandhibhede striya eva mUlam / aprAptakAmA bahavo narendrA nArIbhiruccheditarAjavaMzAH // accharasA jai evaM tiluttamA NimmiA suragaNehiM / to kaha tujjha vi aMgA lAijjatA na laggijjA // aNNANaMgAvayavA jai laggA saMmilissiA sNto| to sasarIrAvayavA bhaNasu tuhaM kiM na laggati // mumbai ya pavaNataNao bAlatte aMjaNa tti NAmeNaM / jaNaNiM pucchai ammo ko me chuhiyassa aahaaro|| rattAI vaNaphalAI AhAro tujjha teNa aha sUro(raM ) / gahiuM samuTTi to teNAvi talappahAreNaM // sayasikaro kao so jaNaNI se dabu taM paiNNaMgaM / bhattusayAse gaMtuM vilavaha sogAurA kaluNaM // darda niayakalattaM roaMtiM bahuvihAI kaMdati / davaNa ya haNuaMtaM puttaM paraloasaMkaMtaM // to pavaNo parikuvio pAyAle pavisiuM Thio taahe| sasurAsuraM jagamiNaM pavaNaNiroheNa AdaNNaM // gaMtuM ca tattha diTTho pasAio suravarehiM so pvnno| aMgAI tassuassa vi saMdhAeI kaoM sajIo // 1B tiluttmaa| 2A dunnnnvi| 3 BhNshaaH| 4 B suraarN| 5 B sNghaae| 6 B sjiivaa|

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3. elASADhakathitaM kathAnakam / ikkA ya tassa haNuyA Na ya diTThA suravarehiM savvehiM / haNuyAi esa aNNo haNuaMto to kaoM NAmaM // jaha saccaM pacaNasuo khaMDAkhaMDikao vi saMmilio / to kaha sakkA vuttuM tujjha aubvaM vayaNameaM // dUsarahaNa kahAe sIAdevIi haraNasaMbaMdhe / seu' saMdhAveuM laMkAdIvaM gae rAme // dasamuha- rAmabalANaM duha vi bhaDavAyayaM vahaMtANaM / saMgamammi palagge haNa haNa saddAule ghore // maMdoaridaya bhaTukaDehiM NegAI vANarasayAI / asiparasu' addhacaMdaSpahAracchiNNaMga maMgAI // sattIpaharaNiruddhe mahIali paDiammi lakkhaNakumAre ! rAme sogAbhie vilavaMte pavaNataNaeNa // gaMtuM doNagirIo uvaNIcA osahI jalatIo / nissanu tti pabhAvA jhaDi tti sattI ki nissariyA || je NisiarakudugdhAehiM samarammi abhihayA pavayA / saMchiNNabhiNNagattA te vi a savve samAsatthA // vivaiNNasarIrA vi a jai savveM vAnarA samunIA / khaMDasahasso kao elasADha ! to jIvasi tumaM pi // aNNaM ca jaNapagAsA NihiA suaputthasu bahue / kiM vA tumhehi imA Na suA mahaseNautpattI // himaselaguhagayAI do vi mahAmehuNaM NisevaMti / divvaM vAsasahassaM girisua sasibhUsaNo ceva // taM soUNa pattiM devA kira tihuaNammi AdaNNA / savvAyareNa miliuM ganbhuvaghAyaM viciMtaMti // suraM sAmattheuM tihuaNaujjoakArao jalaNo / mahuraksvaravayaNapayaMpiehiM bhaNio suragaNehiM // ikssa vi tA kIraha kajjaM abhatdhiehiM jialoe / kiM puNa mahANubhAvo jaM jaMpara surasamUha tti // jassa ya kaNa savve devA ciMtovahiM samoiNNA / tassa ya jaseNa tumaM huavaha ! iko samattho'si // pavisitu 'guhAvivare harapurao appayaM payaMsemu / to tuha kayAha vilio mehuNatatiM vibhujijjA // 1 B se| 2 A ra B parasa / 3 B savaM / 6 B jiibnoe| 7 B gaddAvivare / 15 '44 *4*** 46 47 48 47 51 * 5 * 52 5 3 28 54 55 56 57 IS 4 B jiivsio| 5 B gabyavadhAyeM ! 25 58.

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haribhadrasUrikRtaM dhUrtAkhyAnama / vesANareNa bhaNi ko dhAvai abhimuhaM' muhattaM pi| iharA' vi umAvaiNo kiM puNa eyArise bhAve // NarasirakavAlamAlAulassa khagavaragahatyassa / jassa raI peavaNe ko tassa jaNo smliai|| jo 'dAruvaNe risiAsamammi viNiaMsaNo' plaayNto| vahio uddhRaliMgo ko naM vibuho samAlavai / kiM bahuNA jaNamajjhe jo Nabaha uddhieNa liMgeNaM / balavaMto vajaharo tassa vi NissaMsayaM bhAi // jaha kaha vi sUlapANI kuppaDa himagiriguhApaviTThassa / ko jANai kiM me hohi tti mA saMkaDe chuhaha / / itthaMtare a bhaNio sappaNayaM bahualoaNeNevaM / savvasurANaM vayaNaM huavaha ! iNamo NisAmehi / / mA bhAhi umAvaiNo huavaha ! jeNeriso umaastto| gayaturayapurisadamaNo kiM ca imo Agamo " suo / / hatthI dammai saMvacchareNa mAseNa dammai turNgo| mahilA puNa kira purisaM damei ikkeNa divaseNaM / / jaM bhaNai umAdevI karei taM pasuvaI akajaM pi / kiM vA dehANugayaM umaM vahaMto Na diTTho te // muMcasu AsaMkamiNaM ruddo ruTTo vi te sriirss| Na karei kiM pi pIDaM pvicittaavrvaae| ia hou tti a jalaNo gaMtuM himavaMtagiriguhaM viulaM / picchai tiuraMtayaraM raikajasamuggayamaINaM // anbhAsatthaM daheM mahadevo uhio samArUDho / huM huM umAi bhaNio uddhayaliMgo'NalaM bhaNai // uDDa NiaMcia vayaNaM piba reaMmA karehi vikkhevaM / ruddeNa huavaho ghaDaghaDassa to pAio reaN|| uaragaeNa ya reeNa so palittaggiNA va ddjhNto| muamaraNo saMbhaMto kahakaha vi mahoahiM ptto|| dAUNamaMguliM huavaheNa uggAlio jale reo| uggAliammi ree tAhe jalaNo smaasttho|| tappabhiI cia summai jaNasuivAyAgayaM imaM vayaNaM / reapabhAvA kira sAgarammi rayaNANa uppattI // 1A abhimuho| 2 ihuraavi| 3 B daarvnne| 4 B vinniaNsmo| 5 B vibaho samAvada / 6 B pltt|

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3. elASADhakathitaM kathAnakam / lavaNajalAo aggI NIluppalasurahikamalagaMdhahuM / saramegaM gaMtuM jo reavi paM samuggilai // jaM bhaNNai kittia saha uaMti phuDaviaDapAyaDaM tAo / chaphira accharasAo taM paumasaraM samoiNNA // tA majiumAdattA tammi sare NayaNamaNabhirAmammi / mavaMtINaM joNIsa tANa bIaM aNupaviddhaM // paumasare majjittA puNaravi tA joisAlayaM pattA / paidivasaM cia tAsiM chaha vi parivahue uaraM // kAlaMtareNa keNa ya samayaM cia tA tahiM pasUAo / ikimuttamaM bAhUrusarIraruMDAI || tA tA vi vihiyamaNA daMsaMti paruSparikamikassa / picchasu accheramiNaM logammi abhUapucvaM tu // bAharU a sarIraM sIsANi a 'Niaya-NiayaThANesu / laggAI takkhaNa ciya mahaseNo chammUho jAo // ko mAra bhayArI Nicchai maNasAvi juvai saMjoaM / savvajaNammi pagAso dakkhiNadese Thio raNe // causu a disAsu jahiaM dhAvai logo bhavaMtaradisaTTA / sIseNa ya chammAsaM dhareha dhAraMbaraTThAe // jai mahaseNaMgAI 'pahuganbhaviNiggayAiM laggAI / to tujjha na laggijA tAI kimegudaravatthAI // chiNNA NAsA kaNNo a laggae loaviiameaM pi / * paramANupamANao pagaMpioM [ya] laggasi tumaM pi // to bhai elasADho puriso kaha chiNNaeNa sIseNaM / bhukkhatto' yayarAI khAeuM sakkae kaha Nu // bhai saso rAhU kira sIsacchiNNo jayammi suivAo / taha via gayaNe hiMDaha AbhaMsaha caMda-sUre a // aha bhaNai elasADho kaha gammada taM vigiTTamadvANaM / kaha vAvi joaNasayaM kamehiM akkamaha bhUmIe // paDibhAi saso jaNNe balissa viNha diAiveseNa / tiNi kame jAittA harai saselaM vasumaI' so // jai savvA vivasumaI tiriNa Na puNNA kame mahumahassa / ko doso jai tujhaM ikkakamo joaNasayaM tu // 1 B bAhUradeg / 2 B niyaNiaya / 64 maI / bhU. 3 17 76 75 78 79 80 // 81 82 83 84 *6* 85 20 86 87 * 7* 88 81 90 * 8* 91 3 A piha / 4B paramANadeg / 5 B bhukto boyarAI 15 25 10

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10 15 18 20 25 haribhadrasUrikRtaM dhUrtAkhyAnam / puNaravi elAsADhI bhaNai silA sA mae aimahallA / kaha ukkhitA garuA eaM me pattiAvehi // bhai saso kiMNa suaM tumae rAmAyaNe kahijjataM / rAmassa rAvaNassa ya saMgAme vadyamANammi // lakkhaNakumAra paDaNe haNuNa doNapavvao tuMgo / osa himaggateNaM samUlaDAlo samukkhitto || mahaisilAsaMghAo selo jai vANareNa ukkhitto / joaNapamANamittaM ukkhivasi silaM na saMdeho // loe vi parai suI bahuMtI mehaNI mahumaheNaM / kAuM varAharUvaM saselavaNakANaNA dhariyA / / jai teNa samukkhittA Na NajjaI katthaI ThieNaM ti / ukkhivasa' tA tumaM pi a dharaNialattho silA do vi // elAsADho jAhe saseNa aisaMdhio bhaNai tAhe jaM te suamaNubhUaM kahehi savvaM aparisesaM // sasenoktaM elAsADhaM prati pratyuttarakathAnakadazakam / // iti dhUrttAkhyAne tRtIyamAkhyAnakam // [ 4. atha zazoktaM svakIyaM kathAnakam / ] 1 A ukkhibisi / 2 A pavvayarAu | OM aha bhaNai saso ahayaM NiayaM chittaM gao sarayakAle / gAmAo dUratthaM taM chittaM girivarAsanne | chittammi a acchaMto tatto pavvayavarAoM' oyariDaM / ucchito mi gaeNaM pavvayamitteNa matteNa // tharatharatharaMtagatto hAhA gahio maeNa ciMtaMto / vivalAiumacayaMto paribhramami tahiM tahiM ceva // bhIviggeNa mae diTTho tilapAyavo ahamahallo tattha vilaggo bhi ahaM vaNagayabhayavevirasarIro // patto a so vaNagao Arusio tiladumaM samaMteNaM / paribhamaha guluguliMto kulAlacakku vva AiTTho // teNa bhamaMteNa ya so cAlijaMto tile davadavassa / vAsAsu jalaharo iva jalaNivahaM muMbaI ghoraM // 3 B cakka vya / 92 93 94 * 9 * 95 96 97 *10* 98 2 4

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4. zazoktaM svakIyaM kathAnakam / tilacakkeNa vva tilA te savve pIliA gayavareNaM / tattha pavUDhA sariA tilloA NAma NAmeNaM // khutto a vaNagao so khalacalaNIe a tillpNkmmi| AraDiUNa ya virasaM bhukkhiatisio mao htthii|| gayabhayasaMtattamaNo ahayaM puNa-jAyaoM tti mnnnnNto| kahakaha vi tiladumAo divasa'vasANe samoiNNo' // kusio diaMca kAuM bhario tillassa so mae htthii| tAhe dasa tillaghaDe pAuM bhakkhemi khalabhAraM // tillassa supaDipuNNaM taM dii giNhiDaM' gao gAmaM / gAmavahiM taM diiyaM pAyavasAhAi nnikkhiviuN|| NiayaM bhavaNamaigao puttaM pesemi tilladiiassa / jAhe u Na pAveI rukkhaM pADittu to giNhe // eaM me aNubhUaM sayameva imammi mANuse loe / leNa u pattiai mahaM so deu mahAyaNe bhattaM // // sasenoktaM kathAnakamidam // [atha khaNDApAnoktaM zazakathitakathAnakasamAdhAnam / ] savvakalApattahA bhaNai sasaM khaMDavANAI ghuttii| atthesa Agamo me bhAraha-rAmAyaNe asuo|| khaMDA saseNa bhaNiA bhAraha-rAmAyaNe purANe vaa| eArisAiM a saheUAI bhaNa kattha bhaNiAI // kaha tiladumo mahallo tillANa ya kaha mahANaI buuddhaa| kaha pIA ya dasaghaDA kaha khalabhAro mae khio|| khaMDAe saso bhaNioM saccaM taM loabAhiro taM si / kiM kaiyAi suo te bAlo vi jaNo pyNpto|| jaha kira' pADaliputto(tte?) NimmaviA mAsapAyavo(vA ?) bherii| to kiM so tilarukkho mahappamANo Na hujAhi // *1* 18 suvvada a bhArahammi vi gayANa puNa ittha dANasalileNaM / mahaI gaI pavattA hayagayarahavAhiNI ghorA // uktazca-teSAM kaTataTabhRSTaigajAnAM madabindubhiH / prAvarttata nadI ghorA hastyazvarathavAhinI // 20 1A smaainnnno| 2 A. viehi| 3B de| 4A ptraadv| 5A tilonny| 6A muvaM tN| 7Bkiri| 8A sA /

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*2*21 haribhadrasUrikRtaM dhUrtAkhyAnam / jaha gayamayasalileNaM hayagayarahavAhiNI gaI viulA / sariA tayA pavattA to tillodA kaha Na hoi // rajjAu dhADieNaM suvvai loammi bhImaseNeNaM / gaMtUNa ikkacakaM ghoro bagarakkhaso vhio|| bhattaM taMdulakuMbhaM mahisaM taha majaghaDasahassaM ca / jaM tassa bhattapANaM uvaNIaM teNa taM bhuttaM // jaha bagarakkhasabhattaM bhuttaM bhImeNa to kimegeNaM / bhAreNa vi taM jimio bhArasayaM kiM' Na bhakkhesi // * 3 * 24 suvvai a kuMbhayaNNo suttaviuddhuDio NiayakAlaM / so piai ghaDasahassaM khAyai Nege Narasae a|| jai piai kuMbhayaNNo suttaviudghahio ghaDasahassaM / dasahiM ghaDaehiM kiM sasa ! kiM paNNAsaM Na pIA te // *4*26 aNNaM ca imaM subaha purANasuiNiggayaM imaM vayaNaM / asurANa jaha vahatthA agasthiNA sAyaro piio|| *5 * saggAo avaiNNA gaMgA harajaDaviNiggayA saMtI / jaNhurisiAsamapayaM majjheNa uvAgayA NavaraM // pIA ya teNa risiNA vAsasahassaM ca bhAmiA uare / to jaNhueNa mukkA kira bhaNNai jaNhavI teNaM // jaha uahi agatthINaM pIA gaMgA ya jaNhurisiNA y|| to jai dasa tillaghaDA pIA ya tae kimaccheraM // * 6 * 30 bhaNai saso so diio sumahaMto kaha mae smukkhitto| aha ukkhitto kaha puNa NIo egAgiNA gAmaM // uccapphaliaMdAuM hasiUNaM khaMDavANaI bhaNai / YNaM sasa ! Na kayAi vi suo tume grulvittNto|| kAsavarisipattIo kaDu viNayA ahesi tIammi / dohiM vi tAhiM savattIhi kiM pi kila paNiayaM chippaM // jA paNiayammi jippai tIe dAsattaNaM ca kAyavvaM / jAvajIvAi ciya ahavA dAyavvayaM amayaM // viNayA jia kaDue karei dAsattaNaM svttiie| kaDU vi sAvattIvehaeNa viNayaM vimANei // viNayA kira gurubhArA dAsatte' paramakkhiA jaayaa| tattheva sA pasUA tIse aMDattayaM jAyaM // - 1A kissnn| 2 B kiri| 3 A vaastte|

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4. zazoktaM svakIyaM kathAnakam / dAsattaNamukkhaTThA' bhiMdai tatthegamaMDayaM vinnyaa| tattha kila aMDayammI jAyA vicchU asaMpuNNA // dummaNamaNA ya viNayA paritappaDa aMDayaM viNa8 me| aNNaha ciMtemi ahaM taM pi a me aNNahA hoi|| mucija parAhINattaNasa aha NAma dAsaNAmassa / kaha vi durAsAi mae aMDaM bhiNNathie bhiNNaM // addhiha laddhAe vilaviUNa aasaannibddhhiayaae| kaihi vi divasehiM tao puNo vi biiaMDayaM bhiNNaM // bihaaMDammi aNUrU jAo kila so vi mAyaraM bhaNaha / ammo tumhehi imaM kimakAle aMDayaM bhiNNaM // jo te maNoraho ciMtiu tti so pUrio mae iNto| iNhiM ayaMgamo kiM karemi ahayaM praahiinno|| eaMpi tAva tai parirakkhasu aMDayaM payatteNa / jo kovi ittha hohI so dukkhavimukkhao tumhaM // rahasArahI aNUrU Thavio sUreNa jo jage aruNo / sayameva ya viNayAe kameNa tahaaMDayaM bhiNNaM // ahikulabhayasaMjaNaNoM jaNavayavimhAvaNo mahA ghoro| viNayAmaNaparioso jAo a mahAbalo gruddo|| pAlatte ramamANo NAge kaDasue vihADei / paidivasaM kaDae viNayA khisijae evaM // viNayAi dAsiAe putteNaM garuDaeNa somAlA / mAria ahipoalayA caMcUcalaNappahArehiM // eArisAiM viNayA soUNamabhikkhaNaM ca rovNtii| pucchijaha garuDeNaM roasi kiM kAraNaM amme // puttaya jIaNimittaM pattA dAsattaNaM savattIe / rattiM divA ya duhiA karemi ANattiaM tIse // kahamucijasi amme !, amaeNaM, taM ca jANai piA te| kattha piA, badarIAsamammi, garuDo gao tahi // badarAsamammi gaMtuM garuDo pAesu NivaDio piunno| vialidieNa' teNa vi phAseNuvalakkhio putto|| garuDeNa jaMpiaM bhukkhio mi, bhaNi ca kAsaveNevaM / yArasajoaNahatthI tattullo kacchao biio|| 1A mukkhtaa| 2B aNAma 3 Bdegvmhaavnno| 4 Bamhe 15 B aannttiim| 6 B gutaM / BefdennN|

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6 10 15 20 25 20 22 haribhadrasUrikRtaM dhUrtAkhyAnam / amarisabhuaMgavasao jujjhaMti mahAsare mahAkAyA / rattiM divA ya duNi vi sarasaMkhobhaM karemANA // bhakrakhehi te tumaM gacchiUNa, mA putta ! bhukkhio accha / gaMtUNa ikkamikeNa teNa te dovi paribhuttA // tatto a paDiNiatto picchai vaDapAyavaM mahAviDayaM / palayamahAmehaM piva sasauNakolAhalaM viulaM // caumuhabIaviNiggayANa vAlakhillANa tassa hiTThammi / uggaM tappaMti tavaM risINamajuGakoDIo // so tattha samallINo bhaggo vaDapAyavo kaDakaDato / mA hohI risivajjhA caMcU vaDapAyavaM guvilaM // to sahasA ukkhiviuM chAemANu vva NahayalaM savvaM / kiNNara garuDaNarAmara vimhayamaulaM jaNemANo // sAgarajalapakkhitte bahuvihavaNasaMDa maMDioddese / dIvammi suvitthipaNe' muMcai vaDapAyavaM garuDo // vaDadumalaMkaNimittaM laMkAdIu tti to kayaM NAmaM / dasasIsassAvAso Asi jahiM Nisiarapaissa || himavaMte gayakacchava bhakkheDaM so gao piusayAsaM / bhai atAya ! Na dhAo bhakkhehi tao NisAeN ti // bhakkheUNa NisAe abhayapavatti' papucchiuM piaraM / amayaM putta ! kahemo voleuM 'NarayapAyAle // dhagadhagadhagaMtahu avahapajjaliAvediaM' samateNaM / rakkhajjai savvasurAsurehiM sayayaM amayakuMDaM // ko puNa tassa uvAo amayatthI kAsavaMgao ahayaM / atthi uvAo' jaha dhippai ti aidukkaro so u // sappimahodahisalilAieNa saMtappie'Nale dhaNiaM / gahaNaM hujjaga hujja va gahie vi uvaddavA'NegA // kAsavarisivayaNeNaM gaMtuM garuDeNa dovi saMpayayA / paMkhANi a mahupANieNa saMtapio aggI // titteNa huavaheNa ya amayasyAsaM pavesio garuDo / gahiaM ca NeNa amayaM devehiM vi kila samugghuTTa" // amayaM kuMDatthaM cia vihageNegeNa NIamukkhi viuM / soUNamiNaM vayaNaM khuhiyaM sasurAsuraM bhuvaNaM // 53 54 55 56 57 58 59 60 61 62 63 64 65 66 68 1. B risINa / 2 B bijalaM / 3 A suvilaM / 4 B suvvitthiye / 5 B paviti / 6 A gaeya / 7 B beTTi 8B ahiyaM / 9 B ovAo | 10 A samugdha / 67

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4. zazoktaM svakIyaM kathAnakam / jo jattu ciya devo sahasA'mayamavahaDaM NisAmei / so aharaphuraMtuTTho' tattu a maggio lggo|| muggara-musaMDhi-pahisa-gayakaNagapparasu-bhiMDimAlehiM / hl-musl-ludd-vlyaasuulaauhphrnnsmggo|| kalayalaravo surANaM pUrei NahaMgaNaM NiravasesaM / haNa, chiMda, bhiMda, giNhaha, mA muyaha rasAyalagayaM pi // olaggio a garuDo samaMtao devsyshssehiN| pariveDhio a bhaNio amayAhArI haosi tti // ikkattu cia bhuvaNaM ekatto kAsavaMgao pkkhii| kAyaramaNakaMpaNayaM tehiM a samaraM samAraddhaM // suragaNasayaM sahassaM lakkhaM koDi pi causu vi disAmu / pesei jamasayAsaM garuDo pakkhappahArehiM // viNayasuassa surANa ya gayaNayale vaTTae mahAghoraM / jujjhaM amayassa kae vimhAvaNayaM tihuaNassa // to so devasamUho garuDeNikkeNa rnnmuhaavddio| hayavihaya dINavayaNo khaNeNa bhaggo nniraannNdo|| deve a parAhutte vaTuM palayaggijAlasamasarisaM / to kulisaM sahasapaloaNeNa garuDovariM mukkaM // kulisaM garuDasarIre pakSupphuDiaM silAyale ceva / iMdo bhaNai aNaMtaM sahoaraM gruddbhybhiio|| to taha vajAbhihayaM sasurAsurasamarapacayaNimittaM / garuDeNa caMcuAe sayamevuppADiyaM picchaM // viNhU via pajjalio vArasaraviteasappabhaM cakaM / ghittuM garuDavahatthA aNudhAvai maggao kuvio|| bhIubviggasasaMbhama hAhA kimiti gggirllaavaa| risigahasaNiccharAI gaMtumaNaMtaM payaMpaMti // bho bho savvagao via pabhU a sasurAsurassa loassa / taha vi tumaM NIo iva sayaNassuvari nniraavikkho|| garuDo a sahayaro te paDisAhara 'vaNadavovamaM kovaM / mA mUDho miccho iva paharasu niyaesu gttesu|| risigahavayaNaM souM imaM tu cakkAuho vi ciMteha / kohAieNa picchasu mae sahAo hao huNto|| 0 780 84 5 B praaite| I BOphuddtuho| 2 B pitttths| 3 B vimhaavinnyN| 4 A degvihe| 6A sbnnussu| 7 B vaNadevo /

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10 20 14 25 haribhadrasUrikRtaM dhUrtAkhyAnam / NANI satthatthaviANao vi kohaggijAlasaMtatto / gammAgamma hiAhia kajjAkajjaM 'Na lakkhei // garuDasta aNaMtassa ya jAyA saMdhIjjhao kao garuDo / amayaM dAUM viNayA moai dAsattaNAu tti // jar3a gaya-kacchabha-vaDaduma garuDeNuSpADiA ya NIA ya / to ukkhivasi sasa ! tayaM tumaM pi daiyaM subaddhaM pi // sattAhabaddalammI dhario govaddhaNo mahumaheNaM / tA kaha Na dharesi tumaM gayadIyaM tilaparipuNNaM // UbaMdhe viya vANarehiM NegAI joaNAI girI / ukkhaNiuM uvi ( ? ) dvA pakkhittA udahimajjhami // to jaha putteNa tu rukkho ummUlio mahAviDavo / dIamapAviMteNaM to bhaNasu tahiM kimaccheraM // vaNavADia bhaMge vi a haNuaMto mahiruhe mahAviDave / ukkhaNai ayatteNaM jattha imo khaMghao bhaNio // 1 'Na' nAsti A 2 A duiyaM / khajUrI mAruiNo a kammahayA palAsavaggate / sIseNa uttaraMtI akaM mahayA palAsavaggaM te / jara te mahaMtarukkhA tirikkhajoNIgaeNa haNuNa / ummUliA samUlA tuha putto kiM Na ukkhaNai' // aisaio bhaNai saso khaMDAvANIi tattha dhuttIe / khaMDa bhaNai iANiM kahehi jaM taM samaNubhUaM // khaMDavANAuktaM sasakaM prati pratyuttarakathAnakadazakam / // iti dhUrttAkhyAne caturthamAkhyAnakam // [ 5. atha khaNDapAnAkathitaM svAnubhUtaM kathAnakam / ] 10030300 3 B ukkhiNai / *7* 87 OM aha bhaNai khaMDavANA vihasaMtI atthasatthaNimmAyA / buddhI ahiabuddhI dhutte tulleuM vayaNamiNaM // olaggir tti amhehiM bhaNaha jai aMjaliM karia sIse / uvasappaha jai a samaM to bhattaM demi savvesiM // to te bhati dhuttA amhaM savvaM jagaM tulemANA / kaha eva dINavayaNaM tujjha sayAse bhaNIhAmo // 85 *8 * 88 *** 86 89 91 92 93 * 10 * 94

