Karkanda Chariu

Author(s): Kankamar Muni
Publisher: Karanja Jain Publication
Catalog link: https://jainqq.org/explore/034918/1

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Ilollebic 19% dAdAsAheba, bhAvanagara, phona : 0278-2425322 300484 sambAdAsa cavare digambara jaina graMthamAlA (kAraMjA jaina sIrIja) graMtha - 4 muni-kanakAmara-viracita ka ra kaMDa ca riu (An Apabbramsa work containing the life of Karakandu, a king and saint of yore, who is rocognised as a Pratyeka-buddha by the Jainas as well as the Bauddhas. It is also important for its historical information which is fully discussed in the introduction with a dozen photo illustrations. ) bhUmikA, anuvAda, zabdakoza, TippaNI, pariziSToM va bAraha citroM sahita, saMpAdaka hIrAlAla jaina em. e., el ela. bI., saMskRtAdhyApaka, kiMga eDavarDa kaoNleja, amarAvatI. prakAzaka gopAla ambAdAsa cavare, kAraMjA jaina pablIkezana sosAyaTI, kAraMjA (barAra ). vIra saMvat 2459 ] 1934 [vikrama saMvat 1991 mUlya 6) Shree Sudharmaswami Gyanbhandar-Umara, Surat

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To MY ESTEEMED GURU Dr. Prasanna Kumar Acharya M A., (Calcutta ) Ph. D., (Leyden ) D. Litt., (London ). V Ilead of THE ORIENTAL DEPARTMENTS, ALLAHABAD UNIVERSITY, at whose feet I received my first lessons in the methods of critical study and research, I dedicate this volume, as an humble token of gratitude and respect. thern H, L. Jain. cas

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ambAdAsa cavare digambara jaina granthamAlA-4 muni-kanakAmara-viracita kara kaMDa ca riu bhUmikA, zabdakoza, anukramaNikAoM, TippaNoM va pariziSToM sahita saMpAdaka hIrAlAla jaina, em. e., ela el. pI., saMskRtAdhyApaka, kiMga eNDavarDa kAleja amarAvatI, bhUtapUrva risarca skAlara, alAhAbAda yUnIvarsiTI. prakAzaka gopAla ambAdAsa cavare, saMsthApaka, kAraMjA jaina pablIkezana sosAyaTI, kAraMjA (barAra) vAra nirvANa saMvat 2459 ] 1934 [ vikrama saMvat 1991.

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THE AMBADAS CHAWARE DIGAMBARA JAINA GRANTHAMALA. OR KARANJA JAINA SERIES Edited, With the cooperation of various scholars, By Hiralal Jain, M. A., L L. B., Kina EDWARD COLLEGE, AMRAOTI. Volum. IV Published by GOPAL AMBADAS CHAWARE FOR Karanja Jaina Publication Society, Karanja, Berar ( India ).

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Karakanda Cariu OF MUNI KANAKAMARA An Apabhrams'a work on the life of Karak andu recognised as a saint or Fratyeka-buddha by the Jainas as well as the Bauddhas. Critically edited with Introduction, Translation, Glossary, Indices, Notes and Appendices, Shree Sudharmaswami Gyanbhandar-Umara, Surat by Hiralal Jain, M. A., LL., B., Central Provinces Educational Service, King Edward College, Amraoli. Sometime Research Scholar, Allahabad University. 1934. www.umaragyanbhandar.com

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prakAzaka, gopAla ambAdAsa cavare, marceTa eNDa beMkara, kAraMjA ( barAra ) mammmm BROTIBAHAIYALATHIMiH TTLivinitiuffitititituttimthitthasma anyopadezavirahe'pi susaMyamasya cAritrakoTividhayaH svayamudbhavanti / pratyekabuddhamatayaH khalu te prazasyAsteSAM manAka smaraNato mama pApanAzaH // jayasenakRta pratiSThApATha, 672 TWICIALHITIALAMMOHITHLTAHARAHAMAH miritiritutifmmituntifiittimumnimthit mudraka, TI. em. pATila, mainejara, sarasvatI paoNvara presa, amarAvatI ( barAra)

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CONTENTS. i Terapia 2 & TOTEATT ... 2 grantha kA viSaya 3 avAntara kathAe~ 4 kathA ke nAyaka 5 terApura aura vahAM ke layana 6 pahalI guphA kisane vanavAI ? Introduction 19-50 1 Critical Apparatus 2 Summary of the work ... 3 The intervening stories and their sources. 4 Popularity of the hero. ... 5 Authorship, time and place of composition. 6 Terapur and its cove-temples. 7 Who cxcavated the first cave? 8 Metre 9 Ackuowledgements ... 10 Addenda et corrigenda Apabhrams'a text of Karakandacariu in 10 chap. ters with head-lines to each kadavaka in Eng. lish and variant readings in the foot notes. ... 1-107 English translation... 109-191 Glossary ... ... 193-236 Iudex of personal names with notes ... 237-243 Index of geograpbical names with notes 245-256 Notes critical and explanatory ... 256-268 Appendices ... ... ... ... 269--284 A The story in Pali of Karandu Raja with English translation ... 271 - 274 B The story in Prakrit of Karakandu Raya with English translation 275 - 284 3 4 5 6 7 8 9

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List of Illustrations. ... ... Frontispiece Facing page ( 16 ) intro. ( 44 ) , ... ... 8 text. ... ... 1 A General view of the Terapur Hill. ... ... ... 2 Cave No. 1 at Terapur. ... 3 A view of the principal cave at Terapur. ... ... ... 4 The hall of the principal cave. 5 The chief image in the principal cave. ... ... ... 6 Another seated image in the principal cave, ... ... 7 A standing image of Parsvanatha in the principal cave. ... 8 A portion of the frieze on the walls of the principal cave. 9 Design of pillars in the principal cave. ... ... ... 10 Cave No. 3 at Terapur. ... Jl Plan of the hall and design of the pillars in cave No. 3 at Terapur. ... 12 Cave No. 4 at Terapur. ... ... >> ... ... ... , 168 ,,

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1. terApura kI usa pahAr3I kA dRzya jisameM cAra jaina guphAyeM haiM. A general view of the hill containing the caves at Terapura ( Dharasiva ). ( Page 42, intro.)

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graMtha paricaya 'karakaMDacariu ' ke darzana mujhe prathama bAra sana 19.24 meM kAraMjA ke sana gaNa bhaMDAra meM hue the| tadanusAra graMtha kA kucha paricaya san 1926 meM madhyaprAMtIya sarakAra dvArA prakAzita saMskRta-prAkRta hastalikhita graMthoM kI sUcI meM diyA gayA thaa| khoja karane para isI graMtha kI pAMca aura bhI pratiyAM mujhe dekhane ko milIM / ina saba praniyA kA mAma avalokana kara prastuta saMskaraNa naiyAra kiyA gayA hai| granthakAra isa graMtha ke kartA muni kanakAmara haiN| unhoMne apanA nAma grantha kI pratyeka sandhi ke anta meM aMkita kara diyA hai / prArambha meM unhone apane guru kA paMDita maMgaladeva nAma batalAyA hai aura antima prazasti meM unhe hI budha maMgaladeva kahA hai| vizeSa hAla to ina maMgaladeva kA jJAta nahIM ho sakA kintu sambhavataH ye vehI budha maMgala haiM jinakA banAyA huA dharmaratnAkAra nAmaka grantha milatA hai| isa graMtha kI eka prati kAraMjA ke valAtkAra gaNa maMdira meM hai| antima prazasti meM kartA ne apanA kucha aura bhI paricaya dene kI kRpA kI hai| unhone kahA hai ki ve brAhmaNa vaMza ke candra RSi gotra meM utpanna hue the aura vairAgya lekara ve digambara muni hogye| taba se unakA nAma kanakAmara muni prasiddha huaa| ve bhramaNa karate hue 'AsAiya nagarI meM pahuMce aura yahIM rahakara unhone prastuta graMtha kI racanA kii| isa racanA ko unhone jina sajjana ke anurAga se prakAzita kiyA ve eka bar3e yogya, vyavahAra kuzala, dharmAtmA puruSa the| ve vijayapAla nareza ke snehabhAjana tathA unake mukhadarpaNavat the, unhone bhUvAla nareza kA mana moha liyA thA, tathA ve karNa narendra ke citta kA manoraMjana kiyA karate the| unake tIna putra the, Ahula, ralho aura gahula / ye tIno kanakAmarajI ke caraNoM meM anurakta the| __ apane bhakta zrAvaka kA itanA paricaya dene parabhI, kheda hai, kanI ne unakA nAma nahI batalAyA aura na apane graMtha ke nirmANa kA samaya hI aMkita kiyA / isa graMtha kI prApta hastalikhita pratiyoM meM se do meM unake likhane kA samaya diyA gayA hai, eka saMvat 1558 arthAt san 1502 kI likhI huI hai aura dusarI saMvat 1597 arthAt pahalI se 39 varSa pazcAt / isase yaha nizcaya hai ki graMtha 1502 se pUrva bana cukA thA / graMthakAra ne apane graMtha meM

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(2) siddhasena, samantabhadra, akalaMka, jayadeva, svayaMbhU aura puppadanta kA ullekha kiyA hai| inameM se samaya kI apekSA sabase antima puSpadanta hI jJAta hote haiN| inhone apanA mahApurANa san 965 I. meM samApta kiyA thaa| ataH itanA to nizcaya ho gayA ki graMtha san 965 ke pazcAt aura 1502 se pUrva banA hai| jisa 'AsAiya' nagarI meM rahakara kavi ne graMtha-racanA kI usakA bhI nizcaya nahIM hotA ki yaha kahAM thI tathA jina rAjAoM kA unhone ullekha kiyA hai unakA bhI kucha nizcita itihAsa jJAta nahIM hai| kAraMjA kI prati meM 'AsAiya' nagarI para 'AsApurI' aisA TippaNa hai| isase jAna par3atA hai ki usa nagarI ko AsApurI bhI kahate the| khoja karane para isa nAma ke aneka sthAnoM kA patA lagA / eka to 'AsAI' nAma kA itihAsa prasiddha vaha sthAna hai jahAM san 1803 meM marAThoM aura aMgrejoM kA yuddha huA thaa| yaha haidarAbAda rAjya ke auraMgAvAda jile ke antargata hai| yaha ava eka choTAsA grAma hai| usakA pUrva itihAsa kacha vidita nahIM hai| dasarA khAnadeza meM AsIragaDha nAma kA kilA hai jisakA yaha nAma vahAM sthApita AsAdevI parase pdd'aa| kahA jAtA hai ki isa kile ko maukharI vaMza (lagabhaga san 600) ke eka nareza ne apanI putraprApti kI AzA pUrNa hone ke upalakSya meM banavAyA thaa| kile ke pAsa kA eka choTAsA grAma aba bhI 'AsI' kahalAtA hai| eka tIsarA AsI nAma kA sthAna rAjaputAne ke vRndI rAjya meM hai| yaha bhI eka kilA hai / paMjAba ke kAMgar3A jile ke antagata kIragrAma se bAraha mIla dUrI para eka pahAr3I hai jisakI coTI para AsApurI devI kI sthApanA hai aura jisake kAraNa vaha sthAna AsA purI kahalAtA hai| isa maMdira ko eka rAjA caMdrabhAna ke putra vijayarAma ne banavAyA thaa| pAThaka nAma para se vijayarAma ko isa graMtha ke vijayapAla ThaharAne kA irAdA na kareM kyoMki ye vijayarAma satrahavIM zatAbdi meM hue haiM aura prastuta graMtha jaisA Upara batalA Aye haiM, isase pUrvahI bana cukA thaa| ityAdi / kintu ina nAma mAtra kI samAnatAoM se hameM hamAre graMtha kI racanA ke sthAna kA nirNaya karane meM vizeSa sahAyatA nahIM milatI, jaba taka kisI sthAna ke sAtha uparyukta rAjAoM kA bhI kucha itihAsa na pAyA jAve / yadi nAma mAtra para se sthAna kA nirNaya karane ko jI cAhe to aMgreja-marAThA yuddha vAlI ' AsAI' adhika upayukta a~catI hai| eka to graMtha meM nirdiSTa 'AsAiya' se isameM vizeSa zabda-sAmya hai aura dUsare vaha Age calakara vatalAI huI karakaMDu kI guphAoM ke aura sthAnoM kI apekSA, adhika samIpa hai| yaha sambhava hai ki muni kanakAmara ina guphAoM kA darzana karake hI vahAM Aye hoM aura usI prabhAva meM unhoMne isa karakaMDu-carita kI racanA kI ho / sambhava hai vijayapAla aura unake putra yahIM rASTrakRTa nareza kRSNa ke AdhIna rAjya karate ho| kRSNa puSpadanta ke samaya meM the| puSpadanta ne unakA ullekha 'kaNha * nAma se kiyA hai| usakA apabhraMza rUpa kaNNa bhI ho sakatA hai| __ jaisA Upara kahA jA cukA hai, graMtha meM ullikhita rAjAoM kA kucha itihAsa nizcita jJAta nahIM hai / tInoM nAma aise haiM jo rAjaputAne ke tathA anya sthAnoM ke prAcIna rAjAoM kI

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(3) vaMzAvaliyoM meM bahuta pAya jAte haiM / kintu graMtha kAra ke ullakha sa esA jJAta hotA hai ki unake utsAhavardhaka sajjana ke jIvanakAla meM hI ye tInoM rAjA ho cuke the aura unake sAtha inakA sambaMdha bhI khAsA raha cukA thaa| ataH ukta nAmoM ke paMsa tIna gajA dvaMdanA cAhiye jinakA ekahI kAla meM yA eka hI jIvana meM eka puruSa se sambaMdha honA sambhava ho ske| vartamAna jJAta itihAsa meM to mujha, bahuta khoja karane para bhI, esA sAmakSamya nahIM mila sakA, para mujhe kucha aise zilAlekhoM kA patA calA hai jinameM kucha AzAjanaka vArtA milatI hai / ye tInoM lekha bundelakhaMDa prAnta ke bhItara yA AsapAsa pAya gaye haiN| inameM kA eka lekha apabhraMza bhASA meM hai aura nIce usakA saMskRta anuvAda bhI diyA gayA hai / usameM prasaMgopayogI yaha vAta dI huI hai ki vizvAmitra gotra ke kSatriya vaMza meM vijayapAla nAma ke eka rAjA huye jinake putra bhuvanapAla the / unhoMne kalacurI, gurjara aura dakSiNa ko jIta DAlA thaa| yaha lekha damoha jile kI haTA tahasIla meM milA thA aura aba nAgapura ke ajAya. vaghara meM surakSita hai / dUsarA lakha bAMdA jile ke antargata candeloM kI purAnI rAjadhAnI kAliMjara meM milA hai| usameM vijayapAla ke putra bhUmipAla kA tathA dakSiNa dizA aura karNa rAjA ko jItane kA ulekha hai| tIsarA lakha jabalapura jila ke antargata tIbara meM milA hai| usameM bhUmipAla ke utpanna hone kA ullekha spaSTa hai tathA kisI sambaMdha meM triparI aura siMhapurI kA bhI ullekha hai / ina lekhoM meM ke do antima lekha yahuta hI iMTe Ta haiM, isasa unake pUrvApara sambaMdha kA kucha jJAna nahIM hotA, tathA prathama lekha pUrA milane para bhI abhItaka spaSTataH nahIM par3hA jA sakA hai| jo kucha par3hA gayA hai usa meM apabhraMza aura saMskRta kI vArtA meM kucha paraspara virodha sA pAyA jAtA hai / tathApi ukta nAmoM ke sambaMdha meM koI matabheda nahIM hai| lekhoM meM koI san sambat bhI nahIM pAyA gayA. kintu likhAvaTa para se ve 11 havIM yA 12 havIM zatAbdi ke anumAna kiye jAte haiN| merA to khyAla hai ki sambhavataH ukta lekhoM ke vijayapAla aura unake putra bhuvanapAla yA bhUmipAla, tathA hamAre graMtha ke vijayapAlaM ( apabhraMza vijavAla ) aura bhUpAla eka hI hai / rahI karNa (apabhraMza kaNNa) narendra kI bAta / so ye kaNa ve hI ho sakate haiM jinakA ullekha Upara ke dUsara zilAlekha meM AyA hai| yadi jJAta itihAsa meM ina rAjAoM ko samAviSTa karane kA prayatna kiyA jAya to kAliMjara ke caMdela vaMza meM sambhavataH ho sakatA hai / isa vaMza meM vikrama saMvat 1097 ke lagabhaga eka vijayapAla nAmaka rAjA huA hai| yaha pratApI kalacurI naraza karNadeva kA samakAlIna thaa| isake do patra hae, devavarmA aura kIrtivarmA / kIrtivarmA ne karNadeva ko parAsta kara diyA thA, aisA usI vijaya kI smRti meM likhe gaye prabodhacandrodaya nAmaka saMskRta nATaka tathA usa kAla ke kucha zilAlekhoM se jJAta hotA hai / sambhava hai ye kIrtivarmA tathA uparyullikhita bhuvanapAla, bhUmipAla va bhUpAla eka hI ho / usa avasthA meM jisa karNa kI parAjaya kA ullekha dUsare zilAlekha meM pAyA jAtA hai vaha kalacuri karNadeva hI tthhregaa| sambhava hai hamAre graMthakartA ke bhakta sajana inhI rAjAoM ke maMtrI rahe hoM / ina saba rAjAoM ke rAjatvakAla

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para dRSTi DAlane se isa graMtha ke banane kA samaya san 106.5 IsvI ke lagabhaga anumAna kiyA jA sakatA hai / abhI ukta zilAlekhA kI aura bhI pUrI pUrI jAMca hone kI, tathA unameM nirdiSTa bAtoM kA pUrA pUrA sAmaJjasya baiThAne kI AvazyakatA hai| kintu anya pramANoM ke abhAva meM hama graMthakartA ko inhI rAjAoM ke samakAlIna mAna le to hAni nhii| isa sAma. asya ke anusAra kAvya kI racanA ke sthAna 'AsAiya' nagarI kI khoja bundelakhaNDa prAnta ke bhItara kI jAne kI AvazyakatA hai| grantha kA viSaya isa graMtha meM karakaNDu (apabhraMza-karakaNDa) mahArAja kA caritra daza saMdhiyoM meM varNana kiyA gayA hai / saMkSepa meM yaha kathA isa prakAra hai| aMgadeza kI campApurI meM dhADIvAhana rAjA rAjya karate the| ekavAra ve kusumapura ko gaye aura vahAM padmAvatI nAma kI eka yuvatI ko dekhakara usapara mohita hogaye / yuvatI kA saMrakSaka eka mAlI thA jisase bAtacIta karane Adi se patA lagA ki vaha yuvatI yathArtha meM kauzAmbI ke rAjA vasupAla kI putrI thii| janma-samaya ke apazakuna ke kAraNa pitA ne use jamanA nadI meM bahA diyA thA / rAjaputrI jAnakara dhADIvAhana ne usakA pANigrahaNa kara liyA aura use campApurI le Aye / kucha kAla pazcAt vaha garbhavatI huI aura use yaha dohalA utpanna huA ki manda manda barasAta meM, maiM nararUpa dhAraNakarake, apane pati ke sAtha, eka hAthI para savAra hokara, nagara kA pari bhramaNa kam / aisA hI prabandha kiyA gyaa| kintu duSTa hAthI rAjArAnI ko lekara jaMgala kI ora bhAga niklaa| rAnI ne samajhA bujhA kara rAjA ko eka vRkSa kI DAlI pakaDa kara apane prANa bacAne para rAjI kara liyA aura Apa usa hAthI para savAra rahakara jaMgala meM phuNciiN| vaha hAthI eka jalAzaya meM ghusaa| usI samaya rAnI ne kRda kara vana meM praveza kiyaa| unake praveza se vaha sUkhA huA vana harA bharA hogyaa| isa khabara ko suna kara vanamAlI vahAM AyA aura rAnI ko vahina mAna kara apane ghara livA le gayA / kucha dinoM ke bAda hI mAlina ko padmAvatI ke rUpa para IrSyA utpanna ho gaI aura kisI bahAne se usane use apane ghara se nikAla diyaa| nirAza hokara rAnI smazAna bhUmi meM AI aura vahIM unheM eka putra utpanna huA jise eka mAtaMga [cANDAla ] uThA kara le claa| rAnI ke virodha karane para usane kahA ki vaha yathArtha meM eka vidyAdhara thaa| eka muni kI zApa se mAtaMga hogyaa| usa zApa kA pratIkAra muni ne isa prakAra se kiyA thA ki java karakaNDa kA dantipura ke zmazAna meM janma ho tava use bAlaka ko le jAkara usakA lAlana pAlana karanA cAhiye / baDA hone para jaba use usa nagara kA rAjya mila jAvegA taba vaha mAtaMga punaHvidyAdhara hojaavegaa| usake isa prakAra kahane para tathA bAlaka kA yathocita rUpa se lAlana pAlana karane kI pratijJA karane para rAnI ne apanA putra use sauMpa diyaa| usa mAtaMga ne cAlaka ko acchI taraha rakkhA aura svayaM khUba paDhAyA likhAyA / usa ke hAtha meM kaNDU (sUkhI khujalI) hone se usakA nAma.

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( 5 ) karakaMDa par3a gayA / jaba vaha yuvAvasthA ko prApta huA taba eka dina dantIpura ke rAjA kA paralokavAsa ho gayA / usake koI putra nahI thA isase rAjamaMtriyoM ne yaha vyavasthA kI ki eka hAthI ko eka bharA ghar3A diyA jAve, aura usase vaha jisa vyakti kA abhiSeka kara de vahI rAjA banA liyA jAya / isa vidhAna me karakaMDa kA bhAgya camaka utthaa| kinta use mAtaMga-putra jAnakara maMtrI aura nagara-nivAsI apanA rAjA svIkAra karane meM hickicaaye| isI samaya usa mAtaMga ko apanI vidyAdhara-Rddhi prApta hogaI aura usane sabakA samAdhAna karake karakaMDa ko rAjA banavA diyA / kucha samaya pazcAta hI unakA vivAha girinagara kI rAjakumArI madanAvalI se hogayA / eka vAra unake darabAra meM campA ka rAjA kA dUta AyA jisane unase campA nareza kA Adhipatya svIkAra karane kI preraNA kii| isase kara kaNDu ko bhArI krodha utpanna huaa| unhone tatkAla hI campA para caDhAI kara dI / ghora yuddha huA, anta meM padmAvatI ne raNabhUmi meM upasthita hokara pitAputra kA sammelana karA diyA / dhADIvAhana putraratna ko pAkara bahuta harSita hue| unhoMne campA kA rAjapATa bhI unha sauMpa, vairAgya dhAraNa kara liyaa| ____ apane vistIrNa rAjya ko pUrA jamAkara karakaMDa ne eka bAra maMtrI se pUchA 'he maMtrI! kyA koI aisA rAjA hai jo abhI bhI mujhe mastaka na namAtA ho ? maMtrI ne uttara diyA,mahArAja! aura to saba rAje ApakI adhInatA svIkAra karate haiM paraMtu draviDa deza ke cola, cera aura pANDya nareza Apako nahIM maante| rAjA ne unake pAsa dUta bhejA jisako unhone yaha kaha kara vimukha kara diyA ki hama jina bhagavAna ko chor3a aura kisI ko bhI sira nahI yukA sakate / yaha uttara pAkara karakaMDu ne yaha praNa kiyA ki yadi maiM ina rAjAoM ke mastakapara apanA paira na rakhU to saba rAjapATa kA tyAga karadUM / unhone turaMta hI unapara caDhAI kara dii| mArga meM ve terApura nagara meM phuNce| vahAM ke rAjA 'ziva ne Akara unase bheMTa kI aura batAyA ki vahAM se pAsa hI eka pahAr3I ke caDhAva para eka guphA hai, tathA usI pahAr3I ke Upara eka bar3I bhArI vAmI hai jisakI pUjA pratidina eka hAthI kiyA karatA hai| yaha sunakara karakaMDu zivarAjA ke sAtha usa pahAr3I para gye| unhone guphA meM zrI pArzvanAtha bhagavAn kA darzana kiyA aura Upara caDhakara usa vAmI ko bhI dekhaa| unake samakSa hI hAthI ne Akara aura pAsahI ke eka tAlAva se kamala tor3akara usa vAmI kI pUjA kii| karakaMDu ne yaha jAnakara ki avazya vahAM koI devamUrti hogI, usa vAmI ko khudvaayaa| unakA anumAna yathArtha niklaa| vahAM pArzvanAtha bhagavAn kI mUrti nikalI jise ve bar3I bhakti se usI guphA meM le aaye| isa bAra karakaMDu ne purAnI pratimA kA acchI taraha avalokana kiyaa| siMhAsana para unhe eka gAMTha sI dikhI jo zobhA ko vigAr3a rahI thii| eka purAne zilpakAra se pUchane para usane kahA ki jaba vaha guphA banAI gaI thI taya vahAM eka jalavAhinI nikala par3I thii|

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( 6 ) use rokane ke liye hI vaha gAMTha dI gaI hai / yaha sunakara karakaMDa ko usa jalavAhinI ke darzana karane kA kautuka utpanna huA aura usa zilpakAra ke bahuta rokane para bhI unhone usa gAMTha ko tur3avA ddaalaa| gAMTha ke TUTate hI vahAM eka bhayaMkara jalapravAha nikala par3A jise rokanA asambhava ho gyaa| sArI guphA jala se bhara gaI / yaha dekhakara karakaMDa ko apane kiye para pazcAttApa hone lagA / nidAna eka vidyAdhara ne Akara unakA sambodhana kiyA, usa pravAha ko rokane kA vacana diyA tathA usa guphA ke banane kA itihAsa bhI kaha sunAyA / vidyAdhara ne kahA ki eka samaya dakSiNa vijayArdha ke rathanUpura nagara meM nIla aura mahAnIla nAma ke do vidyAdhara bhAI rAjya karate the, kintu zatru se parAsta hokara ve vahAM se bhAga nikale aura terApura meM Akara rhe| dhIre dhIre unhone vahAM rAjya sthApita kara liyaa| eka muni ke upadeza se unhoMne jainadharma grahaNa kara liyA aura vaha guphA maMdira banavAyA / isI samaya dUsare do vidyAdhara bhrAtA laMkA kI tarapha yAtrA ko jA rahe the / malayadeza ke pUdI parvata para unhone eka rAvaNa ke vaMzaja dvArA banavAye hue jinamaMdira meM eka sundara jinamUrti dekhii| unhone vicAra kiyA ki aisI hI mUrti hama apane yahAM banavAveMge, isa hetu ve usa mUrti ko uThA kara le cle| terApura pahuMcane para ve usa mUrti ko pahAr3I para rakha kara jina maMdira kI vandanA ko gye| lauTakara Ane para jaba ve usa mUrti ko uThAne lage taba vaha nahIM uThI / nidAna eka muni ke upadeza se unhone use vahIM chor3A aura vairAgya dhAraNa kara liyaa| inameM se eka bhAI to zuddha tapasyA karake svarga ko gayA aura dUsarA mAyAcArI ke kAraNa mara kara hAthI huA / svargavAsI bhAI avadhijJAna se apane bhAI kI durgati ko jAna kara vahAM AyA aura use jAti- smaraNa karAyA jisake kAraNa vaha usa vAmI kI mUrti ko pUjane lagA / ye samAcAra sunAkara vidyAdhara ne karakaNDu ko eka aura guphA banavAne kI salAha dI / karakaNDu ne vahAM do guphAyeM aura vanavAI | isake pazcAt eka bar3e duHkha kI ghaTanA huI / eka vidyAdhara, hAthI kA rUpa dhara kara, AyA aura karakaMDa ko bhulAkara madanAvalI ko hara le gayA / karakaMDu zoka meM bahuta hI vihvala hue, kintu eka pUrva janma ke saMyogI vidyAdhara ke samajhAne, tathA punaH saMyoga kA AzvAsana dene para samAdhAna hue aura Age baDhe / ve siMhala dvIpa pahuMce aura vahAM kI rAjaputrI rativegA kA pANigrahaNa kiyaa| usake sAtha jaba ve jalamArga se lauTa rahe the taba eka bhImakAya maccha ne unakI naukA para dhAvA kiyaa| use mArane ke liye ve zastra lekara aura mala-gAMTha bAMdha kara samudra meM kUda par3e / maccha ko to unhoMne mAra DAlA, para ve lauTakara nAva para na A sake | unhe eka vidyAdharaputrI hara le gii| rativegA ke zoka kA pArAvAra na rhaa| maMtrI jhaTapaTa ber3e ko kinAre para lAyA / rativegA ne pUjApATha prArambha kiyA jisase padmAvatI devI ne prakaTa hokara use AzvAsana diyA / rativegA ke dina vahIM para dharma karma meM bItane lge| udhara karakaMDu ko vaha vidyAdharI apane ghara le gaI aura apane pitA kI AzA 1

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lekara usane unheM apanA pati banA liyaa| vahAM kI Rddhi kA upabhoga karake apanI navala vadhU sahita karakaNDa punaH rativegA se A mile / aba unhoMne cola, cera aura pANDA narezoM kI sammilita senA kA mukAbalA kiyA aura unhe harAkara apanA praNa pUrA kiyA / apanA paira unake mastakapara rakhate samaya rAjA ko unake mukaTI para jina pratimA ke darzana huye / yaha dekhakara rAjA ko bhArI pazcAttApa huaa| unhone unheM punaH gajya denA cAhA, para ve svAbhimAnI daviDAdhipati yaha kaha kara tapasyA ko cale gaye ki aba hamAre putrapautrAdi hI ApakI sevA kreNge| vahAM se lauTate hue karakaMDa punaH tarApura aaye| yahAM usI kuTila vidyAdhara ne pazcAttApa pUrvaka madanAvalI ko lAkara unhe sauMpa dii| ve phira campAnagarI ko lauTa Aye aura vahAM rAjya-sukha bhogane lge| eka dina vanamAlI ne Akara khabara dI ki nagara ke upabana meM zIlagupta munirAja kA zubhAgamana huA hai| rAjA ne nagara meM bherI piTavAI aura bhaktibhAva sahita, purajanoM ke sAtha, darzana ko prasthAna kiyaa| mArga meM unhoMne eka putrazoka se vyAkula, hA hA kAra meM magna abalA ko dekhA jisase unake citta meM saMsAra kI anityatA, jIvana kI asAratA Adi bhAvanAyeM uThane lagoM / muni ke pAsa pahuMca kara unhoMne dharmopadeza zravaNa kiyA jisase unake citta meM vairAgya utpanna hone lgaa| phira unhAna munirAja se tIna prazna kiya, unake suMdara zarIra hone para bhI unake hAtha meM kaNDU kyoM huI, unake mAtA pitA meM atineha hone para bhI unakA viyoga kyoM huA, tathA unakI priyA madanAvalI ko usa khacara ne kyoM harA ? munirAja ne ina praznoM ke uttara isa prakAra diye / pUrvajanma meM karakaNDu eka seTha ke yahAM dhanadatta nAmaka bAla the / eka dina yaha bAla bhesa carAne gayA thA / use eka sarovara meM bar3A suMdara kamala dikhA jise usane tor3a liyaa| taba eka deva ne Akara usase kahA ki tUne yaha bar3e sAhasa kA kAma kara ddaalaa| aba terI khaira isameM hai ki tU ise jo tribhuvana meM bar3A ho use caDhA denA, nahIM to maiM tujhe mAra ddaaluuNgaa| gvAla ne vicArA ki merA svAmI hI saba saMsAra meM bar3A hai, usakI acche acche manuSya sevA karate haiN| isase use hI yaha puSpa caDhAnA cAhiye yaha vicAra kara vaha seTha ke sanmukha upasthita huA aura apanA mantavya prakaTa kiyA / seTha ne kahA nizcayataH mujha se bar3A rAjA hai, isaliye tUM yaha phUla rAjA ko caDhA / jaba rAjA ke samIpa vaha upasthita huA taba rAjA ne munirAja ko apane se bar3A batAkara use unake pAsa bhejA aura munirAja ne jinendra bhagavAn ke / antataH usane usa phUla se bhagavAn kI pUjA kI jisake phala svarUpa use karakaMDu kA uttama svarUpa aura atula vaibhava prApta huA,aura kyoMki usane kIcar3a se lipaTe hue hAtha se vaha kamala caDhAyA, isase usake hAtha meM kaNDU huI / dUsare prazna ke uttara meM munirAja ne kahA ki pUrva janma meM padmAvatI zrAvastI nagara ke eka seTha kI strI thii| usane eka brAhmaNa yuvaka ke sAtha durAcAra kiyA jisase usake pati ne virakta hokara tapasyA kI aura vaha marakara campA kA ghADIvAhana rAjA huaa| vaha brAhmaNa

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(8) mara kara hAthI huaa| aura seThAnI mara kara punaH strI huI, usane pativiyoga kA duHkha bhogA, kintu apanI eka putrI ke prayatna se anta meM dharmadhyAna se marakara vaha kauzAmbI ke vasupAla rAjA kI putrI huI, azubha janma ke kAraNa jamanA meM yahAI gaI,pUrvakarmAnubaMdha se dhADIvAhanadvArA vyAhI gaI, usa hAthI dvArA haraNa kI gaI aura antataH karakaNDu kI jananI huii| tIsare prazna kA uttara munirAja ne isa prakAra diyA ki pUrva janma meM karakaNDu ke pAsa eka suA thA jise ve eka piMjar3e meM bar3e pyAra se rakhate the| eka dina usa sue para eka sarpa ne dhAvA kiyA jisase karakaNDu ne usakI rakSA kI aura use navakAra maMtra diyaa| usa sarpa ko bhI marate samaya navakAra maMtra kA suyoga mila gayA jisake prabhAva se vaha eka vidyAdhara huA aura pUrva vairAnubandha ke kAraNa usane madanAvalI kA haraNa kiyaa| yaha vRttAnta sunakara karakaNDu kA vairAgya aura bhI bar3ha gayA aura ve apane putra vasupAla ko rAjya dekara muni hogaye / unakI mAtA padmAvatI bhI arjikA ho gaI aura unakI rAniyoM ne bhI unhI kA anukaraNa kiyaa| karakaNDu ne ghora tapasyA karake kevalajJAna aura mokSa prApta kiyaa| avAntara kathAe~ karakaMDavarita kI mUla kathA Upara kahI jA cukI hai| isa kathA ke antargata nau aura choTI bar3I kathAe~ haiM jo karakaMDa ko nIti sikhAne tathA mUla kathA kI kisI bAta ko samajhAne ke liye kahI gaI hai| prathama cAra kathAe~ dUsarI sandhi meM AI haiM aura ve usa mAtaGga-vidyAdhara dvArA karakaNDu kI zikSA ke liye kahI gaI hai| prathama kathA ( 2, 10-12) meM maMtra-zakti kA prabhAva batAyA gayA hai| eka rAjA kI putrI ko eka rAkSasa hara le gayA thaa| bahuta samaya taka use bacAne kA koI upAya nahIM niklaa| nidAna kannauja ke eka brAhmaNa aura eka vaizya, do pathikoM ne maMtra zakti se usa rAkSasa ko vaza meM kiyA, rAjaputrI kI rakSA kI aura rAjA se bhArI sanmAna paayaa| dUsarI kathA ( 2, 13 ) meM ajJAna se vipani kA udAharaNa hai| do mitra dhana kamAne ghara se bAhara gaye the| mArga meM eka rAkSasa ne unhe dhara pkdd'aa| unakI bahuta durgati huI hotI kintu usI mArga se eka jJAnI puruSa A nikalA jisane dayA kara ke unhe usa rAkSasa ke hAtha se bcaayaa| tIsarI kathA (2, 14-15) meM nIca saMgati kA kupariNAma samajhAyA gayA hai| eka hozayAra seTha thaa| rAjA ne usase kahA ki yadi tuma eka gAthA aisI paDha do jisameM oMTha na mile to maiM tumheM eka jAgIra de ddaaluuN| seTha ne eka aisI gAthA paDha dii| rAjA ko baDe saMtApa kesAtha apanA bacana pUrA karanA pdd'aa| usa seTha kI eka ceTI se prIti hogii| ceTI ne eka vAra rAjA ke mora kA mAMsa khAne kI lAlasA prakaTa kii| seTha ne rAjA kA mora pakar3akara to chipA diyA aura kisI dUsare prANI kA mAMsa lAkara usa ceTI ko khilA diyA ! phira rAjA ke pyAre mora kI talAza huI / usa para inAma bolA gayA / taba usa ceTI ne seTha kA saba hAla rAjA ko kaha sunaayaa| rAjA ne

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(5) tatkSaNa seTha ko phAMsI kA hukma sunA diyaa| kintu usa hozayAra seTa ne rAjA kA mAra lA upasthita kiyA aura isa prakAra usa nIca ceTI aura kSudra rAjA se apanA piMDa chudd'aayaa| cauthI kathA (2, 15-18 ) meM, isake viparIta, ucca saMgati kA suphala batAyA gayA hai| eka vAra eka rAjA zikAra ke liye vana meM gayA thA / bhaTakata bhaTakate use khaya bhUkha-pyAsa laga AI, para pAsa meM kucha na thaa| nidAna usakI bheTa eka baniye se hogaI jisane use tIna phala khilAye aura pAnI pilAyA / rAjadhAnI ko lauTakara rAjA na usa baniye kA bar3A sanmAna kiyA, use apanA maMtrI banA liyaa| baniye kI prIti eka vezyA se thii| ekavAra usane rAjakumAra ko kahIM chipA diyA, aura usake AbhUSaNa le jAkara usa vezyA ko de diya, aura kahA ki inhe maiM rAjakumAra ko mAra kara lAyA huuN| vezyA ne apane premI ke hita kI abhilApA se kahA, yaha yAta mujhase kahI so kahI, aura kisI se nahIM khnaa| nidAna gajakumAra kI khojabIna huI aura kisI ne rAjA ko yaha khabara de dI ki maMtrI ne usake prANa haraNa kiye haiN| isa para rAjA ne usa maMtrI ko bulAkara kahA-maiM prasanna huaa| Aja tumhAre khilAye hue una tIna phaloM meM se eka kA RNa cuka gyaa| aba do phaloM kA RNa aura vAkI rahA / rAjA ke ye vacana sunakara maMtrI ne rAjakumAra ko lA upasthita kiyA aura ve punaH bar3e prema se rahane lge| uparyukta cAroM kathAe~, jAna par3atA hai, kavi ne apane samaya kI pracalita, lokapriya kisse kahAniyoM meM se lI hai / yA sambhava hai ve svayaM kavi kI sUjha kA pariNAma hI ho| pAMcavIM kathA kucha bar3I hai / vaha pUrI chaThavIM sandhi meM samApta huI hai| ise terApura meM eka vidyAdhara ne madanAvalI ke haraNa se vihvala karakaMDu ko yaha samajhAne ke liye sunAI thI ki pati-patnI ke nirAzajanaka viyoga ke pazcAt bhI unakA punaH saMyoga ho jAtA hai| naravAhanadatta vatsadeza kA rAjA thaa| ekavAra usakI rAnI madanamaJjapA ko eka vidyAdhara hara le gayA / zoka se vihvala hokara rAjA ne AtmaghAta karane kI ThAna lI aura vaha pAsa hI ke vana meM gyaa| vahAM usakI bheMTa eka vidyAdharI se huI jisakA premI vidyAdhara eka RSikanyA ke zApa se suA bana gayA thaa| usa RSikanyA ne dayAlu hokara yaha bhI batalA diyA thA ki jaba naravAhanadatta kA vivAha rativibhramA nAmakI vidyAdharaputrI se ho jAyagA taba vaha punaH vidyAdhara rUpa pA jaavegaa| yaha sunakara naravAhana bar3e vismaya meM par3a gye| itane meM hI vahAM eka aura vidyAdharI AI jo rativibhramA kA citrapaTa liye thii| usane kahA ki rativibhramA ne apane pitA dvArA harakara lAI huI eka strI se naravAhanadatta kA nAma sunA hai tabhI se vaha unake liye chaTapaTA rahI hai| phira vaha vidyAdharI naravAhana ko vijayAdha parvata para le gaI / vahAM naravAhana ne apanI harI gaI patnI ko bhI pA liyA aura rativibhramA tathA usakI aneka sakhI saheliyoM ke sAtha vivAha kara liyaa| phira dhIre dhIre ve samasta vidyAdharoM ke adhipati vanagaye /

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(10) naravAhanadatta kI kathA saMskRta sAhitya meM prasiddha hai| somadevakRta kathAsarisAgara, kSemendrakRta bRhatkathAmaJjarI aura buddhasvAmIkRta bRhatkathA-zlokasaMgraha meM yahI kathA bar3e vistAra se pAI jAtI hai| isI kathA ko sabase pahale guNADhya kavi ne paizAcI bhASA meM apanI bRhatkathA meM racA thaa| yaha paizAcI bhASA kI vRhatkathA aba nahIM miltii| sambhava hai hamAre kavi ke samaya taka vaha bRhatkathA lupta na huI ho aura usI ke AdhAra para unhone apanI kathA likhI ho, kyoMki uparyukta prApya graMthoM kI kathA se karakaNDacarita meM likhI gaI kathA meM kucha bheda par3atA hai| isa kathA meM madonmatta madanAmara vidyAdhara ke, eka RSikanyA ke zApa se, suA bana jAne kI jo vArtA kahI gaI hai usase hameM vANa kavi kRta kAdambarI meM mahAzvetA kI kathA kA smaraNa Aye vinA nahIM rhtaa| bANa ne bhI apanI kathA bRhatkathA ke AdhAra para hI likhI thii| __ naravAhanadatta kI kathA ke antargata hI hamArI chaThavIM avAntara kathA hai [6, 4-7] jisa ke dvArA apane pitA kI mRtyu ke zoka se vyAkula jaravAhanadatta kA eka munirAja ne sambodhana kiyA hai| mAdhava aura madhusUdana bhAI bhAI the, parana bar3A vaira thaa| dinoM ke phera se mAdhava yahAM taka daridrI ho gayA ki use bhojana-vastra kA bhI kaSTa hone lgaa| mAdhava kI strI ne use madhusUdana kA Azraya lene kI salAha dii| pahale to mAdhava ne apane svAbhimAna kA khyAla karake inkAra kara diyA kintu pIche strI ke samajhAne para aura apanI durdazA se vihvala hokara vaha mAna gayA / madhusUdana ne unakA bar3A Adara satkAra kiyA aura unhe prema se rakkhA, kintu mAdhava ke hRdaya kI irSAgni zAnta na huii| eka dina vaha ghara se nikala bhAgA aura prayAga meM jAkara usane yaha nidAna bAMdha kara, anazana dvArA, apanA prANAnta kara DAlA ki mara kara maiM madhusUdana ke yahA~ putra hoU~ aura phira usakA prema baDhAkara mara jAU~ jisase use ghora kleza ho| huA bhI aisA hI / madhusUdana putrazoka meM marane ko tatpara hogayA taba use eka vidyAdhara ne mAdhava ke pUrvabhava kA hAla sunAkara usake citta ko zAnta kiyaa| isa prakAra ye pitAputrAdi sambaMdha saba nidAna ke kAraNa haiM inameM harSa yA zoka nahI mAnanA caahiye| sAtavIM avAntara kathA (7, 1-4) zubha zakuna kI hai jise vidyAdhara ne karakaNDa ko sunAI thii| eka daridrI brAhmaNa ko mArga meM eka muni ke darzana hue jisase vaha khuzI ke mAre nAcane lgaa| eka kSatriya kumAra ghor3e para savAra vahAM se nikalA ora usa brAhmaNa ko nAcate dekha usane hAla pUchA / brAhmaNa ne kahA mujhe vana meM muni-darzana kA zubha zakuna huA hai jisake phala svarUpa mujhe rAjya milegaa| kSatriya kumAra ne brAhmaNa se kaha suna kara usa zakuna kA phala Apa le liyA aura badale meM apanA ghor3A aura AbhUSaNa de ddaale| brAhmaNa calA gayA aura kSatriya kumAra ne vana meM praveza kiyaa| vahAM sudarzanA devI, strI kA rUpa dhara ke, sAtha ho gii| unhone eka andhakUpa dekhA jisameM eka sAMpa aura meMDaka lar3a rahe the / yuvaka ne apanI deha se eka mAMsa kA Tukar3A kATakara unake

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( 11 ) bIca DAla diyA / usake sAhasa se prasanna hokara ve dono bhI manuSya kA rUpa dhAraNa kara usake sAtha hogye| eka rAjA ne unhe dekhA aura vaha usa strI ke rUpa para mohita ho gyaa| usane yuvaka ko eka kue meM Dhakela diyA, aura usa strI se prema karanA cAhA / itane meM hI use eka sarpa ne Dasa liyA aura vaha mara gayA / strI ne usa yuvaka ko kue se nikAlA aura pazcAt usakA mRta rAjA ke sthAna para rAjyAbhiSeka hogayA / sudarzanA devI zakuna kA yaha phala dekara calI gaI / AThavIM avAntara kathA aridamana kI hai, jise padmAvatI devI ne karakaMDa ke samudra meM vidyAdharI dvArA haraNa kiye jAne ke zoka se vyAkula rativegA ko sunAyA thA (8, 1-66 ) / aridamana ujjaina kA rAjA thaa| eka vidyAdhara ne suA kA rUpa dharakara apane ko eka gvAla dvArA usa rAjA ke hAtha bikavA diyA / suA ne rAjA ko batAyA ki usake maMtrI ke pAsa eka bar3A suMdara aura pratApI ghoDA hai / rAjA ne maMtrI le ise prApta kiyA aura suA sahita usapara savAra huA / eka cAbuka mArI ki ghor3A ur3akara samudrapAra eka dvIpa para jA phuNcaa| vahAM rAjA ne bahutasI kanyAoM ko jalakrIDA karate hue dekhA aura unameM pradhAna ratnalekhA se usane vivAha kara liyA / eka dina ratnalekhA ne kahA ki maiM ApakA pitRgRha dekhanA cAhatI huuN| taba rAjA ne eka naukA nirmANa karAI aura rAjA-rAnI, suA aura ghor3A sahita, usa para baiTha kara cala diye / viparIta vAyu ke kAraNa nAva eka ujAr3a dvIpa para jA phuNcii| vahAM unhe rAta baserA karanA pdd'aa| rAtri ko hI nAva ko koI curA le gyaa| taba sue kI salAha se rAjA ne lakar3I kATa aura unhe bAMdhakara eka DoMgI banAI aura ve cAroM usapara baiThakara cale / samudra kI laharoM se DauMgI ke bandhana TUTa gaye aura ve cAroM bichur3a gaye / suA ur3a gaya ghor3A kahIM gayA, rAjA kokana pahuMce aura rAnI khaMbAyata bandara para phuNcii| vahAM use eka kuTTinI ke yahAM Azraya milA / usane yaha praNa kiyA ki jo koI mujhe sAra- pAMse khelane meM harA degA usase hI maiM prema kruuNgii| kintu usase koI bhI puruSa nahI jIta pAyA / eka dina vaha suA ur3akara usake ghara AgayA aura unakI pahicAna ho gaI / usakI dyUtakrIDA kI kIrti cAroM ora phaila gaI / kokana meM aridamana ne bhI samAcAra sune / ve Aye / khela huA aura unhone ratnalekhA ko harA diyA / ratnalekhA bahuta vyAkula huI, kintu isI kSaNa unakI paraspara pahacAna ho gaI aura ve milakara bahuta khuzI hue| eka dina eka Thakka vahAM ghor3e becane lAyA | unameM aridamana ne apanA ghor3A pahacAna kara kharIda liyA / isa prakAra ve saba bichur3e premI eka bAra phira milakara apane ghara Ananda se Agaye ! isa kathA ke prArambha meM jo sue kI kahAnI hai vaha eka prakAra se svataMtra hI hai ( 8, 3-8 ) / eka vidyAdhara sue kA rUpa dhara kara ujjaina ke pAsa parvata para rahatA thA / usane rAjA ke maMtrI kI ghor3I ko parvatapara carate va use garbhavatI hotI huI dekhA thA / eka dina usane eka gvAla se kahA ki mujhe le bala aura pAMca sau suvarNa mudrAoM meM rAjA ko beca de /

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(12) nyAla use lekara ujainI meM aayaa| nagara ke mArga meM eka aura bAta dekhane meM AI / eka vezyA eka seTha ko pakar3e pakar3e phiratI thI aura kahatI thI ki maiMne tumhAre jeThe lar3ake ko svapna meM apanI lar3akI ke sAtha dekhA hai, isa liye tuma mujhe dhana do / seTha vecArA bar3I vipatti meM par3A thaa| saba loga tamAzA dekha rahe the, para kisI ki kucha akla kAma nahIM karatI thI ki kyA kiyA jAve / nidAna sue ne isa jhagar3e kA nipaTArA kiyaa| usane seTha se dhana maMgAyA / aura eka darpaNa meM usakI chAyA DAlakara kuTTinI se kahA, le vahina, terA dhana lele! kuhinI ne kahA, re nagor3e sue ! kahIM darpaNa kA pratibimba bhI liyA jA sakatA hai ? sue ne turaMta uttara diyA, kahIM svapna kI bAta pratyakSa huI hai ? isa prakAra seTha ko usa jhaMjhaTa se chur3Akara yaha suA rAja darabAra meM pahuMcA / usane pAMva uThAkara rAjA ko AzIrvAda diyA aura apanI yaha kapaTakahAnI sunAI ki hama pAMca so sue eka semara ke jhAr3a meM rahate the| eka bAra eka bhIloM ke samUha ne Akara hama saba ko jAla meM phaMsA liyaa| taba maine apane saba sAthiyoM ko yaha salAha dI ki mRtavat hokara par3a jAvo / unake aisAhI karane para bhIloM ne unhe marA jAnakara apanA phaMdA haTA liyA aura saba sae ur3a gye| maiM ur3akara eka tapasviyoM ke vAr3e meM pahuMcA aura vahAM maine saba zAstrapurANa sIkhe / isa kathA ko paDhakara bhI vANa-kRta kAdambarI ke sue kA dhyAna AtA hai, jo aisA hI vidvAn thA aura jise eka cANDAla kanyA, ujainI meM hI, rAjA zUdraka ke darabAra meM lAI thii| vahI semara kA jhAr3a, vahI bhIloM kA jatthA, vahIM suoM para Apatti aura isa lue kA tApasoM ke bAr3e meM pahuMcane kI vArtA, donoM meM vidyamAna hai| yaha kathA bhI kathAsaritsAgara meM hai aura vRhatkathA meM bhI rahI hogii| kintu hamArI kathA meM sue ke bacane kA upAya bhinna hai| isa upAya meM vaha hitopadeza kI kAka aura hariNa vAlI kahAnI se samAnatA rakhatI hai / likhate samaya sambhavataH kavi ke dhyAna meM ukta donoM kathAoM kA sammizraNa hogayA hai| antima avAntara kathA munirAja ne karakaMDa kI mAtA padmAvatI ko yaha batalAne ke liye sunAI hai ki bhavAMtara meM strIliMga kA parivartana bhI ho sakatA hai| [10, 18-22] ujjaina ke rAjA kI sumitrA nAma kI putrI thii| usa ne upavAsa ke phala se mara kara eka brAhmaNa ke ghara meM lar3ake kA janma pAyA, kintu pitA kI mRtyu usake garbhakAla meM hI hogaI / vidhavA striyoM ke choTe lar3ake aksara bar3e naTakhaTI ho jAte haiN| aisA yaha bhI huA / eka cAra apanI mAtA se lar3akara vaha ghara se bhAga gayA aura vana meM eka purAnI maDhiyA meM gata-baserA kiyaa| vahAM rAtri ko vidyAdhariyA~ AI jinameM se eka kA cIra usane ur3A diyA / use lekara vaha ghara aayaa| mAtA ne use eka seTha ko beca diyA aura seTha ne use gajA ko bheMTa kiyaa| rAjA ko usake jor3a milAne kI abhilASA huI aura anta meM usI brAhmaNa putra ko yaha kAma sauMpA gyaa| isa bAra vaha eka DaMDA lekara vana meM gayA aura eka rAkSasI ko vaza meM kara lAyA / usase usake jor3a kA kapaDA lekara usane rAjA ko diyA / rAjA kI

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( 13 ) usa para prasannatA baDha gaI / yaha bAta maMtrI ko sahana na huii| usane rAnI ko ubhAr3A aura usa brAhmaNa ke prANa lene kI dRSTi se kahIM zeranI kA dUdha aura kahIM bolatA huA pAnI lAne ke liye use bhijavAyA | para rAkSasI kI sahAyatA se brAhmaNa ne saba kucha lA dilaayaa| nidAna rAjA ko maMtrI kA kapaTajAla jJAta hogayA / usane use maMtrI pada se nikAla diyA aura usa brAhmaNa ko maMtrI banAyA / anta meM usa brAhmaNa ne vairAgya dhAraNa kara liyA, aura agale bhava meM vaha arjuna huA / isa prakAra upavAsa ke prabhAva se sumitrA arjuna hogaI / isa kathA ko kavi ne koI pariyoM kI kahAniyoM meM se liyA hai / yahI kathA aura parivardhita rUpa meM bhAvacandra sUri ke zAntinAtha carita neM bhI pAI jAtI hai / ye nau avAntara kathAyeM karakaNDavarita ke lagabhaga cauthAI bhAga meM AI haiM / kathA ke nAyaka isa graMtha meM yaha batalAyA gayA hai ki paJca-kalyANa-vidhAna ke prabhAva se kisa prakAra eka gvAlA agale bhava meM rAjya-sukha ko pAkara mokSagAmI huA / isa graMtha ke kathAnAyaka kA sthAna bar3A advitIya hai / ve digambara sampradAya meM hI nahI, zvetAmbara sampradAya meM bhI mAne gaye haiM / yahI nahI, kintu bauddhoM ne bhI unhe apanA eka mahAtmA mAnA hai / vauddhoM ke jAtaka sAhitya meM ve karaNDra yA karakaMDU ke nAma se prasiddha haiN| unheM ve pratyekabuddha mAnate haiM / pratyekayuddha unhe kahate haiM jo svayaM kevalajJAna prApta kara leM, kintu vinA dharmopadeza kiye hI, zarIrAnta kara, mokSa cale jaayeN| isa prakAra ke cAra pratyekabuddha bauddhoM ne mAne haiM, karakaMDU, naggaI, nami aura durmukha, aura ina cAroM kI kathAe~ pAlI sAhitya meM pAI jAtI haiM / kintu bauddhoM kI karakaNDU- kathA aura vartamAna kathA meM unake janmasthAna va mAtApitA ke nAma tathA svayaMvuddhatva ke atirikta aura koI sAmya nahI hai / zvetAmbara sampradAya meM bhI ve cAroM pratyekayuddha mAne gaye haiM aura unakI kathAoM para bahutasA sAhitya nirmANa huA hai| unakA saba se purAnA ullekha uttarAdhyayana sUtra meM hai, aura kathAe~ usakI TIkAoM meM pAI jAtI haiN| ina kathAoM se vartamAna graMtha kI mUla kathA kA bahuta kucha sAmya hai, kevala una kathAoM meM karakaNDU kI dakSiNa vijayayAtrA kA hAla nahI pAyA jaataa| choTI moTI bAtoM meM kaI jagaha bheda bhI hai / udAharaNArtha, jaba hAthI rAjA dadhivAhana aura rAnI padmAvatI ko liye bhAgA jA rahA thA taba, devendra kRta zvetAmbara kathA ke anusAra, rAjArAnI dono ne yaha nizcaya kiyA thA ki ve eka vRkSa kI DAlI pakar3akara baca jAyeMge / kintu jaba avasara AyA taba rAjA to DAla pakar3a sake, para rAnI svabhAvataH isa kAma meM phurtI na dikhA sakI, aura hAthI kI pITha para hI raha gaI / kintu hamAre graMtha meM kahA gayA hai ki rAnI ke samajhAne para rAjA apanI garbhavatI priya strI ko bhAgya ke bharose chor3akara kevala apane prANa bacAne para rAjI hogayA / yaha sacce dhIrodatta nAyaka kA lakSaNa nahIM hai / merA khyAla hai ki kanakAmara ne apanA graMtha

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(14) pahale likhA hai aura zvetAmbara kathAkAroM ne piiche| yadi kanakAmara ko uparyukta varNana jJAta hotA to ve nizcaya use hI svIkAra karate / zvetAmbara kathA meM padmAvatI eka muni kI sahAyatA se dantIpura meM pahuMcI thI, vahAM vaha eka arjikAzrama meM rahI, usane gupta rUpa se putra prasava kiyA aura use zmazAna meM jA DAlA jahAM eka cAMDAla ne usakI rakSA kI / kanakAmara ke varNana meM, padmAvatI ko vana se mAlI apane ghara le gayA thaa| vahAM se nikAlI jAkara usane zmazAna meM hI prasava kiyA thaa| punaH, zvetAmbara kathA meM karakaNDU ke vATadhAnaka nivAsI cAMDAloM ko brAhmaNa vanAne tathA eka apane pyAre sAMDa kI vRddhAvasthA dekhakara vairAgya dhAraNa karane kA ullekha hai jo kanakAmara ke varNana meM nahIM hai| pAlI jAtaka meM eka vRkSa kI duravasthA dekhakara karaNDU ko vairAgya huA kahA gayA hai| kanakAmara ke anusAra unhe eka putraviyoga se vihvala strI ko dekhakara vairAgya huaa| digambara sAhitya meM uparyukta cAroM pratyekabuddhoM kA ullekha to mujhe abhItaka dekhane ko nahIM milA aura na aisA hI kahIM paDhA jahAM karakaNDu ko hI spaSTataH pratyekabuddha kahA ho / para pratyekabuddhoM kI mahimA ke kucha ullekha avazya dekhane meM Aye haiM / udAharaNArtha, jayasenakRta pratiSThApATha meM una mahAtmAoM ko argha caDhAyA gayA hai jo anyopadeza ke vinA hI saMyama kI ucca koTi ko pahuMca jAte haiM, aura pratyekavuddha-Rddhi ko prApta kara lete haiN| unakA thor3A sA smaraNa karane se bhI pApoM kA nAza hotA hai ' (pr.paa.672)| eka saMskRta sukumAla carita meM kahA gayA hai ki aMgapUrvaprakIrNakoM kI racanA gaNadhara, zrutakevalI pratyekavuddha yogIndroM ne kI thii| kanakAmara ne bhI karakaNDa ko kahIM pratyekabuddha kI saMjJA nahI dii| yaha kathA digambara sAhitya meM mujhe zrIcaMdra-kRta kathAkopa, rAmacandra-mumukSu-kRta puNyAzravakathAkoSa aura nemidatta-kRta ArAdhanA-kathAkopa meM bhI dekhane milI hai| vahAM bhI merI dRSTi meM pratyekabuddha kA ullekha nahIM aayaa| isa viSaya kA saMskRta meM eka pUrA graMtha mere dekhane meM AyA hai| vaha hai karakaNDU caritra jise zubhacandra ne sakalakIrti kI sahAyatA se saMvat 1611 meM racA thaa| yaha graMtha saMskRta padya meM hai aura pandraha soM meM samApta huA hai / kartA ne use aise vacanoM se prArambha aura samApta kiyA hai jinase jAna par3atA hai ki ve eka svataMtra graMtha racane kA dAvA karate haiM / para maine isa graMtha kA kanakAmara ke graMtha se milAna kiyA to vidita huA ki vaha isakA anuvAda mAtra hai / mUla kathA to pUrI vaisI kI vaisI hai hI, avAntara kathAyeM bhI vahAM jyoM kI tyoM vidyamAna haiN| kartA ne siddhasena samantabhadrAdi kA smaraNa to avazya kiyA para jisake kAvya ko sAmhane rakhakara ve kIrti ke grAhaka bane usakA kahIM kucha ullekha karane meM na jAne kyoM lajA gaye? isa graMtha meM bhI pratyekavuddha kA ullekha dekhane meM nahIM aayaa| raighU, jinendrabhUSaNa bhaTTAraka aura zrIdatta paMDita kRta karakaMDUcaritoM kA bhI ullekha bhaMDAroM kI sUciyoM meM pAyA jAtA hai|

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(15) isa bAta kI khoja karane kI AvazyatA hai ki digambara jainiyoM na uparyukta cAra pratyaka vuddha mAne haiM yA nahIM, tathA vauddhoM aura zvetAmbaroM, donoM ne unhe ThIka usI prakAra kaba aura kyoM mAna liye| __ karakaNDu kI isa apUrva mAnatA paraMsa mujhe unake samaya ke sambaMdha meM kucha anumAna hotA hai / bauddha unhe mahatmA buddha se pUrva hue svIkAra karate haiM, aura jaina unha bhagavAna pArzvanAtha ke tIrtha meM arthAt mahAvIra svAmI se pUrva hue mAnate haiN| jisa mahAtmA ke sambadha meM do tIna bhinna bhinna dhArmika sampradAyoM meM samAna AsthA ho use yaha samajhanA Avazyaka hai ki vaha una sAmpradAyika bhedoM ke utpanna hone se pUrva hI hue hoMge / ataH karakaNDa mahArAja ko hama yadi pArzvanAtha ke tIrtha meM arthAta lagabhaga IsvI pUrva 800 se 500 ke bIca hue mAna leM to ayuktisaMgata na hogaa| terApura aura vahAM ke layana [ guphAe~] graMtha kI cauthI aura pAMcavIM sandhiyoM meM karakaNDu mahArAja ke terApura pahuMcana, vahAM kI pahAr3I meM eka guphA aura usameM virAjamAna pArzvanAtha bhagavAn kA darzana karane, guphA meM eka jalavAhinI prakaTa karAne, tathA vahAM tIna aura guphAoM ke vanavAne kA vizada varNana hai| yadi kanakAmara kA varNana saca hai to ye guphAya Aja bhI kisI na kisI rUpa meM vartamAna honA cAhiye ? para unakA patA lagAne se pUrva terApura kahAM thA isakA nizcaya honA cAhiye / karakaMDu aMgadeza kI campApurI se cola, cerAdi dakSiNa ke rAjyoM kI tarapha jA rahe the tabhI unhe terApura milA thaa| ataH dakSiNApatha meM hI use honA cAhiye / khoja karane se haidarAvAda rAjya ke usmAnAbAda jile meM eka 'tera' nAmakA sthAna milA hai| yaha usmAnAbAda zahara. jisakA abhI kucha hI pUrva dhArAziva nAma thA, se vAraha mIla uttara pUrva kI ora hai| vahAM aba caudaha vADiyAM (choTe choTe grAma) vase hue haiN| isI 'tera' ko DAkTara phlITa ne itihAsa prasiddha, prAcIna tagarapura ThaharAyA hai| merA anumAna hai ki yahI kanakAmara kavi kA terApura hai / kavi ke diye hue varNana aura isa sthAna kI paristhiti ke sUkSma milAna se isa anumAna meM koI sandeha nahIM rahatA / kanakAmara ke anusAra karakaNDa terApura se dakSiNa kI ora jAkara Thahare the| vahAM se kucha dUra pazcima kI ora eka pahAr3I ke caDhAva para unhe vaha guphA milI / vahIM eka tAlAva ke hone kA bhI ullekha hai| Aja bhI ye saba vAte usI prakAra vidyamAna haiN| tera ke pAsa pahAr3I bhI hai / usakI vAjU meM guphAyeM bhI hai / eka tAlAva bhI maujUda hai| isa tAlAva meM kamala bhI hote the jo kucha varSoM se naSTa hogaye haiM / ava vahAM kI guphAoM kA varNana dekhiye / karakaMDU ne jisa guphA ke darzana kiye use kavi ne 'sahasakhaMbhalayana' kahA hai| kavitA meM sahastra kA artha sAdhAraNataH aneka, bahuta se jinakI saMkhyA vinA sAvadhAnI se gine na jAnI jA sake, lenA cAhiye / vartamAna pradhAna guphA bar3I vizAla hai / isakA varAmadA

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(16) 78 phuTa lambA aura 101 phuTa caur3A hai jisameM purAne 7-8 khaMbhe rahe hoMge / eka vAjU meM kuNDa vAlA kamarA hai jisameM do khaMbhe haiM / pAMca daravAje bhItara zAlA meM jAne ke liye haiN| yaha zAlA 85 phuTa lambI aura lagabhaga utanI hI caur3I caukora AkAra kI hai / yahAM 32 khaMbhe dohare caukora AkAra meM haiM, 12 bhItarI caukora meM aura 20 baahrii| isa bRhat zAlA kI pratyeka bAjU meM ATha ATha kamare haiM jo pratyeka 9 phuTa caukora hai / phira garbhagRha koI 20 phuTa lambA aura 15 phuTa caur3A hai / yahAM pAMca phuTa kI pArzvanAtha bhagavAn kI kAle pApANa kI padmAsana mUrti virAjamAna hai / isa guphA ko yadi kavi sahasakhaMbha kahe to koI bar3e Azcarya kI vAta nahIM hai| kavi ne guphA ke bhItara eka jalavAhinI prakaTa hone kA varNana kiyA hai / java karakaNDa ne guphA kI mUrti ke darzana kiye to siMhAsana para unhe eka gAMTha dikhI / usa gAMTha ko unane tur3avAI aura vahAM se eka bhArI jala kA phabbArA nikala pdd'aa| guphA ke bhItara aba bhI jalakuMDa hai| jisa kamare meM jalakuMDa hai vaha 17 phuTa lambA aura 12 phuTa caur3A hai| isI kamare meM eka saptaphaNI nAga sahita pArzvanAtha bhagavAna kI pratimA hai / do pASANa aura bhI haiM jinapara bhI jinapratimAe~ khudI haiN| kamare ke bhUtala meM do chidra bhI haiM jinakA sambandha kuMDa se hai / jAna par3atA hai, karakaNDU ke samaya meM yahI garbhagRha thaa| vartamAna garbhagRha meM jo mUrti hai sambhavataH vahI karakaNDu ko pahAr3I ke Upara vAmI meM gar3I huI milI thii| bar3I zAlA kI bAjU ke eka kamare meM bhI jamIna meM eka chidra hai jo sadaiva pAnI se bharA rahatA hai / isase kanakAmara dvArA varNita jalavAhinI ke prakaTa hone kI bAta bhI satya pratIta hotI hai| kavi ne kahA hai ki jalavAhinI prakaTa karAne se pUrva karakaMDu ne eka layana cinavAI aura phira vidyAdhara ke kahane se do aura layana bnvaaii| maine layana cinavAne kA tAtparya mUla ke prasaGgAnasAra 'purAnI layana kI marammata karavAI' aisA liyA hai| kintu yaha bhI sambhava hai ki jalavAhinI se samasta guphA ke naSTa hojAne ke bhaya se karakaMDu ne pahale bhI eka naI hI guphA nirmANa karAI ho aura do phira pazcAt / isa prakAra purAnI guphA sahita cAra guphAe~ huii| ye hI cAra guphAe~ pahAr3I ke isa bhAga meM Ajataka vidyamAna hai / yadi karakaMDu dvArA banavAI do hI naI guphAI mAnI jAve to tIsarI guphA kisI ne aura pIche banavAI hogii| ina saba guphAoM meM jahAM pratimAe~ haiM vahAM adhikataH pArzvanAtha bhagavAn kI hI hai, mahAvIra bhagavAn kI to eka bhI pratimA nahIM hai / isase bhI isa saMsthAna ke pArzvanAtha bhagavAn ke tIrtha meM nirmANa kiye jAne kI bAta puSTa hotI hai| isa prakAra siddha hotA hai ki kanakAmara dvArA ullikhita terApura yahI 'tera' hai tathA karakaNDu kI nirmANa karAI huI guphAe~ vartamAna guphAe~ hI haiN| inake samIpa jo dhArAziva nAma kA nagara vasA hai, sambhavataH usakA nAma isI jaladhArA ke kAraNa pdd'aa| karakaNDu ne

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2. terApUra kI guphA naM. 1 Cave No. 1 at Terapura ( Dharasiva ). ( Page 43, intro. )

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( 17 ) terApura ke rAjA kA nAma ziva sunA thA / zubhacandra ne terApura ke do bhillA 'dhArA' aura 'ziva' nAmadhAriyoM kA ullekha kiyA hai| yaha bhI sambhava hai ki vahAM koI ziva kA maMdira banane se vaha nAma pdd'aa| mUla guphA ke sAmhane jo Ajakala ziva kA maMdira hai vaha bahuta prAcIna nahI hai / pahalI guphA kisane banavAI ? ( aba prazna yaha upasthita hotA hai ki jisa prAcIna guphA ko karakaNDu ne tarApura meM banI pAI vaha kisa ne banavAI hogI / yaha prazna karakaNDu ko bhI upasthita huA thA aura unhe eka vidyAdhara ne isakA uttara diyA thA / saubhAgya se kanakAmara ne usa kA varNana apane graMtha meM kiyA hai / vidyAdhara ne karakaNDu se kahA thA ki dakSiNa vijayArdha meM nIla aura mahAnIla nAmake do vidyAdhara bhrAtA rAjya karate the| zatruoM se parAjita hokara ve vahAM se bhAge aura terApura aaye| yahAM unhone dhIre dhIre eka rAjya sthApita kara liyA / eka muni ne unheM jaina dharma kA upadeza diyA aura unhone phira vaha guphA maMdira banavAyA / hai to yaha paurANika kathA, kintu khoja karane se isameM kucha aitihAsika tathya pratIta hotA hai ! AThavIM zatAbdi aura usake pazcAt ke kaI zilAlekhoM meM eka zilAhAra nAma ke rAjavaMza kA ullekha milatA hai / inakI tIna zAkhAoM ne kramazaH uttara kokaNa, dakSiNa kokaNa tathA kolhApura ke AsapAsa rAjya kiyaa| tInoM zAkhAoM ke rAjAoM ne apane zilAlekhoM meM apane ko 'jImUta vAhana vidyAdhara ke vaMzaja' tathA tagarapura ke adhIzvara' kahA hai| isase vidita hotA hai ki unake pUrvajoM ne kabhI tagarapura meM rAjya kiyA hogA / tagarapura vahI 'tera ' va kanakAmara kA terApura siddha ho cukA hai| ataeva zilAhAra vaMza ke sambandha kI ukta do bAtoM para se aisA pratIta hotA hai ki yaha vaMza sambhavataH kanakAmara dvArA kathita nIla mahAnIla se hI calA / kathAsaritsAgara meM varNana hai ki jImUtavAhana vidyAdharoM kA rAjA thaa| usane eka vAra apane dAna aura tyAga kI bar3I prazaMsA kI isI se vaha padabhraSTa ho gayA / vahIM para dakSiNa vijayArdha yA vaidya kA bhI varNana hai, aura batAyA gayA hai ki himAcala parvata kI do zreNiyAM haiM, kailAza se uttara kI zreNI uttara vedyardha aura dakSiNa kI dakSiNa vaidyardha kahalAtI hai / kathAsaritsAgara se yaha bhI patA calatA hai ki eka vAra vatsadeza ke naravAhanadatta aura vijayArdha ke vidyAdharoM ke bIca bar3A ghora yuddha huA thA jisake anta meM vidyAdhara hAra gaye aura naravAhanadatta ke adhIna ho gaye / sambhavataH yahI zatrubala thA jisase parAjita hokara nIla aura mahAnIla vidyAdhara dakSiNa ko gaye / padmagupta-kRta navasAhasAMkacarita nAmaka saMskRta kAvya meM narmadA ke dakSiNa meM eka vidyAdhara rAjakula kA ullekha hai / ina vidyAdharoM ne mAlavA ke sindhurAja kI sahAyatA kI thii| isa prakAra kanakAmara kI kahI huI bAtoM kI anya graMthoM tathA zilAlekhoM se bhI puSTi hotI hai / isase anumAna hotA hai ki sambhavataH nIla mahAnIla ke vaMzaja hI zilAhAra vaMza ke nAma se

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(18) prasiddha hue, aura yA to svayaM nIla mahAnIla ne hI yA unake kisI vaMzaja ne terApura kI prAcIna guphA banavAI / itihAsa meM patA nahI calatA ki isa vaMza kA rAjya terApura meM kara rahA / vaha bahuta prAcIna kAla meM rahA hogA / isase bhI una guphAoM ke pArzvanAtha ke tIrtha meM banane kI bAta ayukti-saMgata siddha nahIM hotii| jisa pArzvanAtha kI mUrti ko karakaNDu ne pahAr3I ke Upara vAmI meM se nikAlakara guphA meM sthApita kI usa ke sambaMdha meM kahA gayA hai ki do anya vidyAdhara use malayadeza meM pUdI parvata para rAvaNa ke eka vaMzajadvArA banavAye hue jina maMdira se lAye the / yaha pUdI parvata sambhavataH vartamAna malAvAra ke antargata podiyala nAma kI pahAr3I hI hogii|

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INTRODUCTION CRITICAL APPARATUS In preparing the present edition of Karakandacariu the editior has fully collated four MSS. (DJNS) and has consulted one recent MS (J2). They are as follows: MS. D This ms. is deposited in Baba Dulichand's Bhandar in the Terapanthi Digamhara Jaina temple of Jaipur. It was collated on the spot. Teaves 61; size 10" x 43"; lines per page 12; letters per line about 37; margin right and left 17". top and bottom 7. Leaves No. 12 and 60 as well as 62 on which the colophon was obviously contimue are missing. The incomplete colophon is as follows:-- // cha // samAptamidaM karakaMDacaritraM // cha // cha | saMvat 1597 varSe zAke 1461 pravartamAne dakSiNAyane zrIsUrye phAlguNamAse kRSNapakSe dvAdazyAM tithau ravi. vAre mUlanakSatre zrImUlasaMgha naMdyAnAye balAtkAragaNe sarasvatIgacche zrI kuMdakuMdAcAryAnvaye mahAraka zrIpadmanandidevAstatpaTTe bha0 zrI zubhacandradevAstatpaTTe bha0 zrI jinacandradevAstatpaTTe bha0 zrI prabhAcandradevAstatziSya maMDalAcArya zrI varmacandradevAstadAnAye khaMDelavAlAnvaye godhAgotre sAhAnAMdA tadbhAryA nayaNazrI tatputra sAha mehA tadbhArye dve prathamA mahAde dvitIyA suhAgade tatputrau dvau prathama sAhakaramA ...... .. ( Iucomplete ) From this we learn that the ms, was completely copied on Sunday the 12th of the dark fortnignt of the month Phalguna in samvat 1597 equivalent to A. D. 1540, for a layman of the Khandelwal caste and Godhi gotra whose spiritual genealogy was as follows: Kundakundacarya Padmanandi Shree Sudharmaswami Gyanbhandar-Umara, Surat Subhacandra Jinacandra I Prabhacandra I Dharmacandra (A. D. 1540) www.umaragyanbhandar.com

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( 20 ) MS. J This ms. belongs to the Patodi Digambara Jaina temple of Jaipur. Leaves 68; size 10" x 4"; lines per page 11; letters per line about 36; margin right and left 1", top and the bottom ". Leaf No. 19 which contained Kadavakas 18, 19, 20 and a part of 21 of Sandhi 3 is missing. It bears the following colophon: // cha // saMvat 1558 varSe kArtika vadi tIja 3 budhavAsare AdranakSatre zrI mUlasaMghe balAtkAragaNe * sarasvatIgacche zrI kuMdakuMdAcAryAntraye bhaTTAraka zrI padmanandidevAH tatpaTTe bhaTTAraka zrIjina candradevAH tatpaTTe bhaTTAraka zrI devendra kIrti devAH tatpaTTe bhaTTAraka zrIvidyAnandidevAH tatpaTTe bhaTTAraka zrI siMghakIrtidevAH tat ziSya brahmacAri.. . svahastena likhitaM karmakSayArtham | zubhaM bhavatu // cha // zrI // jJAnavAn jJAnadAnena etc. From this colophon we learn that the ms. was copied on Wednesday the 3rd of the dark fortnight of the month of Karttika in Samvat 1558 equivalent to 1502 A. D., by a pupil of Bhattaraka Simhakirti for whom the following genealogy is given: Kundakundacarya Padmanandi Jinacandra Devendrakirti I Vidyanandi Simhakirti (A. D. 1551) MS. N. This is a ms. acquired by the editor during one of his tours in search of inss. Leaves 87; size 10" x 4"; lines per page 9; letters per line about 32; margin right and left 11", top and bottom 3". The first and the last leaves are missing as also leaves Nos. 15, 73 and 75. Leaves Nos. 25, 26 and 60 are written in a different hand on different paper. These seem to have been substituted later in place of the leaves worn out or lost. It is an important ms. as it has supplied many variant readings and a few additional lines which have been given in the present edition in foot-notes. No colophon is available as the ms. goes only upto almost the end of Kadavaka 28 of the 10th Sandhi. But in appearance it seems to be of the same age as iss. D. and J

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(21) MS. S. This ms. belongs to the Senayana Bhandar of Kuranja. It was the earliest to be discovered by the editor and forms the busis of the present edition. Leaves 103; size 11"x5"; lines per page 8; letters per line about 35; margin right and left 11", top and bottom 1". It is written in a bold and beautiful hand and is sell preserved. It bears Sanskrit and vernacular glosses on the margin. Unfortunately, it gives no information about its date or place of copying. But it appears to ine to be Some what later in age than the mss. D and J. It en is as follows: - samAptamidaM karakaMDacaritraM / cha // cha // zrI / / zrI / / JS. J2. This ms. belongs to Ailak l'annala! Saraswati Bhavana of Loin!'ay. Leaves 51; size 129"72"; lines per page 13; letters per line about 40; margin right and left :' top and bottom 1". It bears the following colorilon: samAptamidaM karakaMDUcaritraM / zloka saMkhyA 1700 // hastAkSarANi ajemarAgotrotpanna phUlacandreNa jayanagaramadhye likhitamidamasti saMvat 1978 miti kArtika kRSNaH'mI candravAsare likhitam // zubhaM bhUyAt / kalyANamastu / From this we leara that the copy was completed by Phoolchanil Ajinera on Moulay the Sth of the dark fortnight of Kartika in Samvat 1975 equivalent to 1921 A. 1). at Jaipur. Thus, it is only thirteen years oll. On examination I found out that it was copied from ms. J with which it agrees throughout aud omits the portion containerl in the missing leaf of the former. The copy is a very poor pierforrnance being full of mistakes and omissions. It is a telling example of how old literature can not now be well preserved by means of copies made by persons who have alsolutely no knowledge of the language. I did not think it worth while to take down variants from such a second hand, recent and ill-executed mg. though I went through it and tried to check the rearlings of ms J. from it.

