Dhurtakhyana in the Nisithacurni

Author(s): A N Upadhye
Publisher: Z_Vijay_Vallabh_suri_Smarak_Granth_012060.pdf
Catalog link: https://jainqq.org/explore/250075/1

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DHURTAKHYANA IN THE NIS'IT'HA-CURNI DR. A. N. UPADHYE, M.A., D. LITT. When I wrote my essay "The Dhurtakhyana : a Critical Study"!, I knew from a reference that the Nisitha-curni of Jinadasa-gani Mahattara contained some information about the rogue Elasadha. Prof. J. C. Jain, Bombay, later on informed me that he had read something like the Dhurtakhyana in that Curni to the text of which unluckily I had no access. It is lately that my friends Dr. B. J. Sandesara and Dr. U. P. Shah, Baroda, kindly made available to me the necessary extracts from the N.-curni, cyclostyled-type-script-ed. by Acarya Sri Vijayapremasuri (Bombay V. S. 1995), vol. I, pp. 92-95. The following observations are based on these extracts, which are given at the close of this essay in an Appendix. To begin with there are the following three gathas of the Nisithabhasya (nos. 294-6) which give the requisite clue words of the illustrative tale: sasaelAsADhamUladevakhaMDA ya junnnnujaanne| sAyaMtaNe ko bhattaM akkhAtaM jo Na saddahati // 294 // corabhayA gAvIo poTTalae baMdhiUNa ANemi / tilaairUDhakuhADe vaNagaya malaNA ya tellodA // 295 / / vaNagayapATaNakuMDiya chammAsA hatthilaggaNaM pucche / rAyarayaga mo vAde jahiM pecchai te ime vatthA / / 296 // After these gathas, the Curni gives in Prakrit prose with a couple of metrical quotations in Sanskrit a fully developed story of the Dhurtas. At the end we have a sentence like this: sesaM dhuttakkhAgagANusAreNa Neyamiti // gato loiyo musaavaato| Looking at the clue words in the gathas, one can say that the Curni has given all that is obviously hinted in them; but the concluding colophon says that something is remaining and that it should be known from, or completed according to, the Dhuttakkhanaga. The story given in the N.-curni may be analysed thus : Many Dhurtas assembled in the Old Park to the north of Ujjaini in the territory of Avanti. Three of them, males : Sasaka, Elasadha, Muladeva, and the fourth, a female, Khandapana : every one of them had five hundred rogues 1. This is included in the edition of the Dhurtakhyana by Jinavijaya Muni. Singhji Jain Series No. 19, Bharatiya Vidya Bhavan, Bombay. 1944.

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144 ACARYA VIJAYAVALLABHASURI COMEMMORATION VOLUME as their pupils, of their own sex. Once during the rains, it was pouring down for a week; oppressed by hunger these rogues wondered who would give them food. Muladeva said: 'Let every one narrate his experience or information; one who does not believe it should give a feast to all, but one who confirms it with parallels from the Bharata, the Ramayana and other scriptures is not to give anything.' All of them said, 'Very well.' Elasadha narrated this incident: 'When I went to the forest with cows, I saw some robbers coming. I packed the cows in my blanket, and returned to my village with that luggage to witness the sports of villagers. The robbers rushed in there. The entire village, all men and animals, entered a cucumber. The robbers went away. A goat swallowed that cucumber; a boa gulped that goat; a crane picked up that boa and perched on a Vata tree, with one of its legs dangling down. An elephant from the king's military camp was tied to it. The crane started flying; the elephant was pulled up; there was a hue and cry; and consequently skilled archers shot the crane down. Its body was vivisected at king's orders; the boa, the goat, the cucumber were taken one from inside the other. The whole village came out of the cucumber along with myself and my cows. They all went to their respective places and I came here. Now tell me whether this is true.' When they said that this is all true, Elasadha asked, 'How can a blanket contain all the cows, and a cucumber, the village?' Others added that in the Bharata it is said that the whole universe was under one ocean; there was an Egg in the waters, and the entire universe was contained in that egg; if so, why could not your cows be contained in the blanket, and why could not the village be contained in a cucumber. Secondly, the entire universe was in Visnu's stomach; he was in Devaki's womb; and she lay on her bed; similarly, the cucumber, goat, boa and crane could each be contained in the belly of the next. Sasaka started narrating: 'After ploughing the field, sesamum seeds were sown during winter, and they grew into big trees. When a wild elephant pursued me, I climbed a sesamum tree. It shook the tree and rushed round, showering the seeds and crushing them under its feet. There was a stream of oil and lot of mud in which the animal got stuck and died. I prepared a bag from its skin and filled it with oil. I ate a load of sesamum cakes and drank pots of oil. Putting that bag on the branch of a tree, I reached home; my son pulled the tree and took the bag. This is my experience : one who does not accept it should give the feast.' Others added thus :