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5. khaNDapAnAkathitaM svAnubhUtaM kathAnakam / ahavA - avi uDuM cia phuTTaMti mANiNo Na vi sahati avamANaM / atthamammi viraviNo kiraNA uDuM cia phuraMti // pavaNu cia AhAro vaMkaM caMkaMmiaM aparibhUaM / savvajaguvveakaraM aho sujIaM bhuaMgANaM // Isi hasiUNa to sA khaMDAvANA bhaNei bho suNaha / akkhANayaM aNaliyaM jaM aNubhUaM mae ceva // Asi ahaM taruNatte juvvaNalAyaNNavaNNa' guNakaliyA / rUveNa aNaNNasamA jaNamaNanayaNUsavanbhUA // vari a kayAi ahayaM uNhAyA maMDave suhapasuttA / uSamuttA pavaNeNaM 'rUvaguNummattahiaeNaM // jAo teNa suo me tAhe biya jAyamittao' to so / AucchiUNa ya mamaM katto vi gao aha khaNeNaM // to bhagaha kiM Na sacaM jai vAeNaM havijja puttu 'tti / to Natthi kA vi raMDA aputtiyA jIvaloammi // [ atha mUladevAdidhUrtakRtaM khaNDapAnAkathAnakasamarthanam / ] taM bhai mUladevI suvvai loassuIsu pavaNeNaM / kuMtI bhImaseNo jAo NIlAi haNuaMto // pArAsareNa' vAso' macchiNijaNio pasUao' 'veva / ko sarijjatti a jaNaNi bhaNiUNa avakaMto' // jAyA akkhayajoNI joaNagaMdhA a risipa bhAveNaM / saMtaguNA tI suo vicittavirio tti saMjaNio // asura mayammi tammI joaNagaMdhAi sumarioM vAso / saMpatto a khaNeNaM jaNaNisayAse risivaro so // bhaNio aha mAUe putta ! aputtA Na buhue vaMso / tA taha karehi vacchaya ! jaha hoi kulassa saMtANo // teNuddhario vaMso paMDuNariMdo jayammi vikkhAo / dharo a NaravaI viduro ya mahAmaI jaNio // bhAujjAyA tiNi vi bhuttUNaM dei tinha vI sAvaM / akaryaM tu ohayAso vAso risidhammapanbhaTTho // 1 B lAyaNNarUvaguNakaliyA / 2 B guNammata | sureNa / 6 B mcchnni| 7 B pasUvaDazceva / 8 B avakaMTho / dhU0 4 3A degmittauM / 4B puttati / 25 4 5 8" 10 11 12 13 14 15 16 17 5 B pArA* " 20

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E 10 26 11 10 26 20 bhavati cAtra zlokaH haribhadrasUrikRtaM dhUrtAkhyAnam / jaha 'sadhaM pavaNasuo bhIma-haNU' Navara pahio vAso / uaraviNiggayamatto to saccaM tujjha vI vayaNaM // puNaravi khaMDAvANA bhaNai sahI Asi majjhumA devI / tIe maMto diNNo sasurAsuraloaAgariso // Agarisio ravI me joisacakAhio ahiateo / teNa vi me balajutto jAo putto mahAsatto // chAsI sahassAI dahai ravI mehaNiM samaMteNaM / kaha teNa Na daDDhAhaM raikajasamAgayA saMtI // aha bhaNai kaMDarIo kuMtI jaha huMta dahasUreNaM / to ujjhatAsi tumaM sacaM taM Natthi saMdeho // AhAre caiva yonau ca bIjakarmaNi yaH zuciH / tasya kRcchrAgatasyApi na pApe ramate matiH // taibhassa / khaMDA bhai puNo me jalaNo 'Agarisio suravarANaM / jovaNaM teNa vi me putto jAo juimahaMto // dUrattho Dahaha ravI aggI aMgehiM pharisio Dahaha / kaha teNa Na daDDAhaM jalaNeNa samAgayA saMtI // bhai a elAsADho jamapattI huavaheNa kira bhuttA / aggIhuNaNaNimittaM jalagihaM aigayA saMtI* // asamattasurayakajjo jalaNo jA aigao jamo tAhe / acayaMto osariaM jalaNo tIe vi oilio // taM siDhiliamehaliaM asamANiyasurayakIliyaM bAlaM / oiliUNa jamo vi ya devatthANiM aha paviTTho // devehi ya so bhaNio apattaraiassa' sAgayaM tujjha / Niggilaha tao deviM tIi muhAo ya jalaNo vi // dhAvaMto ucchiNNo jameNa to aigao vaNaM gahaNaM / kahio gaehiM to so tesiM vAyAhiA teNaM // jaha sacaM jamapattI bhuttA jalaNeNa Nea sA dahA / to kaha ujjhihisi tumaM jalaNeNa samAgayA saMtI // khaMDA bhai puNo me erAvaNavAhaNo sahassaccho / Agarisio mi so vI teNa vi jAo mahaM putto // 1 A sukhaM / 2A bhImu ! * 1-2 * 19 18 8A Agario / * iyaM gAthA patitA B Adarze / 20 21 22 * 3 * 23 24 26 27 28 29 30 *4* 31 32 4 A apha

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5. khaNDapAnAkathitaM svAnubhUtaM kathAnakam / accharasAo muttuM kaha iMdo sevae maNussIo / bhai saso kiMNa suA goyamapattI ahilla ti // iMdeNaM paribhuttA rudveNaM goyameNa iMdassa / kAUNa bhagasahassaM va (ca) dvANa samapio tAhe // DhakaDhaNasarIrANaM mayaNANalajAlasaMpalittANaM / baDaANa sagAsAo sakko viddhaMsaNaM patto // devehiM goamAo kaha vi payatteNa mohao iMdo / jaM tassa bhagasahassaM acchisahassaM tayaM jAyaM // kuMtIe iMdreNa vi putto patthu tti loavikkhAo / jAo evaM jahasuo tujjha vi iMdeNa ko doso // aha bhaNai khaMDavANA tumbhe jANaha kulaM ca guttaM ca / majjhaM mAyAvittaM ?, bhaNiyA to mUladeveNaM // pADaliputte 'Nayare taM si suA NAgasammavippassa / somasirIe dhUA goamaguttammi vikkhAyA // sA bhai gavi ahaM sA tumhe' sArikkha vimhiA majjhaM / sippiadhUA ahayaM rAularayayassa vikkhAyA // bahudhaNadhannasamiddhaM amha gharaM rAyariddhisamasarisaM / NAmeNa daDiA haM NIA goehiM kammehiM // daMDa' bhaDabhoiANaM raNNo aMteurassa savvassa / sippiasahassamahiaM jaM dhovai majjha vatthAI // vatthANa mahAsayaDaM bharittu aha bahuvihappagArANaM / purisasahasseNa samaM pattAsi gaIM salilapuNNaM // chaDachaDachaDassa tahiaM huM huM siMTAravaM karitehiM / aNNuNNamaisayaMtehiM tehiM kuMdiMdudhavalAI || ghoAI vatthAI majjhaM purisehiM cukkhabhUAI / to AyavadittAiM ubvAiAi~ muhutteNaM // Ao a mahAvAo samaMtao pAyave a bhaMjato / to teNaM pavaNeNaM vatthAI hiyAhaM savvAI // gacchaha tugbhe cuiyArayaM ti kaMmAriyA mae bhaNiyA / jo doso avarAho va ko vi so hohiI' majjhaM // rAulabhaeNa tohaM gohArUvaM karitu rayaNIe / AyA NayarujjANaM sasalilaghaNasaNNihaM rammaM // 1 A puto payare / 2 A tumhehiM / 3A daMDa / 4 A vatthAI / + A Adarza eSA paMktiH trikRtvo likhitA labhyate / 6 B sohiI / 27 33 34 35 36 *5* 37 // 38 39 40 41 42 20 43 44 45 46 15 48 5 B cakku bhUbhAI / 25 47 3

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haribhadrasarikRtaM dhUrtAkhyAnam / viule NayarujANe rumaMtao hiMDiA suviistthaa| aha pacchimammi jAme bhayaciMtA me samuppaNNA // gohaM cammaNimittaM maMsaNimittaM ca jaNavao haNai / to ko hunja uvAo jaha maraNabhayaM na hunjAmi(huja tti 1) // kiM hujja kayaM sukayaM kattha gayA jivvuI lahija ti / paribhamami samateNaM bhayapavaNasamAhayA tahi // bahuAI viciMteuM gohArUvaM tayaM payahiUNaM / rattAsoasayAse cUalayA haM parAvattA / / dussIlA iva juvaI timirapaDaM guMThiA gayA rynnii| kamalAgaratuTThiaro sahasA ya samuTTio suuro|| diNNo a amha abhao raNNA paureNa cAuvaNNeNa / jaha umbhiMDaMtu tAI rAularayagAi~ svvaaiN|| to so paDahagasaddo 'NavapAusaghaNaravaM visesNto| ApUrei samaMto sabbhaMtara-bAhiraM NayaraM // souM paDahagasaI to taM muttUNa cUalayabhAvaM / lAvaNNaguNAinnA puNaravi itthI samuppaNNA // tassa ya sagaDassa tahiM NADavarattA ya tabaNIo ya / rayaNIi kolhuehiM sANehiM bhakkhiyA savve // aha Navari mama piuNA NADavarattA ya maggamANA NaM / laddhA mUsayachippA NADavarattA tahiM vliaa|| to kiM itthaM sacaM ?, bhaNai saso-baMbhakesavA aMtaM / Na gayA jai liMgassa u to kaha vayaNaM tuha asacaM // rAmAyaNe a suvvai jaha haNuaMtassa Asi laMgUlaM / mahaImahappamANaM vatthasahassehiM NegehiM / veDhitu rakkhasehiM sittaM tillassa ghddshssehi| laMkApurI vahatthA palIviraM maMdapuNNehiM // sA devaloasarisA laMkApurI svvloavikkhaayaa| AlIviA samaMtA haNueNaM vAuputteNaM // jaha sacaM laMgUlaM' sumahaMtaM Asi vAuputtassa / to te mRsiachippA kiNNa havai iddahA rajU // aNNaM ca imaM subai porANasuIsuNiggayaM vayaNaM / jaha kira' gaMdhArivaro raNNe kuruvattaNaM ptto|| 64 1 B kattha nnindhuii| 2 B rigaaii| 3 nnvN| 4 B vsNto| 5 'Naya' nAsti AI BA guNaI taa| 7 A gNguulN| 8 B kiri|

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15 5. khaNDapAnAkathitaM svAnubhUtaM kathAnakam / rAyA AsI kira so mahAbalaparakamo ahiateo| sako devAhivaI parajio jeNa samarammi // so ta ahikkhivaMto suragurusatto arnnnnmjjhmmi| jAo mahA ayagaro rajapabbhahA ya paMDasuA // tammi araNNammi ThiA egAgI Niggao Navari bhiimo| teNa'yagareNa khaddho uvaladdhasuI a dhmmsuo|| patto ayagaramUlaM sattayapucchAo kahayaI tassa / uggilai ayagaro so bhImaM sAvassa yaMtammi // jAo puNaravi rAyA jai sacaM to tumaM pi snbhuuaN| gohA cUalayA vi a gaMtUNa puNaNNavA jAyA // *8*69 // to bhaNai khaMDavANA dhutte evaM gae vi kajammi / masaM kuNaha pamANaM jAhe bhattaM payacchAmi // jaha kaha vi parAjijaha savve vi a samuiA mae tubbhe| to tumha Natthi loe kANA vi 'kavaDiA mullN|| to te bhaNaMti dhuttA ko satto NijiNittu amhehiM / mAyANiaDipahANo harI vi sakaM jai havijA / to sA avagayatosA te dhutte khaMDavANaI bhnn| picchaha ittAhiM ciya savve vi karemi hayavayaNe // tesiM vatthANa kae rAyANaM pucchiu~ priyddaami| gAmAgarapurapadaNajaNavayaparimaMDiaM vsuhN|| aNNaM ca mamaM cauro ceDarUA jAyayA cirapaNaTThA / tesiM ca kaeNa ahaM parihiMDaMtI ihaM pttaa|| te ceDA tunbhe hi a tANi a vatthANi te parihiyANi / jai vi Na pattia heDaM to deha mahAyaNe bhattaM // to te lajiya vilayA bhaNaMti aisaMdhiyA tume amhaM / 'meDhIbhUA ihi buddhipayAreNa jAyAsi // eassa Narassa tumaM ikkA juggA jayammi vikkhaayaa| sattAha vaddalammI de bhattaM savvadhuttANaM // sA bhaNai vihasamANA puvvi viNNaviyA mae tunbhe| bho gavvamuvvahaMtA ohasaha jaNaM abuddhiiaa|| to te bhaNaMti suMdari cAo ghaTTho kao havai jaahe| tAhe sattai jAI esA purisassa payaIo // 74. 79. 1B praajibho| 2B kvliyaa| 3 B miitthii|

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haribhadrasUrikRtaM dhUrtAkhyAnam / utpattiabuddhIe amhe abhisaMdhiA tume suaNu / to savve vi bhaNAmo amhaM bhattaM payacchAhi // bADhaM ti bhANiUNaM peavaNaM sA gayA subIhaNayaM / siva-DAyaNi-pea-pisAya-bhUa-sadAulaM viulaM // tulIgaMDavahANayapaDisiracaMdokyANa ThANe a| cittapaDapaTTasADayakoaMvayakAyaDajhaMtaM // tarukusumakesarappAsavAsatalacattayalattayavicittaM / laliaddhaiMdapauraM pabviTTha(?)kalevaraM ghoraM // rUviNiANaM thNbhiamcchiasNghaaybhinnibhinnaayNt| maDayacitovariDajhatamANasilisilisilAyaMtaM // vijAsAhaNarabhasuhiaMtaNa'caMtamaDayaveAlaM / bhImahAsahuMkAratAlasahAlagaMbhIraM // ghasaruhirakkayakaddamasamaMtao bhImakimikulAiNNaM / AmisakajasamujjayaNidvayavahuvihagajujhaMtaM // sahiruggAlabhalabhalaM sahassasUlAvibhiNNamucchaMtaM / vitiricchabhamaMtasiAlakola NivaDataghutaM // aiduggaMdhiyavAyaMtamAru savasavaMtaNIsadaM / bIbhacchubvevaNayaM bhayasaMjaNayaM surANaM pi // evaM vihe masANe picchai aviNaTTayaM vigayajIvaM / aciravimukaM bAlaM khaMDA taM giNihauM pahavai // anbhaMgejaNa tayaM jaracIvarasusaMgayaM kareUNaM / ujjeNIi paviTThA siTThissa gharaM dhaNasamiddhaM // diTTho aNAi siTThI AsaNaviho jaNeNa prikinnnno| bhaNio aNAe bhAo sutti dhUA mi duggaiyA / 'kaivayadivasapasUA abaMdhavA asaraNA videsatthA / tumbhe mahappabhAvA piiharamullaM mamaM deha // siTThI vAulacitto puNo puNo tIi uccrNtiie| rusio bhaNeha purise sigcha NINeha damiatti // Niggacchasu tti bhaNiA aha jaMpa mA cchivassa bAlassa / aNNaM ThANaM bappikkayaM ti to me ma pilleha // NiggaccheuM Nicchaha tehiM a purisehiM pilliyA sahasA / dharaNIale NivaDiA bhaNai mahaM mArio pusto|| 1 A pr| 2 'NazcaMta' nAsti A1 3 B kole| 4A sNjnnN| 5 B muttiiy| , B kyvy| 7 B vipakkayaM /

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5. aNDapanAkathitaM svAnubhUtaM kathAnakam / hA majjha aNAhAe NAho hohi tti ciMtayaMtIe / so vi maNorahataMtU chiNNo NicchittagattehiM // bho picchaha jaNasamudaya imeNa dhaNagavviraNa vaNieNa / aTThArasa dosavivajjiyAha mArAvio putto // aha pahariumAraddhA sIse a ure asA asAhAraM / bhai a siTThI majhaM bhaggaM bhikkhAkavAlu tti // to siTThI AdaNNo savvapayatteNa pariyaNasamaggo / aNuNet vilavANI kareha mA suaNu bolaM ti // diNNA ya kaNNiA se bhaNiA' ghintRRNa vaJcasUputtaM / mA asu mA ca kaMdasu tuha ettiya jIvaNaM diSNaM // vittRRNa kaNNiaM mayaM kalevaraM ca sA tao azaMtA / sissi girAbAhaM jAyaM dANappabhAveNaM // api ca tyAgena bhUtAni vazIbhavanti tyAgena vairANyapi yAnti nAzam / paro'pi bandhutvamupaiti dAnAt tyAgo hi sarvavyasanAni hanti // sisumaDayaM chauM khaMDA viulatthalAhaparisuddhA / maNikaNayarayaNamuttiacamarasamiddhaM gayA haE // kAUNa ya viNioaM tesiM dhuttANa pIavihurANaM / bahukhajjapijjakaliyaM susakayaM bhoaNaM deha || muttayaMterhi tao savvehiM vi 'tumaNasehiM / bhaNiA ya khaMDavANA sujIviaM jIviaM tujjha // jaM te buddhibalAo ghuttajaNo NijjiNittu sayarAhaM / saMtappio khuhanto viuleNaM bhattapANeNaM // sussivi vi purisA tAI Na jANaMti jaMpiavvAI | jAI asikkhiAo katto vi lahaMti mahilAo // paDhiUNa ya satthAI purisA NAUNa tesimatthAeM / Na samatthA paDivaNe uppaNNamaI jalA mahilA // api ca eriItya zAstrANi vimRzya cArthAnna tAni vaktuM puruSAH samarthaH / yAni striyaH pratyamidhAnakAle vadanti lILAracitAkSarANi // viduvAurA aggI ghammo a loyavikkhAyA / loeNa dUmiyA te vamhaha-raha - rAgadosehiM // suvvA a AgamammI jaha kaNho savvabIamajhagao / sahumesu bAyaresu a tilatusamitteSu davvesu // 1 bhani / 2 B vilalApahapaviddhA / 3A hi 97 68 too 100 1950 10 100 103 // 104 d'// 103 *10* 107 108 16 11 111 11 20

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// 3 15 20 25 32 haribhadrasUrikRtaM dhUrtAkhyAnam / jai savvagao kaNho ciMtijjai jattha tattha so ceva / ciMtiMtao 'vi sucia tamhA so kiM vicite // aNNaM pi aliavayaNaM suvvai loyammi NiggayaM iNimo / jaha pavaNagaNAhivaI selasuAvayavauppaNNo // baMbhANa samuppattI tiluttamA ubvasI ya doNassa / upapatti chammuhassa ya Narakutrvara Asi tANaM ca // kaNhas ya NiggamaNaM jaha kovA seakuMDalIjAo / jaha sirakavAlamajjhe ruhirammi Naro samunpaNNo // jai jAyavassa mAyA uppattI halaharassa logammi / jaha jAyA selasuA vikkhAyA jIvaloyasmi || jaha huMti pavvayANaM puttA dhUA kuDaMbadhammo vA / to taM imammi loe jaMbUdIve Na mAijA // eyAI caSphalAI bhAraha - rAmAyaNe NibadvAI | saMcAlaNamasahaMtA jaha juttikayaM suvaNNa vva // eaM loiasatthaM gaddahaliMDa vva bAhire mahaM / jAtaM joijjai tusa - bhusa - busamIsiyaM savvaM // to te bhaNAmi savve kusamayakusmuipaheNa muttRNa / savvaNNadesi ammi a laggaha magge payatteNaM // aM dhuttakkhANaM soUNaM loiassa paramatthaM / taha kuNaha NicchiabhaI jaha daMsaNasuddhi hoha parA // * cittauDaduggasirisaMThiehiM sammattarAyarattehiM / sucariasamUhasahiA kahiA esA kahA suvarA // sammattasuddhiheuM cariaM haribhaddasUriNA rahaaM / NisutakahaMtANaM 'bhavavirahaM' kuNau bhavvANaM // ma seaMbaravarasUrI haribhaddo kuNau amha bhaddAI / jassa sasisaMkhadhavale jiNAgame erisA bhattI // 1 B va suzci / OM // dhUrtairuktaM khaMDavANApratyuttarakathAnakadazakam // // iti dhUrttAkhyAne paJcamAkhyAnakaM samAptam // // zubhaM bhavatu / kalyANamastu // 113 114 115 116 117 118 119 120 121 122 123 124 125

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zrIsapatilakAcAryakRtaM dhUrtAkhyAnasaMskRtabhASAntaram / [prAstAvikam / ] samasti' bhArate varSe harSotkarSakare satAm / zrIavantyAyo dezo lezo yatra na pApmanAm // 1 // svaHpurIjayinI tatra samastyujayinI purI / yAM draSTumiva gIrvANA nirnimeSatvamAzritAH // 2 // tamAlatAlahintAlarasAlAvalimAlitam / tasyA uttaradigbhAge jIrNodyAnAbhidhaM vanam // 3 // nandanAyairalaM phalguphalairbhAgyaphalastvaham / nRtyatIveti yadvAtavidhUtaiH pallavaiH karaiH // 4 // tamAmAtradume'nyedurvAcAlA nikRtitratAH / bhUyAMso bhUridezebhyaH samIyubUMrtapuGgavAH // 5 // deravasvApinI-prAjyarUpiNI-mohinImukhaiH / dhUpayogAJjanAdyaizca dambhaiH kaH ko na vazcitaH // 6 // mUladevaH kaNDarIke elApADhaH zazAhvaryaH / khaNDapAnAbhidhA strIzca teSAM paJcezvarA amI // 7 // pralokaM te nRdhUrtAnAM paJcazatyA parivRtAH / khaNDapAnA kilaikA tu nArIpaJcazatAnvitA // 8 // varSAkAlastadA prAdurAsInni zitAtapaH / prakAzayan ghanaiH 'svasya rAjyamekAtapatritam // 9 // saptAhavAridenAmbuvRSTiM viddhatAdhikam / babhUvAbAlajambAlapicchilaM kSoNimaNDalam // 10 // tadA dhUrtAH kSudhAkrAntAH zItena paripIDitAH / parasparaM vadanti sma ko no dAtA'dya bhojanam // 11 // jagAda mUladevo'tha svAnubhUtaM zrutaM hi vA / yadyena vRttaM tat tena dhUrtAnAM kathyatAM puraH // 12 // yastanna manyate teSu vacaH satyatayA punaH / tena deyaM samaprANAM dhUrtAnAmadya bhojanam // 13 // zrIbhAratapurANokta rAmAyaNanirUpitaiH / saMvAdivacanai tan pratyAyayati yaH punaH // 14 // sa dhUrtAnAM ziroratnamadadAno'pi bhojanam / ityuktvA mUladevo'tha prathamaM tAnabhASata // 15 // / [1. mUladevakathitaM kathAnakam / ] mayA taruNabhAve yadanubhUtaM mahAdhiyaH / tadAkarNayatotkarNAH kathyamAnamihAdhunA // 16 // ekadA taruNatve'hamIhamAnaH sukhAsikAm / kamaNDaluchatrapANiH skandhavinyastakambalaH // 17 // didhIrSaH svarNadIdhArAM prasthitaH skandamandiram / yAvattAvanmadonmatto dantI prAdurabhUt purH|| yugmm|| parjanya iva garjantaM siJcantaM mAM madAmbubhiH / abhyAyAntamibhaM pazyannAtakavyAkulo'bhavam // 19 // etasmAt kathamAtmAnaM kRtAntAt kupitAdiva / pAsyAmIti bhayAvezAt prAvizaM kuNDikAntare // 20 // madabhinnakaTaH so'pi karaTI prasaratkaraH / mamAnupadikaH kuNDyAM prAvikSannAlakAdhvanA // 21 // // 1 A samasta / 2 B ghnaistsy| 3 A babhUva bAla / 4 A. puraannokti| 5A nH| 6 B narAdhipaH /