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SUMMARY OF KARAKANDACARIU. The poet begins the work by proclaiming victory to Jina and expressing his own humility and memory of the writers of yore like Siddhasena, Samantabhadra, Akalamka, Jayadeva, Svayambhu and Pushcadanta. Then the story begins. In the Jambudvipa and Bharata-kshetra there was the beautiful country of Anga in which was situated the prosperious city of Campa. Its powerful and righteous king Dhadivabana once went to Kusumapura and saw there a beautiful girl brought up by a gardner who told him that he recovered her from a box found floating in the Ganges by his wife. The king examined the box closely and learnt from the inscription on the seal that she was the daughter of Vasupala king of Kausambi and that her name was Padmavati. He then married her and returned with her to his capital. In due course she became pregnant and entertained a desire to dress herself like a man, and ride about the town on an elephant in drizzling rain in the company of her husband. It was summer but arrangements to satisfy her longing were made by the aid of the rain-deity ? Meghakumara). Unluckily, the elephant on which the royal couple was riding suddenly became restive and ran away towards the forest. The queen prevailed upon the king to save himself by catching hold of the branch of a tree and leave her to her own fate. The elephant, with the queen on its back, reached a deep lake where the queen jumped off and entered the forest which was dry and deserted. Suddenly, however, the forest became green and full of blossom. This extraordinary event was reported to the forest-guard in Dantipura, who instantly came there and met the queen resting under a tree. He addressed her as bis sister and induced her to accompany him home. But there the gardener's wife Kusumadatta became jealous and apprehensive of her beauty and soon found out an excuse to drive her away. The queen bent her way to the cemetery where she gave birth to a son. No sooner as the child born than a certain Alatanga appeared there and attempted to take the child away. Being challenged by the mother he told her that he was in reality & Vidyadhara of the Vijayardba mountain. Once he was out for a joy-ride in his serial car with his wife, when his car suddenly stopped. While intestigating the cause of the interruption, he saw below him a sage absorbed in meditation. Taking him to be the cause, he got very angry and drew out his sword to

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(23) kill him. But the sage cursed him as a result of wbich he lost his l'idya. Peing sostened by his importunities, lowever, the sage modified his curse by the rider that be would regain his Vidya when Padmavati's son, born in the cemetery and brought up by himself, will acquire the throne of Dantipura. This, he said, was tho reason wliy he was taking the child away with himn. The queen consented and the Matanga brouglit the child home and handed it over to his wife saying that it was her child. Padmarati, in her double bereavement, joined a nunnery and took vows from sage Samalhigupta. The child grew in the home of the Matanga wlu, having observed dry scab on his lind, gave bim the name of Karakawla. He instructed him in all arts and sciences and illustrated to him tlie benefits and ovils of good and bad company by means of stories. One day the king of Dantipura died leaving no natural heir to the thirone behind. The ministers of the state applied a divine method for selccting the king. They released an elephant with a jar full of water in its trunk and charged it to empty the jar over him who may bo destined to be the king. The elephant passed through the town, came to the cemetery and emptied it over the head of Karakanda. When the citizens were lovrailing their lot and the miuisters were hesitating to acknowledge a Mutanga as their prince, the guardian of Karakanda, having regained his Vidya, appeared on the scene in all his glory and assured them all about the high parentage of the lucky boy who was then haileil with joy by all. III Karakanda was then low into the capital on an elephant with all the the paraphernalia of royalty and was installed king. One day, while passing through the town, he saw a man carrying a female portrait in his hand. At its sight Karakanda became enamoured. He learnt from the man that the portrait was of the daughter of Ajavarma, king of Girinagara, in the Soratha country, and that her name was Madadavali. She bad heard the glories of king Karakanda sung by the Khecaras and bad become love-sick. Her father had sent bim in search of the object of her lore. On hearing this the king revealed his identity and despatched reliable persons to bring Madanavali whom he subsequently married. During the marriage-celebrations his mother paid a visit to him. Soon after the marriage, there arrived a messenger from the king of Campa who claimed homage from Karakayda. In wrath, the latter dismissed the ambassador and led an invasion against Campa He crossed the Ganges and besieged the capital of his enemy. A ferce battle ensued during which victory swung now to one side and not to another, till the forces of Karakanda were completely roated.

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( 24 ) Karakanda then recalled the Vidya which was imparted to him by his goil-father, the Matanga-Vi dyadbara, and began to deal personally with his powerful opponent. At a critical stage of the combat his mother Padmavati suddenly appeared and turned the battle-field in to a scene of family affections. The father embraced the son and led him into his capital with rejoicing. He subsequently renounced the kingdom in forour of his son in order to lead an ascetic life and attain salvation. IV Having consolidated all his dominions Karakanda once asked his minister whether there was any person who did not acknowledge his suzerainty, and on being told that the Coda, Cera and Pandya kings of the South did not pay homage to him, he sent an ambassador to those kings. He was, however, dismissed with scant courtesy by them. In warth, Karakauda took a vow that either he would place his foot on their heads or renounce the world. He then marched out with a Fast army and seached Terapura. He halted in the vicinity of the town. The king of the place called Siva came to pay him a friendly visit. From him Karakanda learnt that on a hill to the west of that place there was a cave-temple of a thousand pillars and on the top of the bill there was a huge antbill which was regularly worshipped by an elephant. Being struck with curiosity, Karakanda, accompanied by Siva, mounted the bill on the slopes of which he found the cave containing a Jina image. Climbing further to the top he saw the anthill and in bis very presence an elephant came which fetched water and lotuses from the neighbouring lake and worshipped the anthill. Karakanda amused himself by the scenery of the beautiful lake and then caused the anthill to be excavated. Exactly as he had anticipated, an image of Parsvanatha flashed forth from the deep. The king conveyed it to the cave where, on the lion-seat, le noticed a patcb. On inquiry from an old artisan of the town he learnt that it was the mouth of a fountain of water. His curiousity was aroused. He caused the patch to be scraped off and, lo! water gushed forth with great force, and filled the whole cave. The king became repentant fearing the destruction of the cave-temple. The guardian Vidyadhara of the cave, bowever, appeared and consoled the king. V On inquiry by the king as to who built the cave temple, the Vidya:lhara informed him as follows. In the city of Rathnepura situated in the Southern Vijayardha there ruled two brothers Nila and Mahanila. Being pressed by enemies they fled and came to Terapura where they gradually built a kingdom. They were converted to Jainism by a Muni and oxcavated the cave-temple dedicated to Parsvanatha. At

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( 25 ) this time, another two Vidyadhara brothers from the Northern Vijayardha made a religious trip to Lanka. Ou their way, they saw a beautiful Jina temple on the Pudi hill in the Malaya country and from there they pickerl up a tinc Jina image While returning home they temporarily deposito'l the image on the Teripura bill and went for worship into the Jina temple. On their return they tried to lift up the image but it would not move. Seeing no other way, they buried the image in a box at the very spot. Later, they learnt from a sage that the place where they had left the imaye was destined to become a holy spot and that ove of the brothers in his next birth will gain enlightenment there. At this information the brothers renounced the world and became ascetics. Amitaveya, the elder, by his holy practices, died and attained heaven, while the younger, Suvega, spoiled his religious austerities by hypocracy, as a result of which he was born an elephant in the next birth. Amitavega came to know of the misfortune of his younger brother, reminded him of bis fate and preached religion to him, Thus the elephant became & worshipper of the holy spot where they had buried the image. Later, when he found that the image was removed from there be took sanyasa and went to heaven after death. The Vidyadhara then advised Karakanda to construct one inore cave on the upper side of the previous cave. Karakanda more than fulblled this pious wish of the Vidyadhara by excavating two more caves. While Karakanda was yet encamping there, a wild elephant came to drink water from the lake. Catching the smell of the army-elephants, it advanced towards the camp which was atonce thrown into a tumult. The king came out with his arms but the elephant suddenly vanished out of sight. Returning to his camp he found, to his utter amazement, Madadavali missing. The search that followed prored futile. In his overwhelming sorrow, he was consoled by a Sura who told him the story of his former birth, He had a pet parrot which ras once attacked in its cage by a snake That snake was reborn as a Vidyadhara who had now assumed the form of an ele. phant and stolen his wife from bim. He, however, assured the king that he would regain her when he returned from his victorious campaign. The Sura revealed his own identity as no other than the king's parrot in his former birth. The king doubted the possibility of his ever regaining Vadanavali and to remove his doubts the Vidyadhara cited the example of Naravahanadatta whose story is told in the next chapter. VI This chapter is entirely taken up by the story of Varavahapadatta told by the Vidyadhara to Karakanda.

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( 26 ) VIT The Vidyadhara then advised Karakanda to march away immediately as he had observed & good omen. Accordingly, the king marched away and reached the Simhala island. He encamped in the vicinity of the capital and went into the heighbouring woods for sport. He saw a big hunyan tree of which he pierced all the leaves by means of his shots. This fact was reported to the king of the place who thereupon desired to see him. But Karakanda would not care to visit his palace unless the king came personally to invite him. So the king himself came out and conducted karakanda to his palace where he met princess Rativoga who instantly fell in love with him. They were then married. Taking leare of his father-in-law Karakanda, with his new wife and large dowries, sailed off. During the voyage, they encountered a sea-monster which threatened their boat. The king drew forth his sword and jumped into the sea. He succeeded in killing the monster but was himself carried away by a Vidyadhari. His disa ppearance caused a great commotion in the boats. To the young bride it was a great shock and she burst forth into heart-rending lamentations. The minister who was on board consoled all and brought them to the shore where they all oncamped. Rativega devoted herself to the worship of goddess Padmavati who appeared in person and informed ber of the fate of her lord who had been taken by the Vidyadhari to Tilakadvipa and had been married by her. He had also shown great valour in killing the enemy of the Vidyadhari's father and in recognition of this achievement all the Vidyadharas had accepted him as their master. The goddess then agsured Rativega that her lord will return to her with a large fortune. On Rativega's expressing her doubts about the truth of the forecast, the goddess set forth to illustrate her prophecy. VIII Rativega asked the goddess to tell her whether any person who had gone away like her husband had ever come back. On this the goddess narrated to her the story of king Aridamana, and saying that, like him, her husband will also soon return, she went away. Rativega, thence forward, passed her time in the practice of religious vows und alms-giving, till, one day, Karakandi arrived there with his now wife. After passing a few days there in merry-making, he resumed his course of conquest of the Dravida country. He defeated the Coda, Cera and Pandya kings in an open fight, took them prisoners, and, as promised. touched their crowns with his foot. But when he saw Jina-images on the tops of the crowns, he felt remorseful, released the prisoners and offered to reinstate them in their kingdoms. But the latter replied that their sons would, thence forward, serve him, and retired to

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( 27 ) forest for penance. Karakan, then turned his way back aml come to Terapuru where Jadanivali hlid been abducted. There, the Vidyadinara brought her back tu him and recounted to him the events of his past lift- how he, as : serpent, had attacked his pet parrot, but was warded off by him. ioil how le, being sul sequently crushed under the lioof of a horse, was imparteil the Navakaramantra by a sage as :: result of which he became a Vidyadhara anul avenged himself by abducting his past enemy's wife. He then bowed down to the king and asked for pardon. Tie Vilyadhara then went his way and the king returried to Campu where lie ruleil happily for m:iny days. IX One day, when the king was sitting in the assembly: the forest-yuard came and reported the arrival of sage Silagupti. Hearing this, the king rose from his seat to honour the auspicious report, and then caused the happy news to lie proclaimed in the capital by beat of drum. He then marchied out in il procession for paying homage to the holy yuest. On his way, he saw a woman piteously weeping and woefully beating her breasts. On inquiry, he learnt that the sorrow for her chiki which was snatched away by the hand of Death had brought about the wretched condition in the wonin who was once so happy. This account arvused feelings of renunciation in the mind of the king who then began to brool over the fruilty of the mortal world, the miseries of existence, the helplessness of man and such other problems of life. In this contemplative anal pious mood, he reached the saye whum le honoured and from whom he received a religious sermoni. At the end of the sermon, the king askel the save the reason why his hand had dry scab when the rest of his body was so comely, why his mother was carried away by the elephant and thus separted from his father who loved her so deeply, anil why his own wife Mudana vali was abducted by the l'idyadhara. lo answer to the first question the sage said that in Terapattana there once lived : pious merchant Dhanumitra. His cow-buy, while looking out for the buffalves one night, saw an extraordinarily big and beautiful lotus in a lake. He plucked it, but while walking away with it, he was interrupted by : Sura who told him that since he had plucked a fluwer which was inaccessible even to gods, he should ofter it at the feet of one who may be the highest and most worshipable being on earth, failing which he would be killed. Dhanadatti agreed to this and thought his master who was respected by all people to be worthy of the flower. But when he approached his master and told him

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( 28 ) about his intentions, the latter took him to the king thinking him to be more worthy. But when the king was approached, he thought sage Yasodhara to be worthier. The latter himself, when approached, directed them to Lord Jina as the worthiest of all. Dhanadatta then worshipped the Jina with that flower as a result of which he was born the son of the king of Campa in Karakanda's person, and since he performed the worship without washing off the slime from his hands, he had inherited the dry scab. As to his second question, the sage said that in the city of Sravasti there once lived a merchant named Nagadatta whose wife Nagadatta became faithless to him and seduced a Brahmana boy, who was brought up in the family, to make love with her. The merchant came to know of her faithlessness and retired to forest in sheer disgust. He practised penance, attained heaven and was reborn as the son of king Vasupala of Campa and was named Dhadivahana. In the mean-while, the Brahman boy, having lead the life of a debauch, died and was reborn as an elephant in the country of Kalinga. Nagadatta, through her faithlessness, was reborn in Tammlipti and, in due course, became the wife of a merchant named Vasumitra. She got two daughters Dhanavati and Dhanasri who were married to two merchants in Nalanda and Kausambi respectively. Vasumitra died and the widowed Vagadatta went to live with her younger daughter who induced her to take the vow of not dining at night. Subsequently she went to her elder daughter wbo caused her to break the vow. In this way she took the vow thrice and thrice was it broken. However, she visited her younger daughter the fourth time, died there and was reborn as the daughter of king Vasupala of Kausambi, who, considering her birth to be ina uspicious, put her in a box and threw her into the Jumna, whence it was carried into the Ganges and recovered by the gardener of Kusumapura. She grew up and became Padmavati the mother of Karakanda. In reply to the third question of the king, the sage repeated the story of the parrot and the snake wbich has already occurred twice before (V, 18; VIII, 20.). On hearing all this Karakauda became disgusted with the world. At this stage, his mother Padmavati also arrived there and the sage gave her a discourse on the religious efficacy of fasting during the course of which he narrated the story of Sumitra who subsequently became Arjuna. Padmavati took the vow and, in due course, attained heaven. Karakanda also relinquished the throne for his son Vasupala and became au ascetic. Elis many wives followed suit and attained heaven. Karakanda toured through many countries, practised severe penances, acquired omniscience and shaking off the mortal coils attained ever-lasting bliss.

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(29) THE INTERVENING STORIES AND THEIR SOURCES The bulk of the present work is considerably increased by no less than nine independent stories, short and long, introduced to illustrate some point in the main story. Four of these are recited by the gol-father of Karakanda in order to explain to him the fruits of magic skill, the penalty of ignorance,2 the evil consequences of low company and the advantage of noble company.4 These stories are brief and occupy no more than four kadavakas each. They seem to have been taken from folklore. The story of the appearance of the elephant in Sanlhi V, 14, and its onslaught on Karakanda's forces reminds us of the story of Priyamvada who, in the form of an elephant, rushed upon the army of Aja on the bank of the Narmala in the Raghuvamen of Kalidasa, canto V. The story of Naravahanadatta, recited by a Vidyadhara in order to assure Karakanda how he might still hope to get back his lost wife, occupies the whole of the sixth Sandhi. Naravahanadatta, as we know, is the hero of the Katha-sarit-sagara of Somadeva, the Brihat-katha-manjiri of Kshemendra and the Brihat-katha-sloka-samgraha of Budilhaswami. Our story is in substantial agreement with the account found in those works, though it varies in detail from them about as much as they differ among themselves. It appears, our author had used some version of the Brihat-katha of Gunahya. The episode of Madanamara of this story being turned into a parrot by the curse of a sage's daughters reminds us of a similar incident occurring in the Kadambari of Bana, which is itself based on the Brihat-katha, where Mahasveta turned Vaisampayana into a parrot for a similar indiscretion due to the madness of love. Within the framework of the story of Naravahanadatta we have the interesting story of Madhava and Madhusudanas recited by a sage to the hero in order to illustrate the evil results of revengeful feelings. Current fiction seems to be the source of this story, as well as of the story of a good omen which follows the story of Naravahanadatta from the mouth of the same Vidyadhara. Another long story is that of Aridamana which is told by goddess Padmavati to Rativega in her separation from her husband. It occupies almost the whole of the eighth Sandhi. It is an interesting legend of a sea-voyage, fondering, separation, and ultimate reunion. The account of the parrot at the beginning of this story atonce reminds us of the parrot which was introduced to king Sudraka in Bana's Kadambari. The big Salmali tree full of nests, the party of hunters and the parrot's reaching the residence of ascetics and acquiring knowledge of the Sastras, strike one 1. II, 10-11. 2. II, 13. 3. II. 14-15. 4. 11, 15-18. 5. VI. 12. 6. VI, 4-7. Shree Sudharmaswami Gyanbhandar-Umara, Surat 7. VII, 1-4. 8. VIII, 1-16. www.umaragyanbhandar.com

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(30) as similarly described in both. The story also occurs in the Katha -sarit-sagara X, 3 and must have been present in Gundhya's Brihat-Katha from where Bana borrowed his theme. The method of escape of the parrot, however, is different in the present work. While the parrot in Kadambari was yet very young and escaped by the oversight of the fowlers, our parrot was more grown up and wise and showed a great skill in planning not only its own escape but of the whole pack. For this part of his story the author probably drew his inspiration from the story of the deer and the crow in the Hitopadesa where the latter saved the former by a similar plan. The author also seems to have had in his mind the story of the pigeon-king Citragrira in the Pancatantra. The story of Sumitral told by the sage to the mother of Karakanda is a fanciful fairy tale very much similar to the story of 'atsaraja occurring in Bharacandra Suri's Santinatha-carita which belongs to a much later date.2 These nine stories together constitute about one-fourth of the whole book. POPULARITY OF THE HERO The hero of this work has the unique distinction of being reconized as a saint in the hierarchy of Buddhism as well as Jainism. He is the first of the four Pratyekabuddhas, the other three being Durmukha, Nami and Naggai. To the Bauddhas, a Pratyeka-buddha (Pali-Paccekabuddha ) meant one enlightened by himself, who attains supreme insight, but dies without proclaiming the truth to the world. He has his hair and beard shaved, is dressed in yellow robes, is detached from all family and tribal connections and dwells in the Nandamula cave on tho Himalayas. The same four Pratyeka-luddhas are recognized by the Svetambara Jainas in their canonical books. 5 The Digambaras have also reconized them as wor 1. X, 18-22 2. Hindi translation, Calcutta, 1924, p. 227. 3. Dr. Jarl Charpentier, in his book Paccekabuddhageschichten, Upsala, 1908, has collected many references to Karakanda and other names associated with him. Besides the Karandu Jataka ( see Appendix A), le mentions the Dadhivahana Jataka (No. 186 ) which ig only vaguely connected with Karakanda through the name of his father. In bis attempt to find some Brahmanic parallel also, the author, following up the clue furnished by Devendra's story (see Appendix B), collects any epic aud Pauranic mentions of the Candalas of Vatadhana who became Brahmanas. But he has failed to find out any real recognition of Karakanda in the Brahmanic literature. 4. Majjhima Nikaya III, 86; Samyatta Nikaya I, 92; Jataka 408, for which see Appendix A. 5. Uttaradhyayana Sntra XVIII, 46-47. karakaND kaliMgesu paMcAlemu ya dummuho / namI rAyA videhesu gandhAresu ya nagaI // ee narindavasabhA nivasantA jiNasANaNe / putte rakhe ThavejaNaM sAmagNe pagjuvadviyA //

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(31) shipful beings who attaineil perfection in conduct withont being in-truciel by anyindi else. But neither their numer is specified nor their names viven im we dio not fimi much literature on them. At one place, however, they are attrilitel with the compilation of a part of the Jaina canon.2 Comparing our siory with the Buidhist Jitak:1. we find the hero in the latter work named Karanu i his parents and his capital are given the saine nines as in our work. The father is namer! Dahivahana and the Sanskrit translators of our story have translated Dha divaliana of our work by Dadhivahana. The hero is sai i to have ultimately resigned the kingdom anil lecome a saint. The comparison ends here anil there is nothing that is common in the details of the narrative of the two storie story given by Devendra in Prakrit aurees better with our story and the first part of it up to the coronation of the hero on his paternal throne of Cama is more or less similarly described in both. The southern campain of Karakayla is, however, entirely wanting in Devendra's account. Besides a few clifferences in detail in the tiro barratives, there is one remarkable improvement in Devendra's version. The manner of Dhadivahana's escape from the runaway elephant, leaving his wife to her fate, strikes one as very unchivalrous in the present work, but Derendra's account is free from the fault. Had this version been known to our author he would certainly have allonted it. If Karakanda is to be regarded as a historical person, anil, as we shall, see, he ought to be so recognized, the only period to which he can be assigned is prior to the 5th century B. C. The Jainas say that he flourished between the period of lord Parsvanath and of Mabavira, and the Bauddhas put him prior to the advent of Buddha. In as much as he is reconized as a saint by the Bauddhas as well as the 1. In the Pratishthapatha of Jayasena, for example, the Pratrekabuddhas Ale thus inroked anyopadezAvirahe'pi susaMyamasya cAritrakoTividhayaHsvayamudbhavanti / pratyekabuddhamatayaH khalu te prazasyAsteSAM manAk smaraNato mama pApanAzaH // 672 // oM hI pratyekabuddhatva- RddhiprAptebhyo'rgham / 2. In one manuscript of Sukumalauarita in Sanskrit, deposited in a Bhandar at Jaipur. I found the collowing Ferse aMgapUrvaprakIrNAni racitAni gaNAdhipaH pratyekabuddhayogAndaiHzrutakevalibhirmudA // 25 // 3. See introduction in Hindi, page 13-14.

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(32) Svetambara and Digambara Jainas, he has to be assigned to a period sufficiently removed from the origin of Buddhism as well as the sectarian split amongst the Jainas. The old literature which I have been able to find out on Karakanda is as follows: BUDDHIST 1. The story of Karandu forming part of the Kumbhakara Jataka (Jataka No. 403 ).1 SVETAMBARA 2. Uttaradhyayana Sutra XVIII, 46, mentions Karakandu as the king of Kalinga who, like Durmukha of Pancala, Nami of Videha and Naggai of Gandhara, renounced his kingdom in favour of his son and became a sage.2 3. Santisuri, in his commentary called Sishyahita on the Uttaradhyayana Sutra, gives the story of Karakandu, like Devendra. He is said to have died in Samvat 1096-1040 A. D.3 4. Devendra in his commentary called Sukhabodha on the UttaradhyayanaSutra gives the story of Karakandu. This work, according to the prasasti, was completed at Anhila-patana in Samvat 1129-1073 A. D.4 5. A pupil of Caritravijaya wrote Pratyeka-buddha-caritra in Sanskrit verse. This work does not seem to be very old. 5 6. Subhasilagani, in his Kathakosha, gives the story of Karakanda. 6 7. Samayasundara Upadhyaya wrote Karakandu-chaupai in Hindi verse about the beginning of the 17th century.7 1. Appendix A 2. Dr. Charpentier's edition, Upsala, 1922. 3. Pattavali-sanuccaya, Viramgaon, Gujrat, 1933. p. 54, 153. 4. Charpentier's Introduction to Uttaradhyayana, p. 56; Appendix B. 5. Printed, Jamnagar, 1920. 6. Translated by Tawney. 7. Misra-bandhu-vinoda part I p. 378.

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(33) DIGAJBARA S. Sricandra, in lis Kathakosha written in Apabhrain a. has included the story of Karakanda. He wrote about the time of Mularaja of Inhilaval of either the 10th or the 12th century. The story is in substantial agreement with our version. !!. Subhacanilra, helped by Sakalabhashana, wrote Karakanlucaritra in Sanskrit verse in Samvat 1611 =15.55 4. 1). This work is a translation of Kanakimara's work which it follows quite closely not omittin, even the intervening stories. The author has, however, no wbere recognized the lebt. I have used a manuscript of this work in writing the notes 2 10. Raidhu is said to have written Karakanducarita in Prakrit.3 Probably this work was also written in Apalhransa as most of the known works of Raidhu are in Apabhramia. He tourished in the 15th century. 11. Jineudrabhushana Bhattaraka is said to have written karakanducarita in Prakrit about 1676 A. 1.3 12. Sridatta Pandit is attributed with the authorship of a Karakanducarita. 3 ]:). Rainacandrit Mumukshu wrote a collection of stories in Sanskrit called Punyasrava-katha-kosha in which he has included the story of Karakandu. One of the Vss. of this work is datei in Samrat 1555 = 1501 A. D.5 11. Vemidatta wrote Aradhana-katha-kosha in Sanskrit velse in which he has included the Karakanda story.6 15. Karakandu-srami-ki-katha in Hindi verse bied on the Aradhan, kathi-kosha of Nemidatta.7 16. The present work of Kanakamara. 1. Allahabad Cniversity Journal Vol. I p. 170. .. The MS. belongs to the Balatkara gana Bhandar, Karanja. 3. aurat ma iubi ait 37 Dy loy Wathuran Premi. 4. 777HITE FOAR, Intr., Bombay 1923. 5. Hindi translation by Nathurain Premi. Bombay 1907. 6. Text and Hindi translation. Bombay 1915. 7. Deraband 1910.

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(34) AUTHORISHIP, TIME AND PLACE OF COMPOSITION OF THE WORK. In the colophon at the end of each of the nine sandhis of the work we are told that the Karakanda-Maharaja-carita was the composition of Muni Kanayamara (Sk Kanakamara ). The name also occurs in the ending verse of each Sandhi where, however, it also gives a sense suitable to the context. Froin these mentions we know that the author's name was Kanakamara and that he was a Muni i. e. an ascetic. A few more particulars about the author are obtained from the second introductory stanza of the work and the last two stanzas which form the author's prasasti. Here are are told that the author Kanakamara was born in a Brahmana family of the Canda-rishi-gotra. This gotra may be identical with the Candrakula which is said to have been a division of the Vairi Sakha sprung from the Kotika gan... Santisuri the author of a commentary on Uttaradhyayana ( 11th century ), and Devendra's teacher Amaradeva ( 12th century ) belonged to different subdivisions of this kula.1 It is, However, noteworthy that these authors were Svetam bara while Kanakamara was avowedly a Digambara monk. In the introductory stanza as well as the prasasti, the author mentions the name of his teacher as the learned Jangaladeva ( Budha Mangaladeva or Pandit Mangaladeva ) who may be identical with the author of Dharma-ratnakara a compilatory work on Jain religion and philosophy:2 Our work does not mention the time of its composition, nor hue I been able to discover any mention of the author in other works. Thus we are thrown upon the internal evidence of the work to determine its dite. Of the four old manuscripts used for preparing the text of this edition, the two from Jaipur are dated in Vikrama samvat 1558 and 1597 respectively. Therefore V. S. 1559 i. e. A. D. 1502 is the terminus ad quem for the date of the work. For fixing the upper limit we have the mention of Siddhasena, Samantabhadra, Akalim kadeva, Jayadeva, Svayambhu and Puspadatta at the beginning of the work. The first of these is the celebrated 1. Charpentier: l'ttaradhyayana sutra, introdaction p. 04 57 2. I saw a ms, of this work in the Balatkars yana temple at Karanja. It consists of 151 leaves and was copied in saciat 1667. At the end of the work the author says kRtaM mayedaM sakalAdizAstraM ratnAkarAkhyaM budhamaMgalena / nItvA rahasyaM ca samastazAstrAt naMdatvaho vai cirakAlamUrdhanyA // ? The time of the composition of the work is unknown. (See Catalogue of C.I.& Berar Mos., and fansat fa 19a ai gali ja ly lit. Nathuram. ) 3. 1, 2, 8-9.

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(35) author of the Yyayavatara and other works. There has been a renouat of controversy about his date which fluctantes lietween the first century B. C. ? the 7th century A. D.1 Five works of Samantabhadra have so fill come to lizhit. His date has also been a subject of controversy and he has been assi meil to various lates between the 2nd and the 7th cent. A. D. What we are alsolutely certuin is that he lived prior to 705 A. I). when the Harivamaa purana of Jinasen: which m ions him, was completed. 2 Akalain kadeva is tive author of many works. His olete is also uncertain though some inscriptional :nd literary recorils connect him with the court of Salusatunya whi is generally identi!ied with the Rislotrakota king Krishna I. and therefore he is assigned to the middle of the 7th century A. D.2 Vo work of Jayadeva has so far come to my knowledge but he is day author Mallibhushauna in his Nagakumaracarita, as the tirst of those who wrote a life of Vagakumara 3 Svayambhu is known to be the uthor of two burgo Apabhramsa works. He flourished between the 7th and the 10th century A. D.4 Pushpadlanta las now become well known liy his three Apabhrams: works twi) of which, Jasibaracariu and Nayakumaracirin have already been publisheid. ilis Mahapurana is proved to have been completed in A. D. 96.). Thus, of the six authors mentionel lg Kanakamarn the latest to have livel is Puslapadanta. In fact, the author geems to hain mentioned them in their chronological order. Therefore t. D. 965 proves to be the form 11,3-14-70 for the date of our author. In the author's prasasti mentioned above, there is soine inforination of historical value which may ultimately help to determine precisely the late of our author. Here the author says that he produced the work at Asaiya town, out of regard for the minister to whom king Vijaraia was attached, who was a veritable nirror to the face of king Vijavala, who attracted the miud of king Bburala and who amusell the heart of king Kamna. Thus, the kings mentioned seem to be named Vijarapala, Bhupala and Karna who lived within the life time of a single ininister and who actually ruled at Asaiya or had it included in their king lom. After a long search, I feel inclined to identify these kings with those mentioned in a few oligcure inscriptions which have not yet been assigned their 1. Dr. P. L. Vaidya: Nrayavatara, Borubar, 1928. Introduction. 2. Catalogue of C. P. & Berar Mssi introduction. 3. H. L. Jain: Nasakumaracariu, introduction p. XXI. 4. H. L. Jain: Apaburanusa literature, Allababad l'niversity Journal V. I, p. 109.

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(36) proper place in the royal dynastic lists. The first of these inscriptions is the Damoh Stone Inscription which was discovered in the Hatta Tahsil of Damoh in C. P., and is now deposited in the Nagpur Museum.' It is written in Apabhramsa with a free translation in Sanskrit. It recites that one Vijayapaia Kshatriya was born in the Visvamitra Gotra. He conquered a hero named Kai. His son was Bhuvana pala who defeated the Kalacuris, the Gujaras and the Deccan kings.2 Rai Bahadur Hiralal thinks that this inscription probably belongs to the 12th century and that the persons named in the record were, perhaps, commanders of armies and possibly, related to the Gubila princes of Mevad in which dynasty there was one Vijayasimba who married Syamaladevi daughter of Udayaditya of Malwa by whom he had a daughter Albanadevi who married Gayakarna of Dabala.3 The Second record is a fragmentary inscription found at Kalinjar which speaks of a king named Bhumipala the son of Vijayapala, and goes on to say, after a lacuna, that the son had made himself the ornament of the southern direction and had vanquished the ocean-like Karna. Bhumipala is found mentioned in a third fragmentary inscription found at Tewar." All the three inscriptions, on palaeographic grounds, are assigned to 1. Rai Bahadur Hiralal: Inscriptions in C. P. & Berar. Nagpur 1932 p. 55. 2. The following lines of the inscription are taken from the Nagari-I'racariniPatrika Vol. VI, p. 5, compared with a havd rubbing copy of the inscription kindly furnished by R. B. Hiralal. visAmitta gotta uttamacarita vimala pavito gANa / araghaDa ghaDaNo saMsajiya dUvaDo bhUvANa // dUvaDDA paTi pariThiau khattiya vijayapAlu / jeNe kAiu raNi vijiNiu taha sua bhuvaNapAlu // kalacuri gujara sasaharaha dakkhiNa cai sukha aMDa // cahurA aharaNa vijiNaNa harisarAa bhujadaMDa // 3. Inscriptions in C. 1. & Berar, p. 55. 4. Nilakantha Inscription No. II, JASB Vol. XVII. I am obliged to Prof. V. V. Mirashi for kindly drawing my attention to this inscription as well as the one next mentioned. It contains the following lines: ajani vijayapAlastatsuto bhUmipAlaH shittrkrvaaldhvstraajnymaalH| ......3: LFHI Aluargarita yo dakSiNAzAbharaNIkRtAtmA karNArNavaM tUrNamapAcakAra // 5. Intian Antiquary Vol. XX p. 85. The following broken lines have been read 4 mahAsamudrAtsA zriyAM samabhavad bhuSi bhUmipAlaH ...............aggiaag:u i ............... Paare sit idegaia ll

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(37) the 12th century. 4.)). My ite: is that the Vijayapala of the Dainoh inscription is identical with the Vijayapala of the Nilakantha inscription of Kalinj:ir and that the Bhuvanapala of the first inscription is identical with the Bhumipiin of the other two inscriptions, aul further tha: the Vijayapala and Bhuvanpala or Bhumipala of these inscriptions are identical with kings Vijavala sul Bhuvala mentionel by Kankumara. It is not quit: etsy' to fit in these kings in any of the known (lynastic listy, but the locality of the inscriptions as well :15 their contents tmpt one to look for their jientification amongst the rulers of Bundelkhula of the llti or 12th century: In the Candela snasty of Kulinjar we finil mention of a king nuned lijayaprila who succeeded Viilradlara, a contenporary of king Bhojadeva of Malwa. One of the eons of this Vijayapala proved very illustrious. He scored a victory over the mighty Karnadeva Kalacuri anul annexed his soutbern dominions. This event was commemorated by the production of a dra:na Prabodbacindroday in Sanskrit. Can Fe not take this son of Vijayapala as identical with our Bhuvanapala, Bhumipala or Buuvala who in one inscription is said to have detented the Kalacuris and in another king Karna! The only difficulty is that in the Prabodhacandrolaya as well as in a few inscriptions this king's name has been mentioned as Kirtivarma. But this may have been his other name, pronal assume l after his victory over Karna. Prior to this victory, Kamma hail raide:l the Candela kingilom. It was, probabiy, oluring this period of Karna's ascendancy that Kanakanara wrote his Karakandacariu apil mentioned his patron minister as the lelighter of the heart of Kanna narinda. If these identifications are accepted, there is no difficulty in fising the time of the composition of the work. From several inscriptions it is known thai Karna must have ruled from alvout 1043 to 1068 and Kirtirarma alias Bhuvanapalu, Bhumipala or Bbuvala from about 1063 to 1098 A. D. Our work, therefore, inay bare been composed about 1065 A. D. Isiiya where the work as produced must have existed some where in Bundelkhand, A brief account of some of my inconclusive attempts at the identification of the kings mentioned by Kavakamara and the place where be wrote, may, now, be given here for the benefit of those who might make a further attempt in the field. At the very outset of my inquiry I came across the following note in the Archaeological Survey Report for 1972-73 by Alexander Cuquingham, f. 193, on Asapuri: "Twelve miles to the south-west of Baijanath (in the Punjab ) there is & lofty bill crowned with a temple dedicated to Isapuri Devi. It was built, according 1. Alfi gatituir qafar Vol. XII p. 3.77 and 367.

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(38) to an inscription, by Vijayarima the eldest son of Raja Candrabhana." So far it was very encouraging, for Asapuri might be our Asoiya and Vijayarima may be the same as Vijayapala. But the note went on to mention yet another two inscriptions of the same king dated in samvat 1744 and 1721 which showed that this Vijayarama could never be the Same as our Vijayapala, who, as we have seen, must have lived prior to Samvat 1558. In the same work, however, I found another reference which definitely connected the locality with Jainism. We are told that in the temple of Baijnath there is placed, in one corner, a stone with a Jaina inscription. This I found published in Epigraphia Indica Vol. I page 118. The first part of it runs thus: oM0 saMvat 1296 varSe phAlguNa vadi 5 ravI kIragrAme brahmakSatragotrotpanna vyaya. mAnU putrAbhyAM vya. dolhaNa AlhaNAbhyAM svakArita zrI mahAvIradevacaitye zrI mahAvIrajinamUlavivaM Atmazreyortha kAritaM This means that in samvat 1296 =1240 A. D. two merchants Dolhana and Albana, sons of merchant Manu of Brahma-kshatra Gotra built a temple at Kiragrama and installed therein the image of Mahavira. Kiragrama is in the Kangra district of the Punjab where the Baijnath temple exists. The names of the two merchants mentioned here are similar to those of the three sons of the minister who patronised our poet. But such names are freequent amongst the Rajputs. This was all and nothing further could be discovered about the locality. The names of the kings, and more particularly, those of the minister's sons, suggested to me Rajputana as a possibly hopeful field. Looking into the 'Andals and antiquities of Rajputana' by James Tod' I found mention of Asi a fortress which was assigned to Anuraj by his father Bisaldeo who reigned about A. D, 1064 a8 the ruler of Bundi State. It was, most probably, this very Asi which was mentioned by Alberuni when he says " Marching from Kanoj towards the South-west, you come to Asi eighteen parsakhas from Kanoj. "2 Asi, I thought, inay do for Asiya. The son of Anuraj was Ishatpal which showed that the kings of this dynasty did bear names ending in Pale, and in the Caulan genealogy we find two names Knp Rao and Vijayaraj which resemble our Kanna and Vijavala. The latter i. e. Vijayaraj is said to bave been the adopted successor to Prithiraj3 and they appear to have lived about 1100 or 1200 A. D. But, firstly, there is no direct connection between Kan Rae and Vijayaraj as would be necessary if they were to be accepted as 1. Oxford 1920, p. 1461. 2. Each farsakla being equal to four miles or one kuroh (kroglia ). Alberuni's ludia rol. I Trubner's Cr. S. p. 202. 8. It is also said by James Tod that his naine was on the pillar at Lellii. (?)

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(39) those mentioned by our author. Secondly, they are separated from each other by nearly two generations. Thirdly, they were junior members of the family and are not shown to have reigned any where; and, lastly, the list is compiled from the accounts of hards without much corroborative evidence. Therefore they are mere names to us and no emphasis could be laid upon their identity. Passing on to other Rajput dynasties I found the mention of Vijayachandra in the Gaharwal dynasty of Kannoj. Two copper plates of his dated A. D. 1168 and 1169 respectively, and two stone inscriptions both of A. D. 1169 have come to light.1 Probably this same king is mentioned as Vijayapala in Prithviraja-raso. 2 In the Solanki dynasty of Gujrat there was one Karna who ruled from A. D. 1064 to 1094. He was the son of Bhima. He had three ministers Munjal, Sautu, and Udaya, the last two of whom built Jain temples. I'daya had five sons Ahada, Chahada, Bihada, Ambada and Solla. Karna's son was Siddharaj Jayasimha.3 Amongst the Ranas of Chittor is mentioned one Karansimha who was the son of Samarsi, whom he succeeded in A. D. 1193. His son was Mahup.4 In the same dynasty, a little earlier, we find mention of Vijayasimha the son and successor of Vairisimha. One of his inscriptions is dated in A. D. 1116.5 His daughter Alhanadevi was married to Gayakarna of the Kalacuri dynasty of Cedi for whom we have epigraphical records of A. D. 1122 and 1151. Kings that succeeded Vijayasimha in order, were Arisimha, Chodasimha and Vikramasimha; but nothing, in particular, is known about them. The last was succeeded by Ranasimha who is also called Karnsimha, Karanasimha or Karna.6 These mentions, by themselves, do not justify any identification with any of the kings mentioned by Kanakamara because any identification must not only suit the time of our author but must also explain the mention of the town and of the other two princes. A variant reading in place of ayar is found in Ms. J. which reads it as. If we accept this reading then no longer remains a 6 1. Ep. Ind. IV. P. 118: Ind. Ant. XV. p. 7. Arch. Sur. XI P. 125, and JA OS VI P. 548. 2. bhArata ke prAcIna rAjavaMza Vol III, P. 107. 3. Bom. Gaz. Vol. I. History of Gujrat. 4. Tod: Annals of Rajputana p. 303-4. 5. Raj. Mus. Re. 1915-16 p. 3. G. Hist. of Rajputana by G. H. Ojha Ajmer 1927 P. 444-445.

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(40) proper name and there remain only wo names Vijavala and Kamna to be identified and the town Asaiya. It was on this basis that I once felt inclined to identify our Vijavala with Vijayasimha of Udaipur and Kanna with his son-in-law Gayakarna who might have been staying with his father-in-law and felt friendly with the former's minister at the time when Kapakamara wrote lis work at Asi which though far away from Udaipur aud even Chittor, is on the borders of the state. This, however, did not seem very satisfactory as it had obvious weak points. So, in order to strengthen the identifications further or to discover a more satisfactory solution, I turned to the history of the Kalacuris of whom Gayakarnadeva was already thought as probably identical with our Kanna. Their genealogy showed two other kings who could be thought of as equivalent to our Karna. These were Karnadeva son of Gangeyadera, who conquered many neighbouring kings and for whom we have an epigraphical record of 1042 A, D.1 and his son Yas'alikarna leva of whom . one copper plate is dated A. D. 1122. His son was Gayakarnadeva of whom we have already spoken. We also fiind in this genealogy one Vijayasimhadeva of whom two copper plates are dated A. D. 1180 and 1196.2 Besides these, we have an account of a Kalacuri prince called Vijjala or Vijana who was at first the minister af war under Tailap II of the Calukya dynasty froin whom he usurped the thrown of Kalyana and extended his dominions further. The earliest epigraphical record for him is of A. D. 1157 and the latest of A. D. 1165. One of the titles used by him was 'Kalinjarapura-varadbisvara' or lord of the best city of Kalinjar. From the account given of him in Basava purana, a Lingayat work and Vijjalarajacarita, a Jain work, he appears to have been a great patron of Jainism and to have been assassinated in A. D. 1167, as a result of a Lingayat confederacy led by Basava.3 Thus, in the Kalacnri dynasty there have been kings who could be thought of as identical with Vijavala and Kange of Kanakamara. The place where the work was composed at once reminds & student of modern history of the battlefield where Sir Arthur Wellesley defeated the Marathas in 1803. It is Assaye now a small village in the Bbokardan Taluka of the Aurangabad district of the Hyderabad State. No previous history of the place is known, but it was certainly included in the kingdom of the Rastrakutas. Could it, 1. Ep. Ind. Vol. 11 p. 305. J. B. 2. S. VIII p. 491. JAXVII p. 838; 3. Early History of the Deccan), Sec. XII and XIII. padaNDanAyaka

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( 41 ) then, be that the Kanna narinda of Kanakamara was the Rashtrakuta king Krishna III who has been mentioned by Pushpadanta as Kanha If it be so, then Vijayapala and Bhuvanapala may have been his deputies ruling at Assaye. Krishna III is known to have conquered the Cera, Cola, Pandya and Simhala,2 and Kanakamara may have been led to attribute these conquests to his hero by this example of his time. In that case he would be a contemporary of Pushpadauta whom he has mentioned. This Assaye is not very far away form the Terapura caves which the author must have visited and which probably inspired him to write this work while returning from there and staying at Assaye. Another possible conjecture identifies the Asaiya with Asiragarh in Khandesh which was named after Asadevi enshrined there. A small village near the fortress is still called Asi. In our text there is a marginal note Asapuri on the word Asaiya. Before the building of the existing fortress, the place may have been called Asapuri. It is wellknown to have been a seat of government during the preMuhammadan period. TERAPURA AND ITS CAVE-TEMPLES Chapters IV and V of Karakandacariu are taken up by the description and previous history of Terapura and a cave-temple in its vicinity. The Terapura mentioned in the work is identifiable with Tera a village in the Osmanabad district of Hyderabad State, situated in 18-19 N and 76-9 E on the Tirna river, twelve miles north-east of Osmanabad. It was known to the ancients as Tagara which name had baffled the attempts of scholars at identification for more than a century. Sir R. G. Bhandarkar, writing about it in his Early History of the Deccan, said "Tagara is placed by the author of the Periplus at a distance of ten days journey to the east of Paithan. It is mentioned in a copper-plate grant of the first half of the seventh century and the princes of the Silahara dynasty call themselves sovereigns of Tagara, the best of towns, in all their grants. Some have identified it with 1. Nayakumaracariu, Introduction. 2. The colophon of Yasastilaka of Somadeva runs as follows: 'zakanRpakAlAtIta saMvatsarazateSvaSTasve kA zatyidhikeSu gateSu aMkataH 881 siddhArtha saMvatsarAntargata caitramAsamadanatrayodazyAM pAMNDya-siMhala - cola- caramaprabhRtInmahIpatInprasAdhya melapATI pravardhamAnarAjyaprabhAve zrI kRSNarAja - deve sati......... Shree Sudharmaswami Gyanbhandar-Umara, Surat " www.umaragyanbhandar.com

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( 42 ) Devagiri and others with Junnar, but in both cases its bearing from Paithan as given by the Greek geographers has not been taken into account. I have elsewhere discussed the question and have proposed Dharur in the Nizam's territory as the site of the ancient city". It was only in 1901 that Dr. Fleet was finally able to show that the ancient and famous Tagara exists to this day known by the natural modern form of its former name as Tera in the Nizam's dominions.2 The town is so ancient that it was possibly known in the Buddha's time. A teacher of olden times named Tagara-sikhin is several times mentiond. Sikhin is otherwise known as a name and the distinctive epithet Tagara may possibly be local and mean of Tagara' the medern Tera '.3 According to Kanakamara, Karakanda was encamping to the south of Terapura. The king of the place known as Siva visited him and told him about the existence of a large cave containing a Jina image at the foot of a hill in deep forest. Karakanda visited the cave and worshipped the Jina. He renewed the temple (or built a fresh cave ), installed in it another image of Parsvanatha which he discovered on the top of the mountain, buried in an ant hill, and built two more caves on the upper side of the existing cave. He also discovered a fountain of water in the old cave. Now, I give below a summary of the description of the existing caves of Dharasiva as noticed by Burgess-4 Dharasiva is about twelve miles north of Tuljapura and twenty-four west by south from Barsi standing just above the brow of the Balaghat which forms the watershed between the Sina on the west and the Terna, a large feeder of the Manjira, on the East. It is the chief town of a Taluka or district of the same name, and, like Tuljapura, is fully 2000 feet above the sea-level. About two miles north-east from the town, in a ravine facing the west, is a group of caves known as the Dabar Lena or Torla Lena. Four of them are in the north side of the ravine and three on the opposite side facing the north-east. The former are Jaina excavations but some of the latter are probably Vaishnava. They are cut in a soft conglomerate rock, of very unequal texture, containing much haematite, and which is easily abraded. By the decay of the rock they are much dilapidated. 1. Early History of the Deccan, 1927, page 59. 2. The missplet Thair, Ther, Tair, etc. of maps. Imp. Gaztr. Vol. II, 1908, page 82; J. R. A. S. 1901, page 537 ff. 3. Rhys Davids: Buddhist India, page 31. 4. Arch. Survey of Western India, Vol. III.

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( 43 ) In front of the principal cave on the north side has been erectel a Saiva temple surrounded by a small court enclosed by a high wall with a Dharmasala on ong side and a platform on the other. A few yards to its vest, on a lower level, is the cave No. 1 which is only subsidiary to the principal cave No. 2. Its front verandah me:sures 26 feet by 7 feet with two pillars each about 2 feet 10 inches squire. It has three doors leading into as many separate apartments which were never finished ani hence present an irregular size. The central room was intended for a shrin- but the dividing walls have given irag. To the east of the principal cave is cave No. 3. It is better preserved tut has been long occupied and divided by stone and mud walls. The hall of it is about 39 ft. square and 11 ft. 3 inches high, the room being supported by twenty columns leaving an open area of 35 ft. squa re in the centre. Two of the columus in each side are round, standing on thin square plinths, the other columns being square and all have capitals and a neat collar of carving, a foot deep, round the head of the shaft. The shafts taper from about 2 ft. 10 inches to 2 ft. 7 inches square. The sis octagonal columns in the verandah have a beautiful frieze over them which has mostly fallen. At the east end is an apartment 19 ft. by 8! ft. and another inside the verandah about 13 ft. square with a large rough mass left in the middle about 5 ft. by 5 ft. as if intended to fastened into an image. The verandah measures 60 ft. by 8 ft. 8 inches and five doors enter from it into the hall. In each of the sidewalls are five cells and four in the back, besides the shrine 19 ft. by 8 ft. containing an image somewhat similar to the one in the principal cave. In the cell to the west of the shrine also there is a figure of a Jina seated on a high seat with figures behind similar to those in the principal cave, only, instead of the snake hoods there is a plain nimbus. Cave No. 4 is close to the east side of this and consists of a hall 28 ft. by 26 to 27 ft. with four round columns supporting the roof, surmounted by a sort of architrave 131 inchas deep. But the shafts of the columns have all disappeared. to have had a verandab, properly so called, but only a projecting drip over the front wall which is pierced for one large central and two smaller side doors. There is one cell at each side of the ball, near the front, one of them unfinished, and there were two more in the back wall, but the partition between the east one and the shrine has been broken through. The shrine is about 9 ft. 6 inches by 12 ft. and contained a Jina similar to those in other caves but very much disfigured by the crumbling away of the rock and the soot of ages as it has long been used as a dwelling. The central door is surrounded by the plain fascias, & roll moulding and a border of leaves.. Over the main door is a shallow arched recess.

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( 44 ) The principal cave, i. e. care No. 2, is the largest of the group. Unfortunately, the rock bas split down from above and the whole front, with the exception of a small fragment, had fallen down. It has, however, been recently repaired. The verandah, 78 ft. by 10 ft. 4 inches, in all probability, bad six or eight pillars with massive bracket capitals supporting its front. Five doors through the back wall lead into the great hall of the cave. The court in front of the verandah is now quite filled up, but its entrance is still visible its pediment being carved with a sitting figure of a Jina with a nimbus behind the head and Naga figures on either side and other indistinct figures. In the west end of the verandah has been a door into a small adjoining excavation containing a cistern, and in front of it a boiler-shaped cistern has been built which can be filled by pouring the water into a channel that passes through the wall from the apartment where the cistern is. In the room of the cistern there are three loose blocks of very hard stone, sculptured with figures of nude Jinas. One of them is on a slab and represents Parsvanatha with the snake behind him and its seven hoods spread out over his head. Another is a square block, apparently, part of a pillar, on each side of which a standing nude Jina is represented with a triple chhatri orumbrellas, over their heads. A third is a slab with a Jina seated cross-legged under a chhatri and having a worshipper at each knee, and four small figures below, some apparently worshipping and others engaged, perhaps, discoursing music. The chamber, in which these fiignres are, measures about 17 ft. by 12 ft. with two square pillars in front and two openings in the floor into the cistern, which probably extends far back under the rock. The great Sala or hall of the cave is not quite square, being wider at the back thap in front, the former width being 85 feet, the latter only 79 feet, while the depth is about 80 feet. In this area are thirtytwo pillars, arranged in two coucentric squares; the inner square has twelve pillars, and encloses an area 23 ft. 9 inch. square, and 10 ft. 2 inch. high; the outer, about 9.! ft. from the walls, has twenty pillars and encloses an area about 55 ft. deep by 58 wide, leaving an aisle round the central square about 13 ft. wide in front and back while along the sides it is 14 ft. wide. The roofs of the aisles on each side of this outer square vary in height, with a tendency to increase towards the back, the back aisle being 12 ft. 6 inch. high and the one in front of it 11 ft. 7 inch. at the back, and slightly less in front, while the aisles are about 10 ft. 4 inch, in height. In each sidewall are eight cells, each about 9 ft. square and in the back are sis, three on each side of the shrine which occupies the centre. The cells are all

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3. terApura kI pradhAna guphA kA bAharase dRzya. A view from outside of cave No. 2, the principal cave of the group. The cross mark indicates the entrance to the water cistern attached to this great cave. ( Page 44, intro. )

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( 45 ) plain and exactly of the character of those usually found in Bauddha caves. In the floor of one cell, in the north-west corner, is a small hole which is constantly filled with water, and may possibly have some connection with the cistern: in one of the cells in the back is an imeve now worshippod 24 Hari Narayana, but this has, probably, been imported into its present position; and in a recess in the next cell to the left ol' the sbrine, is a black statue of a nu le Jina 6 ft. 1 inch high with a triple chhatri over his head. The recesy and figure have all been carefully done up with plaster some ten or twelve years ago and without breaking this coating it was impossible to sily whether the innage had been carved in situ, or not. There seems no reason, however, to doubt that it belongeel originally to the cave. The skrine is 19 ft. 3 inches wide by fully 15 ft. deep and 13 st. high, the threshold being raised by two steps considerably above the level of the floor of the cave. It is occupied by a large, black image, seated on a simkasand or lion-throne 4 ft. high ani 6 ft. 10 inch, wide with a passage or pruilokshini, 5 ft. wide quite round it This image has also been carefully repaired with plaster and represents Parsvanatha, the 23rd Tirthamkara, seated crosslegged in the ascetic attitude or Dhyano. Mudra with his hands in his lap, the palms being turned up. The ends of the seat are represented as supported by lions, one of them, however, much damaged. In front are two deer one on each side of an object now quite obliterated, but which from other examples, I have no doubt, was a whrel much like those on the fronts of the thrones in the Bauddha caves at Ajauta :ind Ellora and on the large Parsvanatha image of the 13th century at the latter place. Behind the image are represented the ends of a pillow against which he rests; from behind it issue the heads of sordlas ( mythological animals allied to the lion, but usually with a head some what resembling & goat's), and bebind them again two chawri-bearers with high, jewelled headdresses and necklaces over the heads of whom are fat Vidyadharas, flying in the air, each of which holds one end of a garlaud which is supposed to hang behind the head of the Jida. The great snake, with its seven hoods, shades his head, forming a sort of aureole round it, while on each snake-head is a small crown. These figures are all covered over with plaster and printed in a variety of colours The image itself is perfectly black, and, in the darkness, looks grim enough. It measures 6 ft. from knee to knee, 4 ft. 21 inch. across the shoulders, 3 ft. 6 inch, from the palm of the band to the chin, the face is 2 ft. 5! incb. from ear to ear over the eyes, and I ft. 5 inch.in length upto the hair which is in curled folds with a top-knot, and the ears are 7 inches in length. The description of the temple hall with its double row of pillars and twenty two cells besides the central shrine and other chambers affords enough justification for

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( 46 ) its being called a temple of a thousand pillars by our poet, while the description of the chief image agrees in substance with that which we find in our work of the image discovered by Karakanda and imported into the temple (Iv, 9). The chamber connected with the cistern and having two holes in the floor is probably the old shrine where Karakanda discovered the fountain of water. As said above, there is yet another cell where we have a hole in the floor consta ntly filled with water. On comparing the old and the new description of the cave closely, one can not help feeling that in Kadakamara's narrative has been preserved, for about a thousand years, a substantially correct account of this monument of great antiquity and interest. The name Dharasiva is probably derived from the fact that there was a spring of water ( Dhara ) and that one ancient king of the place was named 'Siva'. In the sanskrit version of the story by Subhachandra we are told that the persons who called upon Karakanda when the latter encamped near Terapura, were two forest guards named Dbara and siva. S WHO EXCAVATED THE FIRST CAVE ? We have seen above that according to Kanakamara Karakanda built two new caves and either renewed the first cave or built yet another cave before causing the fountain to be opened. The question naturally arises ' Who excavated the first cave ?'. This question occurred to Karakanda himself as it does to us, and he got some one to tell him the story of its origin. + A Vidyadbara told Karakayda that two Vidyadhara brothers Nila and Mahapila, originally ruling in Southern Vedyardha (Veyaddha or Vijayaddha ) came and settled down at Terapura, became converted to Jainism and excavated the cave. While investigating whether any historical basis could be found for this origin of the cave, I came upon the following statement about the Silahara princes in the Early History of the Deccan by Sir R. G. Bhandarkar. S. "The Silahara princes trace their origin to Jimutavahana the son of Jimutaketu who was the king of a cortain class of domigods called Vidyadbaras, and who saved the life of a serpent named Sankhacuda by offering himself as a victim to Garada in his place. One of the titles borne by the princes of all the three families was Tagara 6 dhArA-zivAbhidhAnI dvau bhillo bhItipradau bhuvH| etaddhananiyaMtArAvAsAte dAri dUrataH // 7, 26 // + Chapter V. l'oona, 1927, p. 119.

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( 47 ) puraraiallistara or lords of Tagara, the best of cities, which fact has a historical significanec. It shows that the Silaliras belonged to a family that once possesseil supreme sovereignty and reigned at Tagara. In one Silahara grant it is expressly stated that the race known by the name of Silabara was that of the kings who were masters of Tagara " ( TOTEITIETalsi G a ra ), As mentioned in a former section, Tagara was a famous town in the early centuries of the Christian era, anni retained its importance till a very late period, but, unfortunately, the town has not yet been identified, nor have we found any trace of the Silabara kingdom with Tagara as its capital. Perbaps it existed between the close of the Andhrabhrtyn period and the foundation of the Calukca power." From this account, two facts emerge very prominently; firstly, that the Silabara princes, according to their own statement, were the descendants of a Vidyadhare, and secondly, that they once had their capital at Tagara which, as already shown, is the same as our Terapura. I, therefore, conclude that the first Jaina cave at Tera was excavated by one of the early Silahara princes who also installed the image of Parsvanatha. Kapakamara bas also incidentally given to us the origin of the Silaharas which substantially corroborates and amplifics the information gathered from inscriptions. He tells us that the Vidyadharas, Nila and Mahanils came from the Southern Vijayardha. In Somadera's Kathagaritsagara + we are told that on the Himacala mountain there were two Fedyard has of Vidyadharas, the Northern and the Southern. On the upper side of Kailasa is the Northern Vedyardha and ou the lower side is the southern Vedyardha. From this we might conclude that the ancestors of the Silahara princes originally came from the Soutbern Himalayas. Kanakamara tells us that they had to leave their ancestral home and fly away from Rathnupura (Rabaneura) in Vedyardba on account of the pressure of the enemies. On this point also the Kathasaritsagara throws some light. In Lambaka XIV of that work we have an account of a protracted war between Naravabanadatta and the Vidyadharas of the Southern Vedyardha in which the latter were completely vanquished and Naravabanadatta was crowned king of the Vidyadharns. The coronation is described in Lambaka XV. We also find + Kathasarit-sagara XIV, 3. 65-66. iha vidyAdharANAM dvau vaidyoM sto himaacle| uttaro dakSiNazcaiva nAnA tacchaMgabhUmigau / parataH kila kailAsAduttaro'ktui dakSiNaH /

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( 48 ) mention of Jimutavahana (XVI, 3, 7 ) as the king of the Vidyadbaras who lost hig. overlordship because he belauded his charity and sacrifice before Narada.X The existence of a ruling dynasty of Vidyadbaras to the south of the Narmada is also voucbsafed by Padmagupta in his Navasahasankacarita where his contemporary hero Siodhuraja is said to have been helped by a Vidyadhara chief Sankhacuda the son of Sikhandaketu, against the Asura king Vajrankusa of Ratnavati. I may appear to be making history out of fables and fairytales, but the pieces of information culled here fit in so well with what we know from epigraphical records and literary traditions that the temptation to regard them as historical is irreristible. At any rate, the conclusion can sa sely be drawn that the ancestors of the Silabaras, came from the border of the Himalayas, that they founded the city of great fame and antiquity, Tagara, and that they early became converts to Jainism and built the large cave-temple near their capital. Perhaps the name . Silabara 'also points to their mountain origin. Burgess has assigned the caves roughly to the period between 500 and 650. A.D But this is only a conjecture. As we have seen, all of them may not be of the same period. The Silaharas are known to have been reigning near the coast in the Thana district from 810 to 1260 having their capital at Puri ( Elephanta ). They were the governors of Konkan under the Rashtrakuta kings. Their three branches ruled in the Deccan in different parts, but the period of their supremacy at Terapura or Tagara is quite unknown. As we bave already seen, Karakanda seems to have lived some time between 800 B. C. and 500 B. C. No wonder if that was the period of the Silabara ascendancy at Terapura. As to the image of Parsvavatba whicli Karakanda found buried in an anthill on the top of the hill, and which he then installed in the first cave, Kanakamara tells us, as Karakanda was told by the Vidyadbara, that another two Vidyadharas who were brothers and friends of Nila, while on a religious tour from their home in the Northem Vedyardha to Lapka, picked it up from a bill called Siripudi' in Malaya country ( Malabar ), and deposited it on the present hill. It is also said that the Jaina temple, at Siripudi was built by Suraprabha the king of Lanka who was a descendant of Ravana. X' sfinarea ca gai agitat: cakravartipadaprAptikAraNaM nAradarSiNA // 7 // vAcalyo kalpavRkSasya dAnaM nijatanostathA tenAbhrazyatpadAtsvasmAtsukRtodAregana saH // 8 // S Indian Antiquars, Vol. LXII, 1933, pr. 101-107.

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(49) JETRE The prevailing metre of Karakandacarin of Kanakimara is pajjhaTikA intercepted by a few lines or single Kadarakas here and there in alilaha or pAdAkulaka, besides the Dhruvakas. The variations in complete stanzas are as follows: Sandhi Kadavaka Yame of metre Yature of the metre. 7-81 12-13 samAnikA 17 III 14 14 A vritt& metre with the scheme 1 7 in each foot. Half of the stanza is 776 which is double of samAnikA. Consisting of four ra. Has 10 matras ending in a short. ( See abore ) Has two ya. samAnikA & tUNaka sragviNI dIpaka samAnikA somarAjI or saMkhaNArI samAnakA dIpaka samAnikA 15& 18 17 16 VII VIII citrapadA somarAjI samAnikA pramANikA dIpaka samAnikA ( See above) ( See above) ( See above) Has 24 matras in each foot with caesura aftor the 10th and 18th; two such feet rhyming with each other. With the scheme bha ma gaga (See above) (See above) With the scheme ja ra ga ga (See above ) (See abore) Has the first foot of 16 matras rhyming with the second of 8 matras. 17 26

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ACKNOWLEDGEMENTS It is now my pleasant duty to acknowledge the help that I received in the preparation of this volume. To Swami Virasena Bhattaraka of Karanja I am indebted for the first, and, by far, the most beautiful manuscript of the work that I saw. I am obliged to master Motilal Sanghi of Jaipur, and Dr. Tarachand Gangwal, palace surgeon, Jaipur, for securing me the facilities to collate the Jaipur MSS. of the work. To Mr. Nemichand Walchand Gandhi, pleader, Osmanabad, I am very highly obliged for his valuable help in taking the photos of the Terapur caves. He also sent me some local information about Terapur and its caves. To my colleague and esteemed friend Mr. J. W. Kulkarni, M. Sc., King Edward College, Amraoti, I am indebted for the reproduction of seven smaller pictures from the Western India Survey Report. It was his expert and scientific handling of the camera and his keen interest in the matter that enabled me to reproduce those pictures exactly in their original size and beauty. I received a loan of some books and pieces of information from my personal friends Dr. Baburam Saksena M. A., Ph. D., Allahabad University, Dr. Ludwig Alsdorf of Germany and Mr. V. V. Mirashi M. A. of Morris College Nagpur. My hearty thanks are due to all these gentlemen and to all other authors whose books I have consulted and quoted from. Shree Sudharmaswami Gyanbhandar-Umara, Surat NK www.umaragyanbhandar.com

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ADDENDA ET CORRIGENDA TEXT. Sandhi Kad. Line 5 Iv 10 For pANivahennaI coracAra baai jaya jaya siri0 saptakaMtadivAyara. saggami vi addhi AeM bhAviUNa AsivarAyau suMdara VII VII VII VIII Read pANi vahenbaI corajAra tumha jaya jayasiri. sasikaMta divAyara. saggammi viaddhiAeM thAviUNa Asi varAyau Add a foot pote on it that K.. reads ga and the TippaNakAra regards it as the name of the cowherd. 107 11 3 ghaNamaMsapavaDi ghaNamasapavati varacamaI varacamaraI jo mahiharu saMkaThI ucca mahihare sakaMThI buccA TRANSLATION. II 8 2 These three These three bamboos mighty etc shall become the mi ghty staffs etc. II 183 I shall be Two crimes more I excused etc shall still forgive, breathed heavily moaned long. x 26 21 with the eight with the eight fold foremost qualities renunciation, In the Index of Geographical names, after the word aastaia, add "terApura, nagara, paTTana IV, 2,4; IV, 3, 1; V,2,6; VIII, 19, 9. For identification and history see Introduction, page 41 ff.