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DHURTAKHYANA IN THE NISITHA-CURNI 145 "These ideas are found in scriptures like the Bharata and the Ramayana. A stream in which the entire army was plunged is described. Secondly, a big sesamum plant is not impossible, for it is said that at Pasaliputra a drum was carved out of a masa plant.' Muladeva then narrated: 'As a youth, yearning for prosperity, I proceeded to the abode of Isvara for a bath with a gourd-kettle and an umbrella in hand. A wild elephant rushed against me. There being no other alternative I entered the gourd-kettle through the spout. The elephant also followed me, but I could delude and evade it for six months inside. Then I escaped through the spout; the elephant also pursued me, but its tail-end was caught there. I reached the Ganges which I crossed easily, and took the stream of it on my head for six months. Then I saluted Mahasena, came back here and met you all. Either accept this as true or give a feast to all the rogues.' Others added thus : 'What you say is true and reasonable. Brahmanas, etc., came out from the different parts of Brahma's body in which the entire population was contained; similarly, the elephant and yourself could be contained in a gourd-kettle. Secondly, Brahma and Visnu could not reach the terminus of the Linga even after many years; still Uma's body could accommodate it; similarly an elephant and yourself could be contained in the kundika. Thirdly, when Visnu was reposing in the ocean, Brahma came out of his navel, but the lotus (stalk) was stuck at it; similarly the tip of the tail could be stuck even when you both came out of the spout. Fourthly, Rama ordered Sugriva to get news about Sita; Hanumat was entrusted with this mission which he fulfilled by crossing the ocean by his arms; similarly you also could cross the Ganges. Lastly, when Ganga was invited on the earth, Pasupati received her in his matted hair for years together; similarly you could receive the stream of the Ganges for six months.' In reply to Khandapana's suggestion, the Dhurtas said that they would not sacrifice their self-respect for a meal. She smiled and started narrating thus: 'I am the daughter of a king's washerman. Accompanied by my retinue I went to the river with a cart-load of clothes to be washed. All the clothes spread in the sun were blown off by the wind. Being afraid of the king, I became a lizard and entered the garden where I changed myself into a mango tree. I heard one day that washermen were all forgiven; so I became myself once more. The ropes and stripes of the cart were eaten by jackals; so my father got them prepared from a

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146 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME buffalo's tail. Tell me whether you accept all this as true.' Others said in this manner : 'If it is true that Brahma and Kesava could not reach the terminus of the Linga, how is it that your statement is not true. Secondly, it is heard in the Ramayana that Hanumat had a long tail, which, covered with rags and sprinkled with oil, was lit up and thereby Lanka was burnt; similarly ropes could be prepared from a buffalo's tail. Thirdly, we hear in the scripture that King Gandharva became a dwarf, that Kimasva became a boa at Indra's curse, and that a boa asked with a human voice seven questions to Dharma who answered them and rescued his brother and then became King Ravi on the termination of the curse. Similarly, that you became a lizard and then again yourself is quite believable.' Then Khandapana suggested to them to submit to her lest they might be humiliated, but they were proud of their dignity. She smiled and continued : 'With king's permission I went out in search of my slaveservants who had run away; I