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dhUrtAkhyAnasaMskRtabhASAntaram / kumbhI' sa kumbhInasavat phutkArAn roSataH sRjan / matpRSThalamo bhrAmyaMzca SaNmAsIM tatra vazcitaH // 22 // mamaiSo'dyApi no pRSThaM muzcatIti vicAravAn / tato'haM kuNDikAdvArAnniragAM narakAdiva / / 23 // matpRSThe niHsaraneSa sindhuro'pi madoddharaH / kuNDikArandhrasaMlamapucchakezo'skhalat kSaNam // 24 // tataH svarganadI nArImiba pInapayodharAm / dRSTvA goSpadavat tIvo'dhyagAM skandasya mandiram // 25 // / avadhUya kSudhodanye SaNmAsIM tatra tisstthtaa| patantI vyomato mUrdhA gaGgAdhArA mayA dhRtA / / 26 // tataH SaNmukhamAnatyA''gatya cojayinI purIm / bhavadbhyo dhUrtarAjebhyaH kSemeNa milito'dhunA / / 27 // idaM ced vittha satyaM tanmAM mAnayata hetubhiH / athAlIkaM sadA'mIbhyaH sarvebhyo dattabhojanam // 28 // [atha kaNDarIkapradattamUladevakathAnakottaram / ] kaNDarIkastato'vAdIt tvAmasatyIkaroti kaH / jAnAno hi purANaM ca zrIrAmAyaNa-bhArate // 29 // / " yattvayA'vAdya'haM sebhaH kathaM kuNDyAmamAntamAm / tatpratyayAya viprANAmatrArthe zRNu jalpitam // 30 // vidhAturvadanAd viprAH kSatriyA bAhuyugmataH / UrUyugalato vaizyAH padbhyAM zUdrAzca niryayuH // 31 // yadyetAvanmamau loko brahmaNo jaTharAntare / kamaNDalau bhavAMstat kiM na mAtIbhasamanvitaH / / 32 // anyacca yasya dhAvantau brahma-viSNU uparyadhaH / divyavarSasahasreNApyApto pAraM na hi kacit // 33 // mahatpramANaM talliGgamumAyonau yathA mamau / tathA tvAM sagajaM kuNDayAM praviSTaM ko'tra dUSayet // yugmam / / 15 anyaJca kIcakazatotpattiryA vyAsabhASitA / prasiddhA bhArate zAstre tAmapyetarhi saMzRNu // 35 // virATabhUpaterapramahiSI putrakAmyayA / RSi 'gAgalinAmAnamArarAdhAnyadA''zrame // 36 // sAdhayitvA caruM so'pi dattvA tAmidamUcivAn / antaH kuDapaM bhukte'smin sutAnAM mAvi te zatam // 37 // tato gatvA kuDanAntarbubhuje tamasau carum / tatrastho gAgalirapi tapyate sma tapo'dhikam // 38 // sarasyapsarasastatra sAntIrvAsovivarjitAH / nirIkSya sa RSiH smerasmarabANairavadhRtaH // 39 // " kAmakSobhAdasya zukravinduryaH kIcake'patat / tasmAdAyaH kIcako'bhUnmahAvIryavapUttamaH // 4 // pazyato'psarasastasya galitAH zukrabindanaH / nAlyAM ye patitAstebhyaH kIcakAmAmabhUchatam // 11 // tAM nAlI sa RSistatra nidhAya svAzrayaM yayau / rAjA'pi rakSayAmAsa tato vaMzakuDaGgakam // 42 // nAlyAH saMpUrNasarvAGgAn yadrAjhI yAdade'rbhakAn / tena te tatsutatvena procyante kIcakA janaiH // 43 // kIcakAnAM zataM prauDhaM tAdRg nAlyAM mamau yadi / tatastvaM sagajo mAsi kathaM naiva kamaNDalau ? // 44 // 18 gaGgA varSasahasraM cejaTAsvIzena mohitA / SaNmAsAMstu tvayA'mohi hastI kuNDyAmidaM ghRtam // 45 // kuNDyA nAlAdahaM dantI lagnakezava niHsRtau / kathamatrApi he bhrAtaH ! zRNu paurANikaM vcH||46|| pralaye sarvabhUtAnAM jalaikArNavatAM gate / jagatraye jalezAyI tasthAveko jalezayaH // 47 // jagatsRSTikRtastasya nAbhipadmAd viniryayau / daNDakuNDIdharo" brahmA'bjanAlaM tatra cAlagat // 48 // itthaM kuNDImukhAcet tvaM sebho bhrAtarvinirgataH / tatkezastatra lamazca kimayuktaM bhavet tataH // 49 // " kamaNDalumukhAd bhrAtaH ! kathaM hi niragAmiti / yad Se tasya saMvAdaM zRNu bhAratabhASitam // 50 // 1B kummiish| 2 B huMkArAn / 3 B mtpRsstti| 4 A degnnaadhyaaptii| 5A gnggli| 6 B ravidhyata / 7 A degvduttmH| 8 B smRtm| 9A jlaashyH| 10 A kunnddiikro|

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1. mUladevakathitaM kathAnakam / divyaM sahasraM varSANAM tapaH kurvati dhAtari / kSubdhAH surAH sma jalpanti vighnamasya bhavet kathaM // 59 // indro'vaka strISu lolo'yaM yadumApANipIDane / agnikarmaNi niyukto gaurI dUSitavAsasam // 52 // dRSTvA kSubdho bIjasagaM kRtvA vAso vyadhUnayat / atha tat patitaM kumbhe droNAcAryastato'bhavat // yugmm|| saptarSayaH surAdhIzA devA hariharAdayaH / muktvaikaM zrImahAvIraM khaNDitA hi manobhuvA // 54 // ugravratadharAstIvratapazcaraNakAriNaH / anye'pi smarabANArtA dAsA strIbhirna ke kRtAH // 55 // uttamA sarvadevInAmato gatvA tilottamA / pitAmahaM smarodrekAd vidadhAtu tapazyutam // 56 // indrAdezAdatha kSipraM svaparicchadasaMyutA / gatvA tilottamA dhAtuH puro nRtvamasUtrayat // 57 // yathA yathA'sau nRtyantI kareNollAsitAMzukA / vidheradarzayat svAGgaM cukSobha' sa tathA tathA // 58 // tasyA nimAlayannajhaM vidhAtA nirnimeSak / tyaktAnyasarvavyApAraH kAmivat tatpRho'bhavat // 59 // vijJAya sApi tadbhAvaM lAvaNyAmRtasAraNiH / brahmaNo dakSiNe pArzve bhUtvA nRtyamasUtrayat // 6 // // tadrUpamohitaH svAntaH so'pi kAmajvarAditaH / tAM vilokayituM vakaM dvitIyaM nirmame punaH // 61 // evaM tRtIyaM vAruNyAM kaubeyA~ gha caturthakam / tasyAmUrdhvagatAyAM tu sa cakre paJcamaM mukham // 62 // tilottamAnuraktasva brahmaNaH paJcamaM mukham / rudreNa paryutIkSNena nakhenA'chidyatA''zu tat // 63 // tato brahmAtikopenApasavyapharajAtapA / pradezinyodvartha bhAlaM zeSaM samupapATayat // 64 // sitakuNDalimAmA sa krodhAra dhAvA myayojyata / gaurI prANezvaraM hantuM vyAdhavanmArgaNo mRge // 6 // nazvastasya bhiyA zambhurgasvA badarikA''zrame / niyamasthaM hariM mahyaM bhikSA dehItyabhASata / / 66 // tatastena nijAd bhAlA raktadhArA vyamucyata / tadadho sthApayat so'pi brahmaNaH paJcamaM ziraH // 6 // raktemAparipUrNa tat sahajaiH zaradAmapi / haro piloDayAmAsa karAlikayaikayA // 6 // pitAmahaziroviSNuraktezAGguliyogataH / samutpede mahAMstatraiko naro raktakuNDalI // 69 / / rudreNAdezi yoddhuM sa sitakuNDalinA saha / tato varSasahasraM tu jAtamAyodhanaM tayoH // 70 // tayoryuddhaniSedhAya naraM dattvA surezituH / bhAskarasya dvitIyaM tu surA UcuridaM ravim / / 71 // varadAnakSaNe sUrya ! tvayA bhAratasaMyate / bhAratAvatArakAle'sAvavatAryo nRjanmani // 72 // tasmin kAle raviH kuntImupabhujyatusaGgatAm / tat kukSI taM naraM cAzu garbhatvenodapAdayat // 73 // sannaddhaSaddhasannAhaH kuntyAH karNAt sa niryayo / yathA tathA tvamapyasmAt kuNDIrandhrAd viniHsRtH||4|| yaccAvocaH kathaM gaGgAmapArA tIrNavAnaham / ado'rthasAdhakaM bhadra ! zRNu rAmAyaNoditam // 75 // // hanumAn rAghavAdiSTo jAnakIzuddhihetave / tItvA bhujAbhyAmambhodhi kSaNAllaMkApurImagAt / / 76 / / dRSTayA sItayA tatra priyasandezatuSTayA / pRSTaH kathaM tvayA sindhustIrNaH so'pyabravIditi // 77 / / tava prasAdAt tava ca prasAdAd bhartuca te devi tava prasAdAt / sAdhUnate yena pituH prasAdAt tIrNo mayA goSpadavat smudrH|| 78 // yadi tena tirazcApi samuttIrNo mahArNavaH / tadA gaGgA tvayA kiM na lamayate sma narottama ! // 79 // // yadavAdIH kathaM dhArA SaNmAsI mUrti dhAritA / asminnarthe'pi hetuM tvaM zRNu bhUdevabhASitam // 8 // surairabhyarthitA gaGgA lokAnAM hitahetave / bhUmAvavAtarat svargAt sA'pyevaM tAnavocata / / 81 // 1A cukssume| 2A tasyA muurddh| 3 B samudapAdayat /

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36 dhUrtAkhyAnasaMskRtabhASAntaram / yuSmAsvilAM patantIM mAM ko dhazastadA'vadat / ahamityUcuSA tena sA dhRtA nijamUrddhani // 82 // divyaM varSasahasraM cet tena gaGgA dhRtA svake / tat tvaM kathaM na SaNmAsIM vAridhArAmadhArayaH ? // 83 // // iti dhUrtAkhyAne prathamaM mUladevakathAnakam // [ 2. kaNDarIkakathitaM kathAnakam / ] * 1 * evaM niruttaro mUladevaH provAca taM prati / kaMDarIka ! tvamapyAtmAnubhUtaM vada kiJcana // 84 // kaNDarIko'vadad bAlye durvinIto bhavantarAm / pitRbhyAmata evAhaM haThAnnirvAsito gRhAt // 85 // tato bhrAmyannahaM dezAnekaM gomahiSIvRtam / kUpA''rAmasarorAjIrAjitaM grAmamAsadam // 86 // popacArabalibhiH sa janaiH pUjito'nizam / samIhitaM varaM datte ko na mAnyo bhaved guNaiH // 87 // tatastaM kautukAd yakSaM natvA grAmyajaneSvaham / yAvad vicitrakrIDAbhirAtmAnaM sma vinodaye // 88 // 10] sannaddhabaddhakavacA vividhAyudhapANayaH / sutarAM dAruNAstAvannipetustatra taskarAH // 89 // sabAlavRddhAH sastrIkA grAmyA janapadAnvitAH / pazubhizca samaM mItyA vAlukyAM vivizuryutam // 90 // tatrasthAnapi tAn grAmyAnapazyanto'ndhalA iva / caurAstataste vyAvRttA naSTo grAma itIriNaH // 91 // pazuvRndaM carat tatra vizvastaM samupeyivAn' / tanmadhyAdekayA chAgyA vAlukI parijanase // 92 // sA'pi prastA'jagareNa so'pi DhiGkena jayase / sa coDDIya vaTe'tiSThad bhUmiprAptapadaH khagaH // 93 // 15 tatra kenApi bhUpena sainyAvAse vinirmite / stambhabhrAntyA DhikapAde baddho giNThena kuJjaraH // 94 // DhinoDDIyamAnena saha yAntaM vilokya tam / pUJcakuriti hA miSThAH kenApi hriyate karI // 95 // teSAM kalakalaM zrutvA subhaTAH zabdavedhinaH / tatreyurAkulA bANabANAsanakarA rayAt // 96 // subhaTaiH zaradhoraNyA chinnamUrdhA vaTacyutaH / DhikapakSI papAtAzu vajrapAta iva kSitau // 97 // pakSyane dArite rAjJA'jagaro niragAt tataH / ajA tasyAzca vAlukI tato prAmAdayo'khilAH // 98 // " te sarve nRpatiM natvA svatvavastusamanvitAH / nijasthAnaM yayurahamatrAyAtazca saMprati // 99 // evaM mayAnubhUtaM bho gaditaM bhavatAM puraH / yo na rAnyeta dhUrtAnAM sa dadAtvadya bhojanam // 100 // [ atha elASADhakRtaM kaNDarIkakathAnakasamAdhAnam / ] OM elASADhastataH proce pratImo nAtra saMzayaH / kaNDarIko'vadad prAmo vAluyantaH kathaM mamau // 101 // elASADho'tha taM smAha kiM bhrAtarna zrutAstvayA / dRSTAntA viSNupurANe bhArate ca kiledRzAH // 102 // 2 AsIt purA jagat paJcamahadbhUtavivarjitam / jalenaikArNavIbhUtaM tatrANDamabhavat kila // 103 // UrmipreGkholanAbhistadbhinnaM trividhatAmagAt / triviSTapa- mahIpITha - rasAtalavibhedataH // 104 // 1. A. kiMkarAH / 2 A tat /

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2. kaNDarIkakathitaM kathAnakam / yadyaNDe tAdRzaM sarva samamAjagatItrayam' / vAluGgayAM tarhi sa grAmaH kathaM mAti na bAndhava! // 105 // zAstre'nyaccAraNyapathe mArkaNDeyo'vadanmuniH / dharmAGgajasyAnyayugAnubhUtaM tacchrutIkuru // 106 / / sa kilAmbhobhirabhrotthairloka ekArNavIkRte / lolakallolamAlAbhiH preryamANo'mbudhau gataH // 107 // sarvazUnyaM jalA''kIrNaM jagat pazyannRSistataH / ekaM tatra mahAkAya vaTavRkSamudaikSata // 108 // zAkhAyAM tasya palyaGkamapazyat tatra cArbhakam / sarvAGgasundarA''kAraM tejastarjitabhAskaram // 109 // prasAritakaraM taM cAvAdIdeohi dAraka ! / mamAMse lagatAmambhassu patanAnmA sma bhUnmRtiH // 11 // so'pyasamavalambyAsyAvAtArIt sa tato muniH| Asye prasArite'pazyad vizvaM tasyodare'khilam // 111 // praviSTastatra varSANAM sahasraM divyamaJjasA / bhraman pAramapArasya nA''parSiniragAt ttH|| 112 // sazailakAnanaM vizvaM mamau ced dArakodare / tadA mAti na kiM grAmo vAlukyAM kaNDarIka bhoH! // 113 // Dhikodare hyajagarastasyAjA'syAzca cirbhaTI / tasyAM grAmaH kathamiti prAkhyastacchRNu vacmyaham / / 114 // " yadi trijagatI sarvA mamau viSNoH kilodare / kukSau so'pi hi devakyAstalpasyAbhyantare'pi sA // 115 // yadi satyaM purANoktaM vacanaM pratibhAsate / tadA prAmAdipravezA vAlukyAdau na doSadAH // 116 // vAlukyajagarAntaHsthaH kathaM nAsAdayaM mRtim / iti tena kRte prazne hyelASADho'bravIditi // 117 / / tasminnevAhani bhavAnnirgato na mRto hyataH / ciraM viSNUdare tiSThajagajIvati nAdbhutam // 118 / / yasminnudarage santi vANijyaM yodhasaMyataH / ArambhA vyavahArAzcotsavA vaivAhikAdayaH // 119 // // kathamasyodare vizvamiti pRcchasi tacchRNu / purA parasparaM yuddhaM brahma-kezavayorabhUt // 120 // dIno brahmA hariM smAha vaktrabAhUrupAdataH / madIyebhyo jagat sarvaM cAturvaNyaM vinirgatam // 121 // . vidhimAkSiptavAn viSNurvacanaiH kaThinairalam / re re tvaM ceTarUpo me bruvannevaM na lajase // 122 // kaNThastha zeSe bhUpIdhradADhe sAgara jihva ke / manmukhe tvaM pravizyAzu pazya vizvaM carAcaram / / 123 / / jalezayasya me nAbhisamutthAmbhojato bhavAn / prAdurbhUto hyato vaktuM matpuro nocitaM tava // 124 // 0 api ca-yatprabhAvAt prakAzakatvamagamat kaumudaM vanam / / kalaGkIti nizAdhIzaM khotkarSAt taddhasatyaho // 125 // kaNDarIko babhASe kiM purANAdau zrutAH kvacit / DhikA evaMpramANAH syuretanmAti yadantare // 126 // elASADho'pi taM smAha draupadyA hi svayaMvare / prAvikSat dhanuSi kSoNIbhUdharavahnibhujaGgamAH // 127 / / yaH zrIdupadarAjasya taddevAdhiSThitaM dhanuH / rAdhAM bhettA' samAropya sa kRSNAM pariNeSyati // 128 // // AghoSaNAmimAM zrutvA tatretya balino nRpAH / dhanurAropayantaste patitA hasitA janaiH // 129 // atha mAnonnataH zUraH zizupAlakSitIzvaraH / AropayitumArebhe yAvad rAdhAbhide dhanuH // 130 // tAvat tatra harirmeraM garuDaM muzalaM halam / nAgAn zaGkha gadAM cakraM mandaraM kSiptavAMzca sH|| 131 / / sandhAnApasare sUraM vidhumagniM payonidhIn / sazailAmacalAMstatra cApe cikSepa kezavaH // 132 // arkIlapramANe'smiMstenAkRSTe gurudviSA / chalena mocite bANe sacApazcedipo'patat / / 133 // // pArtho 'thAsahamAnAyAmuyAM tad bhAramaJjasA / Aruhya mImahastAne cApAropaNamAtanot // 134 // karNapradattabANenArjuno rAdhAM vibhidya tAm / yazaH saMprAptavAn loke kRSNAM ca pariNItavAn // 13 // 1B jagatAM trayam / 2 B sklaa| 3 B lgte'| 4 B gaanmRtiH| 5A prvibhaaste| 6A vissnnodre| 7A mettvaa| 8A pArtho vA /

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dhUrtAkhyAnasaMskRtabhASAntaram / yadi lApAntare te te padArthA mikhilA meM muH / tat kiM Dhike mahAkAye na maatyjgraadyH|| 136 // kiJca rAmAyaNe bhrAtaH ! zrUyate vihagottamaH / jaTAyuH sItApahAre yuyudhe rAvaNena saha // 137 / / dazAnamena ruSTena candrahAsamahAsinA / chitvA pakSayugaM bhUmau sa bhUdha itra pAtitaH / / 138 // sItayA ca sa pakSyUce zIlamAhAtmyato mama / pakSau bhaviSyato rAmadUtasandarzanAt tada // 131 // / anyadA dAzarathinA jAnakIzuddhihetave / Adiyo hanumAnurvI dhAya'statra samAyayau // 14 // aho girirasAvuccaihanumAnityacintayat / yadatrAruhya pazyAmi samaMtAnmahimaNDalam / / 141 // tato jaTAyuSA pRSTaH kastvaM bhoH! sa tamatravIt / rAmadUto'smi sItAyAH pravRsvarthamihAgamam / / 142 // pakSyApyAkhyad rAmajAyA viLapantI pathA'munA / apahRtya dazAsyena lakApuramanIyatta // 143 // kiM bhrAmyasi mudhA'raNyaM hanumAstvarayA braja / idaM sandezavAkyaM ca rAmAya kathayermama // 144 // " sItArthe yuddhyamAno'haM rAvaNena durAtmanA / chittvA pakSau svakhanena mukto'to'gAmimAM dakSAm / / 145 // tato vAyusuto'vAdId yat tvaM rakSoraNaM vydhaaH| AkhyaMzca vRttaM tena syAt tavApi hi hitaM sakheM! // 146 / / iti dUtavacaH zrutvA jaTAyurjAtapakSatiH / uDDIya vyomamArgeNa tridazAzrayamAzrayat // 147 // yadi zailasamo gRdhro jaTAyurabhavat purA / tat kiM Dhikko mahAkAyaH kaNDarIka ! bhadesa kim ? // 14 // // iti dhUrtAkhyAne dvitIyaM kaNDarIkathAnakam // [3. elASADhakathitaM kathAnakam / ] elAdhADamathAvAdIt kaNDarIko gatottaraH / zrUhi tvamapi kiJjinaH svAnubhUtaM mahAgutam // 149 // elAghATo'pyavag bandho ! yaubane dhanalolupaH / naTitI bAvAdAvyasanairniramA gRhAt / / 16 / / bilamatra raso yatra bhUdharo'tra sadhAtukaH / evamAzAgrahaprasto baMbhramI mi sma bhUtalam / / 151 // ekadetyAgamo lebhe yadyojanasahasrake / pUrvasyAM bhUdharastatra raso vedhasahasrakRt // 152 // "zilayA rasarandhrAsyaM channaM yojanamAnayA / tAM cotpATya rasaM dhIrA gRhanti svarNakuNDataH // 153 // yojanAnAM zatamitaiH kramaiH krAmannahaM mahIm / girau gatvotpATya zilAmagRhaM kuNDato rasam // 154 // punastacchilayA''cchAdya gRhametya tato rasAt / dhanaM kanakamutpAdya dhanadopamatAmagAm // 155 // bhogAnabhakurAn bhuJjannarthibhyo draviNaM dadan / prasiddhimagamaM loke lokeza iva bhUtimAn / / 156 // preyasIbhiH samaM gItanRtyavAditrakelibhiH / krIDan zacIpatiM manye na tRNAyApi saMpadA / / 157 / / " prasiddhiM ca samRddhiM ca mama vijJAya dAruNAH / nizAyAM nizitAstrIdharAcaurA gRhe'patam // 15 // kRtasiMha ninAdAste stenAH paJcazatImitAH / pravRttA luNThituM gehasAra yAvar durAzayA: / / 159 / tAvata kathaM me nyAyAtto jIvato vittasa vyH| caurairgrahISyata iti dhyAyana sAisamAdriye // 16 // zastrANi praguNIkRtya cauraiH saha raNAGgaNam / kurvanahaM mahAghoraM surairapyabhinanditaH // 161 // ekena zaraghAtena daza dvAdaza pazcaSAn / tenAnanaiSaM kainAzavizAntAtithitAmaham // 162 // " nimeSAd dhAtite caurazate te'pi masopari / saMbhUya kopataH periva kInAzakikarAH // 163 // zIrSa me kaNazaH kRtvA baTTA ca badarItaye / bhuSitvA vedAsarvasvaM jamucaurA yazAgatam // 164 // ralAI kuNDalolAsi macchiro bIsthitam / vidhi badanAta pratyU isthau cazvAsanam // 165 /

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3. elabADAkathitaM kathAna kama / sUryodaye'tha kolIsya badarAsvAdi sahidaharaH / khajIla miti vijJAyA''davire nAgarA narAH // 166 // aGgopAGgAni sarvANi saMpiNDyopari tanyadhuH / tato'haM rUpalAvaNyabhAgabhUvaMtarAM punaH / / 167 / / mayArya svAnubhUto'rthaH pratyapAdi bhavatpuraH / yo na manyeta tahattA dhUrtAnAM so'dya bhojanam // 168 / / [atha zazakRtaM elASADhakathAnakasamAdhAnam / ] zazo'bopadayo kaste'lokaM kuryAdidaM vacaH / pramANitaM purAvRtta-smRti-rAmAyaNeSu yat // 169 / / tathA hiyamadagmiRSiH pUrvamabhUd bhAryA'sya reNukA / yAM mustaravaH puSpArthinaH zIlaprabhAvataH // 170 / / athAzvApahRtaM dRSTvA nRpaM sarvAGgasundaram / reNukA samabhUt tatra rAgAdAzleSazAlinI // 171 // athAnamasyato vRkSAn vIkSya zIlacyutAM ca tAm / manvAno yamadagniAka pazurAmaM smaadisht|| 172 // svamAturasyAH pApAyAzchindhi zIrSa svapazunA / tenApi piturAdezastathaiva vidadhe kSaNAt // 173 // " yamadamistadA tuSTo rAmaM smAha varaM vRNu / so'pyUce tAta ! me mAtA punarjIvatu satvaram / / 174 / / evamastviti tenokte sajIvA'jani reNukA / sadbhUtaM cedidaM prAtar ! jIvitastvamapIha tat / / 175 / / jarAsandho'pi bhUpAlaH khaNDadvitayayojanAt / jarayA sanjito rAjasahasrAdhIzvaro'jani // 176 // anyacca zrUyate sunda-nisundau dvau sahodarau / asurau suravRndasya kSayakAlavadutthitau // 177 // paryAlIcyAtha gIrvANaistadvadhAya tilottamA / tilaM tilaM svadehebhya upAdAya vinirmame // 178 // sarvAGgasundarAkArA mohinI sarvakAminAm / praNamya sA surAn smAha sudhAmadhurayA girA // 11 // yatkarttavyaM mayA deva tadAdizata te'pi tAm / procuruddhara vaH sunda-nisundAtaGkasaGkaTAn // 18 // ityAjJAM zirasi nyasya yayau tatra tilottamA / yatra tAvasurau sunda-nisundau paritiSThataH // 181 / / hArArddhahArakeyUranUpurAdivibhUSitA / surUpoccakucA sajjIkRtanetroDupAnanA // 182 // sA tAbhyAM yugapad dRSTA dRSTipIyUSapAraNam / tatazca sAnurAgau tau tasyAmeva bbhuuvtuH|| yugmam // // tadAtyai yudhyamAnau tau zaurastraizca daarunnaiH| mRtau bandhU api hAhA ! strIbhiH ko na vimbitH||184 // strINAM kRte bhrAtRyugasya bhedaH saMbandhabhede striya eva mUlam / aprAptakAmA bahavo narendrA nArIbhiruccheditarAjavaMzAH // 185 // devAjalavasaMyogAt saMjAtA ca silottamA / lUnalaggaistadopAGgaistvadanaM kiM na jAyatAm // 186 / / zrUyate zaizave vAyusuto mAtaracanAm / aprAkSIt ko mamAhAraH kSudhitasya bhaviSyati // 187 // soce vatsAtiraktAni phalAni tava bhojanam / tenApi jagRhe sUryo'thodyan pakvaphalabhramAt // 188 // tenApi cUrNitaM taM ca vIkSya mAtA zucAturA / bhartunivedayAmAsa karuNaM rudatI satI // 189 // krandantIM dayitAM dRSTvA mRtaM ca pavanaH sutam / tato rasAtalaM kopAt pravizya sthitavAnasau // 150 // pavanasya nirodhena sadevamanujAsuram / jagajjAtamatIvAnaM mRtyuzeSamazeSataH // 191 // tato dInAnanA devAstaM prasAdayituM gatAH / hanumantaM sajIvaM ca saMyojyAvayavAn vyadhuH // 152 / / " hanurekAsya no dRSTA zodhayitvA suraistadA / tadviyukto'pi hanumAniti tasyAbhidhA kRtA / / 193 // pavanasyAGgajazcUrNIbhUtazcena milito'bhavat / apUrvaM tatkathaM bhrAtastvadvaco mahe vayam // 194 / /