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karakaMDacariu

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Victory to Jina. maNamAraviNAsaho sivapurivAsaho paavtimirhrdinnyrho| parama payalINaho vilayavihINaho sarami caraNu siri jiNAvaraho // jaya aguvamasivasuhakaraNa deva deviDamaNidariMdaseva / jaya gANamahovahikaliyapAra pAgaviya sivapahe bhviysaar| jaya kammabhuvaMgamadamaNamaMta maMtANa pIja saNagahakayaMta / 5 jaya caugaiDariyajaNekkasaraNa raNarahivasuyaNaduhaNivahaharaNa / jaya saMjamasarabararAyahaMsa hNsobmvuhynnkypsNs| jaya kohahuAsaNapauravAri vAriyatama kevlnnaanndhaari| jaya sAsayasaMpayahiyayavAsa vAsavanayaseviya suhnnivaas| jaya bhaviyasaroruhakamalabaMdhu baMdhuraguNa NivarasabahulasiMdhu // 10 ghattA-jaya deva NiraMjaNa bhavabhayabhaMjaNa maMDaNa suvnnmhaaghrho| tava caraNa NamaMtaho maNe sumaraMtaho hoi samicchiu phalu Naraho // 1 // The poet introduces himsell to his readers. maNi dharivi sarAsaha divvavAya taha paMDiyamaMgalaevapAya / jaNasavaNasuhAvau maDheru laliu kallANayavihirayaNeNa kaliu / puNu kahami payaDa guNaNiyarabhariu karakaMDariMdaho taNau cariu / jara dujaNa vaMkuDa maNi Niruttu jai jaNavau NIrasu maliNacittu / vAyaraNu Na jANami jai vi chaMdu suajalahi tarenkai jai vi mNdu| 1. 1 J gaya. 2 D pihula. 2. 1 D N mahura. 2 D N vihi aNNeNa. 3 D N tarevau. - 3 - 5

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kaNayAmaraviraiyau [1. 2. 6jaha kaha va Na pasarai laliyavANi jai vuhayaNaloyaho taNiya kANi / jai kaviyaNaseva hu maI Na kIya jai jayaNasaMgaI maliNa kiiy| to siddhaseNa susamaMtabhadda akalaMkadeva suajlsmud| jayaeva sayaMbhu visAlacittu vAesarigheru siripuSphayaMtu / ghattA- iya hiyae saraMtaho viNau karataho maha saMjAyau jaMji phl| 10 tamhA suhabhariyau duhaparihariyau payAmi vaMchiu Natthi chalu // 2 // The story begins. The country of Auga. dIvANa pahANahiM dIvadIve jaMbUdumalaMchie jNdhudiive| veDhiyalavaNaNNavavalayamANe joyaNasayasahasaparippamANe / vitthiNNau iha siri bharahachettu gaMgANaisiMdhuhu viSphuraMtu / chakhaMDabhUmirayaNahaM NihANu rayaNAyaro vva sohaaymaannu| ettharitha ravaNNau aMgadesu mahimahilaI NaM kiu divvavesu jahiM saravari uggaya paMkayAI NaM dharaNiyaNi NayaNullayAI / jahiM hAliNirUvaNivaddhaNeha saMcallahiM jakkha Na divvadeha / jahiM bAlahiM rakkhiya sAlikhetta moheviNu gIyaeM hrinnkhNte| jahiM dakkhaI bhujivi duhu muyaMti thalakamalahiM paMthiya mu~hu suyaMti / jahiM sAraNisalilaMsaroyapaMti airehai meiNi NaM hsNti| ghattA- tahiM desi ravaNNaiM dhaNakaNapuNNaI asthi Nayari sumaNohariya / jaNaNayaNapiyArI mahiyali sArI caMpA NAmaI guNabhariya // 3 // 10 The town of Campa. jA veDhiya parihAjalabhareNa NaM meiNi rehaha saayrenn| uttuMgadhavalakausImaehiM NaM saggu chivai bohasaehiM / 4 J jaDaiNa. 5 DN vAesari vva. 3. 1 JS siMdhuya. 2 SJ vayaNa'. 3 D TaMta. 4 DN jimmivi 5 DN suhi. 6 DN salili. 4. 1. J bahusIsaehiM; DN kausIsaehiM.

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5 1.6.2.] karakaMDacariu jiNamaMdira rehahiM jAhiM tuMga gaM puNNapuMja Nimmala ahNg| kosayapaDAyau ghari lulaMti Na seyasappa Nahi salavalaMti / jA paMcavaNNamaNikiraNaditta kusumaMjali NaM mayaNeNa citta / cittaliyahiM jA sohai gharehi NaM amaravimANahiM maNaharehiM / NavakuMkumachaDayahiM jA sahei samaraMgaNu mayaNaho NaM khei| rattuppalAI bhUmihiM gayAI NaM kahai dharatI phlsyaaii| jiNavAsapujamAhappaeNa Na vi kAmuya jittA kaamenn| ghattA- tahiM arividAraNu mayataruvAraNa dhADIvAhaNu pahu huyau / jo kalaguNajuttaDa guruyaNabhattau vijAsAyarapAragaDa // 4 // 10 King Dhadivahana. jo dhammamahArahadhuradharaNu kaarnnaanndiinndutthiysrnnu| jasu kittieM dhavaliu bhuvaNayalu jasu dANaI pINiu jaNu sayalu / guNakittaNu surayaNu jasu karai bhayabhIyau ariyaNu saMcarai / jasu sarasai sohai muhakamale lacchI vivasai sirivacchayale / dhaNu devaeM pasarai jAsu karu Nau pANivahevyahaM dharai sru|| jasu ANaI hariNaI AhayaI paribhamaI Na mahiyali khaMjayaMI / saMpuNNavayaNu jo sajaNAhaM bhUbhaMgurabhIsaNu dujaNAhaM / jasu dhasmaraoNeM raMjiyau maNu Na vilittau duriyaI ekku khnnu| pattA- maNe jalahi va gahirau meru va dhIrau gayaNu va pihulau jasu taNau / jamu pariyaNu bhattau guNaaNuratau so jAyau jage maMDaNau // 5 // 10 6 The king falls in love with a maiden of kausambi. ekkahiM diNe dhADIvAhaNeNa kusumauro gamu kiu tAu teNa / jA suMdari pAliya mAlieNa tahiM diTThI teNa NarAhiveNa / 2 DJN kahava. 5. 1 S inserts m after ariyaNu in second hand. 2 DNdeg yAiM. 3 J dhammarAya', 4N maNi.

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kaNayAmaraviraiya u sA pekkhivi maNahara kayamapaNa viraha ggitAva saMtattaeNa bhagu sahayara eha kasu taNiya bAla NaraNAhaho teNa vi kahiya vatta kokAdevi mAliu kusumadatta tuha taNiya bAla kiM hoda paha viDiyara suNaravara kAmaena / ko vi pucchiu Naru teM rANaeNa / NaM kAmaviDavipariphaliyaDAla / mAliyo dhIya aiha laDahagatta / saMsaeNa papucchiu NiviGagatu / kiM aNNaho kAsu vi kahi saha / ghatA -- te kahiu NariMdaho mahiyali caMdaho ghariNieM maho kusumattaI / suTTu agAhe pAviya eha maMjUrAI // 6 // gaMgA jalavAhe 7 [16. 3 The king discovers that his lady- love was a princess. takkhaNeNa mAlieNa levi peyAkhaNeNa mAhiM kI seva jANiyA Na sAmisAla sA vi joiyA NiveNa dhammabhAru pAliraNa / dAviyA zivassa teNa / chuddhiyA vietyu deva | kAsu dhIya eha bAla / NANasAyaraM gaeNa / aMgulIu NAmavaMtu / vAiyAI akkharAI / kAmagehu jAvi hUva / tami diDu hemakaMtu tAva teNa suMdarAI eha bAla rAyadhUva vattA-- kabiyerAyaho pasariyachAyaho vasupAlahI paumAvai duhiya | aNurAeM sA khaNi pariNiya duhamahiya // 7 // virAeM 8 He marries her. Her dream foretells the birth of son. tArAeM mAliyAsu kAyakaMtisaMgaeNa maMdiraM suucchaveNa devi daSu bhavvu tAsu / teNa tIeM saMjueNa / pAviyaM kayasthapaNa / 6.1] e. 2 S kokkAiu. 3 SJ kusumadattae. 7. 1J eiyA. 2 ] kausaMbie. 3 S muNevi . Shree Sudharmaswami Gyanbhandar-Umara, Surat 5 10 5 10 www.umaragyanbhandar.com

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1. 10. 3.] karakaMDacariu tammi tAI suMdarAI tosaraNa kiiliraaii| bhAmiNAeM tAsu tAe jAmiNIsu suttiyaaeN| diTu kuMbhi suppayaMDa NijjharaMtu uddhmuNdd| uTTiyAeM patthivAsu akviyaM pi tAva taasu| pivakhaM sAmi hasthi iTTa, jAmiNIhi eMtu ditttth| ghattA-- taM vayaNu suNeviNu sauNu muNaviNu rAeM akkhiu tAhi phalu / tuha hosai gaMdaNu maho maMDaNu jaNamaNaraMjaNu haNiyaskhalu // 8 // 10 She becomes pregnant. pieNa samANiya acchai jAma diNehiM pasatyahiM hUyau taam| ciyabhiya aMge aumbiya chAya kavola samujjala paMDura jAya / paoharateyaviviyasAra urammi Na chajai mottiyahAru / ghulaMtaI teNa thaNAhaM muhAI sakajalavaNNaI tAI kyaaii| khalo vi raNehiM viNAmiyasIsu Nimaccharu hoi guNINa gunniisu| valittau lajaeM juttu khaNeNa paNa?u bAlaho NAI bhenn| supoTTabhareNa huA gaI maMda samAlasajibha pavaDDiya taMda / kuNaMtau acchai mAyahiM tuMge surehaMI gabhaho sAraI aNge| divAyaracaMdaNivAriyadhAmu suchaMdaI gaMthiu mottiyadAmu / ghattA-sA pekkhivi rANI jayaho pahANI rAeM kiu tA sohalau / tahiM tehaI avasare payaDaI vAsare hU~yau tahiM maNi dohalaDa // 9 // 10 10 Her longing. te pIDiya mANiNi mayaNalIla Na payaMpai kArai kA vi kIla / kiuM pAvara citiuNiyamaNammi paDikhalai mahIyali takkhaNammi / sApekkhivi pucchiya NaravareNa vihANiya kiM tuhaM kAraNeNa / 8. 1JdegI. 2 J pivikha. 3 ND tAhe. 9. 1 S sumANiya. 2 JDN ralehiM. 3 J lajaI. 4 J gayamaMda. 5 J tuMda; D ruMda. 6 JND suciNhaiM. 7 DN jAyau. - 7

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kaNayAmaraviraiyau [1. 10. 4kiM dukkhaI suMdari tau sarIre paDivayaNu Na jaMpahi jema dhiire'| tA dukkhu vahaMtIe NaravarAsu paDivayaNu diNNu tosiysuraasu| 5 tuha kahiyaI Naravai kiM maeNa pahu aMguM khaNaddha sukkaM jenn| maho atthi garesara ciMta kA vi saMpaDai Na maNuvahaM jA kayA vi / varisaMtaI jalahare maMdamaMde NararUra kareviNu nniygiNde|| ghattA-paI sahuM caDevi garesara puNe paramesara paTTaNu bhamami sgouru| iu hiyavaI vaTTa jai Na vighaTTa to NicchaI evahiM marauM // 10 // 10 11 Arrangements to satisfy her longing. kiM ciMtiu suMdari iu hieNa vihasaMtaI bolliu raannenn| maI jANiDa keNa vi kAraNeNa uppaNNau duha tuhaM maho taNeNa / paI kettiu suMdari gaNiu ehu mA khavahi alIDhaI Niyayadehu / tA mANiNi pabhaNai giMbhayAli dAvANalalaggaI aivmaali| kahiM acchai jalaharu sAmisAla saMbhavai Na ehau guNavisAla / 5 tA rAeM NiyamANi kalivi eu saMciMtiu mehkumaardeu| so Ayau taho ciraNehaeNa pariNimmiyamehasarUvaeNa / saMchAyau Nahayalu teNa jAva jalakaNahiM pavarisiu deu tAva / ghattA-puNu roeM uttI mahila sucittI pekkhahi jalaharu kasaNataNu / lai lehi pasAhaNu mayaNaho sAhaNu saMthavahi bhaDArie NiyayamaNu // 11 // 10 12 The restive elephant flies to kalinjar with the royal couple. jA NiveNa poTThivaMtu kuMjaro sudittivNtu| tUrayAI vAiUNa maMgalAI gaaiuunn| maMDiUNa sajiUNa bhAmiNIhi appiUNa / sA caDAviyA NiveNaM khaMdhe tAsu suNdrenn| tammi bhAi so NariMdu tIe juttu NaM suriNdu| 10. M N adhIri. 2 N aMga. 3 DN suka. 4 DN pura. 11. 1 DN rAyaeM. 2 DN sacittI. 12. 1S NieNa; J gaeNa.

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4. pradhAna guphA kA sabhAmaNDapa, The hall ( Sabha mantapa ) in cave No. 2. The main supports have been newly erected as the old ones had collapsed. An old pillar is also visible. ( Page 44, intro. )

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1. 14. 8 ] karakaMDacariu caMdaNaNa mIsiyAu tA suaMdhu vAu aau| mehajAlu maMdu maMdu mokaleha tAyabiMdu / tAu teNa saMbharIu citti vimu vissphuriiu| ghattA-sA kuMjaru duTThau citti pahi?u bhaggau jAi kaliMjaraho / tA jaNavau dhAviu kaha va Na pAviu bAhuDi gau so NiyapurahA // 12 // 10 13 They escape but separately. jAva kuMbhi bhaggamANu kANaNaM pabajamANu / rANiyAe vIhiyAe tAva kaMtu vuttu naae| deva deva uttarehu majhu laggi mA mrhu| tumhi hoti hoi rajju tumhi hAti dhammakaju / tumhi hoti sayala loya tumhi hAni jiivbhaay| paTTaNAsu rAya jAhi lau hanyi majhu bAhi / rANaeNa taM suvi ruksa laggi ullalAva / saMsaeNa paTTaNammi rAu paca taktraNamma / etyu tAva kuMjareNa sA viNIya duddhrnn| ghattA- so kuMjarU jaMtau saravaru patrAu paiTau tahiM DAhaMtu jllu| 10 sA garavahabhAmiNi NaM murakAmiNi tA li paDiya kavi chalu // 13 // 14 The miracle in the forest. adukkhu vahaMtI NiyamaNammi saru muvi mahAmara gaya varNAmma / tA diTThau uvavaNu DhaMkharupanu / mayarahiyau NIramu NAI mumbu / tahiM rukkhaho tale vasimai jAma gaMdaNavaNu phului phaliu nAma / tA daMtIpure keNa vi vicita bhaDamArlAiha amAi kahiya vana / vaNavAla NisuNi maho taNiya vAya varNa dIsaha anu aucca chaay| papphulliya caMpaya vaula cUya layamaMDava sayala vi hariya haya / aNNaNNahi samayahiM phalahiM je vi phalabhAraM nambara Namiya ne vi| bhamarAvali parimalagaMdhaluddha NaM vaNasiri gAyai sara vimudra / 14. 1. J gAyamutyu.

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kaNayAmaraviraDyau [1. 14,9kiM vammahu Ayau tahiM vaNNami taM suMdara bhAvai maho maNNAmi / AyaNNivi taM vaNavAlu titthu khaNi gayau viyaMbhiu mayaNu jitthu| 10 ghattA-tA pekkhivi so Naru taM vaNu suMdaru harisaiM taraliu ekai khaNu / Nau amhahaM puNNaI phaliyau dhaNNaI iu hiyaI viyappiu teNa puNu // 14 // 15 5 The forest-guard discovers her and takes her home, vaNavAlu vaNeNe ya paribhameha vaNariddhihe kAraNu so Niei / tA parimalamIsiu pavaNu Au vaNariddhi kahai Na NiyasahAu / maggeNa ya Ayau pavaNu jeNa gau rakkhavAlu gaMdheNa teNa / te tarutale diTThI divva bAla NaM vaNasiri sohai guNavamAla / puNu citai Nau sAmaNNa eha rUveNa aunvI divvdeh| bullAviya puNu Niya sua bhaNevi uhAviya sA karayalu dhrevi|| kiM dummaNa acchahi putti ehi lai calahi jAhi maho taNae gehe / taho vayaNu suNeviNu savaNarammu saMcalliya kAmiNi tAsu hammu / vaNavAlaho ghari sA vasaha jAma kusumattaeM ciMtiu hiyaI taam| ghattA- eha NAri visiTTI te tahiM diTTI kiMNari kiM vijaahriy| NayaNANa piyArI mahilahaM sArI caMpayagorI guNabhariya // 15 // 10 16 Her beauty makes Kusumadatta jealous of her. taNurUvariddhi eha aivihAi NaharUbaI ravisasi sariya nnaaii| sArau sarIru icchaMtiyAe iha sAriu jaMghau kyliyaae| karirAeM maNNevi karu Na caMgu NaM seviu meruhi Ahi tuMgu / suragiriNA gaNiyau kaDhiNa eha / aNusariya Niyabaho laliyadeha / piDularANu maNaharu soNiyAhiM ghara mANNavi mayaNe vihiu taahiN| mayaraharadaM gahirima NAhiyAhe NaM dhIya bhaNeviNa diNNa aahe| tahiM lihiyaI pINuNNayathaNAI NaM kuMbhihe kuMbhaI nnvvnnaaii| 2 N ekakhaNu. 15. 1 vaNe ya. 16.1J taha. 5

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10 1. 17. 11.1 karakaMDacariu kiM vaNNami sarAlima bhuvalayAhiM krpllvsohaasNjaahi| daMtAvali sohai vipphuraMti NaM dADimavIyahaM aNuharaMti / NAsahe uNNai asahataeNa rattattaNu dhariyau ahrenn| siyakasaNa nayaNa sohaMti tAra NaM keyaeM dali gaya bhamara tAra / aikuDilI bhauhAvali vihAi dhaNulaTTi va mayaNe dhariya NAI / sohAmahagghu bhAlayalu bhAi addhiMdu va laggau sahai nnaaii| aliNIlakesa siraruha ghulaMti muhaiMdabhayaI NaM tama milaMti / ghattA- jai AyahiM rUvaI mayaNasarUvaI maho piu hohai vimaNamaNu / tA kalahu kareviNu maI melleviNu Nicchau mANai eha puNa // 16 // 15 17 The birth of the hero at the cemetery. tAva tAe rosiyAI dosu devi ghlliyaaii| sA gharAu melli rAu takkhaNeNa clliyaau| dukkhaeNa jatiyAe bhUyathANu dihu taae| sUlabhiNNa coracAra tuMDa khaMDe dhittuNghaar| dAriyAhaM jIvayAhaM lohieNa thippiraM ___AmisANa giddhaehiM bhUyaehiM NazciraM / 5 lolajIha bhalluehiM phADiyaM mayovaraM maMsarattaphekkaraMtarakkhasANa goyaraM / uDirANa riMgirANa pakkhilakkhasaMkulaM ciccijAlajIvavaggaDajhamANaAulaM / vAyaeNa sIsabhUyakesabhAraloliraM thAmi thAmi baddhiyAhiM ciMdhiyAhiM gholiraM / dehidehagaMdhaeNa mANusehiM jUriyaM kahiM mithAme bhaggaeNa khapparehiM pUriyaM / ghattA- dehaho avasANaI bhImamasANaI tahiM tahe jAyau puttu vru| 10 kaNayAmaravaNNau lakkhaNapuNNau jaNamaNaNayaNANaMdayaru // 17 // iya karakaMDamahArAyacarie muNikaNayAmaravirahae bhanvayaNakaNNAvayaMse paMcakallANavihANa kappataruphalasaMpatte karakaMTajammoppattivaNNaNo NAma paDhamo pariccheu samatto / // saMdhi // 1 // 17, 9 JDN ga. DN read forga in place of farg art, - 11 -

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5 A Matanga attempts to take the child away. uppaNNae bAlae vimaladiNe maMgalaI aNeyaI tahiM huyaI / NaM diNayaru uiyau NimmalaI saMjAyaI payaDaI dimmuhaI // 1 // teM jAyaeM tahe vIsariu dukkhu NaM aDavihe jAyau kapparukkhu / gaM meiNi bhiMdivi mahihariMdu NaM jAyau NiyakulaNahi charNidu / so gaMdaNu jAyau jAva lei mAyaMgu tAma aggai nniei| kasaNacchavi loyaNa ratta jAsu so Ayau tahiM gaMdaNaho paasu| uccAyiu te so NiyakaraNa NaM hemakalasu kuNjrvrenn| tahiM karayali thakkau soha dei gaM phaNivaimatthaI maNi shei| NiyANilau lapaviNu jAi jAma pukAra pamelliya tAe taam| are bhagga malImasa ketthu pacuki levi jAhi maho taNau puttu| Na vi ekkaho dukkhaho pAru jAma saMpattau garuvau dukkhu tAma / ghattA- mAyaMgaho rUveM kheyaraI kara joDivi paumAvai bhaNiya / mA rovahi bAhiNie suMdarie AyaNNahi vatta maho taNiya // 1 // 10 The Matanga explains. His parentage. etthAthi bharahi pavvayapahANu vijayaddha pasiddhau appmaannu| puvAvarasAyaralaggamANu NaM tolAdaMDa susohmaannu| surakiMNarakheyarasurahaM saMgu tAreNa viNimmiu jo ahNgu| tahiM dAhiNi seDhihiM Nayari asthi jahiM jaNahiM jAhiM jANAhi pNthi| vijjuSpaha NAmeM jA pasiddha varaguNapariyANiya jA smiddh| 1. 1 DN uccAyau. 2 DJS tA. 5 - 12 -

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2. 4. 6.1 karakaMDacariu jo vijANiyarahiM huu samiddha tahiM garavai vijuppahu pasiddha / taho ghariNi suvijalayA pahUya NaM gauri mahesaho kAmarUva / tahi jAyau NaMdaNu guNaNikeu haDaM dharaNihiM payaDau bAlaecha / aNurAeM rattiya sayalakAla maho ghariNi pahUI hemamAla / ghattA-hauM tAeM samau dakkhiNadisiha rammamANu gayaNayale gu| aMdhekaliMgaho aMtariNa vijjhaselu aggaI tthiyu||2|| 3 10 His insolence towards a sage. calaMtu khalaMtu sakiMkiNirolu prejiyteydivaakrbolu| NaheNa vi jaMtau tIeM samANu taho Nau callai divvavimANu / thiraTiu pekkhivi taM ayamANu sarosaI kaDiu tikkhakivANu / paloivi dimmuhuM thAu khaNeNa paNaTuu tosu visaNNu khaNeNa / ahomuhu hoevi jovauM jAma muNIsaha divau subbau taam| 5 pavaDiyakitti jaNANa pasaMsi Nivesiya loyaNa nnaaspesi| palaMbiyabAhu kari vva payaMDu payAsiu duddharu iNdiydNdd| akaMpau meru va suddhe suyANu NirUvau jhAyai Niccalu jhANu / ghattA-so pekkhivi ru?u bahiNi hauM jahiM acchai jhANapariTTiyau / asilaya karayali karivi puNu so kohe haNaNahuM uTTiyau // 3 // 10 The sage's curse. maho jaMtaho kIyau kajaNAsu iu maNNivi kiu uvasaggu tAsu / te rUsivi puNu maho diNNu sAu u bhagga lahesahi vijyaau| te sAveM vijau gau khaNeNa maI ciMtiu bahiNie NiyamaNeNa / ehe muNivaru Nau sAmaNNu hoi ta hoi khaNaddha ja bhaNeha / iya maNNivi calaNahiM laggu tAsu kiM muNivara maho kiu vijnnaasu| 5 hau kiMkara tuhmahaM devadeva jamme vi Na chaMDauM tujjha seva / 2. 1 N corrects aMdha into aMga. 2 SD aMtareNa. 3. 1 D parijiya. 2 JS apamANu. 3 N dimmuhaM. 4 suTTa. 5 D sayANa; J sayANu. 4. 1 DJS e. 2J kiMkara hauM. :-13 -

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kaNayAmaraviraiyau [ 2. 6. 7kohANalu sAmahi sAmisAla mA pasarau taNuvaNe sayalakAla / te vayaNe uvasamu gau muNiMdu maMtANa pahAve NaM phrnnidu| ghattA-so muNivaru jANivi tuTamaNu kamakamala NaveviNu pabhaNiyau / he muNivara karuNaI kahahi maho kaha hohahiM vijau ramaNiyau // 4 // 10 5 Modification of the curse. taM suNivi muNIsaha paramaNANi maho sammuhUM bollai divvavANi / he kheyara caMpaNarAhivAsu siridhaaddiivaahnnvNdhuraasu| pomAvai taho bhAmiNi gaeNa NavevI duDhe herivi tenn| pauvevI sA puNu mAlieNa daMtIpure NevI turiyenn| taho ghariNie kalahu karevi sA vi NIsAriya Avesai ihAvi / taho NaMdaNu hosai pavairateu pAlesahi so tuhu~ guNaNikeu / so rajju lahesai puri visAli tuhaM vijau horsehiM tammi kAli / iu maNivi seviu maI masANu hauM paoNlimi jA hohai sayANu / ghattA- iu maNNivi maI tau suu gahiu mA rovahi hiyavau saMthavahi / jo ajiu aNNabhavaMtarahaM te diyaha mahAsai aNuhavahi // 5 // 'T 10 Padmavati allows him the guardianship of the child and herself takes vows. jaM vijANAhe bhaNiu vAe taM ciMtivi pomAvaie tAe / taho appiDa gaMdaNu dukkhiyAe pAlesahi buddhie NiuNiyAe / jaM bhaNahi bahiNi taM karami savvu pAlesami ehu savvaMgabhavcha / so kheyaru ehau tahe bhaNevi gau Niyagharu NaMdaNu taNau levi / taM appivi ghariNihe vayaNu vuttu lai hemamAli ehu tujjha puttu| 3 D ruTThamaNu, 4 J hosaI. 5. 9 J Aitra. S'omits, obviously by mistake, the following portion of this $and the first two and a half lines of the next upto jaM bhaNahi bahiNi taM karami savvu. 3 D paurateu. - DN hohahiM. 5 D pAlesami; N pAlesu. 6 DJ saI. 6. 1S mujjha. - 11 -

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2. 8. 7.1 karakaMDacariu so laiyau tAI turaMtiyAI paripAliu puttu bhaNaMtiyAI / tA dukkhie maNi pomAvayAeM samaNiyaraho Nayaraho svaNi gayAeM / samaNirayA ajiyakaMtiyAhe __ acchaMtieM jama laI tAva taahe| ghattA- tahiM dekkhivi muNivaru jhINataNu NAmeNa samAhiguttu pavaru / vau laiyau tAeM turaMtiyaeM taho pAsi murNidaho dukkhaharu // 6 // 10 pA The child is named Karakanda. A miracle. sA puttaho NeheM diNi ji diNe guDasakaralaDDa va levi khnne| saMpADai taho kheyaraho ghari paripAlaha gaMdaNu vhriari| taho paurakaMDa dekhavi kari karakaMDa NAmu kiu payahu dhari / so vaDDai diNi diNi kalaNihANu NaM rehai sasaharu phuriyabhANu / tahiM avasari AyA suasamudda jasahadda muNIsara vIrabhadda / aijhINA duddharatavabhareNa saMgheNa samau cauvihavareNa / ke vi jhANasamaggala NANavaMta ke vi jallamaleNa vilittagatta / ke vi jallamaleNa te bhImamasANaeM Aya jAma tahiM eke diTThau cojju tAma / ghattA- Naraho kavAle samuTTiyau NayaNavayaNe vaMsaho viddu| Iu kAraNu pabhaNahi muNipavara jaM pucchiu taM sayalu vi gheDau // 7 // 10 Sage Jasa hadda explains the miracle. Karakanda acquires the lucky bamboos, taM vayaNu suNivi jasahaddaeNa laha muNihi payAsiu taM pi teNa / tihiM vaMsahiM eyahiM aipayaMDa hosahiM dhyaNkuschttdNdd| jasu hatthe caDesahiM vaMsalesa pAvesai meiNi so ases| muNiNAhaho pAsi pariTThieNa AyaNNiu iu sammaidieNa / puNu hiyavae maMtei diNaviyAle muNivayaNu Na cukkA kahiM mi kaale| 5 tA ekkahiM diNi te vaMsa teNa khaMDAviya tiNi vi turiyaeNa / kira jAi levi so NiyagharAsu karakaMDu parAyau pAsi tAsu / 7. 1 SJ samamUla. 2 SJ kavAla; DN kavAla. 3 J eu. 4 S ghaDiu. 8. 1N ciMtai. - 15 -

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kaNayAmaraviraiyau [2. 8. 8uddAliya bhaTTaho pAsi teNa te bhaTTe appivi bhiiyenn| taho purau teu asahataeNa puNu bhaTTe bhaNiu visnnnnenn| tuhuM jayahuM raja lahehi mitta maI maMti karesahi lliygtt| 10 ghattA-karakaMDaI maNNiu taM sayalu jaM bhaNiyau bhaTTe maNaharaI / gau vaMsa laeviNu Niyagharaho puNu akkhiu tAyaho kalasarahaM // 5 // 9 Karakanda is taught various arts and sciences, karakaMDaho uppari khayarAsu aipauru pavaDiu gehu taasu| pADhAviu so NItie juyAI vaayrnntknnaaddysyaaii| kaviviraiyakavvaI bahurasAI vacchAyaNagaNiyaI NavarasAI / maMtAI asesaI taMtayAI vasiyaraNa susohaI jNtyaaii| asicakkakuMtachuriyau varAu dhnnuveysttididdhtomraau| mallANa jujha taNughaTTaNAI ullalaNaI valaNaI lottttnnaaii| phalaphullapattacheyaMtarAI jANAviu sayalaI suhayarAI / paDu paDaha muraya vINAi vaMsu vijAiM asesaI kaliu esu / ghattA-jaM kiM pi pasiddhau bhuvaNayale kheyaraI jaNAviu so suraha / loheNa viDaMviu sayalu jaNu bhaNu kiM kira cojaI Nau karada // 5 // 10 5 ___10 The story of learned company. hiyaeNa garuu uvayAru vahai karakaMDaho so puNu khayaru kahaha / vijAhiveNa sahuM saMgu karahi ghare jAevi so NiyameNa sarahi / karakaMDa bhaNai kiM tAai tAsu uvayAru asthi vijaahivaasu| tA kahaha khayaru suNi saralacitta kaNaujaNayare dui atthi mitta / vaNivippa kaliya vijAe saMta gaya coDadese dhaNalola saMta / 3 dhaNu ajivi puNu te gharaho caliya addhavahihe diyasAsurau valiya / tahiM diTThA sasuraI diyavarAsu Niya teNa turiu te NiyagharAsu / sammANiya te vIsamahiM jAva vajaMtau DiMDimu Au tAva / 9. 1 N adds before this in the margin vasiyaraNu susohaI jaMtayAI kaNNADayAi. bhaasaasyaaii| 10. 1S tAya. 2 DN caliya.

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2. 12. 10.] karakaMDacariu ghattA- AyaNNivi DiDimu kharavirasu paripucchiu susurau tehiM khaNe / ke kabje vajaha mAma ihu asuhAvau kaNNahaM payadu jaNe // 10 // 10 11 The story continues. te kahiu etthu garaNAhadhUva Niya maMDaI rakkhasa kAmarUva / chaMDAvaha ko vi Na sA varAya rakkheNa jitta NaraNiyara rAya / NaipAri Nayari uvvasi vasei taho bhIeM ko vi Na Usasei / vijAhiu Naru Ayau Niei ne kajeM divi divi ihu bhamei / taM suNivi vayaNu pahasiyamuhehi sadaMtau DiDimu dhariu tehi tA takkhaNe DiDimavAieNa NaraNAhaho kahiu parAieNa / jara doNNi parAiya deva ittha NaM dhammapuMja Nimmala pasatya / te bhaNahiM deva maNe dharahiM gabbu / ja bhaNai rAu taM karahuM sakhu / ghattA- tArAeM jAivi be vi jaNa sammANivi NIyA Niyagharaho / paripesiya takkhaNe teNa puNu rakkhasaho pAsi aiduddharaho // 11 // 10 in 12 The story of learned company concluded. gaya viNNi vi te rakkhasaNivAse paribhamai Na kavaNu vi jAsu pAse / tahiM thorapaohara diTTa kaNNa lAyaNNataraMgiNi kaNayavaNNa / puNu diTThau rakkhasu kavilakesa uccAraI maMtaho gliydekheN| asahatau pabhaNai maMtateu hauM kiMkaru tumhahaM pavaNaveu / saMsiddhau maNivi tehiM rakkhu gaya kaNNa levi jahiM Niu smkssu| 5 rakkhasasameya kaNNAe juttu AvaMta diTra loehiM vuttu / jaNa bhaNahiM aju huya etthu saMti evaMviha AyA jetyu mNti| te dikkhivi rANau hiTThacittu ___ aipauru paiNNau tAhaM vitu / pattA-kaNNa bhaNeviNu NiyabahiNi tehiM samappiya Naravaraho / puNu karikarapIvarathorabhuye gaya lIlaeM te Niyapuravaraho // 12 // 10 3 J susarau. 12. 1 DJ degvesu. 2 J pavaru. 3 J tAhiM. 4 Jdegbhuva,

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kaNayAmaraviraiyau [2. 13. 1 13 The story of foolish company. kiDa vijAvaMtaho saMgu jeNa suhasaMpai labhai Naraho teNa / te vijAvaMtaho taNau saMgu sayameva karenvau jaha ahaMgu / vijAvihINu mA karahi mittu vivarIu karai so vihure citu| kiM vijaeM hINaho diDa dosu so khayaru kahai taho jnniytosu| vANArasiNayaraho mitta ve vi desaMtaru gaya aNNANa te vi / dhaNu ajjivi AvahiM valiMvi jAva tA aMtari rakkhasu diTTa tAva / so pekkhivi te bhayabhIya Na? pAviTTha jema tavacaraNabhaTTa / Nau muNahiM ki pi hiyavaeM ayANa te pAviya teNa palAyamANa / ghattA- tA NisiyareM sahuM jujjhavi phuDa te keNa vi baddhaI pNthiyii| chaMDAviya sahayara ve vi jaNa parauvayAre saMThiyaI // 13 // 5 10 14 The story of low company. 5 taha NicaeM sahu~ saMsaggu dhIra ihu kaha va Na kijaha laDahavIra / jicceNa samauM meM kiyau saMgu uppajai taho kheveNa bhNgu| suNu NIcakahANI kahami tujjhu iha NIi sulakkhaNa hiyaeM bujjhu / ko vi atthi sudaMsaNu NAma vaNiu so NiccariMdeM lahu ji bhaNiu / jai aharaalaggI paDhahi gAha hAM demi dharittI tuha avAha / / uTThauDaalaggI guNasaNAha tA vaNiNA turieM paDhiya gAha / gAthA-ariteyajalaNajAlAsaMjaliyA dharaNi kANaNe syle| asijaladhArAtoeM saMsittA NihaNayaM jAyA // te rAeM tUsivi vaNivarAsu mahi diNNI kheveM suMdarAsu / tA ekahiM diNi guNasAyareNa saMpINiya dutthiya vaNivareNa / ghattA-saMsaggu kiyau sahuM ceDiyaI kuDileNa ya vaNiNA jAma tahiM / tA jAyau gambhu khaNeNa tehe saMjaNiya maNoraha sayala jahiM // 14 // 14. 1 S NIcaeM. 2 S NIceNa. 3 J salakkhaNa. 4 J taho. - 18 - 10

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2. 17.2] karakaMDacariu 15 The story of low company concluded. tA turiu tAeM so vaNiu uttu maho ekku vayaNu tuhaM kari Niruttu / eha rAyaho barahiNimaMsueNa maho dijai jIvami nnicchenn| tA gayau turaMtau vaNipahANu taho varahiNi sammuhUM laddha ThANu / so barahiNu lhikkivi jIu avaru / ghare jAivi teM tahe diNNu pavaru / vaNivaraho turiu Asasi devi taM khaddha tAI morau bhnnevi| 5 tA NayarihiM sihi alahaMtaeNa devAviu DiDimu raannenn| so suNivi tAeM ceDieM NivAsu sihivaiyaru akkhiu sayalu tAsu / so Naravai rudvau vaNivarAsu mAraNahaM samappiu talavarAsu / ghattA-aNuhuMjivi NiJcaho saMgaphalu bhayabhIeM vaNiNA turiyenn| ghara jAivi NiccaNarAhivaho morulau appiu takkhaNeNa // 15 // 10 16 The story of noble company. puNu uccakahANI NisuNi putta saMpajai saMpaDa je vicitta / parikalivi saMgu NIcaho hieNa ucceNa samau kiu saMgu teNa / vANArasiNayari maNohirAmu araviMdu NarAhiu asthi NAmu / saMtosu vahaMtau NiyamaNammi pAraddhiheM gau ekahiM diNammi / jalarahiyahiM aDavihiM so paDiu tahiM taNhaeM bhukkhaeM viNNaDiu / amieNa viNimmiya suhayarAI taho diNNaiM vaNiNA phalaI taaii| saMtuTTau taho vaNivaraho rAu ghari jAivi taho diNNau psaau| uvayAru mahaMtau jANaeNa vaNi Nihiyau maMtipayammi teNa / ghattA-aNurAeM viNNi vi tahiM vasahiM diNayarateyakalAyara / guNagaNarayaNahaM sIlaNihi gahirimAiM NaM sAyara // 16 // 5 10 17 The story of noble company continues, tA ekahiM diNi maMtIvareNa taho rAyaho NaMdaNu harivi teNa / AharaNaiM leviNu dihikarAsu gau turiu vilAsiNimaMdirAsu / 15. 1 J aha. 2 J mahu. 3 J tahiM. 4 SNIcaho. 16. 1 S ariviMda. -- 19 -

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kaNayAmara viraiyau mollaI jaNaNayaNahaM piyAI saMrayAgamasasahara ANaNIhe maI mAriu NaMdaNu NaravaIhiM taM suNivitAiM pabhaNiu saNehu ettahiM alahaMteM suuNiveNa jo rAyaho NaMdaNu kahai ko vi The story of noble company concluded. dhattA-tA keNa vidhiTTai turiyaeNa NaraNAhaho aggaiM bhaNiu / uvalakviDa taha suu deva maI so NavaleI maMtieM haNiu // 17 // 18 taM vayaNu suNeviNu saralabAhu tirhi phalahiM majjhe ekaho phalAsu avarAha doNi aja vi khamIsu pariyANivi maMtiI rAyaNehu ahohi Naresara paramamittu vaNavaNa suviNu NaravareNa guruANa saMgu jo jaNu vahei eha ucca kahANI kahiya tujjhu dhattA - karakaMDu jaNAviu kheyaraI hiyavuddhieM sayalau kalau / taM vayaNu suNeviNu yarAsu NiyamaMdiru mellivi rammamANu raha karai tetthu lIlAe jAma viyaraMtavairividdAvaNAsu jaNu ANa Na laMghai taNiya jAsu tahiM vaNiNA tAhe samappiyAiM / puNu kahiyau teNa vilAsiNI / iu kahiyau sayalu vi thiraIhiM / mA kA vipas karehi ehu | devAviu DiMDimu Nayare teNa / sahuM daviNaI meNi lahai so vi / - iya NittieM jo Naru vavaharar3a so bhuMjai Nicchau bhUvalau // 68 // 19 The king of Dantipur dies heirless. Selection of a successor by a divine method. Shree Sudharmaswami Gyanbhandar-Umara, Surat 2. 17. 3 17. D surayAgama. 2 S ANaNA. 3 ] thiramaMIhi. 4 D karevi. 5 SJ navalaI. 19. J TuNNIla; S duNNI i. 20 [ 2. saMtu maMti dharaNiNAhu | NirahariyaDa riNu maI maivarAsu / khaNi huyaupasaNNau dharaNiIsu / rajaNu api divvadehu / maI deva tuhArau kaliGa cittu / aipauru pasAu paiNNu teNa / hiyaicchiya saMpai so lahei / guNasAraNi puttaya hiyaI bujchu / karakaMDa Na mellai pAsu tAsu / karakaMDa Na mellai taM masANu / daMtIpura ekkahiM divasi tAma / dussIlerAyabhayadAvaNAsu / huuyari NariMdo NAsu tAsu / ---- 5 10 5 10 5 www.umaragyanbhandar.com

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2. 21. 5.] kara kaMDacariu hA hA rau uTTi puravarammi jaNu jaMpara ko viNa atthi kumaru tA maMtimaNaho paripuriGa maMtu adukkhu pavaDDhi jaNavayammi / jo rajju karesadda etthu patraru / avaloyau gayavaru laDahadaMtu / paripuNNau kuMbhu samappiyau | jo rajju karesai naho uvari DhAlesahi eu viyaniyau // 19 // 20 Karakanda's luck. dhattA - taM pujivi mayagalu maivaraI paDhaMta diesara sAma sareNa sakha saDiMDima kAhala gharAu viNiggaDa vAraNu tuMgu tulAviyasuMDu calAviyaRRNNu sa puNNa kuMbhu kareNa karaMtu purammi ghareNa gharAI lahaMtu bhaviNu paTTaNu caccaravaMtu masANaho majjhe auvvau mAru sohaNa kuMbhu sireNa NapaNa dhattA-so dekhiva loyahiM siru ghuNiu hA hA rau garuyau gholiyau / kiM kI evaM kaviriNa mAyaMgaho kalasu Nivesiyau // 20 // 21 Karakanda is made king of Dantipur, iu maNNivi te sAmaMta maMti uddumaNa acchahiM jA maNammi muNidiNasAveM jau NAsiyAu tA harisukkaMThaeM kheyareNa mAyaMgaho u u hoi pahu 20. J maMdala. 2 S dhuNevi 3 S karivareNa. 21.9N muNidiNaM. Shree Sudharmaswami Gyanbhandar-Umara, Surat milAviya devaNikAya vareNa / patra jiu mehalu meiNipUru / vilAsiNigehaho jAI bhuyaMgu / bilolasuloyaNu ujjalavaNNu / chavi paccayasiMga saraMtu samuNNai to visamagga vahaMtu / gAu gAu bAhiri dUre bhamaMtu / gaeNa turaMtaeM diTTu kumAru / sirammi vireiDa tAsu gaeNa / - 21 u aggai calahiM Nau niyaMti / yaraho tAma tarhi takkhaNammi | vijAu parAiDa tAsu tAu / loyahaM parikkhi suMdareNa / vidaNu hau divvadehu | - 10 5 10 www.umaragyanbhandar.com

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kaNayAmaraviraiyau [2. 21. 6mA saMkaTu vacca sarara aggi karu lAyahu tumhaI krikrggi| jA vijja lakhaI para saMgarammi karakaMDaho sau deviNa karammi / iu karivi khayaru vijAvaleNa NiyabhavaNu gayau puNu NahayaleNa / ghattA-jayaghosu pavaDiu gayaNayale amarehiM sumaMgalu pUriyau / kaNayAmaravaNNAhiM mANavahiM karakaMDa raje vahasAriyau // 21 // 10 iya karakaMbamahArAyacarie muNikaNayAmaraviraie bhavvayaNakaNNAvayaMse paMcakallANavihANakappataruphalasaMpatte karakaMDarajalabho NAma pITha pariccheu smtto| // saMdhi 2 // . N lakSya deveNa rammi. 3SJ so. - 22 -

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] 5 Karakanda enters Dantipur with pomp and ceremony. dhruvakaM-puNu maMtihiM bhANayeu Navau Niu tuhuM gayavarakhaMdhi samAruhahi / calu calu suMdara lahu valahi daMtIpuri rajaho bharu vahahi // 1 // NijjharajharaMtamayagilagaMDe karakaMDu caDiu tA kripyNdde| kavi lIlA maNahara avaheha NaM suravai airAvaraM shei| saMcalliu so sahuM paravarahiM vijijamANu calacAmarehiM / lIlAvilAsasuhasAmiNIhi gAijamANu varakAmiNIhiM / kalayaMThirAvakayahIlaNehiM saMthunvamANu vaMdIjaNehiM / guNapaurarAyataggayamaNehiM sevijamANu nnaayrjnnehiN| paraloyakajje ujuvagaIhiM salahijamANu sajaNamaIhiM / avarehiM vi loyahiM kaliyamANu gau suMdaru puravare jnnsmaannu| ghattA- so puravaraNArihiM guNaNilau paisaMtau diTThau Nayare kaha / NaM dasarahaNaMdaNuM teyaNihi ujjhahiM suraNArIhiM jaha~ // 1 // 10 The flutter amongst the damsels of the town at his entry. tahiM puravari khuhiyau ramaNiyAu jhANaTThiyamuNimaNadamANiyAu / kavi rahasaI taraliya caliya NAri vihaDaphphaDa saMThiya kA vi vaari| ka vi dhAvai NavaNivaNehaluddha parihANu Na galiyau gaNaha muddh| kavi kajalu bahalau ahare deha NayaNullaeM lakkhArasu kre| NiggaMthavitti ka vi aNusarei vivarIu DiMbhu kavi kamihi le| 5 1. 1 S bhaNiu. 2 D JN bhAmiNohiM. 3 S kiha. 4 S jiha. 2. 1 cAri. 2 D bahulau. - 23 -

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kaNayAmaravirahayau [ 3. 2. 6ka viNeuru karayali karai bAla siru chaMDivi kaDiyale dharai mAla / NiyaNaMdaNu maNNivi kavi varAya majAru Na mellai sANurAya / ka vidhAvara NavaNiDa maNe dharaMti vihalaMghala mohai dhara saraMti / pattA-kavi mANamahallI mayaNabhara karakaMDaho samuhiya caliya / thirathorapaohari maiyaNayaNa uttattakaNayachavi ujAlaya // 2 // 10 3 He enters the decorated palace and is crowned king. NavarajalaMbharaMjiyahieNa karakaMDaiM pure pisNtenn| gayakhaMdhe caDiNNaya jaMtaraNa Niu rAulu lIlaeM pattaeNa / te diTThau rAyaNikeu tuMgu aimaNaharu NaM himavaMtasiMgu / muttAhalamAlAtoraNehiM Na vihasai siyadaMtahiM ghaNehiM / kiMkiNiraNaMtu dhayavaDavamAlu NaM Nazcai paNayiNi vihiytaalu| 5 cAmIyaramaNirayaNehiM ghaDiTa NaM saggaho amaravimANu paDiu / tahiM paisai NavaNiu vimalabuddhi pAraMbhiya guruyaNu maNavisuddhi / karahemakuMbhu maMgalu karaMti ka vi mANiNi Niggaya tA turaMti / parimaMgalu kiu vrdiivhiN| jaya kAriu puNu NArIsaehi / sovaNNakalasakayaucchavammi paisAriu so nnivmNdirmmi| 10 pattA- so sayalaguNAyaru sIlaNihi viNayabhAvasaMjuttau / sAmaMtamaMtijaNapariyariu puri acchai rajju karaMtau // 3 // 4 Karakanda sees a portrait and feels attracted. tahiM teNa vi rajju karaMtaeNa ANAviya vaMsa turNtrnn| AesavaseNa va je dhariya dhayaaMkusachattahaM daMDa kiya / AsAvaseNa jo tahiM ji Thiu puNu ANivi diyavaru maMti kiM / tA ekkAhiM diNi karakaMDaeNa varalIlaeM payare bhmNtenn| desaMtaru jo hiMDaMtu pattu tahiM diTTau so Naru lliygttu| 5 puNu diTThau taho kare paDu vicittu jo mohai loyahaM taNau citu / so bhaNiyau karakaMDaI NiveNa paDu appahi dekkhahuM sahuM hieNa / 3 J miya. 3. . D N paNaeM. 2 N gurayaNa; D guNarayaNamaNasuddhi. 3 N sAmaMti. 4. 1J Thiyau. 2 J kiyau. - 24 -

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3.6.5.1 karakaMDacariu tA teNa samappiu patthivAsu jaNu rattau aNurAeNa jAsu / so paMcavaNNu guNagaNasaMhaMtu karakaMDaI joyi paDu mahaMtu / tahiM rUu salakkhaNu teNa diTTha NaM mayaNabANu hiyavaeM pih| 10 muhakamalu sauNhau dIhasAsu jaru dAhu arocaku huyau tAsu / ghattA- karakaMDaI joiu paDDa pavaru thiu hiryavaeM vibhiu eka khaNu / jaNapulayaI kahiyau taho virahu te mauliu~ NavaNiu vimaNamaNu // 4 // 5 He learns that the portrait was of the princess of Saurastra. Nivahiyau muNiu paDadharaNareNa varu hohai kaNNahe ehu bhareNa / iya muNivi to vi paDilaviu bhAya paDu appahi amhahaM jAhuM rAya / Nau chaMDai so paDu ullasaMtu puNu bhaNai garesaru NIsasaMtu / maho sahayara akkhu payattaeNa paDu levi bhamahi kajeNa keNa / AyaNNivi te vayaNANusAra taho rAyaho kahiyau pddviyaaru| 5 etthathi deva soraTu desu suralou viDabiu je asesu / tahiM Nayaru atthi giriNayaru NAmu surakheyaraNaraNayaNAhirAmu / tahiM rAu atthi arisirakayaMtu ajavammu Nou ajiyaMgikaMtu / ghattA tahe rUvakaraMDI kalasariya jA NayaNapiyArI NaravarahaM / mayaNAvali NAmaiM teyaNihi sA hUI dhIya maNoharahaM // 5 // 10 She herself had become enamoured of him. mayaNAvali sA ekahiM diNammi gaya sahiyahiM sahuM gaMdaNavaNammi / tahiM kheyara jaNamaNaNayaNaiTTa dollahari caDINA tAI ditttth| gAyaMtA geyaI maNaharAI kAgaliyaI karakaMDaho kiraaii| geyAI maNojaI sA suNevi dharaNIyale NivaDiya taNu dhuNevi / vihalaMghala gayakala jhINadeha kasaNammi pakkhi NaM cNdleh| 3 mahaMtu. 4 DJ joyau. 5 S hiyaeM. 6 Mss. mauliya. 5.1D NAmu. 2J tahiM. 6. 1 S Dolahari. 2 S scores this out and substitutes taNAI in its place in the margin in second hand. 5 - 25 -

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kaNayAmaraviraiyau / 3. 6. 6vAyAhayakola va kaMpamANa Niya sahiyahiM ghara soeM samANa / samasIlahiM jaNamaNaduhaharIhiM paripucchiya viNaeM sahayarIhiM / vihalaMghala kiM hUI shiie| amhahaM kahi bahiNie vacchalIe / moheNa vi sahiyahiM saraliyAe virahANalu akkhira bAliyAe / ghattA-jo gIyau gAyau kheyarahiM maI sUvau karakaMDaho tnn| 10 to teNa viyaMbhiu maho hiyaDa puNu caudisu lAyau raNaraNau // 6 // Marriage-proposal. mahaM tujjha sahie pAyaDiya vitti jaha sakahi tA maho kari paritti / virahaggijAlapajaliyamANa maho NAsahiM jAva Na sahie pANa / tA dukkhu vahatie NaravarAsu saMkheveM akkhiya vatta taasu| karakaMDageyaAyaNNaNeNa mayaNAvali pIDiya kAmaeNa / AyaNNevi bAlahe taNiya vatta rAeNa lihAviya hariNaNetta / 5 jayabhUsaNa kulagayaNammi caMda paDu appiu rAeM maho nnriNd| arisahamoDaNa bhaDasahAu hauM tujjha gayare paDu levi Au / pahu pekkhivi gacchaha mohu jo vi varu hoi garesara tohe so vi / pattA- maI ehau pisuNiu tujjha Niva eu ittiu tamhA maho sarau / sA kamaladalacchI sasivayaNa tau karayalu karapallave dharau // 7 // 10 8 Madanavali is brought and is married to Karakanda. taho suNivi vayaNu paDadharaNarAsu paDivaNNiu rAeM sayalu tAsu / te sarisA kulaNahasasahareNa saMpesiya NiyaNara NivavaraNa / divahammi pasaNNae kayasahAya mayaNAvali leviNa te vi Aya / kiya haTTasoha ghari toraNAI saMbaddhaI taho krkNknnaaii| gANAviha vajaI vAiyAI gIyAI rasAlaI gaaiyaaii| bhAvahuI Na NazciyAI gayaturayahaM thaTTaI khaMciyAI / ugghADiu muhavaDa vihiM jaNAhaM NaM mohapaDalu taggayamaNAhaM / 7. J 1 mahu. 2 JNu sahiya. 3 J tAhi. 8. 1 D kare. - 26 -

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3. 10. 5.] karakaMDacariu ghaMyajaliajalaNabhAmariu satta devAviya bhaTTahiM paDhivi mNt| karu bolahe appiu NavavareNa kiya savahaNAI dAhiNakareNa / bhau tArAmelau NiviDu tema jamme vi Na vihaDai Nehu jem| 10 pahilArau miliyau maNu pasatyu kiu loyacAru jaNaraMjaNatthu / suvisuddhadihiM raMjiyamaNAhaM sAmaMtahiM kiyau vivAhu tAhaM / ghattA- NaraNAhaho huyeu vivAhu tahiM sura kheyara dekvivi ullasiya / Niyabhoyaho uvari virattamaNu taho taNiya riddhi maNi ahilasiya // 8 // Karakanda's mother appears at the marriage. Ambassy from the king of Campa. tahi avasari pomAvA vi mAya NiyaNadaNu dekkhahuM turiya Aya / sA diTTI karakaMDe NiveNa puNu paNamiya bhAveM NavaNaveNa / NiyaputtavivAheM harisiyAeM AsIsa padiNNI turiu taaeN| cira jIvahi NaMdaNa puhaiNAha kAliMdI surasari jAva vAha / vaisAriya viNaeM sA Navevi diNu aju sahalu pahau bhnnevi| sammANiya vayaNahiM komalehiM parihAviya vahiM ujjallehi / AsIsa devi sA gaya turaMti karakaMDakitti NaM vipphuraMti / tA ettahi jaNamaNajaNiyarAu karakaMDapurau paDihAru Au / ghattA-- karakamala Nivesivi sirakamale paDihAru payaMpA puTTasaru / caMpAhivarAyaho dUra Niva so acchai siMhavArammi varu // 9 // 10 10 The king of Campa claims homage from Karakanda. taM suNivi vayaNu karakaMDaeNa paDihAru pauttau turiyaeNa / lai jAhi turiu so suhaDu jetyu caMpAhivadUvaDa ANi etthu| taM rAyaho vayaNu suNevi teNa lahu ANiu so paDihAraeNa / so dekkhivi dUvara rANaeNa saMmANiu dANaI AsaNeNa / saMsiddhI meiNi sayala jAsu bhaNu kusalu dUva cNpaahivaasu| 5 2 J ghiya 3 J bAlahiM. 4 SJoriginally read huhau which is corrected __ in S as huau and in Jas huau. 9. 1 JN tuTThasaha or TusarU. 10. M N saMdiTTI. 2.

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kaNayAmaraviraiyau [ 3. 10. 6dUveNa bhaNiu taho kusalu rAya paI jehA acchahiM jasu sahAya / aNavarau pariMdahiM vihiyaseva so sumarai tumhahaM devadeva / jaha jalahaM Na bhiNNau sIyalattu taha caMpariMdaho tuhu~ Niruttu / ghattA-lai pAlahi Niva karakaMDa tuhuM caMpAhivarAyaho kera vara / hoeviNu ekkahiM ve vi jaNa aNuhuMjahu tumhaI bhoya dhara // 10 // 10 11 5 10 10 Karakanda proposes to decide the issue by an open battle, viNu keraI labbhai NAhi mitta eha meiNi bhuMjahuM hatthametta / Na vi pAlahi jai puNu seva tAsu to ThAu karahi aha kahiM miNAsu / taM suNivi vayaNu karakaMDaeNa te hiyavaeM kohu dhrtenn| AyaMbaNayaNa bhAlayale NIya NaM caMdadivAyara seggi tthiiy| jAjAhi dUva tau sAmi jetthu tuhu~ khaNu vi ekku mA vasahi ptthu| saMkheveM kahi caMpAhivAsu hauM Ayau turiyau tujjha pAsu / jai saMgari asthi bhaDAvaleu saMgAmu majhu tA turiu deu / iu suNivi vayaNu gau dUu tetthu siridhADIvAhaNu vasai jetthu / ghatA-teM kahiyau daMtIpuriNivaI so paI deva Ne vi Navai / saMgAmaraMgi tumhehiM sahuM aijujjhai dhIrau iu lavai 12 Karakanda's march. The Ganges. Siege of Campa. taM suNivi vayaNu caMpAhirAu saNNajjhai tA kira vaddharAu / tAvettahiM daMtIpuriNiveNa kaMpAviya meiNi maMdareNa / NiNNAsiyaariyaNajIvaeNa uDDAviya dahadisi raya raNeNa * gahu chAyau khaliyau ravi vaeNa lahu diNNu payANau kuddhaeNa gaMgAparasu saMpattaeNa gaMgANai diTThI jNtenn| sA sohai siyajala kuDilavaMti NaM seyabhuvaMgaho mahila jaMti / dUrAu vahaMtI aivihAi himavaMtagiriMdaho kitti NAI / 2] sahAI. 11. R S sagge. . J tujhu. 3 DN Na Navi. 12, suNevi. 2 SN ariNara. - 28 -

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3. 14.6.1 karakaMDacariu vihiM kUlahiM loyahiM pahaMtaehiM AiJcaho jalu pariditaehiM / dambhaMkiyauDDahiM karayalehiM Nai bhaNai NAI eyahiM chalehiM / hauM suddhiya NiyamaggeNa jAmi mA rUsahi amhaho uvari saami| Nai pekkhivi Niu karakaMDeNAmu gau jaNaNaNayaru guNagaNiyadhAmu / ghattA-je saMgari suravarakheyarahaM bhau jaNiyau dhaNuharamuasarahiM / te vediu paTTaNu ca udisihiM gayaturayariMdahiM duddharahiM // 12 // 10 13 The king of Campa receives information. taM veDhiu jA rAeNa teNa tA Auli purayaNu huDa khaNeNa / NaraNAhaho kahiu pareNa keNa uvaruddhau paravalu sayalu jenn| he Naravai paravalavaNahuAse bNdiiynnsjnnpuuriyaas| uiMDasuMDa gaya gulugulaMta kuDilANaNa varahaya hilihilaMta / saMcalliya rahavara gharaharaMta phArakahiM phuriyahiM pharaharaMta / karavAlakiraNa ravikaraharaMta vaMkuDiya kauttala tharaharaMta / chariehiM kota aiviSphuraMta pavaNA iva veeM sNcrNt| sIhorvemaduddharu aipayaMDu tuha~ uvari parAiu vdridNddu| ghattA-taM suNivi gariMdaho muhakamalu saMjAyau rttupplsrisu| DasiyAharu bhUbhaMguraNayaNu kohANalu vaDiu gau harisu // 13 // 10 14 The Campa-king marches out with his forces. tAva so uDhio dhAiyA kiMkarA saMgare je vi devANa bhiiyNkraa| vAuveyA hayA sajiyA kuMjarA cakacikkAra saMcalliyA rahavarA / hakka DakAra huMkAra melaMtayA dhAviyA ke vi kuMtAI geNhaMtayA / ke vi sammANu sAmissa maNNatayA pAyapomANa rAyassa je bhattayA / cAvahatthA pasatthA raNe duddharA dhAviyA te NarA cAracittA vraa| ke vi kovega dhAvaMti kappaMtayA ke vi uggiNNakhaggehi dippNtyaa| 5 3 karakaMDa gAmu. 13. 1 J su. 2 SJ tharaharaMta. 3 SJ thalaharata; N gharaharata. 4 D sIho iva. 5 DN taho. - 29 -

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kaNayAmaravirahayau [ 3. 14.7ke vi romaMcakaMceNa saMjuttayA ke vi snnnnaahsNvddhsNgttyaa| ke vi saMgAmabhUmIrase rattayA saggiNIchaMdamaggeNa sNpttyaa| ghattA-caMpAhiu Niggau puravaraho harikarirahavarapariyArau / udaMDacaDapIvarakarahiM bhaNu kehi Na 'kehiM Na aNusariu // 14 // 10 15 5 Fight begins. tA hayaI tUrAI bhuvnnylpuuraaii| vajati vajAI sajaMti sennnnaaii| ANAe ghaDiyAI parabalaI middiyaaii| kuMtAI bhajaMti kuMjaraI gati / rahaseNa vaggaMti karidasaNe laggaMti / gattAI tujhaMti muMDAI phurhati / ruMDAI dhAvaMti arithANu paavNti| aMtAI guppaMti ruhireNa thippNti| haDDAI moDaMti gIvAiM toddNti| ghattA-ke vi bhaggA kAyara je vi Nara ke vi bhiDiyA ke vi punnu| khagguggAmiya ke vibhaDa maMDeviNu thakA ke vi raNu // 15 // 10 Karakanda requisitions the Vidya. tA rose caMpAhiu gariMdu rahe caDivi padhAyau NaM suriNdu| so turiu gayau parabalaNivAsu abhiDiyau karakaMDaho NivAsu / tA kalayalu vaDiu vihiM balAha bANAvalichAiyaNahayalAhaM / karakaMDe kohANalajueNa airaavikrdiihrbhuenn| tA turiyaI caMpaNarAhivAsu sahasatti pamelliya satti taasu| rahu chiNNiu ciNhaddhau khaNeNa puNu sArahi pADiu turiu teNa / 14. 1 SD keheM. 15. 1 Jomits kuMjaraI garjati. 2 J ki vi. 16. 1 S caMpAhiva. 2 N anbhaDiyau. 5 - 30

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3. 18. 5.] karakaMDacariu / jA capAhivaNa tA kheva vaMpaNarAhiveNa saMpasiya vANa turNtenn| sara pesiya jA caMpAhiveNa karakaMDaho valu bhaggau khnnenn| ghattA-karakaMDaeM pecchivi yalu caliu maNi rosu mahaMtau vipphuriu / jA vijJa paiNNI kheyarahaM tahe pesaNu diNNau te turiu // 16 // 10 17 Thc havoc wrought by the Vidya until overpowered ____by Campa-king. tAva teNa duddhareNa mukka vija macchareNa / tA khaNeNa vija dhiTTa dhAviyA turaMta didai| phe karaMti huM karaMti vAuveya saMcaraMti rakkhasI va vAvarAMti bhAsurA vi se milati / kuMbhikuMbha NiddalaMti rahavareNa raha dalaMti saMgarammi je vi diTTa daMsaNeNa tAhe nntttth| ke vi mucchamohiyAI ke vi joha johiyaaii| ke vi ghAyakhaMDiyAI ke vi jIva chNddiyaaii| ghattA-tA kuviyaha caMpaNarasaraI turieNa vi asilaya kare dhariya / jA vija gilaMtI parasayahaM valasatti khaNaddhe tahe hariya // 17 // 10 18 Karakanda takes up his bow in wrath. gaya vija taDIya karakaMDe dittttiiy| rosaM vahateNa kare dhaNu hu kiu tenn| taho cappe guNu diNNu tapekkhi jaNu khinnnnu| tA gayaNe guNaseva khoha gayA dev| TaMkArasaddeNa ghoreM ruddenn| 17. 1 NS du. 2 JNS omit this foot and D gives it in the margin. 3 J jIya. 18. 1 Folio No. 19 of J containing the portion of this kaDavaka beginning ___with hu kiu teNa and kaDavaka 19, 20 and the first eight lines of 21 is missing. 2 SJ ghoreNa.

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kaNayAmaraviraiyau [3. 18.6dharaNiyalu taDayaDiu tase kummu kaDayaDiu / bhuvaNayalu khalabhaliDa giripavara ttlttliu| mayaraharu jhalajhaliu dharaNiMdu slvliu| khagaNAhu parisariu surarAu thrhriu| pattA-so sadda suNeviNu dhaNuguNaho raha bhaggA NaTTA gayapavara / 10 mau galiyau caMpaNarAhivaho bhayabhIya Na callahiM kahiM khayara // 15 // 19 Karakanda's mother appears on the scene. suraloyahaM chuDu hiyavau vibhiNNu chuDu parabalu bhayabhIyau NisaNNu / saMbaddha chuDu vaisAhathANu chuDu bhaggau caMpariMdamANu / chuDu cAu khaNakheM sajiyAu chuDu seyajale guNu mjiyaau| karakaMDe guNe kiu bANu pavaru caMpAhiveNa tA muku avaru / huu bANu Niratthau so hu jAva pomAvai saMgare patta tAva / sA diTThiya teNa NaresareNa puNu paNaimiya dUraho NayasireNa / he mAe mAe saMgare asajjhe kiM Aiya tuhuM bhaDaniyaramajjhe / sA bhaNai putta saMvarahi cAu ehu dhADIvAhaNu tujjha tAu / pattA- kahi mAe mahAsaha guNaNilau kimu tAu mahArau Niu havaha / ___ tA tAI turaMtaI taho kahiu suNi putta mahAbala dharaNivai // 18 // 10 5 20 Padmavati recalls the incidents connected with his birth. caMpAurirAyaho ghare ramaNI hauM hotI jaNavayamaNadamaNI / saMjAyau jaiyahuM ganbhe tuhuN| uppaNNau taiyahuM dukkhu mahu~ / hau~ harivi NIya tA karivarAI daMtIpuri bAhiri duddhrauii| tahiM jAyau bhImamasANi tuhu~ paI pekkhivi jAyau majjhu suhu~ / karakaMDu Naresaru eka khaNu taM suNivi vayaNu thiu vimnnmnnu| Niyaputtaho akkhivi cattabhayA puNu turiyau kaMtaho pAse gyaa| sA diTThiya caMpaNaresareNa gaMgANai NaM rynnaayrenn| 3 N tasu. 4 D dhaNuharaho. 5 SJkheyara in place of kahi khayara. 19. 1N varAha ThANu. 2 N paNaviya lahu pahu NiyasareNa. 20. 1 N hutiya. 2 DJS I. 5

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3. 22. 6. ] jANateM eha pomAvaiyA aha garuvau jo vayabharu dharei dhattA karakaMDacariu paripucchiya caMpaNarAhivaraM kaha chuTTiya tuhuM taho gayavaraho / 10 tA kahiyau tAiM turaMtiyaeM Niva gayaeM pamukkI taDe saraho // 20 // The battle field becomes a scene of family embraces. taho pAse masANaeM maho suyau paripAliu keNa vi veyarAI daMtIpurirANau tA muyau so jAhi evahiM tuha bhiDiu kulamaMDaNU NaMdaNu so huyau / vau laiyau tahiM meI Niva bharAI / tahiM Nayare NarAhiu so kiyau / tuhuM ko pisAeM pariNaDiu / Niva NaMdaNu terau ehu pahu~ / saMtura takkhaNe so hiyaI / jo saMgare dhIrau diDhabhuyau / karakaMDapAsu gau Nivapavaru | mA mujjhahi chaMDahi ehu gahu~ taM vayaNu suNivi caMpA hivai hauM ghaNNau jasu ehau suyau parichaMDivi dhaNuharu galiyasa ru 21 dhattA - puNu jAivi dhADIvAhaNAM AliMgiu NaMdaNu so khaNiNa / jaha saMgare jAivi teyANahi pajuSNu kurmaru dAmoyariNa // 21 // karakaMDaI vRttau NiyajaNaNu mA giNhahi merau deva chalu taM suNivi vayaNu caMpAhivaI u leviNu Nayaraho sahuM NivehiM sAyarI karakaMDe sahei ra rayaNa leviNu sANurAya to vi teNa sahAvaM sA NamiyA / teM rANau kaMta thui karei / Shree Sudharmaswami Gyanbhandar-Umara, Surat Karakanda is crowned king of Campa and his father retires for penances. 22 33 3N NaviyA 4 DJS garuyau jo vayabhAru gharai. 21. 1 N saI. 2 N gAhu. 3 N jAhu. 4 N dhaNu gaMbhIra saha. 5 N karakaMDa payAsiu Niu pava 6N NAI in place of kumaru. paraM sarisau jaM maI kiyau raNu / taM vamahi bhaDArA maho sayalu / ullasiyau takkhaNe so hiyaI / paisAriu NANA ucchavehiM / amarAuri lajjA taho vahei / NivamaMdire vaddhAvaNahuM Aya / - 10 5 www.umaragyanbhandar.com

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kaNayAmaravirahayau [3. 22. 7tA duddhararAyahaM jo ghareSTu karakaMDaho baddha rAyapaTTa / puNu appuNu rAeM taphkhaNeNa taNu maMDiu tavasiribhUsaNeNa / kammaTThagaMThiNiTThavaNasAru tau carivi sududdharu kAmamAru / taNu chaMDivi khaMDivi hiyayagaMThi so laggau sivavahutaNaeM kNtthi| 10 ghattA- gau dhADIvAhaNu sivaNilau kaNayAmaravaNNau guNahaM gharu / karakaMDu karaMtau rajju puri so acchaha mANiNihiyayaharu // 22 // iya karakaMDamahArAya carie muNikaNayAmaraviraie bhanvayaNa-kaNNAvayaMse paMcakalANavihANakapataruphalasaMpatte karakaMsacaMpApuripaveso NAma taiu pariccheu smtto| // saMdhi // 3 // 22. IN marahu. - 34

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Karakanda's resolve to subdue the kings of the South. vravakaM-karakaMDaI sAhivi mahi sayala paripucchiu maivaru vimalamaha / bhaNu sammai maivara ko vi Naru jo aju vi dudRu Na vi Navai / so maivaru pabhaNai devadeva tuha mahiyalu sayalu vi karai seva / / pari diviDadese Niva asthi dhiTTha te NamahiM Na kAlu vi hiyaI dutttt| siricoDi paMDi NAmeNa cera Nau karahiM tuhArI deva ker| 5 AyaNNivi taM caMpAhiveNa saMpesiu dUvau taho khnnenn| te jAivi te coDAirAya iu bhaNiya Navahu karakaMDapAya / Nibhatthira dUvau tehiM so vi jiNu mellivi aNNu Na NavahuM ko vi| karakaMDaho Aivi kahiu teNa Nau karahiM seva tuha kiM pareNa / taM suNivi vayaNu karakaMDu rAu jai demi Na taho sirinniyypaau| 10 to mahiyalaputtaiMdiyasuhAsu maho atthi Nivitti pariggahAsu / eha paiija karivi karakaMDaeNa lahu diNNu payANau kuddhaeNa / ghattA-caMpAhiu calliu taho upari gaya caDivi viNiggau purvrho| cauraMgaI seNNaI saMjuyau so lIlA dharai suresaraho // 1 // His march and camp at Terapur. tahI jaMtaho mahi hayakhurahiM bhiNNa gayaNaMgaNi gaya raya dhUmavaNNa / pasaraMtahiM tehiM digANaNAhaM NaM muhavaDa kiu disivAraNAhaM / mahi halliya calliya girivariMda kaMpaMta paNaTThA khe suriNd| dakSiNavahe gau terApurammi taho dakkhiNadisihi mahAvaNNammi / AvAsiu tahiM balu cAuraMgu khaNe sIhapuliMdahaM huyau bhNgu| 1. 1N para. 2 S payaja. -- 35 - 5

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4.2.6 kaNayAmaraviraiyau [ saMtADiya dUsaya paMcavaNNa NaM amarageha bhUmihiM pavaNNa / gaya karivara leviNu jalaho meTTha rAsahiyahiM dhAviya khara pahiha / lolAviya dhaya NivaNaravarehiM mahi Naccai NaM ubbhiykrehi| ghattA- AvAsiu acchai jAMva tahiM karakaMDaNarAhiu prblu| paDihAru paroiu taho purau dUrAu NamaMtau hariyamalu // 2 // 10 5 Siva, the king of Terapur, visits Karakanda. Niu asthi deva terApurammi siu NAmeM rUDhau bhuuvlmmi| so tumhahaM pekkhahuM etyu Au kiM AvaDa kiM so valivi jaau| karakaMDe vayaNu suNevi tAsu paDihAru bhaNiu teraahivaasu| paIsAru khaNaddha tAsu dehi tuhuM appuNu jAevi levi ehi / paDihAre so Niu ANio vi| karakaMDaeM puNu sammANio vi| puNu teNa papucchiu karivi vAla tuha kusalu Naresara sayalakAla / te bhaNiu garesara kusalu majyu jaM siMciu karuNajaleNa tujyu / taho vayaNe karakaMDaho NivAsu taho uvari pavaDiDa Nehu tAsu / aipauru paiNNau puNu pasAu kiu dANaI vayaNaI sANurAu / ghattA-puNu pucchiu siu karakaMDaeNa maho bhAiya akkhu payattaeNa jaM diTThau kiM pi maNoharau acchariu vaNammi bhamaMtaeNa // 3 // 10 Karakanda, guided by Siva, explores the locality. taM vayaNu suNivi terAhiveNa karakaMDaho akkhiu puNu siveNe / patthathi deva pacchimadisAhiM aiNiyaDau panvau rammu taahiN| tahiM atthi layaNu gayaNAvahAri thamhANa sahAsahiM jaM pi dhAri / taho layaNaho uppari girivarammi cUDAmaNi NaM mauDaho sirammi / guru vAmiu acchaha sohamANu keNAvi Na kaliyau jAsu maannu| 2. 1 DJN gaya. 2J jAma. 3 N pavara 4 J parAyau. 3. 1D payasAru. 4. 1 SJ vi teNa. 2 SN atyatthi. -- 36 - 5

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4. 6.8. 1 karakaMDacarita jalu paumaI leviNu tahiM paghaNNu taM pujai karivaru seyavaNNu / ema acchai so kari bahuakAla eu kahiyau maI tuhaM sAmisAla / AyaNNivi taM karakaMDu rAu gau pabvayasammuhaM sivasahAu / ghattA- mahimahilahe thaNu va maNoharau kIlAgharu devahaM jo bhareNa | karakaMDaI so giri diTTa khaNe kailAsu NAI bharahesareNa // 4 // 10 Discovery of an old cave-temple. karikuMbha viyArivi jahiM bhamaMti muttAhala caraNahiM hari muaNti| raMjaMti sIha katthaI sahati jahiM mayajalu mayagala gau vahati / sAraMga NiraMtaru jahiM caraMti sAhAmaya katthaI 7 karaMti / paribhamahiM kahi mi dADhAkarAla harisammuha diMtaho duka kola / thovaMtari tahiM so caDai jAma karakaMDaI diTThau layaNu taam| NaM hariNA amaravimANu diTu karakaMDa NarAhiu tahiM pitttt| so dhaNNu salakkhaNu hariyadaMbhu je layaNu karAviu shskhNbhu| puNu dihau te jiNu vIyarAu / saMthuNaNahiM laggau sANurAu / ghattA- jaya caugaiNAsaNa malaharaNa jaya mANagiriMdaho dlnnpvi| maho deva NiraMjaNa tuhaM saraNu aNNANatimirapariharaNaravi // 5 // 10 5 An elephant is found worshipping an ant-hill. jiNesaha vaMdivi patthiva be vi giriMdaho uppari siggha cddevi| NihAliya tehiM disAhaM muhAI maNammi NivAhahaM jAI suhaaii| NihAliya acchahiM jAva vaNammi suvAraNu pattau tAva khaNammi / sarovare pomaI levi kariMdu samAyau padhvau NAI smudd| jhalAjhala kaNNaraeNa saraMtu kevolacueNa maeNa jharaMtu / supiMgalaloyaNu daMtahiM saMsu caDAviyacAvasamuNNayavaMsu / durehakulAI sudUre karaMtu disAmuha suMDajaleNa bharaMtu / kareNa saroyasayAI haraMtu sumottiyadAma sireNa ghrNtu| 6. 9 ) omits this and the following three feet. - 3

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kaNayAmaraviraiyau [ 4. 6. 9. pattA- te kariNA leviNu paMkayaI karu bharevi jaleNa turNtenn| paridakkhiNa deviNu siMciyau te pUjiu vAmiu bhaviyaeNa // 6 // 10 10 Karakanda sees the lake and examines the ant-hill. gau vAmiu pUjivi kari surAu tA gayau saraho karakaMDu raau| AvaMtaho taho aidihi jaNaMtu khagarAvaI Avahu NaM bhaNaMtu / jalakuMbhikuMbhakuMbhaI dharaMtu taNhAurajIvahaM suhu karaMtu / uiMDaNaliNiuNNai vahaMtu ucchalliyamINahiM maNu khtu| DiMDIrapiMDarayaNahiM hasaMtu aiNimmalapauraguNehiM jNtu| pacchaNNau viyasiyapaMkarahiM NaJcaMta vivihavihaMgaehiM / gAyaMtau bhamarAvaliraveNa dhAvaMtau pavaNAhayajaleNa / NaM suyaNu suhAvau NayaNai? jalabhari u sarovaru tehiM diTTha / ghattA- jalu leviNu dohiM ci NivavarahiM paya dhoivi muhaM pkvaaliyu| jaM pujiu kAraNA paMkayahiM taM vAmiu tehiM NihAliyau // 7 // 8 The ant-hill is excavated, karakaMDeM citiu maNi maNoju eu vAmiu Nicchau vaMdaNiju / iha acchai ko vi mahaMtu deu paripUjivi kari gau te suveu / jeM vAmiu pujai kari pasaNNu te dhameM huu Na seyvnnnnu| maNi ciMtivi iu so sANurAu uvavAsaI thiu karakaMDarAu / aNNahiM diNi vAmiu taM pi teNa khAMNAviu karakaMDe khnnenn| taM samathala tehiM khaNa kIuNaM pAvapaDalu NiNNAsu nnii| thovaMtaru khaNiyau puNu vi jAba maNikiraNaditti NIsariya tAva / pattA-tA miliya NahaMgaNe aibahala caudisihiM bhameviNu nnimmliy| karakaMDaho NAvaha kitti vara amarAhiu dekkhahuM saMcaliya // 8 // 5 8. 1 N adds before this in the margin jaM acchai vAmie kiM pi vatthu taM pekkhau jai tA mahu pasatthu. 2 S khaNNAviu. 3. SJ khaNiyaI.