visited many villages and towns; and here I find that those slave servants are yourselves and those clothes are on your body; if true, give the clothes; if false, give the feast. What is said is significant. It is necessary to compare Jinadasa's Dhurtakhyana (JD). with Haribhadra's Dhurtakhyana (HD). In JD there are only four Dhurtas while in HD there are five, the additional name being that of Kandarika. The order of their .enumeration is slightly different, and Muladeva does not occupy a very prominent position in JD as he does in HD. In JD Elasadha, Sasaka, Muladeva and Khandapana narrate their experiences one after the other, their experiences being confirmed by all the rogues and not by any one specifically as in HD. What Elasadha narrates as his experience in JD is put in the mouth of Kandarika in HD where Elasadha confirms it with Puranic stories. The patterns of the stories narrated by Sasaka, Muladeva and Khandapana are the same in both, with the difference that Muladeva is given the third turn in JD and the narration of Khandapana is substantially longer in HD with the result that the whole tale assumes a different form at the close in HD. That which is put in the mouth of Elasasha by HD is absent in JD. What Elasadha narrates in JD has some additional details in HD. It is confirmed by other rogues by only two parallel events from the Bharata etc. in JD, but by six parallel stories in HD. The patterns of experiences of Sasaka and Muladeva are basically the same in both; but, if JD confirms

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DHURTAKHYANA IN THE NISITHA-CURNI 147 them with two and five similar contexts from the srutis, HD gives ten and eight parallels. Thus it is obvious that HD draws upon a wider range of mythology and gives meticulously more episodes to confirm the obviously incredible details of personal experiences. Comparing similar contexts one finds that the narration in JD is uniformly simple and direct. Words and phrases from it are bodily found in HD. It is interesting to compare common expressions in JD and HD in similar contexts. A few passages are reproduced below: JD HD (1) ujeNI NAma nagarI, tIse uttarapAse jiNNujANaM (1) ...ujegI NAma NAmeNaM // 2 // tIse uttara NAma ujANaM / tattha bahave dhuttA smaagyaa|...ekke- pAse...ujANaM // 3 // tattha...... dhuttANa sayAkassa paMca paMca dhuttasatA, dhuttINaM paMcasayaM khNddpaannaae| NegA samAgayA... | // 4 // ...ikikarasa ya tesiM aha aNNayA pAusakAle sattAhavaddale bhukkhattANaM dhuttANaM paMca paMca sayA // 7 // dhuttIrNa paMcasayA khaMDaimerisI kahA saMvuttA / ko ahaM deja bhattaM ti / vnnaae...||8||...sttaahduddinnmmi ... // 10 // ... mUladevo bhagati / je jeNaNubhUyaM suyaM vA so taM kaha- sIavaddalAbhihayA / bhukkhattA biMti tahiM ko amhaM yatu / jo taM Na pattiyati teNa savvadhuttANa bhatta dija bhattaM ti // 11 // aha bhaNai mUladevo jaM jeNa dAyavvaM / etc. suaMca samaNubhUaM vA / so taM kaheu sabvaM... // 12 // jo taM na pattiijA...teNa sabvesiM / dhuttANaM ...dAyavvaM bhattayANaM ti // 13 // (2) corA kalayalaM karemANA tattheva nnivtitaa| so ya / (2) kalayalaravaM karitA paDiyA corA Navari tattha // gAmo sadupadacauppado ekkaM vAlaMka paviTTho...... 2-10 // to so sabAlavuDDo saithio jaNavao sapasuvaggo / aha ghoDaehiM sahio vAluMkaM sahagao vaDapAyave NilINA...saddavehiNo gahiyacAvA pattA... samvo ||11||...saa tattheva NilINA tuMge vaDapataMgaseNA iva bhUbilAo so gAmo vAlukAto pAyave viule ||14||...sNpttaa saddavehiNo johA / niggNtumaaro| isucaavghiyhtthaa...||17||...jh salabhANa ya seNA repphabilAo viNikkhamai // 23 // (3) taruNattaNe ahaM icchiyasuhAbhilAsI dhAradharaNa (3) taruNattaNammi ayaM icchiasuhasaMpayaM ahilasaMto hatAe sAmigihaM paThito chattakamaMDalahattho pecchAmi ya dhArAdharaNachAe sAmigihaM patthio suiraM // 1-18 // vaNagayaM mama vahAe ejamANa, tato ahaM bhIto chattakamaMDaluhattho...picchAmi agayavaraM iMtaM // 19 // attANo asaraNo kiMci NilukkaNaNaM apassamANo attANo a asaraNo kattha NilukkAmi haM ti ciMtaMto dagacchaDDugaNAlaeNa kamaMDalaM atigao mhi / so vi to sahasA yaaigao kmNddlu...||21||...mjjhaagyvro mama vahAe teNevaNAlae-]ga atigto| Numaggalaggo kamaMDalu aigao sigdhaM // 22 // ... tato me so gayavaro chammAsaM aMtokaMDIyAe vAmo- hatthi kamaMDalummI vAmoheUNa chammA etc. hio etc. The Prakrit passages reproduced in this paper are exactly as they are in the extracts supplied to me. I am aware, they present some difficulties of interpretation in some places.