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dhRtopyAnasaMskatabhASAntaram / kathAyAM rAmabhadrasya sItApaharaNe kSaNe / setubandhe kRte lakApurI dAzarathau gate // 195 / / rAma-rAvaNayoripore smrvitre| darabdhe kSubdhapAthodhau siMhanAdasphuTanage // 156 // lakezabhaTanirmuktazellavAvallabhallakaH / zaktibhizcAsibhizchinnAGgopAGgakapisainike / / 597 // zaktiprahAranirbaddhabhUmipatitalakSmaNe / rAmapralApanirdhApapratizabditabhUdhare // 198 / / 5 droNAdrarvAyuputreNa samAnItavizalyayA / saumitrervakSasaH zaktirniragAt pApadhIriva / / 199 // -caturbhiH kalApakam / tayA vizalyayA siktAzchinnAGgA api vAnarAH / sajIvAH sahasottasthurmilitAvayavavrajAH // 20 // chinnAGgA api cejAtAH sajIvAH pravagAstataH / bhavAn gvaNDIkRtaH kiM na bhrAtaH ! prANiti sNprti||201|| jagatprasiddhamanyacca kArtikeyamya saMbhavam / kiM nAaupId bhavAn bhUyo grantheSu grathitaM budhaiH / / 202 / / "himAcalaguhAmadhye maithunAsankayostayoH / gaurI-zaGkarayojajJe divyaM varSasahasrakam / / 203 // tasminnavasare devAstArakAsurapIDitAH / azaktAstadvadhe'nyonyaM paryAlocaM vitenire / / 204 // zaMbhorvIya vinA nAnyastArakaM hantumIzvaraH / sa tu zaMbhuH saMlIno'sti daryA himabhUbhRtaH // 205 / / miyA ko'pi na tatpAvaM zAyanyo hyanalaM vinA / ataH prArthyate gantumiti te taM bbhaassire|| 206 // paropakAriNaH kAryamekasyA" prakurvate / viziSya sarvadevAnAM kRtye kaH syAt parAGmukhaH // 207 / / / yadarthamakhilA devA mmaashcintaamhaarnnve| tatrAnala ! bhavAneva gantumIzo na cAparaH // 208 // tad gatvA darzayAtmAnaM himAdristhasya zUlinaH / kadAcit tvAM vilokyezaH smarakrIDAM vimuJcati // 209 // havyavAho'tha tAnUce kaH zaMbhoH saMmukhaM vrajet / viziSyehagavasthasya tasya zreyo'bhilASukaH / / 210 // khaTvAGgadhAriNaM zUlapANiM narakapAlinam / zmazAnavAsinaM kastamabhigacchejijIviSuH // 211 // UrddhamullAsya yo liGgaM tANDavena pranRtyati / balArirapi tatpAvaM gantumIzo bhavenna hi // 212 // 0 kadAcit kandarAntasthaM zUlapANinihanti mAm / tadA me kA gatiH syAt tanna mAM pressytaamraaH!||213|| te'pyUcurmA sma bhaiSIstvaM yato'yaM pArvatIvazaH / nUnaM jagadidaM samyag damyate pramadAjanaiH // 214 / / __uktaM camAsena damyate vAjI varSeNonmattakuJjaraH / nimeSonmeSamAtreNa pumAMstu pramadAjanaiH // 215 // yadeva rocate gauryAstadeva kurute hrH| kiM nAnala ! tvayA dRSTo'Ggei tAmudvahannayam // 216 // 11 atastyaja tvamAzaGkAmetAM yat kupito haraH / na kartA bhavataH pIDAM gaurIsvAntAnuvRttaye // 217 // evamastviti gatvA'mihimavatkandarAntare / prekSata tripurArAtiM ratilIlAvisaMsthulam // 218 // tamupAntagataM dRSTvA ruSottiSThan harastataH / huM huM gauryA niSiddhaH sa UrddhaliGgo'nalaM jagau // 219 // mukhaM vyAdehi re ! retaH pibetyatha vadan hrH| tat tasmai pAyayAmAsa bhAnuteja ivolvaNam / / 220 / retasAdAmAno'gniH kathaJcit prApya vAridhim / tad vavAma tataHso'pi babhUva sukhito mnaak||221|| // tataH prabhRti lokeSu zrUyate ratnasantatiH / samudre retaso jAtA prasphurattejasAJcitA // 222 // atha- prabhAkare padmabhAsure zizirAmbhasi / agnistadretasaH zeSaM vAntvA zIto'bhavattarAm // 223 // tatra SaNNAM kRttikAnAM snAntInAM smaramandire / tasmin zukre praviSTe'bhUt samakaM garbhasaMbhavaH // 224 // kAlAntare suSuvire yugapat kRttikAstataH / zIrSa bAhU uro ruNDaM zarIraM ca kramAdimAH // 225 // tatastA vismitasvAntA darzayAzcakrire mithaH / yAvattAvat kilAGgAni mimilustAni sUtavat // 226 // - svasvasthAnAsaMyogAt kArtikeyaH SaDAnanaH / AsIdAzaizavAdeSo'jimabrahmatolvaNaH // 227 / /

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4. zazakathitaM kathAnakam / 41 233 // vijigye samare yena tArakAkhyo mahAsuraH / mahAtejAH sa yAmyAyAM brahmAvanakRte sthitaH // 228 // pRthaggarbheSu jAtAni yathaGgAnyamilan prabhoH / tAnyevaikatra jAtAni saMgaccheranna te katham // 229 // elASADho'vadalUnaM paribhrAmyat kathaM ziraH / phalAni bhuGkte sollAsamiti dhUrtta vadAdhunA // 230 // zazo'pyUce zrute (tau ?) kiM na zrutaM cakreNa cakriNaH / rAhodhchinaM ziro bhrAmyad gilatyaryama- zItagU // yazca zrUSe yojanAnAM zatamekapadena gAm / ullaGghaya viSamaM zailamagAM tatrottaraM zRNu // 232 // viSNuryAge dvijIbhUya baliM prApya kramatrayam / sazailakAnanAmurvImAkramyainAM jahAra ca // viSNuH kramatrayeNAzu yadyAcakrAma medinIm / zatayojanamAtrAM tadgatiM kaste na manyate // zilA yojanamAnA sA kathamutpAditA mayA / iti pRcchAsamAdhAnaM kuNDalI kuru karNayoH // 235 // rAmAyaNe raNe jAte lakSmaNe zaktipAtite / hanumAn drAg vizalyArthaM droNAdrimudapIpatat // 236 // ced vizAlazilaH zailaH protkSiptaH kapinA'pi saH / tadA yojanamAtrA kiM zilA notpATyate tvayA // 237 // 7 elASADha: pratikSiptastena pratyuktiyuktibhiH / zazaM smAha tvamapyAzu svAnubhUtaM vadAdhunA // 238 // // iti dhUrtAkhyAne tRtIyamelASADhakathAnakam // 234 // [ 4. zazakathitaM kathAnakam / ] OM so'pyavAdIdahaM kvApi prAme kauTumbiko'bhavam / kSetropajIvI varSAsu kRtavAn kssetrkrssnnm|| 239 // zaratkAlAgame draSTuM kSetraM giritalasthitam / prAmAd davIyaH sthAnasthaM sAnando jagmivAnaham // 240 // natra zailAt samuttIrya zailAbho mattakuJjaraH / ruSA'ruNekSaNastUrNamadhAvat sa mamopari // 249 // tadbhiyA kampamAnAGgaH paribhrAmyannitastataH / tilavRkSaM puro'drAkSaM baddhasakhyamivAdriNA // 242 // tacchAkhAyAM vilanaM 'tu sa mAmAkRSTumakSamaH / tilaDhuM dhUnayAmAsa pAtrAnaM kSetrapAlavat // 243 // petustatkampitAH pRthvyAM tilaughAstilapAdapAt / bhramatA tena te cUrNIkRtvA ca tilayatravat // 244 // tataH prAdurabhUt tailanadI kuNDAdivApagA / yasyAH kallolamAlAbhirjIyante'pyUrma yo'mbudhaiH // 245 // 2 tailapaGke mahAdantI bhRzaM virasamArasan / nimagnaH kSuttRSAkrAnto vipadyata sa kITavat // 246 // punarjAtamivAtmAnaM manvAno gajasaGkaTAt / pradoSe'haM kathamapi tilavRkSAdavAtaram // 247 // tatastasya mataGgasya mayA carmamapasArya tat / dRtIkRtya ca tailena paryapUri samantataH // 248 // tatrAhaM buDito bhuje khalabhAraM kSudhAturaH / pibAmi tailakumbhAnAM dazakaM tRSito'nizam // 249 // tAM dRtiM tailasampUrNAM skandhe kRtvA'rkatUlavat / grAmaM pratyadito'dhvadrAvalambya gRhe'gamam // 250 // s atha tAM dRtimAnetuM saMketitamahAtarau / mayA nijasutaH praiSi so'pi tAM tatra naikSata / / 251 // tataH sapAdapastena pronmUlya gajarAjavat / dRtirAnIyata grAmalokAnAM pazyatAM gRhe // 252 // ahamapyAtmano gehAdutthAyAtra samAgamam / ityasatyaM vacazcen me tadebhyo datta bhojanam // 253 // 1 'brahArakSA' iti pAThAntaram / dhU0 6

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dhUrtAkhyAnasaMskRtabhASAntaram / [atha khaNDapAnAkRtaM zazakathAnakasamAdhAnam / ] zazaM smAha mahAdakSA khaNDapAnA'tha dhUrtikA / bhArate suprasiddho'rthaH zruto rAmAyaNe'pi saH / / 254 // zazaH prAkSa(khya)t kacidRSTaH zruto vega tiladrumaH / khaNDapAnA'pi taM proce zrutaM kiM na tvayA janAt / / yatpATalIpure mASavRkSAdati garIyasI / bherI vyadhAyi kenApi tat tiladrurna kiM mahAn // 256 // 5 vyUDhA tailanadItyatrApyuttaraM bhArataM zRNu / yaddantidAnasaMbhUtA sarit plAvayate sma gAm // 257 / / yata: teSAM kaTataTabhraSTaigajAnAM madavindubhiH / prAvarttata nadI ghorA hastyazvarathavAhinI / / 258 / / yadi dantimadAmbhobhirabhUt kUlaMkaSA nadI / tathA tailAnna jAyeta vAhinI kiM vAhinI ? // 259 / / yaJcoktaM khalatailAdi bhakSitaM tAdRzaM myaa| tatrApyAkarNa yodantaM bhAratagranthasaMgatam / / 260 / / 1" yadrAjyAnnirgato bhIma ekacakrAM purIM gataH / mahAbalaM bakaM rakSorAjaM vyApAdayad rupA / / 261 // sahasraM madyakumbhAnAM SoDazAzanakhArikAH / bakAyopasthitAnyeko bhImo bhakSitavAMstadA // 262 // ekAkinA'pi bhImena pItaM bhuktaM ca tad yathA / tathaiva saMgataM te'tha bhojanaM khala-tailayoH // 263 // pibed ghaTasahasrANi kumbhakarNaH sadA yadi / dazatailapaTAnAM te tadA pAnaM na citrakRt // 264 // anyaJcaitat purANeSu zrUyate yadagastinA / dAnavAnAM vinAzAya nipItaH kSAravAridhiH // 265 / / Is svottIrNA jaTAjUTAcchambhogaGgA vinirgatA / vahantI jahusaMjJasya munezvAzramamIyuSI / / 266 / / tena pItvA sahasraM sA varSANAM bhrAmitodare / tanmuktA paprathe loke jAhnavItyabhidhAnataH // 267 // yadi tAbhyAmRSibhyAM bhoH ! pIte sindhusuraapge| dazatailaghaTApAnaM tadA kaste na manyate // 268 // gajacarmadRtistAdRg mayoDaikAkinA katham / grAmaM nItA ca tatredaM garuDAkhyAnakaM zRNu // 269 // kAzyapasya RSeH patnayo dve kadrU-vinatAhaye / tAbhyAM parasparaM cakre paNabandho'nyadedRzaH // 270 // " kArya dAsyaM tayA'nyasyA yA paNena vijIyate / athavA'tra samAnIya dAtavyamamRtaM drutam // 271 // tataH kadrA jitA dAsyaM vinatA tanvatI bhRzam / tayA vimAnyate nityaM sapatnIti virodhataH // 272 / / AjanmadAsabhAvena vinatA duHkhitA'dhikam / garbhabhArAlasAGgI ca suSuve sA'NDakatrikam // 273 / / autsukyAd dAsyamokSAyaikasmin bhinne tyaa'nnddke| vRzcikAnnirgatAn vIkSya viSAdo vidadhe'dhikam // yasyA daivahatAyA me prasUtirajanIdRzI / kathaMkAramahaM pAraM tad yAsye dAsyavAridheH // 275 // 25 kAlaM kiyantamapyeSA vyatikrAmyAtiduHkhinI / AzAnibaddhavAntA'NDaM dvitIyaM vintaa'bhint||276|| tasmAdanUrurnirgacchan sakhedaM smAha mAtaram / kimakANDe dvitIyANDamautsukyAd ghimide tvyaa||277|| apUrayiSyaM te'vazyamahaM mAtarmanorathAn / cedajaGgamakAyo nAbhaviSyaM tvadabhAgyataH // 278 // tasmAt tRtIyamaNDaM tvaM ciraM rakSa vicakSaNe! / asmAd yo bhavitA sUnuH sa te duHkha hrissyti||79|| so'nUruH sArathizcakre rathe kiraNamAlinA / vinatA'pi tRtIyANDaM pUrNa matvA'bhidat svayam // 28 // * tasmAdAvirabhUd bhogikulakAlo mahAbalaH / garuDo vinatAkhAntamahodadhisudhAkaraH // 281 / /

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4. zazakathitaM kathAnakam / zaizave'pi hi sa krIDan nijAhisutamRtyukRt / vilokya kadrA vinatA pratyahaM klizyate'dhikam / / 282 / / vinatAmacanIreNa siJcantImavanItalam / vilokya garuDaH smAha mAtaH ! kiM rudyate tvayA ? // 283 // sA'pyUce jIvitasyArthe sapanyA dAsyamAzritA / tadAdezaM bhayabhrAntA karomi prativAsaram // 284 // tacchrutvA garuDo'vAdId dAsyAt tvaM mucyase katham ? / sA'pyUce yadi vatsa ! tvamamRtaM sphuTamAnaya // tat kvAstyambeti pRSTA sA''caSTa vetti pitA tava / sa cAzrame badaryAkhye tapyate dustpNtpH||286|| tatkSaNAd garuDastatra gatvA pAdo'namat pituH / jJAto'dhyakSeNa tenApi karaspanmimaiSa tuka // 287 // tAtAhaM kSudhayAkrAntastanme vitara bhojanam / ityukto vainateyena kazyapastamabhASata // 288 // itaH samIpage padmasarasyasti mahAgajaH / yojanadvAdazAyAmastanmAnaH kacchapastathA / / 289 / / kopATopotkaTAvetau yudhyamAnau parasparam / kurvAte sarasaH kSobhaM manthAdrI iva jaGgamau // 290 // tau vyApAdya yathA svairaM bhuGkSa chindhi kSudhAvyathAm / gatvaikena krameNAtha tau hatvA tena bhakSitau // 291 // " tataH pratinivRtto'sAvapazyad vaTapAdapam / pralayAmbudasaMvAdipakSikolAhalAkulam / / 292 // brahmabIjasamutpannA RSayo'dhyuSTa koTayaH / vAlikhilyAbhidhAstasyA'dhastAd vidadhate tapaH // 293 // garuDo yAvadArUDho bhagnastAvad vadrumaH / tena caJcavA gRhItazca munInAM mRtirastu mA / 294 // samutkSipya brajan vyomAcchAdayan vismayAkulAn / surAsurAn prakurvANaH so'mucat sindhukAnane // taTAlaskRtA bhUmirjanailaGketi socyate / yA nizAcararAjasya prasiddhA te mahApurI // 296 // // vato himAcale gatvA pitaraM garuDo'vadat / dantikAMdanenApi bubhukSA me na jagmuSI // 297 // niSAdAn khAda teneti prokto jagdhvA sa tAMstataH / etyAkhyat kazyapaM tAtAmRtaM kvAsti samAviza / / so'vAdId vatsa pAtAlasaptakAdhAsthakuNDake / dhagadhagiti jAjvalyamAnAnau taddhi vartate // 299 // sAvadhAnaH svayaM tacca devAyaistatra rakSyate / ato'mRtaM na kenApi gRhItuM zakyate'rbhaka ! // 30 // tatprAptau ko'pyupAyo me tAtAstIti tadIritaH / sa AkhyadAjyasakSaudradhyambhobhiranAratam // 301 // " kRzAnau tarpite vatsa ! labhyate yadi vA na vA / prApte'mRte'pi jAyante tatroprA vinraashyH|| yugmam // iti kazyapavAkyena vainateyena satvaram / gatvA madhvAdibhirvahniH saMtal paritoSitaH // 303 // aminA prINitenAsyAmRtakuNDaM pradarzitam / tenApyAdAya pIyUSaM maMkSu tasmAd vinirgatam // 304 // tadrakSakasurairyuSTaM yat pakSI kuNDato'mRtam / AdAya yAtIti zrutvA cukSubhutridazAdayaH // 305 // tataH sarvAbhisAreNa surAH praharaNoddharAH / kolAhalaravairAzAH pUrayantaH samantataH // 306 // 'bhinta chinta hantA''hantAtrApi mA'muM ca muJcata / iti jalpaparAH krUrAH saMbhramAt te tamanvaguH // trayastriMzatkoTidevA veSTayitvA'tha taM jaguH / hato'si re sudhAcaura ! ka yAsyasyasmadaprataH // 308 // ekataH sakalaM vizvamanyatastveka eva saH / samaraM kartumArebhe kAtaradravaNauSadham // 309 // sa pakSI pakSaghAtena caturdikSu divaukasAm / lakSaM sahasra koTIMzcAnayat kInAzapattanam // 310 // garuDasya surANAM ca yuddhaM pIyUSahetave / jajJe sma vismayadhvaMsi vizvAzcaryakaraM tathA // 311 // 1B bhinncchichtaahntaa| 2B palAyanauSadham /

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dhUrtAkhyAnasaMskRtabhASAntaram / tataH samUho devAnAmekena vinatAbhuvA / trasto raNAGgaNAd dikSu balivannirmame'khilaH // 312 // athendrastridazAn bhanmAn dRSTvA jvAlAzatAkulam / mumoca kulizaM ghoraM vighAtAya garutmanaH // 313 // taha traM vajrasArAbhyAM pakSibhyAM pakSiNaH ptt| bhAgyAdeva divo bharturnAgAt khaNDasahasratAm // 314 // kimapyazaninA tena cicchede bhoH surA iti / tatpratyayAya pakSaM sa cazcavotpATya hyadarzayat // 315 // OM tato dandahyamAno'sau kezavaH kopavahninA / dvAdazArkaprabhaM cakraM lAtvA taddhataye'calat // 316 // bhItabhItAH sasaMbhrAntA hA hA kimiti' lApinaH / maharSayastato gatvA viSNumevaM vyajijJapan // 317 // sasurAsuralokasya svAmI sarvagato bhavAn / nIcavannirapekSaH kiM garuDaM pratidhAvasi ? // 318 / / tavaiSa garuDo bandhustyaja kopamataH prabho ! / vyAmUDhamlecchavad gotraM mA naya kSayamAtmanaH // 319 // RSINAM tadvacaH zrutvetyacyuto'cintayad hRdi / kathaM krodhAnmayA bandhurhA hA ! vyApAdito bhavet // 320 // 10 krodhAgnivihvalIbhUtaH puruSo jJAnavAnapi / kRtyAkRtyaM na jAnAti tadetaiH sAdhu bodhitaH / / 321 // jAte tatastayoH sandhau rathIcakre sa cakriNA / dattvA'mRtaM ca mAtA'pi pakSiNA'moci daasytH||322|| kumbhikarkavaTAstenotpATitA yadi pakSiNA / dRterutpATanaM tat kaH zRNvaMstava na manyate // 323 // saptAhaM durdine viSNuradhAd govarddhanAcalam / tat tvaM tailabhRtAM bandho ! dRti dharasi no katham / / 324 // kapibhirbandhane setorukSipyokSipya parvatAH / bahubhyo yojanebhyo'thAnIya kSiptAH payonidhau // 325 // 15 azokavanikAbhaGge hanumAnuzAkhinaH / helayaivAbhinat kopAdityudantaM vibhASayan // 326 / / pAdaponmUlanAnItatamAyAstvattanUbhuvA / dRteH ko vismayaM dhatte vada dhUrtaziromaNe ! // 327 // yugmam / / // iti dhUrtAkhyAne caturtha zazoktaM kathAnakam // [5. khaNDapAnAkathitaM kathAnakam / ] evaM niruttarIbhUtaH zazaH khaNDAmabhASata / svAnubhUtaM tvamapyartha dhUrttike ! brUhi kizcana // 328 // " sA'pyavAdId vadAmyeva bhavatAM purataH param / namataitarhi matpAdau yadi tad bhojayAmi vaH // 329 // dhUrtAstAM smAhuraNyAH smaH puruSeSu kathaM nu te / mahilAyAH puro dInaM ghUmo bhojanahetave // 330 // ISad hasitvA sA smAhAkarNayadhvaM sakarNakAH / AkhyAnakaM mayA''vIrNa varNyamAnaM ca sUnRtam // 331 // yauvanodayasaJjAtalAvaNyotsekazAlinI / ratirUpA smaronmAdazuNDA raNDA'bhavaM purA // 332 // rasyadA'hamRtunAtA prasuptA maNDape zucau / pavanena yathA khairamupabhuktA vilAsivat // 333 / / 35 rupAta suto mayA'sAvi tatkAlaM so'pi mAM balAt / mutkalApya kSaNAt kvApi jagAma svapnadRSTavat / / mada yUyaM brUta kiM satyaM yadyevaM sthusta nudbhavAH / tadA kA'pi na jAyeta raNDA paNDitamAninaH // 335 / / A kimpi|

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5. khaNDapAnAkathitaM kathAnakam / [atha mUladevAdidhUrtakRtaM khaNDapAnAkathanasamAdhAnam / ] mUladevo'tha tAM smAha - zrutiSu zrUyate yataH / jAtaH kunyA bhImaseno'JjanayA hanumAnapi // 336 // kaivartIkukSijo vyAsaH parAzaramunerabhUt / kAryeSu mAM smarermAtarityuktvA sa vane yayau // 337 // jAtA yojanagandhA'pyakSatayonirmunergirA / vicitravIrya sA'sUta bhUtvA sAntanuvallabhA // 338 // vicitravIrye vyApanne kRSNadvIpAyano muniH / tatrAjagAma mAtrA'sau smRto yojanagandhayA // 339 // / ThayAso'bhANi tayA vaMzaH putrAbhAvAd vinazyati / tathA yatakha vatsa !tvaM kulaM saMvarddhate ythaa||340|| uddadhe tena vaMzo'yaM pANDaM janayatA nRpam / dhRtarASTraM ca rASTrezaM viduraM vidurottamam // 341 // rantyA prajAvatIstisro vyAsaH sNjaatjaatkH| zazApa hA tapobhraSTaH kRtAdhAbhiH kRto'smyhm||342|| uktazcaAhAre caiva yonau ca bIje karmaNi yA shuciH| tasya kRtsnagatasyApi na pApe ramate mtiH|| 343 // bhImAJjaneyavyAsAnAmutpattiryadi sunRtA / tadA vAyoH sutAvAptiH prasavaste na kiM mataH // 344 // punaH khaNDA'vad gaurI devI me samabhUt sakhI / tayA maro dade mahyaM devaadyaakRssttikaarkH|| 345 // tena saubhAgyamatreNAkRSTastIprakaro raviH / mAM ratvA sabalaM putraM janayAM cakRvAn javAt // 346 // SaDazItisahasrANi yojanAnAM mahIM raviH / dahatyahaM kathaM tena na pluSTA'nena saGgatA // 347 // // kaNDarIko jagAdAtha kuntI cedarkasaGgatA / na pluSTA tat kathaM raNDe khaNDe tvaM vAse'munA // 348 // punaH sA'bhASatAkRSTo jvalanaH prajvalan mayA / mAmAliGgaya mahAvIrya so'pyutpAditavAn sutam // 349 // ravirdahati dUrastho'Ggalagnastu hutAzanaH / tat tenAhaM kathaM naiva dagdhA saMbhogasaGgatA // 350 // elASADho babhANaitAM dhUmorNA yamagehinI / hotuM hutAzanAvAsaM gatA reme'gninA tu sA // 351 // yamaM svapRSThamAyAntaM vIkSyApUrNe rate'pi sA / apasartumanIzA'gniM papau! nIramivAturA // 352 // // asamAptaratAM tAM tu zithilIkRtamekhalAm / gilitvA pretarAjo'pi yayau tridazasaMsadi / / 353 // svAgataM svatRtIyasya taveti vyAkRtaH suraiH / yamo vavAma dhUmorNA tanmukhaM cAzuzukSaNim // 354 / / yamenAnugato dhAvaJcamirnaSTo vanAntare / gajaistadane na proktaH sa tadvAcamato'cchidat // 355 // yadi pretapaterjAyA na dagdhA vahnisevinI / he khaNDe ! tvaM hutAzena bhoginI dalase katham 1 // 356 // punarbabhASe khaNDA tanmayairAvaNavAhanaH / AkRSTaH so'pi saMgatya mayA'jIjanadaGgajam // 357 // / devIrindraH kathaM tyaktvA'vizrA mAmupabhuktavAn / zazo'thocena kiM reme so'halyAM gautmpriyaam||358|| gautamo'tha ruSA'Gge'sya kRtvA bhagasahasrakam / samAdideza duSTAtmA baTuMstadupabhuktaye // 359 // kandarpAniprataptAnAM badanAmavivekinAm / sakAzAt tridazAdhIzastAmavApa viDambanAm / / 360 // prasAdivAt tathA devairgautamAdatibhaktinA' / akSNAM sahasraM tatsthAne kAryate sma kathaJcana // 361 // 1A prsaaditaadyo| 2 B bhktitH|