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4. 11. 2.1 karakaMDacariu nAva Discovery of a Jina image. te rahase taraliya khaNahiM jAva jiviMbu viNiggau tatyu tAva / maNirayaNaviNimmiu phaNakaDappu chattAimANu taho sahai sappu / duMduhi bhAmaMDalu camara ve vi suhu jahiM savaNaNayaNANa te vi| siMhAsaNu vahurayahiM jaDIu surarAeM NaM apparNa ghddiiu| taM payaDau kiu~ vAhire vihAi mahi bhiMdivi dhammaho piMDu nnaaii| 5 tA amarahiM duMduhi Nahe harhaya ghaNakusumaviTThi gayaNaho paDIya / aiNimmala dimmuha sayala jAya saMbhUyA parimalasahiya vAya / guNarayaNaNihANaho patthivAsu saMpuNNa maNoraha sayala tAsu / ghattA- aNurAeM taho kaMTaiyataNu papphulliu tose muhkmlu| jalu levi sarovari jiNu haviu bahukamalahiM pujiu vigayamalu // 9 // 10 10 Karakanda's hymn to the Jina. varabhattibhArasaNNayasireNa pAraMbhiya puNu thui NivavaraNa / jaya suratirIDamaNilihiyapAya jaya bhuvaNaNayarapAlaNasurAya / jaya kammaviDavichiMdaNakuThAra jaya caugaisAyaraparamatAra / jaya pAvatimirapheDaNadiNesa jaya NijiyamayabhaDaNiravasesa / jaya rAyaMbhuvaMgamadamaNamaMta jaya mynnikkhupiilnnsujNt| 5 jaba kevalakiraNaphuraMta saMta jaya rubhiyakammAsavavahaMta / / jaya jaya sirivahukaNNAvataMsa jaya bhaviyaNamaNasararAyahaMsa / jaya NiJca NiraMjaNa kalavihINa jaya sivagaimahilahe vayaNe lINa / ghattA- jaya jaya deva jiNiMda pahu paI jhAyaI aNudiNu NiyamaNiNa / / tarve daMsaNe gayaNaI anja puNu saMjAyaI NiddhaI maho khaNiNeM // 10 // 10 11 The Jina image is carried into the cave. uccAyiu so jiNu NivavareNa kAlAsu NAI laMkesareNa / vihiM karahiM dhariu sirauvari bhAi govaddhaNu hariNA kaliu NAI / 9. 1 JN appuNu. 2 SD kiya. 10. 1 N kAma. 2 DN mANa. 3 S maNeNa, 4 N tau. 5 khaNaNa. 11. 1 JDN uccAyaDa. 2N laMkesureNa. - 39 -

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kaNayAmaraviraiyau [4. 11. 3tahiM avasare devahiM kusumaviTTi parimelliya taho maNe bhaiya tutttthi| amarahiM mi kehiM mi dhariu chattu ghusiNeNa vi caJciu kihiM mi gattu / paricAliya kehiM mi camara tAra duMdahi apphAliya kehiM phaar| 5 ke vi taMDau NacahiM sANurAya dUrAu NamahiM ke vi jiNaho pAya / jiha amarahiM hAivi maMdarAu ghara Niyau jiNesaha mNdraau| eyauI vihieM taha guNaNikeu karakaMDe NIyau layaNu deu / ghattA- jiNu layaNe Nivesiu te NivaNe paripujivi aJcivi caMdaNiNaM / avaloiya paDhamI puNu paDima aNurAu vahaMte NiyamaNirNa // 11 // 10 12 Karakanda discovers a knot ou the lion-seat of the first image and an sculptor explains to him its purpose. tA takkhaNa taho jiNe gaiya diTTi harivIDhaho uppari dihi' gaMThi / NaM phalihasilahe harimANa vihAi uDurAyaho laggau hariNu nnaaii| sA pekkhivi maNe ciMtei rAu gaMThIeM hayau jiNabiMbarAu / jo sayalakammaparikaraNakAri kokAviu so teM suttadhAri / bho paramamitta akkhahi pasatthu tuhuM jANahi sayalu vi kmmstthu| 5 paripucchiu bollivi aipiyAI jiNapaDimahe dIsai gaMThi kaaii| taM NisuNivi pabhaNai pAvahAri pddimaagyruuvanneykiir| jaM pucchiu deva maNohirAu taM akkhami tumhahaM duhavirAu / ghattA-jiNapaDima ghaDiya jaiyahu~ Nivada jalavAhiNi sira taiyaho khapeNa / maI Nisuau diTTa paraMparaeM eha dhariya gaMThi te kAraNeNa // 12 // 10 13 Karakanda desires to see the water-spring blocked by the koot, tA bhaNai garesaru paramamitta kima dIsai jalavAhiNi vicitta / taM suNivi bhaNai bho laliyadeha NIsarai kaha va jaha deva eha / bahuroya karai jaNavaeM pasattha je salilu piyahiM te ciru asattha / bahudukkhaparaMparabharieM AeM iU maNNevi kiM payaDAI aaeN| tArAeM bhANayau taM suNevi jalu dharami mitta layaNu vi cinnevi| 5 3 S eyaiM. 4 DN NiyeNa. 5 S caMdaNeNa. 6 SmaNeNa. 12. 1 DN dIha. 2 DN gaI.

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6. pradhAna guphA kI eka jinamUrti The seated Jina carved on a slab in cave No. 2. (P. 44, intro.) 5. pradhAna guphA ke mUlanAyaka The principal image of Parsvanatha in cave No. 2. ( P. 45, intro.) 7. pradhAna guphA meM eka khaDgAsana jinamUrti The standing figure of Parsvanatha carved on a loose block of stone in cave No. 2. ( P. 44, intro.)

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4. 15. 6.] karakaMDacariu koUhalu eu dakkhAli to vi puNu suptadhAri pabhaNai sudhi / jai eha gaMThi pheDehuM deva NIsarahuM turiu jalabhari keva / taM vayaNu turaMta NivavaraNa dahurau karAviu nksnnenn| ghattA-taM layaNu ciNivi NiuNau karivi saNarAlahiM vahuvihapattharahiM / so rANau silavaha do yi jaNa jiNapaDimahe sammuhaM saMcarahiM // 13 // 10 14 The knot is scraped and water gushes forth. jA rAeM asuhAI gaNiyA silavaiNA TaMkieM sA haNiyA / gurughAyavaDaNe Niggaya phuliMga NaM kohavasaI ahijlnnliNg| tahe gaMThihe vayaNaho bahalaphAra tA Niggaya takSaNi saliladhAra / paDhamau bhubhukkaDa Niggamei paM meiNi bhIeM ubvameha / NiggaMtI bAhiri sA vihAi mahi bhiMdivi phaNivaiyariNi nnaaii| 5 parisahai sA vi bhUmihiM milaMti gaMgANai NaM khalakhala khalaMti pasaraMtieM tAeM khaNeNa bhavbu taM bhariyau layaNu jaleNa sancha / NaM amiyakuMhu vahurasajaleNa NaM dhammasAru thiu jalachaleNa pattA- aha payaDiu giriNA NiyayamaNu hauM patthau sajaNu hiyayaharu / NaM tuTTe tAsu NarAhivaho saMkhaveM diNNau amiyadharu // 14 // 10 15 Karakanda's repentance. taM pekkhivi te maNe bhayabharIya tamhAu daheNa vinniisriiy| daharaho uvari so gayau rAu cittAvivaNNu thiu mNdraau| NaM kulisaNihAeM mahihariMdu NaM bhaggae bale thiu suravariMdu / NaM mayagalu kesariNahavibhiNNu thiu garavaha tahiM dukkheNa khiNNu / puNu kaMpai Dolaha salavalei aNavarau duheNa sukara mleh| sirakamalu dhuNai dIharu kaNei ghaggharasareNa puNu puNu bhaNei / 5 13. 1 SJ jalabhariya. 14. 1 J asuhA. 2 DN tahe vayaNaho bahalaI dei phAra. 3 J amiyataru. 15. 1 DN garavariMdu.

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kaNayAmaraviraiyaDa [4. 15.7hA ki kiu maI duDheM khaleNa hA duriu lahesami eha phaleNa / hA kammeM keNa galatthiyau karu vayaNe Nivesivi Niu thiyau / ghattA-jo amaraNikAhi vaMdiyau pujamahima dhammahaM Nilau / so hA hA pAve deu maI kahiM ANitri mukara jagatilau // 15 // 10 16 A Sura appears and consoles the king, Nivo soyabhiNNo thio jA visnnnno| suro ko vidhaNNo NahAo pvnnnno| guNANaM NivAso duhANaM vinnaaso| virAya haNaMto sarAyaM jnnNto| tirIDeNa jutto jiNe dinnnncitto| mahAdittivaMto NaheNaM bhmNto| surUvaM dharato giriMdaM srNto| dharAevisAro bhujago kumaaro| NaeNaM NamaMto visuddha cvNto| susaMpuNNagatto tahiM tAva ptto| 10 NiveNAvi diTTo maNeNaM phiddro| NivANaMdayArI jnnaannNdyaarii| ghattA-so bhaNai garAhiva duhu muhi mA soyahiM chaMDahi pahu gahu / jaM ciMtiu NiyamaNe kiM pi maI paI kIyau taM puNu karivi bhu||16|| 15 The Sura congratulates the king for what he had done. bho jaravai hau~ ciru vasauM etyu jalavAhiNi eha dharaNahiM samatthu / jA rUsami pADami gahagaNo vi dharaNIyale toDami phaNiphaNo vi| musumUrami bhUdhara viSphuraMta paDikhalami deva saMgare saraMta / saMcaraha Na maho bhIeM suro vi kiM avaru viruddhau puNu Naro vi| para acchiu paDimahe rakkhavAlu bhAriyaDa havesaha dusamu kaalu| 17 , N vi kuddhau. 2 N ara atthita. - 42 -

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4. 17. 10.] karakaMDacariu cirakAle kaliyau saralacitta pecchaMtahaM tuDaM Ayau si mitta / maI raksiya patti kAlu bhadda thiya Nikvaya saTThisahAsa adda / lai suMdara suMdaru kiyau eu jalalayaNi Nivesiu paramadeu / ghattA-jiNu ANivi dhariyau rayaNamau kaNayAmaralayaNe samujjalae / paI kIyau Niva haDaM mokalau sa hiMDami lIlaeM mahivalae // 1 // 10 iya kara kaMDamahArAyacarie muNikaNayAmaraviraie bhaSvayaNa-kaNNAvayaMse paMcakallANavihANakappatarUphalasaMpatte karaNajiNapaDimAdasaNo NAma cautyo pariccheu smtto| // saMdhi // 4 // 3J pAyamo si; S mAusi, 4 SJ suMdara. -13 -

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V 1 Who built the ancient cave. dhruvakaM - karakaMDe pucchiu so amaru bhaNu keNa karAviu ihu layaNu / vararayaNa viNimmiya ke paDima raMjiyara jAeM maho taNau maNu // taM suNevi vAuve pucchiyaM pijaM NiveNa patthu jaMbudavayammi tattha asthi sohamANu khayarehiM rammamANu tAsu tuMga bevi agga cakkala joyaNAI tuMgaNa paMcavIsa yattA - joyaNadasahiM mi uSpariNa atthi seNi dAhiNiya vara / vijANAhahiM pariyariya ahilasahiM jA vi dekhivi sura // 1 // tahiM asthi jayaru khayaravamAlu hiM khera bhAyara asthi ve vi te acchahiM rajju karaMta jAva uddAliu tAhaM vi vijayAu siripAsajidiho tAI kAle 44 tA phaNIkumAru eu taM kahei takkhaNeNa / bhArahammi khettayammi | vijayaDU appamANu | kuMjarehiM gajamANu | 2 Nila and Mahanila came from Vijayardha, settled at Terapur and became devotees of Jina. Shree Sudharmaswami Gyanbhandar-Umara, Surat sAyarasa jAi lagga / paMcavIsa dUniyAI / joyaNAI atthi tassa / NAmeM rahaNeuru cakkavAlu I NAmeNa NIlamahaNIla te vi / paDipelliya doNi vi arihiM tAva / NiddhADivi dhalliya paTTaNAu / surakheyarakiNNararavavamAle / - 5 10 5 www.umaragyanbhandar.com

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5. 4. 7.1 karakaMDacarita AdummaNa dukkhu vahati bhAya mahi laMdhivi tarANayara Aya / tahiM thAivi kIyau rajju bhavvu upasAhiu mahiyalu tehiM savvu / kaha pAsajiNidaho duriyaNAsi suya ekahiM diNi muNivaraho pAmi / ghattA-sA suNivi mohara duhamahiya pariose te kaMTaiyataNu / thiya NiJcala dhamma dayasahiba jiNu prAyahiM bhattiNa eyamaNa // 2 // 10 They built the beautiful care. aNurAeM tehiM mi bhAyarahi puNu layaNu karAviu khayarehiM / thaMbhANa sahAsahiM NimmavIra abhaMtara suMdara kaarviiu| maNirayaNahiM maNiNimmaviyayAhaM kiu ThAu tehi jiNapaDimayAhaM / aNavarau NhANapUyA karaMta thiya bahuyakAla jiNu aNusaraMta / tahi var3iya aNudiNu maNaharIya NANAviha mahimA seyriiy| pahu pancau veDiu kheyarehi gaM meru mahAgiri suravarehi / mA sohA peksivi suragaNesa Thiya vibhiyamaNa tahiM Niravasema / nahiM avasare bho bho saralacitta nAvAiya NIlaho paramamitta / ghattA-veyaDraho taho uttaradisihi jayaru atthi gayaNayalu piu| surakiNNarakheyaravallahau NaM amaraNayaru Avavi ghiu // 3 // 10 Amitavega and Suraga find a Jina temple on Pudi mountain on their way to Lanka. tahiM khagavaha acchahiM be vi bhAya annnnonnnnnnikddisNbddhraay| masikaMtadivAyarapauradhAma te amiyveysuvveynnaam| muvisuddhasIla saMgare ahaMga smmttrynnpribhuusivNg| ne pavvadivahiM vaMdaNa karata saMcalliya ekahiM diNe mahaMta / dekkhiNadisi laMkahiM jaMtarahi malayammi visaeM tA diTTa tehiM / 5 siripUdI NAma girivariMdu jahiM kIlaNatthu Avaha suriMdu taho uvari khaNakheM UbaDIya NaM saggaho suravA privddiiy| 2. 1 J uhaMmaNa. 4. ON adds before this in the margin kiyaakiyapaDimau anusaraMta payarATha to vi jiNaguNa vahaMta / 2D jaMbaDIya. -15 -

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kaNayAmaraviraiyau yatA - te pekkhivi chuhapaMkaiyadhavalu cauvIsajiNAlau gayagayaNu / taM pekkhivi harisahi tarhi ji gaya viNivAriu dUraho jehiM mayaNu ||4|| 5 The temple was built by a descendant of Ravana. suhabhAveM laMkANAharaNa sUrappahaNAmapasiddha. eNa ekahiM diNi ramaNahiM NiggaeNe malayammi visapaM parijaMtapaNa rAvaNaho dhaMse uppaNNaeNa ! siriseNAriNihiM kaMtapaNa / puNu pUdImaMdaru pattaeNa / addaramaNabhUmi dekkhaMtaeNa / cavIsa paDima bhattIbhareNa / caDavIsa jaNAlau jiNavarAhaM / jhAyaM haM maNe pheDiyamalAI / paripujiu jhAyaDa AyarehiM / kalAse jema bharahesareNa tahaM te karAviu suhayarAhaM maNirayaNaviNimmiyaNimmalAI jo sayalakAlu vaMdiu surehiM dhattA - dekhatahaM NayaNahaM suhu jaNahiM jhAyaMtahaM pheDahiM duriyamalu | saMsAraNihoDaNu khaNe karahiM jaM ciMtiu taM pAvahiM sayalu // 5 // 6 Hymn to the Jina. jiNe sarabiMbaI diTThaI tehi sarIrahaM vAyaiM saddhamaNeha Na atthi jayattae tettiya vANi tiloyasarUvaho laddhapamANa Namo maNamAramahApaDu deva Namo gayarAya mayAriviNAsa Namo kalahINa sivammi NilINa Namo hayakamma sujhANa khaNeNa [ 5. 4. 8 dhattA - jaya jiNa kevalaNANaravi micchattatimiraNiNNAsayara / te divi pUjivi saMdhuNivi pakkeka NihAlahiM puNu khayara // 6 // 3 D paMkaI. 5. N adds after this in the margin taM rammi bisae parijaMtaeNa 6.1N suhiM. - Shree Sudharmaswami Gyanbhandar-Umara, Surat NivAriu micchamahAtamu jahi / jiniMdu aNiMda sudeu thuNehiM / suthuvvai jattieM kevalaNANi / Namo jayaNAha ameya amANa / Namo bhayavaMta aruva aleva / Namo Naradeva suhANa gayAsa / Namo jayamAra viyAravilINa / Namo tuha pAya NamAmi maNeNa / $$ 5 10 5 10 www.umaragyanbhandar.com

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5.9.2.1 7 They brought the image to Terapur. karakaMDacariu te paDimaDa dekkhivi suMdarAu puNu bhaNahiM te vi vijayaDUyammi paDichede AyahaM keraeNa u maNivi aibhattIbharehiM jiNapAsaho bahurayaNahiM kalIya gayaNayali suNimmala viSphurei NaM vijjuM lavaMtI aivihAi jiNajaniyarAya pariNiviDagatta dhattA uccAeva sA te saMcalIya | NaM caMdaleha vivarIsarei | gaya uttaradisi jamu muevi nAI / te be vi sahoyara etthu panta / parimellivi uppari girivaraho rayaNehiM viNimmiya sA paDima / gaya layaNaho sammuhuM guNahaM ghara avahariya jeNa bhavabhayapaDima // 7 // 10 8 But they could not carry it further. aNavarau jaNiu maNe sANurAu / surakIlAthANaho uvagayammi / jiNabiMba karAvahuM tahiM rapaNa / saMgahiya paDima vehiM mi karehiM / tarhi vaMdaNahatti kavi be vi tarhi jAivi sA puNu lehiM jAma NaM bhaya keNa vi kheyareNa sA Niccala pekkhivi niyamaNammi paralokaje paramuTThepahiM jaM thANaho cAliu jiNaho liMgu vihuM thANahuM eka Na huyau thANu maMjUsa karevi tA bhayagaehiM dhattA - sA iMpivi te parijhaNataNa gaya turiyau sahasakUDabhavaNu / taM vaMdivi jhANapariTThiyau muNi jasaharu diTThau jittamaNu // 8 // 7. D saMvalIya. 2 N vizva. 8. N paramuTThiehiM. 2 N bhANu. Shree Sudharmaswami Gyanbhandar-Umara, Surat 9 Amitavega practised penances and attained heaven. so divi puccha tehi jaI bho muNivara NisuNahi suddhamaI / uvaladdhiya bahuvihakayamahimA / amhehiM bhamaMtahiM jiNapaDimA 47 piDimahiM sammuhaM gaya valevi / niyathANaho Na calai paDima tAma / NaM rammu NiviNu thiya bhareNa / saMpIDiya dukkheM takkhaNammi / hA kiM ki amhahiM duTTaehiM / taM hoi NarayapaDivaDaNaliMgu / parivaDi kevala pauru NAMNu / NikkhaNivi mukka bhUmIpaM tehiM / 5 - 5 10 www.umaragyanbhandar.com

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kaNayAmaraviraiyara / 5.9.3. sA leviNu jaMtahiM Niyayapure paridhariya etthu girivarasihare / baMdaNa karevi layaNAmma vara sA turiya levi jA valahuM kira / tANa calai thANaho kiM karahuM kiM sAmiya jIvahuM kiM marahu~ / 5 taM suNivi bhaNai tahaM muNipavara itthammi havesaha titthavaru / aNNahiM bhavi bhAyaru tuha taNau sammattu laesai bahuguNau / taM suNidhi khaNakheM be vibhAya tave saMThiya tA te sANurAya / ghattA- amiyaveu vijANiyaru parichaMDivi taNu va maNoharau / gau saggaho takkhaNe tau karivi tahiM hUyau so suru baMdhurau // 9 // 10 10 Suvega practised religious hypocrisy and was ___reborn an elephant. ettahiM lahubhAyara jaNa mahiu te vArahavarisaI saMgahiu / gurupAsi pasiddhau aituriu ekaMtareNa bhoyaNu sariu / tA ekAhiM diNi so salavaliu vAvIsaparIsahaparimaliu / chuhataNhaeM pIDieM kiM kiyA gAmaMtare gamaNu suciMtiyaTa / tahiM jAivi bhuttara jalu piyau jaNapayADiu aNasaNu.maI kriyu| gAmaMtari puNu aNNahiM ji diNe uvavAsu paghosiu payaDu jaNe / eyAI vihieM bahudiNa thiyau jaNu sayalu suuttieM vaMciyau / mAyAeM suveeM kiyaTa tara puNu marivi so vi vaNe hatthi bhau / yattA-jo DiMbhe dhammu samAyaraha ghagavese vaMciya NiyayataNu / so virasu rasaMtau bhaggaDau paradukkhaI pAvaha mUDhamaNu // 10 // 5 10 11 He is, however, re-enlightened by Amitavega. tA amiyaveeNa amareNa hueNa thiyaeNa saggami ciMtiyau hiyayammi maho bhAya lahuo vi uppaNNu kahiM hovi / puNu ohiNANeNa parikaliu so teNa / taho taNaeM karuNeNa saMcaliDa veenn| kari vasaha vaNe jammi so patu khaNe smmi| muNivesu parikarivi so kuMbhi annusrivi| -18 -

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5. 13. 3 ] 10 karakaMDacariu aimahuravayaNeNa puNu bhaNiu kari tenn| bho NisuNi suaveya duhu pattu bahubheya / micchattamUlAI tau kiyau maayaaii| tuhuM teNa balieNa kari huvau durienn| taM suNivi taho vayaNu kari sarai muNicaraNu / cirajammu sumaraMtu sire NayaNa kuvvaMtu / dukkheNa velaMtu saru pauru melaMtu / pattA- te deveM jANiu karihiyau puNu bhaNiyau vayaNu sukomlu| sammattarayaNu mA muyahi tuhuM je pAvahi NANu suNimmalau // 11 // 15 12 The religious elephant attains heaven. puNu diNNahaM aNuvayaguNavayAI jaNasokkhakarahaM sikkhAvayAI / NisibhoyaNaviramaNu bahuguNAlu paMcuMvaravajaNu sylkaalu| cirajammamuNiyabhayavevirAsu pUjAphalu kahiyau karivarAsu / puNu kahiya paDima taho maNaharIya jA vAmieM tehiM mi ciru dharIya / jaM kiM pi payAsiu suravareNa taM sayalu vi gahiyau krivrenn| 5 iu kahivi gayau suru Niyagharammi so kari ehu acchai iha vnnmmi| aNNahiM diNe jalu pomAiM levi jA Avai vAmie puNu valevi / Nau dekkhai tahiM jiNu vIyarAu jalu pomaI mellivi karivarAu / ghattA- sammattu laeviNu diDhu karivi saNNAsu kareviNu so khayaru / suhabhAve bhAvivi deu jiNu kari hUyau taie samge suru // 12 // 10 13 Karakanda constructs two more caves. bho Naravai jaM pahaM pucchiyau maI sayalu vi taM tuha akkhiyau / para suMdara kIyau maho maNiu jaM layaNu Naresara paI ciNiu / tamhA tuhuM evahiM iu sarahi layaNovari avaru layaNu karahi / 12. 1 N reads NiyaparAmu and adds in the margin kari gayau turiu tA saravarAsu / kara bharivi aleM pomAiM levi AhAru caunvihu tahiM muevi / 49 -

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kaNayAmaraviraiyau [ 5. 13. 4iu bhaNivi payatte Nivavaraho gau suravaru lIlaI Niyagharaho / layaNovari karakaMDe layaNu kArAviu jinnvrvrbhvnnu| 5 taho uppari puNu khuDuyalayaNu aimaNaharu kAriu hayamayaNu / tihu layaNaho sohA vahai kaha suraNAhagharahaM aNuharaI jaha / Niu karivi tAI jiNamaMdiraI saiM pUjivi aMcivi maNaharaI / aitosu vahaMtau hiyaeM bahu AvAsaho gau puNu dhariNipahu / ghattA- jAvacchai tahiM AvAse ThiU karakaMDu Naresaru arimhnnu| 10 tA Ayau kari thirathorakaru jalu piyaNahaM saravare mayamahaNu // 13 // 14 A ferocious elephant threatens Karakanda's forces and disappears. jA acchai tIre sarovarAsu seNNAhiM gaMdhu tA gayau tAsu / ucAivi karayalu siru dhuNevi avaloiya kariNA muhu valevi / sA pekstrivi so karivaru viruddha uddhoviu kari mayagaMdhaluddha / karu dasaNe karatau gulugulaMtu payabhAreM mehaNi nniddlNtu| so pekkhivi loyahiM aiNiruttu kari dharaNahuM Nibharu kiyau cittu| / te uhivi turiyahiM karihe lagga karivAyabhayaeM puNu sayala bhagga / to dhAiu garavaha karakabANu paDikhaliyau vAraNu jujjhamANu / karaNAI devi kira haNai jAma ahaMsaNu vAraNu huyaDa taam|| yattA-- aiMsaNe hUyaeM karivaraI NiddariyaNayaNu so takSaNiNe // 14 // pekkhaMtahaM NAsivi kari gayau thiu vibhiu Naravaha NiyamaNiNe // 14 // 10 15 Madanavali is found missing. AvAsaho Avaha jAva rAu mayaNAvali Nau pecchA vitAu / joiyai cauhisu hiyayahINu ubveviru hiMDai mahihe diinnu| tA saMkiu NaravaDa galiyagabbu kahiM gau kalaca savvaMgabhancha / mayaNAvali jA ANaMdabhUba sA evahiM kiM vivarIya hUa / tA pesiya kiMkaravara NiveNa avalovahu sAmiNi disivhenn| 5 14. 1 N uhAviu, 2 N karuNAI. 3 J Na. 15. 1J caurisi. - 50 -

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5. 17.5.1 karakaMDacariu joevi disihiM Agaya valevi pukkArahiM ubhA kara krevi| tA rAeM dekkhivi te ruvaMta parimuka aMsu NayaNahiM turaMta / he paryavaya tuhaM savaNANubaMdhu mahu akkhahi suMdari NehabaMdhu / hA muddhi muddhi tuhuM keNa NIya kiM evahiM lhikivi kahi mi ThIya / hA kuMjara kiM tuhuM jamaho dUra ki rosaI maho paDikUlu hu| dhattA-- ciru mohu vahaMtau ko vi hiyaI laDaharUu aggaI huyau / vijAharu Ayau so vi tahiM vijAsAyarapAru gau // 15 // 10 16 The king in his bereavemement is consoled by a Vidyadhara. bollAviu teM kheyaravareNa aho Naravai ki rovada bhareNa / ki mahilahe kAraNe khavahi dehu jaNe mahila hoi duhaNivahagehu / jA kIrai NArI garayevAsu kaha kijai NArIsahu~ NivAsu / pariphurie citte jA jaru kare duhakAraNu sA ko aNusarei / bhavavallI vaTTa jAhe saMgi rAmA lAyai duha maNuyaaMgi / balavaMtA kIrai balavihINa sA avalA sevahiM je NihINa / taM vayaNu suNeviNu NIsasaMtu avalovai mayaNAvali bhnnNtu| to kheyara devivau NiyamaNammi heTThAmuhUM lajaI huu khaNammi / ghanA-- te khayare puNu puNu so bhaNiu kiM acchahi tuI paricattajaNu / komalavayaNapauttiyahiM vujjhAviu paravai vimaNamaNu // 16 // 10 17 The Vidyadhara rccalls an incident of his past lifc. taM vayaNu suNeviNu samaradhIru saMtuTThau maNe karakaMDu viir| te bhaNiu khayaha saMjaNiyadhammu kahiM laddhau vayaNavilAsu rammu / dUrAu paNAsiyaharisarosu kiM muNivara seviu vigayadosu / tava daMsaNe NayaNaI NiddhayAI paiM pekkhivi aNNahiM Na vi gayA / kulagayaNacaMdaANaMdabhUta kiM baMdhau aNNahi jammi hu| 5 2 S pAyava tuhu sauNANubaMdhu. 16. HJ pariphariya citi. 2 J rAmA lAyai jA maNuu agi; DN ko rAmA lAyai maNuu agi. 3 JDN so.

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kaNayAmara viraiyau paripucchiu paI hauM saMsaeNa taM vayaNa suNeviNu maigahIru pArAvayakule ciraladdhajammu avaloivi teM maho gahiu pAu maI karuNaI rakkhahuM visaharAsu to bhIeM hauM mucchApavaNNu to phala suMo vijAhivAsu maI jANiu tuhuM aisaMsaeNa uvayAru mahaMta tuha vahaMtu kira homi tujjha vi hauM sahAu so visaharu kheru huu khaNeNa dhattA - tarhi avasare teM parihavagaeNa dhattA-- tahiM acchahiM jA paMjare ThiyAM rammamANu ghariNihiM valiu / tA guruphukkArahiM phukkarivi mahu samuhau visaharu saMcaliu // 17 // 10 18 He explains to Karakanda his friendship and the other Vidyadhara's enmity towards him, tA dhAviu khaNe tuhuM miusahAu / chaMDAvi puNu hauM paI mi tAsu / paI karuNaI maho NavayAru diSNu / uppaNNauM hauM guNaNiyaravAsu / jujjhata pekkhivi sahuM gaeNa / vijjAharakumarahiM sahuM ramaMtu / iu maNivi turiyau etthu Au / NavakAra muNiNA diNNaeNa / mayaNAvali pINapaohariyA | ta~ karivararUveM kheyaraI Niya tuha ghariNi maNohariyA // 18 // 19 uddhANaNu uru hatthe haNaMtu rovaMta paraM pekkhavi Au aipavara mahAbala avagaNevi ehu kheru maNivi guNavisAlu chaNavAsarasasaharaANaNIya karakaMDa suNivi taho laliya vANi 18. 1 J suhau; D surU. He assures the king that he will regain Madanavali and illustrates his point by the story of Naravahanadatta. page [5.17.6. kiM ko videu kahi NiccharaNa / AhAsai kheru Nivaho dhIru / hauM huMta tujjhu vi NayaNarammu / Shree Sudharmaswami Gyanbhandar-Umara, Surat 52 hA muddhi muddhi pahau bhaNaMtu / mA rovahi chaMDahi maNi visAu / Avesahi jayahuM mahi jiNevi / paNavesai paraM puNu sAmisAlu / pAvesai puNu iha kAmaNIya / paDivayaNu bhaNai tA dIhapANi / 19. 1J aha. - 5 10 5 www.umaragyanbhandar.com

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5. 19. 10.1 kara kaMDacariu bho khare sulakkhaNa guNaviNIya to khayaru bhai mahuraI sareNa ghaptA - NaravAhaNadattaho vallahiyA kaNayAmaravaraguNa NimmaliyA / sA miliya turaMtI taho Nivaho vijJANiyarahiM saMvaliyA // 19 // 10 kiM AvahiM tiye je harivi NIya / ha akkhami tumhahaM kiM pareNa / iya kara kaMDama hArAyacarie muNikaNayAmaraviraie bhavvayaNa - kaNNAvayaMse paMcakalyANavihANakappataruphalasaMpatte NIlamahANIlaAyaSNaNo NAma paMcamo pariccheu samato | // saMdhi // 5 // Shree Sudharmaswami Gyanbhandar-Umara, Surat * 2 S khayara salakkhaNu 3 Sti JN te. 53 * www.umaragyanbhandar.com

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Naravahanadatta is crowned king. karakaMDeM pucchiu so kahai garavAhaNadattaho taNiya kaha / AyaNNahi tuhuM pakke maNiNe ANaMdiya jaM suravarahaM saha // etthammi bharahe bacchAvayaMsi kausaMbiNayari tahiM asthi saMsi / tahiM asthi garAhiu baccharAu jasu aNudiNu Nimmalu dhammi rAu / taho ghariNi suvINA NAma jAya hiyaeNa saraha jiNavaraho paay| taho gaMdaNu aisayaguNamahaMtu paravAhaNu hayau jsmhNtu| jo sayalakalAlau pauradhAmu rUveNa viDaMbiu jeNa kaamu| so piuNA pekkhivi buddhivaMtu kiu paTTabaMdhu rAeM turaMtu / appuNu paDivaNNa risiMdavitti vitthAriya tihuvaNe Niyayakitti / tau karivi ghoru mayaNAvahAri gau siddhivilAsiNi taNaI vaari| 10 ghattA-NiyajaNaNavioeM vimaNamaNu garavAhaNadattu Na kahiM ramai / vAhajaloliyamuhakamalu vihalaMghalu uddhANaNu bhamai // 1 // 2 In sorrow for his father's retirement, he goes to the forest ___and meets a sage. paravAhaNadattaho amiyalacchi hiyayammi vahaMtau jaNaNasou piyasou vahaMtau NiyamaNammi surakheyaraNaravarahiyayarammi vijAharakiNNaraNayaNabahu diNI Na vi bhAvaha raaylcchi| Na samIhai suMdara aMgabhou / tA garavai lahu ekkahiM diNammi | saMpattau girikaaliNjrmmi| kusumAvaliNaMdaNavaNe paahu| 5 1. 1S maNa. 2 SN jai mahaMtu; J jAimaMtu. - 51 -

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'Na kuNatu 6. 4. 7. 1 karakaMDacariu dhammANurAu jaNamaNi kuNaMtu sahajAyaviruddhahaM dihi jnntuN| micchAmayajaNavayamaNu haraMtu paramappayaparvayaNu aNusaraMtu / dUrAu NivAriu jeNa dosu tahiM diTThara jaivaru hriyrosu| pattA- teNa turataeM muNivaraho payakamalahi jujiu nniyymnnu| puNu vaMdiu guru gurubhattiyaeM payapADiu sayalu vi jeNa jaNu // 2 // 10 3 The sage preaches the householder's dharma to him. payapADiyaphaNisuravaraNariMda tuhaM karuNa kareviNu munnivriNd| maho akkhahi Nimmalu dhammasAru / paripAvalaM je sNsaarpaaru| tA kahai bhaDArau vIyarAu je baddhau sirvapahe NiviDu rAu / bahueNa palAve kiM kieNa bhAvijaha jiNavaru sahuM hienn| aNavarau NarAhiva dANabuddhi aiNimmala kijA mnnvisuddhi| 5 aNuvayaI paMca sirasihare devi sikkhAvaya guNavaya dinva levi / bhesahaAhArAbhayasuNANu caubheyabhiNNu jo deha dANu / hiyaicchiya Nimmala phalasamiddhi so lahaha garesara viulariddhi / ghattA-NisibhoyaNu Naravaha pariharaha moNavaeNa bhoyaNu asai / so accharagaNiyahiM pariyariu suraharalIlaeM parivasai // 3 // 10 The sage illustrates the bad effect of expecting penitential reward by the story of Madhava and Madhusudana. uvahasiya surUveM NarasuriMda maNi sou Na kijaha he gariMda / soeNa Nibajjhara guruu kamma Nau pAvaha sohaNu mnnuvjmm| uppajaI vayarahaM hiyayahAri jayaNANa piyArI lddhnnaari| maNaraMjaNa gaMdaNa Tu bhAya vairANa NiyANaI sayala Aya / jau sakahiM tahiM bhavi duhu karevi NIyANu karahiM paribhare vahevi / aNNahiM bhavi ehaM duhu dehuM jeva hoejahi amhahaM jIva teva ciru payaDI jA kaha muNigaNeNa sA NisuNi Naresara thiramaNeNa / 1. 1 S jaNayaNa; N jaNamaNa. 2 D paramappayavayaNu vi. 3. 1 Mss sivapahu. 4.1J parihau. 5 - 55 -

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kaNayAmaravirahayau [ 6.4.8etthathi pasiddhI jayaNaramma mahurAuri maNicittaliyahamma / tahiM diyavara dAiya NAI hatthi mAhavamahusUyaNa doNNi asthi / te vaharu mahaMtau maNe vahaMti avaropparu guNagaNu Nau shti| 10 ghattA-divasehiM galaMtahiM mAhavaho dhaNariddhi parammuha lahu bhaiya / ___Nau NivasaNu ghariNahiM saMpaDai balasatti vi sayala vi taho galiya // 4 // Madhava in his penury goes to his rival Madhusudana. taho pariNieM tA ekkahiM diNammi saMciMtiu dutthieM NiyamaNammi / tuhuM piyayama NisuNahi vayaNu kiM pi| mahusUyaNu turiyau sarahu gNpi| bhukkhAI kilAviyaNiddhaNAhaM so dehaha bhoyaNu vihiM jnnaahN| tahe vayaNu suNeviNu mAhaveNa paDivayaNu bhaNiu khalieM raveNa / mANuNNa chaMDivi kiM parAsu ghari jAivi paisahuM duhyraasu| vari kavalahiM khAivi visu muyau jau dujaNaghari kiMkaru huyu| puNu bhaNiyau mAhavaghariNiyAI mANuNNaiNiyariM kiM kiyAI / tahe suNivi vayaNu mahusUyaNAsu gau mAhau taho ghari sjnnaasu| ghattA-sahuM ghariNieM mAhau duhaNilau ghare Ayau pekkhivi vimaNamaNu / mahusUyaNu karapaMjali karivi taho sammuhUM hUyau eyamaNu // 5 // 5. 10 6 The latter receives him well but Madhava thinks of a peculiar way of punishing him in his next birth. viNaeNa viNAmiyasIsaeNa bhaNiyAI tAI mhusuuynnenn| maho piyaraM tumharaM kavaNu coja hauM tumhahaM diNNau asami bhoju / jagi karuNacaMtu bhaimaNNaNiju kaha hoha Na sajaNu vaMdaNijnu / hiyaehiM tAI maccharu vahaMti taho taNiya riddhi mANa gau sahati / ekahiM diNi rose mAhaveNa kiu gamaNu payAgaho turiu tenn| tahiM dikSu tavohaNu kasaNu ekka taho pAyamUli khaNu eku thakku / so pucchivi jaivaru mAhaveNa tavacaraNu layau NiharahieNa / 5 6. PN jaNamaNNiNijbu. 2 N pUjivi. - 56 -

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6.8.10.2 karakaMDacariu taNu khaviyau ne sallehaNeNa so muyau NiyANaI taskhaNeNa / ghattA- hau hosami mahusUyaNaho sura maharAurivippaho vallahaTa / puNu deviNa sukkhu mahaMtu taho maho pacchaI maraNu vi saMbhavau // 6 // 10 Madhava is reborn Madhusudana's son and dies young thus causing grief to the latter. so mAhaTa mahasUyaNagharammi uppaNNau diyahahiM suMdarammi / jaNasUhau sayalakalANihANu lahuo vi huyau loyahaM pahANu / tA ekkahiM diNi jamadUvaehiM lahu vippaho NaMdaNu Niyau tehiM / mahusUyaNu puttaho taNu saraMtu dharaNiyale NivaDiu siru dhuNaMtu / taho kaMTu Na mellai maraNe jAi rovaMtau ekku vi svaNu Na thaai| 5 vujhAviu gau vujjhai varAu saMbaddhau taNayaho uvari bhAu / suadukkhaI maraNahuM baMbhaNAu pAyAgaho gau taggayamaNAu / dukkhANaladaTTau maraha jAma khayaraI keNa so dhariu taam| pattA- te akkhiu vaiyaru mAhavaho tavacaraNaNiyANaiM jo muyau / mahusUyaNu mahurAuriNayari tuha gaMdaNu maNaharu so huyau // 7 // 10 8 Naravahapadatta narrates his experiences; how he lost his wife. so suNivi vayaNu vijAharAsu gau sou mueviNu NiyagharAsu / soeNa viDaviya garasuriMda ne sou Na kijai he nnriNd| tA laddhAvasaraI tahiM ThieNa Niu pucchiu keNa vi kheyareNa / bho garavai kima paI divvadeha uvasAhiya meiNi pavara eha / tA kahai garesaru khayarAsu mnnirynnmuddmNddiysiraasu| 5 kumarattaNi hauM balavaMtadehu maho mANiNi kavaNa Na karai Nehu / maho NAmeM ariNara tharaharaMti bhayabhIyacitta vaNu aNusaraMti / jA acchauM hara sahu~ sayaNareNa / maho ghariNi tAva Niya kheyareNa / ghattA- tahe taNaeM vioeM dummiyau vihalaMdhalu kaha va Na raI karami / kiM desaho huMtau NIsarami ki kettaho jAivi hauM marami // 8 // 10 8. 1 D nahayareNa; N saha ghareNa. 2 SD mai. - 57 -

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kaNayAmaraviraiyau [ 6. 9. 1 How he meets a young woman near Paithan. iu ciMtivi sayalu vi NiyagharAu gau surasaritIru surohraau| paiTThANasamIvaI suhaNivAsu maI jiNavaru dekkhivi duhaviNAsu / paNaveppiNu jiNu vIsamiu tetyu kusumAuhasaru paisai Na jetthu / NihAbharamauliyaloyaNeNa paDisadda suNiu tahiM takkhaNeNa / kiM sovahi kumara virattacittu tuha turiu milesai Niyakalattu / / pariphuriyau taM maho vayaNe rAu NIsariyau hauM jiNamaMdirAu / avaloiya caudisu maNaharIya Na vi jayahiM diTTiya suMdarIya / NIsarivi gayau uvavaNaho jAva tahiM diTTI suMdari kA vi tAva / ghattA-muhakamalu karatI karakamale aMgulieM lihatI dharaNiyalu / komalavayaNapauttiyahiM sA paripucchiya maI sayalu // 9 // 5 10 10 The woman tells him about her love troubles. tuhaM suMdari acchahi kiM vaNammi samaNayaNahiM jhAyahi kiM maNammi / seNNANasaroruhakharadiNiMda tA tAI payAsiu maho khamiMda / vijAharapavvayadAhiNaMge puri atthi jayaMtI siNdhusiNge| tahiM dhUmakeu vijAhiNAhu~ ghari ghariNi suNaMdA atthi taahuN| avaruppara viraiyatilariNAhaM hauM dhUva hRva tahu bihiM jaNAhaM / 5 ekkahiM diNe sahiyahi aNusarevi etthAgaya kIlA maNe dharevi / NANAvihakIlAkIlirIhiM sahuM sahiyahiM khelami suMdarIhiM / jA kIla kareviNu suhAThiyAu tA khayaru mayaNAmaru ihAu / ghettA-so pekkhivi mayaNe hara NaDiya vAyAhaya keli va kaMpaviya / maho hiyau muNaMtieM sahayarieM taho sahayaru jAivi aNusariya // 10 // 10 11 How she had fallen in love with a Vidyadhara. so pucchiu tAeM mahAsaIeM ko akkhahi pahu NimmalamaIeM / so bhaNai etthu vijayar3e rammi siriuppalakheDi maNoharammi / 10. 1 DJN aNNANa. 2 D vinAhivAsu. 3 D tAsu. 4 N adds before this in _the margin viNu suyaNahu taho ko karada gehu jANaviNu valaha paramamohu. - 58 -

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5 10 6. 13. 4.1 karakaMDacariu nahi kheyaru hRyau paumaera nahIM taNau taNau pahu mayaNavau / uttaraveyaDDaho guNaNikeu maNaveyaho NaMdaNu pvnnveu| taho NehaeM tahiM kira jAi jAva tA tumhaI diTThau eNa tAva / paripucchivi so kulu maho mahaMtu maNu merau halu sA lahaMtu / iu kahivi tAhe gaya khayara be vi mayaNAmA Ayau puNu valevi / taho lajjaeM Na vi maho vayaNi vANi bolaMti vi te sahuM vahAM kANi / tA sahiyaeM bhaNiu turaMtiyAeM bho suMdara Nivasahi sahuM piyaaeN| pattA-NiyakaMThau leviNu NiyakaraI muttAhalamAlA suMdariya / jA ghallai kaMThaI mahotaNaI tA kokahuM Aiya sahayariya // 11 // 12 How her lover was turned in to a parrot by the curse of an ascetic girl whose modesty hc outraged. tA keumaieM hAM gharaho NIya vivaNammaNa ghare dukkheNa thIya / puNu valivi Aya hau~ paMtha jaav| mayaNAmaru maI Na vi diTTa tAva / taho taNau virahu vijAharIeM pariakkhiu kAeM vi duhhriieN| suviruddhavayaNu puNu puNu lavaMtu uddhANaNu vihalaMghalu bhmNtu| virahANalatAviu paI saraMtu risikapaNahe laggau so turNtu| tA turiu vilakkhI hUiyAeM mayaNAmaru sUyara kiyara taaeN| tahe sahiyaeM dhamma taraliyAeM sA bhaNiya turAMtaya karuNiyAeM / tuhuM devi aNuggahu karahi teva Niyabhajahe sahuM kIlai jev| ghattA-tA bhaNiyau tAeM mahAsaieM NaravAhaNadattaI jaM divasi / pariNevaDa rUu maNoharau raivibhamaNAmau laddhajasi // 12 // 5 10 13 Avother woman arrives there with a portrait. he sahiyare suMdaru laliyadehu Naru hosai taiyahuM puNu vi ehu / he suMdara iu maho tAI kahiu iu maNNivi maI vaNavAsu ghiu| AyaNNivi taM hara thiyau jAva lIlAvai Aiya tetyu tAva / tahe karayale Nihiyau paDu vicicu pecchaMtahaM mohai jaNahaM cittu / 11. 1 DN Niyakulu. -- 59 -

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kaNayAmara viraiyara paripucchiya sA maI ujjaeNa tA bhaNiu tAeM suNi pavara vIra vijayaho dAhiNasiMdhutIre rayaNANa liu NayaNA hirAmu ghattA- * tahiM rANau NAmeM haMsarahu vijjAharaNiyarahiM pariyariu / haMsiNieM haMsu va maNaharau so vimalAevieM aNusariu || 13|| 14 She gives information teM ANi mANivi harivi kA vi taho maMdire acchara sariyadhamma Na vi jaMpiu keNa vi samau tAeM so pekkhivi niyamaNi ramai jAva paripucchiya saramaMjUsa tAeM kiM khayaru kiMNaru suraNaro vi arast kahiyau tAeM sAru avaloiya jAtaM phalahu levi dhattA [6. 13,5 taM koDaeM dekkhahuM laddhasalahu paribhAvara jA puNu taM maNammi dukkheNa saceyaNa kaha va hUa mucchAI parvaNNI sahie kAI sA bhai bahiNi iha phalahiM cicu kiM sureu mAi kiM hoi kAmu to viraheM aivimaNammaNIhiM etyAgaya tuhaM kajeNa keNa / jaNavallaha suMdara merudhIra / surakheyaraparimalavarasamIre / tahiM atthi yaru kaNayauru NAmu / Naravahanadatta is attracted by the portrait brought by her. levAdhiDa kaNayamaIe phalahu / dharaNiyale NivaDiya sA khaNammi / paripucchiya sahiyahiM saralabhUa / tuhuM dukkha bhaNu hiyayammi jAI / maho kIyau eNa Niratthu citcu / lai bhAvai eyaho taNau NAmu / hauM pesiya tAhiM ma bihiM jaNIhiM / - about his lost wife. ahilAsaho kaha va Na taggeyA vi / jA mayaNakaraMDI rayaNaramma / NiyaramaNu alehiu taggayAeM / vegavas sukheyari Aya tAva / ko lihiu paI ehu bhaNahi mAe / kiM maM saMdhiya guNasaro vi / vANu mahu piu ehu cAru / dharaNiyale NivaDiya taNu dhuNevi / paripucchiya jANivi vegavai kiu hAsau kaNayamaIe tahe / Na viruzca kavaNu vi tAhe varu ruveNa vi diI gaya dharahe || 14 || 10 15 Shree Sudharmaswami Gyanbhandar-Umara, Surat 14 1 J taho gayA vi. 2 vammahaM saMdhiu. 15. 1 J also reads lehAviu 2 N pavaNNA. 3 N paDu vicitu. 4 DN maNau . 60 5 10 www.umaragyanbhandar.com

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6. 16. 10 ] taM tAhiM miNiyamaNi pariMgaNIu / so hosai amhahaM taNau kaMtu / so paDa evi hauM etthu bhaya / dhattA - jA paDu vilaeviNu NiyakaradaM puNu bhAviu rUu maNoharau | tA muclae~ ruMbhiu hiyau maho he kheyara kiM piNa saMbharau // 15 // 16 kara kaMDacariu triru cAraNamuNiNA jaM bhaNIu ravibhama jo pariNei saMtu sA turiu lihAviya paDe surAya Naravahanadatta concludes his story by saying that he went and married all those girls. sahiyANa majjhe NimmalamaIeM tA jAivi garuvaI ucchaveNa araseM sahuM caNamaI vi avarAI vi paMcasayAI tetyu veyara teNa jA harivi NIya saMsAhiyAiM kheyarasayAI saMsiddhI meiNi jalahi jAma ANAviu jaNavai tAu deva 5N mucchiu. tahiM NIyau hauM lIlAvaIeM / ravinbhama pariNiya maI NiveNa / vaivAhiya puNu lIlAvaI vi / vaivAhiyAI thiu mayaNu jetyu | maho miliya dhariNi sumanoharIya / upAiyAI arimaNe bhayAI / jahiM vasahiM NiraMtara viula gAma / ke paTTabaMdhu jaNavihiyaseva / iya karakaMDamahArAyacarie muNikaNayAmaraviraie bhavvayaNakaNNAvayaMse paMcakalANavihANa kappata6phalasaMpatte vAhaNadatta - akkhANa - AyaSNaNo NAma chaTTho pariccheu samatto // // saMdhi // 6 // Shree Sudharmaswami Gyanbhandar-Umara, Surat dhattA- iu vaiyaru akkhira khagavaIhe paripucchiu paraM hauM jaM sayalu | kaNayAmaradA jaNu thaviu parivaMdiu maI jiNapayajuyalu // 16 // 10 16. JtAva J kriu. 3 JS khagavaya ho. 61 10 - 5 www.umaragyanbhandar.com

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VII The story of good omen. A Brahmin sees a good omen and dances over it. karakaMDa suvaMdhava bhaNami paI lahuM dehi payANau turiu tuhuN| aisau~Nu suhAvau suMdarau bahuphalaI lahesahi nnaarisuhu|| bhaNu kavaNaho sau~Naho phalaI dhIra maho NAri havesai khayaravAra / taho kahai khayaru muNi purau pekkhu phalu deha Niruttau dinvacakkhu kahi sauNaho phalu saMpattu keNa tA kahai khayaru saMpattu jenn| ko vi baMbhaNu bhukkhau khINadehu saMcalliu desaho muivi gehu| te kANaNi jaivaru eka diTu taho tolu mahaMtau maNe phu| ehu saMuNu suhAvau maNi dharevi so Nacciu ubhA kara karevi / khelaMtu aheDau rAyauttu tA tetyu khaNaddhe ko vi pattu / ekallau aDavihiM tuTThamANu te diTTau baMbhaNu nnccmaannu| pattA-bho vippa bhaDArA bhaNami paiM ki raNNe paNaJcahi mokalau / aha laddhau kiM pi maNoharau kiM bhAyara hUvara vAvalau // 1 // 10 2 A prince acquires the good omen in exchange for his ___ ornaments and horse. taho kahai diesaru saralacitta Nau vAyagahiu hauM homi mitta / gayabhUsaNaNivasaNajaMtaeNa ANaMdamahArasu pttenn| paMcANaNu Nivasai jahiM samatyu maI savaNu suhAvau laddha etthu / taho phalaI lahesami rAyalacchi bhujesami meiNi hariyakucchi / 1. 1 SN lai. 2 DJN savagu. 3 DJN savaNaho. 4 S aheTUTha. - 62 -

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7. 4. 8.1 karakaMDacariu tA kumaraI turiu pauttu bhaTTa ujjhAya tuhArau hauM mi cahu~ / maho dehi bhaDArA savaNu bahu lai bhUsaNu ghoDau dibadehu / AharaNasamANau turau levi gau vippu gharaho taho savaNu devi / ahiNavamuNAlavellahaladehu saMcalliDa kumaru paiNNaNehu / / pattA-jiNasAsaNadevieM taho purau NiyavijaeM NimmiTa jaM ji taNu / taM mellivi kIyau avaru puNu pekkhaMtahaM pasarai jeNa maNu // 2 // 10 3 The prince finds divine companions, taho aggaI hUI hariNaNetta NaM rAhavaghariNi saNehacitta / hauM tujjhu kumara aNumaggayAri saMhUI tuha ariplykaari| so tAeM samau gau aDavimajjhi parakheyarakiMNarasuraasajjhi / tahiM kau cirANau tehiM diTTa hiyayammi mahADaru Nau pachu / sahuM diTThau visaharu daddureNa jujhaMtau tahiM NiharakareNa / 5 jujhaMtA pekkhivi turiu teNa NiyaaMgu pamaNNivi tiNu va jeNa / asidheNuAeM khaMDevi khAhu NiyamaMsu Nivesiu manjhi tAhu / tA viNNi vi sAhasu taho muNevi avayariyA aggaI maNuca hovi / ghattA- AhIraI rUvaI eku huu aNNeku vi vadyahaM svadharu / tihiM jaNahiM susohiu so kumaru NaM saggaho Ayau ko vi muru|| 3 // 10 Another prince attempts treachery and reaps the evil reward. diTThAI tAI keNa vi NiveNa sammANiyAI vayaNucchaveNa / devakhaviNu svakaraMDaNAri mANa paiThI NaM taho palayamAri / tahe NArihe ahilAsaho gaeNa taho pANaNAsu vitiyau teNa / pAraddhihiM rANaI kumaru NIu tahiM aMdhakUu ekaMti tthiiu| tahiM pellivi ghalliu kumaru so vi| gau rANau mahilahe sammuho vi| sappeNa Dasiu so muyau jAma sAlUraraM ANiu kumaru taam| naho kumaraho baddhau rAyapaTu sanvehiM samappiu turayathaTTa / so lIlaI mANaha rAyalacchi te pucchiya sA ckoranchi| 2. 1 Dadds before this vippahu vayaNAu vi gahiu saTTa. 5 - 63 -

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kaNayAmaraviraiyau / 7. 4. 9pattA- he suMdari kA tuhaM kahahi maho gehabhareNa kayAyariya / tA vittu cirANau taho kahivi NiyamaMdira takkhANi aNusariya // 4 // 10 5 5 Karakanda starts ott and reaches the Simhala island. guNasAyara suMdara Nisuya paiM eha savaNakahANI kahiya maI / iu bhaNivi khayaru gau NiyagharAsu NAmeNa snyclcchiipuraasu| tA ekahiM diNi karakaMDaeNa puNu diNNu payANau turiyenn| gau siMhaladIvaho NivasamANu karakaMDu NarAhiu parapahANu / jahiM pADalapillaI maNu haraMti sura kheyara kiMNara jahiM ramaMti gayalIlaI mahilau jahiM calaMti NiyarUveM rairUu vi khalaMti jahiM dekkhivi loyahaM taNau bhou vIsariyaDa devahaM devalou / AvAsiu Nayaraho bahipaese arisaMka pavaDDiya tahiM ji dese / AvAsu muevi sahayarasameu karakaMDa gayau ramaNihiM ameu / tahiM garuvau savaNasaehiM bhariu NaM kappavacchu devehiM dhariu / dalavaMtahiM pattahiM pariyariu bahu diha rAeM samu vitthariu / ghattA-- karakaMDe pekkhivi taho vaDaho dIhaI suTu sukomalaI / tA leviNu guliyA dhaNuhaDiyA viddhAiM asesaI saddalaI // 5 // ____10 6 The Simhala kiug invites Karakanda to his palace. vaDapaNNaI viddhaiM jaM sareNa NaraNAhaho kahiyau so careNa / jo bhAsiu cAraNamuNivareNa varu Ayau Naravai so bhareNa / Na vi jANahuM kiM so varuNu caMdu aha hoi Naresaru kiM suriMdu / khelaMteM vaNe NivasuyagaNeNa vaDapattaNivahu viddhau khaNeNa / tA rAeM pesiya NarapahANa gaya simiraho kheveM te sayANa caMpAhiu bhaNiyau tehiM mitta paI kokai garavai saralacitta / so tumhaha uvari NivaddhaNehu saMcallahu tumhaI tAsu gehu / taM suNivi bhaNaha karakaMDu rAu jai Avaha sammuI tumha rAu / rayaNANa viNimmiyasuMdarAsu tA jAmi tumha NivamaMdirAsa / taM suNivi tehiM khaNi NiyaNivAsu ghari jAivi akkhiya patte taasu| 10

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8. pradhAna guphA meM bhittipara kI citrakArI. A portion of the frieze of the great cave at Terapura. 9. pradhAna guphA kI zAlA ke stambhoM kI citrakArI. Design of the pillars in the hall of the great cave.

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7. 8. 11.] karakaMDacariu ghattAH-sA Avai Naravai tujhu ghari jai tumhaI leNahaM jAhu taho / taM suNivi NarAhiu NIsariu gau sammuhu~ so caMpAhivaho // 6 // 7 Karakanda marries the Simhala princess. so diTThau rAeM aisuteu NaM viggahavaMtau myrkeu| aNurAeM tA guNasAyareNa Niu Nayare NarAhiu AyareNa / paisaMtau so puri jaNahiM diTTa gopAlasahiu NaM deu viTTa / juIjaNamaNasaMtAu diMtu karakaMDu NarAhiu gehu pattu / rahaveyaheM NAmeM NiyasuAhe dakkhAliu so sulliybhuaahe| so bAlaeM avaloiu juvANu NaM hiyaeM paiTThara kusumabANu / vihalaMghala kAiM vi Nau muNei so pekkhai ki pi Na Na vi suNaha / Na vi jaNaNaho lajA tAhe jAya kaMpatihe pulaeM khaliya vaay| pekleviNu dhUyahe seyavAhu pAraMbhiu rAeM khaNe vivAhu / ghattA- keu maMDaDa mottiyatAraNahiM gurucauriya hemeM Nimmaviya / aiucciya maNahara vei kiya rayaNaviNimmiya Nimmaliya // 7 // 8 5 10 5 Karakanda returns with the bride by the sea, vavAhu kiyau lahu tAhu ke vi kheyara ahilAsaho jAhiM je vi| dAijaI diNNA tahe payaMDa nnijjhrjhrNtmygilgNdd| varaturayathaTTa kiMkiNiravAla rayaNehiM viNimmiya diNNa mAla / jaM avaru kiM pi gayaNAhirAmu tahe rAeM diNNau'levi NAmu / eehiM samau maNi tuTThaeNa jAmAyaho appiya duhiya teNa / bahurayaNaI diNNaiM turiyaeNa pahirAviya rANA raannenn| NaraNAhe visajiu NivapahANu saMjoiu rAeM salilajANu / duTThAriNariMdaho palayakAlu tahe jANe caDiNNau dharaNivAlu / dhayavaDavamAlu parighuliu bhAi taM pavaNavase jalamajhe jAi / ghattA- avarAI sahAsaI chaNNavaI nnrnniyrnnirNtrpuuriyii| NaM amaravimANaiM dhara sarahiM jalagamaNaho AsAUriyaI // 8 // N kiu. 8. 1 J laivi. 2 S chaNavaI. 10 7. --- 65 -

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kaNayAmara virahayau 9 He encounters a sea monster. jAma siMdhumajhi jAhiM jANayAI tAva diTTu rANaeNa macchu phAru te rUNAI viNhu kIlaei joyaNAI saTThi atthi tuMgimAI so visaTThitta pAya dIhamANu maMdaro vva toyamajjhe appamANu maMdu maMdu suppayaMDa raMgamANu so vi dekhi rANayAhaM bhaggamANu ghattA - bhayabhIyaNariMdahiM dutthiyahiM sayalaI jalajANaI ubbhiyaI / NaM kAI viduTThaeM devayaeM maMtANa pahAve thaMbhiyaI // 9 // 10 Karakanda is carried away by a Vidyadhari suddhabhAu chaMDiUNa / baddhamANamacchareNa / khaggadheNu kaDDiUNa / rosaeNa dhAviUNa / so vi macchu pekkhiUNa tAva teNa duddhareNa mallagaMThi baMdhiUNa taM pi jANu chaMDiUNa royiNA turaMtaeNa ullalevi dukku titthu poTamajjhe bhAviUNa lUriyAI vammayAI jattha asthi sacchaNIru tA~va tammi kheyarIeM so vi NIu pekkhiUNa diNNa jhaMpa sAyarammi maMDiUNa tADiUNa sajjiyAI / NAIM teNa sAyarassa laDa sAre / sAyaro vva rAyariddhi NaM Niei / addhao vi addhi AeM hoi tAI / sAyaraM pi ruMdhiUNa thakkimANu / ucchalaMtu pakkhalaMtu chajamANu / rosaeNa dhAviUNa laggamANu / khaMciyaM pitakkhaNeNa toyajANu / Shree Sudharmaswami Gyanbhandar-Umara, Surat 66 diNNa jhaMpa kuddhaeNa / dhUlakA macchu jitthu / so vi macchu ghAiUNa / phADiyAI cammayAI / 7.9.1 ucchalaMtu NaTTu vIru / NIu rAu duddhriieN| subhaDehi ciMtiUNa / dukkhihiM takkhaNammi / 5 10 5 9.1S pAru. 10. 1 J rAyaNA; N rAiNA. 2 N adds before this sAyaro mahAgahIru. 3 N adds before this tAva tammi jujjhadacchu. 4 N adds before this NAMu heri suddhiyAI maigaharu muddhiyAI. 10 www.umaragyanbhandar.com

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7. 12. 2.] karakaMDacariu ghattA- hallohali hUyau sayalu jalu aparaMpari jANaI saMcalahiM / hA hA rau udviu karuNasaru taho soeM Naravara salabalahi // 10 // 11 Lamentations of Rativega. jA garapaMcANaNu viyasiyaANaNu jali paDiu / tA sayalahiM loyahiM pasariyasoyahiM aiDariu // raiveya subhAmiNi NaM phaNikAmiNi vimaNabhayA / savvaMge kaMpiya citti camakkiya mucchagayA // kiyacamarasuvAeM salilasahAeM guNabhariyA // uhAviya ramaNihiM muNimaNadamaNihiM maNahariyA // sA karayalakamalahiM sulaliyasaralahiM uru haNai / uvvAhulaNayaNI gaggiravayaNI puNu bhaNai // hA vairiya vaivasa pAvamalImasa kiM kiyau / maiM AsivarAyau ramaNu parAyau kiM hiyau hA daiva parammuha duNNaya dummuhu tuhuM huyu| hA sAmi salakkhaNa suTTa viyakkhaNa kahiM gayau // maho uvari bhaDArA NaravarasArA karuNa kari / duhajalahiM paDatI palayaho jaMtI NAha dhari // hau~ NAri varAiya AvaI Aiya ko sruN| parichaMDiya tumhahiM jIvami evahiM kiM mara // iya soyavimuddhaI laviyau suddhaI jaM hiyaI / hau~ bollisu taiyatuM milihai jaiyarlDa majhu pai // ghattA-aisou kareviNu maMtivaru saMbohivi pariyaNu dummiyau / gau jANaiM leviNu jalahitaDe taM pariyaNu tahiM Niccalu kiyau // 11 // 20 12 Rativega worships goddess Padmavati, AvAsiya seNNA titthu jAva rahaveyaeM ujau kiyau tAva / puNu turiu vilakkhIhUiyAI aNusariya devi komalagirAI / 5 J jANahiM. 11. 1 D duSNai dummuha. 2 J karauM. 15

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kaNayAmaraviraiyau 17. 12. 3uddhariyau maMDalu tAeM ramma NaM dhammu jiNeMdeM hariyachammu / taho majjhi Nivasiya divya devi pomAvai NAmeM thira karevi / puvvAhi mi disihi mi jau thiyAu Ahrayau deviu aaiyaa| 5 rattaMdaNakaTTe jA ghaDIya sasicaMdaNakuMkumasamalahIya / phalaphullaNivajahiM puja kIya uvavAsaM paDhama aNusarIya / uvaese laddhau bIyavaMtu NavakuMkumakusumahiM javiDa mNtu| ghattA-ArattahiM davahiM Alihivi ArattahiM vatthahiM parihaNiya / ArattadmANu jhApaci puNu NijjhAiya devaa thiramaNiya // 12 // 10 13 Goddess Padinavati appears. samazcivi pUjivi jhAyai jAva __ samAgaya devaya pomiNi tAva / samaMtharalAlasakomalaagi kuNatiya kA vi aubdhiya bhaMgi / viNimmiyarUvasamiddhi khaNeNa sarIraiM rattiya suddhamaNeNa / karahiM caUhiM karaMti guNAla sapotthayabhiMga samuddamuNAla / sakuMDalakaNNaphuraMtakavola saNeurakiMkiNimehalarola / 5 phaNIphaNapaMca sireNa dharaMti pasaNNiya Nimmala kA vi karaMti / mahIyAla pAyasaroya thavaMti suhAvieM vANieM kiM pi cavaMti / disAhaM muhammi pasAriyadhAmu urammi NivesiyamottiyadAmu / ghattA-varu demi bhaNaMtI devi khaNe raiveyaheM aggaI guNabhariya / tuhaM maggi kisoyari jaM hiyaI nau kAraNe dharaNihaM avayariya // 13 // 10 14 The goddess grants a boon to Rativega wino asks for information about her husband. jA devihe dihau muhakamalu raiveyahe jAyau aNsujlu| maho devi bhaDArie duriyamalu tau dasaNe Na?u taM sayalu / paiM devi sahAve jo thuNai so dukkhaparaMpara Nau muNai / jo aNudiNu jhAyai tujjhu muhUM tasu hohi taraMDau devi tuhuN| 12. 1 JADhayAu, 2 J rattUMdiNakaTTe; D rataMdaNukaheM 3 Jomits the portion from samalahIya to NavakuMkuma in line 8.