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148 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME * The two Sanskrit quotations found in JD are also there in the same context in HD (namely, tesam etc. HD 4-20, and tava prasadat ete. HD1-87*1). HD adds more dignified descriptions here and there, and additional details are presented in it in smooth gathas. JD wants just an illustration of Laukika-musavada, and whatever is given by the Curni serves that purpose. HD has its own characteristics. It is an independent treatise put in a well thought-out satirical frame: the opening and concluding portions fully bear out this. The satirical effect in HD is worked out more logically and in a subtle and effective manner, which is conspicuously absent in JD. What HD adds after 5-76 has nothing corresponding to it in JD; and it may not be just an accident that the major portion of it is composed in a heavy style. In its concluding portion HD puts together a number of detached episodes, especially from the Bharata and Ramayana, and asserts that all of them are incredible. From the extract I am inclined to believe that the Curni gives all that is hinted in the Bhasya-gathas. The colophon: sesan dhuttakkhanaganusarena neyam iti, if it is genuine and belongs to the author of the Curni, would lead us to the conclusion that there was a longer Dhuttakkhana in Prakrit prose from which the major portion is extracted by the Curni. * The objective comparison of JD and HD leads me to the conclusion that HD is an elaborated and perfected work based on JD or its predecessor as postulated above. The reasons for this may be stated as below: (1) JD is uniformly shorter in its pattern tales and confirmatory episodes from the Puranas all of which are better worked out with supplementary details in HD. (2) HD incorporates everything in JD and adds more details to it. (3) The simple and narrative details of JD are presented in a more elaborate manner and polished style in HD. (4) The number of characters and of references to Puranic tales increases in HD, which presents them more logically and effectively. (5) What is a simple narrative illustration in JD is enlarged into an effective satire in HD with seeds of religious propaganda which are later on elaborated in the Dharmaparikna texts. Thus Haribhadra has built his satirical masterpiece incorporating or

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DHURTAKHYANA IN THE NISITHA-CURNI - 149 using both words and ideas from an earlier Dhuttakkhana preserved in the Curni. By his literary genius, logical acumen and wide learning he has shaped the simple stuff into a dignified literary masterpiece, unique in Indian literature. The above objective comparison of the two versions in the JD and HD and the conclusion that Haribhadra used for his Dhurtakhyana the story given in the Curni does not in any way violate the relative chronology of the two authors, Jinadasa and Haribhadra. Jinadasagani Mahattara, the author of N. Curni, has also written a Curni on the