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dhUrtAkhyAnasaMskRtabhASAntaram / kuntyA'pIndrasya saMbhogAdarjunaH suSuve'GgabhUH / tadbhogAt te sutotpatti ko na manyeta zAstravit // 362 // pitaraM mAtaraM vaMzaM nAma vittaM ca vittha me ? / iti te khaNDayA pRSTA mUladevastato jagau // 363 // abhUstvaM pADalipure nAgazarmadvijAtmajA / somazrIkukSibhUH khaNDAbhidhA gautamagotrajA // 364 // soce nAhaM bhavantastu bhrAntAH sadRzarUpataH / kintvasmi rAjarajakaputrikA dagdhikAbhidhA // 365 // bahudhAnyasamAkIrNa nAnAvAhanabhAsuram / dhanairamAnaiH saMpUrNa madvezma nRpavezmavat // 366 // bhUpate rAjalokasya zuddhAntasya ca zilpinAm / sahasreNa yutA'jasraM vAsAMsi kSAlayAmyaham // 367 // aMzukaiH zakaTIbhRtvA zilpisAhasrikA yutA / taraGgiNI taraGgAlimAlitAmanyadA'gamam / / 368 // chaTacchaTiti hu~ chaM ca zeNTikAzabdapUrvakam / zilpinaH kSAlayAmAsurvAsAMsi mama sevkaaH||369|| vistAritAni vasrANyAtape zoSayituM bhuvi / raudreNa vAyunA tAni hRtvA nItAni ca kvacit // 370 // // tato bhRtyA mayA proktA naMSTvA gacchata re ! rayAt / vanApahAradoSo'stu mamaivAto gatA hi te||371|| godhArUpamahaM kRtvA narAdhipatimItitaH / sacchAyaM nagarodyAnaM rajanyAM samupeyuSI // 372 // krIDantaM tatra ca svairaM pazcimaprahare nizaH / acintayaM jano mAMsacarmArthI mAM haniSyati // 373 // tannirbhayA ka tiSThAmItyevaM cintAJcitA satI / abhrAmyaM ramyamArAmaM ko hi mRtyorbibheti na // 374 // godhAspaM tatastyaktvA raktAzokamahIrahaH / pArzve cUtalatArUpaM vidhAya sthitavatyaham // 375 / / // tamaHpaTAvRtA rAtrirasatIva vilAsinI / vyatItA yat tato bhAnuruvagAt panavodhakRt // 376 // vanApahAravRttAntaM zrutvA rAjA janAdatha / paTahodghoSaNApUrva rajakAnAM vade'bhayam // 377 // tato'haM paTahArAvaM zrutvA zrutipaTAmRtam / hitvA cAmuM latAbhAvaM punaH svaM rUpamAzritA // 378 // zakaTInAM varanAthaM tAsAM carmamayaM nizi / zRgAlamaNDalanAtaiH sakalaM paribhakSitam // 379 // tadanviSTikRtA pitrA mama tatraikamaunduram / pucchaM labdhaM tataH sarva varatrAdyaM vinirmitam // 380 // " tadbhoH ! satyaM kimatanna tayetyuktaH zazo'vadat / yanna liGgAntagau brahma-viSNU tatko'tra vismyH||381|| rAmAyaNe'pi hi hanumallAjUlaM zrUyate mahat / yena lakApurI dagdhA veSTayitvA'gninA'khilA // 382 // iyatpramANaM lAlaM yadyAsId vAyujanmanaH / tadA mUSakapucchAt kiM saMbhaveyurna rajavaH // 383 // zrUyate hi zrutau rAjA'raNye gandhArikAvaraH / yanmAnavavapustyAgAdabhUt kurubakaThThamaH // 384 // nahuSo nAma rAjA'bhUd vikramAkrAntazatravaH / zakro'pi vanabhid yena jigye kAtaravad raNe // 385 // 21 adhikSipan punaH zatru roSataH surasUriNA / zaptaH so'bhUdajagaro'raNyadeze mahAvapuH // 386 // anyeyuH pANDavA rAjyabhraSTAstatra vane yayuH / tato bhImo bhramaMstenAjagareNAzu janase // 387 // yudhiSThiro'tha vijJAtodantastatsavidhaM mataH / tatpRSTaH saptapRcchAnAM pratyuttaramadAzca saH // 388 // udagIrNabhImaH zApAntAd vimucyAjagarI tanum / punarnahuSarAjA sa babhUva bhuvanAdbhutaH // 389 // yadyetat sakalaM satyaM tadA khaNDe bhavatyapi / godhAcUtalatAbhAvAnArIbhUtA kimadbhutam // 390 // 1B abhrAmyahamArAmaM / |

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5. khaNDapAnAkathitaM kathAnakam / punaH sA''khyad dhUrtarAjA! manyadhvaM ced vaco mm| satkaromi tadA sarvAn pracurairbhojyapAnakaiH // 391 // jayAmi cet kadAcid vaH kayAcinmedhayA tadA / sphuTaM kapardikAmAtraM mUlyaM na prApsyatha kvacit / / tepyUcurenAM sotkarSAH ko'smAn dhUrttaziromaNIn / jetumISTe parameSThi-zaMbhu-viSNusamo'pi san // 393 / / tatastAn' smAha sA khaNDA mutkalApya mahIpatim / purAgatAMzukArthe'haM paryabhrAmyaM dizo daza // 394 // anyacca dAsAzcatvAro naMSTvA kvApi gatA mama / gaveSayantI tAMzcAtra sAMprataM samupeyuSI // 395 // / bhavantaste ca me dAsAH sicayAzcauritA na hi / yadyetannaiva manyadhvaM taddattabhyo'dya bhojanam // 396 // hINahINAstataste'pi khaNDA smAhurakhaNDitAH / tvayaiva khaNDitA vizvajanatAvazcakA vayam // 397 // bhArasyaitasya yogyA'si tvameva varavarNini ! / yayA prajJAmadonmattA vijitAH puruSA api // 398 // autpattikyA mahAbuddhyA vijitA yat tvayA vayam / atastvaM prArthyase dehi dhUrtAnAM pAnabhojane // 399 / / omityudIrya sA bhUtapizAcapretasaGkulam / ghughUtkAradurvAraM pheraphetkAradAruNam // 40 // kalevaravinirgacchadvazArudhirapicchilam / jvalaJcitAnalajvAlaM gRdhrapakSiraNotkaram // 401 // zUlAprotAGginAmavitrAsitajanavajam / durgandhagandhavAhopaM khaNDA pitRvanaM yayau / / 402 // -tribhirvizeSakam // tatrAkhaNDitasarvAGga bAlamekaM gatAsukam / tatkAlamuktamAdAya khaNDA'sinapadambhasA // 403 // sA vAsasA tamAcchAdya vidhAya ca susaGgatam / unnayinyAM dhanADhyasya zreSThinaH sadanaM yayau // 404 // tatrendrasadRzaH zreSThI dRSTvA zreSThajanairvRtaH / tayoce durgatasyAhaM duhitA'smi dvijnmnH||405|| abandhurazaraNyA'dhasUtA vaidezikI dvijI / atastvAM prArthaye dehi dhanaM bAlakavRddhaye // 406 // sa zreSThI vyAkulaH kArye bhUyo bhUyo'rthitastayA / krudhA bhRtyAnuvAcainAM niSkAzayata durgatAm / / 407 // atidInaM jhuvANA'pi dhRtvA taiH preritA'tha saa| bhUmau nipatya cAkrandan mArito hA ! madaGgabhUH // 408 / / anAthAyA mamAdhAro bhAvIyeSa manorathaH / ha hA durAtmanAnena bhano chariva dantinA // 409 // // pazyavAgatya bho lokAH! vaNijA dhanagarviNA / mAritastanayaH zuddhabrAhmaNyA mama pApmanA // 410 / / tADayantI ziro vakSa udaraM ca punaH punaH / bhagnaM bhikSAkapAlaM me'neneti vilalApa sA // 411 // vihasto'tha samutthAya zreSThI parikarAnvitaH / vilapantIM babhANaitAM mA tvaM kolAhalaM kuru // 112 // mudrikAM me gRhANainAmAttabAlA vraja drutam / muzca zokaM ca dattA te guryeSA jIvikA mayA // 413 / / karNikAM sA'pyupAdAya zizuM ca niragAd gRhAt / zreSThyapi pragatApAyo dAnamAhAtmyato'jani // 414 // 3 // khaNDA'pi muditA svAnte taM tyaktvA mRtamarbhakam / prollasanmaNimANikyaratnahaTTamagAt tataH // 415 // vikrIya tAmathAdAya vastUni vividhAni sA / yathecchaM bhojayAmAsa dhUrtAn zrAddhe dvijAniya // 413 / / taiH sarvaistoSasaMpUrNamanaskaiH setyavarNyata / khaNDe ! tavaiva jAnImo jIvitaM suSTu nizcitam // 417 / / yat tvayA dhUrttavargo'yaM vijitya pratibhodayAt / kSudhAtaH prINito bADhaM vipulaiH paanbhojnaiH||418|| suzikSitA api budhAstanna jAnanti jalpitum / azikSitA api vacaH pravadanti yadanAH // 4193 // 35 1A tato'smAn / 2 B santi yaizcoritAni hi|

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dhUrtAkhyAnasaMskRtabhASAntaram / adhItya zAstrANi vimRzya cArthAn na tAni vaktuM puruSAH smrthaaH| yAni striyaH pratyabhidhAnakAle vadanti lIlAracitAkSarANi // 420 // // iti dhUrtAkhyAne khaNDapAnoktaM pazcamaM kathAnakam // / candrendravAyubhAvanto dharmAgnimunayo'pi ca / duHkhitA' nikhilA loke mmarApasmArarogiNaH // 421 // jIvAMstasthAva bhivyApya sUkSmasthUlavibhedataH / bhagavAn sarvago viSNuriti zrutiSu gIyate / / 422 // yadi sarvagato viSNuriti satyaM vaco bhavet / tadA smarAturo gopIH kiM cintayati kAmivat // 423 // asaMbhAvyamidaM loke zrUyate yadumAmalAt / mRto'pi prAptacaitanyaH paprathe sa gaNAdhipaH // 42 // ityete laukikAlApAH purANAdisamudbhavAH / vizIryante pratipadaM vicakSaNavicAritAH // 425 / / "ato'do laukikaM vAkyaM rAsabhocAravad bahiH / ramyamantazcinyamAnaM punastuSavasAkulam // 426 // // iti dhUrtAkhyAnasaMskRtabhASAntaraM samAptam // 1B vRssitaa|

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bAlAvabodharUpagUrjara bhASAmaya dhUrtAkhyAna kathA // zrIgaNezAya namaH // sadupaniSadanekagranthasandarbha bhAbhiH, parasa mayatamAMsi dhvaMsayitvA'putAd yaH / gaganamitra dinezaH zAsanaM jainametat, sa jayatu haribhadrasUriruhAmadhAmA // 1 // Y iha hi caturdazazatasaMkhya prakaraNapraNetRbhiH sitapaTapaTalamukuTamaNibhirniHpratibhapratibhAprAgalmyaparAjitAmarasUribhiH zrIharibhadrasUribhiH mithyAdRSTibhiH praNItAnAM samayAnAm, antarvANicetazvamatkArakAraNa (riNI) bhiH svopajJa sayukta (kti) zreNIbhiH kusu ( sa ) mayatAM samyag vyava. " sthApya, taireva pratipAditAnAM bhArata- rAmAyaNa- purANAdInAM kathAgranthAnAmapi dhUrttAkhyAnasamAnatAM darzanAya nirmitasya dhUrttAkhyAnAbhidhAnasya kathAgranthavizeSasya lokabhASAyAM kathA likhyate // F zrImAlavadeze' ujeNI nagarI, tehanai uttaradisiM eka udyAna chai / te udyAna mAMhiM' mAyAvaMta, akArya karavA nityadyabhavaMta, nirdaya, strI bAla vRddha vizvAsInA ghAtaka, vaMcanApaMDita, dhUpa aMjana cUrNa yogeM avaskhApanI, sthaMbhanI pramukhavidyAI, svarabheda, veSabheda, varNabhedeM karI jaganA chetaraNahAra, IS aneka dhUrtta kihAMthI bhamatA AvyA / te mAMhiM mUladeva 1, kaMDarIka 2, elAsADha 3, sasa 4, khaMDavaNA 5 - e nAmI pAMca adhikArI / ekekAne pAMca saya pAMca saya dhUrttano parivAra chai / pAMcamI khaMDavaNA strI adhikAriNI / tehane pAMcasaya dhUrttA" strIno parivAra chai / ima sarva hara dhUrta ekaThA thayA / te mAMhiM" mUladeva sarvalokavikhyAta, sarva dhUrtaziromaNi cha / havai " mahAvarSA Avyau / teNai kUpa taTAka vApI sarva jala sthAnaka bhaya / cikkaNa" kaha karI duHsaMcAra catuHpatha mArga thayA / vRSTiAkula thayo loka koI pharI na sakai / pahacai" varSAkAle te dhUrta bhUpa tarasI" pIDyA huMtA kahivA lAgA je- 'loka koI cohaTai" nathI Avato, jehane chetarIna dravya ANInai bhojana karoI / ApaNaneM bhojana kuMNa" diI' / tivAre mUladevai kayuM je- 'je je sAMbhalyUM hoi, anubhavyaM hoi te te kahau / je dhUrta sAMbhalInai e asatya kima mile", eha kahai te A sarva dhUrttameM bhojana diI / anai je bhArata rAmAyaNa purANAdikamai vacanai se bAta samarthaha", A 1 P dezi / 2 P teha | 3P dizeM / 7P pAMcasaiM 2 / 8P haiM / 9 P teneM 13 I caukarNe kardameM / 14 P ehaveM varSAkAleM / make / 19 P samarthi / dhU. 7 20 4P haiN| 5 B udyAnanai ghari / 6 P akAryanA karanAra ! / 10 P strI dhUrtano / 11 P mAhi / 12 PrahaveM / 15 P taraseM / 16 P caudeM / 17 A koNa 19 P

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. bAlAvabodharUpagUrjarabhASAmaya - dhUrtAkhyAnakathA sarva mahAjananeM pratyaya upajAvai, te sarva dhUrta mAhiM mukhya mahAmativaMta jANavo / teNe bhojana na devu'- ehavaM mUladevai kyuuN| tivAre te kahivA lAgA je- 'e tumhe bhalaM kaDaM, tumhe vaDA mATai je anubhavyu hoi te prathama kaho' / [1,1-16] tivAre mUladevai kahivA mAMDayuM - 'yauvana samai huM vAMchita saMpadA vAMchato, mAsa cha lagi mAthai / jaladhArA dharUM, to mAharo svAmI prasana thaI, sakala saMpadA dIi-ima cItavI zaMbala leI chatra kamaMDala hAthi rAkhI svAmIneM sevavA cAliu / mArgi jAtAM aTavI mAMhiM eka madonmatta, parvatasamAna, vanagaja sAhamo Avato dITho / te dekhI bhayakaMpamAnazarIra nirAdhAra asaraNa, hivai' kihAM paisU-ima ciMtavato huM maraNa bhaya karI sahasA kamaMDala mAMhiM paircha / te vanagaja piNa eka zuMDAdaMDa UMco karI roSAruNa locana hu~to mujha puThi ja utAvalo kamaMDala mAMhiM paiThaM / pachai huM bhayabhrAMta " hu~to saghalai pAsi" nAsavAno ThAMma joto, te kamaMDala mAMhiM te vanagajanai cha mAsa lagi bholavI, kamaMDalanI grIvAi thaI bAhira nIkalyo / vanagaja piNa mAharI puThi" nIkalyau; piNa' kamaMDalanI prIvAne chidraiM eka vAlAgrano aMta valagI rahyo / teNiM karI tihAM aDakyau mAharI puThi nAvI .sakya" / pachai huM Agali" cAlyau / mArgi agAdha jalabharI gaMgA nadI AvI, te dekhI Akula thayo / pachi anya mArganai abhAvai te gaMgA nadI bhujAiM tarI svAmInai ghare" jaI kSudhA tRpA " sahato, cha mAsa lagi mAthai jaladhArA dharI, mahasena svAmIneM vAMdInai ujeNI nagarIiM AvI tumhaneM milyo / jo e satya hoi to mujhane dRSTAMti karI pratIti upajAvo / jo e asatya jANI na mAno to sarva dhUrttane bhojana dio| ehavaM mUladevatuM vacana sAMbhalI kaMDarIkai kahiuM je- 'bhArata-rAmAyaNAdika" jANato hoi, te tumhAraM vacana asatya kima kahaI' / tivAre mUladeva kahivA lAgo je- 'jo e satya chaI to kahau, hAthI kamaMDala mAMhiM kima mAyo / te kamaMDala mAMhiM cha mAsa lagi hAthI kima 0 bholavyau, te kamaMDalathI hu~ ana te hAthI grIvAne sUkSma chidre kima nIkasyAM", nIkalatAM" hAthIno bAlApano aMta kima vilago, meM gaMgA nadI bhujAI kima tarI, phima cha mAsa lagi kSudhA tRSAI pIDite meM mAthai jaladhArA dharI;-e sarva vAta zAstrasAkhi melI Apau' / [1,17-34 ] // iti dhUrtAkhyAne mUladevenoktaM kathAnakam // hivai kaMDarIka kahai chai -- 'bhArata rAmAyaNAdika graMthe je sAMbhalIi chai, te jo satya chai, to 4 tAharu e vacana satya chai; anai je hAthI kamaMDala mAMhiM kima mAyo ityAdika te je pUchayAM tehay samAdhAna sAMbhali / brahmAnA mukhathI vipra nIkalyA, bAMhathI kSatrI, sAthalathI vaizya, pagathI zUdra nIkalyA / jo brahmAnA zarIra mAMhiM etalo loka mAyo to tuM anai vanagaja vehuM kamaMDala mAMhiM kima na maauN| 1 / [1,35-38] tathA je IzvaranA liMganuM mAna kADhavA divya varSa sahasra lagi brahmA UMco cAlyo, viSNu nIco 1A kaaN| 2P tivaareN| 3P maattiN| 4 P maaNddiuN| 5P jovana smye| 6P caalii| 7 hveN| 8 P pesyuM / 9P mAMheM paihtthau| 10 P pche| 11 P paase| 12 P puutthli| 13 P pni| 14P rhiuN| 15 P addku| 16 P sku| 17 P aagl| 18 P abhaaveN| 19P prN| 20 P bhaaviuN| 21 P rAmAyaNa maahi| 22 P niisryaa| 23 P niisrtaaN| 24 P brAhmaNa /

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bAlAvabodharUpagUrjarabhASAmaya -dhUrtAkhyAnakathA 51 cAlyo, tohi je liMganuM mAna nAvyu / te jo liMga pArvatInai zarIre mAyuM to kamaMDala mAhiM hAthI mAyo ihAM koNa doSa / 2 / [1,38-40] tathA bhArata mAMhiM vyAsa Rpi kahiu~ chai je- 'vaMzanai parvi kIcaka sau bhAI upanA / 'kIcaka' zabdaI vaMza kahIiM tihAM UpanA mArTi kIcaka nAma thayuM / tehanI kathA sAMbhali'-varATa rAjAnI apramahiSIiM putranai arthe AzrameM jaInai eka RSi ArAdhio / teNai RSi kRpA karI abhimaMtrita eka carU ApInai kahiu~ je- 'vana nikuMja mAMhiM jaI harSai carU khAje, tAharai sau putra thAsyaI' / pachai varATa rAjAnI agramahiSI vaMzajAla mAMhiM jaI besI te carU jamInai potAnai ghari gaI / ehave te vaMzajAla mAMhiM bahukAlano tapa karato gAMgIla nAmA eka RSi chai, teNiM taTAke vastrarahita snAna karatI eka devAMgaNA dIThI / tehaneM darzaneM muni kSobha pAmyau / teNe karI eka vIryabiMdu kharinai heThaI' vaMzanI nAli mAMhiM paDyau / tethI navagaja sahasra pramANa balavaMta kIcaka nAmai putra thayau / jima " jima RSi te devAMgaNAne jovaI tima tima vIryabiMdu vaMzanAlI mAMhiM khari kharinai je paDyA, tethI nivANU putra UpanA / pachai te RSi te zatavIryabiMdusahita vaMzanAli alagI mUkInai gayo / pachai te vaMzanAlI varATa rAjAi rakhAvI / teha mAMhiMthI sAMgopAMga sahita sau beTA nIsayA / te varATa rAjAnI agramahiSIi potaha putra karI lIdhA / te mATi tehanA beTA vaMzanAlI samutpanna kahivAya" chai / jo eka vaMzanAlI mAMhiM sau kIcaka bhAI mAyA to kamaMDala mAMhiM vanagajasahita tuuN| syA mATai na mAiM / 3 / [1,41-51] tathA Izvara varSasahasra lagi je jaTA mAMhiM gaMgA bholavI, te jo satya chai, to te cha mAsa lagai kamaMDala mAMhiM vanagaja' bholavyo e asatya kima hoi / 4 / [1,52] tathA te kahiu~ je- 'kamaMDalanI prIvAI hu nIsayau kima, anai vAlAmanai aMtihAthI valagI kima rahyau ?, te upari purANa- eka vacana sAMbhali- jagatkartA viSNu AkAza, bhUmi, mAruta, vahi, trasa, thAvara, manuSya, deva, tiryaMca rahita mahApralaya kAliM jalazayyAI baisI tapa karaha chai / tehaneM karane kamali rahyau brahmA nAbhi thakI kamaMDaladaMDa hAthI dharato bAhira nIsayau / kamala viSNunI nAbhi valaguM / jo brahmA viSNunI nAbhiM nIkalyau anai kamala valagI rahyau-e satya chai, to tuM kamaMDala prIvAI bAhira nIsakho" anai hAthI vAlApanai aMti valagI rahyo, ihAM syuM ayukta ch| / 5 / [1,53-57] tathA guNAkara mUladeva taI pUchiuM je- 'hu~ kamaMDala grIvAi kima nIkalyau ?, te Upari bhAratanuM vacana sAMbhali- koika samayai brahmAnai tapa tapatAM divya varSasahasra thayu, te jAMNI kSobha pAmyA huMtA sarva devatAi ciMtavyu"je ehaneM vighna kiijiN| tivAraiM iMdrai kayuM je- 'pUrvai mahesIiM amikarma karatAM urddhasthitavatrA pArvatI dIThI / tethI kSobhanA thaI, te velAi vIrya khayu, teNi kharaDAyuM vastra khaMkheratA, vIryanA biMduA pAsiM kalasa hato te mAMhiM paDyA / tethI droNAcArya Upano / ima jo. Izvara strIthI kSobhyo to bIjo kuMNa kSobha na pAmai ? / eka vItarAga devAdhideva trailokyapUjita zrImahAvIra vinA sakala loka strIiM vasa kasau / gautama, vaziSTha, pArAzara, jamadagni, kAzyapa, 1P tohe| 2 PkarSa ch| 3P su| 4P saaNbhl| 5P aaraadhyo| 6P naameN| 7 PheddN| 8P juuii| 9P nvaann| 10 P khivaaii| 11 P niklyau| 12 A ciitbuN| 13 P yehani / |

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52 vAlAvabodharUpagUrjarabhASAmaya-dhUrtAkhyAnakathA agasti pramukha mahARSi, amarAdhipa, hariharAdika sarva mahApuruSaneM strIiM dAsa karyA / te mATaiM trilottamA svarga vesyAnai kahyau je - 'brahmAne tapathI 'cUkAviI' - ehavU iMdranuM vacana sAMbhalI trilottamA vezyA adbhuta vepa zrRMgAra karI, brahmAnI Agali, pInonnatathana kucakalazayugala udaradeza nAbhI bhAga bhujamUla jaghanasthala nitaMbabiMba dikhADatI nAcavA lAgI / te nAcatI dekhI ekendriyanI pareM 5 sakaleMdriya vyApAra rahita huto nirnimepa snigdha locane brahmA jovA lAgo / tivAriM tehay savikAra mana jAMNI, trilottamA dakSiNapAsai rahI / tivAri brahmAi te dizi bIjaM mukha kayuM / ima pazcima dizi trIju mukha karAM / ima uttara dizi cau, mukha kasyuM / tevAri trilottamA UMcI utpatI, brahmAi paNi upari pAMcamu mukha kayuM / te velAi brahmAne madanaparavaza thayo dekhI IzvaraI nakhai karIne te pAMcamuM mukha ukheDyuM / tethI kopAMdha thayo hu~to brahmA, dakSiNa hastanI tarjanI AMgulIi karI // potAne bhAliM krodhathI Upano prasveda hato te mUkato huo| tethI balavaMta zvetakuMDalI nAmi eka puruSa nIsayau / te brahmAne vacaneM IzvaraneM puThiM mAravA dhAyo / tethI Izvara bhayabhrAMta huMto nAsato badaryAsana pAmyau / tihA niyama karatA viSNunai jaInai kahiu~ je mujhanai bhikSA Ali / tevAri viSNuiM potAne bhAlasthaliM rudhira sirA ughADI / IzvaraM brahmAnuM mastaka kapAla heThi dharyu / te mastaka kapAla, te rudhiradhArAI divya varSa sahasrai paNi na bharAi / pachai te rudhira IzvareM eka aMgulIiM 15 DohiuM, tevAri brahmAnuM mastakakapAla 1, viSNurudhira 2, IzvaranI aMguli 3,-e triNinai saMyo gai raktakuMDalI nAmi eka puruSa nIkalyau / te IzvaranI AjJAi skhetakuMDalI sAthi vaDhavA gayo / pachai te behu~naI viDhAtA eka divya varSa sahasra thayuM / pachai devatAI yuddha karatA nivArI, eka iMdranai, eka sUryanai ApInai kahiuM je 'bhAratakAli bhAratanu muddha vadhAravA manuSya loki e bihuMnA moka lajyo' / tivAra pachi bhAralAvatAra kAla Ave "hute, sUrya kuMtIne rUpa lAvaNyaI moha pAMmI bhoga2 vInai te raktakuMDalI puruSa garmi avatakhau / pachai pUre mAsi sannAha sahita kuMtInai kAni te puruSa prasivio" / tehay nAma karNa dIrcha / jo te puruSa kAni nIsakhau to tuM kamaMDalagrIvA kima na nIsarai / 6 / [1,58-84 ] tathA ne pUchiu~"je- 'agAdha jalabharI gaMgA nadI mai bhujAi kima tarI te upari pratI ticaM kAraNa rAmAyaNano vRttAMta sAMbhali - hanumaMta rAmacaMdranI AjJAi, sItAnI zuddhi lekA bAhAI" samudra sarI 25 laMkA nagarIiM gayo / sIvAi dhaNIno kusala samAcAra pUchInai kahilaM je- 'teM samudra kima tau|' tivAri hanumaMti kahiuM tava prasAdAsa pavanaprasAdAd bhartuzca te devi tataH prasAdAta / tribhiH prasAdairanugamya so'yaM tIrNo mayA goSpadavat samudraH // 1 // jo teNiM hanumaMteM bhujAi mahAsamudra tasyau, to tuM gaMgA bhujAi krima na utri|7| [1,85441 # sabhA teM RhiuM le-mai chammAsa lagi mAthaha jaladhArA kima bharI ?' e sapari pani dvijAnikalI zrutithI Avyu vacana sAMbhali-devatAi lokani hitami arthi prArthanA karInai gaMgAmeM kahi ko-'hUM ____1A cukaavi| 2P IzvareM nkheN| P bhaaleN| 4 P naameN| 5 P ReN| 6 P aal| 7 P iivri| 8 bddhtaa| 9P aaviti| 10P prsnyo| 11 P purch| 12P bhujAI! 13P lokaneM hitane athe|