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7. 16. 5.] maho dINahe tuhuM kAruNNu kari hauM kiM piNa maggammi devi paraM jai saccAu bhayavaha dehi varu hasAyare maI NivaDaMti dhari / abhatthiya tuhuM varu eku maI / maho vayaNu eka tuhuM devi karU / kiM jIvai aha kiM so muyau / rayaNAyare maho sAmiDa gayau prattA- tA kahai surasari tuha ramaNu jo jANaho hotau paripaDiu / kaNaya pahavijjAharasuahe so hiyavaI takkhaNe saMcaDiu // 14 // 15 karakaMDacariu Karakanda, says the goddess, had been taken to Tilakadvipa where he had become the lord of all. tA mohavase kaNaya pahAeM dakkhAliGa jaNaNaho tAya pekkhu ehu sAmi mahArau risihiM siTTha aNurAu muNevi vijJAhiveNa karakaMDaI tA ekahiM diNammi jo suaNu parAya asai bhoju kaNaya pahavairiu hayau jeNa iya muNivi ra vijAharehiM The goddess assures Rativega of her reunion with her husband. tara ramaNa kIyaI sAhasAI vAhiya teNa aNaMgaleha puNu lalieM pariNaya caMdaleha kusumAvali cArucarittacitta avarAhaM mi kaNNahaM sayaI satta 15. J tahiM. Shree Sudharmaswami Gyanbhandar-Umara, Surat khaNi tilayadIu soNiyau tAeM / maI sAyari laddhau divvacakkhu / jaha lacchieM laddhau deu viTTu / vevAhu kiya te ucchaveNa / hau vairiu sasuraho takkhaNasmi / uvayAru karai kira kavaNu coju so sAmiu hosai kiM pareNa / paDiNNiya turiya kayAyarehiM / dhattA- aNurAeM maulevi karajuvalu siru Navivi payate aNusariya | vijjAharu so Na vi asthi tahiM tasu taNiya kera jeM Na vi dhariya // 15 // 10 16 69 ko vaNNahuM sakai bahiNi tAI | NaM kAmakirAyaho taNiya reha / NaM mayaNasahori divvadeha / rayaNAvali pariNiya kaNayaditta / pariNIya mahaM tuha kahiya vanta / 5 - 10 5 5 www.umaragyanbhandar.com

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kaNayAmaraviraiyau tA sou NivArivi karahi dhammu aituriu lapaviNu pauradavyu raiveeM bhaNiya taM suNevi dhattA-- paDivayaNu bhaDArI tahe bhaNai maho vayaNaho saMsau kiM karahi / kaNayAmarateyasamaggalau so aNudiNu jiNavaru saMbharahi // 16 // // saMdhi iya karakaMDamahArAyacarie muNikaNayAmara viraie bhavvayaNakaNNA vayaMse paMcakalyANaviddANakappataruphalasaMpatte karakaMDa vijjAhara vivAhalaMbho NAma sattamo pariccheu samatto / : karakaMDu milesai galiyachammu / aNavarau dehi tuhuM dANu bhavvu / kiM sAyare gau Avai valevi / Shree Sudharmaswami Gyanbhandar-Umara, Surat [7.16.6 // 7 // I 10 www.umaragyanbhandar.com

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VIII The goddess illustrates her point by the story of Aridamana. raiveya bhaNai he devi suNu tuha vayaNu suhAvau bhaaviyu| maho akkhu pasAu karevi tuDaM kiM ko vi gayau Naru aaiyu|| taM suNivi bhaDArI kahai tAha durieNa vilittau maNu Na jaahe| he suMdari NisuNahi saralacitta jiNaNAhaho calaNahaM paramabhatte / hauM akkhami NeheM tujhu kiM pi aridamaNaNarAhivacariu taM pi| patthathi avaMtI NAma desu NaM tuTTivi paDiyau saggalesu / tahiM NayaNapiyArI Nayari asthi ujjeNi NAu gyrvigbhtthi| tahiM asthi pasiddhau pavarateu aridamaNu NarAhiu guNaNikeu / taho vimalA bhAmiNi NayaNaramma AsaNNabhanca parigaliyakamma / taho atthi maMti jaNajaNiyarAu varadattu NarAhivaidiNNabhAu ghattA-taho maMtihe vaDavA suMdariya gaya varaNahaM vAhire purvrho| sA ramiya turaMtaI mayaNabhara pekkheviNu turayaI girivaraho // 1 // 10 Aridamana's minister got a colt which was watched by a Vidyadhara in the form of a parrot. sA gayA paTTaNaM maMtiNA pekkhiyA savvasallakkhaNA gambhiNI lkkhiyaa| teNa saMrakkhiyA maMdire dhAriyA havaMtAI khANAI sA vAriyA / sohaNo vAyaveo kisoro tahe jAyau vAsare suMdare sorhe| NIlavaNNo sauNNo muhe vaMkuDo majjhaNio ure pacchale vitthddo| dIhaphukkArahikArauddo dhuro tAlutaMbovamo loyaNA bhNguro| 11 SJ NarAhiu. 2. 1 Jho. -71 - -.--

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kaNayAmaraviraiyara [ 8. 2.6NaNharomAvalIkaNNasaMsaggao thovaehiM diNehiM payi go| maMticittassa aJcaMtu so bhAvio sUratAveNa vAraNa Ne paavio| bhUmigehammi jA chuddhao acchae saggiNIchaMdakIro vi taM pecchae / ghattA-jaulagi gabhi pariTTiyau giriturayaho gaMdaNu jayapavaru / taulagi pekkhai diNi ji diNe ko vi kheyaru kIrasurUvadharu // 2 // 10 The parrot asks a cowherd to take it and sell to the king ___for 500 gold coins. kheyaru hUyau kIro pvvymtthydhiiro| bhoyasapahiM Nabhaggo kaMtahe NeharaM lggo| acchaha jAya suheNaM bhuMjai bhoya cireNaM / tAva sadhammu susIlA mttykuNjrliilo| pIvaradIharabAho suMdara gohnnnnaaho| tettha vaNammi pavaNNo ceTTei jAya nnisnnnno| diTThau tA gayaNehi kIraI so saguNehi uttau komalavAeM chaMdaI cittdhyaaeN| ghattA-tuhuM govAla laevi maI Nehi turaMtau purvrho| kaMcaNapaMcasaehiM phuDa jAevi dehi garesaraho // 3 // 10 On the way thcy see a merchant caught by a harlot who demanded money. suNIUNa vANI muMNIUNa nnaannii| NaeNaM viNIe maNe mnnnnnniie| sueNAvi jutto puraM jhaMtti ptto| khaNe ditu diTThI tahiM diTu sihii| suhI kuTTiNIeM dharIo gnniieN| 2 J paviDI. 3. 1 D vaDa; N veTTai. 4. 1D khageM uttamANI. 2 DN majjhi.

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8. 6. 2.] bhaNIo balAeM tuma rAyaANA tuma je utta mahaM puttiyAeM suchaMdeM virAeM tahe dehi' da NivArehi gavvaM / dhattA - taho kolAhalu aipavaru haTTahaM majjheNa pasariyau / visakai vAraho ko vi Naru jAmacchara vaNivaru dhariyau // 4 // 5 tAva uttu sUyaeNa ANi seTThi Ariso vi ANiyaM ca taM piteNa kara kaMDacariu The parrot settles the dispute by a wit. to bhai cArukIru bho kahei seTThi majjha tA kahei seTThitAsu taM suNevi sUyaNa uttu seTThi akkayAhiM so suNevi divvavANi ANapavi jAva da dappaNassa majjhe biMdu gUDhacitta jANiyA vi harAviya kuTTiNi jAma sueNa suvaNNapariggahu hu sarehu 3 D debi 4 ] majjhi pasAriyau. girA komlaaeN| ma jAhI ayANA | suI vitto| ghare suttiyAeM / kayA somarAeM / Shree Sudharmaswami Gyanbhandar-Umara, Surat 1 73 vacchaleNa vAya dhIru / vArayAmi jeNa jujjhu / kAraNaM pi kaMdalAsu / ghattA - tAM bollai kuTTiNi bhagga suya paDibiMdu kiM leNahuM jAi vale / taM suNivi paDattaru sA bhaNiya suiNaI kiM gahaNau lahai caile // 5 // 6 The parrot reaches the palace. NANasAyaraM gaeNa | dehi davvu sajayAhiM / tAsu jAya cittakANi / kuTTiNIhe dei sabbu / NImaggu jANapaNa | demi davvu jema ko vi / sUyapaNa takkhaNeNa / lehi akke ehu davvu / chaMdiNA samANiyA vi / papa seTThi suyassa gaena / lapaviNu bhAvai taM ji karehu / 10 5 10 5.1 SJ saka. 2 J to. 3 J leNahUM. 4 JN vale. www.umaragyanbhandar.com

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kaNayAmaraviraiyau [ 8. 6. 3suNeviNu sUyaI bucai tema vaNIsaru citti camakA jema / hiraNNaI amhaI kAI karehuM susajaNaloyahaM cittu harehuM / suNeviNu kIrahaM bhAvavisuddhi ahIrahaM diNNiya daannpviddhi| ahIru pauttau sUyaeM ehi laeviNu rAyaduvAraho hi / pio khaNi rAyavAraho so vi huo ghara buddhisamiddhihe jo vi / duvAriu uttau kIraeM mitta sumottiyadAmapasAriyacitta / ghattA-lai akkhahi vatta maho taNiya NiyarAyaho aggaI sarala tuhuuN| pekkhesami jayaNANaMdayaru chaNasasaharatullau tAsu muhu // 6 // 10 It gives an account of itself to the king. paDihAraI rAyaho kahiu eva suu bAhire acchai devadeva / taM suNivi NivAviu rANaeNa saMbhAsiu so pomANaNeNa / tA sUeM uccAevi pAu ahiNaMdiu AsIvAeM rAu / bho Naravai karikaradIhabAhu ciru jIvahi surasari jAma vAhu / maiNi tuTThaeM rAeM kIru vut kiM Ayau ko tuhuM bhaNu nnirukssu| 5 paDivajai jaigavara NAhacAru taha kavaDakahANau rayau phAru / tA kahA kIru Naravaha purammi suya paMcasayaI seNblitrummi| jAvacchahuM te maI bhaNiya velli lai chiNNahuM mahu haya tehiM lalli / guMjAruNaNayaNau kasaNavaNNu bhillANa Nivahu tA tahiM pvnnnnu| ghattA-tahiM rukkhe caDeviNa suyagharahiM pAsi samoDiya tehi khnne| 10 tA baddhA amhaI sayala sua maI ciMtiu ko vi uvAu maNe // 7 // How it reached a hermitage and learnt the sastras. It then informs the king about the minister's beautiful horse. maI vuttA sayala vi suya karevi kavaDeNa vi acchahu khaNu marevi / bhilleNa caDeviNu sayala diha tale ghalliya maNNevi te nnicitttte| 7. Jalso reads aNAviu. 2 S maNatuTThayaM. 3 D jiNavara; N corrects jiNavara as jiha Nara. 4 J seMmaliyarummi. 5 D muhu. 6 D adds before this gau~ chiNNiya tehiM jAhi so vi Ahiya viDovari guruya hovi. 8. . DJN Niviha. -74 -

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5 8. 10. 4.1 karakaMDacariu tA uDDivi gaya dasadisihiM te vi hauM tAvasavADau gau valevi / maI sayalaI satthaI jANiyAI pavvayasiri sokkhaI maanniyaaii| tahiM dihau girivarataNau Asu gau vaDavAsaMgaho kaamvaasu| aisuMdaru ghoDau tAI jAu dharaNiyale laggai NAhi pAu / maI jANiu so vijAharaNa tuha akkhiya NehaparavaseNa / ghari acchai maMtihe so caraMtu taM suNivi garesaru gau turaMtu / pattA- dharu jAivi tAsu mahatayahi puNu bhaNiyau vayaNu NaresaraI / maho kanju Na rayaNahiM mANikahiM tuha turayaI pujaI maNaharaI // 8 // 10 The horse takes the king and the parrot across the sea where they sce a hundred maidens. NiyahiyavaeM dukkhu vahaMtaeNa so appiu teNa mhNtenn| gau turau leyi NiyamaMdirAsu pallANu vihiu taho bNdhuraasu| tahiM caDiu paresaru sahu~ sueNa devAviu pherau diddhbhuenn| kAreNa NivAriu deva ghAu mA payaDahi ThaMDahi NiyasahAu / NaraNAheM turayaho suyachaleNa kasatADaNu kiu koUhaleNa / tA turau turaMtau NahayaleNa gau sAyara laMdhivi dUraeNa / samarINaeM rANaeM bhaNita kIru kahiM labhA baMdhava vimalagIra tA kore gayaNaMgaNu sarevi avaloiu pANiu thiru karevi / AveviNu kIraI bhaNiu tAsu lai calahi turiu rayaNAyarAsu / ghacA- jAeviNu sAyari kaNNasau diTThau tetthu rmNtiyu| suryavayaNa ThANe taho taNaI khaNe rAyaI deu smcciyu||9|| 5 10 10 The king wins the heart of Ratnalekha. pahANacaNu devahaM pherivi tAu kaNNANa Nivahu Niyaghara gayAu / sUeNa NarAhiu takkhaNeNa aNumagge NIyau tahuM taNeNa / chohAradIvasaMpattaeNa kaNNANa Nilau rANaeM genn| avaroppara citteM miliyaeNa tA takkhaNi bhaNiyau sUyaeNa / 9. 1 N rAu. 1 D sura. 10. 1 N karai.

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kaNayAmaraviraiyau (8. 10. 5he garavai tuhuM eha rayaNaleha lai pariNahi kNcnndivvdeh| 5 ciru kahiya murNidahiM ArisehiM pariNevI eha tumhaarisehiN| taM suNivi gairiMdeM sA bhaNIya aNbhoruhdiihrloynniiy| he suMdari sUyau bhaNai jAI paDihAseMhiM tuhuM vayaNAI tAI / ghattA-- taM suNivi kumArI paDilavai aNurAeM vayaNu paDikkhalai / maI kera tuhArI maNi dhariya suyavayaNu Naresara kiM calai // 10 // 10 11 He sails with her for home and reaches a deserted island. taM vayaNu suhAvau suNivi teNa sA pariNiya rANaI turiyenn| tahiM NehaI bhoyasahAsa bhutta tA ekkahiM diNe paDilavai dhutta / payAMtie Nibharu paramaiM Nehu he Naravai pekkhahuM tumha gehu / tahe vayaNu suNeviNa sohamANu parasajiu rAeM salilajANu / taM bhariyau rayaNahiM maNaharehi parisohiu dhayavaDasuMdarehiM / suyaturayaeM ghariNieM sahuM NariMdu tahiM caDiyau rehai NaM suriMdu / taM salilajANu rayaNAyarammi vAraNa gayau diivNtrmmi| uvvasi parilaggau gayadiNammi tA rAeM ciMtiu NiyamaNammi / ghattA-puNu bhaNiyau kIru NaresaraI kima rayaNi gamevI etthu suhi / taM suNivi kIru paDilavai Niva aiNibharu hoivi mA suyahi // 11 // 10 12 Their bad luck on the island and the sea, hayaNArikIraNiva thiramaNehi kiya turiya jAma cauhi mi jaNehiM / NivapaharaeM turiyaI hayasamANu tA corahiM hariyau sliljaannu| raviuggame Naravai Niyai jAva Na vi pekkhai bohithu turau tAva / puNu vatta kahiya kIraho NiveNa gau bohithu Ne jANahuM kiM paheNaM / maNi kheu vahaMtaeM sUyaeNa puNu bhaNi u NarAhiu turiyenn| 5 khaMDa kaTTivi baMdhahu turiu teva rayaNAyaru lIlaeM tarahu jeva / 2 Jomits this foot. 3 gariMdaI bhaNiya sA vi. 4 N degloyaNA vi. 5 N paDihAsaI. 11. 1N muNiyaeNa. 2 // tehaI. 3 JN paramaNehu. 12. 1 J omits Na. 2 N pareNa. 3 S khaDi kaDevi. -76 -

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8: 14. 101 karakaMDacariu taM raivi caDiNNau saralarAu NiyaghariNihe sarisau suyasahAu / taho laharihiM baMdhaI toDiyAI desaMtara rAeM hiNddiyaaii|| ghattA- tA uDivi sUyau vaDi gayau Ni NaravaH laharihiM koMkaNaho / taho ghariNi maNohara vihivasaI Niya khaMbhAyaccaho paTTaNaho // 12 // 10 ___13 Ratnalckha at Khambhagacca. tahiM laMvajhalaMbA kuTTaNIeM sA diTThI tAI viykhnniieN| ghari rayaNaleha NevAvi tAeM jalagaMdhu NivAriu sulaliyAeM / tA laMvajhalaMbaeM bhaNiya muddha viNu gahaNaI vesaNa hoi suddha / taM NisuNivi jaMpiu suMdarAe iha jUvaI jo maI jiNai mAe / so sovai maI sahuM bhaNiu tAeM tA jiNiyA jUve para tiyAeM / 5 tahaM dabbu levi vasahe viiNNu puNu dahiu kRru aMgaNe paiNNu / rayaNAyaravaDe sUyahaM NikAu taM cuNivi valivi puNu tahiM gayAu / suyaNAma pucchiya karhi gayAya tumhaI suhi bhoyaNu levi Aya / taho kahiya vatta tehiM mi suehiM puNu bhaNiya te vi vayaNullaehiM / ghattA-- maiM leviNu tumhaI Nehu tahiM jahiM kara paiNNau baaliyeN| 10 tANIyau tehiM turaMtayahiM gharu vesahiM diTThau so vi taeM // 13 // 11 Her fane in the game of dice reaches Aridamana's ear. cuNaMtaI kIraI aMsuvamAla pamelliya pekkhivi sAmiNi bAla / cirANau sUyau tAeM muNevi aNAviu so suyaNAmu bhaNevi / are suya bhAyara Avahi etyu tuhArau sAmiu acchai ketyu / Na jANauM devi kahiM gau rAu pavaDiu tAhe maNammi virAu / NivAriya sUyaeM devi visAu kuNaMtahaM NAsai suddhau bhAu / 5 mahArau cittu kahei mayacchi milesaha sAmiu pAviyalacchi / suNeviNu kIraho vANi snniddh| ramaMtiya acchai bhAvavisuddha / pavaDiya kitti samuddapamANa sumottiyadAmaI baddha juvANa / ghattA- aridamaNaho keNa vi iu kahiu paTTaNu khaMbhAyacu jahiM / Na vi sArihiM jUvai ko vi garu Na vi sakkA jiNaNahaM vAla thiN||14|| 10 4J tahiM. 14. 1 N paviDiu. - 7 -

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kaNayAmaraviraiyau Reunion of Ratnalekha and Aridamana. 15 taM suNivi Naresaru thiramaNeNa tarhi jAivi TiMTahiM gau turaMtu tahaM majjhi NiviTThau so sahei jIyAI gariMdahaM AyareNa dhaNu diMta bhaMDahaM NagguDAhaM jUpaNa pasiddhI kitti jAhe aNu puNu rayaNihiM gayau tetyu sA bhaNiya teNa NaM mayaNadUu dhatA - sA jittI teNa NarAhivaI jA huI maNe vihaDapphaDiya | reveyaM tA dummaNa maNAeM jaM devieM bhaNiyau vayaNu kiM pi gau khaMbhAicco takkhaNeNa / jUvArahaM sayalahaM maNu haraMtu / chaNaiMdaho lIlA NaM vahei / sovaNNahaM sattasayAiM teNa / gau vesahaM gharu dhaNalaMpaDAhaM / devAviu gahaNau teNa tAhe / sUyaeM sahuM ramaNi NiviTTha jetthu / lai suMdari khellahiM sArijU / tAtAeM viyANiviNiyaramaNu khaNe aMgeM aMgu samubhiDiya // 15 // 10 16 The goddess reassures Rativega and goes away. jAvacchaha tieM sahuM tethu rAu tarhi maijjhi NihAliu rANaeNa bolAviu rAeM NAmu levi addadubbalu UhaNu jo kio ci tiyakIraNarAhiva assayAhaM bhuMjaMtaI sokkhadaM tahiM ThiyAI ma kahiya haeNli tuha so ji rAu jaha Ayau so guNagaNamahaMtu tAtura levi ko vi Takku Au / ki UhaNu teM sehuM TakkaraNa / tA ghoDeM joiDa muhuM valevi / sovaNNu devi teM kiNiu so vi / melAviu hUi dutthiyAhaM / Niyadesaho puNu taiya vi gayAI / rayaNAyare paDiyau ghairaho Au / tuha muddhi milesai tujjhu kaMtu / dhattA- iu kahivi bhaDArI taheM sayalu savvaMge Niruvama komaliya / sA gaiya turaMtI niyaNilau caMdANaNa devahaM parimiliya // 16 // 17 Karakanda returns to Rativega. [8. 15. 1 Shree Sudharmaswami Gyanbhandar-Umara, Surat 16] titthu 2 S majhe 3J omits sahuM. 4 S ile. 5 ] gharahiM. 17. D raveyaeM. paMkaya ruhakomala ANaNAeM / aNusari khaNaddhe tAeM taM pi / 5 5 10 www.umaragyanbhandar.com

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8. 19. 3.1 karakaMDacariu dhaNu pevaru laevi turaMtiyAI ahiNavamuNAlavaragattiyAI / taM sayalu vihaMjivi dutthiyAhaM suhabhAyaNu diNNau bhukkhiyAhaM / jAvacchai sA tahiM rai karaMti jiNaNAhaho calaNaiM maNi srNti| 5 rayaNAvalivihibhAre maMti muttAvalimottiyadAma diti / kusumaMjalikusumahiM vipphuraMti pallovamavihipallaveM crNti| causatthiyavihisatyeNa jaMti vasuhAravihANaho maNu thavaMti / tA ekkahiM diNi kaNayappahAeM tahiM ANiu so karakaMDa taaeN| ghattA- razveyaI diTThau NiyaramaNu tahiM harisaI vaDDiu aNsujlu| 10 tA viju camakkiya kasaNataNu sihikaMtaeM NaM jalaharu sajalu // 17 // 18 Karakanda covquers the Southern kings. raiveyaeM puNu kaNayappahAhe guru Ayaru kIyau sayalu tAha / pariosu pavaDiu pariyaNAhaM sAmaMtamaMtivibhiyamaNAhaM / tahiM acchivi kittiya diNa sarAu saMcalliu tA karakaMDu rAu / tA diviDadesu mahiyalu bhamaMtu saMpattau tahiM maccharu vhNtu| tahiM coDicerapaMDiyaNivAhaM / keNAvi khaNaddha kahiu taaii| 5 ari Ayau tumhahaM uvari deva tima kijai dUrahu jAi jeva / taM suNivi khaNaddhe te milIya karakaMDaho jAevi puNu bhiDIya / kari karihiM bhiDiya raha rahavarAha haya turayahaM tA gara NaravarAhaM / rosAruNa dAruNa aibhiDaMti dhayadaMDachattasIsaI pddNti| aMtau lalaMti para pakkhalaMti jasaluddha mahAbhaDa puNu milNti| 10 kau saMgaru tehiM mahaMtu keva gayaNaMgaNi suravara Dariya jeva / ghattA-karakaMDaeM dhariyA te vi raNe siramauDa maliya caraNehiM tahu / mauDaggahiM dekkhivi jiNapaDima karakaMDaho jAyau bahalu duhu // 18 // 19 He reinstalls them and returns to Terapur. hA hA maI mUDhaI kiM kiyA jiNabiMbu vi caraNe aahyu| iha pAvaphalaM duggaiNivAsu Nau jANahu~ hosaha kahiM mi vAsu / maNi dummiya mauliyaloyaNeNa coDAhiva mukkA te vi teNa / 2D pauru. 18. 1 DN saNaddhe.

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pADa kaNayAmaraviraiyau [8 19.4jaM saMgari maiM tumhahaM khalIya jaM caraNahiM mauDaI daramalIya / taM khamahu sayalu maho baMdhavAsu paDigAhahu desu sapiMDavAsu / / 5 taM NisuNivi tehiM paDivayaNu uttu tuha seva karesahiM amha putt| iya jaMpivi te caMpAhivAsu puNu sariya khaNakheM aDavivAsu / taNu tiNu va gaNeviNu laliyagatta tau karivi teI saggaggi patta / ghattA-karakaMDa tahaM tauNIsariu gau saMmuhaM teraapttttnnho| jahiM suMdari mayaNAvali hariya saMpattau taM paesu vaNaho // 19 // 10 20 5 Karakanda regains Madanavali and returns to Campa. jAvacchai so tahiM AyareNa mayaNAvali appiya khayareNa / tA teNa turiu vijAhiveNa taho kahiu bhavaMtaru NiyahieNa / ahi hotau hauM aNNahiM bhavammi hiMDaMtu parAiu tuha gharammi / tA diTThau maI paMjaraThio vi pArAvau pArAvieM juo vi / so pAeM gahiu maI caDaphaDaMtu tA pattau tahiM tuhaM paribhamaMtu / / chaMDAviu so paI turiyaeNa NavakAru paiNNau karuNapaNa / so khayaru jAyau taho phaleNa hau~ NAsivi gau tujjhu vi chaleNa / ekahiM diNi cappiu hayakhureNa muNi kaNNajAu diNNau vareNa / hau~ kheyara jAyau phalaI teNa tuhuM etthu dihu saMpattaeNa / cirarose hariya maI ghariNi tujjhu lai akkhiu maI tuha eu gujjhu| hauM evahiM kiMkaru tuha bhareNa puNu Namiya caraNa seNNayasireNa / avarAhu kiyau jo maI vi deva so khamahi Na chaMDami tujjha seva / ghattA-saMmANivi dANaI so khayaru gau caMpahiM sAhivi mahi Nivai / so rajju karaMtau bahuyadiNa tahiM acchai kaNayAmaraNilaI // 20 // 10 iyakarakaMDamahArAyacarie muNikaNayAmaraviraie bhavvayaNakaNNAvayaMse paMcakallANavihANakappataruphalasaMpatte karakaMDapuraisAhaNI caMpApuripaveso NAma ahamo pariccheu samatto / // saMdhi // 8 // 20. 1 DN saviNaya. -80 --

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Ix 5 The forest guard reports the arrival of sage Silagupta. caMpAhiu vuhayaNaveDhiyau suhalIlaI acchai jAva tahiM / tA Ayau ujANAhivai atyANi NiviTThau rAu jahiM // so pucchiu karakaMDaeM NiveNa kahi Ayau tuhuM kajeNa keNe / so kahA Naresara uvavaNammi jo jhAyahiM sumarahiM NiyamaNammi / jasu daMsaNe hari uvasamu saraha karikuMbhaho gAhu Na so kre| avarupparu varaI je vahaMti taho dasaNe maddau maNe lihNti| jasu daMsaNe aNuvaya ke vi liMti jiNu chaMDivi aNNahiM maNu Na diti / kehi mi maNi gahiyaI guNavayAI avarAI mi puNu sikkhaavyaaii| dhammAlau saMjamaNilau bhAi kiM jiNavaru muNiveseNa NAI / tahiM Ayau muNivaru NANajuttu NAmeNa pasiddhau sIlagun / pattA-karakaMDu suNeviNu taM vayaNu atthANaho uTThiu takkhANaNa / gau sattapayaI maulevi kara sumaraMtau muNivarapaya maNiNa // 1 // 10 People start on a visit to the sage. tA ANaMdabheri turaMtaeNa devAviya tuTuiM raannenn| tahe NaDu suNeviNu laiddhabhoya parimiliya khaNaddha bhaviyaloya / ka vi mANiNi caliya laliyadeha muNivaraNasaroyahaM baddhaNeha / kavi Neurasahe raNajhaNaMti saMcalliya muNirguNa thunnNti| kavi ramaNu Na jaMtau parigaNei muNidasaNu hiyavaeM saI muNe / kavi akkhayadhUva bharevi thAlu aharahasaI calliya levi baalu| 5 1,1J jeNa. 2. 1 DJ gaMdiya'. 2 DN sadda. 3 DN gayaraloya. 4 N muNivaraguNa thugaMti. - 81 -

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kaNayAmaraviraiyau [ 9. 2.7ka vi parimalu bahalu vahaMti jAi vijAhari NaM mahiyali vihAi / ghattA-kAi vi chaNasasaharaANaNiya kare kamala karatI saMcaliya / ANaMdiya bherihe suNivi saru lahu bhaviyaNa sayala vi tahiM miliy||2|| 3 On his way Karakanda sees a miserable woman. jiNidadhammarattao murnnidpaaybhtto| suvaNNakatidittao saroyapattaNettao palaMbapINahatthao vibuddhsvvsttho| visuddhasaMdhigattao paNeNa jAva ptto| tahiM pi tAva diTThiyA bhaNaMti hA psuuddhiyaa| puraMdhi kA vi dukhiyA hagaMti do vi kukkhiyA / ruvaMti aMsuvAhulaM jaNANa dukkhsNkulN| kuNaMti cittu AulaM dharaMti vesu vaaul| ghulaMti jA vi mucchae paDaMti bhuupese| suvi taM Naresaro suvaarunniddhaaNsro| ghattA-karakaMDaI pucchiu ko vi Naru eha NAri varAI kiM ruvaha / vilavaMtI hiyavaI duhu karai appANau vihalaMghala muaha // 3 // 10 4 He learns the cause of her troubles and becomes disgusted with the ways of the world. tA akkhiya rAyaho vatta teNa dukkhAura hUI eha jenn| taM kAraNu NisuNahi sAmisAla bhujaMtihe bhoyaI sayalakAla / uppaNNau NaMdaNu vihivaseNa so NIyau Ayahe vaivaseNa / te ruvaha sadukkhau mahila eha appANau ghallai baddhaNeha / parimellai pAsu Na NadaNAsu vIsarai Na so puNu nniymnnaasu| taM suNivi vayaNu rAyAhirAu saMsAraho uvari virttbhaau| dhIdhI asuhAvau maMcalou duhakAraNu maNuvahaM aMgabhou / rayaNAyaratullau jetthu dukkhu mahubiMdusamANau bhoyasukkhu / 4. ON samvalou. 5 -82 -

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9.7.2. ] karakaMDacariu ghattA- hA mANau dukkhaI daTTataNu virasu rasaMtau jahiM maraha / __ bhaNu NigghiNu visayAsattamaNu so chaDivi ko tahiM raha karai // 4 // 10 5 Transitory nature of worldly existence. kammeNa pariTTiu jo uvare jamarAyaeM so Niu Niyayapure / jo bAlau vAlahiM lAliyau so vihiNA Niyapuri cAliyau / NavajovvaNi caDiyau jo pavara jamu jAi laeviNu so ji garu / jo bUDhau vAhisaehiM kaliu jamadUyahiM so puNu parimaliu / valahaddaeM sahuM hari atulabalu so vihiNA NIyau karivi chlu| 5 chakkhaMDa vasuMdhara jehiM jiyA cakesara te kAleNa nniyaa| vijJAhara kiMNara je khayarA balavaMtA jamamuhe paDiya suraa| phaNiNAI sarisara amaravA jamu liMtau kavaNu vi Nau muai / ghattA-Nau sottiu baMbhaNu pariharai Nau chaMDai tavasiu tavi tthiyu| dhaNavaMtu Na chuTTai Na vi NihaNu jaha kANage jalaNu smutttthiyu||5|| 10 Fickleness of worldis pleasures. daiveNa viNimmiu dehu jaM pi lAyaNNau maNuvahaM thiru Na taM pi| NavajovvaNu maNaharu jaM caDei devahiM vi NaM jANiu kahiM paDeha / je avara sarIrahiM guNa vasaMti pA vi jANahu~ keNa paheNa jiite| te kAyaho jai guNa acala hoti saMsArahaM viraI Na muNi krNti| karikaNNa jema thira kahiM Na thAi pekkhaMtahaM siri NiNNAsu jAi / jaha sUyau karayali thiu galei taha NAri virattI khaNi caleha / bhUNayaNavayaNagai kuDila jAhaM ko sarala karevaI sakka tAhaM / mellatI Na gaNai sayaNa iTTa sA dujaNa metti va cala NikiTTa / ghattA-NijjhAyai jo aNuvekkha cala vraaybhaavsNpttuN| so suraharamaMDaNu hoi Naru sulaliyamaNaharagattau // 6 // 5 10 Helplessness of the mortals, rayaNIe parisamaNu saMgAme suradamaNu AvaieM pattAI hiyayammi suttaaii| 6. 1 N gu. 2 DN yAI. 3 SJ saMpaNNau. 7. J ramaNAe. 2 DN sattAdaM. -83 -

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5 kaNayAmaraviraiyau [ 9.7.8taho ki pi Nau phurada uThei visrh| aha vivare paisarau suralou annusru| muragirihiM Aruhara paMjarahiM taNu chuhu| baMdhavahiM mittehiM karadhariyakuMtehiM / puttehiM sutthiyau maMtehiM rkkhiyu| bhaDaNiyarapariyariu Nau tehiM puNu dhariu / valaeu cakaharu suraNAhu Nahe khyru| jamu varuNu dharadharaNu Na vi hoi ku vi srnnu| 10 pattA- asaraNaaNuvekkhau jo vi puNu aNudiNu bhAvai NiyayamaNe / so suraNArihiM laliyataNu bhoyavaMtu bhuMjiyai khaNe // 7 // 8 Troubles of life. saMsAre bhamaMtahaM kavaNu sokkhu asuhAvau pAvai vivihadukkhu / rayAlaI NANANAraehiM cirakiyahiM Nihammai vairaehiM / hiyaeM Na vi ciMtahuM sakiyAI tahiM bhuttaI pavaradaM dukiyAI / avarupparu jAiviruddhaehiM tiriyANa majjhe uppaNNaehiM / muhabaMdhaNacheyaNatADaNAI pAviyahiM tehiM tnnuphaaddnnaaii| 5 maNuyattaNe mANau parimalaMtu parijhijaiha NiyamaNe salavalaMtu / suraloeM pavaNNau gaTThabuddhi maNi jhijjara dekkhivi paraho riddhi gaiDaNAri jema rUvaI kareha tima jIu kalevara saI dhare / ghattA-saMsArahaM uvari NihAlaNau kiu jeNa NareNa kayAyareNa / bhaNu kAI Na laddhau teNa jaha pavararayaNarayaNAyareNa // 8 // 10 9 Sole responsibility of each individual. jIvaho susahAu Na atthi ko vi garayammi paDatau dharaha jo vi| suhisajaNaNaMdaNaiTThabhAya Na vi jIvaho jaMtaho e sahAya / Niya jaNANa jaNaNu rovaMtayAI jIve sahuM tAI Na paDa gayAI / ghaNu Na calai gehaho eku pAu ekallau bhuMjai dhammu pAu / 8. 1 S pAyAlaeM. 2 N parimijai. 3 D NaraNAri; S Naru NAri. 9. . Jomits the portion from bhuMjai to ekalau in line 6. -- 81 -

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10 5 9 11.7.1 karakaMDacariu taNu jalaNi jalaMtaI parivaDei ekallau vaivasaghari caDeha / jahiM NayaNaNimesu Na suhu havei ekallau tahiM duhu aNuhavei / ahiNaulasIhavaNayarahaM majjhe upajai eku vi jiu asajjhe / surakheyarakiMNarasuhayagAma nahi bhuMjai eka vi jiyai jAma / ghattA-- iha aNuvekkhA jo aNusarai sIle maMDivi nniyytnnu| sAsayapae so suhaNilae ekallau sohadda mukkataNu // 9 // 10 Senses and qualities arc alien to Self. iu bhAsaha muNi guNagaNa vahaMtu jIvaho paribhiNNau taM khNtu| pariposiu usahasaehiM jaM pi bhiNNau sarIru jIvAu taM pi| loyaNaI sutAraI dIharAI jIvaho paribhiNNahaM suhayarAI / jIhA tarupallavasaNNihA vi jIvaho dUreNa vi sA thiyA vi| taNuphaMsagaMdhakaNNahaM samiddhi jIvaho aibhiNNI rUvariddhi / je avara vi guNa kAyaho milaMti te jIvaho bhiNNA saMcalaMti / je kAyaho dhUlA bahuya ke vi aisuhamA jIvaho dUre te vi| kohAicaukku vi puNNapAva te jIvaho bhiNNA kammabhAva / ghattA- eha aNuvekkhA thira karivi NiyamaNi jhAyai jo ji Naru / so paramappau Nimmalau dehavivajiu hoi varu // 10 // 11 Impure nature of the physical body. ehu dehaho bhaNu guNu ko vihAi kau maMDaNu asui sahAve jAi / je NayaNa tarala vibhamagayA vi te dUsANivahahiM dUsiyA vi| bhaNu NAsAraMdhaho kA visuddhi / jahiM galai siMbhu payaDau asuddhi / guNa amiu ahare jaNu kiM kalei jahiM lAlAsAraNi parighulei / guNu dIsai kavaNu uroruhAhaM paripUriya pUyaeM vnnnnihaahN| ghaNamasapavaDiyapiMDayAhaM ko karai raI taho dUsiyAhaM / kaDimaMDalu bhaNiyeu kiM buhehiM parisavaha asuddhau bihiM muhehiM / 2 DNS jalaNu. 3 J aNupekkhA, 11. 1 N sahAva. 1 JDN omit this foot. 3 S bhaNiu. 10 5

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kaNayAmaraviraiyau vasaruhiramaMsahaDAiM jetthu jai bhiMtaru bAhiru vihi karaMtu dhattA - uppaNNau sukkaI soNiyaI asuisahAvara jo jaNu jhAyai / eha aNuvekkhANittuliya taM puNu siddhihe maggaeM lAyai // 11 // 12 How Karmas are contracted. rayaNAyare jalasaMghAu jeva jaha salu paNau cuMbaeNa saddaMsaNeNa paricantaeNa vajjarai jiNesaru galiyachamma kammAsau koheM mANaeNa maNamAraNu sIlaDa jai havei hiMsAlau vayaNu vi jo sarei jo hiMsaI ka u samAyarei jo samattu dhIraMcittu uddharei jo khamAeM suddhiyAeM vAvarei maddaveNa jo carei suMddhaeNa ajavammi cittu dei jo mahaMtu kAyapiMDe suMdare vi jo NirIhu dhamme saMtu bhaDa devi jo sarevi pUyayAeM pUyaei bIyarAu dhammasavvu bhAvasuddhi jhANajoiM 13 How the inflow of the Karmas is checked. [9. 11. 8 bhaNu suddhihe kAraNu kavaNu tetyu | bhaNu jaNava ko tarhi rai saraMtu / - dhattA- baMdhaho kAraNu karevi taNu aNuvekkhA jo jhAyai puNu hiyaeM / so dhaNNau sAsayasokkharasu avirAma so ru tarhi piyara || 12 || 10 Shree Sudharmaswami Gyanbhandar-Umara, Surat kammANa vihu Asavara teva / ANii kammu taha jIvaeNa / saMmilai kammu micchattaraNa / aviraipariNAmeM milai kammu / taha DaMbhaI lohaI koyaeNa / kammAsavavairi Na saMbhavei / to kammu milaMta ko dharei / so kamma sahuMtA radda karei 86 10 so viduTThamicchadiTThi saMvarei / kohavAri dukkhakAri so harei / mANakhaMbhu tAsu jAi NicchaeNa / so have vaMcaNAviso hiMtu / so Niruttu pakkhalei lohasIhu / taM maNo vi makkaDo vi so dharevi / takkhaNeNa so haNei duTTharAu / jo kare so dhare kaoNulAI / 5 S haTAI. 13. 1 SJ ghI. 2 S adds bhAvaeNa before suddhaeNa. 3 S soha deva, 4 S bhASa. 5 DN keuloI. 5 www.umaragyanbhandar.com

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9. 15. 6.] karakaMDacariu ghattA- khamadamasahiyau guNaNilau eyau jo payaDiu saMvaraha / aNuhuMjivi sokkhaI sagge puNu so siddhihe sammuhaM saMcaraha // 13 // 10 14 How the Karmas are got rid of. bihiM bheyahi Nijara khaviyaNeha savivAyAvAyahiM muNahiM eha / 'cirakAle saciu kammu phAru uppAyai bhuMjai bhupyaaru| ravikiraNahiM giMbhe jo taNu khavei jo tarutale varisArleu gameha sisirammi tusAru jo sire dharei so kammu payatteM avaharei / jo duddharu tavabharu uvahei uvavAsahiM jo taNu maNu kare / aNibaMddhau vayaNu ji saMvarei __ so sayalaI kammaiM Nijarei / / maNu mArai jo bAhire caraMtu so haNai kammu jaNu maNi turaMtu / caMdAyaNe bhoyaNu jo carei sovIrAhAru jo Ayareha / bahu kAyakilesa jo aNusarei vAvIsaparIsaha jo shei| avivAya so Nijara jaNu vahei jo duvihu pariggahu pariharei / sayameva samAvai kammu jAsu Nijara havei savivAya tAsu / ghattA-Nijarai kammu saMsuddhamaNu maNavayAeM jo vi Naru / devANa majjhe bhuMjevi suhu so NicchaiM sivapae lahaha gharu // 14 // 10 15 Divisions of the universe. tihiM khaMDahiM khaMDiu lou ehu so caudaha rajjuya udddddehu| NArayaNivAsu paDhamau vihAi palhatthiu mallau dhariu nnaaii| gharu bIyau tiriyahaM jaM ameu jhalarisamANu taM tiriylou| jahiM amarahaM virai Na atthi bhou amarAlau murayasamANu hoh| duhu dIsai jahiM Na vi Nimisametu taho uvari pasiddha siddhkhetu| jaM kahiyau muNigaNavaraguNIhiM taM thakkau vAyavalehiM tIhi / 14. 9 N 'deha. 2 N adds before this tiriyahaM havei avivAi phAru / saMbhavai NarahaM savavAi saah| 3 J so pAyai. 4 SJ varisAula. 5 N tiNu. 6 N aNubaddhau. . All my Mss read this foot after line 10. It has been placed here as it seemed a suitable counterpart of the preceding foot. 8 N 'kAehi. 16. S reads viriyahiM and explains it as jAnIhi. 2 SJ murai. -87 -

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kaNayAmaraviraiyau [9. 15.7gayaNaMgaNe ravi acchei jeva ehu bhavaNu Na keNa vi dhariu teva / kiriyAvihINu Nahu kiM pareNa taha bhuvaNu Na keNa vi kiu pareNa / pattA- pAlivi paMca mahanvayaI loyANavekkhahe jo maNu juMjai / so garu dhaNNu salakkhaNau amarahaM suhaI aNeyaI bhuMjai // 15 // 10 16 Pious thoughts. jiNaNAhapAyapaMkayaruhAhaM saMbhavau payattaI bhattiM taahN| sadasaNaNANacarittayAhaM maho hou jammu kule sAvayAhaM / maho jamme jamme paMca vi vayAI saMpajahaM bihi bheyahiM gyaa| pariyANiu je saMsArasAru jiNasAsaNa maho saMpaDau cAru / samadamajamaNiyamakayAyarAhaM maho bhatti hou muNisAyarAhaM / / dahalakkhaNadhammaho suMdarAsu maho bhatti hou sivsuhyraasu| jarajammaNamaraNaI avaharaMtu maggaNa maNe caudaha vipphurNtu| vaudahaguNaThANahaM maho ghaDaMtu guNa siddhahaM mahu thira maNe caDaMtu / ghattA- aNuvekkhA vohieM aNusarivi puNu hiyaeM caDAviya jeNa lahu / sivakAmiNivayaNaho maMDaNau kiyau khaNaddhe teNa bahu // 16 // 10 5 Fruits of observing Dharma. dahalakSaNalakkhiu hoi dhamma jo pAlai taho sa kiyatthu jammu / dhammeNa turaMgama saMpaDaMti varacamaI lIlaI taho paDaMti / dhammeNa vimANahiM raha kre| rahakuMjarajANahiM saMcarei / dhammeNa lahai varalacchi phAra saMsAramahaNNavarayaNasAra / saMpajahiM dhammaI viviha bhoya Nau ANAlaMghaNu karahiM loya / dhammeNa sarAsai vayaNi ThAi hiyaicchiya maNaharu lahai bhAi / dhammeNa sattabhomaI ghraaii| vararayaNaI nnaannaasuhyraaii| sura sevahiM dhammeM jiNavariMda dhammeNa sayala suravara pariMda / dhammeNa salakSaNa hoi NAri mayamattajuvANahaM plykaari| pattA- dAmoyara jiNavara dhamme phuDa paDikesava saMkara sangi sura kallANaI sayalaI te havahiM dhammeNa vi halahara cakkahara // 17 // 16. 1 S 'sArayAhaM. 17. 1 S ki vatthu. 10

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9. 20. 1 ] karakaMDacariu With the pure thoughts Karakanda reaches the sage. aNuvekkhau eyara maNe saraMtu mahilANa vihu tiNasamu gaNaMtu maNu cavalu calaMta saMdhavaMtu jaM kiNNarakheyararavavamAlu kohAijalaNaviddamaNamehu jo kAmakirAyaho hiyayasallu dahalakkhaNadhammaho jo NivAsu jo tavasirikAmiNivayaNaracu visayANa parammuhaM se karaMtu / savaNANa piyArI gira bhaNaMtu / saMpattau NaMdaNavaNu bhamaMtu / taM daNaMdaNavaNu visAlu / jo NANakiraNa viSphuriyadehu / jo mohabhaDaho paDikhalaNamalu 1 parasamayakayAraho jo huvAsu / jo kammaNibaMdhaNavaMdhacacu | 18 dhattA - jo jammaNamaraNaviNAsayaru duvihabheyasaMjamaNilau / so uvavaNe diTTau sIlANihi sivakAmiNivayaNaho varatilau // 18 // 10 -- 19 The king hymns the sage and requests for a religious sermon. to daMsaNeM jAyau harisu aMge bhAri ti deviNu thui karevi jaya timirapaNAsaNakharadiniMda jaya mANamahAgirivajjadaMDa jaya mohaviDa vichiMdaNakuThAra tuhuM dUri NamaMta harahi pAu paI sumarai aNudiNu jo maNeNa kamakamalaI vaMdivi muNivarAsu so bhaNai bhaDArA hariyachamma kamalANa jema ravikiraNasaMge / puNu caraNakamalajuvalaDa sarevi / payapADiya paI suraNaraphaNiMda / jaya Niruvama mokkhaho bhariyakuMDa / jaya caugaisAyarataraNakAra / jaha diNayaru tamapheDaNasahAu / so sivapuri pAvas takkhaNeNa / uvaviTThau aggaeM tavagharAsu / maho ko vipayAsahi paramadhammu / dhattA - jeM kiyaiM paNAsai duhaNivahu parivaDhai sivasuhu aNuvamau / taM kahahi bhaDArA karuNa kari hiyaloyahaM bhavvahaM saggamau // 19 // 10 20 The sage's sermon on holy conduct and ways of charity. taM suNivito vayaNu maNi bhaNai hayamayaNu / Shree Sudharmaswami Gyanbhandar-Umara, Surat 5 18. 1 DN mai. 2 Folio No. 73 of N containing the portion from here upto line 4 of Kadavaka 23 is missing. 89 C 5 www.umaragyanbhandar.com

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10 kaNayAmaraviraiyara [9. 20.2. taho kahA varadhammu jaM karai suhajammu / jo dhammataru rAya so hoi duhu~ bheya vayajalaI siMciyau vaDDei sutthiyu| NarajammaladdhaNa bhAvaeM visuddhnn| jiNapuja jo karaha muNicaraNa maNe dharaha / sajjhAu aNusaraha saMjamaI sNcrh| tavaNiyamabhAreNa diNa gamaha sAreNa / caubheyaparibhiNNu je dANu jaNe dinnnnu| tivihassa pattassa suvisuddhpttss| jiNageha jAevi bhattIeM aannevi| aha gehi pattassa kAliM bhmNtss| muNigaNahaM bhattaNa suvisuddhacitteNa / majkSaNNa hUyammi nniygehpttmmi| ThA bhaNevi geNhevi taho paTTa puNu devi / payakamala dhovaha jalu taM pi vNdei| caMdaNaiM akkhehiM phul nnivjehiN| dIveNa dhUvehiM pUjehi pUgehiM / aMjaliyaNIrassa vaMdei paya tss| ghattA- chahiM kammahiM jo Naru saMcarai chavvAsayachAyau jAsu tnnu| 20 asuhattau lesau pariharivi jibiMbaho juMjA NiyayamaNu // 20 // 15 21 Right faith and righteous living. kiM bahuyaI Naravara jaMpieNa sahasaNu pAlai jo hienn| saiMsaNu jiNavaraNicchaeNa sahasaNu phiTTai micchaeNa / sadasaNu taccahaM sahaheNa saMkAiyadosahaM NiggaheNa / puNu maju maMsu mahu NavaNiyAI vaDapippala jeNa vivjiyaaii| pilli kkhiNi pheMphari uMbarI vi jo vajaha iha paMcuMbarI vi| Na vi khelai jUu Na piyaha sIhu jo hosaha maMsaho Naru NirIhu / jo vajA vesA gayaNaramma pAraddhi Na khelai jo ahamma / 5

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5 23. 10. J karakaMsatta jo harai Na paradhaNu Naru kathA vi dUrAu vivajaha paratiyA vi / dhattA- jo satta vi vasaNaI pariharai visatasvaru jaha savvAyara | so sokkha niraMtara aNuhavai Na vi khajai dukkhaNimAyaraI / vahINu Na Naravara mahai ko vi vihi bheyahiM tAI samAsiyAI aNuvayaI sudhUlaI akkhiyAI tasajIvahaM rakkhA jo karei rs bolla dhUlI aliyavANi u corieM giNi davbu jo vi jo NAri parAI gaNai mAya parimANu pariggahe jo karei dhattA Religious observances for a householder. vayavaMta raMku vi pujnu hoi / gharavayaddaM jaIsarasaMThiyAI / asuhumaI tAI mahatrvayAI / so mANau paDhamau vaDa dhareha / so bIu aNuva dharai NANi / so pAla aNuva taiyao vi / so aNuva turiyau dharai rAya / so Naravai paMcamu vau dharei / NisibhoyaNeM sahu~ disigamaviramu pasupAsu ju baMdhaNu pariharai / bhoI upabhoyaI taNu karivi so surahari lIlaI radda karai ||22|| 23 22 samabhAvaI jIvaI jo Niei jo aTTarauddaI pariharei uvavAsu karai mAsaho cayAri jo Naravaru cauvihu deva dANu vAhINahaM osahu jo karei jo bhoyaNavelahe pattadANu kAruNNaI dINahaM dutthiyAhaM jo pacchimayAli salehaNeNa 229] siDs. Householder's Dharma continues. dhattA - jo eyaI aNuvayaguNavayaI sikkhAvaya pAlai duddharaI / so sAsayavahurmuhalaMpaDau pAvesai sukkhaparaMparahUM // 23 // 23. N sudda. Shree Sudharmaswami Gyanbhandar-Umara, Surat paribhAvai saMjamu jo hieI / so ravaru sAmAiDa dharecha / do aTThami caudasi dukkhahAri / daya jIvahaM dei jo avaru NANu / so saggu alIDhaI aNusarei / aNurAeM diSNau khANu pANu / jeM bhoyaNu diNNau bhukkhiyAhaM / suhi pANa visajjara thiramaNeNa / 91 10 5 10 5 10 www.umaragyanbhandar.com

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kaNayAmaraviraiyau [9.24.1 24 Ascetic duties. 5 gharadhammu Naresara ema hoi iu bhaNahiM cirANA paramajoi / risivayaI paMca NisuNehi rAya khalu ekku Na paisai jetthu mAya / tasathAvarajIvahaM karai rakkha so bhuMjai bhoya asaMkhalakkha / aNurAyaeM aliya Na kaha bhaNei so vayaNaI suraguru AhaNeha / jo paradhaNu kaha va Na avaharei so suravai vivaNammaNu krei| jo Navavihu kIrai baMbhaceru so pAvai sivasuhu Na?meru / jo duvihu pariggahu pariharei saMsAramahaNNau so tarei / mUlaguNaI jo ravai dharei AliMgaNu taho sivavahu karei / uttaraguNa jettiya muNivarAha Niva pAru Na pAvai ko vi tAhaM / bihiM bheyahiM jaM thiu savaNarammu taM garavai maI tuha kahiu dhmmu| ghattA-eyAiM vayaiM paMca vi Nivaha paripAlai sattieM jo vi Naru / kaNayAmarasivamANiNi varahi so hoi Niruttau tAhe varu // 24 // 10 iya karakaMDamahArAyacarie muNikaNayAmaraviraie bhanmayaNakagNAvayaMse paMcakallANavihANakappatAphalasaMpatte karakaMDadhammAyaNNaNo NAma Navamo pariccheu samatto / // saMdhi // 9 // 24. 1 MSS Naru vai. - 92 -

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5 Karakanda's questions and the sage's reply. AyaNNivi taM caMpAhiveNa puNu bhaNiu muNIsaru NayasireNa / maho akkhahi karuNaI muNipavara jaM pucchiu maiM hauM tucche sareNa / jai aMgu saloNau huyau mahu kare kaMDu kIsa taM kahahi lahu / aivallahu mahu jaNaNihe ramaNu vicchoyau ke kammeNa bhnnu| ke kameM sA kariNA hariyA maho ghariNi kAI khayareNa nniyaa| taM suNivi payAsai tAsu muNi jaM bhaNami garesara taM NisuNi / etthammi bharahe veyadRgiri taho dAhiNadisihi samiddhasiri / rahaNeuru cakkavAlu Nayaru tahiM NIlu NarAhiu huu khayaru / NiddhADiu so dAiyahiM taho gau NAsivi teraapttttnnho| uvasAhiya meiNi tahiM ThiyaI jiNagharaI aNeyaI te kiyii| dhaNamittu gAu tahiM atthi vaNi jo sevahi aNudiNu sayalaguNi / sammattarayaNarayaNAyaraho ghare dhaNavai gehiNi atthi taho ghattA-jaM vuccai taM sayalu vi karai guNavaMtau tAhe vi harai maNu / dhaNayattu asthi govAlu varu sIleNa vihUsiu jAsu taNu // 1 // 10 Cowherd Dhanadatta of Terapur once plucked a lotus. so ekahiM diNi Nisi mokalevi gau dAhiNadisi mahisihaM laevi / tahiM diTTha sarovaru teNa ramma varakamalahiM phulliu NAI dhamma / kamalAyaru rehai aisutAru NaM dharahiM samAgau Nahu sutaar| 1. 9 Folio No. 75 of N containing the portion from here upto line 3 of kadavaka 4 is missing. -93 -

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kaNayAmaraviraiyau [ 10. 2. 4pomiNidalauppari puMDarIya NaM hariyadharahiM NivapuMDarIya / rehati aha va viyasiyasurAya haribhAyaNe NaM maNi pomraay| 5 taho majjhi pariTThiu eku pomu uDDagaNahiM susohiu NAI somu / taM dekkhivi taho maNi phuriu rAu sari pAThara leNahiM sANurAu / jali paisivi laiyau pomu teNa NaM khuDiu sarovarasiru khaNeNa / ghattA-taM leviNu jA so NIsaraha hrisukNtthiynniyytnnu| pariphulliyapomaho saMgaeNa te viyasiu Nimmalu tAsu maNu // 2 // 10 3 A Sura charged him to present the flower to the greatest person on pain of death. taM sararuhu leviNu caliu jAma suru Ayau NAyakumAra tAma / govAlu bhaNiu te suravareNa saru rakkhiu maI iu AyareNa / jaM phullu Na leNahaM lahai ko vi Nau kheyaru visaharu suravaro vi / taM laiyau suMdara paI pareNa maI bhaNiyau tuhu~ sambAyareNa / tA eha karejahi majhu vAya jo vaDau tihuveNe NamiyapAya / 5 jasu daMsaNi turiyau duriyaNAsu iDa kusumu caDAvahi caraNi tAsu / jo majhu vayaNu Na karehi mitta to Nicchau mArami suddhcitt| phaNideveM bhaNiyau vayaNu jaM pi dhaNayattu gayau maNNeci taM pi| ghattA-te vitiu vaDDara seTThi mahu jo paNaviu sayalahiM NaravarahiM / paM phulaM aMcami pAya taho jaM rakkhiu devahiM visaharahiM // 3 // 10 The cowherd in search of the greatest man, taM muNivi gayau seTihe samIu taho purau pariTriu so viNIu / tA pucchiu seTTihiM maho puro vi kiM thakkara tuhuM paMjaliyaro vi / ghaNayattu bhaNai bho seTTi tAya eM pomeM pujjami tujjhu pAya / / kahi kAraNu pucchiu so kahei sare layau pomu mahaM suru bhai / jo vahuu tihuvaNi puji so vi u pujahi jai mAremi to vi / iu suNivi tAya ciMtaMtu Au lai appahiM pujami tujjhu paau| 3. JtihuaNi. 4. 1 SN suNevi, 2 N paMjali gharevi. - 94 - 5

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10.6. 4.] karakaMDacarita tuhuM vaDDau jaNavayavaMdaNija phulaNa vi eNe pujnninyj| taM suNivi seTTi pabhaNei putta maho Naravaha baDau cArucitta / vaNi levi gayau so NivagharammiNiu didvau tA jinnmNdirmmi| pubuttau sayalu vi kahivi tAsu tuhuM vahuu paNavaha lou jaasu| 10 ghattA-te AyaI pujahu~ pAya tuhaM phulleNa srovrlddhrnn| taM suNivi Naresaru paDilavai maho vaDDau muNivaru NicchahaNa // 4 // Hc worshipped the Jiva with the flower with his hands and fcet un washed. Hence he was reborn as Karakanda. gaya savva purau te muNivarAsu taM phullu caDAvahuM jshraasu| tuhuM vaDuu muNivara vIyarAya paripujahuM pomeM tujyu pAya / hauM vaDuu homi Na muNi bhaNei sabahaM garuArau jaNu gaNei / devANa deu jiNavaru pasiddha arikamma haNeviNu jo visuddha / jo NANasamiddhau siddhipattu so pujahi tuhu~ annuraayrc|| dhaNadatu suNeviNu tAsu vANi dhovaMtau Na vi puNu caraNapANi / jiNu aMciDa te pomeM vareNa ciru meruhiM NAI puraMdareNa / taho loyahiM sAhukAru diNNu bhattIbhareNa maNu jAsu bhiNNu / taho ekaho phullaho phalaI so vi vaMpAhivaNaMdaNu tuhuM huo vi| jiNamahima visuddhieM jo karei sivakAmiNi karayali so dhre|| 10 ghattA- kaddamaI vilittahiM payakarahiM jaM. aMciu jiNavaru jayatilau / te kaMDU tuha pae kare huiya iu akkhiu maI tuha suhaNilau // 5 // 6 Past life of Karakanda's parents. Nagadatta and his faithless wife. bho NaravA guNagaNahariya sahA~ suNi evahiM jaNaNaho taNiya kahA~ / iha bharahe atthi sA~vatthipuri jahiM ramaI NirAriu ciru khayari / tahiM atthi pasiddhau mahurajhuNi siriNAyadattu NAmeNa vaNi / taho NAyadatta NAma ghariNi ciMtANalaumbhava sA araNi / 5. 1 aNurAeM turaMtu. 6. 1 J saha. 2 J kaha. 3 N vAsatthi,

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kaNayAmaraviraiyau [ 10. 6. 5taho pAsu vaNIsaru Nau muai Nau rayaNidivasu katthaI suvh| 5 te vaNiNA jo paripAliyau kaaminnikrpllvlauliyu| vaNiNaMdaNu Naravai rUDhigau NiyaguNahiM viNIyau tahiM bhayau / so ekkahiM diNi baMbhaNaho suo kuNjrkrdiihrpiinnbhuo| ghattA-phaNidattaI so baMbhaNasuyau avaloyau paMkayaNettiyaeM / aNurAu pavaDDiu taho uvari maNi ciMtiu sulaliyagattiyaeM // 6 // 10 Her love advances out of wedlock. sA jovaha puNu puNu so kumAra paccakkhu NAI sasarIru mAru / NavakaNayavaNNa sisuhariNaNetta tA hUI khaNe vivarIyacitta / savvaMgamayaNasarasalliyAhe hiyayammi Na bhAvaha kiM pitaahe| kara vihuNai romaMcau vahei taho payaDI romAvali vaheI / thaNa dAvai choDai NIvibaMdhu bhaNu kiM kiMNa karai mynnaNdhu| kusumAuhasaraNiyareNa jitta Nau saMkai kAsu vi caliyaMcitta / paraloyakaje ujuvamaNAhaM / Nau guruvaNaloyahaM sajaNAhaM / Nau vIhiye puttaho baMdhavAsu Nau mAyahe lajai piyayamAsu / pattA-jo sayalaguNAyaru NiuNamai viNayabhAva saMjuttau / komalavayaNapauttiyahiM so kiM tAeM Na uttau / / 7 / / 5 ___10 The Brahmin boy resists but ultimately succumbs. taM suNivi vayaNu kayaucchavehi tA pihiya savaNa karapallavehiM / vipphArivi loyaNa siru dhuNevi so jaMpai duTTiya sA muNevi / hA mAe mAe kiM cavahi etyu vihalaMghala kaya majeNa jetthu / hauM gaMdaNu tuhuM maho taNiya mAya bollaMti hiyaeM tuha kavaNa chAya / gayaNayalu va lIlA jo vahaMtu pariyANahi kiM Na vi kulu mhNtu| 5 sammANadANasammANiyAe iu sAhasu kimu paI kiyau maae| jaNaNayaNasavaNaANaMdabhUya kiM mAe buddhi vivarIya hUya / Y SJ cAliyau. 5 JS omit this foot and N gives it in the margin. S haveDa; N kahei. 2 SJ calai. 3 N thAhiya. 7. -96 -

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10. 10. 3.] karakaMDacariu naM haNivi vayaNu kare dharivi tAeM so Nizcalu kiu mybhiNbhlaaeN| pattA-hariharabamhapuraMdarahaM devAhaM vi tiya khaNe maNu harai / jo mANau paDiyau tAhe piDi maihINu varAyau kiM karai // 8 // 10 9 Her faithlessness discovered by her husband who retires for penance and is reborn as Dhadivahana. samAveM kAmuu sayalu jaNu tiya jhAyai hiyavaeM eyamaNu / jaha aNamaha pAvai taho taNiya tA bhaNahi NAri kiM avagaNiya / tahe saMgaI jAsu Na calai maI so lahai garesara siddhgii| tA ettahiM ravi atthari gau bahupaharahiM NaM sUru vi suyau / vahuvaNNiya saMjhA saraha gahu rattaMbara sANaM gynnvhu| 5 tamu pasariu bahalau jAva tahiM puNNAya mahAyaNu calai jahiM / phaNiyattaeM mayaNaI mohiyaeM pariciMtivi aMdhArau hiyeN| so bamhaNu puNu avaruMDiyau aharullau chuDa tahe khaMDiyau / tA sasaharu uiyau tahiM ji khaNe asaIyaNe duhu payatu maNe / tA vaNiNA diTThau taho cariu vaNavAsu turaMtahaM aNusariu / 10 tau carivi NisaMgau saggi gau tahiM sokkhaI bhuMjivi puNu vi muu / puri caMpahiM NivavasupAlasuo vasumahahiM ganbhe divasehiM huo| dhattA-jo jaNavayavallahu jayatilau siridhADIvAhaNu piinnbhuo| parijhAivi mahiharu paMcaguru saggaggi parihiu amaru huo // 9 // 10 The Brahmin reborn an elephant and the faithless wife a family woman again. so vamhaNu parayAraho phaleNa / saMsAri bhamADiu te khaNeNa / duhu bhujivi aDavihiM duppavese uppaNNau kuMbhi kliNgdese| so keNa vi kammeM Nimmio vi caMpAhivaNivakarivaru huo vi| 8. 1 0 maI. 9.1 SJ muyau. 2 N mayagavahu. 3 N suNNAya mahIyaNu ( suNNAya being explained in the margin as duzcAriNI. ) SJD mahIhara; N mahAhara.

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5 kaNayAmaravirahayau [10. 10. 4parapurisu rameppiNu NAyadatta saMsAramahaNNavaduhahaM patta / / etyatthi bharahe puri tAmalitti joyaMtu Na suravai lahada tatti / vasumitu tAhe vaNi atthi sAhu so NAyadattaghariNieM snnaahu| ekkahiM diNi suhaI ramaMtayAhaM / dui dhUyau jAyau tammi tAhaM / pahilArI NAmeM dhaNamaI vi puNu duijI NAmeM dhaNasirI vi / ghattA-NAlaMdaNayari dhaNadaca vaNi dhaNamittA gehiNi taho suyau / ghaNapAlu gAu baMdiyaNirau ghaNavaikaMtu paDhamahiM huyau // 10 // 10 11 5 She loses her husband and takes to religious ways. kausaMviNayari vasupAlu sehi vasumaha taho gehiNi jaNiyatuTTi / vasudattu puttu taho huu jiyAri jinnpaaypomannuraaykaari| taho diNNI dhaNasiri guNakaraMDi jayaNAhaho Isaho NAI caMDi / tahu lIlaI suhaI ramaMtayAhaM bahu diNaI gayaI bhuMjiyasuhAhaM / tA ekkAhiM diNi NiharakarehiM vasumittu NiyaDa jamakiMkarahiM / / vaharAeM tA kausaMbiyAhe gaya NAyadatta gharu NiyasuyAhe / dhaNasiriyaeM kuvalayattiyAeM vayahINa jaNaNi jANaMtiyAeM / jiNamaMdiru NIya turaMtiyAeM munnicrnnsroruhmttiyaaeN| devAviya NisibhoyaNaviratti mA bhujahi bhoyaNu mAe ratti / taM' suNivi jaNaNi paDilavaha putti vayaNiyamaho kerI divvajutti / muNicaraNa NaveppiNu NayasireNa sA levi mahAsaha NiyamaNeNa / ghattA-saMsAraho tAraNu royaharu guNaNiyarakaraNu jANaMtiyaeM / jaM kiM pi payAsiu Nisiviramu taM laiyau dhaNasirijaNaNiyaeM // 11 // 10 12 She was reborn as the daughter of king Vasu pala who threw her in the Jumna. tANAyadatta pakkAhiM diNammi gaya ghaNavahagehaho sA khnnmmi| tahiM divaha bahuya acchaMtiyAhe guruduhiyaeM Nisivau bhaggu taahe| jaha tahe vau bhaggau pakavAra saha tiNNivAra bhaggau sutaar| 11. + N adds before this in the margiu vi jamA tahi sA maMtimAeM. -98 -

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10. 14. 2.1 karakaMDacariu puNu cauthiyavArahe NAyadatta ghaNasirihe gehu gaya vimlvitt| tA NAyadatta jamavaehiM kAle sA NIya turNtrhiN| 5 kausaMvieM vasupAlaho NivAsu maNabhAmiNi vasumai atthi tAsu / puNu NAyadatta taho taNiya dhUva uppaNNiya sA aisaisarUva / tahe taNae jamme vasumai vi mAe bahuvAhiM gahiya karataNuvipAe / te rAeM chuhivi maMjUsiyAhe ____ lai ghalliya puNu jauNApavAhe / yattA-sA jauNahe sohai kasaNajale rayaNehiM viNimmiya ujjliyaa| 10 NaM NAiNimatthaeM amalamaNi NiyathANaho hotI saMcaliyA // 12 // 13 She turus out to be Padmavati, Karakanda's mother. kahANa viNimmiya avara jA vi tahe majhe chuddha guppaviya sA vi / Nicchediya suMdara jA ghaDIya sA bUDhamANa gaMgahiM pddiiy| ullolahiM katthaeM paDikhalaMti bhamaNammi paDiya katthaI calati / aiujuva katthaI parivahei jalajANu NAI sAyare shei| sA divasahiM kusumaurammi patta tahiM mAliNi acchai kusumdtt| 5 gaya gaMgahe sA para aNusaraMti maMjUsa diTTha tA tAeM jaMti / sA kaDevi Niyagharu gaiya levi atuTTapahiI thiyaI be vi| ugyADivi joyahiM sA vi jAva suya diTThI maNikaMbalaI tAva / sA divahahiM puNu jovvaNe caDIya tuha jaNaNaho puNu dihihe pddiiy|| pomAvai NAmeM jaNapasiddha taguchAyasaloNI aisaNiddha 10 sA pariNiya jaNaNaiM tuha taNeNa tahe gambhe pariTTiu tuhu~ saNeNa / ghacA-tahiM avasare sA karivari caDivi paribhAmiyau paTTaNu tAI kira / ciramohu vahaMtaI kuMjareNa sA NIya turiya bhayavevira // 13 // 14 Previous births of Madanavali and the Khecara who had temporarily abducted her. sA chuTTiya dukkheM kaha va tAsu ujANaho gaya bhIsAvaNAsu / mAliyaI keNa Niyagharaho NIya taho pariNaeM tA kali khaNiNa kiiy| 13. I J ruppaviya. 2 DN kaMcanaI.

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kaNayAmaraviraiyau [10. 14.3dukkhAura peyavaNammi patta tahiM jAyau tuhaM maI kahiya vatta / suNi evahiM mayaNAvalihe vatta jIvANa hoi visamiya bhAvetti / pArAvayakule jA laddhajamma pArAviya sA huya jynnrmm| dahiUru kuru paMjare caraMti jA ramaNaI sahuM acchai ramaMti / tAvAyau visaharu paribhamaMtu bhIsANaNu NaM pattau kayaMtu / te pAhiM dhariyaiM be vi tAI paI karuNaI dhAviya rakkhiyAI / NavayAraiM sA uppaNNa eha tava uvari garesara vaddhaNeha / ghattA-pArAvau ahi khayara vi huya NavayAraI laddhaI munnivrho| 10 ahiskhayaraI rose tuha vahuya Niya harivi turaMtaI Niyagharaho // 14 // 15 Padmavati comes and requests the sage for religious instruction. jaM pucchiu Naravai ki pi paI taM akkhiu NiyasattIe maI / taM suNivi garesaru vibhiyau tavacaraNu maNeNa viciMtiyau / pomAvaha ettahiM Aya tahiM muNi dhammu payAsai laliu jahiM / puNu vaMdivi bhattieM NayasireNa bollAvivi gaMdaNu kalasareNa / / tA pucchiu muNivaru NANadehu thIveu Nihammai jeNa ehu / ko vi amhahaM sAmiya bhaNu vihANu duhaNarayaNivAsaho gurupihANu / saMsAramahaNNavasaMkiyAhaM uvabhoyaNivahasuhachaMDiyAhaM / karuNeNa jaIsaru dukkhiyAhaM suhasaMpaivihi akkhei tAhaM / ghattA-paDivaI Ai karevi tahiM uvavAsahaM putti sayA karahi / hiyaicchiya so suhu aNuhavai surasejahiM lIlae rai karai // 15 // 10 5 16 Efficacy of fasts. paDivaI uvavAsieM paDhamu saggu vIyAI duijau devavaggu / taiyAI taijaeM samgi vAsu cauthIeM turIyaI suhaNivAsu / paMcami taha paMcami sukkhu dei saggammi chahi chaTThIeM Nei / sattamA saggu sattamieM jAi aTThamaeM sagge aTTamieM bhaai| puNu NavamieM Navamau devalou paripAvara dahamie dahame bhou| 14. 1 SJ vibhatti 2 J dhAiya. 15. . S Nivahu.