Nandisutra which was composed by him in Saka 598 or 677 A. D.3 and Haribhadra is assigned to a period about 750 A.D. APPENDIX [The story from the N. Curni is presented here with minor correc. tions, adjustments in punctuation etc.) avNtii| ujeNI NAma nagarI, tIse uttarapAse jiNNujANaM NAma ujANaM / tattha bahave dhuttA samAgaya sasago, elAsADho, mUladevo, khaMDapANA ya itthiyaa| ekkekassa paMca paMca dhuttasatA, dhuttINaM paMcasayaM khNddpaannaae| aha aNNayA pAusakAle sattAhavaddale bhukkhattANaM imerisI kahA saMvuttA / 'ko amhaM deja bhattaM' ti| mUladevo bhagati 'je jeNaNubhUyaM suyaM vA so taM kahayatu, jo taM Na pattiyati teNa savvadhuttANaM bhattaM dAyabvaM / jo puNa bhAraharAmAyaNasutIsamutthAhiM uvaNayauvavattIhiM pattIhiti so mA kiMci dlytu| evaM mUladeveNa bhaNite savvahiM vi bhaNiyaM 'sAhu sAhu' ti| tato mUladeveNa bhaNiyaM 'ko puvvaM khyti'| elAsADheNa bhaNiyaM 'ahaM me khyaami| tato so khiumaarddho| "ahaM gAvIo gahAya aDaviM gao, pecchAmi core AgacchamANe / to me pAvaraNI-kaMbalI patthariUNaM tattha gAvIo chubhiUNAhaM poTTalayaM baMdhiUNa gAmamAgato, pecchAmi ya gAmamajjhayAre goddahe ramamANe / tAhaM gahiya gAvo te pecchiumAraddho / khaNametteNa ya corA kalayalaM karemANA tattheva NivatitA / so ya gAmo sadupadacauppado ekaM vAluMke paviThTho / te ya corA paDigayA / taM pi vAluMke egAe ajiyAe gasiyaM / sA vi aiA caramANA ayagaleNa gasiyA / so vi ayagalo ekkAe DhaMkAe gahito / sA uDDiuM vaDapAyave nniliinnaa| tIse ya ego pAo valaMbati / tassa ya vaDapAyavassa ahe khaMdhAvAro hio| taMmi ya DheMkApAe gayavaro aaglito| sA uDDiuM payattA / AgAsiu pAo, gayavaro kddddhiumaarddho| DovehiM kalayalo kao / tattha saddavehiNo gahiyacAvA pattA / tehiM sA jamagasamagaM sarehiM pUritA matA / raNNA tIe poTa phADAviyaM / ayagaro diho, so vi phaaddaavio| ajiyA dihA, sA vi phaaddaaviaa| vAluka diha ramaNija / etthaMtare te godahA uparatA / pataMgaseNA iva bhUbilAo so gAmo vAlukAto niggaMtu3. Shri Jinavijaya : The Date of Haribhadrasuri, A Paper read at the First Oriental Conference, Poona 1919, p. 144; H. Jacobi: Samardiccakaha, Calcutta 1926, Intro. p. iii. A portion of this essay was presented to the Prakrit and Jainism Section of the XVII Session of the All-India Oriental Conference, Ahmedabad.

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150 ACARYA VIJAYAVALLABHASURI COMMEMORATION VOLUME maarddho| ahaM pi gahiya gAo Niggato / savvo so jaNo sahANANi gto| ahaM pi avaujjhiya gAo ihmaagto| taM bhaNai kaI saccaM / " sesagA bhaNaMti 'saccaM sccN'| elAsADho bhaNati 'kahaM gAvIo kaMbalIe AyAo, gAmo vA vaalNke| sesagA bhaNaMti 'bhArahasutIe subvati jahA puvvaM AsI egaNNavaM jagaM savvaM, tammi ya jale aMDaM aasii| tammi ya aMDage saselavaNakANaNaM jagaM savvaM jati mAyaM to [P.93] tuha kaMbalIe gAvo vAluMke vA gAmo Na mAhiti / je bhaNasi jahA DhekUdare ayagalo tassa ya atiA tIe vAluka ettha vi bhaNNati uttaraM / sasurAsuraM sanArakaM saselavaNakANaNaM jagaM savvaM jaha viNhussudare mAtaM, so vi ya devatIudare mAto, sA vi ya sayaNijje mAtA, jai eyaM saccaM to tuha vayaNaM kahaM asaccaM bhavissati / ' tato sasago kahitumAraddho / "amhe kaviputtA, kayAI ca karisaNAti / ahaM sarayakAle khettaM ahigato / tammi ya chette tilo vutto / so ya eriso jAto jo paraM kuhADehiM chettavyo / taM samaMtA paribhamAmi, pecchAmi ya AraNaM gayavaraM / teNamhi ucchitto, palAto, pecchAmi ya aippamANaM tilarukhaM, tammi vilaggo patto ya gayavaro / so maM apAvaMto kulAlacakaM va taM tilarukkhaM paribhamati, cAleti tattha tilarukkhaM / teNa ya cAlite jalaharo viva tilo tilavuhiM muMcati / teNa ya bhamaMteNa cakkatilA viva te tilA pilitA / tao tellodA NAma NadI bUDhA / so ya gayo tattheva tilacalaNIe khutto mao ya / mayA vi se camma gahiyaM datito kato, tellarasabharito / ahaM pi khudhito khalabhAraM bhakkhayAmi, dasa tellaghaDA tisito piyAmi / taM ca tellapaDipuNNaM daiyaM ghettuM gAma phio| gAmabahiyA rukkhasAlAe NikkhiviuM taM daiyaM gihamatigato / putto ya me daiyassa pesio / so taM jAhe Na pAvai tAhe rukhaM pADeuM geNhetthA / ahaM pi gihAo uohi paribhamaMto ihamAgao / eyaM puNa me aNubhUtaM / jo Na pattiyati so deu bhttN|" sesagA bhaNNaMti 'asthi eso ya bhAvo bhAraharAmAyaNe sutIsu jati / / teSAM kaTataTabhraSTairgajAnAM mdbindubhiH| prAvartata nadI ghorA hastyazvarathavAhinI // 1 // ja bhaNasi kahaM emahaMto tilarukkho bhavati / ettha bhaNNati-pADaliputte kila mAsapAdave bherI himmaviyA, to kiha tilarukkho emahaMto Na hojAhi / ' tato mUladevo kahiumAraddho / so bhaNati "taruNataNe ahaM icchiyasuhAmilAsI dhArAdharaNaTThatAe sAmigihaM pahito chattakamaMDalahattho, pecchAmi ya vaNagaya mama vahAe ejamANaM / tato ahaM bhIto attANo asaraNo kiMci NilukkaNavANaM apassamANo dagacchaDDaNaNAlaeNaM kamaMDalaM atigao mhi / so vi gayavaro mama vahAe teNevaMtaM atigto| tato me so gayavaro chammAsaM aMtokuMDIyAe vAmohio / tao haM chammAsaMte kuMDiyagIvAe Niggato / so vi ya gayavaro teNavaMteNa Niggato, NavaraM vAlaggaM te kuMDiyagIvAte lagyo / ahamavi purato pecchAmi aNorapAraM gaMgaM / sA me gopayamiva tiNNA / gato mhi sAmigihaM / tattha me taNhAchuhAsame agaNemANeNa chammAsA dhAriyA dhArA / tato paNamiUNaM mahAseNaM payAo saMpatto ujjeNiM, tubbhaM ca ihaM milio iti / taM jai eyaM saccaM to me heUhiM pattiyAveha / ahamaNNaha aliyaM ti dhuttANaM deha to bhttN|" tehiM bhaNiyaM 'scc| mUladevo bhaNai 'kahaM saccaM te bhaNaMti 'sunneh| jaha puvvaM baMbhANassa muhAto vippA NiggayA, bAhao khattiyA, UrUsu vaissA, padesu suddasuddA / jai ittio jaNavao tassudare mAo to tuma hatthI ya kuMDiyAe Na mAhiha / aNNaM ca kila baMbhANo viNhU ya uDDhAhaM dhAvaMtA gatA divvavAsasahassaM tahA vi liMgassaMto Na patto / taM jai emahaMtaM liMga umAe sarIre mAtaM to tuhaM hatthI ya kuMDiyAe Na mAhiha / jaM bhaNasi vAlagge itthI kahaM laggo, taM suNasu / viNhU jagassa kattA [P. 94] egaNNave tappati tavaM jalasayaNagato, tassa ya NAbhIo baMbhA paumagabbhaNibho Niggato NavaraM paMkayaNAbhIe laggo, evaM jai tumaM hatthI ya viNiggato hatthI