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bAlAvabodharUpagUrjarabhASAmaya - dhUAkhyAnakathA 53 manuSya loka jA' / tivAri gaMgAi kahiuM je- 'mujhane gaganathI paDatI koNa dharI sakai ?' / IzvareM kahiu~ je - 'hu~ dharUM' pachai gaMgA paDI, Izvarai mAthai dharI / jo Izvari mAthai divya varSa sahasra lagi gaMgA dharI, to tuM mahApuruSa guNavaMta chammAsa lagi jaladhArA mAthai dharai, ihAM sI vaDAI ? / 8 / [1,89-93] // kaNDarIkenoktaM mUladevaM prati pratyuttarakathAnakASTakamidam // // iti dhUtokhyAne prathamAkhyAnakam // 1 // havai mUladeva kaMDarIkanai kahiuMje- 'haviM taI je dIrcha, sAMbhalyu, anubhavyu hoi te boli' / tevAri kaMDarIka bolyo- 'hu nAnhapaNi mahAavinIta mahAdurdAta, mATi mAtapitAi rIsiM gharathI kADhyau / bhamato bhamato dezanai aMti koIka' go, mahiSa, ajA, elaka, khara, karabha samAkula, puSpa phala samRddha, aneka vana khaMDa zobhita, mahAsamRddha gAmi gayo / tehaneM madhyaiM meghanikuraba samAna eka vaDa 10 vRkSa dITho / te heThe saprabhAva eka kamala nAmA yakSa chai / tehanI jAtrA pUjA karatA, snAna karI nirmala dhauta vasna pahirI, phala phUla caMdana dhUpAdika pUjopakaraNa leI pUjatA, mahAjana samUhanai vAMchita vara dIi chai / huM te yakSaneM praNAma karivA gayo / tihAM gAmanA loka ramatA dIThA / ehaveM akasmAt sannaddhabaddha kavacavaMta aneka Ayudha nAMkhatA, kalakala zabda karatA, coranI dhADi AvI paDI / tevAreM huM, samasta gAmanA loka, samasta go mahiSAdika pazu samUha, nAsInai cImaDA mAMhiM 15 paiTha / tihAe te lokai harSai krIDA karivA' mAMDi / coranI dhADie' gAmano loka nAme jANI pAchI pharI / ehaveM tihAM caratI eka bokaDI AvI / teNI te cIbhaDaM sahasA galiu~ / se bokaDI ekai alagiraha galI ! te ajAgara eka liMka paMsnigI slyau| pachai te liMka paMkhiNI uDIne te vaTavRkSa upari caDhI baitthii| ehaveM te baTavRkSa heThi rAjAnu kaTaka AvI UtayaM / rAjAno mAtoM paTTahastI, vaDa upari baiThI e liMka paMkhiNIno eka paga bhUmi laMbAto hato te sAthi, baDavAI jANIi / bAMdhiu / tevAreM teNaI mobAno praga UMco kasyau / te sAthiM cIsa nAkhato hAthI UMco taNAyo / te dekhI 'koI eka hAthIjai UpAhI yAgani lIi chaI' ima bUMba pAhatA mahAvata rAjA pAsi gyaa| tehanI bUMba sAMbhalI zama leI sabdavedhI aneka subhaTa dhAyA / teNiM zani nehalI prAMta mastaka chedyAM" / te hika paMkhriNI bhUmi par3I / rAjAi tehanuM peTa cIsavyaM / te mAMhiMthI ajagira bIsakhau / ajagira simA cIyo, je mAhithI bokar3I nIkalI / beinu paNi preTa kAmu, te mAMhiMthI jIbhaI jIkalyuM / 26 roineM cIya, te mAMhiMthI huM ane gAmanA loka ramavA thakA, mavAnA bAMsa hAni dharatA nIlasvA / bIjoe" sarva loka sarva pazusamUha nIkalyau / pachai ve sarva loka rAjAneM praNamI potA potAne ThAmi gayA / due UjepI nagarIe Avyau / e mai pratyakSa praNai anubhavyuM / jo na mAno to sarva dhUrttaneM bhojana dyo", nahItara graMtha sAkhi" pratIti pUjAvo [1,1-25] // iti dhUrtAkhyAne kaMDarIkrejoktaM kathAnakam // 1P koek| 2 P dhADa pddii| 3P petthaa| 4 P vihA~ teNeM loke| 5P krvaa| 6P dhADeM / 7PAmanA loka taatthaa| PehviN| 9 glyN| 10PdeMka pNkhnnii| 11 chedaayaaN| 12P biijoii| 13 P pazu paNa niiklyaa| 14 Pk pnni| 15 P diuN| 1GPA sAthai /

Page #141
bAlAvabodharUpagUrjarabhASAmaya - dhUrtAkhyAnakathA hivaI' elASADha bolyauM - 'e sarva satya chaI' / tevAri kaMDarIkai pUchyu - 'kahi, cIbhaDA mAhiM gAma kima mAyo ? / tevAriM elASADha kahivA lAgo je- 'syuM tai viSNupurANa nathI sAMbhalyuM, je ehavaM pUchai chai ? / te sAMbhali- pUrvi e jaga paMca mahAbhUta rahita jaliM ekArNava karI mUkauM hatuM / tihAM eka mahA moTuM iMDaM hatuM te jalakallola mAMhiMiM ghaNA kAla lagi gholAMtA phATuM / be 5 ardha thayAM, te mAMhiMthI eka arddha bhUmikA thayuM / jo te arddha iMDA mAMhiM sarva sura, nAraka, manuSya, catuHpada mAyAM to cIbhaDA mAMhiM gAMma kima na mAi ? / 1 / [2,26-30] tathA AraNyaparva mAhiM mAkaDa RSi yudhiSTara Agali potA, anubhavyu kahiuM chai te sAMbhalomAkaMDa RSi, yugAMta kAli jaliM ekArNava sakala jaga kari huMti, kallola mAlAi jala mAMhiM gholAto, trasa, thAvara, suranarAdika varjita e jaga joto, samudra samAna vistIrNa, meru samAna unnata, eka // vaTavRkSa deSato huo| tehanI zAkhA upari zayyAI baiTho eka rUpanidhAna bAlaka dITho / tehaneM RSiI kahyu- 'he vatsa jali taNAIza te mAdi A mAharai hAthi valagi' / ima kahI RSiiM hAtha pasArIo / te hAthi jhAlI, te bAlakai mArkaDa] RSi galiu / te RSiiM te bAlakanA udara mAMhiM zaila kAnana sahita pRthvI dIThI / eka divya varSa sahasra lagi bhamatAM, te bAlakAnA udarano pAra pAmyA vinA, te RSi bAhira nIsayo / jo te bAlakanA udara mAMhiM surAsura jaga mAyuM, to cIbhaDA 16 mAMhiM gAMma kima na mAi / 2 / [2,31-39] tathA taI pUchiuM je-DhiMka paMkhiNInA peTa mAMhiM ajagara, tehanA peTa mAMhiM ajA, tehanA peTa mAhiM cibhaDaM, te mAhiM tetalo lokasamUha kima mAyo ?' te upari' samAdhAna sAMbhali-muThi mAhiM Avai ehavo madhyabhAga chai jehano ehavI devakInI kUkhi kRSNa vasyau, tehanA peTa mAhiM aneka parvata kAnana sahita pRthvI mAI / jo eha satya chai, to DhiMka paMkhiNInA peTa mAMhiM ajagira mAyo, " ityAdika asatya kima hoI / 3 / [2,40-41] tathA kaMDarIka' taI pUchiuM je- 'cIbhaDA pramukhaiM rahiu huM anai gAmaloka kima maraNa na pAmyA ?' te ugari samAdhAna sAMbhali-je pRthvIiM kRSi vyApAra yuddhAdika AraMbha, vivAhAdika utsava thatA, te jo pRthivI kRSNanA peTa mAMhiM jIvatI rahI, to tuM jIvato kima na rahai ? anai tuM kahIsa je kRSNanA peTa mAMhiM jaga kima mAyo ? te upari sAMbhali-pUrve brahmAne anai kRSNane mAhomAMhiM / vivAda thayo / brahmA kahivA lAgo je- 'mAharA mukha, bAhu, Uru, pAdathI anukramai cyAra varNa nIsasyA, te mATi hu~ jagano krtaa'| tivAri kRSNa kaThina vacane kahivA lAgo je- 'tuM to mAharo ceTa chai; syuM mUrkha e bolato lAjato nathI ? je "mujhane AkAza, bhUmi gAla chai, parvata dADhA chai, samudra jihavA chai, te mAharA mukha mAMhiM tuM paIsi jaga sarva jou / mAharI nAbhinA kamalano Upano tuM mAharI Agali ima boli te ucita nahI / jassa pabhAveNummilliyAi~ taM ceva kaha kygdhaaii| kumuAI attasaMbhAviAI caMdaM uvahasaMti // 4 / [2,42-50 ] 1PhveN| 2 P boliu| 3A hso| 4 A phuutto| 5P mATeM A mAhareM hAtheM vly| 6P Upara / 7P kaMDarIkai tii| 8Pghnnaa| 9 A mukhaneM /

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bAlAvabodharUpagUrjarabhASAmaya -dhUrtAkhyAnakathA valI kaMDarIka kahivA lAgo je- 'DhiMka paMkhiNI evaDI moTI te kahiM sAMbhalI chai, jehanA peTa mAMhiM e ajagarAdika sarva mAyAM ?' | tevAri elApADhai kahiuM je- 'syuM bAMdhava ! taiM draupadInai svayaMvarA maMDapai, dhanuSa mAMhiM, parvata sarpa agni mAyA te vAta nathI sAMbhalI / drupada rAjAiM udaghoSaNA karAvI je mAharu devatAdhiSThita dhanuSa caDhAvI rAdhAvedha karai te rAjA dropadIneM paraNe / te sAMbhali tihAM aneka balavaMta rAjA AvIA / dhanuSa AropatAM paDyA / lokiM upahasyA / tivAri jetale mahAmAnI / zizupAla dhanuSa caDhAvivA uThio, tetale dhanuSa upari kRSNe meru parvata, garuDa, hala, mUsala, sarpa, zaMkha, gadA, cakra nAMkhiyAM / tohe baliSTapaNAthI AropavA lAgo / tivAri valI caMdra, sUrya, agni, samudra, parvata, pRthvI nAMkhiyAM / tohe dhanuSa AropatAM addhAMgula pramANa asaMdhita rahiuM / tevAri kRSNai pagai Theliu zizupAla, dhanuSa sAthi bhUmi paDyo / pachai te dhanuSya arjunai lIdhuM / tehano mahAbhAra pRthvIi sahivAyo nahIM, te mATi bhImanai hAthiM bhAra mUkI, dhanuSa caDhAvI, karNai / / Apyo bAMNa leI, rAdhAvedha karI dropadI arjunaI paraNI / jo te dhanuSa ehavaM moTuM je mAMhiM te parvatAdika mAyA, to te DhiMka paMkhiNI moTI kima na hoi, jehane udari ajagirAdika mAyA / 5 / [2,51-61] ___ tathA rAmAyaNi kahiu~ chai- sItAneM haraMtA juddha karavA jaTAyu paMkhI Avyo, te rAvaNaI caMdrahAsa khagaI pAMkha chedI bhUmi pADyo / tevAri sItAI te jaTAyu paMkhInai kahiuM- 'mAharA sIlanai mahimAi, 15 rAmacaMdranA dUtanA darzanathI tAharI pAMkhaDa' phirI' Avasyai' / pachai ketalAi kAliM, rAmacaMdranI AjJAi sItAnI zuddhi karavA pRthvII phirato hanumaMta tihAM Avyo / 'A koIka moTo parvata dIsai chai, e upari caDhI sakala pRthvImaMDala jouM' - ima cItavI hanumaMta jaTAyudha pAsi gayo / tevAri jaTAyuI puchiuM-'tuM koNa kihAMthI Avyo ?' / hanumaMteM kahiuM-'rAmacaMdrano dUta chu| sItAno samAcAra levA jAuM chu / tivAri jaTAyuiM kahiu je-'sItAna laMkA nagarIi rAvaNa leI gayo, tuM phogaTa vanai bhamai chai / / e samAcAra UtAvalo jaInai rAmacaMdraneM kahi / mujhane paNi rAvaNaI sItA mATi juddha karatAM vi pAMkha chedInai bhUmi mUkyau' / te sAMbhali hanumaMtai kahiuM je-'taI rAvaNa sAthii yuddha kayu anai amhaneM sItAno samAcAra kahyo tethI tujhane paNi bhaluM thAu' - ima hanumaMtanuM bacana sAMbhalyuM, tethI jaTAyunai pAMkha Avi, teNeM uDinai gaganamArge thaI svargi gayau / jo jaTAyu paMkhI parvata sariSo hato, to DhiMka paMkhiNI moTI kima na hoi / 6 / [2,62-74 ] // elASADhenoktaM kaMDarIkaM prati pratyuttarakathAnakaSaTakamidam // // iti dhUrtAkhyAne dvitIyamAkhyAnaM samAptam // 2 // ima elASADhei uttara dIdhai hU~tai kaMDarIka kahivA lAgo je-'elASADha, taI je anubhavyuM, pILa, sAMbhalyuM te kahi' / tevAriM elASADha bolyo-"hu~ yauvana samayai dhanalobhai dhAtuvAdAdika vyasanA jaga bhanyo / ihAM vila chai, A te parvata jihAM dhAtu hoI, e mUla, e maMtra, ima dhananI bhAsAi mama . eka Agama pAMmyo je pUrvadizi yojana sahasriM eka parvata chai / tihAM sahasravedhI rasa hai| vaha 1P paakho| 2 P phrii|

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56 bAlabodharUpa gurjara bhApAmaya - dhUrtAkhyAnakathA bila yojanapramANa zilAI DhAMkyoM hai / te zilA UpADInar3a svarNakuMDadhI te rasa levo / pachai yojana zatamAna krami pRthvI ullaMghato te parvatiM jaI, zilA UpADI, rasa leI, te bila te zilAI DhAMkI, potAneM ghara Avyo / te raseM ghaNuM sonu UpAI dhaneM karI dhanada samAna thayo / pachaI huM bhoga bhogavato, yAcaka vAMchita dravya deto, loka mAMhiM ghaNo prasiddha thayo / ehaveM mAharI Rddhi ane 5 prasiddhi sAMbhalI akasmAt madhyarAtiM pAMca sai caura mAharai ghari AvI paDyA / ghara lUTavA lAgA / tevAri mujha jIvatAM mAharUM dhana kima leI - ima cIMtavI, sAhasa AdarI, zastra leI yuddha karatAM, ma ekeka bANa prahAraI dasa dasa cora mAryAM / te dekhI te sarva cora ekaThA thaI yamakiMkara samAna kopadha huMtA mujha upari paDI, mAthaM khaMDa khaMDa karI, pAseM eka boraDi bAMdhI, ghara luMTinai gayA / rudhira kharaDiDaM kuMDala sahita mAthu boraDiiM bora khAvA lAguM / prabhAteM sUryodayeM bora khAtuM 1" te mAharu mAthuM dekhI, jIvatuM jANI, lokar3a leI, bIjAM sarva mAharAM aMgopAMga melI, te upari mAthu muki / pachai huM nirupama rUpa lAvaNyai virAjamAna jehavo pUrvaM hato, tethI vizeSa rUpavaMta tharyo / emai pratyakSa A lokai anubhavyuM / jo e na mAno to sarva dhUrttaneM bhojana dyo', nahItara zAstranI sAkhiM samarthI Apa / [3,1-19 ] // elASADhenoktaM kathAnakamidam // havai zazanAmA dhUrta mukhya bolyo' - 'taI je ka te sarva satya chai, jhU koNa kahai ? je mATiM purANa smRti bhArata rAmAyaNanai viSai ehavI ghaNI' vAta hai / te sAMbhali - pUrvi jamadami nAma RSi hato, tehane reNukA nAmi strI hatI / tehanA zIlanai mahimAI kusumita vRkSa namatA / koI velAI azvavAhanikAI Avyo koI eka rAjA dekhI reNukAnai abhilASa Upano / tivAri pachi koI eka velAI 1 zIlabhaMgathI vRkSa aNanamatA dekhI, RpiI pharasarAma ponA beTAnai kahiuM je- 'e pApiNI reNukAnI 20 mastaka chedi' / teNai pitAneM vacani tatakAla reNukAnuM mastaka chediuM / tevAri jamadagni putranai AjJA. kArI jANI saMtuSTa thaI kahiu~ - 'je vatsa ! vara mAgi' / teNai mAgyaM je- ' mAharI mAtA jIvatI thAu' / tivAri, e jIvatI hou, ima RSiI kahie hute te reNukA tatkAla jIvatI thaI / jo e satya chai, to tuM jIvato thayo e kima asatya hoI / 1 / [ 3,20-25 ] tathA jarAsiMdha rAjA ve khaMDa joDineM jarAi sAMdhyo, sahasra rAjAno svAmI thayo, eha piNi 25 eka vacana chai / 2 / [3,26 ] tathA valI sAMbhalIi chai-suMda 1 nisuMda 2 nAmi vai daitya sahodara, sura lokanai kSaya karavA kAla saripA uThyA / tivAri sarva devatAI tehanA vadhanai kAjeM potAnA zarIrano tila tila leI savAMga suMdarAkAra rUpa lAvaNyanuM nidhAna eka tilottamA nAmi apsarA nIpajAvI / te sarva devatAneM praNamInai kahivA lAgI je- 'jai Adeza diu te karUM' / devatAI kahiuM jai- 'suMda nisuMda vai daityena kSaya " pamADi' | pachai tilottamA suMdari daityapAsi jaI hAvabhAva vibhrama vilAsa deSAMDatI nAcavA lAgI / tehani rUpi mohyA viSayAMdha huMtA mAMhomAMhiM zastraI vaDhI maraNa pAmyA / bhavati cAtra lokaH : - 15 1 A lIyo / 2 P lII / 3P diu / 4 P samarthi Apo / 5 P boliDe / 6 P kuNa kahaI / 7 1 ghaNi vAto che 1

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bAlAvabodharUpagUrjarabhASAmaya - dhUrtAkhyAnakathA strINAM kRte bhrAtRyugasya bhedaH saMvandhabhede striya eva mUlam / aprAptakAmA bahavo narendrA nArIbhiruccheditarAjavaMzAH // 1 // jo sarva devaneM tila tilai tilottamA apsarA nIpanI, to chedyAM tAharAM aMgopAMga melyA, tethI tuM kima na nIpajai / 3 / [3,27-37] ___ tathA bIjaM sAMbhali- pavana putra hanumaMta bAlyAvasthAi mAtAnai pUchavA lAgo je-mAta! huM bhuussyo| thA tivAri sUM khAu~ ?' mA bolI- 'vatsa ! rAtA phala khAje' / tevAra pache koika velAI Ugato sUrya dekhI, raktavarNa phala buddhiM khAvAne prahio / tevAri teNi lattApahAri hanumaMtane zatakhaMDa cUrNa kariuM / te jAMNI mAtA aMjanA vilApa karatI rovA lAgI / te hanumaMtano paraloke gayAno samAcAra jAMNI, strIne rotI dekhI, pavana kopa pAMmI pAtAla mAMhiM paisI rhio| tivAri pavananai nirodhai deva mAnava sarva jaga ati Akula thaI maraNa pAMmavA laaguN| pachai sarva deva pAtAli jaI pavanane manAvI / / ANyo / cUrNita sarva aMgopAMga melI hanumaMta jIvato krio| sarva ThAmi sodhI paNi eka hanu na lAdhI / teNi rahita chai, to hanumaMta nAma dIdhuM / jo pavanano putra cUrNa kayo, e milyo, e satya chai, to taI kaDaM je huM jIvato thayo, te piNa satya ja chai / 4 / [3,38-45] __ tathA rAma rAvaNarne mahAsaMgrAma lAgo / tivAre rAvaNaneM subhaTeM khaga bANAdika praharaNi aneka vAnaranAM saIkaDAM chinnAMga kakhAM / lakSmaNae rAvaNa zakti mAkho hu~to bhUmi paDyo / rAmahaM zokAtura / thaI vilApa karavA mAMDyo / tevAri hanumaMta droNa parvata vizalyA oSadhI ANI lakSmaNanI zakti kADhI / je vAnara rAkSasane zakti astriM chinnAMga hatA, teha paNi sajIva kayA / jo chinnAMga e vAnara jIvatA thayA, te sAcuM chai to te kahilaM, tehi sAcuM chai / 5 / [3,46-52] __ tathA mitra elASADha ! syuM taI skaMdanI utpatti nathI sAMbhalI ? / bahugraMtha prasiddha te vAta chai, te sAMbhali-himAcalanI guphA mAMhiM saMbhoga karatAM Izvara pArvatIne eka divya varSa sahasra gayuM / te. avasare devatA, tAraka daityai pIDyA, tehaneM mAravAno upAya ciMtavavA lAgA je-IzvaranA vIrya vinA bIjo koI tAraka daityaneM mArI na sakai, ane bhayiM te pAsi bIjo koI jAI na sake / te mATi aminai mokaliI / ima vicArI agninai pAseM jaI kahivA lAgA je- 'abhyarthanA karatA manuSyanoe upakArI puruSa upagAra karai, to mahAnubhAva sarva devasamUhaneM to vizeSai upakAra kreN| mehane kAji sarva devatA ciMtAsamudra mAMhiM bUDyA, tihAM agni tuM ja samartha chai, te guphAghara mAMhiM / paisI Izvaranai tuM potAnuM darzana diI, to kadAcita tujhane dekhI saMbhoga krIDA mUkaI' / tevAri agni polIu-'Izvarane saMmukhiM bIjI avasthAI na javAI to saMbhogI avasthAI kima javAiM / paDavAMga dhArI, zUlapANi, narakapAladhArI, zmasAnavAsI - ehavA IzvaraniM sanmukha' kuMNa maMgalIka vAMchato jAi / ghaNuM syuM kahIi ? je Izvara bahujana deSatA liMgotthAna karI nAcai, tethI iMdra saripo vIhai, to mAharI vAta kisI / jo kadAcita Izvara kope to mAharI gati sI thAi ? te mATi devatAu tumhai // mujhanai saMkaTi na pADau' / tevAri iMdraI kahiuM- 'agni! tuM IzvarathI ma bIha / e pArvatIne vaza chai / je koNiiM damAi nahi tehaneM strI eka divasa mAMhiM damai / yaduktam - hatthI dammai saMvacchareNa mAseNa dammai turNgo|| mahilA puNa kira purisaM damei ikkeNa divaseNaM // 1 // 1P saMmujhe kuNe jvaai| dhU08

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58 bAlAvabodharUpagUrjarabhASAmaya - dhUrtAkhyAnakathA ___ pArvatI je kahiM te kArya e Izvara karai / syuM Izvara abhogii pArvatInai vahato te nathI dITho ? te mATi e zaMkA mUMki / Izvara rUThasyai tohe pArvatInuM mana rAkhavA tAharai zarIri upadrava karI sakasyai nahIM" / ehaq iMdranuM vacana sAMbhalI himAcalanI guphAI agni gayo / tihAM saMbhogAsakta Izvara dITho / tivAri Izvara agmine saMbhoga mAMhiM aMtarAya karato dekhI rorSi mArivA uThya u hu~to pArvatIi / vaario| pachi Izvarai kahiuM - 'tuM mukha mAMhiM mAharu vIrya pI' / ima kahI vIrya pAyuM / tehanaiM tApiM dAjhato agni, mahAkaSTi samudra mAMhiM jaI vIrya vamato huo / te divasathI lokaprasiddha(ddhi)cAlI je-sarva ratna samudra mAMhiM vIryathI upanA chai / pachai agniI kAieka zeSa vIrya udara mAMhiM rahilaM hatuM te padmasarovara mAMhiM vamiuM / te samayi cha kRttikA nAmi apsarAo nhAtIu hu~tI tehanI yoni mAMhiM te vIrya pahalu / tethI garbha rahyA / kAlAMtari chahai anukrami mastaka 1 bAhu 2 hRdaya 3 ruMDa 4 10 mUMDa 5 zarIra 6, e 6 aMga jaNyAM / tevAri Azcarya pAmI te cha kRttikAI te cha aMga mAMho mAMhiM deSADI yathAsthAnaki joDyAM huMtAM, pArAnI pari milI gayAM / teha ja velAi SaNmukhadhArI skaMda Upanau / teNiM saMgrAma karatAM tAraka daitya jIyau / jo jU-jUI strIne udari UpanA aMga milyAM tethI mahAsena chamukha upano, e satya chai, to eka strInA udaranA UpanA aMga milyAM, ihAM koNa saMdeha raakhii'| 6 / [3,53-85] 1 tathA elASADha ! taI pUchi je-'mAharu chediuM mastaka bora kima khAI sakai ?' te upari sAMbhali-kRSNanai cakraI chediuM rAhurnu mAthu AkAzi hiMDai chai, sUrya-caMdranai prasai chai; jo e satya chai, to tAharu mAthu chediu~ hu~tuM bora khAi, te vAta mAMhiM koNa asaMbhava' / 7 / [3,86-88] tathA valI elASADhai pUchiuM- 'kahi, maI te mArgi cAlatAM ekekai pagalai sau yojana prAmANa bhUmI kima ullaMghI ?' / tevAri zaza boliu- 'kRSNai yajJanai viSaya bali rAjA pAsi triNi DagalA pramANa bhUmi mAMgI / pachaha triNi DagaliM parvata kAnana sahita pRthvI AkramI / jo kRSNai triNi Dagalai sarva bhUmi AkramI, to tuM eka Dagalai sau yojana bhUmi kima na ullNghii'|8|[3,88-91] tathA valI elASADha boliu-'mitra! maI te so jojana prAmANa zilA kima upADI, e pratIta upajAvi' / tivAreM zaza boliuM- 'rAma-rAvaNane saMprAme zaktiprahAraI mUrchA pAmI lakSmaNa kumAra paDiu, tevAriM hanumaMte vizilyA uSadhInai kAjiM samUla droNa parvata upADI ANyau / jo aneka - mahAzilAmaya droNa parvata hanumaMtiM UpADio, to tuM eka yojana pramANa zilA kima na upADai / 9 / [3,82-95] . tathA loka mAMhiM saMbhalAi chaI je- 'pRthvI vadhavA mAMDI dekhI kRSNai varAharUpa karI nA upADI / jo e satya chai, to taI zilA upADI teha paNi satya ja chaI / 10 / [ 3,96-98 ] // zazenoktaM elASADhaM prati pratyuttarakathAnakadazakam // ||iti dhUrtAkhyAne tRtIyamAkhyAnakam // hivai zazai niruttara karyo hu~to elASADha kahivA lAgo- 'mitra zaza! taiM je anubhaviu~ hoi te kahi / tevAri zaza bolyo- 'huM saratkAli, prAmathI dUra parvatanai pAsi eka kSetra hatuM vihAM gayo / te velAI eka matta vanagaja parvatathI utarI mujhaneM mAriyA dhasyo / teSAri huM saghale pAsi nAsavAno ___ 1 P tumaneM upadrava nahi krai| 2P rahiu~ /