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10. 18.8.1 karakaMDacariu eyArasi eyArahami sagge dovAlasi bArahamammi vagge / terahamau terasi pAyaDe caudahamau caudasi saMghaDei / paNNarasamu puNNima dakkhalei solahamau tAsu ju ujuvei / pattA- aha pANAhAraiM jo karai jiNapuja kareviNu maNahariya / / sovANahiM eyahiM khaNe caDivi sivakAmiNi Nicchau ta sriy||16||10 17 Completion of a fast. jo vihANu cArucitta ujamei bhAvajutta / sahaeNa rattaeNa dittaeNa vtthenn| sokkhavIhiM aMcaevi kuMbhu aggae thevi| so vi vatthakoraeNa paMgurevi suMdareNa / appiUNa savvaehiM pUjiUNa kennehiN| tetthu pothara ddharevi tUraeNa jaagrovi| cArupatti dANu devi potthayAI pUjaevi / hAviUNa devadeu Ayarehu tumha eu| ghattA-caMdovA solaha jiNabhavaNe dhaya deviNa kiMkiNiravamuhalaM / eho vayaho uvAsaI maNaharaho pAvesahi chahi suha sayale // 17 // 10 18 5 The story of Sumitra who was reborn a boy. puNu tAeM papucchiu muNivariMtu peyakamalahiM pADiu je suriMdu / ho muNivara kahiM iu kiyau keNa ko pattau eyaho vayaphaleNa / taM suNivi muNIsaru bhaNai eva maNi saMsau phiTTai tAhe jev| ujeNIrAyaho puttiyAeM maNi gahiu sumittaeM dhuttiyAeM uvavAse pahillaeM sA muyA vi ghare vippaho ujeNihiM hayA vi| duighaDiyahiM pAlivi iu vihANu thIveu haNeviNu duhnnihaannu| gambhammi huyau taho jaNaNaNAsu jaNaNIeM kiyau suhu sayalu taasu| ekahiM diNi kalahu karaMtiyAeM NIsAriu NaMdaNu jaNaNiyAeM / 17. 1 DJ NaNhaeNa. 2 SJ muhalu. 3 SJ sayalu. 18. J reads paya pADiya kamalahi. - 1.1 -

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kaNayAmara viraiyau [ 10. 18. 9 vattA - gau rUsivi bAhiri paTTaNaho so syaNihiM juNNaeM maDhe vasiu / tahiM Ayau vivAhariNiyaru te dekkhivi so maNi ullasiu // 18 // 10 Good fortune of the boy. to aMcale laggau so khaNeNa to karayale caDiyau taM ji cIru ANaMda kiya jaNaNIeM tAsu taM layau vaNIseM devi davbu so pucchiu rAeM avaru asthi kahiyau NaMdaNu baMbhaNA su so pesiu rAeM davvu devi devaMtI kattI vikareNa 19 avarAhaI kiM piNa maI kiyAI bolaMta baMbhaNu tahe Na bhAi NidduriyaNayaNa bhayakaMpiyAI mA mArahi sAmiya saMvarehi teM tAhe karAviu rUu rammu sA kappaDa maggivi baMbhaNeNa taM pekkhivi tuTTaDa rAu tAsu so dekkhivi bhaTTa mahaMtapaNa ghattA-- * jANeviNu rakkhasi bamhaNaI siri lauDau lIyau tahe taMgaI / kara joDivi rakkhasi vamhaNaho bhayakaMpira aggaiM taho bhagai // 19 // 10 20 The king's minister becomes jealous of the boy and devises means to get rid of him. savvA paNaTTau taho bhaena / puNu valivi samAgau gharaho vIru / taM viNu gaya gharu vaNivarAsu / teM api rAyaho aMsu bhavvu / jaI ANahi tA tuha demi hatthi / so bIu ANai deva vAsu / kArohaNe gau bamhaNu valevi / tahiM diTThI rakkhasi tAva teNa / 19. J devaMtI DN yevaMtI. 2 D gae. 102 - Shree Sudharmaswami Gyanbhandar-Umara, Surat tuhuM kuviyara amhahaM uvari kAI / eu lauDau rakkhasasayaI khAi to calaNaho laggi turatiyAiM / taM karami savvu jaM tuhuM bhaNehi / tA teNa NIya appaNau hammu / Appa rAho taktraNeNa / ai diNNau pavaru pasAu tAsu / to pANaNAsu ciMtiu maNeNa / dhattA- teM maMtie jAivi khaNe bhaNiyA taho rAyaho rANI vallahiyA / ANAvahi vagdhihe duddha tuhuM tA tApaM vi sejjA khaNe gahiyA // 20 // 10 5 - 5 www.umaragyanbhandar.com

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10. 23. 11 karakaMDacariu One device fails; another is tried. paha vatta suNeviNu rANiyAhe gau rANau turiyau pAsu tAhe / taM kahiyau tAeM NaresarAsu ne diNNau pesaNu diyvraasu| ghari jAivi rakkhasi te dieNa kiya vagghi saMkaThI turiyaeNa / ghari NIya pariMdaho bamhaNeNa sA appiya vagdhiNi takkhaNeNa / tahe dasaNe jaNavau sayalu bhaTTa ihe maMti duhaha tuha deva sutttt|| bhayabhIyaeM maMtieM bhaNiu rAu Niva kanju Na duddhaiM paha jAu / tahiM maMtieM maMtu karataeNa puNu rANiya bhaNiya turaMtaraNa / bollaMtau jalu ANAvi devi paha NAvaha tima kari gau valevi / pattA- tA bhaNiu tAeM Niva suNahi tuhu bolaMtau lai ANevi jlu| taM suNivi diesaru te bhaNiu e? pesaNu kerau tujjhu chalu // 21 // 10 22 The Brahmin dies with austerities and is reborn as Arjuna. Padmavati accepts the vow. te rakkhAsi ANiya jalu karevi bolAyiu NivaaggaeM dharevi / taM. bhaNai mahaMtau rANiyA vi hauM bhakkhauM Naravai duijaNA vi / iu suNivi gariMdaho coju jAu taM sayalu diesaru pucchiyAu / te kahiyau maMtihe taNau kamma NIsAriu rAeM so ahmm| te rAeM bamhaNu kiyau maMti taho gayaraho loyaho hoi sNti| 5 tA pakkahiM diNi bhaTTo vi cAru tau karivi gayau so saggadAru / uppaNNau ajuNu hovi soi phalu ehau putti vihANe hoi / taM gahiyau tAI turaMtiyAeM paNu kiyau jiNesarabhattiyAeM / ghattA-taho vayaho phaleNa vi duddharaI thIliMgu haNeviNu mnnhriy| saNNAsu kareviNu puNu muiya sA turiu saggu skhaNe aNusariya // 22 // 10 23 Karakanda transfers the kingdom to Vasupala and retires ___ for austerities. tAva nahiM karakaMDaho NivAsu taM suNivi paDiu dukkha tAsu / 21. 1 JAha. 2 J mahu. -103 -

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kaNayAmaraviraiyata [10. 23. 2jiNacaraNalaggu TukkhAu bhIu saMsAraho uvari virattu thIu / duhajammaNamaraNaparaMparAeM ciru kavaliu haDaM dukiyghraaeN| tA bhaNiu bhaDArau karuNabhAu jiNapaDimaho laggau majhu pAu / taho dosaho maho pacchittu dehi iu duriu khaNaddhe khayaho Nehi / mokalli bhaDArA tau karemi kohAimahAbhaDa jaha haremi / paDivaNNau muNiNA karaNaeNa vasupAlaho deviNu raju teNa / saMsAramahAduhakhiNNaeNa tavayaraNu layara karakaMDaeNa / uppADiya kuMtala kuDilavaMta NaM kammabhuvaMgama salabalaMta / tiNasamau gaNivi aMteurAI parihariyaiM aMgaho aNvraaii| 10 ghacA-jA teNa vi laiyaDa tavacaraNu sAmaMtamaMtimahi pariharivi / tA puravari akkhiya vatta khaNe duhabhariyaI keNa vi paisarivi // 23 // 24 All his queens also take to religious austerities. tA uTThiya turiyau saMvarevi mayaNAvali mAlA pariharevi / raiveya padhAiya uru haNaMti kappUrakaraMDau tiNu gaNaMti / kusumAvali kusumaI vikkharaMti rayaNAvali rayaNaI Nau dharati / maNi chaDivi caliya aNaMgaleha khaNe maMdadeha huya caMdaleha / savvAu padhAyau vahuvaDAu muNiaggaeM huu nnivlNpddaau| Niu dekkhivi tA uvasamu gayAu kara maulivi sanvau tahiM thiyaau| paripucchiu muNivaru dehi tikkhu vau sAmiya amhahaM carahuM dikkhaM / mokalliu muNiNA tAva tehiM vau laiyau vammahu hayau jehiM / pattA- tau ghoru kareviNu duddharau savAu gayau surpurvrho| karakaMDu saraMtau jiNu hiyaI viharaMtau gau desaMtaraho // 24 // 5 10 25 Efficacy of Panca-kalyana-vidhana. puNu teNa bhoyaNiviNNaeNa saMsAramahaNNavakhiNNaeNa / aNNANu paNAsaha je dhieNa maNu Nizcalu thakkA jeM kienn| balaeva garAyaNa jara sadhamma jai havahiM mahAbala maNuyajamma / 24. 1 N tiNi guNaMti. 2 SJ vivikharaMti. 3 DJN titthu. 4 DJN ditthu.

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5 10. 26. 20.1 karakaMDacarita deviMda phaNida gariMda rAya je kiyaeM hohiM jiNa vIyarAya / kallANaI sayalaI je ghaDati varakevaladasaNe je cddNti| jai kAmaeva maNaharaNa haoNti guNaNihilasamuddaho pAru jaMti / malarahiu sadasaNu jai yahaMti NibANavilAsiNi lahu lahaMti / duhaNarayANivAsaho jaM pihANu je laddhaeM kevalu lahai nnaannu| ghettA- NAmeNa pasiddhau bhuvaNayale paNakallANavihANu nniruttu| kevalaNANihiM maharisihi jaM savvavihANahaM tilau pauttau // 25 // 10 26 Manner of performing the Panca-kalyana. jaM kiyau Asi cakesareNa sagNayasireNa / jiNaNhavaNa paMca ghiyadahiyarahiM payaraDasaehiM / acchaMtaI diNayare karivi tiNNi rayaNIhiM donnnni| jayarayaNakarAvalitRraehiM mhipuurehiN| gambhAvayAru kallANu teNa supsnnnnenn| kasaNammi pakkhe bhaddavaI mAse paDivaeM pyaase| uvavAsiu cArucarittaeNa siddhihe karaNa / kiya kiriyA rayaNihiM siddhabhaci caarittbhtti| taha pacchaeM kiya te satyabhAci paasiybhvitti| puNu diNNau kAosaggu cAra vihiM sayahiM phaaru| 10 taha paMcami diNi jammAvayAra vau kiyau saaru| puSuttiya kiriyA maNaharIya kiya guNabharIya / uvavAsu kareviNu aTThamIhiM duhnnitttthviihiN| NikkhavaNa joyabhattIsameya kiya kiriya sey| puNu dahamihi kiriyA kevalIya sA teNa kiiy| 15 puvuttiya suyabhattieM samANu suhsyltthaannu| caudasi uvavAsivi AyareNa guNasAyareNa / viusaggahiM aTTahiM viSphuraMti guNagaNa dhrNti| paMcamakallANaho aNusarIya sA kiya kiriiy| aMtimau jAu kiu bihusaehiM aTuttarehiM / 25. 1 Folio No. 60 of D containing the portion from here to line 4 of kadayaka 28 is missing. - 105 - 20

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kaNayAmaraviraiyau [10. 26. 21 ghattA-taM teNa vi kIyau vayatilau hiyaeM vahaMta paramarasu / jo avaru vikIrai NiuNujaNu so mahihiM bhamADai Niyayajasu // 26 // 27 Karakanda attains the highest heaven. tau ghoru kareviNu so guNAlu NANAtarumUlahiM kiu tiyAlu / toDeviNu mAyA mANu mohu NIsAriu dUraho teNa lohu / paMciMdiyajaM tA saMvarevi maNavayaNasarIraI taNu karevi / pAleviNu saMjamu duvihu so vi paramappara hiyavaeM parikalevi / jhANANale jAlivi kammarukkhu siviNe vi Na dIsai jitthu dukkhu| 5 tiNaNivahasamANaI kaMcaNAI sama bhAvivi vAsI caMdaNAI / parihariyaI kAmukoyaNAI NAsagge Nivesivi loyaNAI / NijaMjivi appau paramaNANi kalarahiyaeM NimmalaNahasamANi / yattA-NiyarUu laheviNu so Niyai pheDivi kmmnnibNdhnnii| samvatthasiddhi saMpattu khaNe kaNayAmaramuNivaravayaphalaI // 27 // 10 28 Author's eulogy. ciru diyavaravaMsuppaNNaeNa caMdArisigotte vimlenn| vairAyaI huyaI diyaMvareNa supasiddhaNAmakaNayAmareNa / vuhamaMgalaevaho sIsaeNa uppaaiyjnnmnntosenn| AsAiyaNayari saMpattaeNa jiNacaraNasaroruhabhattaeNa acchaMtaI tahiM maI cariu ehu dhara payaDiu bhaviyaNaviNau nnehu| 5 maI satthavihINaI bhaNiu kiM pi soheviNu payaDau cibuhu taM pi / parakajakaraNaujuyamaNAhaM appANau payaDiu sajaNAhaM / kara joDivi maggiu iu karaMtu maho dINaho te sayalu vi khamaMtu / ghattA-jo paDhai suNai maNi ciMtavai jaNavaeM payaDai Iu crit| so Naru bhuvaNaho maMDaNau lahai sakittaNu guNabhariu // 28 // 10 28. 9N ends here, the last leaf being missing. - 106 -

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10. 29. 15.1 karakaMDacariu 29 5 The author eulogizes his patron. jo NavajovaNe divasahiM caDiyau amaravimANaho NaM suru paDiyau / kaNayavaNNu aimaNaharagattau | jasu vijavAlu NarAhiu rattau / dhammamahAtaru siMciya appuNu jo vijavAlaho NaM muhadappaNu / jo ari NihaNai dussaha lIlaI jasu maNu raMjiu kuNjrkiilii| vaMdhavaiTTamittajaNarohaNu NivebhUvAlaho jo mnnmohnnu| dINANAhaho jo duhabhaMjaNu kaNNaNariMdaho AsayaraMjaNu / jo bolaMtau Niva saMkhohai jo vavahAraiM Naravaha mohai / jo gurusaMgari aisayadhIrau jo jaNapayaDu Na kAyarahIrau / jo cAmIyarakaMkaNavarisaNu jo vaMdIyaNa sahalau karisaNu / jo jiNapAyasaroyahaM mahuyaru jo savvaMgu vi jayaNahaM suMdaru / jo kAmiNihiM maNammi Na muccai jo jaNasIlataraMgiNi uccai / kitti bhamaMtiya kaha va Na thakkA jasu guNa liMtI sarasai saMkai / taho suya Ahula ralho rAhula munniknnyaamrpyubaahul| ghattA-taho aNurAeM iu cariu maI jaNavaI payaDiu maNaharau / te vaMdhavaputtakalattasahu ciru NaMdahu jA ravisasi haraI // 29 // 10 15 iya karakaMDamahArasyacarie muNikaNayAmaraviraie bhavvayaNakaNgAvayaMse paMcakallANavihANakappatAphalasaMpatte karakaMDasavvatthasiddhilAho NAma dahamo pariccheu samattA / // saMdhi // 10 // 29. J Niya. 2 SJN saha. - 107 -

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TRANSLATION OF KIRAKANDACARIU (HAPTER I 1. I recall to min the feet of the most gracious Jimit, thic clestroyer of Cupiel, <Page #183
KARAKANDACARIU [ 1. 2. 7 10 dull in crossing the ocean of scriptures, though yraceful spicech does in no way flow forth, though I fight shy of the learned, though I did not sit at the feet of poets and though I sullied my fame by the company of the stupid, still, whatever fruit has accrued to me hy recalling to any heart Siddhasena, worthy Samantalhalra, Akalamkadera the ocean of the water of scriptures, Jayadera, the large-ininded Svayambhu and the honourable Puspadanta, the abode of the god less of speech, and by paying my respects to them, from that I express the theme of my heart full of interest anil devoid of unpleasantness. Here there is no simulation. 15 ; 3. In this Jumbuilcipa, the foremost of the continents, the lamp of the islands, marked by the Jambu tree, girt up with the surrounding briny occan and measuring a hundred thousand Yojanas, there is the vast and prosperous Bharata country shining with the rivers Gangu and Sindhu, the depositary of the jewels of the earth consisting of six parts and beautiful like the mine of genis ( i. e. the ocean ). Here is the pleasant Anga country as if the lady earth had put on a divine apparel; where lotuses have blossomed in lakes like eyes on the face of the earth; where the divine-bodiel Yakshus having their affection fisel on the beauty of the farmers' wives, do not move off; where fields of paddy are protected by girls by enchanting the flocks of deer with their music; where travellers rid themselves of the fatigue by feasting upon grapes and sleep happily on earth-lotuses anil where the row of lotuses in the waters of canals looks extremely beautiful as if the earth were siniling. In that pleasant country, full of corn and gold, there is the attractive city by name Campa lovely to the eyes of people, the best on the surface of the earth and abounding in all excelleuces. 10 1.5 5 4. It is surrounded by a inoat full of water like the earth looking beautiful with the ocean. With lofty and white ( mansions painted with ) Kasisa, it is, as it were, touching the sky with hundreds of arms; where lofty Jina-temples look beautiful as if they were pure, unbroken heaps of merit; where silk-banners are shaking on every house as if white serpents were gliding; which is resplendent with the rays of five-coloured geins as if a handful of flowers had been offered by Cupid; which is beautiful with picture-houses like fascinating aerial cars of gods; and which looks beautiful with streaks of saffron as if declaring itself to be the battle-field of Cupid. There are red lotuses on earth as if it declares to be holding hundreds of 10 - 110 --

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1.7. 5. ] TRANSLATION fruits(?). By the livine virtue of the Jina Vasupijya, the lustful persons were not overpowered by love. There ruled king Dhalivahana who shattercil his enemics anrl was an elephant to the tree of arrogance, who was en lowed with fine arts anal virtues and was clerotell to his superior's. 5. He bore the yoke of the great car of virtue and was a shelter to the helpless, the poor an: the miserable. By his fame the surface of the carth was whiteneil; by his largess all people were pleasel. Gols sing his virtues and the enemics walk about terror-stricken. The goddess of speech a lorns his lotus-like mouth, the go liless of wealth resicles in his spacious busom. His hand stretches forth to give wealth", but never wields the allow for the lestruction of the living. Being struck with his commands the leer become maimed and do not roam about on earth. He was full-faced to the good: terrible, with kuitteil eyebrows, to the wickel. His mind was lyel in the colour of virtue anul was never, for a moment, lippel in sin. His heart was deep like ocean, stearly like Jerue anil wile like the sky. To him his attendants were loyal being pleased by his virtues. He became an ornament of the world. 10 5 6. One day Dudivikuna made an excursion to Kusumapura. There the king sair a beautiful girl bronght up by a gardener. Seeing her so attrac. tive, the gool king became stricken with love thich aroused his passion. Being afflicted by the heat of the fire of separation, the king inquired of a certain man " Tell me, oh frienil, whose daughter she is, a veritable fruited branch of the tree of Cupid". The man then told the facts to the king that the beautiful person was the daughter of the gardener. The gardener kusumadatta was then summoned and the stoutly built man was asked hesitatingly " Is she your daughter or of somebody else; kindly tell me." He told the king, the moon on earth " My wife Kusumadaita found her in a bos in the very deep current of the Ganges." 7. The very moment, the gardener, bearing the responsibility of virtue, took the box and speedily showed it to the king (saying ) " Ol lord, served by men, she was placed in this. It is not kuown, sir, whose daughter the girl was". The king, who had reached the ocean of knowledge, examined it and found in it a golden finger-ring imprinted. Then he read 10 5 * There is a pon on the ord dhanu 'ineaning wealth or bow, - Ill

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KARAKANDACARIU [1.7. 6 the beautiful letters "This girl is the daughter of a king, She was born the very mansion of Cupid, the daughter Padmavati of Fasupula the king of Kausambi, of spreading glory ". Knowing this the king, who had already felt attached, instantly married her who could shake off his woe. S. Then the king, having given good wealth to the gardener and being accompanied by her who was endowed with a lustrous body, feeling satisfied, came. to his palace with great rejoicings. There the two lovely ones indulged in sports with satisfaction. One night, the wife, in sleep, saw monstrous, rutting elephant with its trunk raised up. Getting up, she reported to the king "Look, my lord, I have seen, during night, a desirable elephant approaching". Hearing those words and considering it as an omen, the king told her its bearing "There will be a son born to you, an ornament of the family, a delight to the mind of the people and destroyer of the wicked". a 10. Afflicted by it the resolute and sportive lady would not talk or indulge in any pastime. "How should I fulfil the longing of my heart"? She fell on the ground at the very moment. Seeing her, the good king 9. While she lived in the company of her lord, in the course of the happy days, it so happened that an unprecedented shadow became manifest on her body. The bright cheeks became pale. The pearl-necklace, having its brilliance set at nought by the majesty of the breasts, no more adorned her bosom, but in turning round it made the mouths (nips) of those breasts dark like collyrium as a wicked person becomes prideless towards the best of the qualified when his head is bent down in a combat. The three folds vanished in a moment with shame as if through the fear of the child. Her gait became slow due to the burden of the belly, and weariness increased along with sloth and yawning. Thus (the child) quickened developing these 10 symptoms of pregnancy over the whole body of the mother. A pearl garland was then tastefully strung which surpassed the lustre of the sun and the moon*. Seeing the queeu, pre-eminent in the world, like this, the king made rejoicings. At this occasion, on one bright day, a longing arose in her mind. Shree Sudharmaswami Gyanbhandar-Umara, Surat 5 112 10 The line is more significant in its applied sense, i. e. the passage is composed in the Mauktikadama metre, 5 www.umaragyanbhandar.com

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1. 13. 5. ] TRANSLATION is 10 5 inquired " what is the cause of your affliction ? What ailments are there in your borly on account of which you clo not make a reuils, oh couraycous laily" ? Then, putting up with her troubio, she maile an answer to the gracious king who had satistied the gols "What is the pool of ny telling it to you, oh king, why my ainple burly has shrunk in half al moment. I have a longing, oh loril of men, which is never attainable by nuen. In drizzling rains, dressing myself as a man aml mounting on the mightiest clephant in your company, oh loni of men, I woulil go round the city including the principal gatwar. This is in my heart. Il it is not accomplished, then lilie eren now, 11. * Is it this clesize that you have in your heart. oh darling ** saiil ile king smilingly: " I thought it was some cause. Lloc: culing from me, that was giving you trouble. How great have you couniel it, oli charming ladly; do not wear out your boly in vain. " Then the resoluilaily sily's ** During summer, when terrible forest-confagrations rise up, where can i cloul be, iny lord ? It is not possible, oh illustrious one." Then the king, considering it in his mind, thought of the eleity Meyha-kunara. The latter came because of his long attachment, having assumerl the form of a cloud. When the sky became overcast by him, it began to drizzle. Then the king saril to the larly who was casy at heart "Look at the dark clousl: quickly put on your clress, suitable for sport, anl make your heart courageous, oh mailam". 12. Then the king got really a fat, brilliant clephant, and having orleroil trumpets to be blown an auspicious songs to be sung anil having decoraterl it and presented it before his wife, the gracious king got her mounted on its back. The lorl of men, in company of her, shone forth on it as if he was the lord of the gods. Then, sweet wini, blended with sandal, began to blow and the mass of clouls gently sent forth a spray of water. Then the memory came and the Vindhyas finshed forth in its mind; so the vicious elephant, excited at beart, r'an off to Kalinjara. People ran after it but it could not be overtaken and it passed out of the town. 13. When the elephant was flying, heading for the forest, the queen, being lookcrl at, said to her husbanil- " My lord, oh loril, get down; do not die for my sake. In your survival the kingdom will survive; in your presence righteous deeds will prevail; in your life all people will live, in your existence the pleasures of life will exist. Return to the city, oh king: 10 5 5 113 -

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KARAKANDACAAIU 1 1. 13. 6 let the elephant take me away". Hearing that, the king caught hold of a tree and jumping off, came back instantly to the city with anxiety. In the mean while the irresistible elephant took her away further. The elephant, as it went on, came to a lake where it entered into deep water. Then that wife of the king,l'esembling a heavenly damsel, jumped in to the water with a trick. 10 5 10 1.5 14. Bearing deep sorrow in her heart, the highly virtuous laily, leaving the lake, went into the forest. There she sair a garlen with (lecaying trees, decr-less and sapless like salvation devoid of passion and feeling. There, as she rested under a trec, the pleasure-garilen blossomed up and became fruitful. Then some one reported the wonderful happening to the gardener inclarge, in Dantipur " Listen, oh gardener, to my words; an unprecedented brilliance is visible to-day in the forest. The Bakula the Campaka and the mangoes have blossoineil and all creeper-bowers have become green. Even the good trees that bear fruit in different seasons are bending with their crop of fruits. Swarms of bees, greedy of the fragrance, are humming, as if the forest-beauty is enchanting pure notes. Has spring arrived in that forest so that it appears so beautiful to my mind" ? Fearing that, the forest-guard went there in a moment there the spring had manifested itsel! Then, seeing that forest so lovely, the man was thrilled with joy for a moment and then he argued in his mind "Surely this has blossomed through no good luck of ours." 15. The forest-guard wandered through the forest; he looked for the cause of the affluence of the forest. Then wipil, misel with fragrance, blew as if the richness of the forest was declaring its nature. The guard went by the smell, by the way the wind was coming. He saw the heavenly damsel under the tree as if the forest-deity was shining forth in all her grace. He then thinks" She is not an ordinary woman; of divine bodly, she is extraordinary in appearance." He then called her out addressing her as his daughter and raised her up by catching hold of the palm of her hand, "Why are you waiting here, sour at heart, oh daughter; come quick to my home." Hearing his words, delightful to the ears, the lady walked up to his house. While she lived in the gardener's house, Kusumadatta thought in her heart, " This woman, geen by him there, is extra-ordinary. Is she a Kinnari or a Vidyadhari ( classes of demigods )? She is lovely to the eyes, the best of women, air coloured like Campaka and brimmed with virtutes. 5 10

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1. 17. 12. ] TRANSLATION 16. The richness of her personal beauty is very splendid. The sun and the moon are, as it were, moving in the form of her nails. Her legs are like the plaintain tree which emulates her whole body (?). Thinking its trunk no good the lord of elephants has, as it were, resortel to the high peak of Meru The mountain of the gods (Sumeru) thought it to be harder and so has followed the tender bodied at her hips. The ampleness of her hips is attractive as if Cupid has made it so, thinking it to be his home. The depth of the navel has, as it were, been given to her by the ocean calling her his daughter Her large, protruding breasts, with scratches, look like the frontal globes of an elephant with fresh wounds. How can I describe the shapeliness of her creeperlike arms accompanied by the beauty of the leaf-like hands. The line of teeth is resplendent as if imitating the pomegranate scels. Not tolerating the elevation of the nose, the lip has assumed redness. The pupils in the white and dark eyes look beautiful as if big bees were sitting on Ketaki leaves. The well curved line of eye-brows appears like the bow-stick taken up by Cupid. The forehead, in its great elegance, appears like the half-moon sticking and shining there. The hair, with bee-black locks, shake like darkness gathered there for fear of the face-moon. If by her beauty, matching Cupid, my husband becomes perturbed in mind, then. with a quarrel, he would certainly leave me and honour her ". 17. Thus, feeling jealous, she turned her out giving her a bad name. The latter, without any resentment, walked out of the house the very moment. Proceeding on with great trouble, she saw the cemetery where kites were sitting on the pieces of the bodies of thieves and adulterers pierced with spikes; which was thick with the blood of the persons torn; where the animals, greedy of flesh, bad commenced a dance; where the bellies of beasts were split by bears with restless tongues; which was haunted by demons rapturously feasting on flesh; which was crowded with tens of thousands of birds sporting and hovering, and beset with multitudes of creatures being consumed in the flames of fire; where masses of hair on the heads were fluttering in the air and where strips of rags, tied to each post, were shaking; which was sickening to people on account of the smell of human bodies and Shree Sudharmaswami Gyanbhandar-Umara, Surat - 115 - 5 10 15 20 5 10 www.umaragyanbhandar.com

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KARAKANDACARIU 1 1. 17. 13 wbich at one place was overspread with skulls of the fractured. In that dreadful crematory, the terminus of corporeal existence, was born to Lier an excellent son, like gold or god in appearance, endowed with good signs and delighter of the cres and minds of people. 15 Hcrc cnds, in the life of the great king kurikuula, composed by Sage kunakamara, which is an omament to the cars of the buly aml which prescuts the richness of the fruit of the desire-giving tree of the five auspicious rites, the first chapter, describing thc birth of Karakanda. SECTIOXI CHAPTER II 5 1. On the bright day the child was born, there occurred many auspicious signs as if the sun bac dawned, and the faces of the directions hail visibly brightened up. By his birth her misery was forgotten, as if the desire-giving tree hail sprung up in the forest; as if the lords of the mountains hail shot forth tearing the earth; as if the full moon had risen in the sky of its family. No sooner did she take up the born child than she saw a Miitanga ( a man of the lowest caste ) in front of her. He was of a dark counplexion and his eyes were red. He came close to the child and took it up in his hanel like a gollen jar lifted up by an excellent: elephant. Lying in his hand it exbibited the beauty of the jewel shining on the crest of the Serpent-king. When he started for home, taking it away, she raised a cry " Oh sinful vagabond, whence have you come to take away my son. Not one calainity was crossed over when another, greater than the first, has cropped up: "Then the Khecaru, in the garb of # Matanga, with foldeil hands, said to Parlmcivati" Do not weep, my lovely sister; listen to my account. 10 1.5 -- 116 --

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2. 4 9. ] TRANSLATION 5 2. Here in this Bhurata country is the famous and imineasurable Tijuyardha, the foremost of the mountains. It touches the eastern and the western seas, thus looking very benutiful like tlie bram of a balauce. It is the meeting place of the Surur, the Kinnurus aud ile K'hecaras established entirely by Tura. On its southern range is a town wherr various travellery go about in conveyances. It is known by the name of l'illynul prabhu. It is prosperous aud famous for its excellent qualities. There was the renowned king Tilyulprabha profusely endowed with multitudinous lores ( Vidyae ). His wife was the yood Vidyullata like Gauri of Mahesu assuming beauty as desired. Of her was born a son, an abode of virtues, who became kuown on earth as Baladeva; I aun he. Hemamala became my wife ever devoted with aflection to me. In her coinpany I went through air to the southern sido for amusement. The l'indhya mountain stood before pic between Amhra. and Kelinga. 10 5 3. Moving and jolting with jingling bells, surpassing in splendour a multitude of suns, iny divine car went on through the sky till it would proceed no further. Seeing it standing still, through wrath, I drew forth my long, sharp sword. I stood looking in all directions for a moment; my pleasure was gone and I became dispirited in an instant. When I looked downwards, I saw the great sage, Suuruto, whose fanne had grown and who was praised by people. He had his eyes fixed on his nose. His arra was extra-long like ( the trunk of ) a mighty elephant, a visible, irresistible stick for the chastisement of the senses. He pay unshakable like the Meru, pure, all-knowing and absorbed in formless, steadfast meditation. Seeing him, angry as I was, oh sister, I took the sword in my hand and wrathfully got up to kill him where he stood meditating 10 4. " He frustrated my purpose as I was going" thinking so, I disturbed him. Getting angry he then pronounced a curse on me" Ob vagubond, you will no more possess your lores. By that curse the lores were gone instantly. I then thought in my mind, ob sister, " This agge is not ordi. nary; in half a moment it happens as he says". Thinking so I cluug to his feet ( saying ) " Oh holy sage, why have you destroyed my lores. I am your servant, oh lord of lords; I would never leave your service eren in the next birth Pacify this fire of wrath, my lord; let it not prevail in this forest of grasslike body for ever". By these words the best of the age 5 117 -

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KARAKANDACARIU [ 2. 4. 10became pacified like the lord of serpents by the might of incantations. 10 Knowing the sage to be pleased at heart, I bowod to his lotus-like feet and said "Oh gracious sage, kinilly tell me when the pleasant lores shall be mine avain ?". 5. Hearing that, the best save, prossessing the highest knowledge, made a divine speech in frout of me- "Oh Khecaru, of the handsome king of Compa, the gracious Dhadivahaua, the wife Pacliuivati would be carried away by a vicious elephant. She would then be found by a gardlener who would instantly take her to Dentipur. Being turned out by his wife, with a quarrel, she would come here and a son of exceeding lustre would be born to her, and you, an abode of virtues, shall bring him up. He shall obtain the kingship of that extensive city and at that time the lores shall be yours again". Bearing this in mind, I have been residing at this crematory. I shall keep him till he attains majority. With this idea I have caught hold 10 of your son. Do not weep; make your heart easy. As has been earned in the previous birth so you have to experience these days, oh highly virtuous lady!" 6. Considering what was said in his speech by the master of lores, Pudmucti gave him her son rather painfully ( saying ) " You shall keep him with wise consideration". "I shall do all that you say, sister. I shall bring him up graceful in all his person". Saying this to her, that Khecara went to his home taking the small baby with him. Giving it over to his 5 wife he spoke these words- " Take it, oh Hemamala, it is your son". She took him instantly and kept him addressing him as son. In the meanwhile, Padmavati, afflicted in her mind, went at the very moment, to the town nearby, Residing there, she took religious practices from an Arjika (a Jaina nun ) who was devoted to peace. Seeing there the 10 emaciated but exalted and noble sage, Sandkiguptu by name, she instantly took a vow by the side of the great suge, thus relieving herself of all vexations. 7. Through her attachment for the son, she would frequently secure balls of molasses and sugar and send them to the house of the Khecaros who was bringing up her son, the terror of his enemies. Seeing a big scar on his hand he gave him the naine Karakanda', which became wellknowu all over the earth. He, the abode of all fine arts, was growing up day 5 -118 -

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2. 9. 11.) TRANSLATION 10 5 by day like the moon with its ligits gradually shining forth. At this juncture, there arrival the great sages Vosoblacilr'it, anul l'irabhudni, the ocean of scriptures. They were lean with the unbearable weight of penances and were accompanieil by the excellent fourfold order. Some of them were absorbed in ineclitation anil were vcry learned, while others had their bodies covered over with a mass oflirt. When they arriver at the dreadful crematory, one of them sair a miracle there. A bamboo-cluinp harl grown from the eyes on the face of a human skull. He then asked - Tell me the cause of this, oli great sage: low has all this happenel?" 8. Hearing those words the matier was reveal. I by y'asoberlin to the younger ascctic. " These three mighty bamboos shall become the stafss of bonner, goarling hook and umbrella. In whose so-ever han.ls these bamboos vroull fall, he shall obtain the entire carth". This was hearil by a onmati, who was stan ling close to the sage. At the close of the dlay he counciller in his own heart " The words of the sage woulil never go false". So, one day he got all the threc bamboos cut quickly. But when he was going home with them, Karalandi came up to him and wrested them from the Brahmaun. The Brahmana, through fear, allowed him to have them, not being able to withstand his might. But being disappointed he said " Whenever you obtain the kingdom, make me your minister, oh beautiful friend ". Karakanda acceded to all that was said by the lovely Brahmana, and himself went home with those bamboos and reported the matter to his guardian in sweat tones. 9. For Karakanda, the affection of the Klicon increased very much. He was taught, along with politics, grammar, logic, hundreds of dramas, poetic compositions abounding in various sentiments, Vatrayana (erotics ), mathematics, the nine sentiments, the Jontres and all the Tantras, the art of winning thc hearts of people anl of making good machines, good use of stords, disks, spears and daggers, the science of bots, missiles and strong jarelins, wrestling, acrobatic feats, jumping, turning and rolling of the body, and the cutting of various kinds of fruits, flowers and leaves. He was made to know all these pleasent arts and he also acquired dexterity in playing upon drums, tabors, lutes and flutes. Thus, erery art that was renovuell in the world ras taught by t!le Khemire to him who had a good 10 5 10 -- 119 -

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KARAKANDACARIU [ 2. 9.12liking. When any man is vexed by desire, tell me what wonders he may not perform 5 10 10. Feeling very grenteful at heart, the Khecara then says to Karakanda " Dlake company with a master of Vidyas. Go to his house and follow him up regularly ". Karakanda says " what is, oh father, the use of that master of Vidyo:s ?". Then the Khecara says " Listen, ob innocent-minded. There were two friends living in the city of Kanyoku.bjo, a merchant and a Brahmana, endowed with Vidya. The good men went to the Coda country desirous of wealth. Having acquired some money, they turned back for home. On the way, they met the father-in-law of the Brahmana. The father-in-law saw them and immediately took them Tiome. Being honoured as they lived there, a sounding-drum went round. Hearing the harsh, unmusical drum they instantly inquired of the father-in-law " For what purpose is this being beaten so harshly in public, ob maternal uncle ?" 11. He said " Here, the beautiful daughter of the king has forcibly been eloped by a Rokshasa. No body can rescue tbe poor one; companies of people and kings have been overcome by the Rakshasa. He lives in a deserted town beyond the river. No one can breathe there for his fear. ('The king) is looking for a new-comer preeminent in Vidya; for this purpose this ( proclamation ) goes round daily". Hearing those words, with smiling faces, they held up the drum as it was being sounded. Immediately, the drum-man returned and reported to the king- " Two men have arrived here, my lord, like pure praiseworthy heaps of virtue. They assert, Your Majesty, with confidence in their mind" We would do all that the king would say ". Then the king went and brought the two persons to his palace with honour, and inmediately despatcherl them to the vicinitr of that invincible Rakshaso.. 12. They both went to the abode of the Ruslasu whom no body else would approach. There they saw the mailen with large breasts, & river of beauty, of golden hue. Then they saw the tawny-haired Rakshaaa. By the repetition of the incantations he lost his malignity. Incapable of bearing the power of the incantations he said " I, Pavona-vega, am your servant". Knowing the Rakshasa to be subdued, they went into the presence of the king along with the maiden. Accompanied by the Rakshasa - 120 - 3 10 5

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2. 14. 15. 1 TRANSLATION and the muiden they were seen by people coming. The people said " Today peace bas been established here wlien such conjurers arrived". Seeing them, the king became pleased at heart and give them ample wealth. Addressing the maid as sister, thes restorel her in the king and then ther with stout and long arms like elephant-trunks, went joyfully to their own town". 10 13. "Whoever male company with a man of l'ulyar obtains happiness and wealth. Therefore, the company of the man of l'idynz shoull be courted so that it may be uubreakable. Do not make friends with a man devoid of learning, for, he would change his mind in time of calamity". What fault has been seen in a mau devoiil of 17.ype, the Kharcain with pleasure, narrated thus 5 5 * Two friends, belonging to the town of Bemlics, went to another count's; ignorant as they there. Having acquireil wealth, while returning, they encountered a Rakshasi on their way: Seeing him thes fled awar terror-stricken like the sinful, swerved from austerities. The fuols did not kuor anything in their mind. They were overtaken by him as they fledd. Then, being arrested, the two frienils were released by another traveller after an open fight with hiro. Thus they subsistril by the help of a stranger". 14. - Similarly, never form company with the mean, oh courageous handsome hero. Whoever fell in the company of the mean, he reaped a woeful doom. Listen, I tell you the story of the mean; know this moral in your heart, oh lucky one. There was a merchant by name Sularzana. He was casually told hy a mean king " If you can recite a rerse rithont joining the lips, I would grant you lan is without encumbrance". Then the merchant recited a verse of some beauty without allowing his lips to touch each other " The earth, set ablaze in the whole forest by the flames of fire of the enemies' might, has been restored to pacificatiou by being sprinkled over with a current of water in the form of the sharp edge of the sword". The king, being pleased: gare lands to the good merchant, though with reluctance. Then one day, the good merchant, the ocean of virtues, satisfied the miserables (by his largess ). But then the crooked merchant formed connections with a slave girl who goon became pregnant and entertained all sorts of longings. 5 10 15 - 121 -

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KARAKANDACARIU [2. 15. 1 15. Then, instantly, she told the merchant "You must carry out this one word of mine. Give ine the flesh of this peacock of the king so that I might live without doubt". Then the foremost of the merchants went out and found the place of the peacock, in front of him. He hid the peacock and going to her house, gave her another creature. She instantly blessed the merchant and ate it calling it a peacock. Then, not finding the peacock in the whole town the king ordered a proclamation with a drum. Hearing that, the slave girl narrated he whole account of the peacock to the king The king became very angry with the merchant and handed him over to the executioners for slaying. Thus, having experienced the fruit of the association with the mean, the merchant, through fear, quickly went home and instantly restored to the mean king that trifle of a peacock. 16. Now listen, oh son, to the story of the noble by which wonderful prosperity is achieved. Being aware in mind of the company of the mean, one man courted the company of a noble man. In the town of Benares there was a delightful king, Arabinda by name. Being content at heart, he once went out ahunting. He fell in to a waterless tract and became afflicted with hunger and thirst. A merchant, however, gave him three fruits very represhing ( as if ) made of nector. The king became pleased with the merchant and showed his favour to him on reaching home. Realising his great service, he appointed him to the office of ministership Both of them lived there with affection, lustrous like the sun and the moon, 10 the virtuous abode of numerous gems of good qualities like ocean in depth. - Shree Sudharmaswami Gyanbhandar-Umara, Surat 5 17. Then, one day, the great minister, abducting the son of the king and removing his ornaments, went to the delightful house of a harlot. There the merchant presented those invaluable ornaments, pleasant to the eyes of people, to her. He then told the harlot whose face was like the moon at the advent of the autumn I have killed the son of the king'. All this he told her whose love was unshakable. Hearing that, she said affectionately, Do not make this known to any body'. In the meanwhile, not finding his son, the king ordered a proclamation with the beating of a drum in the town- Whoever would give information about tho king's son, would be rewarded lands along with money". Then some rash fellow 10 instantly said in the presence of the king I have noticed your son, oh lord; he has been murdered by the new minister'. " f 122 10 - 5 5 www.umaragyanbhandar.com

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2. 20. 9.] TRANSLATION j 18. Hearing those words the lord of the eartli, possessing shapely arms, becaine pleased with the minister (an'l said ) I have paid off the debt of one fruit out of the three to the noble-minded; I should be excused for the other two that remain still outstan ling'. In a moment, the lord of the earth became pleased. Having known the afloction of the king, the minister restored the son who had a heavenly body, ( saying). You are a great friend of mine, oh lord of men; I had simply tested you mind, my lord'. Hearing the words of the minister, the king conferred great favour upon him. Whichever person bears company of the great, he obtains fortune after the desire of his heart. I bave narrated to you this story of the noble; bear it in mind, my son, as a channel of virtues". Karakan.la was taught by the Klosecara all the arts by the wisdom of his heart." Whocrer porson would conduct according to this moral, would certainly rule over the entire globe". 10 19. Hearing that speech of the Kheccoria, koruhond would not Icare bis side. When out of home for play, Korolundu would not leave that crematory. While he was amusing playfully like this, one day, in Duntipuro, there occurred the death of the king who had shattered the enemics that were roamivg about, who had destroyed the forest-fire of inmorality, passiou and fear, and whose orlers people dared noc transgress. Cries of woe arose all over the great town; a very great calamity befell the people who said " There is no prince who, being pre-eminent, might rule here". At this time an idea flashed forth in the mind of the minister and he looked at a great elephant with beautiful iusks. Having worshipped the rutting elephant, the wise one entrusted to him a brimful jar baving presumed in his mind that he would empty it over one who may be destined to rule. 10 20. The best of the twice-born l'ecited the Sums with proper accent and groups of gods were assembled by the excellent ( minister ). The drum resounded along with the conch, the tabor, the Kahalu, and the trumpet that filled the earth. The mighty elephant started from the palace like a paramour from the house of a harlot, shaking its trunk and moving its ears, with eyes rolling, and white in appearance. Holding the brimful jar with its trunk, like the moon following up the peak of a mountain, passing from bouse to house in tile town and still maintaining all its dignity, the elephant, having wandered through the toira sportively, went 5 123

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KARAKANDACARIU ( 2. 20. 10 10 far outside iu its wanderings. Iu the midst of the crematory the elephant quickly perceived the prince, an extraordivary Cupid. Bending its head, the elephant eunptied the beautiful jar over his lead. Observing that, tlie people beat their foreheads and raised loud cries of sorrow ( saying) " What has this elephant doae ? It bas placed the jar oa a low boro ". 21. So thinking, the feudatories and the ministers rould neither walk forward por look up. While they stood tlus perplexed in mind, the Vidyas that had vanished by the curse of the sage, returned to the Khecora at the very moment. Then, thrilled with joy,tbe gracious Khecara told the people " He is not the son of a Matanga; he is the son of a king and bas a splendid boly. Do not hesitate because he would go and move in the first rauk; you put your hand on the forepart of the elephant's trunk". Then he gave in to the hand of Karakanda the Vidya which people look fur in battle. Having done all this, the Khecaro, by the power of bis Vidyas, went to his home by the aerial path. The proclamation of victory spread through the sky, the immortals made celebrations, and men, like gold anil gods in appearance, placed Karakanda on the throne. 10 Here ends, in the life of the great biuz Karakunda, composed by Sage Kanakamana, which is ao ornament to the ears of the boly and wbich presents the richness of the fruit of the desire-giving tree of the five auspicious riter, the second chapter, describing the acquisition of the throne by Karakanila SECTION II - 124 -

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CHAPTER III 1. Then the new king was thus addressed by the ministers "Get, oli gracious one, on the back of the elephant, come quick and bear the burden of the administration of Dantipur". Then Karakanda got on the mighty elephant whose temples were wet with an incessant flow of ichor. He exbibited a very charming grace as if the lord of gods was adorning the back of Airavate. He proceeded alongwith the prominent persons being fauned by the moving chowries, being entertained with music by excellent women who were mistresses of sport, elegance and pleasure, being eulogised by bards who threw in to shade the notes of a cuckoo, being attended by the citizens who had set their minds upon him on account of 10 their attachment for noble qualities and being praised by the well-disposed who had bent their foot-steps for the world to come. Being served by other people also, the charming hero went into the town along with all the persons. That repository of virtues was seen entering by the women of the city like the son of Dasaratha, the store-house of lustre, by the heavenly 15 women in Ayodhya, 2. There in the town, the beautiful women that would overpower the minds of sages absorbed in meditation, felt perturbed. One woman pushed on speedily feeling agitated, while another stood at the door being dumbfounded. Another ran being greedy of the affection of the new king, unmindful of her dress got loose. Some one applied collyrium profusely to her lips and lac paste to her eyes. One followed the manner of the dressless and another took her baby upside down on her hips. One young woman put the anklet on her wrist and bore the garland on her waist leaving the bead. Another simple woman would not let off a cat thinking it to be her baby. Yet another ran up full of the new king in her mind but fell on the ground 10 overtaken by the illusion of love, while one, rich in pride but overladen with love, with hard and ample breasts, fawu-eyed, bright and lustrous like heated gold, walked straight towards Karakanda. Shree Sudharmaswami Gyanbhandar-Umara, Surat 125 -- www.umaragyanbhandar.com

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KARAKANDACARIU [ 3. 3. 1 3. With his licurt delighted by the acquisition of the new kingdom, Karakanda, entering the town riding on an clephant, arrived sortively at the palace. He saw the high, royal mansion, very attractive like a Himalayan peak. With arches of pearl-strings, it was, as if, siniling with its close, bright teeth. It was jingling with small bells and flourishing with banner's as if a lovely woman was dancing with the strokes of her palms. It was inlaid with gold, gems and jewels as if a celestial car had dropped from heaven. There the pure-hearted new king entered being preceded by the elder people pure in mind. Then came out a woman with an auspicious golden jar in her hand. The auspicious rites were performed with excellent lamps and he was hailed with words of victory by hundreds of women. With his coronation performed with golden jais, lie was madle to enter the palace. He, the mine of all virtues and store of good character, endowed with the feeling of modesty, lived in the town and carried on the goveruinent, attended by the feudatories and ministers. 10 15 g 4. While ruling there, he ordered to be brought immeiliately those bamboos which were kept on account of the prophecy, and they were turned in to the staffs of his banner, goading hook and umbrella. He then called the good Brahmana who was waiting there on account of bore, and made him his minister. Then, one day, while roaming through the town for sport, Karakanda saw a mau of graceful features who had arrived, in his wanderinys, into a foreign country. He also saw in his hand a wonderful portrait which attracted the minds of the people. King Karakanda askerl him "Give me the portrait, I shall see it with all my heart". He handel orer to the king the portrait to which people had been attracted through affection. Karakanda saw the grand portrait five-coloured and shining with inanifold qualities. There he saw the seemly beauty painted as if the arrow of Cupid was lodged in to his heart. Hot and long sighs procceded from his lotus-like face and he felt a burning fever that made him uneasy. Karakanda saw the most excellent portrait aud stood bewildered for a moinent. By his horripilation he told the man about the separation: by it the new king closed his eyes with a depressed heart. 10 15 5. The man, holding the portrait, knew the heart of the king " Probably, he will be the husband of the maid". Thinking so, he said " Oh brother, give me my portrait so that I may go, oh king". But the latter, - 126 -

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3. 7. 11. ] TRANSLATION 5 feeling excited, would not leave it. With sighs, the king then said " My friend, tell me confirlently for what purpose rou arr wandering about with this portrait?". Hearing that, he, obering the words, garn to the king an account of the portrait. "There is, my loril, the M ontre country which fully imitates the worll of the gods. There is the town called Girinagare pleasant to tlic cyes of the Sun, Klucarns and men. There rules king Ajicrocurrues, the splitter of the hears of his cncinies, with his wile #jitangi. Froin the latter, the attractive king got a daughter wameil Jadenccali, a basket of beauty of sweet voice, pileasant to the cres of gooul men and a store-lionse of lustre. 10 5 6. Mailanarali, one lay, wout to the pleasur surlen in the company of her friends. There she saw some kinecanus pleasant to the eyes anul minil of men, riling on swings and singing pleasing songs about Koronada, to the accompaniment of a low-tuned lute. Listening to the heart-winning songs, she fell on the groupl, shaking her body. Perplexel. unconscious, ema - ciated in body like the ligit of the moon in the dark fortnight, wiltreinbling like a plaintain tree struck hy the wind, she was brought home, along with sorrow, by her comrades. She was then askel meekly by her friends agreeable in nature and removers of the moutal agonies of men, " Why have you become ristressed, fi'ienil; tell us, oh clear sister : " Through her affection for her companions, the young girl in her simplicity, told them about the fire of separation " That song which the Kreorcs sang with reference to Karokanda ras heard by me. Jy heart got exciter hy it anul then all the four quarters became full of uneasiness. 15 5 7. I have tolil you, frien:1, the circumstances; satisfy me if you can, before my life which is being consumed in the flames of separation, dies out, oh friend ". Then with sorrow, the latter reporteil the matter, in brief, to the king " Vaulonivali has become lovesick br listening to the songs about Karakanda". Hearing that about the maid, the king got the portrait of the cleer-eyed one painted, and handled it over to me, oh lord of men, adorned with victory and the moon in the sky of your family. I then came to your town with the portrait, oli rauquisher of irresistible foes and endowed with the spirit of a warrior. Whoever becomes struck with attachment at its sight, he is going to become her husbund, oh lord of men! I have told it all to you, oh king; agree to it now. Let the maid with - 127 - 10

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KARAKANDACARIU [ 3. 7. 12eyes like a lotus-leaf and face like the moon, hold your palm of the hand in her tender hand ". 8. Listening to the words of the man who was holding the picture, the king agreed to it all. The excellent king, the moon in the sky of his family, sent suitable persons from his side. On an auspicious day, well attended, they returned, bringing with them Mudanavali. The market places were decorated, arches were flung at every house and a wristlet was fastened on to him. Various kinds of musical instruments were sounded and sentimental songs were sung. Higlily emotional dances were performed and lines of horses and elephants were drawn up. The reil on the face of both the persons was opened up like the mass of affection of their hearts. They were made to go round the butterfed fire, seren times, by the priests who 10 recited the sacred formulae. The bridegroom offered his hand to the bride and performed the sacred rites by his right hand. A close' union of the stars' took place so that the affection may not be split even in the next birth. The union of the hearts hail taken place before hand; the formalities were gone through merely for the satisfaction of the reople. 15 Thus, on an auspicious day, the courtiers performer the marriage of the two whose hearts were steepeil in love. The marriage of the king took place seeing which even the Suras and the Khocards became excited and feeling discontented with their own pleasures, became envious of his fortune in their minds. 9. On that occasion, his mother Puulmavisti also came hurrying to see her son. King Krorokanda saw her and howed to her feelingly. Being delighted by the marriage of hier son, she instantly pronounced her blessings " Live long, my son, the lord of the earth, as long as the current of the Jumna and the Ganges lasts ". With obeisauce and respect, she was S brought in with the words " This day is rery auspicious to me". She was honoured with sweet words and was made to dress herself in bright clothes. Pronouncing her blessing, she soon went out like the brilliant faine of Karakanda. In the meanwhile, the gatekeeper, arousing affection in the hearts of men, came into the presence of Karakanda. Placing his lotus 10 hands on his lotus-head, the gatekeeper said in a loud voice "The good Ambassador from the king of Campri is waiting at the porch, oh lord!". 20 - 128 -

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3. 12. 11. ] 10. Hearing those words. Karakanda instantly ordered the gatekeeper to go quickly and bring in his presence the ambassador of the king of Comp. Hearing the worls of the king, the gatekeeper brought him in instantly. Seeing him, the king honoured the ambassador with presents and a seat, (and asked ) Oh ambassador, tell me about the welfare of the king of Compe, all of whose dominions are well settled. The ambassa lor said Happy is he, oh king, who has persons like you for friends. Being ever served by lords of men. he remembers you, oh lord of lords. As coolness is not separate from water, so are you to the king of Campa, undoubtedly. Accept, oh king Karakanla. the excellent service of the lord of Comp. Thus getting united, may you both enjoy all the pleasures and the earth. 4: TRANSLATION 11. Without service, oh friend, even a cubit of earth can not be obtained for enjoyment. If you do not accept his service, then doom will some how make room for itself". Hearing those words, Karakanda, becoming wrathful in his heart, and stretching his red eyes towards his forehead as if the sun and the moon stood in the sky, ( said)" Go away you ambassador, go where your master is; do not stay here even for a moment. Tell the king of Camp in brief that I was quickly coming to him. If he has the warrior's pride for battle, let him offer me battle immediately". Hearing this, tho ambassador went where Dhadirakuna was (and reportel) "The king of Dantipera has said, my lord, that he would not bow to you but would rather fight with you on the battle field. This is what the courageous one has sail". 5 Shree Sudharmaswami Gyanbhandar-Umara, Surat 10 5 10 12. Hearing those words, the king of Campa made his preparation. seriously setting his mind upon it. In the meanwhile, the king of Dantipura caused the earth to shake along with the Mandara mountain. The destroyer of the lives of his foes caused dust to rise up in all the ten directions by his marching. The sky was covered up and the sun began to fluctuate by the hurry. In wrath, he ordered a quick march. He came to the region of the Ganges and saw the river Ganges as he proceeded. It looked beautiful with its white and zigzag stream as if the wife of the white serpent was moving. As it flowed from a distance it looked very pretty like the glory of the great mountain Himalaya. By means of the people bathing 10 on both its sides and offering water to the sun with their hands holding 129 5 www.umaragyanbhandar.com

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KARAKANDACARIU [ 3. 12. 12durbhu grass and raised up, the river was, as it were, under these guises, declaring "I am pure and go any own way; do not get angry with me, iny lord !". Having observed the river, the king named Karalanda vrent to the town of his father, the abode of numerous excellences. He who 1.5 caused fear to the great gods and the Kherarus by means of the arrows discharged from his bov, besieged the town on all the four sides with his irresistible elephants, horses and commandlers of men. 13. When the siege was laid by the king, the people of the town became inmediately perturbed. A certain person informed the king "Oh lord of men who has subdued all the forces of the enemy, the very fire to the forest of the opponent's army, who has satisfied the desires of the panegyrists and good men, clephants having formidable trunks are 5 groaning: excellent horses with curved mouths are neighing: chariots are moring with a rumbling noise and fluttering with shining banners, the lustre of the swords surpasses the rays of the sun; hooked spears are quivering: lances are shining with daggers and are speadily active like wind. Thus the forces of the enemy, very mighty and irresistible like lion, have made an 15 attack on you". Hearing that, the lotus-face of the lord of men came to resemble a red lotus. He bit his lips; his eyes had frowning eyebrows, the five of wrath increased and delight was at an end. 14. He then got up. His servants, dreadful even to the gods in battle, ran up. Horses swift like wind, and elephants were got ready. Excellent chariots moreil on with rattling wheels. Some rusheil forth bearing lances, uttering various notes of challenge, while other excellent persons regardful of the honour's received from their master anil loyal to 5 the lotus-feet of the king, praiseworthy anil irresistible in battle, advanced bow-in-hand and delighted at heart. Some marched forth trembliog with rage and others shining with drawn swords. Soine were thrilled with horripilation; other's put on their bodies their armours. Some, being steeped in the sentiment of the battle-field, went by the path pleasing to the 10 heavenly damsels.* The king of Campa marched out of the town attended by horses, elephants and excellent chariots. Tell me, by whom with formidable, mighty and stout arms, was he not followed ? This also indicates that the metrc of the Kidaraka is Srugrini, - 130

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TRANSLATION 15. Then trumpets were blown that filled the entire earth. All musical instruments are sounding, the armies are preparing At the command, they draw up in ranks and fall upon the forces of the enemy. Lances are breaking: elephants are thundering. They gallop with speed; they cling to the tusks of elephants. Bolies break; skulls crack; headless trunks run about and rush into the enemy's lines; entrails get dislocated and drop out along with blood bones are twisted and necks are being broken. Cowardly people fled away, others fought the enemy at close quarters, while yet others, drawing up their swords, stood firmly engaged in fight. 3. 18. 2. ] 16. Then, with anger, the lord of Compe, riding in a chariot, rushed forth like the lord of gods. He quickly went into the ranks of the enemy's forces and encountered king Karakundo. There was then an uproar in both the armies which covered the sky with showers of arrows. Karakanda who had long arms like the trunk of iravato, through wrath, suddenly flung a sakti (a kind of missile) at the king of Campa The chariot with the banner-ensign was, in a moment, shattered and then the charioteer was quickly laid low by him. Angrily, the king of Compa discharged his arrows very quickly. When the arrows were shot by the king of Camp the forces of Karakanda took to their heels in a moment. Karakanda saw his army routed and extreme anger flashed forth in his mind. So, he immediately commissioned the Vidyo which was given to him by the Khecura. 17. Then with irresistible anger, he discharged the Vidyo. In an instant, the bold Vidya was seen rushing forth quickly, producing hushing and humming sounds, matching the wind in speed, acting like a demoness, touching the sky with its brilliance, crushing the temples of the elephants and shattering the chariots against one another. Whoever were seen on the battle-field, fled away at her sight. Some were made to fall in to a swoon while others were forced to fight. Some were split with strokes and others were deprived of their lives. Then the king of Campo, getting enraged, quickly grasped the sword in his hand and in half a moment, shook off the power and energy of the Vidya which was devouring hundreds of men. 18. Karakandu saw his the bow in his hand. He put the Shree Sudharmaswami Gyanbhandar-Umara, Surat Vidyo gone and getting rageful, he took string on the bow seeing which people 131 5 10 5 10 5 10 www.umaragyanbhandar.com

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KARAKANDACARIU [ 3. 18. 3became alarmed. At this time, the gods in heaven who follow virtues, became perturbel. By the terrific and dreaulful twang, the globe of the earth tottere:l and its very base ( Kurma ) crasle:1, the surface of the 5 earth was ruffled and the biggest mountain was shaken, the abode of sharky (i. e. the ocean ) became unsteadly, the god presiding over the earth ( Dloranindra ) trembled, the god of the aerial beings whirlel and the king of gods was thrilled. Hearing that twang of the bowstring, chariots broke, the mightiest elephants fled away, the arrogance of the king of 10 Compis melted off and the Kl.cclr'cus, being horror-striken, could not more. 19. Then the hearts of the gods were rent and the enemy's forces stood dumbfoundel through terror. He took the shooting position, the pride of the king of Cumpa was broken, the bow was got ready in a moment and the string was bathed in the water of perspiration. Korclunda fised the mighty airow to his bow and the king of Compa discharged another. When that arrow also went fruitless, Padmavati arrived on the battle-field. She was seen by the king and was saluted with the bending of the head from a distance. "Oh, mother, mother, why have you come to this uncontrollod battle in the midst of the multitucles of warriors ?" Slic replied " Hold back your bow, my son; this Dhadivahana is your 10 father ". " Tell me, noble mother, how this king, the home of virtues, is my father ?" Then she instantly told him " Listen, oh powerful lord of the earth, my son 20. I was the wife in the home of the king of the town of Campos, subluing the hearts of people. When you came into my womb, a calamity belell me. I was taken away to the outskirts of the town of Dentipuris by an uncontrollable elephant. There you were boru at the dreadful crematory. I was delighted to see you ". Hearing those words, king Karokande, 5 for a moment, stood bewildere:l. Having said this to her son, she fearlessly went with quickness to her husband. She was seen by the king of Compa like the river Ganges by the ocean. Though he recognised her to be Poilmavati, still, through his good nature, he saluted her. Since she bore the weight of the vow, the king praised his wife. She was questioned by 10 the king as to how she escaped from that elephant. The latter told him immediately " Oh king I got free from the elephant on the bank of a lake. - 132

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3. 22. 10. ] TRANSLATION 5 21. Close to it in the crematury was born this son, the ornament of the family. He was brought up by a certain Khecara and I took a vow theu and there through heaviness (of heart ). Then the king of Dantipuro died and he was made the king. Know this who is fighting against you, to be the same; you have been rexed by the monster wrath. Do not be silly, give up this tenacity; oh king, this king is your own son". Hearing those words, the king of Cuinque Lecame pleased at heart instantly "Blessed am I who has such a son long-armel and steadfast in battle". Leaving aside his boir with the arrow dropred, the great king went near Kurakanda. Theu Dhiadivahana, advancing instantly, embraced his son as prince Prulyomna, the repository of lustre, was embraced by Dainodara going to the battle field. 10 22. Kurkundle then addressed his father - That I declared a war on you, do not inind this mischief of mire, oli lord; forgive it all, my sire". Ou hearing those words, the king of Campu felt instantly thrilled at leart. He took hien to the capital along with all other kings and conducted bim in with celebrations. That town luokeri so beautiful with Karakanda that 5 the city of yods fought shy of it. People, taking jewels, came affectionately to the palace for offering their felicitations. Then the royal fillet was fastened on Kurakarua who was a millstone to recalcitrant kings. For his part, the king soon adorned his body with the beautiful ornament of penance. Having practised very difficult, passion-killing austerities that bad the 10 power to break the tie of the eight Kormas, he, abandoning his body and cutting off the knot of the beart, became attached to tbe neck of the damsel salvation. Dhadivahana of goldly and godly appearance and abode of virtues, went to the house of salvation, while karakardla lived on iu the town looking after the governinent and winning the bearts of proud women. 13 Hcrc enda, in the life of the great king Karakundu, composed by Sage Kiemakamara, which is an ornament to the ears of the holy and which presents the richness of the frait of the desire-giving tree of the five auspicious rites, the third chapter, dercribing the arrival of Kazakanda in the toto of Campa. SECTION III - 133 -

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CHAPTER IV 1. Having consolidated all his dominions Karakanda questioned Mativara of pure intellect "Tell me your opinion, oh Mativara; is there any man who, being insolent, does not bend to me even now?" Then Mativara said "Oh lord of lords, the whole earth serves you. But in the Dravida country there are kings who, being bold and haughty in their heart, do not bow to any one. The kings of the prosperous Cola, Pandya and Cera do not accept your service, oh lord!" Hearing this, the king of Campa instantly despatched an ambassador to them. He went and told the Cola and other kings" Pay homage to the feet of Karakanda". But they rebuked the ambassador saying "We do not bend to any one except 10 the Jina". He returned and told Karakanda, "In brief, they will not serve you". Hearing those words, king Karakanda took a vow If I do not place my foot upon their heads then I shall have no concern with any wordly possessions such as territories, children and the pleasures of the seuses". Taking this vow, Karakanda immediately ordered a march in wrath. The king of Campa marched against them. Mounting an elephant he passed out of the town accompanied by the fourfold army, thus exhibiting the grace of the lord of gods". " 15 2. As he marched, the earth was rent by the hoofs of the horses and smoky dust rose to the sky and enveloped the directions as if a veil was cast on the faces of the quarter-elephants. The earth trembled, the mightiest mountains shook and the lords of gods in the sky fled away quivering. Bending his way to the South, he came to Terapura. On its southern side in the great forest, he encamped his fourfold army. In a moment, the lions and the Pulindas were disturbed. Five-coloured tents were pitched up as if the houses of gods had alighted on earth. The elephant-drivers took the elephants to a watery place and the excited donkeys ran after their mates. The officers of the king unfurled the banners 10 - Shree Sudharmaswami Gyanbhandar-Umara, Surat 5 134 5 www.umaragyanbhandar.com

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4. 5.7.] TRANSLATION as if the earth began to dance with her hands up. While kinil karennet was halting in camp there with all his mility forces, the guileless voorkeeper came in to his presence and paid his salute from a distance. 5 3. "Your Majesty', there is in Teropuerat a king who is known over the globe of the earth by the name of Sirt. He has come here to visit yon; shall he come in or shall he go back?" Hearing these worils of him, knuldunum, ordered the gate-keeper " Allow admission to the king of Tero in half a moment; you yourself go and bring him in." The king was brought in by the gatekeeper and was honoured by Kurokon. After (luing ille formalities the latter asked " You are ever lapiy, I hopie, oh lord of men ?" He replied " I am happy in as much as I have been sprinkleil over by the water of your kindness." By his words the affection of Krkaula, was roused for him. He then favoured him immensely in jilcaseil him by presents and by speech. Since was then asked by Kumlamla" My brother tell me, particularly about some striking wonler that you may have observed during your excursions?" 10 5 4. Hearing those words, Sind the king of Terizpuru, told Karakoruto, " My lord, to the rest of this place, close by, there is a cave attractive to the eyes, which is supported by a thousanil pillars. Above the cave, on the great hill, like a crest-gem on the crown of its hearl, there is a large and beautiful ant-hill whose extent no boily has found out. A white elephant comes there with water and lotuses anil worships it. This the elephant has been doing for a long time. This is all that I have to say, my gool master !" Hearing this, king Karokanda, accompanied by Siva, went towards the bill. That hill which was beautiful like the breast of the lady earth and which was, verily, the house of sport for gods, was seen by Karakanda, in an instant like Kailasa, by the emperor Bhanda. 10 5. Here, lions wander about having torn the frontal globes of elephants, and drop the pearls from their paws. At places, lions are indulging in roars and elephants do not shed the rut. Here, antelopes always graze and at places monkeys hoop. At places are wandering boars with terrible tusks, offering a front even to lions. Proceeding for some distance over the hill, Karakanda saw the cave as if Indra had found his celestial car. King Karokanda entered it ( saying ) " Blesseil is lie, lucky and - 135 - 5

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KARAKANDACARIU [ 4. 5. 8 10 deceitless, who has built this cave of a thousand pillars ". He, then, sau the Jina free from attachment, and bogan to sing a hymn with devotion " Be Victorious, oh destroyer of the four forms of existence, remover of impurities. Be victorious, oh thunderbolt to the mighty mountain of pride. You are my shelter, oh lord, stainless, oh sun to ranquish the darkness of ignorance." 5 6. Having worshipped Lord Jina, both the kings quickly mounted over the hill. They looked in all directions and the kings became happy in their mind. While they stood in the forest looking around, the very instant the gooil elephant arrived. The lord of the elephants came into the lake to get lotuses, like a mountain going to the sea. It moved on with the sounil of its fanning ears and giving out rut flowing from the temples, having beautiful, taway eyes, ailinirable by its tusks, having a prominent back bone like a stringed bow, driving away the swarms of bees and filling the faces of the directions with water from its trunk, plucking lotuses by hundreds with its trunk and bearing a string of good pearls on its headl". The elephant took the lotuses, quickly filleil its trunk with water and circumambulating the ant-hill he bathel it and worshipped it devoutly. 10 5 7. The devout elephant went away having worshipped the ant-hill. Then king Karakanda went to the lake. He saw the lake full of water producing confidence in him as he approached it, and uttering 'come', as it were, through thc chattering of the birds; holding jars of water in the form of the frontal globes of water-elephants; giving satisfaction to beings nfflicted with thirst; flourishing through its lotus plants with uprising stalks; proclaiming its mind through the flying up fish; laughing with its teeth in the form of foamy bubbles; going with very pure and numerous qualities; joyful through blossomed lotuses; dancing through the various kinds of birds; singing through the humming of the bees and running through the water agitated by the wind, as if it was a noble person, agree. able and worthy of & visit. Taking out water, both the kings washed their feet and cleansed their mouths and then they examined the ant-hill which had been worshipped by the elephant with Totuses. 10 Here is again a reference to tho Vukikadang metre of the Kadavaks, - 186 -

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4. 10. 11. 1 TRANSLATION 5 8. Kurcewe thought in his mind " This beantiful ant-hill is certainly worshipful. Some grent leity is residing here on account of which the elephant has worshippeil it and gone away siccilily: Surely, it is because of its worshipping this anthill that the elephant hus becoing white in c.lour." Thinking so in his minil king Kern:16devoutly stayel there observing a fast. On the next day, Karakanila got the anthill excavatel quickly. They levelled up the ground as if a mass of sin hal been carriel to utter (lesstruction, When they dug a little further, the lustre of the rays of gems flasheil forth. That very jurosusc and bright lustre perrale:l the expanse of the sky and roumel in all the four directions as if the brilliant fame of Karakanda was advancing to see the lorl of the immortals. 10 9. As they lug on getting thrilleil, a Jionee image was cliscovereil there. serpent, ma le of gems nil jewels with a large hood, shone over it like an umbrellin. The kettle-lrun, the halo of light anl the two Chouries furnishel delight to the cars and eles of all. The lion-scat wils inlaid with various jewels as if the king of gols hail workeil it out himsell. When it was brought out, it shone forth like a mass of virtues ( come up) rending the earth. The immortals then beat their kettle-ulrum in the sky and a dense shower of flowers fell from heaven. All the directions becaine cle: and sweet wind blew forth. All the ainbitions of the king who was a repository of all gems of virties, became fulfille:l. Through devotion, lis body became horripilated and through delight the lotus of his face became full-blown. Fetching water froin the lake, he bathed the Jinan, who was free of all impurities and worshipped it with many lotuses. 10 5 10. With his head ben.ling low by the weight of excessive dero. tion, the virtuous king began to sing a hymn. "Be victorious, oh lord, having your feet scratcheil by the jewels of the crowns of gods, excellent king to protect the entire world like ons town, an axe to cat lown the tree of Karma, the best means to cross the ocean of the four fornis of existence, the sun to remove the darkness of sin, the utter vanquisher of the warrior-infatuation, a secret charm to subilue the snake of attachinent, a good machine to crush the sugarcane of Cupid, shining with the rays of supreme knowlelge, the stopper of the flow of Karmas, the ear-ornament of the young goddess of victory, the swan in the lake of the minds of the faithful, eternal. stain. -less, free from the elements of a physical body and attached to the face 10 - 137 -

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KARAKANDACARIU [ 4. 10. 12of the lady salvation. Be victorious, Oh god Jinciulra, my lord; I have meditaterl upon thee in my mind day and night, but to-day my eyes have become cool in a moment by your sight." 11. The Jinc was lifted up by the good king like the Kailusa by the Lord of Londr. Held up on his head with both the hands, it shone forth like the Govardhana wielded by Hari. On that occasion, the gols sent a shower of flowers and delight was caused in his mind. Some of the immortals held up the umbrella while others annointed the body with saffron. Some ware big Chowries and others beat the loud kettle-drum. Some devoutly performed the Tindava, dance while others paid homage to the feet of the Jina from a distance. As the lorl Jina, of fading passions was bather by the immortals and was brought back home froin the Vandlar (mountain), in the same way, the god, the mansion of virtues, was brought to the cave 10 by Karakanda. The king installed the Jince in the care anil having worshipped and anointed it with sanilal, he observed, once again, the first image, bearing devotion in his inin.l. 12. Then at the moment when his siglt fell on the Jina, he observed a protuberance on the lion-seat, as if a green-jewel was shining on a crystal slab or the loer wils clinging to the lord of the stars ( the moon ). Seeing it, the king began to think in mind that the protuberance was marring the beauty of the Jina image. He called an artisan who was 5 clever in executing all artistic work"Oh great friend ! tell me, since you know all the best canons of fine arts", asked the king speaking sweet words, "Why do we see this protuberance on the Jinne image ? " Hearing this, the remover of evils, who used to make innages of diflerent shapes, said "Whatever you have asked, my lord, I shall tell you, pleasant anel 10 pain-removing as the account is. When the Jinc image was carreil, oh king, a stream of water flowed forth the very moment; for this reason the protruding patch was put up. This is what I have heard and seen by tradition." 13. Then the lorrl of men said "My great friend ! how can I see the wonderful stream?" Hearing that he said "Oh my gracious lord ! if it flows forth some how, it will cause many diseases in the country, oh admirable one, and those who would drink the water, will, for ever, be incapacitated; the stream is so woeful. Knowing this, why should you cause it 5 - 138

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4. 15. 13. ] TRANSLATION to be brought forth : " Hearing this, the king said " I shall check the water, my fricud, and shall also rebuild the cave: but you must show me the wonder." The artisan, Roaring it, said again " If I scrapo off' this protuberance, oh Jord, how shall I get away from the consequent Hood ? " At those words, the king immediately caused a mound ( Darulurce ) to be raised instantly. Repairing the cave carefully with various kinds of stones with sewers, the king and that artisan, only the two persons, went in front of 10 the image. 5 10 14. That which was cousidered ugly by the king was struck with his chisel by the artisan. As the hard strokes fell, sparks of fire were emitted like the marks of the fire of wrath that was about to burst forth. Then, from the mouth of that protuberauce rushed forth a profuse and strong current of water. First it came out bubbling as if the earth was vomitting through fear. Corning out, it shone forth like the wife of the lord of serpents come up tearing the earth. Meeting the earth, it looked beautiful like the yurgling Genges. Sprearling about, it instantly filled with water the whole of the beautiful cave like a pool of nector with the liquid of different kinds of juice, or, as if, the essence of religion stood in the form of water and as if the hill had made its mind manifest " I am gentle and attractive to the heart", and as if, getting pleased, it gave to the king the store of nector in a nut-shell. 15. Seeing that, they, becoming fearful in their minds, moved off from the place. The king went over the mound and stayed thercareirorn and depressed. Like the lord of the moutaius by i stroke of the thunderbolt or the lord of gods with his army fled away, or an elephant torn by the nails of a lion, did the king stand there misery-stricken. He trembled, whirled, shook, constantly rubbed his hauds in grief. beat his brow, breathed heavily and said again and again in hoarse voice "Alas: what have I done this, wicked and mischievous as I am. Alas : I shall acquire sin as fruit of this. Alas: due to what action of mine have I been so misled?" The king stood there covering his face with his hand (and saying ) " Who was worshipped by hosts of immortals, of adorable might and the home of righteousness, that same god, the most prominent in the world, alas, alas, where have I brought and abandoned through my siu ?", 5 10 - 139 -

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KARAKANDACARIU 4. 16. 1 5 10 16. As the king, rent by sorrow, stool there in distress, some blessed Sura arrived from the sky. Abocle of virtues, destroyer of sorrows, removing detachment and creating interest, endowed with a crown, with heart set ou Jine greatly lustrous, Hying through the sky, beautiful in form, following up the best of the mountains, a Bhujange prince alighted ou earth and bowing with a nod and speaking pure, perfect in all his limbs, came up there. He was seen by the king as delighted in mind, delighter of the king, delighter of men. He said "Oh lord of inca: give up your grief; do not leave off the undertaking through sorrow. Whatever I had thought in my mind, you have done and much more shall you do. 17. Oh lord of men : I have Leen living here for long and am able to chcek this current of water. If I get enragel, I would knock dowo the cluster of stars, brcak the hood of the serpent at the bottom of the earth, crush the emineut mountains and stop the gods allvancing in battle. Eveu a you cannot more about through fear of me, what to say of any man who may be perverse ? I have been staying here as the guard of the image. A great a:lverse period of time is going to come. Being expected for a very long time, oh slucere hearted, you have come now, my friend. I have guarded it for such a long tine, good sir; sixty thousand years have come and gone. You have done well, oh gracious one, that you have installed the great god in the water-cave. Bringing the Jina inlaid with jewels, you have placed him in this spiendid, golden and immortal care. You have accoinplished this. I am now frec to trip it over the globe of the earth merrily. 5 10 Here ends, in the life of the great king Karakanda, composed by Sage Kanakamara, which is an ornamcut to the ears of the holy and which presents the richness of the fruit of the desire-riving trec of the fire auspicious rites, the fourth ohapter describing the discovery of the Jina image by Karakanda. SECTION IV, - 140 -

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90. auge ai par i. R. Cave No. 3 at Terapura. The main pillars have been newly erected as the old ones had collapsed. ( Page 43, intro.)