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DHURTAKHYANA IN THE NISITHA-CURNI 151 vAlagge laggo ko doso / jaM bhaNasi gaMgA kahaM uttiNNo, rAmeNa kila sItAe pavvatiheu suggIvo ANatto, teNAvi haNumaMto, so bAhAhiM samudaM tariuM laMkA puri patto, dihA sItA, paDiNiyatto / sIyAbhattuNA pucchito kahaM samuddo tiNNo bhaNAti / tava prasAdAt tava ca prasAdAd bhartuzca te devi tava prasAdAt / sAdhUnate yena pituH prasAdAttIrNo mayA goSpadavatsamudraH // jai teNa tirieNa samudro bAhAhiM tiNNo tuma kahaM gaMga Na tarissasi / jaM bhaNasi kahaM chammAse dhArA dharitA, ettha vi suNasu / logahitatthA suragaNehiM gaMgA abbhatthitA 'avatarAhi mnnuylogN'| tIe bhaNiyaM 'ko me dharehiti nnivddiNtiiN'| pasuvatiNA bhaNiyaM 'ahaM te egajaDAe dhaaryaami'| teNa sA divvaM vAsasahassaM dharitA / jai teNa sA dharitA tumaM kahaM chammAsaM Na dhrisssi|' - aha etto khaMDapANA khitumaarddhaa| sA ya bhaNNai / 'olaMbitaM ti amhehiM jai aMjaliM karitha sIse osappeha jati na mamaM to bhattaM demi svvesiN|' to te bhaNaMti 'dhuttI, amhe savvaM jagaM tulemANA kiha evaM dINavayaNaM tubbha sagAse bhnnihaamo|' tato IsiM haseUNa khaMDapANA kahayati "ahagaM rAyarajakassa dhuuyaa| ahaM aNNayA saha pitrA vatthANa mahAsagaDaM bhareUNa purisasahasseNa samaM NadiM salilapuNNaM pttaa| dhoyANi vatthAiM, to AyavadiNNANi ubvAyANi / Agato mhaavaato| teNa tANi savvANi vatthaNi avhritaanni| tato haM rAyabhayA gohArUvaM kAUNa rayaNIe NagarujjANaM gtaa| tattha haM cUyalayA jaataa| aNNayA ya suNemi jahA rayagA ummidaMtu abhayo siN| paDahasadaM soUNa puNa NavasarIrA jaayaa| tassa ya sagaDassa NADaga varattA ya jaMbuehiM chAge hiM mkkhitaao| tao me piugA gADagavarattAo aNNissamANeNa mahisapucchA laddhA, tattha NADagavarattA vlitaa| taM bhaNaha kimettha scccN|" te bhnnNti| 'baMbhakesavA aMtaM na gatA liMgassa jati taM saJcaM, tuha vayaNaM kahaM asaccaM bhvissi'tti| rAmAyaNe vi suNijjati jaha haNumaMtassa pucchaM mahaMtaM AsI, taM ca kila aNegehiM vatthasahassehiM vediUga tellaghaDasahasse hiM siMciUNa palIviyaM, tega kila laMkApurI daDDhA / evaM jati mahisassa vi mahaMtapuccheNa NADagavarattAo jAyAo ko doso| aNNaM ca imaM suI suvvati jhaa| gaMdhAro rAyA raNNe kuDavattaNaM patto, avaro vi rAyA kimasso NAma mahAbalaparakkamo, teNa ya sako devarAyA samare Nijjio, tato teNa devarAyega sAvasatto raNe ayagalo jAto, aNNayA ya paMDusuA rajjayabhaTThA raNe hitA, aNNayA ya egAgi NIggato bhImo, teNa ya ayagareNa gasito, dhamasuto ya ayagarassa mUlaM patto, tato so ayagaro mANusIe vAyAe taM dhammasutaM satta pucchAto pucchati, teNa ya kahitAto saMtta pucchAto, tato bhImaM Niggilai, tassa sAvassa aMto jAto, jAto puNa ravirAyA / jai eyaM saccaM, to tumaM pi sabbhUtaM gohAbhUya sabhAvaM gaMtUNa puNaNNavA jAtA / ' to khaMDapANA bhaNati ' evaM gate vi majjha paNAmaM kareha, jai kahaMci jippaha, to kANA vi kanvaDiyA tubbhaM mullaM Na bhavati / ' te bhaNati 'ko mhe satto nnijjiuunn'| to sA hasiUNa bhaNati 'tesiM vAtahariyANa vatthANa gavesaNAya NiggayA rAyANaM pucchiUNaM, aNNaM ca mama dAsaceDA gaTThA, te ya aNNissAmi, tato haM gAmaNagarANi aDamANI ihaM pattA, taM te dAsaceDA tubbhe, tANi vatthANimANi jANi tumbha parihiyANi, jai saccaM to deha vatthA, aha aliyaM to deha bhattaM / ' asuNNatthaM bhaNiyamiNaM / sesaM dhuttakkhANagANusAreNa Neyamiti / gato loiyo musAvAto /