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bAlAvabodharUpagUrjarabhASAmaya -dhUrtAkhyAnakathA 59 ThAma joto eka ati moTo tila vRkSa dekhI te upari caDhio / hAthiI mujhaneM vAraMvAra he pADavA tila vRkSa dhaMdholyau / teNeM karI tila vRkSathI aneka tilanA puMja heThi paDyA / bhamatA te sarva hAthIiM yaMtranI pari pIlyA / teNeM karI tihAM mahA asarAla telanI nadI vahI / hAthI cIkaNA khaula' mAhiM pUMto, cIsa pADato, bhUSa-tarasi maraNa pAmyau / pachi huM hAthIne mUo jANI, tihAMthI heTho utarI, hAthInuM carma UtArI, tehano moTo daiDo karI, tela daza ghaDA pramANa pII, te khala bhAra khAI, tele / daiDau pUrI khAMdhi caDAvI, gAma bAhira eka mArga vRkSanI zAkhAI valagADI ghari Avyo / pache maI te daiDo levA ahinAMNa deI, te vRdhe potAno beTo mokalyo / teNeM te tihAM na dITho / pachai te vRkSa gajanI pari unmUlI te daiDo sarva loka dekhatA pari ANyau / huMe potAnA gharathI pAdharo ihAM Avyo / e maiM ihaloki pratyakSa anubhavyuM / je na mAnai te sarva dhUrttaneM bhojana dii // cha / [4,1-13] ||shshenoktN kathAnakamidam // havi sarvakalApravINa khaMDapAnA dhUrtI bolI- 'zaza ! taiM je kahiuM te sarva bhArata-rAmAyaNAdika sAthi malatuM chai' / tivArai zazaI pUchiuM- 'jo e satya chai, to kahi - tilavRkSa ati moTo kima hoi ? telanI mahAnadI kima vahI ? dasa ghaDA telanA kima pIvAi 1 khaula bhAra pramANa kima khavAi ?-e sarva sAstra sAkhi melI Api' / tevAri khaMDapAnA bolI-e sarvanA dRSTAMta sAMbhali- 15 pADalipure mASavRkSanI moTI bherI ghaDI, ehavI sarvaprasiddha lokavAta chai, te satya chai, to tilavRkSa ati moTo kima na hoi ? / 1 / [4,14-18] ___ tathA bhArata mAMhiM chai-je gajanai madajali mahAnadI cAlI / tihAM aneka gaja ratha haya pAyaka snnaayaa| uktazca teSAM kaTataTabhraSTairgajAnAM madavindubhiH / prAvatteta nadI ghorA hastyazvarathavAhinI // 1 // jo gajamadajalanI mahAnadI vahI, to te telanI kima na hoI / 2 / [4,19-21] tathA loka mAMhiM saMbhalAi chai je - bhImi rAjyathI nIkalI cakrApurIiM jaI baka rAkSasa mAkho, tehane khAvAne kAjai eka mahiSa, sola khArI anna, hajAra madya ghaDA ANyA hatA te sarva ekalaI bhImaI khAdhA / jo e satya chai, to tuM dasa ghaDA tela kima na pIi ? khaula bhAra kima na khAi ? / 3 / [4,22-24] * tathA kuMbhakarNa sUto UThI eka hajAra madya ghaDA pIto, to taI telanA dasa ghaDA pIdhA, e vAta koNa na mAne / 4 / [4,25-26] te agasti RSiiM samudra pIdho / tathA svargathI UtarI saMbhunA jaTAjUTathI nIkalI vahatI gaMgA nadI jahu RSinai Azrami gaI / tevAri te RSiI pII, eka hajAra varasa lagi uri rAkhInai mUMkI / te mATi gaMgAnuM nAma jAhavI thayuM / jo agasti samudra pIdho, jahu RSi gaMgA pIdhI, to tuM telanA dasa ghaDA kima na pIi / 5-6 / [4,28-30] 1 P khol| 2 P bhUkhI trsyau| 3P daDohe & Personal use only.

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bAlAvabodharUpagUrjara bhASAmaya - dhUrtAkhyAnakathA 1 valI zazas pUchiuM - 'kahi, maI te moTo gajacarmano daiDo kima UpADyau / kadAcita kaTiM pADyau, paNa ekalai maI gAMmi kima AMNyo ?' | tivAri khaMDapAnA kahivA lAgI je - 'zaza ! syuM taI kevAri garuDAkhyAna nathI sAMbhalyu, je ehavUM pUlai chai / te sAMbhali - kAzyapa RSinai kadrU vinA ehavi nAmai be strIu / te behUMi koIka samaye krIDA karatAM hoDi bakI - je jItai tehaneM ghari, " je hArai te dAsapaNuM karai / ane te dAsapaNuM jAvajjIva karai; athavA je hArI hoi tehano aMgajAta beTo thAi te pAtAlathI amRta AMNe tevAriM te dAsapaNuM Talai / ima hoDa bakI behuM zoki ramiDa | vinatA hArI, kadrU jItI / tehane ghari dAsI thaI rahI / zokinai vairi kadrU vinatAne ghaNuM duHkha dii / ima ghaNA kAla lagi dAsapaNuM karatAM vinatA garbhavatI thaI / samai triNi IDA jaNyAM / utAvalidAsapaNuM TAlavA eka IMDu bhediuM / te mAMhiMthI viMchI nIsasthA / valI ketale kAli bIjuM IMDa // bhedijaM, te mAMhiMthI sAthala jaMghArahita puruSa nIsario / teNeM mAtAne kahiuM ne, jo mA taiM pahilaM IDa kA bhediu~, bIjuM paNi IMDa pUruM pAkAvinA bhediuM / teNi karI huM adhUro jaNyo / tethI tAharu dAsapaNuM nathI gayuM / hivai prayatnai A trIjuM IMDuM pAlaje, ehathI tAharo manoratha pUro thAsyai / pache te anUru sUrya sArathI kayo / pachai ketale kAli svabhAvaI trIjUM IMDuM bhedAyuM / te mAMhiMthI sarpa - kulano kAla mahAghora mahAbalavaMta garuDa paMkhI pragaTiu / te bAlapaNa ramato kadrUnA beTA sarpanai // nitya mArai / te sagalA sarpa rotA kadrU Agali jaInai rovA lAgA / tevAri kadrU vinatAne olaMbho devA lAgI, je dAsIDI' tUM tAharA beTA garuDanai vAre nahIM, tara tuM duHkha pAmIsyai / ehavo ulaMbho sAMbhalI vinatA duHkha dharatI rovA lAgI / tehaneM dekhI garuDa rovAnuM kAraNa pUche huMti, sarva dAsapaNAno vRttAMta sAMbhalAvI, vinatAi kaTuM je- 'amRta lyAvai to dAsapaNuM Talai' / tivAri garuDai pUchiuM - 'amRta kihAM chai ?' vinatAi kahiuM - 'badarikAzramiM aMdha tAharo pitA basai cha, te 20 amRta ThAma jANai chai, tehaneM pUcha' / ima vacana mAtAnuM sAMbhalI garuDa pitAnai pAsiM jaI page lAgo / pitAI sparza putra olakhyo / garuDaI kahiuM - 'tAta ! huM bhUkhyo chaUM, syuM khAuM ?' / kAzyapa RSi kahi - 'ihAM pAsi eka padma sarovara chai, tihAM bAra yojana pramANa zarIra eka gaja, eka kacchapa chai, te behUM nityai rIsai mAMho mAMhiM vaDhai chai, te behUMnai khA, bhUkhyo na rahi' / pachai garuDai tihAM jaI behUMnai bhakhI, pAchA phiratAM mArgi eka pakSIno nivAsa mahAvaTa vRkSa dITho / te heThi brajhAnA 25 vIryanA UpanA vAlikhilla nAmi auTha koDi RSi tapa tapai, te Upari baiTho / potAnA zarIranA bhari kaDakaDato vaDa bhAgo / pachai garuDaI, rakhe RSi caMpAi, ima cIMtavI cAMrce te vaDa upADI AkAsa DhAMkato, sarva deva dAnavane camatkAra upajAvato, samudranA beTa vaci mUkyau / te vaTaha alaMkarI bhUmikAnuM nAma lokaI laMkA dIghUM / tai laMkA rAvaNanI rAjadhAnI nagarI thaI / pachai vailI garuDa AvI amRtano ThAma pUchiuM, to RSi bolIu - 'vatsa ! sAtamA pAtAlaneM heThi, dhagadhagAya24 mAna abhi sarva disi vIMTIuM, sarva surAsurai nityai jAlavyuM amRta kuMDa chai / tihAMthI amRta levAI' nahi / jo aneka madhu, ghRta, jala Apai, ani saMtuSTa thayo huMto amRtakuMDa mAMhiM janA vii, to kadAcita levAI | tor3e te letAM aneka vighna upajai chai' / ehavaM kAzyapa RSinuM vacana sAMbhalI avadhArI, pAtALeM jaI, potAnI ne pAMkhara je aneka madhu, ghRta, jala bharI leI gayo hato te ApI, abhinna saMtoSI, tei deSADyA amRtakuMDathI amRta leI nIkalato garuDanai dekhI, amRtakuMDarakSaka "deva udUghoSaNA karI, je koI paMkhI amRta leI jAi chai / te sAMbhalI sarva deva dAnaba soma 1 1 AP daaskii| 2 P I koI na zakara 60

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bAlAvabodharUpagUrjarabhASAmaya-dhUrtAkhyAnakathA 61 pAmyA / je devatA jihAM hatA te tihAthI mudgara, zakti, hala, musala, khaDga, daMDAdika zastra leI pUThi dhAyA / kolAhali jaga badhira karatA, garuDanai vIMTInai kahivA lAgA' je- 'pApI amRtacora, A maaro| hiviM kihAM nAsI jAIsa ?' / pachai garuDaI mahAsaMgrAma karI, cyAre dizi pAMkhanai prahAri, zata, sahasra, lakSa, koTi saMkhya devatAne yamaghari pahacADyA dekhI, sarva devatAsaMgha kSaNekamAMhiM hArI, dIna thaI, nAsato jAMNI, iMdraiM jvAlAsahI jalatuM vana garuDane mAravA mukiuM / te paNi / zarIreM saphalAI heTho paDiuM / e vanaiM garuDanaI kAIe nathI karyu, ima sarva devatAni jaNAvavA garuDaI cAMcai dharI rAkhyu / tivAri garuDathI bhayabhrAMta thayo huto iMdra viSNu pAsi gayo / viSNu kopi prajvalato bAra sUrya samAna tejavaMta cakra leI garuDanaI mArivA dhAyo / tivAri sarva zanaizcarAdika grahaI sarva RSi jaI viSNunai vInavyu je- 'svAmI ! tuM sarva vyApI chai, sarva bhuvananAtha chai / tuM vicAsyA vinA kopa kari, te vAru nahi / e garuDa tAharo baMdhu chai / te mATi kopa mUMki / / / mlecchanI pari gotrano kSaya ma kari' / ima sarva graharnu, sarva RSituM, vacana sAMbhalI, zAMta thaI kRSNaiM garuDa sAtheM mela kakho / pachaiM garuDeM ghara jaI, amRta ApI, vinatA mAtAnuM dAsapaNuM TAlyuM / jo garuDai gaja, kacchapa, vaTavRkSa UpADyA ane anya ThAmi mUkyA, to zaza ! tuM daiDo UpADI kima gAmi nANai / 7 / [4,31-87 ] ___ tathA, jo sAta dina lagi varasAta varasatAM kRSNai govarddhana parvata dhau~, to tuM tele bharyo / daiDo kima na UpADai / 8 / [4,88] tathA, jo samudra setu bAMdhavA vAnarai aneka yojanathI parvata UkheDI ANyA, to tAharo beTo zukSa unmUlai tihAM koNa Azcarya / / 9 / [4,89-90] ___ tathA, azokavADIiM hanumaMta vAnaraM aneka azokAdika vRkSa unmUlyA / jo e satya chai, to tAharo putra unmUlai ihAM kisI vaDAI / 10 / [4,91-94 ] // khaMDapAnayoktaM zazaM prati pratyuttarakathAnakadazakamidam // // iti dhUrtAkhyAne caturthamAkhyAnakam // havai iNiM prakAra niruttara karyo huto zaza khaMDapAnAnai kahivA lAgo je- 'khaMDapAnA te je anubhavyu hoi te kahi' / tivAri khaMDapAnA bolI- 'jo tumhai saghalA dIna thaI mAhareM page lAgo to sarvanaI bhojana diu~' / tivAri dhUrto kahivA lAgA je- 'eka bhojanaheti amhaI mahApuruSa tuM Agali dIna kima bhA 1 / tivArai kAika hasInai khaMDapAnA bolI- 'maI je anubhavyuM te sAMbhalau / huM yauvana samai rUpa lAvaNyanuM nidhAna hatI / koIka samayi RtuvaMtI thaI maMDapi sUtI hatI; tihAM AvI mAharai rUpi vismaya pAmI pavaneM huM bhogavI / ketali kAli putra Avyau, te mujha sAthi janma kAli ja vAta karI, mujhaneM mUMkI balAtkAri svapnadRSTanI pari kahiM gayau / e maI anubhavyuM te satya" kiM vA asatya ? / jo asatya hoI, to sarvaneM bhojana diu; jo satya hoi, to A jagamAhiM koI strI vidhavA aputravatI na hoI // [5,1-10] // iti khaMDapAnayokaM kathAnakam // ___1P iNo haNo, chedo chedo, sAho sAho, ima kahetA guruDa. kahivA laagnn| 2 P amho| 3 P muni muMkI kihAI gyo|

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62 bAlAvabodharUpagUrjarabhASAmaya - dhUrtAkhyAnakathA hive mUladeva bolIo- 'kuMtIne pavani bhogavI, bhIma nAmi putra prasavyo; tathA aMjanA pavani bhogavI hanumaMti nAmi putra jaNyo / je e purANanI vAta satya chai, to tuMe pani bhogavI putra Avyo teha paNi satya ja / 1-2 / [5,11] ____ tathA tuM pUchisi je- 'mAharai putra Avyo te mujhasyuM AlApa saMlApa karI, tarata jaI kima sakai, teha upari vyAsanI vAta sAMbhali-pArAzara RSiI yojanagaMdhA mAchiNI bhogavI, vyAsa nAmi putra jnmyo| 'mAtA! avasari mujhane saMbhAraje' - ima janmakAli ja kahI tatakAla vani gayo / pachai RSinai prabhAvaI yojanagaMdhA akSatayoni thaI / zAMtanu rAjAI bhogavI vicitravIrya nAmi veTo Avyo; te aputrio maraNa pAmyo / tivAri yojanagaMdhAI vaMzano uccheda thayo jAMNI vedavyAsa saMbhAryo huto vanathI aavyo| mAI kahiuM- 'putra ! vaMza uddhara' / pachai tehaneM prabhAvi pAMDu, dhRtarASTra, // vidura nAmi triNi putra AvyA / te moTA thayA / te triNinI strIo-bhojAIo vedavyAsiM bhogavIo / pachai tapaloparnu kAraNa jANI kopiM triNiM sarApyo' / jo vedavyAsa janmasamaye ja mAtAneM vInavI vani gayo, to tAharo putra janma samaye je AlApa saMlApa karIne tarata adRSTa thaI kihAMe gayo, e koNa na mAnai ? / 3 / [5,12-19] // iti khaNDapAnAM prati mUladevenoktaM pratyuttarakathAnakatrayam // 1-3 // // valI khaMDapAnA bolI- 'mAharai umAdevI sakhI hatI, teNIiM sarva deva dAnavanai AkarSe ehavI AkapaNI vidyA ApI / te vidyAiM maI sUryanai AkarSI ANyau / teNaI hu~ bhogavI / tethI mahAbalavaMta putra Avyau / je sUrya byAsI hajAra yojana pramANa pRthvI dahai, te sAthiM saMbhoga sukha bhogavatI hu~ kima na balI // // iti khaNDapAnayoktaM kathAnakam // // tivAri kaMDarIka bolio- 'jo kuMtI sUrya sAthai bhoga karatAM na balI, to tuM kima balai 1 // [5,20-23] // iti khaNDapAnAM prati kaNDarIkenoktaM pratyuttarakathAnakam // 4 // - - valI khaMDapAnA bolI- 'maI koika samai agni AkarSio, teNaI huM bhogavI / tethI mahAtejavaMta putra bhayo / je agni aMga lAgo hu~to bAlai, te sAthai bhoga bhogavatAM huM kima na balI ? // ||iti khaNDapAnayoktaM kathAnakam // . tivAri elASADha bolio- 'koika samai yamanI strI dhUmorNA homa devA aminai ghari gaI itI / tihAM agni sAthai krIDA karavA lAgI / tivAri akasmAt Avato yamanai deSI bhayabhrAMta thaI, dhUmorNAi nIranI pari, saMbhoga pUro thayA vinA ja, agmine peTa mAhiM UtAyo / yamai paNi zithilAMbhopAMga kaTi mekhalA ityAdika lakSaNai strIne sAparAdha jAMNI udarai galI, deva sabhAi gayo / tihAM triNe saapiiu|

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bAlAvabodharUpagUrjarabhASAmaya - dhUrtAkhyAnakathA devatAi hAsI karI pUchiuM- 'tumhaneM triNanaI sukha chai ?' / tivAri yamaneM mukheM thaI udarathI bAhira dhUmorNA nIsarI / tehanA udarathI mukhamArgai agni nIkalI nAsInai vana mAMhiM paiTho / yama te pUThi dhAyo / vana mAMhiM jaI agni AvyAno samAcAra hAthInai pUchio / teNiM na khyo| te mATi gajanI vAcA chedInai yama potAne ghare Avyo / jo yamanI strI agni bhogavI anai na balI, to tuM agni sAthi bhoga bhogavatAM kima balai ?' // [5,24-31] iti khaNDapAnAM prati elASADhenoktaM pratyuttarakathAnakam // 5 // 5 valI khaMDapAnA bolI- 'maI koika samaye iMdra AkarSIo / teNaI huM bhogavI / eka iMdra samAna putra Avyau / apsarAu nai mUkI iMdra mujhaneM bhogavI, e vAta kima saMbhavai ?' // // iti khaNDapAnayoktaM kathAnakam // tivAri zaza bolio- 'syuM taI nathI sAMbhalyuM, gautama RSinI bhAryA ahilyA iMdra bhogavI; te // jAMNI rIseM gautama RSi sarApa deI sahasrabhaga karI iMdraneM chAtranai Apyo / te chAtra kAmajvara pIDyA huMtA iMdranai ghaNuMja kaSTa devA laagaa| pachai sarva devatAI gautama RSine vInatI karInai iMdra mUkAvyo / sahasra bhaganai ThAmi sahasra locana thayAM / tathA iMdrai kuMtI bhogavI arjuna nAmA mahAdhanurdhara putra Avyo / jo iMdrai ahilyA kuMtI bhogavyAM, to tujha sarIpI rUpavatI strIne kima na bhogavai / 1-2 / [5,3.2-37] iti khaNDapAnAM prati zazenoktaM pratyuttarakathAnakam // 6-7 // tathA valI khaMDapAnA bolI- 'tumhe mAharu nAma gotra ThAma mAyAvIpaNuM jANau cho, kiM vA nathI jANatA ?' tivAri mUladeve kahiuM- 'pATalIputra nagari gautama gotrI nAgazarma bAhmaNanI putrI, nAgazrInI kUkhinI upanI, khaMDapAnA nAmi prasiddha chai' / tivAri khaMDapAnA bolI- 'tumhane sarikhu rUpa dekhI bhrAMti thai chai, paNi huM nAgazarma bAhmaNanI beTI nahI / rAjAnA rajakanI dagdhikA nAmi beTI chu / / mAharu ghara rAjamaMdiranI pareM dhana-dhAnya saMkIrNa chai / rAjAnAM aMtaHpuranAM vastra hajAra majUrasyuM paravarI huM dhouM chu / koika samai huM bahu vasti zakaTa bharI hajAra majUra sAthai nadItaTaiM gaI / tihAM chaDa-chaDa, huM, che, zaM, TA zabda bolatA hajAra majUraha sarva vastra dhoI tApeM sukavA mUkyAM / ehavi mahAvAyu vAyo / teNi sarva vastra apaharI uDADyAM / tivArai maI mAharA sarva majUranai kahyu-tumhe jihAM javAi tihAM nAsI jaao| kisI cItA na karasyo / rAjA je karasyai te hu~ / sahIsa / pachai huM goha rUpa dharI rAtai nagaraneM udyAni krIDA karatI rhii| prabhAteM, rakhe koI goha jANInai mArai - ima cItavI AmralatA rUpa dharI azokiM valagI rahI / pachai pavanai hayA vastra jAMNInai nyAyavaMta te rAjAI paTaha vajADyo je-'aho rajako! je jihAM gayA hoi te sarva tihAthI potAne ghari Avo / tumhaneM abhaya chai' / te vAta sAMbhalI sarva rajaka pari AvyA / huMe AmralatApaNuM mUMkI mUlagU strInuM rUpa dharI ghari AvI / pachai mAharo pitA nadI tarI te zakaTa levA gyo| vihAM vAdhara sagalAM zRgAli khAdhA dekhI, vana mAMhiM vAdhara jovA bhamatAM, eka uMdaratuM pUMchaDu lAdhuM / tehanA aneka moTA vAdhara pUrA nIpajAvI harSi ghari pitA aavyo| e sarva satya, kiMvA asatya hai 1 // [5,38-58 ] // iti khaNDapAnayoktaM kathAnakam // 1P tttaiN|

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bAlAvabodharUpagUrjara bhASAmaya - dhUrtAkhyAnakathA tivAri zaza bolio - 'jo brahmA viSNu jehano pAra na pAMmyA tehavuM moTuM IzvaranuM liMga ituM to uMdaranuM pUMcha moTuM kima na saMbhavai ? / 64 tathA, zAstri hanumaMtanuM pUMchaDuM ati moTuM saMbhalAi chai / jeNi pUMchaDai AkhI laMkA nagarI vITI agni bAlI / jo hanumaMtanuM pUMchaDuM evaDuM moDhuM hatuM, to uMdaranuM pUMchaDuM moTuM kima na hoi ? ' [ 5,59-63 ] tathA, purANa mAMhiM sAMbhalyuM chai - gaMdhArikAvara rAjA araNyaI manuSyapaNuM mUMkI kurubaka ma thayo / te pUrvi rAjA naghuSa hato, jeNai saMgrAma karatAM iMdra jIto / te iMdranai tiraskAra karato jANI vRhaspati sarApyo huto, araNyai ajagira thayo / ehaviM rAjyabhraSTa pAMca pAMDava araNya AvyA; te ekAkI bhamato bhIma vaniM gayo, te ajagireM galyo / te vAta sAMbhalI yudhiSThira te ajagira 10 pAsiM gayA / teNiM sAta prazna pUchiyAM / tehanA yudhiSThirai uttara dIdhA / pachI bhIma pAcho basyo / zApanai aMteM ajagarapaNuM mUMkI balI naghuSa rAjA thayo / jo e satya chai, to godhA AmravANuM dharInai tuM valI strIpaNuM krima na pAmai ? // [ 5,64-69] // iti khaNDapAnAM prati zazenoktaM kathAnakatrayam // 8-10 // tivAri khaMDapAnA bolI- 'jo dhUrta rAjAo ! tumhe saghalA mAharu vacana pramANa karo, to huM 15 sarvanai bhojana diu~ / anai jo kadAcita tumhanai huM mAharI buddhiM harAvIsa, to tumho jaga mAMhiM kauDImAtra mUlya nahI pAMmo' / tivAri te sarva dhUrta bolyA- 'amhaneM brahmA, bRhaspati, viSNu jItI sakai nahIM, to tuM strI mAtra amhaneM kima jItIsa ?' / tivAri khaMDapAnA bolI- 'tumheM mAsaDa juo / havaDa tumhane harAnuM huM / pache huM vAyuiM apaharyAM te rAjAnAM vatra jovA rAjAnI AjJAiM nIkalI / tathA, pUrve ghaNA kAlanA mAharA cyAra dAsa nAsI gayA hatA tehanI anai vakhanI zuddhi 20 karatI pRthivIiM bhramatI ihAM AvI / te mAharA dAsa tumhe cyAra cho, te vastra tumhe lIghAM cha / jo e asatya jANI na mAno, to sarva mahAjananai bhojana dio; jo satya jANo to tumhI vastra cora cho, mAharA dAsa cho / [ 5,70-76 ] tivAri te sarva dhUrta lAjyA, viSAda pAMmyA / behuM prakAri uttara devA asamartha huMtA, dIna thaI kahivA lAgA - 'je khaMDapAnA, tujhathI adhika jaga mAMhiM koI budhivaMta nathI; jeNIi OM amha sarIkhA mahAdhUrtta mahAbuddhivaMta jItyA / te mATi hivai sAta dinanai varasAte bhUSyA sarva dhUrttanaituM bhojana karAvi / pachai khaMDapAnA te sarva dhUrttaneM vacanaI harSa pAmI sarvaneM bhojana devA mahAbhISaNa zmazAna gaI / tihAM tatakAlano maraNa pAmyo bAlaka koIka loka mUkI gayA. hatA, teneM tihAMthI leI jali nhavarAvI, vastra pahirAvI, ujenI nagarI mAMhiM jaI, eka mahAdhanavaMta seThaneM ghari paiThI / tihAM Asane baiTho, aneka loke parivaryo, vyApAra mAMhiM vyamacita, gharano 30 dhaNI vyavahArIo seTha dITho / tehaneM pAsi jaI, dIna thaI, rIsa caDhAvavA khaMDapAnA kahivA lAgI - 'aho seTha ! huM darI brAhmaNanI strI hUM, anAtha huM, asaraNa kuM; te mATi A bAlakaneM pAlavA, dhana mAMgavA, tuM mahAupakArI puruSa pAsi AvI chu / ima tehanuM vAraMvAra vacana sAMbhalI, vyApAra mAMhiM vyapracittapaNA mATi vyavahArIi potAne sevakaneM AjJA dIdhI je - 'e pApiNI raMDAneM ghara bAhira mArI