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CHAPTER V 1. Karakanda asked that immortal Tell me who caused this cave to be constructed and who made this exquisitely jewelled image which has pleased my mind?" Hearing that, Vayuveje, the Naga prince, told instantly what the king had asked "In this Jambudvipa and Bharat country, there is the beautiful, measureless Vijayarka where Khecarus rejoice and elephants trumpet. It has two high peaks that stretch up to the ocean. Their circumference is twice twentyfive Yojanas. Their height is twentyfive Yojanas. At a height of ten Yojanas there is the excellent Southern Range which is inhabited by the Vidyadharus, and seeing which even the Suras feel covetous. 2. There is a town abounding in Khecares, by name Rathangpura the circular. There were two Khecara brothers by name Nila and Mahanila. As they lived there ruling, they both were pressed by the enemies. Their Vidyas were done away with and they were cast out of the town. This was during the period of Tirthamkara Parsva when the din of the Suras, Khecaras and Kinnaras rebounded. Being sorely troubled at heart, the brothers, traversing the earth, came to Teranagara. Staying there, they established a good kingdom and acquired all the territory. One day, they heard from a sage, the sin-destroying story of Parsva Jinendra. Hearing it charming and refreshing (lit. misery-removing) they were thrilled with delight and became steadfast in religion, with compassion. With concentrated mind they devoutly thought of the Jina. 3. Out of devotion, this cave was constructed by the Khccara brothers. They built it with a thousand pillars and made the inside so beautiful. For the Jina images made of gems, they built this shrine with gems and jewels. Constantly bathing and worshipping, they lived for a long time following the Jina. There developed, day by day, the pleasing Shree Sudharmaswami Gyanbhandar-Umara, Surat 1: 141 - 5 10 5 10 5 www.umaragyanbhandar.com

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KARAKANDACARIU ( 5. 3. 6 and multifarious power of the Khecaras. This mountain was surrounded by Khecaras like the great mountain Meru by the excellent Suras. Observing that beauty, the lords of the Sura groups stood thoroughly wonderstruck. At this time, oh ye sincere minded, there arrived the great friends of Nila. In the Northern Range of that Vijayardha there is the lovely town Gaganatala dear to the Suras, Khecaras and Kinnaras as if tlie city of gods had come and stood there. 10 10 4. There dwelt two Khecara brothers who had a deep affection for each other. Pleasant like the moon and immensely powerful like the sun, they were called Anitaveja and Suvega. Pure in conduct and unconquerable in battle, they had their bodies adorned by the jewel of Right Faith On one holy day, the mighty one started for worship. Advancing south wards towards Lanka in the Malaya country, they saw the great ani auspicious Pudi mountain where the lord of gods would come for amusement. They descended upon it as if the lords of gods had alighted from heaven. Seeing there a temple of the twenty-four Jinas, white with lime and touching the sky, they went there to see those who had far driven away Cupid. 5. With pure thoughts, the king of Lanka, born in the family of Ravana, renowned by the name of Suraprabha, husband of Srisen, while on a pleasure trip, one day, arrived at the Pudi mountain. As he wandered in the Malaya country, he saw that most beautiful site, like Bharata on the Kailasa. He got the twenty-four images made, out of devotion, and also the temple of the twenty-four Jinas the givers of happiness, bright being made of gems and jewels, and destroying sin in the minds of their devutees. He who was ever adored by the Suras, was worshipped and meditated upon with reverence. They gave pleasure to the eyes of those who looked upon them, removed the dirt of sin of those who medidated upon them, stopped in an instant the worldly cycle of existence and gave all that one might desire. 5 10 6. They who had removed the great darkness of wrong belief, saw the images of the Jinas. In body, speech and pure mind, they eulogized the escellent god, the unblemisherl Jinendra. " There is not, in the three worlds, as much speech as would suffice to praise adequately the omniscient. - 142 --

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6 10 3. 8. 14. ] TRANSLATION Oh Ye, wbo has fathomed the mystery of the three rorlds, bow to you, lord of victory, unfathomable, immersurable. Borr, ob god, the great master of Cupid; bow, oh loru, formless, stainless. Boiv, oh passion-less destroyer of the enemy of infatuation; bow, oh lord of mea who has done away with the desire for pleasures. Burr, oh jartless, absorbed in final beatitude; bow oh conqueror of Cupid, prart in meditation. Buw, oh rem:Ver of karmas by pure meditation in a mome:t; I bow, with my mind, to your feet. Victory, oh Jind, the sun of omniscience destroying utterly the darkness of wrong faith". Thus having adored, worshipped and ealogized, the Khouras loukel at each other. 7. Seeing the images so beautiful they felt a great liking in their mind. They then said " In 1 ijayarlles which has become the sporting ground of the Sitrus, we shall devoutly inake images after these patterns. " Thinking so, with great derotion, they seized with both hands, this image of Parsya Jina, male up of many jewels. Lifting it up, they starte 1 off. In the sky it shone forth as if the digit of the moon was moving along; as if the lightning was flashing forth. They rent n'rthwards as if escaping the god of death. With their devotion arouseil in the Jina, the two brothers, of muscular bodies, arrivel here. Leuring the jesel-ma'le image on the escellent mountain, they, the storehou es of virtues, who ha-l reinovel the shadow of worldly fear, went in front oi tho care 5 10 5 8. There, having finished their devout a:loration, both of them came back to their own image. Having reached there, when they attempted to take it up, the image would not move from its place, as if it was arrested by some Khecara, as if it had stopped there fiocling the place so beautiful. Finding it immovable, they felt ancted with sorrow in their mind at the moment. "Out of enthusiasm for the next world, alas, what have we done this, sinful as we are ? The image of the Jina that we removed from its place, is going to be the symptom of our falling into hell, Out of the two places, not one could be secured ". Pure knowledge developed in them. Having made a bos, they fear-stricken, put it into it having dug the ground. Leaving it there, thes, reluced in their bodies, went hastily to the temple of a thousand summits, having adored which, they saw sage Yasodhara who had conquered his min 1 and was absorbed in meditation, 10 - 143 -

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KARAKANDACARIU [ 5. 9. l 5 9. Having adored him, they asked the ascetic "Oh excellent sage: listen to us, pure-uninded as you are. While wandering about, we obtained a Jina image which possessed multifold powers. While proceeding with it to our own town, we placed if on this mountain-peak. But when, after worshipping in the cave, we went back to fetch it, it would not move froin the place. What shall we do? Shall we live or shall we die, oh lord ? " Hearing that, the great sage told them " This shall be a great sacred place. Your brother, in his next birth, shall obtain the Right Faith of manifold virtues." Hearing this, both the brothers, in half a moment, devoutly betook themselves to penances. Amitavega, having multitudinous Vidyas, abandoning his handsome body, went to heaven, having practised penance:, aar there became a pleasing god. 10 5 10 10. In the mean while, the younger brother, honoured amongst people, took, for a period of twelve years, in the presence of his preceptor and in a great hurry, the famous row of eating on alternate days. Then one day, he felt very uneasy under the pressure of the twenty-two penitential hardships. Being afflicted by hunger and thirst, what he dil was that he thought of going to another village. Going there, he ate and drank water but declared to the people that he had kept a fast. In another village, the next day, he declared a fast openly to the people. In this manner, he lived on for many day's deceiving people by street words. Fraudulently did Suuega practise renance and having died, he became an elephant in the forest. Whoever observes religion with hypocrisy controlling his body after the manner of a crane, he, the hoarse yelling vagabond, foolish-min.led, obtains the greatest miseries. 11. Then, Amitavega who had become an immortal, dwelling.in heaven, thought in his mind" Where could my younger brother be born ?". Then by clairvoyance it became known to him. Out of kindness for him, he started swiftly and in a moment came to the forest in which the elephant dwelt. Assuming the garb of an ascetic he approached the elephant and in very sweet words he spoke to the elephant " Oli listeu Suvega; you have had troubles of many kinds. You practised penance with hypocrisy which has false belief for its root. By that powerful sin you have become an elephant". Hearing those words of his, the elephant came to the feet of the sage, recollecting his previous life, turning his eyes up to his head, rolling 10 144

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5. 14. 3. 1 TRANSLATION with distress and trumpetting loudly. The god then kne the heart of the elephant and spoke soft words " " Do not abandon the gem of Right Faith by means of which you would obtain pure knowledge". 12. Then were given to him the Anw:ratus and the G rotus as well as the Sikshrates that give happiness to people, the highly incritorious abstention from taking food in the night and the avoidance of the five Clumborns for all time. The fruit of worship was also preached to the excellent elephant which was trembling on account of the dangers experienced in past lives. Then he was informed about the beautiful image which they had long ago placed in the antivill. Whatever was preached by the excellent Sura, all that was accepted by the good elephant. Having so preached, the Suriy, went home anl the elephant is living here in the forest." On another day, having taken water and lotuses, as it returned to the anthill it did not see there the passionless Jiul. Having droppe: the water and the lotuses the good elephant betook himself to the Right Faith with determination; anil with complete renunciation having concentrated himself upon Lord Jina with purc thoughts, that Rhecaro, tlie elephant, became a Sura in the third heaven. 10 15 5 13. "Oh king, whatever you inquired of ine, I have told it all to you. You have done well after the wish of my hcart that you rcuewed the cave, oh lord of men! So now, you do this; make another care above this cave". Having said so carefully to the king the good, Surcs sportively went home. Abore the cave was built by Karikanda another cave, au excellent abode for Jinavarc. Above it, again, he caused to be built a small cave exceedingly beautiful and removing lust. How beautiful the three caves looked? They matched the mansions of the lord of Surces. The king, having made those Jinc temples and having himself worshipped the beautiful ones, being exceedingly delighted at heart, went to his camp. As king Karokando, the destroyer of his enemies, stood in his camp, there came an elephant with strong and stout trunk and profusely rutting, inorder to drink water in that lake. 10 14. As it stood on the bank of the lake, the smell of the army reached it. Raising up its trunk and shaking its head, the elephant, turning round its face, saw the army. Seeing it, the the great elephant became hostile 145 -

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KARAKANDACARIU [ 5.11.4 5 10 and ran up greedy of the smell of ichor, taking its trunk in its mouth, trumpetting and crushing the earth by the weight of its steps. Seeing it so determined, the people made up their mind to capture it. They got up and instantly fell upon the elephant. But they all fled away for fear of the strokes of the elephant. Then the king ran, sword in hand, and the fighting elephant was checked. As be was going to strike it with his arms, the elephant became invisible. Wlien te elepliant disappeared, he became startled in his eyes for a moment. The elephant dis-appeared under his very eyes. The king stood astovished in his mind. 15. When the king returned to his camp le did not find Mudanavali. He looked into the four directions absent-minded, and pitiably wandered about the land. Then the king became apprehensive with his pride gons." Where has my wife gone, gracious in all her limbs ? How could Madarayaii who was the delight of my heart, become so ferverse now?" Then good servants were sent cut by the king" Look for your mistress in the directious." Having lo.ked in the directions, they came back crying, with their hands stretched upwards. Then the king, seeing them crying, instari tiy shed tears from his eyes. " Oh virtuous lady ! speak to me about the tie of love pleasing to the ear. (or, according to the alternative reading, oh tree! you are the friend of birds; tell me a!out the beautiful lady, the object of my love ). Os innocent lady, by whom have you been takeu assay? Are you hiding yourself somewhere ? Oh elephant, were you the messenger of Death ? Why did you become angrily perverse to me?" Then a certain Vidyallarc, who had crossed the ocean of learning and was fair-looking, bearing in his heart old attac!:ment, presented himself before him. 5 10 15 5 16. The good Khecard called out " Oh king: why are you weep. ing bitterly? Why do you cause your body to decay for the sake of a woman? Woman is the house of a volume of woes to people. Woman brings about residence in hell; why should one live with a woman? She causes fever in a throbbing mind; who would follow her the cause of misery ? The creeper of worldly esistence groirs by her company; a woman brings troubles to the person of man. Powerful persons are rendered powerless by her; wretched are they who serve a woman." Hearing such words a:d heaving a sigh, he looked about, uttering Madlanavali !'. Theu he saw - 146 -

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5. 19. 7.1 TRANSLATION 10 the Khecara and becaine downcast through shame in a moment. He was addressed orer and orer again by the Khcrura " Why are you here, berest of your attendants ?" With tender expressious was the king, who tras distracted in mind, consoled. 5 10 17. Hearing that speech, the hero:c Kurekanda, courageous in battle, Lecame comforted in mind. He asked the Khecarce " Where did you acquire such charming, sweet speech inspiring religion ? Did you serve some great sage free from all faults, who had left joy and sorrow far behind ? My eyes have become attached to your sight; seeing you, they do not go elsewhere. Are you some relative of mine of another birth delightful like the moon in the sky of family? I ask you hesitatingly; are you some god ? Tell me definitely?" Hearing those words, the courageous and deeply wise Khccara said to the king " Formerly, being born in the species of a dove, I became an object of amusement to your eyes. Once as I stood in the cago dallying with my mate, a serpont, hissing sharply, advanced towards me. 18. Seeing me, it caught hold of my leg. Thea you, gentle by nature, ran up inorder to save me, kindly, from the serpent. I was delivered by you from it. From its terror, I became senseless; you kindly gave me the Nacakam. As a reasult of that, I was born a son to a Vilyalhora, an abode of multitudinous virtues. Seeing you fighting against the elephant at great risk, I recognisel you. Bearing ( in mind ) your great obligation, as I was playing with lilyodlara princes, I came here hastily, thinking that I shall certainly be of some help to you. That serpent, on account of the Navakara given by a sage, had soon become a Khecara. On that occasion, that Khecara, feeling humiliated, carried away your beautiful wife Dadanavali of large breasts, under the disguise of an elephant. 5 10 19. Seeing you weeping, with your face turned up, beating the chest with the hand and crying 'Oh darling, ob darling' I have come here. Do not weep; abandon the grief of your mind. Wben you will return, having defeated the great and the mighty, and having conquered the earth, then this khecora, realising that you were illustrious in virtues, would bow to you as his master a:d you will then regain your wife whose face is like the full moon." Listening to his sweet speech, Karakanda, 5 - 147

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KARAKANDACARIU [ 5. 19. 8 of long arms, said in return "Oh graceful and virtuous Rhecara, can women that have been abducted, ever return?" Then the Khecara said in sweet tones "What of the rest, I tell you how the beloved of Naravahanadatta pure and endowed with golden and imperishable excellences, was soon reunited to him accompanied by numerous Vidyas, 10 Hcrc cnils, in the life of the great king Karakanda, composed by Sage Kanakamara, which is an ornament to the ears of the holy and which presents the richness of the fruit of the dcsire-giving trec of the five auspicious ritcs, the fifth chapter called listening about Nila and Mahanila SECTION V. CHAPTER VI 5 1. Being asked by Karakanda, he narrated the story of Naravahanadatta " You listen, with one mind, to what gave delight to the assembly of the excellent Suras. Here, in Bharata, in the country of the Vatsas, there is the praiseworthy town of Kausambi. There was the king Vatsaraja who, day after day, had a pure attachment for religion. His wife was Suvina who remembered the feet of the excellent Jina in her heart. He got a son Naravahana great in excellent virtues and preeminent in fame. He was the residence of all arts, and possessed a great splendour. By his beauty he ridiculed Cupid. Seeing him intelligeni, his father, the king, soon coronated him and himself taking to ascetic-life, spread his fame in the three worlds. Having performed hard austerities which banished Cupid, he reached the portals of the damsel Salvation. Feeling depressed by the bereavement of his father, Naravahanadatta would not feel amused any where. Having his lotus face wet with the water of tears he wandered about distressed with his face turned up. 10 15 - 148 --

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6. 4.9. ] TRANSLATION 5 2. The unbounded fortune of royalty bestowed upon Naravahanadatta gave him no pleasure. Bearing in his heart the grief of his father the handsome one did not like any bodily enjoyments. Being struck with sorrow for his father in mind, the king, one day, casually came to the Kalinjara mountain pleasant to the hearts of Suras, Khecaras and good men. Agreeable to the eyes of Vidyadharcs and kinnaras, he entered a pleasant flower-garden. There he saw a great ascetic who created love for piety in tho minds of people, inspirod mutual confidence in born enemies, attracted even the minds of persons holding false beliefs, meditated upon the words of the supreme self and had banished far away all defilement and anger. He instantly set his mind upon the lotus-feet of the sage and then adored, with great devotion, the teacher who had made all people bow to his feet. 10 5 3. "Oh foremost of the excellent sages, who bas caused the lords of serpents, gods and men to fall at his feet, have compassion on me, and tell me the pure essence of religion by which I might cross over the cycle of existence." Then the worshipful one who was free from attachment and had firmly set his affection on the way to salvation, said " What is the good of talking much ? Bear in your heart the excellent Jino. Have always a charitable disposition, ob king, and make your mind absolutely pure. Having the five small vows on the top of his head, and bearing the heavenly Sikshu vartas and Guna vartas, whoever gives the fourfold alms vamely medicine, food, safety and knowledge, obtains, ob king, ample fortune abounding in all the fruits after the wish of his heart. Whoever, oh king, avoids eating by night and takes food observing silence, lives sportively in the heavenly mansions waited upon by hosts of nymphs. 10 4. Laughing, by your comeliness, at the lords of men and gods, you should not feel sorrowful in your mind, oh king. By sorrow, a great karma is contracted and one does not obtain human birth. By enmity come a heart-attracting, affectionate wife dear to the eyes, pleasant children and dear brothers. All these come by one's enemical desires. Not being able to trouble in one birth, they entertain a desire, with a feeling of humiliation, " May I be born in the next birth so that I might cause pain to him ". Listen, oh king, with steady mind, the story that was of old revealed by numerous sages. There is the famous and 5 - 149 -

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KARAKANDACARIU [ 6. 4. 10delightful-to-the-eyes city of lathura where there are mansions decorated 10 with pictures esecuted in precious stones. There were two Brahmana brothers, like elephants, named Madhava and Madhusudana. They bore great enmity in their minds and would not tolerate the manifold virtues of each other. As days passed by, the riches of Madhava soon turned their face away from liim. He could not even secure clothes for his wife and 15 all his strength and power had also melted away. 5. One day, his wife, in her misery, thought out some thing (and said) "Oh my dearest, listen to my words. Let us instantly go to Madhusudana. He will certainly provide food for us both hungry and poverty-stricken as we are ". Hearing her words, Maillcva made a reply in faltering tones " Setting aside the grandeur of self respect, how shall I enter the house 5 of another who is so disagreeable to me? Better to eat morsels of poison and die than to be a servant in the house of a wicked person ". Then Madhava was again addressed by his wife " What is the good of this voluminous grandeur of self respect ? " Hearing her words, Vadhcuo, went to the house of the good Madhusudana. Seeing Madhava come to 10 his house with his wife, misery-stricken and distressed in mind, Madhusudland, with folded bands and one mind, stood before him. 6. Modestly bending his head Madhusudana spoke to them " Oh my parents ! what anxiety have you? I eat the food given by you. How is not a gentleman, kind and very honourable, adorable in this world ? " But they, bearing jealousy in their heart, could not put up with his fortune. One day, Madhava. out of wrath, inade a sudden exit for Prayaga. There 5 he saw an emaciated ascetic and stood at his feet for a moment. With his permission, Madhava, cruel at heart, took to austerities. He wasted his body by abstinence and soon died with the desire " I should be born a dear son to Madhusudand the Brulmance of the town of Mathura, and having given him much pleasure, I should afterwards die ". 10 7. That Malhavo, was, in course of time, born in the beautiful house of Madhusidana. Favourite of all people and repository of all arts, he, while yet young, Lecame pre-eminent amongst the people. Then, one day, the young son of the Brahmana was suddenly carried away by the messengers of Death. Madhusudand, following the body of his son, fell 5 on the earth beating his head. He would not leave his neck but -- 150 -

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6. 10. 2.1 TRANSLATION 10 5 10 would go to death. He would not stop even for a moment in his lamentations. He would not be consoled by any consolations, poor soul, he had so set his feelings upon his son. The Brahmana, out of sorrow for his son, went to Prayuga for dieing, with his mind set on him. When about to die being scorched by the flames of grief, he was held back by a certain Kl.coarce. The latter gave him an account of Mudlauwho had clied by entertaining a desire as a reward for his austerities. "He was born your dear son in the town of Jothurn, oh Jadhusudanu!" 8. Hearing the words of the l'ulyllarc, he returned hoine abandoning sorrow. By sorrow have been bothered lords of men and gods. Therefore, do not give place to sorroir, ou king". Then, getting an opportunity, a Recaro who was there, inquire:1 of the king, " Oh lord of men of super-human personality : hou have the rast dominions heen acquired by you ?". Then the king told the Klecard whose head was adorned with a diadem of gems and jewels, " In youth I was strong-bodied. What proud woman would not have love for me? Enemies trembled at my name and resorted to jungles being terror-struck in mind. As I lived with my people, my wife was carried away by a Klecard. In her separation, I felt despondent and distressed and could not be amused in any way. ( I thought ) shall I leave the country, or, going some here, shall I die?' 9. Thus brooding in all sorts, I left my home and came to the bank of the Ganges liked by hosts of Suras. Near Paithan I saw the excellent Jina, the abode of happiness and destroyer of surrow. Having bowed to the Jinu I rested there where the shaft of the flower-weaponed would not enter. As I closed my eyes with heaviness of sleep, I heard a sound" Why do you sleep, oh prince, with indifferent mind? You are soon to meet your wife." Then love flaslied forth on my face and I went out of the Jinu temple. I looked in the four directions for the love of my beart but the beautiful one could not be seen. As I went out of the garden, I saw a certain beautiful woman with her lotus-face resting on her lovely band and scratching the ground with her finger. With tender espressions I inquired of her all about it. 10. "Why are you in this forest, oh beautiful lady? What are you thinking about in your mind with steadfast eges ?" Ob Khagendra the - 151 - 10

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KARAKANDACARIU [ 6 10, 3hot sun for the lotus of knowledge, she then reveal-d to me ( as follows ) "In the southern part of the Vidyaillara mountain there is a town Jayanti at the top of the Sindhu. There lives Dhumalcetu the supreme 5 lord of the Vidyas. He has in his home Sunanda for his wife. Of the two who love each other, I was born a daughter. One day, I came down here for sport in company of my friends. I played with my beautiful companions who indulgel in all sorts of games. After the play, as we stood at ease, there arrived the Khecara Modanamaru. Seeing him I was shaken 10 like a plaintain tree struck by the wind. My companion, knowing my heart, approached the friend of the youth. 11. He was asked by the highly virtuous Nirmalamati " Tell me who he is." He said "Here, in the beautiful Vijayardha, in the pleasant Utpala-khedi, lives the Khecara Padma-cieva. He is his son Madunavega. In the Northern Vijayardha lives Pavance-vega the house of all virtues and son of Nanovega. He was going there out of affection for him when 5 he has been seen by you". Then inquiring about my high family and taking away my loving heart, both the Khecaras, having told her 80, went away. But Madonamara came back again. Through shyness, I found oo words in my month. I felt abashed even to talk to him. Then instantly my companion said to him " Oh handsome one, live with your 10 beloved". Then taking the beautiful pearl-garland off his neck with his own hand, as he put it on my neck, a companion came to call me. 12. Then I was taken home by Ketumati. Distracted in mind, I remained sorrowfully at home. When once more I came back by the same way, I did not see Madanumari. His ( pang of ) separation as narrated to me by a Vidyadhari the dispeller of woes." Talking, orer and over again, incoherent words, wandering distressed with his face turned up, 5 afflicted with the fire of separation and remembering you, he soon clung himself to an ascetic-girl. Instantly feeling disconcerted, she turned Madanamara into a parrot. Her companion, being stirred by piety and feeling compassionate, told her * Be pleased, oh goddess ! Do it so that he may sport with his wife'. Then the highly virtuous lady said " On the 10 day on which Naravahanadatta marries the beautiful and renowned person named Rati-vibhrama. - 152 -

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6. 15. 10. ] 13. on that day, oh friend, he would become a tender-bodied, handsome man again". Ob handsome one, this is what she told me. Knowing this, I took my residence in the forest". Hearing this, as I stood there, Lilavati arrived there. She held in her hand a portrait which infatuated the minds of on-lookers. I readily inquired of her "For what purpose have you come here?" Then she told me Listen, oh great hero dear to all people, good looking and firm like Mere! On the southern side of Sindhu in Vijayardha where blows the wind excellently fragrant on account of the Suras and the Khecaras, there is the town of Kanakapura a mine of jewels and delightful to the eyes. There rules king Hamsaratha served by hosts of Vidyadkaras. He is accompanie 1 by Vimaladevi as a charming swan is by a female swan. TRANSLATION 31 14. He has brought, by abduction, some woman who has no liking for him. She lives in his palace observing religion, a basket of love and delightful to the eyes. She would not talk to any body. With concentrated mind, she drew the picture of her husband. While she was feeling happy in her mind looking at it, the good Khecari Vegavati arrived there. Madana-manjusu was questioned by her "Who has been drawn by you in this picture? Tell me, oh mother Is he a Khecara, a Kinnara, a god or a man, or is he Cupid with his shaft fixed to the bowstring?" To Vegavati she told the truth" He is Naravahana my beloved husband." When she looked at it taking the portrait, she fell to the ground shaking her body. 10 Knowing her to be Vegavati, Kanakavati cracked a joke with her She did not use to like any suitor but has now fallen to the earth at the mere sight of a figure. Shree Sudharmaswami Gyanbhandar-Umara, Surat "1 15. Then Kanakamati took the portrait in her lap inorder to see the praiseworthy picture. As she thought about it in her mind, she also, in a moment, fell upon the ground. Some how, with difficulty, she came to her senses and the shapely-armed one was asked by her friends "f your Why did you go into a swoon, oh friend? Tell us the pangs of heart." She said "Oh sister, here is this picture on the board. It has baffled my mind. Is he a god or is he Cupid, oh mother? Just think of his name?" By the two distracted in their minds in his separation, I have been sent. What a wandering sage had once declared they considered in their minds "Whoever lucky one would marry 153 whin " 5 10 5 5 10 www.umaragyanbhandar.com

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KARAKANDACARIU [ 6. 15. 11Rativibhrama, would become our husband". She was thin immediately caused to be painted on a canvas in beautiful colours. I hare come here taking that portrait." When, taking that portrait in my hand, I observed the beautiful form, my heart was stunned, oh Khecara, and could not think of any thing. 15 16. Then I was taken there in the midst of those friends by the pure-minded Lilavati. Rcaching there, I married Rativibhrama with great celebrations as king. Along with Vegavati I also married Kancanamati as also Lilavoti. Another five hundred ( maidens ) also I married there where the very Cupid was residing. My beautiful wife who 5 had been carried away by that Khecara, also joined me. I subdued hundreds of Khecaras and struck terror in the hearts of my enemies. The earth, right up to the ocean, where-in stood thickly populated big villages, came under my control. Then all the country-people were called together, oh Deva served by men, and the coronation was performed. This was the account 10 given to the Khecara as you asked it all of me. People were established with lasting gifts of gold and I worshipped the pair of feet of the Jina. Here ends, in the life of the great king Karaku nu, composed by Sage Kana kamara, which is an ornament to the ears of the holy and which presents the richness of the fruit of the desire-giring tree of the five auspicious rites, the sixth chapter called listening to the story of Yararalunadatta. SECTION VI.

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CHAPTER VII 5 1. My good friend Kurakanda, I tell you. Make a start immediately. A good and auspicious omen ( forebodes ) that you will obtain the happiness of wife along with many acquisitions. "Tell me, oh courageous Khecara marrior, as a result of what omen shall I obtain a wife?" The Khecara told him " See the sage in front of you; the divine-eyed one is sure to give you the fruit". "Tell me who has obtained the fruit of the omen ". Then the Rhecara told him who had obtained the fruit. A certain Brahmana, hungry and decaying in body, started from his country, leaving his home. He saw an ascetic in the forest and great satisfaction entered his mind. Holding in mind the auspicious omen, he began to dance, stretching up his arms. A certain prince sporting in hunting soon reached there. He saw the Brahmana joyfully dancing alone in the forest." Oh respectable Brahmana, I ask you, why are you dancing freely in the forest ? Have you obtained some thing beautiful or have you gone mad, my brother ?". 10 15 5 2. The Brahmana then told him " Oh simple-hearted, I am not seized by the wind, my friend. By the passing of one devoid of ornaments and clothes and enjoying the great relish of bliss, I have obtained the auspicious omen here where the mighty lion dwells. As a result of this, I shall gain royal fortune and enjoy the green-bowelled earth. Then the prince quickly said to the Brahmana. "Oh master, I am your pupil. Give to me this omen, my respected sir, and take my ornaments and this divine-bodied horse." Taking the horse along with the ornaments, the Brahmana went home, giving to him the omen. The prince, tender-bodied like fresh lotus-fibre, went forth full of joy. Then the Jina-tutelary-goddess, abandoning the body that she had put on formerly by means of her Vidya, took up another by which the mind of the on-lookers may be attracted. 10 - 155 -

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KARAKANDACARIU [7.3.1 CO 3. The fawn-eyed one came before him like the loving wife of Raghava. I am your attendant, oh prince, being the destroyer of your enemies. Along with her he went into the thicket inaccessible to men, Khecaras, Kinnaras and Suras. There they saw an old well, but no terror entered their heart. In it they saw a serpent fighting with a frog. Seeing them fighting, he, with unkind hand, counting his body as straw, instantly cut off a piece of flesh with his sword and threw it between them. Knowing his courage, both of them came before him becoming men. One of them was in the form of a cowherd and another a boy. Adorned by the three persons that prince looked as if some god had come down from heaven. 31 4. They were seen by some king who honoured them with felicitous words. Seeing the woman a box of beauty, he felt as if a destructive pestilence had set into his heart. Becoming desirous of that woman, he thought of murdering him (the prince). The king took the prince for hunting. There was a dry well in a secluded place. Having pushed the prince down into it, the king came face to face with the woman. Being bitten by a serpent he died and the prince was then taken out by the frog. The royal fillet was then tied to the prince and a host of horses was presented to him by all. He enjoyed the royal fortune sportively. He then asked that Cakora-eyed lady "Oh beautiful one tell me who you are ". Being honoured with overflowing affection, she told him the old story and went to her home the very moment. 5. Oh handsome one, ocean of virtues, you have listened to this story of an omen told by me". Saying so, the Khecara went to his own home called Satyalaksmipura. Then one day, Karakanda ordered a quick march. King Karakanda, the foremost amongst men, halting on the way (or along with the princes), reached the Simhala island where young ruddy geese attracted the mind, where Suras, Khecaras and Kinnaras indulged in sports, where women walked with the grace of an elephant and rendered ineffective the beauty of Ruti by their own beauty, and where, seeing the luxury of the people, the gods lost the memory of the heavenly world. He encamped outside the city. The apprehension of an enemy arose in that locality. Leaving his camp the immeasurable Karukanda, with his companions, went out for sport. There the king saw an extensive 156 Shree Sudharmaswami Gyanbhandar-Umara, Surat 5 10 5 10 5 10 www.umaragyanbhandar.com

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7. 8. 4. ] TRANSLATION bunyan tre, big, full of hundreds of birds like the Kolpa tree protected by gods and laden with thick leaves. Seeing the large and very soft leaves of that Bunyan tree Karakanda taking up small balls and shooting them with his bow, pierced all the leaves. 6. As the Bunyan leaves were pierced with an arrow, the matter was reported by a messenger to the king" Who had been foretold by the excellent wandering sage, that suitor has come, oh king, with a retinue. I know not whether he is Taruna or the moon, a king or the lord of gods. Sporting in the forest in the company of princes he, in a moment, pierced all the Bunyan leaves". Then the king sent prominent persons who, being elderly, struggled their way to his military camp. The Campa king was told by them "Oh friend, frank-minded, the king is calling you. He has his affection fixed on you. You come to his house". Hearing this, king Karakanda said "If your king comes before me then I go to your king's palace beautiful being finished with jewels". Hearing that, they returned home immediately and reported the matter to their king. He would come to your home, oh king, if you go forth to receive him". Hearing it the king went forth and presented himself before the king of Campa. " 8. Soon her marriage was performed so that even the Khecaras felt enamoured. Big dowries were bestowed on her. Elephants with their temples wet with rut flowing incessantly, multitudes of excellent horses jingling with bells and garlands made of jewels, were given. Whatever 157 Shree Sudharmaswami Gyanbhandar-Umara, Surat 15 7. The king saw him of great lustre, as if he was Cupid incarnate. With attachment, the ocean of virtues took the king into the town with honour. While entering, he was seen by people like god Visnu accompanied by cowherds. Causing affection in the minds of young women, king Karakanda reached the palace. He was shown to his daughter named Rativega of tender arms. The youth was seen by the maiden as if the flower-shaft had entered her heart. In her distraction she could not mind any thing, She did not see nor hear any thing. She did not fight shy of her father. She trembled and her words faltered by the thrill. Seeing the flow of perspiration of his daughter the king instantly began the 10 marriage. A pandal was erected with arches of pearls, big chowries were made of gold and a very high, beautiful and bright altar executed with jewels, was made. - 5 10 5 www.umaragyanbhandar.com

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KARAKANDACARIU [7.8 5 5 else is pleasant to the eyes was given to her by the king calling out her name. With all these, being pleased in mind, he bestowed his daughter upon the son-in-law. Many jewels were soon given and the princes were dressed by the king. The foremost king was then sent off by the lord of men. The king got ready a boat. The doomsday of all vicious kings and protector of the earth got into the boat. It shone forth shaking with the fluttering banners. It sailed in water by the help of the wind. Thousands of other smaller boats were filled entirely with crowds of people. They moved like the celestial cars on earth, fulfilling the desire of moving in water. 9. As the boats sailed in water furnished with decorations and tents, the king saw a large fish as if he had come upon the essence of the sea, as if Visnu was sporting in that form, as if the sea was seeing the royal fortune. In height it was sixty Yojanas and in breadth half of this. Sixty-seven feet long it stood covering the ocean. Like the Mandara in water, immeasurable it shone forth jumping up and dipping in. Moving on slowly (at first), the monster came up running through wrath. Seeing it running the kings instantly stopped the boats. The kings being terrorstricken, stopped all the boats, as if they were rendered motionless by the the power of an incantation by some wicked deity. 10 Seeing that fish and setting aside his equanimity, irresistible and hostile, fastening the wrestling tie and drawing out the sword, leaving the boat and rushing forth with rage, the king in an instant furiously made a jump, and swimming, reached where the monster-bodied fish was. Placing himself inside its belly and killing the fish he cut off its protective parts and split its skin. Swimming on to clear water the hero became invisible. The king was taken away by an irresistible Khecara woman. Seeing him carried away and having thought about it, the good warriors instantly made a jump into the sea feeling distressed. The whole water was ruffled, the boats clashed against each other, piteous cries of woe went forth and all people were perturbed with sorrow on account of him. 11. When the lion amongst men, of blooming face fell in water, all people, with pervading sorrow, were very much alarmed. The good wife -158 Shree Sudharmaswami Gyanbhandar-Umara, Surat 10 5 10 5 10 www.umaragyanbhandar.com

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7. 13. 6. ] TRANSLATION Rativega, resembling a Naga woman, feeling disconsolate, trembled in all her body, was stunned at heart and fell senseless. By the swoet fanning of the chowries and with the help of water the virtuous and charming lady was made to rise up by lovely young women who could tame the mind of sages. She beat her bossom with tender and shapely, lotus-like hands and then with anxious eyes and faltering speech said "Oh hostile fate, sullied with sin, what have you done? Why have you snatched away another's husband who had been made by me my own? Oh adverse ill-luck, you have been unjust and evil-faced. Oh my lord, graceful and happily wise, where have you gone? Have pity on me, oh my master, the best of the best men. I am falling in the ocean of grief and heading towards doom, oh lord, save me. I am your wedded wife. Now fallen in misery, whom shall I look to? Being bereft of you shall I now live or die?" Thus did the virtuous lady, overhelmed with grief, lament in her heart " I shall now speak only when I meet my husband. 15 " The excellent minister feeling highly grieved but consoling all his people who were heavy at heart, went ashore with all his men there. 12. When the army was encamped there, Rativega celebrated her vow. Then feeling uneasy, she soon invoked the goddess in soft tones. She drew forth a beautiful circle like guileless faith propounded by Jinen-dra. In the middle of it she installed firmly the divine goddess named Padmavati. The goddess residing in the eastern quarter came as she was invoked. The goddess was made of red sandal-wood besmeared with camphor, sandal and saffron, worshipped with fruits, flowers and eatables and honoured with a fast on the first day. The incantation with the seed, which she obtained by teaching, was muttered along with an offering of fresh saffron and flowers. Drawing with red materials, wearing red garments she, having concentrated herself with devotion, thought of the goddess with a firm mind. 13. When thought of with worship and honour, the goddess Padmavati came up with slow, graceful and tender limbs and putting on an indescribable, unprecedented look, being endowed with a richness of beauty, red in person and pure at heart, bearing in her four hands the meritorious book along with the gourd and the signet ring along with the lotus- fibre. Her cheeks were shining with the earings and she wore -159 Shree Sudharmaswami Gyanbhandar-Umara, Surat - 5 10 5 10 5 www.umaragyanbhandar.com

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KARAKANDACARIU [7. 13.7 anklets, bells and a girdle. She held over her head the fivefold hood of a serpent and looked joyful and pure excercising a mysterious influence. Placing her lotus-like feet on the ground, speaking something in charming speech, shedding lustre in all directions and wearing on her bosom a pearl necklace, the virtuous goddess stood in front of Rativega in an instant saying "I grant you a boon. Ask for what may be in your heart, oh lady of slender belly! For your sake I have descended upon the earth." 14. When she saw the lotus-face of the goddess, Rativega began to shed tears. "Oh worshipful goddess, all the dirt of my sins has vanished at your sight. Whoever spontaneously belauds you, does not experience a succession of woes. Whoever thinks of your face day after day, him you serve as a boat, oh goddess Have mercy upon me helpless. Save me from falling in the ocean of calamity. I do not ask for anything, oh goddess! I only implore you for one boon. If you really confer a boon on me, oh goddess, reply to one question of mine. My husband has gone into the ocean; is he alive or is he dead?" Then the goddess of the gods says "Your husband who fell from the boat, occupied, the very moment, the heart of Kanakaprabha the daughter of a Vidyadhara. 16. Your husband has performed great feats. Who can describe them, oh sister? He married Anangalekha the very streak of the bowman Cupid. Then he married sportively Chandralekha the veritable sister of Cupid, of divine body. He also married Kusumavali of agreeable - 15. Under the influence of infatuation, he was instantly taken to Tilakadvipa by that Kanakaprabha. She showed him to her father "See, father, I have obtained this divine-eyed one in the sea. He has been ordained to be my lord by the sages, even as Lakshmi obtained god Visnu". Knowing her love the Vidyadhara married her with festivities. Then one day, Karakanda killed, in a moment, an enemy of his father-inlaw. A gentle man who eats the food of another, does a good turn to him. What wonder is here indeed? Whoever killed the enemy of Kanakaprabha shall become our master, what else!'. Thinking so, his service was immediately accepted by the Vidyadharas with a show of respect. Loyally 10 folding their pair of hands and bending the head they followed him carefully. No Vidyadhara was there who did not hold his service. Shree Sudharmaswami Gyanbhandar-Umara, Surat 160 10 - 5 10 5 www.umaragyanbhandar.com

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8. 1. 12. 1 TRANSLATION 5 conduct and mind as well as Ratnavali resplevdent like gold. He married yet other seven hundred maidens; I tell you the truth. So, banishing sorrow, you observe piety. You would le united to Karakanda with the fraud vanished. Very quickly taking ample wealth, constantly make holy gifts." Hearing this. Rativega said " Does one who has gone into the ocean return ? " The worshipful one makes a reply to her "Why do you enter- tain a doubt in what I say. You cherish, day after day, the excellent Jina endowed with the immortal lustre of goll." 10 Horc enis, in the life of the great king Karakaniu, composcil by Sage bralanara, which is an ornament to the ears of the holy and which presents the richness of the fruit of the desirc-giving tree of the fire auspicious rites, the serenth chapter describing the acquisition of the land of a Vidyadhari by Kiralanila. SECTION. VII. CHAPTER VIII 5 1. Rativega says " Oh goddess, listen ! I hare taken to heart your pleasant words. Be pleased to tell me whether any man having gone (in to the sea ) has ever returned ". Hearing this the worshipful one tells her whose mind was not steeped in sin. "Listen, oh beautiful lady, innocent-minded and highly devoted to the feet of lord Jina. Out of regard I tell you some thing, the story of king Aridamana. There is a country by name Avanti as if a portion of heaven has broken and fallen down. There is a city, pleasant to the eyes, by name Ujjaini which wards off the rays of the sun. There was the famous king Aridamana of great might and abode of virtues. His wife was Vimala delightful to the eyes, virtuous and free from evil deeds. His. minister was Varadatta who had created attachment in people and was liked by the king. That minister had a 10

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KARAKANDACARIU [8. 1. 18 beautiful mare which went for grazing out-side the town. Seeing her hot-blooded a horse mated her on the mountain. 2. She returned to the town and was marked by the minister as endowed with all good signs and pregnant. He protected ber, kept her in his mansion and fed her on oily eatables. On a pleasant and sweet day, a beautiful colt, swift like the wind, was born to her. Sky-coloured, tall, curved-faced, slender in the middle and broad in chest, with long sneeze and terrific neighing, fit for the harness, copper-like in palate, fickle in eyes and having soft hair in ears, it grew up in a few days. It appealed very much to the mind of the minister. It could not be matched by the heat of the sun or the wind. As it lived kept in an earthly house, a free parrot was watching it. As long as the young one of the mountain horse, mightily victorious, remained in the womb, a certain Khecara, assuming the form of a parrot, watched it day after day. 3. The Khecara become a parrot and established itself on the mountain-peak. With hundreds of pleasures as the wanderer of the sky, affectionately attached to its mate, as it lived happily and enjoyed pleasures for long, a good looking cowherd, virtuous, well-behaved, sportive like an infatuated elephant and having stout and long arms, came into the forest and sat there busy in amusement. He Was seen by the parrot with its eyes possessing good qualities, and was wilfully addressed in soft words moving the heart, "You take me, oh cowherd, and carry me instantly to the town and going to the king give me to him for five hundred gold. 4. Hearing that speech and thinking over it the wise one, with the parrot which was humble, submissive and respectable in mind, came quickly to the town. Throwing his sight, in a moment he saw there & prosperous merchant caught by a brothel-keeper who was telling him in sweet words, You are a prince; do not became ignorant. Your eldest son, in dream, has slept with my daughter as she slept at home, at ease, unattached and in peaceful harmony. Give wealth to her setting aside your pride.' The great noise of this spread through the market. No man was able to extricate the merchant as he stood being caught. 162 " Shree Sudharmaswami Gyanbhandar-Umara, Surat 5 10 5 10 5 www.umaragyanbhandar.com

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8. 7. %. ] TRANSLATION 5 5. Then the good and courageous parrot spoke affectionately. "Oh merchant, tell it t, me so that I might avoid the quarrel." Then the merchant toid him the cause of the quartel. Hearing that, the parrot who had reached the ocean of knowledge, said to the merchant " Give wealth to my well-dressed sister." Hearing the divine words, his mind was struck with leniency. Having brought mealth as he began to give it all to the bawd, he was told by the parrot well-versed in the ways of policy " Bring also a mirror, ob merchant; I would give some unique wealth." That also was brought by him. Instantly, the parrot threw the reflection of the wealth ) in the mirror (and said ) " Take that wealth, oh sister!" Her depth of miod was known to him and she was similar to the self-willed one* Then the bawd said " Oh mischievous, crooked parrot, can a reflection be caught ?" Hearing this a reply vas given to her " Can one get ornaments in dream, oh fickle one ?" 10 g 6. When the bawd was defeated by the parrot, the merchant justly said to the parrot "Count this wealth of gold and taking it do what you like." Hearing this, the parrot spoke so that the merchant was astonished in mind. " What shall I do with gold ? I attract the minds of good people." Hearing that purity of feelings of the parrot, he made the large gift to the cowherd. The cowherd was then told by the parrot " Take me to the royal gate.' In a moment he who was the home of rich wisdom was brought to the royal gate. The gatekeeper was addressed by the parrot "Friend, whose mind is broadend by a good pearl garlandf, report me soon to your king, oh honest one ! I shall see his face delightful to the eyes and resembling the full moon." 7. The gatekeeper told the king thus " Oh lord of lords, a partot is waiting outside." Hearing that, the king caused it to be brought in and with lotus-like face, accosted it. Then the partot, lifting up its leg, greeted the king with a blessing " Oh king with arms long like the trunk of an elephant, live long, as long as as the heavenly river flows." Pleased in mind the king asked of the paitot " Who are you and why have you come ? Tell me truly." The sky-wandering animal replied fabricating & 10 5 * This line is more significant in the sense that the Kadaraka is composed in Samanika metre. The line suggests that the metre of the Kadavaka is Mauktikadama, - 163 -

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KARAKANDACARIU [ 8.7.8 false account. The parrot said "Oh king, there were five hudred parrots in a silk-cotton tree. As I lived there, they were told by me "Let us cut quickly this creeper. It was then eagerly bitten by them. In the mean while a multitude of Bhillas, with eyes red like Gunja and dark in colour arrived there. Mounting upon the tree they soon entrapped in a net the nests of the parrots. Then we all parrots were caught. I then thought of some plan in my mind. " 8. Then all the parrots were told by me" Remain for a moment feigning to be dead. " Having mounted (the tree), a Bhillu saw them all and threw them down thinking them to be life-less. Then they flew away in all the ten (lirections. I turned my way to a hermitage. I learnt all the sciences and enjoyed life on the peak of the mountain. There I saw the horse of the mountain mating with the mare in heat. A very beautiful colt has been born of them. Its feet would not touch the earth-surface. I knew it, being a Vidyadhara and have told it to you being overpowered by affection. It is now grazing in the house of the minister. " Hearing this the king immediately went there. Reaching the house of the minister, the king said to him "I have no purpose for gems and jewels; my desires will be satisfied by your horse." 10 10. After finishing their bath and worship of the gods, the party of maidens returned home. At that time the parrot took the king after them. Reaching the Chohara island and coming to the house of the maidens, bringing about the union of the hearts, the parrot said at that moment" Oh king, you marry instantly this Ratnalekha of golden and 184 10 9. Bearing sorrow at heart, the minister gave it to him. Taking the horse, he went to his palace and put the sadle on the beautiful one. The king mounted it along with the parrot. The long-armed one took it on a round. The parrot warned "Oh lord, do not give any stroke; it will lose its temper." Unnoticed by the parrot, the king gave a whip-stroke out of curiosity. Instantly, the horse flew through the sky and went far beyond the sea. The king, feeling fatigued, asked the parrot "Where can clean water be obtained, friend?" Then the parrot, going into the sky, carefully looked for water. Returning, the parrot told him "Come quick to Going there, he saw a hundred maidens sporting in the sea. By 10 the words of the parrot the king worshipped the god of that place. " the sea. sta Shree Sudharmaswami Gyanbhandar-Umara, Surat 5 5 5 www.umaragyanbhandar.com

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8. 13. 4. ] TRANSLATION divine body. It has long been foretold by divine sages that she would be married by a person like you. Hearing that, the king told her of lotuslike large eyes, "Oh beautiful maid, do you grasp the words that the parrot is saying? Hearing that, the maid said. her words faltering on account of love," I have accepted your service in my mind. How can the words of the parrot go false, oh lord of men? 11. Hearing those pleasing words, the king married her immediately. In love, they enjoyed a thousand pleasures. Then, one day, the wife said, showing excessive love "Oh lord of men, I would see your home." Hearing her pleasant words, the king prepared a boat. He filled it with attractive gems and decorated it with beautiful flags. Mounted on it with the parrot, the horse and his wife, the lord of men shone forth like the god of gods. That boat was drifted on by the wind to another island in the sea. When it touched a deserted island on another day, the king felt anxious in his mind. He then spoke to the parrot "How is the night to be passed here, oh friend?" Hearing that the parrot replied "Oh king, do not sleep 10 very forgetfully.' 11 12. The horse, the woman, the parrot and the king, all the four, with firm mind, established four watches. During the watch of the king, the boat, along with the horse, was quickly carried away by thieves. At sunrise when the king sees, he does not find the boat and the horse. Theu the king reported the fact to the parrot "I know not which way the boat has gone. Bearing sorrow in mind, the parrot then told the king immediately" Cut logs of wood and tie them up soon so that you might easily cross the sea. Making that, the innocent king mounted upon it along with his wife and accompanied by the parrot. The ties of it were broken by the waves and the king wandered from land to land. Then the parrot 10 flew to a bunyan tree, the king was carried by the waves to Kokana while his beautiful wife, by dictates of fate, was carried to the town of Khambhayacca. 33 13. There she was seen by a clever bawd Lambajhalamba. She took Ratnalekha home and the tender one removed her watery smell. Then the innocent one was told by Lambajhalamba " Harlots do not become perfect without ornaments. Hearing that, the beautiful one said " Who - " Shree Sudharmaswami Gyanbhandar-Umara, Surat - 165 10 - F 5 5 www.umaragyanbhandar.com

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KARAKANDACARIU [ 8. 13. 5 5 over would win me here in gambling, oh mother, shall sleep with me." This she said. Then men were defeated by the woman in gambling. Taking their wealth she gave it to the bawd and then put curds and boiled rice in the courtyard. The flock of perrots residing in the buuyan tree of the sea pocked at it and returned. Then that parrot inquired of them " Where had you gone whence you have returned with food, oh friends ?" To bim the parrots told everything. They were then again asked by him " Take me to that place where boiled rice has been offered by the young woman." Then he was immediately taken by them to the house of the harlot whero he was seen by her. 10 5 14. The parrot, as it recked, shed profuse tears, seeivg its young mistress. She, knowing it to be the old parrot, called it to her, pronouncing its name "Oh parrot, iny brother, come here. Where is your master living ?" "I know not, mistress, where the king has gone." Disappointment grew in her mind. She was dissuaded by the parrot " Oh mistress, purity of heart is destroyed in those who give way to sorrow. My mind says, oh fawn-eyed lady, the master shall meet us having acquired prosperity." Listening to the affectionate words of the parrot, she felt consoled with pure feelings. Her fame advanced like the sea. Young men were traped in good pearl garlands.* Some-body told Aridamana" In the town of Khambhayacca no man can play the game of dice; none can defeat the girl there." 10 5 15. Listening to that with concentrated inind, the king immediately went to Khambhayacca. Reaching there, be quickly went to the gambling house attracting the mind of all the gamblers. Sitting in their midst he shone as if bearing the beauty of the full moon. With honour, he won seven hundred gold from the kings. Giving wealth to jesters and loafers, he went to the house of the harlots greedy of richess. He sent a challenge to her whose fame in gambling had gone wide. He thea himself went there at night, where the young woman was sitting with the parrot. He told her "Let us play the game of dice which is a harbinger of love, oh beautiful one! " By the king she was defeated and she became perplexed. Then knowing him to be her husband she embraced him limb to limb. 10 * The line is more significant in suggesting that the Kadavaka is composed in Mauktikaduma metre, 166 -

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5 8. 18. 10. ] TRANSLATION 16. As the king lived there with her, a Tuhka came with horses. The king looked amongst them and made bargain with the Talika. The king called out by name and the horse looked at him turning its face. Whatever little price was settled, he gave the gold and bought it. Of the woman, the parrot, the king and the horse, the miserables, the union took place. Enjoying pleasures, they lived there, and then all the three ( four ? ) weut to their own country. I have tolil youl, friend, how that king, fiullen into the sea, came back home. As he, great in multitudinous virtues, came back, eren so your husband, oh innocent one, shall be united to you." Having told all this to her, the worshipful goldess, matchlessly tender in all her body, went immediately to her home, and, haring her face like the moon, joined the gols. 10 5 17. Then Rativegja, depressed at heart, with face tener like lotus, followed instantly all that the goddess had recommended. Taking ampla wealth, she, with body excellent like the fresh lotus-fibre, instantly divideil it all amongst the poor', and gave gooil food to the hunger-stricken. Ay she lived there with devotion, meditating in mind upon the feet of Lord Jina, bending with the weight of the obserrance of Raticivoli fast, bearing the pearl-garland in the form of the Juktivoli fast, shining with the flowers of the hasiranjali, observing the powerful Puly pamuk fast, going by the Shastras in the form of the fast of the four scriptures, and steadying her mind upon the ritual of the Vasuhara, one day, Kancka prabha brought karakanila there. Rativega sasv her husband; her tears greir through joy and the slender-bodied one flashed forth like lightning as if a cloud laden with water ( had been seen ) by the female peacock 10 5 18. Ratirega then accorded all great honour to kanakaprabhu. Satisfaction grew amongst all the atten:lants and amongst the feudatories and ministers who were astonished in their mind. Having lived there for some days with joy, king Karakanda started off. Touring upon the land, he came to the Dravida country, bearing hostility. There, somebody reported, in an instant, to the Codo, the Cera and the Pandya kings "An enemy has come upon you, oh lord. Let it be so arranged that he may go away from a distance." Hearing that they met in half a moment and going to Karakanda, fought with him. Elephants fell upon elephants, chariots upon chariots, horses upon horses and men upon men. Red with 10 - 167 -

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KARAKANDACARIU [ 8. 1 8. 11 15 rage, they engaged in a fierce combat. Banuer-posts, umbrellas and heads fell down. Entrails shook, men stumbled and great warriors, greedy of fame, met. They put up such a great fight that even the gods in heaven were terrified. Karakanda caught them on the battlefield and rubbed their crests with his feet. But seeing Jinck images on their crowns, Karakanda felt very remorseful. 19. "Alas, alas! what have I, a fool, done? I struck even a Jincimage with my foot. As a result of this sin, I know not in what evil form of life I shall have to live." Disturbed at heart, with eyes closed, he released the Coda kings "That I ranquished you in battle, that I rubbed your crests with feet, forgive it all, my friends : Reoccupy your hereditary kingdoms." Hearing that, they made a reply " Our sons will serve you." Saying so to the Campa king, they instantly made their residence in the forest. Counting their bodies as strair, the tender-limbed, having performed penances, attained the highest heaven. Karakanda marche out thence towards the city of Terce. He reached that region of the forest where the beautiful lady Madananali was abclucted. 5 10 5 20. As he lived there honourably, the Kliccara restored Madavavali to him. 'The Vidyadhara then quickly narrated feelingly the events of past life." I was a serpent in my previous birth. Wandering about, I crept into your house. Then I saw, in the cage, the pigeon accompanied by its mate. I caught it by the leg, struggling. You then arrived there casually walking. It was released by you instantly and was kindly given the Navakara. It became a Khecara as a result of it. I glided away from there, escaping you. One day, I was crushed under the hoof of a horse. A sage recited the formula in my ear. As a result of that. I became a K'hecara, I saw you, having come here. On account of the old quarrel, I took away your wife. I have told you this secret of mine. I am now fully your servant." He then bowed to his feet with bent head, " Whatever crime I have committed, oh lord : forgive it; I shall not leave your service." Having honoured the Khecara with a gift, the king went to Campa, conquering the earth. He lived there, ruling the kingdom for many days, in the golden, divine palace. 10 15 Here ans, in the life of the great king Kurakaniu, composel by Sage Eanakamara, which is an Ornament to the ear of the holy and which presents the richness of the fruit of the desire-giving tree of the fre auspicious rites, the cighth chapter describing the conquest of the earth liv karakanda and his entry into Campapuri. SECTION VIII. - 168 -

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TTTT 11. guphA naM. 3 va usake stambhoM kA nakazA. Plan of cave No. 3 and the design of its pillars _in the hall. ( Page 43, intro.) 12. terApUra kI guphA naM. 4. Cave No. 4 at Tarapura. ( Page 43, intro.)

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CHAPTER IX 5 1. As the king of Campu, surrounded by wise people, lived there in happy enjoyment, the keeper of the garden came into the council-ball where the king was sitting. He was asked by king Karakanda "Tell me for what purpose you have come. He said "oh lord of men, whom people meditate upon and remember in their mind, at whose sight a lion resorts to peace and would not pounce upon the frontal globes of the elephant, at whose sight those that bear mutual enmity assume tenderness in their mind, at whose sight some take Anuratas and do not devote their mind to any body leaving the Jina, by some have been taken in their mind the Guna vratas and by others the Siksha vratas, who appears to be the abode of righteousness and home of restraint as if he were the excellent Jina in the guise of an ascetic, such a good sage endowed with knowledge and fame, by the name of Silagupta, has arrived in the garden. " Hearing these words, Karakanda got up from the throne the very moment and advanced seven steps, folding his hands and recollecting in mind the feet of the excellent sage. " M 2. Then the drum of joy was immediately ordered to be beaten by the king who was pleased. Hearing its sound, the faithful persons who were enjoying happiness, met together in half a moment. Some proud, tender-bodied woman started with her affection fixed upon the lotus-feet of the sage. Some one walked forth producing a jingling sound by her anklets as if she was singing the virtues of the sage. Some one did not care for her husband going ( by her side) but thought in her heart of the sight of the sage. Some one, filling a plate with rice and frank-incense, walked with great haste carrying her child. Some one walked along giving out profuse scent as if a Vidyadhari was shining forth on the surface of the 10 earth. A certain lady, with face like the full moon, walked along, bearing lotuses in her hand. Being delighted to hear the sound of the drum, all faithful persons met there together very soon. Shree Sudharmaswami Gyanbhandar-Umara, Surat .169 10 - 15 5 www.umaragyanbhandar.com

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KARAKANDACARIU [ 9.3. 1 3. Attached to the Jinendra Dharma, devoted to the feet of the great sage, splendid like the lustre of gold, having eyes like a lotus-leaf and arms long and stout, knowing all the Sastras, having a body with faultless joints, as he passed by the market, he saw there a miserable woman crying" Alas, I am confounded", beating both the sides of her belly, weeping with profuse tears, causing grief to people, making the mind bewildered, bearing the dress of a mad person, rolling in a swoon and falling upon the ground. The king heard that sound like the roar of the sea. Karakanda asked a certain man Why does this poor woman cry producing pain in the heart by her lamentations and herself dieing in delirium ?" " 4. Then he told the facts to the king, "On account of which she became so miserable, listen to that cause, my good lord! As she enjoyed incessant pleasures, a son was luckily born to her. But it was snatched away from her by Death. For this, the woman laments woefully and throws herself through affection. She dces not leave the side of her son. She does not forget him in mind. Hearing these words, the king of kings entertained feelings of detachment from the world Fie, fie upon this ugly mortal world. The personal enjoyments of men are the causes of their woe. Like the ocean is the extent of misery here, while the happiness of enjoyments is only comparable to a drop of honey. Alas, where man dies with scorched body and crying hoarse, who, except a shameless voluptuary, would feel attachment there? "[ 5. Who is conceived in the womb through Karma, he is removed by the god of death to his own abode. The child which is fondled by a young woman, is marched off to his own town by Fate. Who attains fresh youth, him also the powerful god of death walks away with. The old man who is caught by a hundred deseases, is also mis-handled by the messengers of Death. Along with Balabhadra even Hari of matchless prowess, was stealthily taken away by Fate. Who conquered the earth divided into six parts, those emperors were led off by time. The Vidyadharas, the Kinnaras the Khecaras and the mighty Suras have all fallen in to the mouth of Death. The lord of the immortals as well as the lord of the serpents, none are spared by Death in taking its toll. It does not forego a learned Brahmana, 170 C Shree Sudharmaswami Gyanbhandar-Umara, Surat 5 10 5 10 5 10 www.umaragyanbhandar.com

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9. 8. 7. ] TRANSLATION nor leave an ascetic devoted to pedancos. Neither the rich vor the poor escapes as when a consagration is ablaze in the forest. 5 6. Whaterer Lody fate creates, the beauty of man is not stable there. The charming youth that grows, is cast out, no body knows where, by destiny. Whatever other qualities dwell in the body, it is not known which way they go. If the qualities of the body were stable, sages would not practise detachment from the world. Not stopping anywhere like the cars of an elephant, fortune vanishes under one's very eyes. As mercury held in the palm of the hand, oozes down, so a woman being dis-affected soon walks away. Whose eyebrows, eyes, words and gait are all crooked, who can make her upright ? She does not mind deserting her kingmen and friends; she is fickle and mean like the friendship of the wicked. Whoever meditates upon this idea of fickleness entertaining a feeling of detachment, becomes the ornament of the house of gods, having a very graceful and charming body. 10 5 7. Resting at night and subduing the Scrus in battle, when the calamity comes and the heart goes to sleep, nothing in him throbs, rises or sits. Let him enter a cave, follow beaven, climb the learenly mountain, place his body in a cage, be fully guarded by his kinsmen, friends and children wielding lances in their hands, be protected by Mantras and be attended by a host of warriors, still he would not be saved by them all. Baladeva, the wielder of the disk, the leader of the gods, the Khecara in the sky, Yamna, Varuna, the supporter of the earth, none can afford shelter. Whoever contemplates in his mind, day after day, this idea of helplessness, graceful in body and enjoying pleasures, is soon courte: by the heavenly women. 10 8. What bappiness is there for one revolving in the cycle of existence ? He gets various unpleasant woes. In hell he is tormented by many liellish beings with whom he contracted enmity of yore. There, he experiences great afflictions which can not be imagined by the mind. Being born amongst lower animals opposed to each other by birth, they have to undergo the gagging, piercing, beating, splitting of the body and the like. Even in humanity, a man, being suppressed, pines uneasily in his heart. Born - 171 5

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KARAKANDACARIU [ 9. 8. 8in the world of gods, lie, being inconsiderate, feels woeful iu his mind at the sight of others' prosperity. As the dancing girl assumos various forms, eveu so life takes various bodies. Whichever person studiously throws his sight 10 on the world, tell me, what he did not obtain in the world being himself the mine of all high-class gems. 5 9. There is no good helpmate of the soul, who could save it from falling into hell. Friends, relatives, sons and dear brothers, these render no help to the departing soul. One's mother and father Feep but do not go oven a foot-step with the soul. Wealth does not go out of the house even a stop; it alone experiences the fruit of piety and sin. The body falls in blazing fire; it alone mounts to the home of death. Where no happiness is found even for the twinkling of an eye there single-handed it suffers misery. Amongst sorpents, icbneumous, lions and dwellers of the forest, the soul alone is born helplessly. In the beautiful towns of the Surug' Khecards and Kinnaras it alone enjoys life as long as it lives. Whoever follows this view adorning his body with goodness, shines forth alone and free of the body, at the place of eternity which is the abode of happiness. 10 5 10. This is what the sage holding numerous virtues, declares. He declares it all alien to the soul. What is nourished with hundreds of drugs: even that body is separate from the soul. Eyes with beautiful pupils, large and pleasing, are no part of the soul. The tongue resembling che leaf of a tree, also stands apart from the soul. The richness of the body, touch, smell and ears, and the excellence of beauty, is all quite separate from the soul. The other qualities that are found in the body, all of them, go detached from the soul. The excessive fatness and fineness of the body are far removed from the soul. The four, anger and others, as well as virtue and vice, which are Karmic entities, are alion to the self Which ever person meditates in his mind upon this idea with firmnes, attains the highest status and becomes bright, absolved from body and excellent. 11. Tell me what quality shines forth in this body which has been given the ornament of impurity by vaturo ? The fickle eyes that become sportive, are defiled by lots of evils. Tell me what purity is there in the cavity of the nose whose excreta is visibly impure. How do people - 172 - 10

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9. 13. 14. 1 TRANSLATION 5 10 5 imagine inuumerable qualities in the lip which is looded with a current of saliva ? What merit is seen in the breasts which, like wounds, are full of pus? They are grown up balls of thick flesh; who would feel an attach. ment for them which are so defiled? What do wise people say about the middle zone ? It sheds impurities at two points. Wbere fat, blood, flesl and bones are assembled, tell me, what cause of purity is there? Tell me what man in the world would feel attachment for it, if he observes inner and outer purity? Whichever person would think of this as impure by nature being produced by somen and blood, bim this matchless idea would bring on to the path of salvation. 12. As water is collected in the ocean, even 60 a multitude of Karmas flows in. The soul contracts Karmas as an invisible point of iron is caught by a magnet. By the loss of the right; faith, Karmas are contracted owing to the false belief. The guileless lord Jina declares that Korma comes in as a result of non-abstinence. The inflow of the Kormas takes place by falling into anger, pride, deceit and greed. If one forms the habit of controlling the mind, the enemy Karma can not be born. If one indulges in violent speech, who can prevent the Karmas meeting him? Whoever uses bis body for violence, makes love with Karmas. Having given rise to a slight cause for Karmas, ifone contemplates in his heart upon this idea, he is blessed; that man, without delay, relishes the juice of eternal bliss. 13. Whoever, being firm-minded, holds up right faith, checks the wicked false sight. Whoever conducts bimself with pure forgiveness, geta rid of the water of anger, the cause of misery. Whoever conducts himself with pure gentlenes, his pillar of pride surely goes off. Whichever Doblo person gets his mind on straight-forwardness, becomes an antidote to the poison of fraud. Whoever is indifferent even towards a beautiful body, cortainly vanquishes the lion of greed. Whichever good man shall follow religion with his heart, shall arrest the monkey mind. Whoever worships the passionless ( Jina ) with adoration, immediately destroys 'wicked desires, Whoever obserres all the forms of religion, keeps pure at heart and practises meditation and concentration, escapes low birth. Whoever, being endowed with forgiveness and self-restraint and being an abode of virtues, visibly checks those ( evil tendencies ), he, having enjoyed the pleasures of heaven, bende his way towards perfection. - 173 - 10 5 10

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KARAKANDACARIU [ 9.14 1. 5 14. Nirjara, which destroys attachment, is considered to be of two kinds, fruitful and fruitless. The multifold Karmas that are collected in the past and are created now, have to be borne in experience. Who emaciates his body by the rays of the sun during summer, passes the rainy season under a tree and bears the frost on his head during winter, he confidently gets rid of the Karnas. Who bears the unbearable weight of penance, wears out his body by fasts and checks irrelevent talk, be shatters all the Karnas. Who controls his mind from wandering outside, that man destroys the Karma in his mind immediately. Who regulates his meals according to the waning and waxing of the moon, who prefers sour gruel for food, who adopts various forms of physical austerities, who bears the twenty-two trials and who foregoes the two kinds of worldly possessions that man performs fruitless Nirjara. Whose Karmas exhaust by themselves, in his case the Narjara is fruitful. Whichever person, being puro in mind, shatters bis Karma by mind, speech and body, having enjoyed happiness amongst gods, does surely make his abode in salvation. 10 15 5 15. This universe is divided into three parts. It is fourteen chains ( rajju ) in height. The first ( part ) is the abode of hell in the shapo of an overturned, shallow cup. The second is the abode of animals, which is immeasurable, and is like a bell. It is the animal world. Where the immortals have no self-restraint but have enjoyments, that is the world of the immortals resembling a drum. Above it is the well-known region of perfection where misery is not to be found even for the twinkling of an eye. It is described by the many highly qualified sages as held fast by three circles of winds. As the sun is poised in the sky, even so, this 'world is not supported by any thing. The sky is inactive,what else ? Even so, no person has created the world. Having observed the five great vows, who applies his mind to this idea of the universe, that man, blessed and lucky, enjoys numerous heavenly pleasures. 16. May there arise devotion to the lotus-like feet of lord Jina. May I be born in the family of the faithful endowed with right faith, knowledge and conduct. In every life, may the five vows of the two kinds be mine. May the beautiful teachings of Jina by means of which the essence of existence is known, be available to me. May I have devotion for the ocean-like sages who hold peace, restraint, religious practices and 10 5 - 174 -

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9. 18. 12. ] TRANSLATION 10 observances in high esteem. May I have devotion for the beautiful torfold piety which brings about the happiness of salvation. May the fourteen search- lights that remove old age, birth and death, flash forth in my mind. May the fourteen 'states of qualities' be clear to me and may the qualities of the perfected be firmly fised in my mind. Who brought into his heart, soon, this idea, having followed it with wisdom, he profusely adorned, in half an iustant, the face of the lady salvation. 17. Dharma is characterised by the ten qualities. Fruitful is the birth of him who obserres it. By dharma horses are obtained and excellent chouries are sportively wared over him. By dharma one would sport in celestial cars and more about in chariots, on elephants or by other conveyances. By dhorma one would get ample richess which is the essence of the jewels obtainable from the great ocean-the world. By dharma, various enjoyments become available and people do not transgress his orders. By dharma the goddess of speech stars at the tongue and one obtains the beautiful desires of his heart, ob brother : By dharma sevenstoreyed buildings and excellent gems giving various pleasures (are obtained). By dharna the gods worship the excellent Jinas; by dharmo all may become great gods or lords of men. By dharma an accomplished woman, the doom of the infatuated young men, becomes yours. By dharma are born Damodarcs, the excellent Jinas, Proti-Kesavas, Sankcoros, and the Suras in heaven. By charmo, all those good fortunes are born as also Haladharas and Cakradharas. 5 10 15 5 18. Reflecting upon these ideas in his mind and making himself averse to sensual pleasures, counting a host of women as straw and speaking words pleasant to the ears, steadying the fickle mind, he (i. e. the king ) reached the pleasure-garden. He saw the extensive pleasure-garden resounding with the noise of the Kinnaras and Rhecaras. In that garden he saw the repository of goodness, who was a shower for suppressing the fire of anger and the like, whose body was resplendent with the rays of knowledge, who was a dart in the heart of the huntsman Cupid, a wrestler to vanquish the warrior infatuation, the residence of the tenfold dharma, the fire to consume the fluel of antagonistic philosophies, who was attached to the face of the lady in the form of severe penance, and was free from the shackles of Karma, who was destructive to birth and death, the home of 10 - 175 -