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bAlAvabodharUpagUrjara bhASAmaya dhUrtAkhyAnakathA 65 kAu ! pachai te vyavahArIAnA sevakai dIna bhASatI te dhUrttAneM ghara bAhira ghasaraDIne kADhavA mAMDI / tivAri te kapaTa karI sahasAtkAri bhUmikAI paDI mahAsvarai AnaMda vilApa karatI uThIhA hA are loko ! juo' A pApI vyavahArIi dhananeM garvai AMdhalai huM anAtha nirAdhArano putra mAryo / mujhane AsA hatI je A putra moTo thAsyai, tethI sakala manoratha saMpUrNa thAsyai / te AsA - rUpaNI vela, e pApI vyavahArIi matta gajanI pari unmUlI nAkhI / ima vilApa karatI, hRdaya tADatI, keza vikheratI, bhUmi AloTatI, te dhUrttA strInai dekhIneM - maI mAharA sevakaneM AjJA deI mokalyA, tei A brAhmaNIno putra mArI, mahA utpAta kakho, jo e vAta rAjA sAMbhalasyai to mujhanai daMDasyai - ima citavato te vyavahArIo potAnA parivAra sAthai jaI dIna thaI manAvA lAgo je - bahinI ! bhavitavyatA hatI te thaI; havi vilApa kareM syuM thAi ? tAhare je dravya joIi te lii' - ima kahI potAnI ratnajaTita mudrakA ApI / sama devarAvI uThADI / pachai te mudrakA leI udyAni AvInai 10 khaMDapAnAi sarva dhUrtanaI te mudrikA dekhADI / cauhaTai jaI vaicI / tehanaiM dravye sarva bhogya vastu ANI sarva dhUrttanaI bhojana karAvyaM / pachaI te sarva dhUrta saMtuSTa thaI khaMDapAnAnaI vaSANavA lAgA - 'je tuM mahA buddhivaMta, tAharu jIvita saphala chai / vacana mahA paMDita bolI na jANai, tehavAM vacana sAMbhalyA vinAe paNi strIo bolI jANai / uktaJca - adhItya zAstrANi vimRzya cArthAn na tAni vaktuM puruSAH samarthAH / yAni striyaH pratyabhidhAnakAle vadanti lIlAracitAkSarANi // 1 // ima khaMDapAnAnahaM vaSANI / mUladeva pramukha sarva dhUrtta potA potAne ThAMmiM gayA / [5,77-109] OMOM tathA, viSNu sarva vyApI chai, tila tuSa mAtra kisI vastu aNa vyApI nathI rahI / jo viSNu sarva suri chaha, to alagI koNa vastu rahI, jehaneM jJAneM karI devai ? / tathA, gaNeza pArvatInA zarIranA malathI Upano, tathA pArvatI himAcalathI UpanI - ityAdika, bhArata rAmAyaNa purANAdikanAM vacana, 20 kUTa kAMcananI pari parIkSA karatAM vighaTaI / e sarva midhyAtvInAM vacana, gardhabhalIMDAMnI pari bAhira suMdara, aMtara vRtti tusa-bhUsa sariSAM jANI, samyag dRSTIiM, samyaktva zuddhi karavA trividha trividha mithyAtvInA graMtha parihari, sakala puruSArtha sAdhaka, paramAnaMda padadAyaka, pUrvApara virodhagaMdha rahita zrI vItarAga trailokyapUjita sarvajJanAM vacana sAMbhalavAM, sahahavAM, anumodavAM, dhyAvavAM // // iti sakalazvetAmbara ziromaNi-sarvazAstrAlaMkArAyamANa-bhahArakazrIharibhadrasUriviracitasya dhUrtAkhyAnaprabandhasya bAlAvabodharUpAH kathAH samAptAH // saMvat 1758 varSe kArcikramAse zurUpase dvAdazItithau zanivAsare zrIudaipuramadhye liSitaM paM0 lakSmIkIrtti [nA] - kharataragacche jiNamANikyazAkhAyAM vAka raktasundarayathinAM ziSyalakSmIkIrttiH // // ciraM tArAcaMda // // zubhaM bhavatu || || zrIrastu // // zrIrastu // 1 A jodde| dhU0 6 15 25

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INDEX OF ALL THE PROPER NAMES. This is an alphabetical list of all the proper names, in their Sanskrit form, occurring in the Dhurtakhyana of Haribhadra. The Devanagari numbers refer to the chapters and gathas of the Prakrit text. The English numerals refer to the pages of The Dhurtakhyana: A Critical Study', included in this volume. Thus this Index will help the reader to spot the required namo in the Prakrit text, and also to refer to the critical remarks etc. about it in the Study. agastya 1-63, 4-27, 30; pp. 3, 8, 30, 32. ani 2064-66, 5-25, pp. 7, 10, 11, 29, 31, 35. aJjanA 3-38; pp. 7, 31. ananta 2-47, 4-86. anala= agni 3-71. anUru 4-41, 44; pp. 8, 30. araNyaparva 2-3 pp. 5, 26. aruNa, see anUru. arjuna 2 - 60; pp. 5, 27. an -1; pp. 9, 26. azvApahRta 3-22; pp. 6, 28. ahalyA 5-33; pp. 10, 31, 32. khaNDapAnA 1-7, 8, 4-14 i., -17, 32, 94, 5-1, 6, 20, 24, 32, 38, 70, 73, -90, 104, - 106 pp. 2, 8, 9, 10, 11. gammati (gAli) 145 .. indra 1-60, 5-33 i., -37, 111; pp. 3, 4, 9, gaGgA 1-25, 34, 52, 85, 88, 4-28 2, 3, 4, 8, 26, 27, 29, 30. gaNAdhipati 5- 114; pp. 12, 83. gandhArivara 564: pp. 11, 31, 32. 10, 11, 29, 31, 32. Izvara, see svAmin also, pp. 3, 4, 7. Jataft 3-2, -49, 4-91; pp. 2, 3, 11. 4-33, 35, p. 8. kIcaka 1-41 i., 48, 49, pp. 5, 26, 34, 36. kuntI 1-833, 5-11 -23, 37 pp. 4, 9, 10, 27, 31, 32, 36. kumbhakarNa 4 - 25 i.; pp. 8,30. kRttikA 3-77; pp. 7, 29. 272-45, 4-113-114; pp. 5, 12, 27, 28, 30. umA 140, 60, 92, 3-60, 66, 68, 5-20; pp. 3, 7, 10, 27, 29, 32, 35. uzI 5-114 pp. 12, 33. ekacakra 4 - 22; p. 8. lApADa 1-02-26, 43, 52, 75 3, 3-1 -52, -87, 89, -92 98, 5-26 pp. 2, 5, 6, 10, 23. airAvaNa 5-32. candra 111 pp. 11, 82. kaNDarIka 17, 31, 35, 2-16, 26, 39, -42, -51, -74 i., 5-23: pp. 2, 3, 4, 5, [ citrakUTa 5- 123; p. 12. 10. kamaladala 2-6, p. 4. karNa 1 - 84; pp. 4, 10, 26, 27, 34, 36. kA 163, 4325216466, pp. 3, 8, 30, 32. kezava 1-79, 2-41, 45, 58, 5-59; pp. 27, 28. garuDa 4-45, 47 i., 50 i., -66, 72, -74, -76 i., -83, -86 i.; pp. 8, 9, 30. girisutA 3-54. govardhana - pp. 9, 30. gIvama 1-63, 533, 36, pp. 3, 10, 31, 32. cakrAyudha 4-84. caturmukha 4-56. jaTAyu 2-62, -67, 74; pp. 6, 28, 34, 36. jamada1i-62 3-11, 24: pp. 3, 6, 32. jambUdvIpa 5-118. jarAsaMdha 3 26 pp. 6, 28. 7334-28. pp. 8, 30. jahabI 1924-29 see also.

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jvalanaagni 3-70, 5-24 i., -29, -31. | bhArata 1-14,-31,-35, -41,-50,-82, 2-27, tilottamA 1-65, -73, 3-28, -32, -36, 3-20, 4-14 i., -19,5-119; pp. 2, 3, 4, 5-115; pp. 3, 6, 7, 12, 26, 27, 33. 5, 6, 8, 12, 26, 30. tripura-3-70. bhIma 2-59, 4-22, -24, 5-11, -19, -67 i.; dakSiNadeza 3-83. ___pp. 5, 8, 9, 11, 28, 30, 31, 32. dagdhikA 5-41; p. 10. madhumatha 3-91, -96, 4-88; pp. 7,9. dazamukha 3-47. mandaragiri 2-34, -56, -63, -74, p. 6. dazaratha 2-69,73, 3-46. mandodarI 3-48. devakI 2-41; pp. 5, 27. manmatha (-madana) 1-64, 5-111; p. 3. drupada 2-52; pp. 5, 28, 34. mahAdeva 3.71. droNa 1-61,5-115; pp. 3, 12, 26, 27, 32, 38. mahAvIra 1-69; pp. 3,32. droNagiri 3-50, -94; pp.7,30. mahAsena 1-29, 3-53, 3-82,-85; pp. 7, 29. draupadI 2-52,-54,-60; pp. 5,6. mAyA 5-117; p. 12. dhanada 3-6, -1. mArkaNDeya 2-31; pp. 5, 27. dharma 5-111; pp. 11, 32. mUladeva 1-12, -15, -17, -32, 5-11, -38) dharmaputra 2-31, 5-67; pp. 5, 11. ___pp. 2, 9, 10, 23. dhUrtAkhyAna 1-1,5-122. mUlazrI 1-7, 8, 2-1; pp. 2, 4. dhRtarASTra 5-16, p. 9. yama 3-13, 5-27 i.,-30, p. 10. nara 1-81, 5-116; p. 12. yamapatnI 5-26, -31. narakUvara 5-115; pp. 12, 33. yAdava 5-117, p. 12. nAgazarman 5-39; p. 10. yojanagandhA 5-13 i. p. 9. niSAda 4-61; pp. 9,30. raktakuNDalin 1-79, pp. 4, 26, 32. nisunda 3-27, -31 i.; pp. 6, 7, 29, 33, ravi 5-21 i.,-25. niHzalyA 3-50; p. 7. rAghava 1-86, 2-65, p. 4. nIlA 5-11; pp.9,31. rAma 2-64, -67 i., -73, 3-46 i., ...9, parazurAma 3-22; P. 6. -93; pp. 6,7,28. pavana 3-42 i., 5-8, -11, -19, -114; pp. 7, rAma(va)Na 2-62,-68,-71, 3-93, pp. 6, 7, 9,28. pavanatanaya 3-38, -49. rAmAyaNa 1-14, -31,-85, 2-12, 3-20, -13, pavanasuta 1-86, 3-15, see hanumat; p. 4. 4-14 i., 5-60, -119; pp. 2, 3, 4, 6, 7, pazupati 1-60, -91; pp. 3,27. 8, 12, 26. pATalIputra 4-18, 5-39; pp. 8, 10. rAhu 3-88; pp. 7,30. pANDa 5-16, -66, p. 9. rudra 1-77, -79, 3-69, -72; pp. 3, 4, 29, pArAzara 1-13, 5-12; pp. 3,9,32. reNukA 3-21; pp. 6, 28, 32, 33. pArvatI pp.'7, 12,33. lakSmaNa 3-49,-95; pp. 7, 28. purANa 1-14, -31, -35, -53, 2-27, 4-15,lakA 1-86, 2-68, 3-46,4-60, 5-62; pp. __-27, 5-64; pp. 2,3,5,6, 8, 11, 26. | 4; 7, 9, 11, 30. baka 4-22,-24; pp. 8, 30. vanabhara 3-66. badarikAzrama 1-75, 4-503. pp. 4, 8. varAha 3-96, pp. 7,30. bali 3-90%p. 7. basiSTa 1-63: pp. 3,32. rahaspati-suraguru, 5-66, p. 11. vasudevasuta (vAsudeva)2-43: p. 5. majhan 1-306.,-56, -59, -69,-01,-741., vAyu 5-111; pp. 11, 32. -77-79, 2-45,-47, -49, 5-59,-115; vAyuputra 2-71,5-69i. pp. 3,14, 5, 8, 12, 26, 27, 28, 33. bAlakhilya 4-57p. 8. 12.

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vicitravIrya 5-13; p. 9. zvetakuNDalin see sveda-. vidura 5-16; pp. 9,31. zvetAmbara 5-125, p. 12. vinatA 4-33,-35 i., -44, -47 i., -75; pp. SaNmukha 3-82, 5-115; pp. 12,32. ___8,9, 30, 33. sitakuNDalin, see svedavirATarAja 1-42, p. 3. sItA 1-86 i.,2-62, -64 i., -676., -696., viSNu 1-39, -54, 3-90, 4-80; pp. 3, 4, 7, 3-46; pp. 6, 28. 9, 27, 28, 30, 32, 34. viSNupurANa 2-27; pp. 5, 26, 27. sunda 3-27, -31 i.; pp. 6, 7, 29. sUrya 1-81, 83, 5-111%, p. 11. vyAsa 1-41, 5-12, -19; pp. 3, 9, 26, 31. zaka 1-81, 5-35, -65, -72. somazrI 5-39; p. 10. zaMkara 1-75; pp. 4, 29. svAmin-Izvara 1-28; pp. 2, 3. zantanu 5-13; p. 9. svedakuNDalin 1-75, 5-116, pp. 4,12, 26,32. zaza 1-7, 3-20, -44, -90, -98, 4-1,-14 hanumat 1-87, 2-65 i., 3-41, -44, -15, I., -17, -26, -31 i.,-94, 5-33, -59 4 -91, -93, 5-11,-19, 5-60, -62, pp. pp. 2, 6, 8, 10, 19, 23. 6, 7, 9, 11, 27, 29, 30, 31, 34. zazipAla (=zizupAla)2-55; pp. 5, 28. hara 1-52, -63, 3-59, 4-28; pp. 3, 4, 8, zazibhUSaNa 3-54. 26, 27, 32. ziva pp. 7, 10, 29, 35. hari 1-63, -76, 5-72, p. 3. zUlapANi 3-64. haribhadra 5-124 i. zailasutA 5-114, -117. haladhara (-balarAma) 5-117; pp. 12, 33. zruti 1-53, -89, 2-27,3-88, 4-27, 5-64; | himavat 4-61. . .26. / hutavaha agni 3-58,-65 i., -71 i.,5-26. dhUrtAkhyAne samuddhRtAnAM padyAnAM varNAnukramasUcI Sanskrit Text 420 Gujarati Text p. 65 343 Prakrit Text V.110 V.4 HI.73 V. 18 IV.92 II. 50 I. 87*1 IV. 20 V. 103 V.5. . III.35 III. 67 adhItya zAstrANi avi uDDe citra AkhyAsyati pituH AhAre caiva khajurI mAruiNo jassa pabhAveNu tava prasAdAt teSAM kaTataTa tyAgena bhUtAni pavaNucia AhAro strINAM kRte . hasthI dammada 125 78 p. 54 p. 52 (2) p. 59 258 p. 57 p. 57

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PUBLICATIONS OF THE SINGHI JAIN SERIES Prabandhacintamani of Meruturigacarya (A. D. 1806): Part I, Text in Sanskrit with Variants, an Appendix and Indices of Stanzas. This is an important collection of stories, legends and anecdotes connected with kings like Vikramarka, Bhoja, Kumarapala etc, and author-poets like Siddhasena, Magha, Dhanapala etc. Critically edited with various research accessories by JINA VIJAYA MUNI. Demy quarto pp. 12+136. Price Rupees 3-12-0. Puritana-Prabandha-Sangraha: This is a noteworthy collection of many old Prabandhas similar and analogous to the matter in the Prabandhacintamani. Authentically edited with Indices of Versos and Proper Names, a short Introduction in Hindi describing the Mas and materials used in preparing this part and with plates by JINA VIJAYA MUNI. Demy quarto pp. 15+ 32+156+8 Price Rupees 5-0-0, 3. Prabandhacintamani (Complete Hindi Translation): A complete and correct Hindi translation is given in this volume, so as to enable the purely Hindiknowing public to grasp fully the contents of the original. The translator is Pandit Hajariprasad Dwivedi, Acarya, Hindi Deptt. Vis'vabharati, S'antiniketan. Along with the translation has been given an exhaustive Introduction in Hindi by the General Editor, MUNI JINA VIJAYAJI, which contains useful material for the proper understanding of the text. Demy quarto pp 12+ 12+156. Price Rupees 3-12-0. 6. Prabandhakos'a of Rajasekharasuri (A. D. 1349): Part I, Text in Sanskrit with Variants, Appendices and Alphabetical Indices of stanzas and all Proper Names. This gives twentyfour biographical Prabandhas dealing with celebrities of ancient India such as Bhadrabahu, Mallavadi, Haribhadra, Satavahana, Vastupala etc. Critically edited in the original Sanskrit from good old Mas with Varianta, Hindi Translation, Notes and elaborate Introduction etc. by JINA VIJAYA MUNI. Demy quarto pp. 8+8+136+14. Price Rupees 4-0-0. 7. Devananda-Mahakavya of Meghavijayopadhyaya (Sam. 1727): This is a Sanskrit poem in ornate style composed as a Samasya-purti incorporating some line or the other, in each verse, from the S'is'upalavadha of Maghs. In its seven cantos, it presents a biography of Vijayadevasuri who was honoured by both Akbar and Jehangir. Critically edited from an old Ms. with Notes, Index and Hindi Introduction, summary etc. by Pt. BECHARDAS J. DOSHI. Demy quarto pp. 8+16+80. Price Rupees 2-12-0. 8. Jaina Tarkabhasa of Yas'ovijaya (A. D. 1624-1688): It is a manual of Nyaya dealing with Pramia, Naya and Niksopa. Edited by Pt. SUKHALALJI SANGHAVI with his Tasparyanningraba Vrtti and an Introduction in Hindi, Super Royal 8vo pp. 8+8+14+78. Price Rupees 1-12-0.

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9. Pramanaminavinsa of Hemacandracarya: This is a treatise on Nyaya left incomplete perhaps by the author himself. It propounds the Jaina point of view after reviewing the tenets of other systems. Edited with a valuable Introduction and still more valuable Notes in Hindi by Pt. SUKHALALJI SANGHAVI and Pts. MAHENDRAKUMARA and MALAVANIA. Super Royal 8vo pr. 8+16+ 56+ 76 +144+36. Price Rupees 5-0-0. IO. Vividhutirthakalpa of Jina prabhasuri (A, D. 1332): Part I, Text in Sanskrit and Prakrit with Variants, and an Alphabetical Index of all Proper Names. This work gives a description of nearly 60 holy places together with the names of their founders etc.; and thus forms a sort of guide-book or gazetteer of Jaina sacred places of India of the 14th Century. It contains valuable information of historical and topographical interest. Critically elitel with Variants, Notes and elaborate Introduction etc. by JINA VLTAYA MUNI. Demy quarto pr. 8+16+114+14. Price Rupees 4-4-0. 11. The Life of Hamacandracarya: The eminent German orientalist, Dr. G. Buhler, wrote in 1889, an epoch-making essay in German on Hemacandra ( A. D. 1088-1173) who occupies a place of honour in Indian literature. This essay is a fine model of historical research; and, as such, for the benefit of English knowing readers, it has been translated here into English by Dr. MANILAL PATEL. Demy quarto pp. 16+104. Price Rupees 3-8-0. 12. Akolarka-Granthatrayam comprising Laghiyastrayam with Svopajna-vstti, Nyaya vinis'caya and Pramanasamgraha: These are three noteworthy Nyaya works of Akalarkadeva (C. A, D, 720-780), the last two being brought to light for the first time. Edited with Critical Notes, Variant Readings, Introduction [ in Hindi] and Indices etc. by Pt. MAHENDRAKUMARA. Super Royal 8vo pp. 8+14+118+184 +60. Price Rupees 5-0-0. 13. l'rabhavakacarita of Prabhacandracarya (A, D. 1277): Part I, Text in Sanskri, with Variants and Indices of stanzas and all Proper Names. It presents in ornate style the traditional biographies of twenty eminent personalities including religious teachers like Vajrasvami, authors like Haribhadra and Hemacandra and poets like Manatunga who have contributed to the glory of Jainism and the Jaina church. Critically edited from many old Mss. with Notes, Index and Hindi Introduction by JINA VIJAYA MUNI. Demy quarto pp. 10+0+226. Price Rupees 5-0-0. 14. Bhanucandra-caritra of Siddhicandra Upadhyaya: This is a remarkable composition of Sanskrit litarature in which an able pupil, namely, Siddhicandra has chronicled, without the least exaggeration, acts of social and religious service rendered by his great Guru Bhanucandra. It is not only a biography of the Guru but also an autobiography of the pupil, both of whom had connections with and were honoured at the Moghul court by Akbar and Jehangir. The English Introduction by the Editor is a rich mine of historical information. Critically edited from a single rare Ms. with elaborata Introduction, Summary, Appendices, Indicae etica by M. D. DESAI. Demy quarto PR, 8+12+104+68 Price Rupees 6-D-.

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15. Jhanabindu-prakarana of Yas'ovijaya Upa lhyaya: This is a systematic manual of Jaina epistemology. The Hindi Introduction of the editor is a brilliant exposition of Jaina theory of knowledge in the back-ground of Indian metaphysics. The Sanskrit Text edited with Introduction, Notes and Index etc. by Pt. SUKHLALAJI SANGHAVI, Pt. DALSUKH MALVANIA and Pta Hira KUMARI DEVI. Super Royal 8vo pr. 12+8+84+136. Price Rupees 3-8-0. 16. Bihatkathakos'u of Harisenacarya: The work contains a number of narrative talos-as many as 157-on all sorts of subjects including folk-tales und parablos which inculcato religio-moral principles of Jainism and glorify men of religion and ascetic heroes. They have been selected from the litforent strata of Jaina literature. The Introduction which is exhaustive and illuminating, evinces mature erudition of the editor. It is the first of its kind in so far as it presents an outlinear survey of Jaina Kathanaka literature in the back-ground of Indian literature. The Sanskrit text is critically edited with Introduction, Notes and Indices by Dr. A. N. UPADHYE, M. A., 1) Litt. Super Royal 8vo pp. 20+128+402. Price Rupees 12-0-0. 17. Jainapustakapras'astisamgraha: Vol. I. The work contains 111 Pras'astis and 544 colophons, attached at the end of the ancient palm-leaf manuscripts of the Jaina and other works. They throw enormous light on the historical facts, social conditions, the Kulas, Ganas and Gacchas of the Jainas. Their historical importance is on a par with that of the inscriptions and the copperplates. Critically edited with an informative Introduction and ten Appendices by Acharya JINA VIJAYA MUNI. Demy quarto pp. 20 + 180. Price Rupees 6-8-0. 18. Dhurtakhyana: The Original Prakrit Text of Haribhadrasuri, Sanskrit metrical Version of Sanghatilaka, an Old-Gujarati Prose Rendering; also an elaborate Critical Essay on the Dhurtakhyana by Dr. A. N. Upadhye; Critically edited by Acharya JINA VIJAYA MUNr. This is a unique satiro in Indian Literature, remarkable for its originality of thought and plot. De luxo edition, Ledger Paper, Super Royal 8vo pp. 8+24+56 +70. Price Rs. 5-8-0, Bombay 1944. [ To be Shortly out 3 19. Kathakos'aprakaranam of Jines'varasuri : The Prakit Text with Sankrit com mentary. Critically edited by Acharya JINA VIJAYA MUNI. The commentary contains many Prakrit stories, which illustrate various religious virtues and are interesting from the sociological point of view. The tales are a fine specimen of Prakrit narrative literature. 20. Yugapradhana-gurvavali. This is a gurvavali which is unique in Indian Annals inasmuch as it records the year-to-year events in the lines of outstanding Acharyas of Kharatara gaccha, from the 11th to 14th century A. D. It is written in simple and popular Sanskrit. Critically edited by Acharya JINA VIJAYA MUNI. 21. Kumara palacaritra Samgraha: This is a collection of some unpublished prabandhas connected with the life and times of the great Gurjara King, Kumara pala of the Chalukya dynasty. They unfold a great deal of fresh historical material. Critically edited with Index etc by Acharya JINA VIJAYA MUNI.

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2 22. Dharmabhyudaya-Mahakavya of Udayaprabha: This is a stylistic kavya in Sanskrit celebrating the religious activities of Vastupala, the great minister of the Gurjara King Viradhavala, and the patron and lover of fine arts & literature. The author is not only a contemporary but also the religious preceptor of Vastupals. Critically edited with various Indices etc. by Muniraj S'ri PUNYAVIJAYAJI 23 Kirtikaumudi and other Kavyas etc. This volume contains various poems & Prasastis written by authors who flourished at the time of Vastupala. Kirtikaumudi of Somes'vara, Sukrtasathkirtana-mahakavya of Arisimha, Sukrtakirtikallolini of Udayaprabha and Vastupalapras'astis of Narscandra, Narendraprabha, Jayasimha etc. Included in this volume are a superb supplement of the Dharmabhyudayamahakavya. Critically edited by Muniraj Sri PUNYA VIJAYAJI. To be had from BHARATIYA VIDYA BHAVAN BOMBAY 7.

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