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KARAKANDACARIU [ 9.18. 13 the twofold austerities, and who was the excellent forehead mark on the face of the lady salvation. 5 10 15 19. At his sight, he was thrilled in all his limbs like lotuses at the touch of the sun-rays. Having gone round thrice and bowing to his lotus-like feet, he sang a hymn "Be victorious, oh hot sun to destroy the darkness! You have brought the lords of gods, men and serpents to your fest. Be victorious, oh thunderbolt to the great mountain of pride; be victorious, oh incomparable, full tank of salvation. Be victorious, oh axe to cut the tree of delusion; be victorious, oh boatsman in the ocean of the four forms of life. You remove the sin of those who bow even from a distance, as the sun is, by nature, the dispeller of darkness. Whoever recalls you to mind every day. soon attains to the town of salvation." Having adored the lotus-feet of the excellent gage, he sat down in front of the home of penances. He then said " Oh master, reveal to me the highest religion which is free from deception. Tell me that, kindly, oh master, by practising which the multitude of woes be destroyed, the incomparable happiDess of salvation may increase and which may give a right lead to well- meaning, faithful people. 20. Hearing those words of him the sage who had shaken off Cupid spoke. He told him the excellent dharma which leads to good birth "The tree of religion, oh king, is divided into two parts. Being sprinkled over with the water of holy observances, it grows steadily. Having obtained a human birth, one should, with pure heart, worship the Jina and hold the feet of sages in his mind. He should read the scriptures and observe the forms of restraint. He should pass the days in bearing the useful burden of rules and austerities. He should bestow the four kinds of charity upon the three kinds of deserving, holy recipients either going to the temple of the Jina and bringing him with devotion or receiving him in the home as be happens to come to the house during his tour at the proper time. If a sage arrives at his house at noon, being devoted to the sages with pure miod, he should say 'Stay' and receive him. Then offering him & wooden seat he should wash his lotus-feet and honour even that water (used for washing ). He should then worship him with sandal rice, flowers, eatables, lamp, frank-incense and nuts. He should adoro his fast with a handful of water. Whichever person conducts himself by the - 176 - 10 15

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9. 23. 7. 1 TRANSLATION 20 5 10 six professional duties and whose body is covered with the six religious duties, he ridding himeelf of the inauspicious humours, applies his mind to the Jina image. 21. Why talk much, oh best of men : Whoever holds right faith in his heart- the right faith which comes from the belief in the excellent Jina and which is spoiled by a false belief, the right faith which comes from a confidence in the realities and the remedying of the faults of doubt and the like, whoever, again, abstains from liquor, flesh, honey, butter, bunyan, fig, pilli, lhinni, phenphari and umbari, and the five udumbarie, whoever neither gambles nor drinks wine and has no desire for flesh, who shuns harlots charming to the eyes, and does not indulge in the sinful hunting, who does never steal others' wealth and avoids, from a distance, the women of others, who eschews the seven vices with all consideration like a large poison-treo. he enjoys unbroken happiness and is not feasterl upon hy the demon-misery. 22. Nobody becomes great, oli king, without religious observances; with sacred vows, eren a poor man becomes respectable. These are summa. rised into two classes-vows for the householders and those for ascetics, The anuvralas are said to be less rigorous while the same, observed very minutely, become Vahavratas. Who protects the lives of the mobile animals, that man holds the first vow. Who does not speak false in a broad sense, that wise man wields the second row. Who does not acquire wealth by stealing, he observes the third row. Who regards the wife of another as mother, he maintains the fourth row, oh king. Who sets a limit to his worldly possessions, he, oh king, keeps the fifth vow. Who abstains from eating at night as well as going into the directions ( beyond a set limit) and shuns tieing cattle with ropes, he, lessening the volume of his enjoyments and pleasures, easily gets delight in the heavenly home. 23. Who looks upon all creatures with equanimity, who reflects upon the religious observances in his heart, and who eschews distressful and violent feelings, that good man maintains the customary vow. Who observes the four grief-removing fasts in a month on the two eighth and fourteenth days, whichever good man gives alms of the four. kinds, who bestows upon creatures compassion as well as knowledge and who affords medical treatment to the deseased, be surely follows heaven. Who at the meal-timo, - 177 - 5 10 5

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KARAKANDACARIU ( 9 23, 8 10 5 gives to the deserving, food and drink with affection, or gives food to the poor and hungry through compassion, and who, at last, gives up his breath in penance with a steady mind, who observes all these difficult Anuratas, Gunavratas and Silzivratas, he, being coretous of the face of the bride eternity, shall obtain a succession of happiness. 24. The religion of the householders is like this, oh king : This is what the great sages of yore have declared. Listen, oh king, to the five Pows of the ascetics where not a single fault is admissible. Who gives protection to the mobile and the immobile creatures, he enjoys pleasures by innumerable lakhs. Who does not tell a false story eren for amusement, he out-wits the preceptor of gods in oratory. Who never misappropriates the wealth of others, be makes the mind of the lord of gods anxious. Who observes the ninefold celibacy, he attains the boundless happiness of salvation. Who avoids the two-fold worldly possessions, he crosses the great ocean of metempsychosis. Whoerer holds the basic qualities, oh king. is embraced by the bride salvation. The secondary qualities of the sages are so many that no one is able to survey them, oh king. I have told you, ob lord of men, the dharma, pleasant to the ears, which stands two-fold. Wbicherer person observes, according to his ability, these five vows, ob king, courts the golden and immortal, proud maid salration, and he, without doubt, becomes her lord. 10 15 Here ends, in the life of the great king Huraka nau, composed by Ange Kurakamara, Fluich is an ornament to the ears of the holy and slich presents the richness of the fruit of the denire-girlog tree of the five auspicious rites, the ninth chapter called the listening to a religious discourse by Karakanda BECTION IX. - 178 -

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CHAPTER X 5 10 1. Hearing that, the lord of Cuirpa, again asked the sage with bending bead "Tell me, kindly, oh best of sages, what I ask you in a meek tone. If my body was so lovely, why this scab on my hand ? Tell me quickly. The husband of my mother was so much attached to her; by what Karma the separation took place, tell me? By what Karmo she was carried away by the elephant ? Why my wife was abducted by the Khecara ?" Hearing that, the sage revealed to him " Listen to what I say ob king ! Here, in the Bharato country, is the Vaitalya mountain. On the southern side of it is the prosperous town of Rathanepura the circular. There, the Khecara Nila was the king. He was hard pressed by his copar. coners; so he fled away to Teri-pattano. Rasiding there, he acquired a territory and built several Jina temples. There was a merchant named Dhanamitra who daily waited upon all learned men. A mine for the jewel of right faith, he had in his liome for wife Dhanawati. He had a good cowherd Dhonadatta who did all that he was told to do; who, being virtuous, delighted her mind also, and whose body was adorned with gentle nature. 2. He, one day, at night, released the buffaloes and went towards the south with them. There, he saw a beautiful lake fowered with excellent lotuses like Dharma. The lotus-lake shope forth very brightly as if the sky with the stars had descended! on earth. The white lotuses on the lotus-leaves looked like the royal parasols on the green earth. Or, being fully blossomed, they shone like rubies in a green receptacle. In the midst of it stood one lotus which looked like the moon adorned by the clusters of stars. Seeing it, a desire flashed forth in his mind and he entered the lake inorder to fetch it joyfully. Entering into the water, he took the lotus as if he had, in a moment, plucked off the head of the lake. Taking it, as he came out, with his body excited with joy, his pure mind bloomed up by the possessoin of the full-blown flower. 15 5 10 - 179 -

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KARAKANDACARIU [ 10. 3. 1 3. As he walked away with that lotus, Nagakumara, the Sura, came there. The good Sura told the cowherd " I have been protecting this lake with great care. The flower which no body could take, not even a Khecara, a serpent or a Sura, has been taken away by you a man, oh fine fellow, I tell you with all respect. Now you shall obey these words of mine. Whoever be great, with his feet worshipped in the three worlds, and at whose sight sin quickly flies off, at his feet you shall offer this flower. If you do not obey my words, oh friend, I shall certainly kill you, oh inno. cent-minded!" Dhanadatta went away having accepted the words uttered by the lord of serpents. He thought" My merchant is great as he is saluted by all good men. I shall worship his feet with this flower which has been guarded by the serpent-gods. 4. So thinking, he went near the merchant and stood up humbly before him. The merchant then asked him "Why are you standing before me with folded hands?" Dhanadatto, said "Oh merchant, my father, I shall worship your feet with this lotus. " "Tell me the reason?" Being so questioned he said "I plucked this flower from a lake and a Sura has told me "Whoever is great in the three worlds, worship him. If you do not worship, I shall kill you." Hearing this, I have come, thinking, oh father, that I shall worship your feet. You are great and adorable by the people and so deserve to be worshipped with this flower. Hearing this, the merchant said "Oh son, the king is greater than myself, oh good minded!" The merchant then took him to the king's palace and saw the king in the Jina temple. Having repeated to him as before ( he said) You are great, as people bow to you. Therefore, I shall worship your feet with this flower obtained by me in the lake." Hearing this, the king replied "Greater than myself is the sage, surely. " << Shree Sudharmaswami Gyanbhandar-Umara, Surat " "3 (6 " 5. All of them went in front of the good sage Yosodhara in order to offer that flower to him. "You are great, oh passionless, excellent sage ! I shall worship your feet with the lotus. I am not great" said the sage; 'People esteem the famous god of gods, Jinavara as the greatest of all, who has become purified having destroyed the enemies- Karmas, who is bright with knowledge, and has achieved perfection. Worship Him, steeped in devotion. Hearing his words, Dhanadatta, without washing his hands and feet, worshipped the Jina with that excellent lotus, as Indra did on 180 - " 5 10 5 10 15 5 www.umaragyanbhandar.com

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10. 8. 4.] TRANSLATION 10 15 5 10 the Meru of yore. People offered felicitations to him whose mind was bursting with the flood of devotion. As il result of that single flower, he was born as the sou of the king of Campu in you. Who glorifies the Jina with purity; he takos the lady salvation by the palm of his hand. The excellent Jincs, the forehead-mark of the world, was worshipped with hands and feet splashed in mud. Therefore, this scab has come on to your hands and feet. I have told you this pleasant story: 6. "On king, endowe:l with numerous virtues, friend, listen now to the story of your father. Here, in the Bharata country, is the town of Srivasti where Khecara women mostly sport for long. There was a famous, sweet-tongued merchaut by name Vagadatta. His wife was named Nagadotto. She was an arani stick for producing the fire of ansiety. The great merchant would not leave hier side and would not sleep any where ( else ) day or niglit. The merchant adopted a son who was fondled by the tender hands of his wife. This son of the merchant, oh king, grew up and became very gentle with his virtues. One day, this Brahmana boy whose arms were long and stout like the elephant-trunk, was seen by the lotus- eyed Nagadatti who felt attached towards him and the lovely-bodied one began to think in her mind. 7. She looked again and again at the youth as if he was visible Cupid incarnate. Like new gold in appearance, with eyes like those of a fawn, she soon became perverted in her mind. Being shot with the sharp arrow of Cupid in all her body, notbing appeared pleasant to her heart. She would shake her hands, bear horripilation, exhibit her line of hair to him, show her breasts and loosen the tie of skirt. Say what a person blinded by lore,may not do. Being overpowered by the bunch of the arrows of the flower-armed, the wayward one did not feel apprehensive of any body, not even of the elderly gentlemen whose minds were prepared for the welfare of the next world. She did not fear her son or relatives, nor fight shy of her dearest mother. Was riot that mine of all virtues, clerer-minded and modest youth addressed by her in tender terms ? 8. Hearing those words, he shut his ears with his upraised, tender hands; and broadening bis eyes and shaking his head, he, thinking her to be wicked, said " Alas, mother, oh mother! what do you say this, as if you have heen thoroughly intoxicated by wine? I am your son and you - 181 - 5 10

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RARAKANDACARIU [ 10. 8. 5. are my mother. What grace is there in your telling me this ? Do you 5 not remember your higli parentage which bears the excellence of the sky ? Respected as you are with honours and gifts, why have you resorted to tbis rashness, oh mother? How is it that your intellect, which was the delight to the eyes and ears of peuple, has become so perverted ? " Interrupting his speech and grasping him by the band, the love-stricken woman 10 made him quiet. A woman attracts the mind of even gods like Hari, Hara, Brukna, and Indra; what can a poor, stupid man, fallen in to ber clutches, do? 5 10 9. By nature, every one has the feeling of love and thinks of woman in his heart with one mind. If he gets her consent, then, tell me, is the woman to be disregarded ? Whose nind does not shake in hor company, he obtains the way to perfection, oh lord of men. So, in the mean while, the sun set. After many hours, even the sun went to sleep. as it were. The multicoloured evening pervaded the sky; she was, as it were, the bride of the sky, dressed red. Thick darkness spread about where an adulteress can follow many men. Nagadatta, infatuated with love, thought of the darkness in her heart and embraced that Brahmana who bit her lip. But, in the meantime, the moon rose up in a moment. arousing sorrow in the mind of the unchaste woman. Then the merchant observed her conduct and instantly retired to forest. Having practised pedance, he broke all ties and went to beaven, where, having enjoyed happiness, he died again, and, in course of days, came into the womb of Vasumati as the son of king Vasupala in the town of Campa. That gracious Dhadivahana, beloved of the people and foremost in the world, having stout arms, meditated upon the Five Teachers on the mountain, occupied the topmost heaven, and becamo immortal. 10. That Brahmana, as a result of adultery, wandered in to the cycle of existence. Having experienced misery in an inaccessible thicket of the forest, he was born an elephant in the country of Kalinga. Under the arrangement of some Karma, it became the best elephant of the king of Campa. Having cohabited with a stranger, Nagadatta experienced misery in the great ocean of transmigration. Here, in the Bharata country, is the town Tamralipti, seeing which the lord of the gods does not feel satiated. There was the good merchant Vasumitra, who came to have Nagadatta 15 5 - 18% -

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10.12. 12.) TRANSLATION 10 for his wife. As they lived in enjoyment, one day, two daughters were born to them. The first was named Dhanarati and the second Dhanasri. In the town of Nalanda, there was the merchant Dhanadatta whose wife was Dhanamitra. His son named Dhanapala, a patron of panegyrists, became first the husband of Dhanavali. 10 15 11. In the town of Kausanibi there was the merchant Vasupala whose wife was Vasumati a source of pleasure. He got a son named Vasrdatto, the vanquisher of his foes and devoted to the lotus-feet of Jina. Dhanasri, the basket of virtues, was given to him as Candi was given to Isa the lord of men. She passed many days in ihe enjoyment of pleasures and sports. Then, one day, Vasumitra was spatched away by the cruel-handed messengers of Death. Out of sorrow, Nagadatta left Kausambi and went to the house of her daughter. Knowing her mother to be without any religious votrs, the lotus-eyed Dhanasri, devoted to the lotus-feet of the sages, took her iustantly to the Jina temple and gave her the row of abstaining from food at night, ( saying) "Do not take your food at night, oh mother." Hearing that, the mother replied " Wonderful is this system of religious rots and practices." Having bowed to the feet of the sage with bending head, the excessively good woman took the vow in her mind. Knowing it to be a means of getting over the cycle of existence, destroyer of all ills and girer of many excellences, the mother of Dhanasri took the vow of abstaining from food at night as it was revealed to her. 12. Then, Nagodatta, one day, went to the house of Dhanavati. As she lived there for many days, her elder daughter violated her row of night. As it was violated once, so it was successively violated thrice. Then, for the fourth time, Nagadatta went to the house of Dhanosri with pure mind. Here Nagadatta was, in course of time, carried away by the burrying messengers of Death. In Kavsambi there was Vasumati the agreeable wife of king Vasupala. Nagadotta was born her daughter exceedingly beautiful. At ber birth, the mother Vasumati, by the ripeness of Karma, was overtaken by a serious desease. So, the king placed her in a box and threw it in the current of the Jumna. Being made of precious stones, it shone forth brightly on the dark waters of the Jumua, like the brilliant jewel on the crest of the female serpent. It moved on from its place. 10 - 188 -

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KARAKANDACARIU [ 10. 13. 1 13. There was another (box) made of wood in which the first one was concealed. As it was beautifully made without any leak, it fell in to the Ganges being carried by the current. At places, it wavered by the waves, at places, it fell into a whirl-pool and at places it floated on very smoothly, thus exhibiting the beauty of a boat on the wide sea. After some days, it reached Kusumapura where lived the gardener's wife Kusumadatta. She went to the Ganges for water and saw the box floating on. Taking it out, she went home with it. Both of them stood delighted with great expectations. As they opened it and looked in, they saw a female child wrapped in a jewelled shawl. In course of days, she attained youth and fell into the sight of your father. She, who had become known amongst people by the name of Padmavati, charming by the lustre of her hody and very smooth, was married by your father, and, in time, you came into her womb. On that occasion, she mounted on the great elephant and rode about the town. The elephant, bearing the old infatuation, carried her off trembling with fear. 14. She escaped from it some how and went to the dreadful garden. A certain gardener took her home, but his wife soon quarrelled with her. Afflicted with grief, she went to the cemetery where you were born. I have told you the facts. Listen now to the account of Madanavali; mys terious is the destiny of creatures. Having obtained birth in the species of dove, she became a female-pigeon pleasing to the eyes. Feedings on curds and boiled rice in the cage, as she lived sporting with her mate, there came a snake gliding, as if the dreadful god of death had arrived. Both of them were caught by the legs by it, but you kindly rushed and saved them. By the Navakara, she has been born in her who has her affections fastened on you. The pigeon and the snake became Khecaras on account of the Navakara obtained from a sage. Out of jealousy did the snake Khecara carry away your wife to his own home. 15. Whatever you asked me, oh king, I have told you to my ability." Hearing that, the king was wonderstruck and thought in mind of practising austerities. In the mean while, Padmavati arrived 184 Shree Sudharmaswami Gyanbhandar-Umara, Surat 5 10 15 5 10 www.umaragyanbhandar.com

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10 17. 7. ] where the sage was revealing the charming religion. She adored the sage devoutly bending her head and called out her son in sweet tone. Then she asked the sage who was the embodiment of knowledge "Tell me oh master, of some religious practice which may serve as a strong bolt to the house of misery and hell and by means of which my female sex may be changed." To her who was afraid of the great ocean of existence, who had abandoned all pleasures and numerous comforts, and who was feeling miserable, the great ascetic compassionately preached the religious practice that may lead to happiness and prosperity. Beginning with the first (of the month) whoever would observe fast always, oh daughter, would realise the happiness desired in his heart and enjoy sportively on the heavenly couch. TRANSLATION 16. By fasting on the first (of the month) the first heaven is attained; by fasting on the second the second class of gods is achieved. By a fast on the third, residence in the third heaven is secured and by the fourth a happy abode in the fourth is obtained. The fifth gives happines in the fifth, and the fast on the sixth leads to the sixth heaven. One goes to the seventh heaven by a fast on the seventh and to the eighth by one on the eighth. Then, by a fast on the ninth the ninth world of the gods is obtained and by one on the tenth, one gets enjoyment in the tenth. By a fast on the eleventh one goes to the eleventh heaven and by one on the twelfth to the twelfth. The thirteenth brings one into the thirteenth and the fourteenth secures the fourteenth. The fifteenth shows the fifteenth and the sixteenth fast brings it to a conclusion. He, who takes his food and drink after this, baving performed the pleasant worship of the Jina, he, having climbled by these steps, certainly follows up the lady salvation. 17. This ceremony should be completed devoutly with a pleased mind, dressed in a fine, red and bright garment. Having worshipped the path to happiness, and placing a jar in front, covering it also with a new and beautiful cloth, it should be worshipped with all the materials of worship by offering them into it. Then, placing a religious book there and obserring sleeplessness by the trumpet, bestowing the four kinds of gifts on the deserving recipients, the book, should be worshipped and the Jina bathed. Shree Sudharmaswami Gyanbhandar-Umara, Surat (1 - 185 5 10 15 5 10 5 www.umaragyanbhandar.com

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KARARANDACARID [ 10 17.8You should honour this ( coremonial ). Sixteen canopies and flags jinging with small bells, shoall be presented to a Jina temple. By the fast of this beautiful vow you shall obtain all your desired happiness." 10 18. Again, she asked the great sage who had brought the lord of gode to his lotus.feet " Oh excellent sage, has any one observed this any where and obtained the fruit of the vow?" Hearing that, the lord of sages spoke so that the doubt of her mind might be removed " Sumitra the young daughter of the king of Ujjaini took this vow in her mind. 5 At the first frst she died and was born in the home of a Brahmana in Ujjaini. By observing the fast for two Ghatikus only, she changed her miserable female sex. While the child was yet in wonnh, the father died. The mother looked after all his happiness. One day, the mother quarrelled and expelled her son from home. Feeling angry, 10 he went out of the town and lodged in an old temple at night. There came a multitude of Vidyadhara women, seeing whom he felt excited. 19, He caught the border of the garment cf one of them. All of them fed away by his fear. But the garment fell into his hand. The hero then returned home. The mother welcomed bim and took the cloth to a big mercbant. The merchant purchased it for money and presented the excellent cloth to the king. The king asked him " Hare you got another ? 5 Il you bring one more I shall give you an elephant." He sail " The son of the Brabmana might bring another such cloth, oh lord :" The king sent him out with money. The Brahmana went back to the forest. There he saw & Rakshasa woman sharpening a sickle with her hand. Knowing her to be a Rokshas woman, the Brahmana stretched his stick over her 10 head. The Rohshasa woman, then, folding her hands, stood in front of the Brahmana, shaking with fear, and said 20. "I have committed no crime; why have you got enraged with mo?" The Brabmana spoke unpleasant words to her " This stick devours hundreds of Rakohsas." With scared eyes and trembling with fear, she elung to his feet at once." Do not beat me, lord; hold back. I shall do U that you say," He then made her assume a beautiful appearance and 5 - 186

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10. 23. 2. ] TRANSLATION brought her home. Having secured the cloth from her, he presented it instantly to the king. Seeing that, the king was pleased with him and bestowed a great favour upon him. Observing that, the minister- Brahmana thought of destroying his life. The minister went to the dear wife of the king and told her " Ask for tiger-milk." Then she instantly took her bed. 39 21. Hearing about the condition of the queen, the king immediately went to her. She told that to the king who commissioned the good Brahmana for it. The Brahmana went home and instantly turned the Rakshasu woman into a tigress with a rope fastened to her neck. He brought her to the palace and presented her to the king instantly. At her sight, all people fled away. (The Brahmana said) "Your minister shall milk her well." The minister, being terrified, told the king " There is no purpose of the milk; let it go away." Then the minister, in secret consultation, told the queen soon again, "You ask for speaking water to be brought. Do it so, that, being gone, he may never return." Then she said "Listen, oh king; get soon speaking water. "Hearing that, the king told the Brahmana It is for you to devise means for the accomplishment of this mission. " 22. He brought the Rakshasa woman turning her into water and made it to speak in front of the king. It said "I would eat away both persons, the minister and the queen, oh king!" Hearing this, the king felt wonder-struck and asked the Brahmana about it all. He told the doings of the minister, and the king turned out the wicked one. The king then made the Brahmana his minister and the people of the town were satisfied with it. On a subsequent day, the good Brahmana retired for austerities and entered the portals of heaven. He was reborn as Arjuna. This is the fruit of the ceremonial, oh daughter!" She then accepted it immediately and observed it with devotion to lord Jina. As an inviolable fruit of the vow, the lovely lady set aside her female sex, and then renouncing the world, died and soon entered heaven. 23. In the meanwhile, Karakanda, when he heard of this, felt highly grieved. He clung to the feet of the Jina, became afraid of the afflic Shree Sudharmaswami Gyanbhandar-Umara, Surat - 187 - 10 5 10 5 10 www.umaragyanbhandar.com

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KARAKANDACARIU [ 10. 23 3 tions and felt detached from the world. "I have, for long, been devoured by the succession of sorrow, birth and death, the home of sin. " Then he said to the worshipful, compassionate sage" My foot has touched the Jina image. Prescribe some expiation for the sin and nullify the crime quickly. Release me, oh holy sir, so that I may practise penance and vanquish the great warriors, anger and others. The sage kindly accepted (his prayer). Karakanda transferred the kingdom to Vasupala, and, being weary of the great miseries of the world, took to the practice of austerities. He plucked off his curly hair as if they were the gliding serpents the Karmas. Counting all the inmates of the harem as straw, he removed the clothes from his body. When he took the vow of austerities leaving aside the feudatories, ministers and the earth, the fact was reported into the town by some one who came in heavy with sorrow. 25. Then, he, who was disgusted with the pleasures of the senses and was weary of the ocean of metem-psychosis (practised the vow) famous in the world by the name of Panca-kalyana-vidhana in the presence of which ignorance vanishes, by practising which the mind becomes steady, by which people become mighty and religious like Baladeva and Narayana, by performing which people become lords of gods, serpents and men and even passionless Jina, through which all good fortunes are attained, by means of which one advances to the stage of supreme knowledge 188 Shree Sudharmaswami Gyanbhandar-Umara, Surat 5 24. Then Madanavali got up restraining herself and abandoning the necklace. Rativega ran beating her breasts and regarding her camphorbox as straw. Kusumavali threw away the flowers, and Ratnavali ceased to wear the pearls. Anangalekha left aside her jewels and walked away, while Candralekha lost the lustre of her body in a moment. All 5 the queens ran up and stood before the sage, being attached to the king. But seeing the king, they became peaceful and stood there folding their hands. They requested the sage "Recommend hard vows to us, oh master! we shall practise austerities. The sage gave them the liberty and they who had suppressed Cupid, accepted the vow. Having practised hard penance, they all went to heaven; while Karakanda, thinking of the Jina in his heart, toured from country to country. - 10 15 10 5 www.umaragyanbhandar.com

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10 27. 4. ] TRAXSLATION 10 by which people become heart-winning Kimyleous and cross over the entire ocean of virtues, by which unbleniishel faith is lield and the clamsel salvation is easily achieved, which is a sheath ( i. e. remedy ) against the abode of miserable hell, by obtaining which one can obtain supreme knowledge, and which hils been declared by the great sages enjoying supreme knowledge as the foremost of all forms and ceremonies. 5 10 26. He performed what the sole emperor bail performed with bent head i. e. five baths to the Jing with hundreds of jars full of boiled butter, curds and milk, giving three latls during the day and two at night, along with the sound of trumpets and shouts of victory that filled the earth. He performed the auspicious rite of Coning into the wool,' with joy, on the first of the dark fortnight of the month of Bludrupala. He, of gentlec onduct, observed a fast on that day for the sake of perfection. During night, the form called Devotion to the perfected' was observed as well as the * Devotion to right conduct.' After that, hic performed the 'Devotiou to tbc Scriptures' destructive of future worldly existence. Then the good form of the 'Renunciation of the body' was observed accompanied by the repetition of the sacred formula two hundred times. Then, on the fifth day, bo observed the potent vow of the Holy Birth.' The aforesaid, pleasant and virtuous ceremony was rehearseil. Having closerved a fast on the misery removing eighth day, the bright ceremony of Renunciation' was performed accompanied by the Derotion to Self-concentration.' Again, on the tenth day, he performed the ceremony of. Supreme knowledge'as said above, together with the Devotion to Scriptures' which is the abode of all happiness. Having devoutly observed a fast on the fourteenth, the ocean of virtues performed the ceremony of the fifth auspicious rite which is resplendent with the eight foremost qualities and which holds uumerous merits. The last muttering of the prayers was clone two hundred and eight times. This foremost vow was observed by him bearing great delight in bis beart. Whichever other wise man does the same, causes his fame to go round the earth. 15 20 25 27. Performing severe penance, the meritorious religious meditation was observer three times a day under different trees. Breaking off dishonesty, pride and attachment, le cast, at a distance, greed. Restraining the actions of the five senses, cousilering mind, speech and body as straw, - 189 -

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KARAKANDACARIU [ 10 27.5 observing self-restraint of the two kinds, setting his heart upon the highest status, consuming the tree of Karma in the fire of meditation so that misery may not become visible even in dream, valuing gold as a heap of grass and sandal as mud, he warded off his eyes that arouse passion by fixing them on his nose. Uniting himself to supreme knowledge which is devoid of parts like the clear sky, he found his self in himself, and, breaking the ties of Karmas, he soon attained to the region of All desires fulfilled', by the fruit of the vow now recommended by Sage Kanakamara. 28. By me born in an old Brahmana family, of the gotra of sage Candra,pure, become skyclad through the growth of ascetic spirit, whose name has become well-known as Kanakimara, the pupil of Budhamangaladeva, and who has caused satisfaction to the minds of people, has this life been published on earth for the training and pleasure of the faithful, out of devotion to the lotus-feet of the Jina, having arrived in the town of Asai and living there. Whatever has been said by me, ignorant of the sacred books, wise people might proclaim with more beauty. I have expressed myself to those gentlemen whose mind is ever ready to help others. I ask with folded hands. Let all forgive me for my (boldness in) composing this work. Whoever reads, listens to, reflects upon in mind and popularises among people, this life, that man, the ornament of the world, shall obtain the glorification of his own virtues. 29. Who, in course of days, attained fresh youth as if a god had dropped down from a celestial car, who was golden in appearance and had charming limbs, to whom king Vijavala was attached, who had nourished in himself the great tree of righteousness, who was, as if, the mouth-piece of Vijavala, who vanquished invincible foes easily, who used to divert his mind with elephant-sport, who was the supporter of his relations, dear ones and friends, who was a charm to the mind of king Bhavala, who removed the miseries of the poor and helpless, who amused the mind of king Karna, who perturbed kings by his speech, who charmed the king by his business-ability, who was extremely courageous in a great fight, who was well known to people as in no way a coward and -- Shree Sudharmaswami Gyanbhandar-Umara, Surat 190 5 10 5 10 5 10 www.umaragyanbhandar.com

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10.29. 21. ] TRANSLATION 15 dullard, who was a shower of gold-bracelets, ho fulfilled the desires of the panegyrists, who was a bee on the lotus-feet of Jina, who was beautiful to the eyes in his whole person, who was never forgotten by the minds of sportive women, who was addressed by people as a stream of good nature whose fame was never tirel of wandering about, and in recounting whose virtues the goddess of speech felt diffideni, he had as his sons, Ahula, Ralho and Rahula who were eager for the feet of sage Kanakamara. Out of regard for luim I published this pleasant life amongst people. May he, along with his kinsmen, children and wise, enjoy long, as long as the sun and the moon subsist. 20 Here curls, in the life of the great king Karnkande, composel by Sage Kumakamura, which is an ornament to the ears of the holy and which presents the richness of the fruit of the desire-giving tree of the fire auspicious rites, the tenth chapter describing the achievement of Sarrarthasildhi by Karakanila. SECTION X. - 191 -

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zabda ko zaH

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zabdakozaH The figures indicate Sandhi, Kadavalka and line respectively. As a rule, only one reference to a place of occurrence has been given. Words which seemed to me to be Desi ( i. e. for which, strictly speaking, a Sanskrit equivalent does not exist ) have been marked with an asterisk. Sanskrit equivalents are given through out, and, wherever necessary and possible. Apabhramsa grammars and lexicographies have been referred to, and, Hindi, Marathi and Gujrati equivalents are also giren. The following abbreviations have been used: _D-Desinamamala of Hemacandra; ex.-example; G-Gujrati; H-Hindi; HemHemacandra's Prakrit Vyakarana; K-Kaparese; M-Marathi; Mal-Malayalam; MarMarwadi; Pai-Paiyalacchi-nama-mala of Dhanapala; S-Sanskrit; T-Tamil; VarVararuci's Prakrit-Prakisa: de-deza; na-nagara; pa-parvata; pu-puruSa; Ti-TippaNa, ai-ati I, 3, 10. ai-aho ( sambodhanArthe ) II, 18, 5. aicciya-ati+ucita VII, 7, II. aiuja-ati+Rju X, I3, 4. aikuDilI-atikuTilA I, 16, 12. aijujjhai-ati+yuSyati III, II, I0. aijhINa-ati+kSINa II, 7, 6. aiDaria-ati+Tata VII, II, 2 (H. DaranA to fear ). aiNimmala-atinirmala IV, 7, 5. ahaNiyaDa-atinikaTa IV, 4, 2. aiNirutta-ati+nizcita V, I4, 5. (D. IV, 30) aturia-ati tvarita V, 10, 2. aitosa-ati+toSa V, 13,9. aidihi-ati+dhRti IV, 7, 2. adummaNa-ati+durmanas V, 2, 6. aipaura-ati+pravara II, 9, I. aipiya-ati+priya IV, 12, 6. aipayaMDa-ati+alaNDa II, 8, 2. bahala-ati bahala IV, 8, 8. AhabhattI-ati+bhakti V, 7, 4. *aibhiDa-ati yudh iti VIII, 18, 9. (HMG EFT to fight ) aibhiNNa-ati+bhinna IX, I0, 5, aimaNahara-ati+manohara III, 3, 3. aimahura-ati+madhura V, II, 8. bhAramaNa-ati ramaNa V, 5,4. ArAvaa-airAvata III, 16, 4. 'aivamAla-ati+tumula I, II, 4 (D. VI, 9%; Pai. 47) - 195 -

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aivihAi ] karakaMDacariu [ appa aivihAha-ati+vibhAti III, I2, 7. aisaa-atizaya VI, I, 5. aisaNiddha-ati+snigdha X, 13, 10. aisuhama-ati+sUkSma IX, I0, 7. aisaMsaa-ati+saMzaya V, 18, 5. auvva-apUrva I, I4, 5. akalaMkadeva-pu. I, 2, 8. *akka-bhaginI, ambA VIII, 5, 5. ( D. I, 6. S akA-Mother; M. akkA-Sister; / K. Ake She). akkha-A+ravyA mi V, I9, 8; hi IV, I2, 5; degkkhu III, 5, 4; khavi III, 20, 6. akkhaya-akSata IX, 2, 6. akkhara-akSara I, 7, 7. akkhia-AkhyAta I, 8, 10 agga-agra I, 14, 4. aJcaMta-atyanta VIII, 27. accha-As degi I, 9, I; deghi I, 15, 7. ( Hem. IV, 215. probably from Sans. A+kSi nivAsagatyoH) acchara-apsaras VI, 3, IO. accharia-Azcarya IV, 3, II. acchia-uSita IV, I7, 5. (see accha ). ajavamma-ajavarman , pu. III, 5, 8. ajiyagi-ajitADI, strI III, 5, 8. ajava-Arjava IX, 13, 4. aja vi-adyApi II, 18, 3. ajia-arjita II, 5, I0. ajiya-AryikA (a Jain nun ) II, 6, 8. ajivi-arjIyatvA II, I0, 6. aju-adya I, I4, 5. ajuNa-arjuna, pu. X, 22, 7. aharaudda-Ata+raudra (dhyAna) IX, 23, 2. aTThama-aSTama X, 16, 4. ahattara-aSTottara X, 26, 20. aDavi-aTavI VII, 3, 3. aNavaraa-anavarata III, I0, 7. aNasaNa-anazana V, I0, 5. aNAvia-AnAyita VIII, 14, 2. aNaMgaleha-anaphulekhA,strI VII,16,2;X,24, 4. aNiMda-aninya V, 6, 2. aNuggaha-anugraha VI, 12, 8. aNudiNa-anudina IV, I0, 9. aNumaggayAri-anumArgacArin VII. 3, 2. aNurAa-anurAga IV, II, IO. aNuvama-anupama I, I, 3. aNuvaya-anuvrata V, I2, I. aNuvekkha-anuprekSA VI, 6, 9. aNuhava-anu+bhu vei IX, 9,6; 'hiM II, 5,10. aNusara-anu+sa degu IX, 7, 4; degrei III, 2, 5; revi VI, I0, 6. agusaria-anusRta III, 14, IO. aNuhara-anu+ha, degF V, I3, 7; rati I, 16, 9. aNuhuMja-anu+bhuja hu III, Io, I0. jiIva ___ II, I5, 9. aNeya-aneka II, I, I,. aNNaNNa-anyonya I, I+, 7. aNNabhavaMtara-anya+bhavAntara II, 5, 10. aNNANa-ajJAna II, 13, 5. aNNoNNa-anyonya V,4, I. atthairi-astagiri X, 9, 4. atthANa-AsthAna IX, I, 2. atthi-asti I, 10, 7. adda-anda IV, I7, 7. aiMsaNa-adarzana V, I4, 8. addhavaha-ardhapatha II, I0, 6. addhiMdu-ardhendu I, 16, 13. apamANa-apramANa II, 3, 3. appamANa-apramANa II, 2, I. appa-arpay hi III, 4,7; piUNa I, 12, 33 ppivi II, 6,5. - 196 -

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appiA [ aMgadesa appia-arpita II, 6, 2. appuNu-Atman IV 3, 4. ( AM. ApaNa ) aphphAliya-AsphAlita IV, II, 5. abhaMtara-abhyantara 1, 3, 2. ambhAtthiya-abhyarthita VII, I4, 6. 'abhiDiya-samAgata III, 16, 2. ( Hem, IV, 164.) amarAuri-amarapurI III, 22, 5. amarAhia-amarAdhipa IV, 8, 9. amia, 'ya-amRta II, I5, 6. amiyavea-amitavega, pu , 4, 2. amea-ameya VII, 5, 9. ayANa-a+jAnat VIII, 4, 7. aridamaNa-degna, pu. VIII, I, 5. arithANa-ari+sthAna III, 15, 7. arimahaNa-ara+mathana V, I3, IO. ariviMda-pu II, 16, 3. arUva-arUpa 1,6, 5. arocaa-arocaka III, 4, II. alagga-alagna II, I4, 5. alahaMta-alabhamAna II, I5, 6. Aliya-alIka IX, 24, 4. alIDha-alIka I, II, 3; IX, 23, 5. aleva-alepa V, 6, 5. alehia-Alekhita VI, I4, 3. avayAreya-avatarita VII, II, 10. avara-apara II, 2, 2. NavarAha-aparAdha VIII, 20, 12. *avaruMDiya-AliGgita X, 9, 8. (D. I, 11.) avaruppara-aparApara VI, I0, 5. avaloia-avalokita IV, II, IO. avalova-ava+lokaya deg3V, I6,7; huV, I5, 58 degivi V, 18, I. avasANa-avasAna I, 17, 15. avahara-apa+ha tu IX, 16,6; rei IX, I4,4. avahariya-apahata 1,7, I0. avaMtI-de. VIII, I, 6. avAya-apAka IX, II, I. avAha-avAdha II, I4, 5. aviraha-avirati IX, 12, +. avivAya-avipAka IX, I4, I0. asa-az i VI, 3,9; mi VI, 6, 2. asaIyaNa-asatI+jana X, 9, 9. asajha-asAdhya III, I9, 7. asattha-azakta IV, 13, 3. asaraNa-azaraNa IX, 7, II. asahaMta-asahamAna II, 12, +. asilaya-asi+latA II, 3, I0. asui-azuci IX, II, I. anuhatta-azubhatva IX, 20, 21. asuhAI-asubhAvitA IV, 14, I. asuhAvaa-asubhAvita II, IO, IO (H. suhAvanA. good-looking) asesa-azeSa II, 8, 3. aha-atha VII, I4, 8. ahamma-adharma X, 22, +. ahara-adhara II, 14, 5. aharulla-adhara+ulla ( svArthe ) X, 9, 8. ahaMga-abhaMga I, +3. ahijalaNa-abhijvalana IV, I4, 2. ahiNava-abhinava VII, 2, 8. ahiNaMdia-abhinandita VIII, 7, 3. ahirAma abhirAma III, 5, 7. ahilasa-abhilaS hiM V, I, I2. AhilAsa-abhilASa VI, I4, I. ahIra-AbhIra-VIII, 6, 5. (H. ahIra cowherd ). ahahua-AkheTaka VII, I, 9. ahomuha-aghomukha II, 3, 5. aMkusa-aMkuza II, 8, 2. aMgadesa-zade. I, 3, 5. - 19. -

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A aMca ] karakaMDacariu [ uccA aMca-arc mi X, 3, 10; degevi X, 17, 33 Asaya-Azaya X, 29, 6. "civi IV, II, 9. Asava-A+trii IX, 12, 1. aMta-atra III, 15, 8. ( H AMta). AsAiya-na. X, 28,+. aMteura-antaHpura X, 23, I0. AsAUriya-AzApUrita VII, 8, 11. aMdha-Andhra, de. II, 2, II. AsIvAa-AzIrvAda VIII, 7, 3. aMdhAraa- aMdhakAra X, 9; 7. Asi-AsIt VII, 11, 10. aMsu-azru V, I5, 7. ( H AMsU ). AsIsa AzI: II, 15, 5. aMsu-aMzu X, I9, 4. Asu-azva VIII, 8, 5. AhaNa-A+han 'Nei IX 21, +. Ahaya-Ahata I, 5, 6. AhAsa-A+bhASa degi V, I7, 7. Aa-Agata I, 15, 2; degivi IV, I, 9. Ahi-Adhi I, 16,3 Ai-Adi X, 15, 9. AharaNa-AbharaNa II, I7, 2. Aicca-Aditya III, I2, 8. AhIra-AbhIra VII, 3, 9. Aiya-AgatA III, 19,7. Ahula-pu. X, 29, 13. Aula-Akula I, 17, IO. Ahaya-AhUta VII, I2, 5. Auli-Akulin III, 13, I. Aesa-Adeza III, 4, 2. ANa-AjJA I, 5, 6. ANa-A+nI 'Ni III, I0, 2; Nivi IV, ia-idam I, IO, Io. 15, I0; degNAvahi X,20,10; Niyai IX,12,2. ikkhu-ikSu IV, I0, 5. ANAvia-AnAyita III, 4, I. iTTa-iSTa III, 6, 2. ANia-AnIta III, IO, 3. ittia iyat III, 7, 9, Aya-Agata II, 7, 8. itthammi-etasmin V, 9,6. AyaMba-AtAmra III, II, 4 iha-etat II, IO, IO. AyaNNa-AkarNaya hi II, I, I3; fNavi iMdiya-indriya II, 3, 7. ____I, I4, I0. Isa-Iza X, II, 3. AyaNNaNa-AkarNana III, 7, 4. Ayara-A+da rei IX, 14, 8; rehu X, 17, 8. Ayara-Adara V, 5, 8. Aratta-Arakta VII, I2, I0. uia-udita II, I, 2. Arisa-ArSa VIII, 10, 6. uggaya-udgata I, 3, 6. Aliha-A+likha hevi VII, I2, 9. uggama-udgama VIII, 12, 3. Ava-A+yAi IV, 3, 2; 'hu IV, 7, 25 uggiNNa-udgIrNa III, I4, 6. hiM II, 13, 6; 'vaMta II, 12, 6; "vevi ugghADa-ud+ghATa "Devi X, 13, 8. V, 3, 10; "vaiviNu VIII, 9,9; degvesai ugghADia-udghATita III, 8, 7. II, 5, 5; vesahi V, 19, 3. uccA-ud+ci+Nic ivi V, 7, 5.

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uccAyia ] zabdakozaH [ uMbara uccAyia-ud+cAyita II, I, 7. upabhoya-upabhoga IX, 22, 10. ucchava-utsava III, 3, 10. uppaja-ut+pad i II, I.1, 2. ujaa-udyApa VII, 12, 1. uppaNNa-utpatra, I, 11, 2. ujaa-udyata VI, 13, 5. uppari-upara II, 9, 1. ujama-ud+yam mei X, 17, I. uppalakheDi-utpalakhaTI, na VI, II, 2. ujala-ujvala II, 20,4. uppAiya-utpAdita VI, 16, 6. ujaliya-ujvalita III, 2, 10. uppADiya-utpATita X, 23, 9. ujANa-udyAna IX, I, 2. uppAya-ut+pAday deg3 IX, I+, 2. ujuya-udyuta X, 28, 7. umbhava-udbhava X, 6, 4. ujuva-udyuta III, I, 9. ubhA-udbhUta V, 15, 6 ( M. ubhA ) ujava-ud+yApay vei X, 16, 8. ubhiya-udbhata VII, 9, 9. ujeNi-unnayinI, na. VIII, I, 7FX, I8,+. ura-uras V, 19, I. ujjha-ayodhyA, na. III, 1, I 2. uvaesa-upadeza VII, I2, 8. ujjhAya-upAdhyAya VII, 2, 5. uvagaya-upagata V, 7, 2. uDha-ut+sthA "he IX, 7, 37 hivi V, 14.5. uvayAra-upakAra II, IO, I. uTTauDa-oSTha+puTa II, 14, 6. uvara-udara IX, 5, I, uhAviya-utthApita 1, 15,6. uvari-upari II, I9, Io. uTTia-usthita II, 19, 6. uvalakkhia-upalakSita II, 17, 9. uDDAviya-uhAyita III, 12, 3. uvaladdhiya-upalabdha V, 9, 2. uDDi-ut+DI vi VIII, 8, 3. uvavaNa-upavana I, 14, 2. uDira-ut+DI+ira (tAcchIlye) I, 17, 7. uvavAsa-upavAsa IV, 8,+. uDa-Urdhva III, 12, 9. uvaviTTha-upaviSTa IX, I9, 8. uNNai-unnati I, 16, lo. uvasagga-upasarga II, +, 1. uNNaya-unnata I, 16, lo. uvasama-upazama II, 4, 8. utta-ukta I, 11, 9; II, 15, 1. uvasAhia-upa+sAdhita V, 2, 7. uttatta-uttapta III, 2, I0. uvahasiya-upa+hasita VI, 4, 1. uhAlia-ud+dArita II, 8, 8; V, 2, +. uvAa-upAya VIII, 7, 11. (Achinna Hem. IV, I24; H. ur3AnA to ubvama-ud+vam mei IV, 14, +. take away), uvvasa-udvAsa II, 11, 3; VIII, 11, 8. uddamaNa-ud+durmanam II, 21, 2. uvvaha-ud+vaha hei IX, I+, 5. uddha-Urca I, 8, 6. uvAhula-utsuka VII, 11,8; X, 29, I3 uddhara-ud+ rei IX, 13, 1. (D.I, 136 prob. from udvAha anxiety) uddhariya-uddhRta VII, I 2, 3. ubvevira-ud-vep+ira ( tAcchIlye ) V, I5, 2. udghANaNa-urva+Anana VI, I, I2. usaha-auSadha IX, 10, 2. uddhAvia-ud+ghAvita V, I4. 3. uMbara-udumghara IX, 21, 5. - 199 -

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UvaDiya ] karakaMDacariu [ kayaMta kaDaya-onomatop. III, 18, 6. kaDi-kaTi III, 2, 5. UvaDIya-utpatita V, 4, 7. kaDiyala-kaTi +tala III, 2, 6. Usasa-ud+zvam seha II, 11, 3. kaD kRS DiUNa VII, 10.3; degDevi X, 13.7. Usaha-auSadha IX, 23, 5. kaDia-kRSTa II, 3, 3. UhaNa-Uhana VIII, 16, 2. kaDhiNa-kaThina I 16, 4. kaNa-kaNa Neha IV, 15, 6. kaNauja-kAnyakubja, na. II, 10, 4. ea-etat I, 11,5. kaNaya-kanaka III, 2, 10. eka-eka I, 1, 6. ekalla-ekAkin VII, 1, 10 (H. akelA kaNayaura-kanakapura, na. VI, 13, 8. kaNayappaha-kanakaprabhA, strI. VII, I 4, 10. alone ). kaNayamaI-kanakavatI, strI VI, 14, 9. ekaMta-ekAnta VII, 4, + kaNayAmara-kanakAmara the author ekaMtara-ekAntara V, 10, 2. ___I, 17, 16 etc. X, 28, 2. ettia-etAvat IV, 17,7. kaNNa-kanyA II, 12, 2. etyatthi-atra+asti I, 3, 5. kaNNa-karNa II, IO, IO. eyamaNa-ekamanas V, 2. 13. kaNNajAa-karNa+jApa VIII, 20, 8. eyArasa-ekAdaza X, 16, 6. kaNNaraa-karNa+rava IV,6, 5. evahi-evam I, 10, 10. kaNNasaa-kanyA+zata VIII, 9, 10. evaMviha-evaMvidha II, I2,7. kattI-kartarI X, 19, 8. eha-eSA I, 15, 5. katthai-vacit IV,5, 2. ( Hem II, 174.) eha-etat I, 11, 3. kaddama-kadama X, 5, 11. o kappaDa-karpaTa X, 20, 6. ( H kapar3A) ohiNANa-avadhi+jJAna V, 11, 4. kapparukhkha-kalpa+vRkSa II, 1, 3. kappavaccha-kalpavRkSa VII, 5, IO. kappaMta-kampamAna III, 14, 6. kaa-kRta VII, 7, I0. kappUra-kapUra X, 24, 2. kahalAsa-kailAza, pa. IV, 4, IQ. kama-krama (pAda) II, 14, 9. kauttala-kuMta (la) III, I3, 6 ( bhAlA, Ti.) kamalAyara-kamalAkara X, 2, 3. kausaMbi-kauzAmbI, na. I, 7, 9; VI, I, 3; kamma-karma I, 1, 5. ____X, II, IB X, 12, 6. kammaTTagaMThi-karma+aSTa+pranthi III, 22, 9. kausIsa-kAsIsa I, 4, 2 ( H. kausIsa) kammAsava-karma+Azrava IV, 10, 6. kaja-kArya I, I3, 4. kaya-kRta I, 1, 7. kaTTa-kRt hivi VIII 12, 6. kayatya-kRtArtha I, 8, 3. kaha-kATha VII 12, 6. kayAla-kadalI I, 16, 2. *kaDappa-kaTA (nikara) IV,9,2,(D.II,13) kayaMta-kRtAnta I, 1, 5. - 200 -

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kayAyara ] zabdakozaH [ kAmuva kayAyara-kRta+Adara VII, 4, 9. kavaNa-ko nu. II, IC, I.( H. kauna ). kayAra-kedAra IX, 18,7. kavalia-kavalita X, 23, 3. kayA vi-kadApi I, 10,7. kavAla-kapAla, II, 7, 9. kara-kR 3 II, 9, 10; fma II, 6, 3. deg hi II, kapilakesa-kapilakeza II, I2, 3. 10, 2. "hiM IV, I, 5, "hu~ II, II,6. rati kavola-kapola VII, I3, 5. III 3, 8. degri II, 15, 1; reviNu I, 10,8. kavva-kAvya II, 9, 3. rivi II.3, 10. degrejahi X, 3, 5. revaI kasaNa-kRSNa I, 16, II. IX, 6, 7. revvau II 13, 2. "resaiII, kasaNa-kRza VI, 6,6 19, 7. resahi II, 8, 10 'rehi II, 17, 6. kasatADaNa-kazA+tADana VIII, 9, 5. karakaMDa-the hero I, 2, 3 etc. kaha-katham or kadA II, 4, 10 ( M. kevhAM ). karataNa-kartRtva X, I2, 8. kaha-kathA V. 2, 8. karayala-kara+tala I, 15, 6. kaha-kath degF I, 15, 2; "mi I, 2, 3; deghi II, karata-kurvat I, 2, I0. +, I0. haMta IV, 7, +; hivi V, I2, 6; karAva-kR+Nic hu~V,7,3. hei / ', I, +. karAvia-kArApita IV, 5, 7. kahava-kathamapi I, 2, 6. kari-karin V, II, 6. kahava-kadApi II, II, I. karirAa-karirAja .I, 16, 3. kahANI-kathAnaka, II, I4, 3. karisaNu-kariSNu X, 29, 9. kahia-kathita II, 11, 1. kariMda-karIndra IV, 6, 4. kahi-ke I, II, 5 (H. kahAM ). karuNa-karuNA VI, 3, 1. kahiM mi-kApi I, I7, 9. karuNabhAa-karuNa+bhAva X, 23,4. kaMcanamaI-kAMcanavatI, strI VI, 16, 3. karuNavaMta-karuNA+vat VI, 6, 3. kaMTaiya-kaNTakita IV, 9.9. karuNasara-karuNa+svara VII, IO, I. kaMta-kAnta V, 5, 2. kalau-kalAH II, 18,9. kaMpira-kamp+ira ( tAcchIlye ) X, I9, Io. kalatta-kalatra V, 15, 3. kAa-kAya IX, I2, 8. kalayala-kalakala III, 16, 3. kAI-kim IV, I2, 6. ( Mar. kAI G. kAM) kalayaMThi-kalakaMThI III, I, 7. kAula-kaila IX, 13, 8. ( kuhidhata-kula, Ti.) kalasa-kalaza III, 3, IO. kAusagga-kAyotsarga X, 26, I0. kalasara-kala+svara II, 8, 12. kAgalI-kAkalI ( soft sweet tone) (vINA, kalAyara-kalAkara (candra) II, 16, 9. Ti.) III, 6, 3. kalia-kalita I, 2, 2. * kANi lagjA I, 2, 6; VI, II, 8; VIII, kaliMga-de. X, 10, 2. 5, 6. kaliMjara-pa. I, 12, 9. kANINa-kAnIna ( kanyAyA anUDhAyA apatyam ) I, kallANa-kalyANa X, 25, 5. 5. I. kallANaya-kalyANaka I, 2, 2. kAmukkoyaNa-kAma+utkopana X, 27, 7. kavaDa-kapaTa VIII, 7, 6. kAmuya-kAmuka I, +, 9. - 201 -

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kAyara ] kAyara - kAtara X. 29, 8. kAravIa - kArApita V, 3, 2. kAruNNa-kAruNya VII, 14, 5. kArohaNa - vana X, 197. (parvataruNAcala, Ti. kAru a hillock, Apte Dic. ) kAliMjara - pa. VI, 2, 4. kAhala - tatsam (vAdyavizeSa) II, 20, 2. kia - kRta II, 4, 1. kijja - kR passive or potential 'i II, 14, 1; VI, 3, 5. kiNia-kIta VIII, 16, 4. kiNNari - kinnarI I, 15, 10. kitti - kIrti II, 3, 6. kittiya kiyat VIII, 18, 3. kiya - kRta II, 14, 2 kiyattha - kRtArtha IX, 17, 1. font the II, 8, 7; III, 12, 1. *kira - sambandhArthe III, 6, 3. kirAya - kirAta VIII, 16, 2. kiriyA - kriyA X, 26, 8. kilAviya - kilU ( to cast out) p. p. causal. VI, 5, 3. kilesa - kleza IX, 14, 9. kivANa - kRpANa II, 3, 3. kara kaMDacariu kisAyari - kRzodarI VII, 13, 10. kisora - kizora VIII, 2, 3. kiha- katham III, 1, 11. kI - kRta I, 2, 7. kIra - kR i I, 10, 1; V, 16, 3; X, 26, 22. ( karoti ). kIla - kIDA I, I0, I. kIla - krID ei VII, 9, 3. deglei VI, 12, 8. kIlattha - kIDanArtha V, 4, 6. kIlA - krIDA VI, 10, 6. kIlAghara - krIDAgRha IV, 4, 9. kIlira-krID+ira ( tAcchIlye ) I, 8, 4; VI, 106, Shree Sudharmaswami Gyanbhandar-Umara, Surat [ kesa *kasi kim (praznasUcaka ) X, 1, 3. ( Pai. 826; H kaisA, prob from kodRza ). kucha - kukSi VII, 2, 4 kuDila - kuTila II, 14, 11. kuDilavaMta - kauTilya+vat III, 12, 6;X, 23, 9* kuta-kurvat I, 9, 8; VIII, 14, 5. kuddha-kruddha III, 12, 4. kumara- kumAra II, 19, 7. kumarattaNa- kumAratva VI, 8, 6. kumma - kUrma III, 18, 6. kulisa - kuliza IV, 15, 3. kuviya - kupita III, 17, 9 kutryaMta- kurvat V, II, 13. kusumara - pura, na I, 6, 1; X, 13, 5. kusumatta- dattA, kusumadatta - pu. I, 6, 7. kusumAuha-mAyuva ( kAma ) VI, 9, 3. kusumAvala-strI. VII, 16, 4; X, 24, 3. kUa - kUpa VII, 3, 4. I, 15, 9; X, 13, 5. kUra-tatsama VIII, 13, 10; X, 14, 6.(bhakta D II, 43; K. Mal. T. kULa or kUra boiled rice). ke mai-ketunatI, strI. VI, 12, 1. * keNa - pUjA dravya X, 17, 5 (kevaDi pujavu, Ti; M kerNe an article of merchandise). ke ho - kutracit VI, 8, 10 (old H. kitahUM ) tti-kiyat I, II, 3. tthu-kutaHII, 1, 10. has - ketakI I, 16, 11. *kera-sevA III, 10, 9; IV, 1, 5; VII, 15, 8; VIII, 10, 10. keli - kadalI III, 6, 6 (H. kelI ) ha - kim or katham IV, 13, 7. kevala - jJAnavizeSa IV, 10, 6. kesa - keza I, 17, 8. 202 www.umaragyanbhandar.com

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kesari ] kesari - kesarin IV, 15, 4. koUhala-kautUhala IV, 13, 6. * kokAvia - ko iti zaGkhena AhUta IV, 12, 4. huM VI, II, II. *kokka Ahe ityarthe dhAtu: koDa - kroDa VI, 15, 1 komaliya - komala VIII, 16, 9. * kora - anupabhukta (vastra) X, 17, 4 (H. korA). koseya - kauzeya I, 4, 4 ( H. kosA silk.) koha - krodha I, I, 8. kohAi - krodha+Adi IX, 10, 8. kohANala-krodhAnala II, 4, 7. kokaNa- deza VIII, 12, 9. kota- kunta III, 13. 7. kha khagaNAha-saganAtha III, 18, 9 aras - khagapati VI, 16, 9. khaggadheNu-khaDadhenu VII, 10, 3. khagguggAmiya- khaDDa + udgAmin III, 15, 11. khajja - khAda ( karmaNi ) deg i IX, 21, 10. * khaDa- tRNa VIII, 12, 6 (D. II, 62. zabdakozaH M khaDa. But here it probably means wood ) khaNa-khan deghiM IV, 9, 1. khaNaddha-kSaNArdha I, 10, 6. khaNiya - khanita IV, 8, 7. ag-ufta II, 15, 5. khappara - kharpara I, 17, 14. khama-kSamA IX, 13, 9. khama kSamAha III, 22, 2; hu VIII, 19, 5; X, 28, 8; g II, 18, 3. khaya-kSaya X, 23, 5. khayara-khacara II, 21, 8. khala-skhal .laeNn2i VII, 5, 6, laMta II, 3, 1. khalakhala-onomatop. IV, 14, 6, Shree Sudharmaswami Gyanbhandar-Umara, Surat khalabhala-onomatop. III, 18, 7. khaliya- skhalita III, 12, 4. khaca-kSap deghi I, 11, 3; 'vei IX, 14, 3. khaviya kSapita VI, 6, 8. khaMciya - khacita or kRTa III, 8, 6; V, 10, 9; VII, 9, 8 ( H khIMcanA to pull up ) khaMjaya - khaja 1, 5, 6. khaMDAviya khaNDApita II, 8, 6. [ gaaM khaMDia - khaNDita IX, 15, 1. khaMta - skaMdha (a flock ) or khAdantaH (cating ) or khaMta ( ashamed as in Marathi ) I, 3, 8. khaMdha - eka dhaI, 12, 4 khaMbha - stambha IX, 13. 3. khaMbhAyazca-na. VIII, 12, 10; VIII, 14, 9; VIII, 15, 1. khA-khAd ivi VI, 5, 6, deghu VII, 3, 7. khANa - khadana VIII, 2, 2; IX, 23, 6. (H. arar food) khANAviyakhanAti IV, 8, 5 khiNi - phara vizeSa (H. khitrI or khiranI) IX, 21, 5. khINa-kSINa VII 1, 6. I, khuDia - khaNDita X, 2, 8 (H. khoMTanA to pluck ) khuddu kSudra+TV, 6. 13, khuhiya - kSubdha III, 2, 1. khea - kheda VIII, 12, 5. khetta kSetra I, 3, 8. veyara - khecara II, 5, 2 skheva-kheda II, 14, 2 khoha - kSobhdegi X, 29, 7. khoha - kSobha III. 18, 4. gaia-gata I. 12, 10, 203 www.umaragyanbhandar.com

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gaa ] karakaMDacariu [ guNavaya gaa-gaja II, 5, 3. gahaNa-grahaNa VIII, 5, 14. ( In thegai-gati IX, 6, 7. ____ sense of ornament H. gahanA) gaiya-gatA IV, I2, I. gahaNa-grahaNa ( In the sense of chalgaiMda-gajendra I, I0, 8. ___lenge ) VIII, 15, 6. gauri-garI II, 2, 7. gahia grahIta II, 5, 9. gaggira-gar3hada VII, II, 8. gahirimA-gArimA ( gAmbhIrya) I, 16,6; gaja-ga jati III, 15, 4. II, I6, Io. gajamANa-garjat V, I, 7. gahIra-gabhIra V, I7,7. gaNia-gaNita I. II, 3. gaMga-gaMgA, nadI I, 3, 3. gatta-gAtra II, 7,7. gaMThi-granthi IV, 12, I. gambha-garbha II, I4, I2. gAijamANa-gIyamAna III, 1, 6. gambhAvayAra-garbhAvatAra X, 26, 5. gAiya-gIta III, 8, 5. gambhiNI-garbhiNI VIII, 2, I. gAmaMtara-grAmAntara V, I0, 4. gabhatthi-gabhasti VIII, I, 7. gAya-gai degi I, I+, 8. gayakhaMdha-gaja+skandha III, 3, 2. gAyaMta-gAyat IV, 7, 7. gayagayaNa-gata+gagana V, 4, 8. gAha-gAthA II, I4, 5. gayaNa-gagana IV, 9, 6. gAha-graha IX, I, 5. gayaNayala-gaganatala, na. V, 3, 9; X, 8, 5. giha-graha hi III, 22, 2. gayaNaMgaNa-gaganAGgana VIII, 9, 8. giddhaa-gRddha+ka I, 17, 5. gayapavara-gaja+pravara III, 18. I0. girA-gI: VII, I2, 2. gayamolla-gata+ mUlya II, I7, 3. giriNayara-girinagara III, 5, 7. gayarAya-gata+rAga V,6,6. giriMda-girIndra IV, 16, 4. gayAsa-gata+Aza V,6, 6. gilaMta-gilat III, 17, 10. garu-guru II, IO, I. *gilla-AI III, 1,3 ( H. gIlA vet.) garuAra-gurutara X, 5, 3. giMbhayAla-grISma+kAla I, II, +. garuya, va-guru+ka II, 20, IOB VI, 6, 2. gIya-gIta I, 3, 8. *galatthiya-kadardhita IV, 15, 8; (kSipta acc. gIvA-grIvA III, 15.9. ____Hem IV, 14, 3; D. II, 87.) gujjha-guhya VHII, 20, IO. galaMta-galat VI, 4, 11. guDa ( tatsama molasses ) II, 7, I. galiya-galita VI, 4, 12. guNaThANa-guNasthAna IX, 16, 8. galiyachamma-galita+chadma VII, 16, 6. guNaNikea-niketa II, 2, 8. galiyagavva-galita+garva V, 15, 3. guNaNiyara-nikara V, 18, 4. galiyadesa-galita+dveSa II, 12, 3. guNaNilaa-guNanilaya III, I9, 9. galiyasara-galita+zara III, 21, 8. guNabhariya-guNabhRta I, 15, II. gavva-garva II, 11, 8. guNavamAla-varmala I, 15,4. gaha-graha I, I, 5. guNavaya-vrata V, I2, 1 - 204 -

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guNaviNIya ] zabdakozaH [ cakoraacchi guNaviNIya-vinIta V,19, 7. "ghalla-kSip degF VI, II, II; IX, 4, 4.(Hem. guNAla-guNa+Ala ( matvarthe ) V, 12, 2. ___ IV, 334, 422, ex M. ghAlaNeM ). guppaviya-gopita X, 13, 1. 'ghallia-kSipta V,2,4, VII, 4, 5. guppa-gup pati III 15, 8. ghAa-ghAta VIII, 9, +. guliyA-gulikA VII, 5, 13 ( a stone. ghAiUNa-ghAtayitvA VII, 10, 7. _ball, kanduka D. II, 103; H. gulliyA) ghAra-pakSivizeSa I, 17, 4. ANI. ghAra) gulugulaMta-onomatop. III, I 3, +; V, *ghitta-kSipta I, 4 5, ( See Notes on 14,. Nayakumara-cariu III, 6, 11.) guNAyara-guNAkara III, 3, 11. ghiya-na X, 26, 2. guNAla-guNa+Ala ( matvarthe ) VII, 13, 4 ghula-cUrNa "laMti I, 16, 14; IX, 3 9 (M. X, 27, 1. gheLaNe). geha-graha hevi IX, 20, 15. ghulata-pUrNat I, 9, +. geNhaMta-gaNhat III, I4, 3. ghusiNa-ghusaNa IV, 11, 4. gehiNi-gahiNI X, 11, 1. ghoDa-ghoTaka VII, 2. 6 ( H. ghoDA.) goura-gopura I, 10, 9. gholira-pUrNa+ira tAcchIlye) I, 17, 8. goyara-gocara I, 17, 8. ghosia-ghoSita II, 20 10. govaddhaNa-govardhana, pa. IV, 11, 2, gohaNaNAha-godhana+nAtha VIII, 3, 5. cauka-catuSka IX, 10, 8. caugai-caturgati I,1, 6. ghagghara-ghara IV, 15, 6 (ghagghara-jaghanasthavastrabheda cAthiya-caturtha X, 12, 4. ___D II, 107, does not suit here). caudaha-caturdaza IX, I5, I. ghaTTa-ghaTa i 10, I0. caudisa-caturdiza III, 12, 13. ghaDa-ghaTa X,26, 2. caubheya-caturbheda VI, 3, 7. ghaDa-ghaTa uti X, 25, 5; DaMtu IX, 16, 8. cauraMga-caturaGga IV, I, I+. ghaDia-ghaTita II, 7, 10. cAriya-camarI VII, 7, 10. ghaDIya-ghaTita ( lengthened for metre) cauviha-caturvidha II, 7, 6. ___ IV, 9,43 VII, 12, 6. ghauvIsa-caturvizati V, 4. 8. ghaNa-ghana III,3,4 causatthiya-catuHzAstrIya VIII, 17, 8. ghaya-ghRta III, 8,8. cakka-cakra II, 9, 5. ghara-gRha I, I, II, cakalatta-vakratva V,1, 9. gharaTTa-( tatsama ) a grinding stone cakavAla-cakravAla V, 2, 1. ___III, 22, 7. cakahara-cakraghara IX, 7, 9. ghariNa-gRhiNI I, 2, 9. yakesara-cakrezvara X, 26, 1 gharavaya-gRha+vata IX, 22, 20 cakoraacchi-cakorAkSI VII, 4, 8. - 205 -

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cakkhu ] karakaMDa carita [ ceDia cakkhu -cakSuS VII, I, caMdANaNa-candrAnana VIII, 16, 10. cazvaravaMta-carcarI+vat II. 20, 7. sportive, caMdAyaNa-cAndrAyaNa IX 14, 8. or catvaravat square i.e. massive, caMdArisi-candra+RSi X. 28, 1. ( The Hem II, 12;cacara-jarjara Hern ITY,325). ___gotra of the poet ). cazcia-carcita IV, 11, 4. caMdovA-candropaka X, 17, 9 ( H caMdeovA; caTTa-(tatsama, ziSya) VII, 2, 5. caMdevA ) *caDa-Arudda 'i IV, 5, 5; 'DAvahuM X, 5, 1; caMpa campA, na. II, 5, 2 devi I, 10, 9; DeviNu VIII, 7, 10: "Desahi caMpaya-campaka I, 146 II, 8, 3 (Hem. IV, 206, H caDhanA). caMpA-campA, na. I, 3, 12 *caDaphaData parisphurat VIII, 20, 5; (H, caMpAhia-campAdhipa III, 14, 9. tar3aphar3AnA) cAuraMga-caturaGga IV, 2, 5. *caDAviya-Arohita I, 12, 4: IV, 6, 6. cAmIyara-ca mIkara III, 3. 6. *caDia-AruDha III, 1, 3; VIII, 9, 3. cAriya-cArita (fed) VIII,2 2. (H.carAnA) *caDiNNaa-ArUDha III, 3, 2; VII, 8, 8. cAva-cApa IV, 6.6. *caDINA-ArUDha III, 6, 2. cikAra-cItkAra onomatop. III, I 2. *caDIya- AraDa X, 13, 9. ciccijAla-arci+jAla I, 17, 7. catta-tyakta III, 20, 6. (D. III, I0). cappa-cApa III, 18 3. ciNa-ci Nevi IV, 13, 5. "cappiya-akrAnta VIII, 20, 8; ( Hem. ciNia-cita V, 13, 2. ___ IV, 3953 M. cApaNe, copaNe.) ciNhadhaa-cinha+dhvaja III, 16, 6 camaka-camat + i VIII, 6, 3. cittadhayA-citra+dhvajA VIII, 3, 8. (H camakanA, caukanA) cittaliya -citrAlaya I, 4, 6. camakkiya-camatkRta VII, 11, 4; cittaliya citralipta VI, 4, 8. VIII, 17, 11. cirANaa-cirAtana VII, 3, 43 cammaya-carma+ka VII, 10, 8. ___VIII, I4, 2. cayAri-catvAri IX, 23, 3. ciru-ciram IV, I3, 3. calaNa-caraNa II, 4, 5. "ciMdhiya-vastrakhaNDa (paTacara ) I, 17. 8. calAviya-cAlita II, 20, 4. cua-cyuta IV, 6, 5. ( H. M. ciMdhI.) callia-calita IV, 1, 13. 'cukta-bhraMz i II, 8, 5 ( Hem IV,1773 cavala-capala IX, 18, 3. __H cUkanA, M cukaNe). cava-vac (by varNaviparyaya) X, 8. 3. (Hem cuNata-cinvat VIII, 14, 1. ( Hem. ___ IV, 2.) __ IV, 238) caMga-caMga (handsome M. cAMgalA) I, 16. 3. cuMbaa-cuMbaka IX, 12, 2. caMdaleha-candralekhA, III. 6, 5. cUya-cUta I, 14, 6. baMdaleha-candralekhA, sva. VII, 16, 35 ceTa-ceSTa i VIII, 3, 6. X,24.4. ceDia-ceTikA II, 15,7. - 206 -

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cera ] zabdakozaH [ jama cera-de. IV, I, 5; VIII, 18, 5. *chuddha-kSipta I, 7, 3: X, 13, 1 ( Hem. *coja - Azcarya II, 7, 8. (D III, 143 __ IV, 143) ____Pai 451; H cauja) churia-bhurikA III, 13, 7. *coja-cintA VI, 6, 2. "chuha-kSip "u IX, 7, 5; hivi X, 12, 9; coDa-de. II, 10, 5; VIII, 19, 3. (Hem. IV, 143). cora-caura J, 17, +. chuha-sudhA V,+, 8. coria-cairya IX, 22, 6. chuhatabaha-zudhA+nRpA V. 0,4. chatta-kSetra 1, 3, 3. cheyaNa-chedana IX, 8, 5. cheyaMtara-chedAntara II, 9, 7. chakhaMDa- SaT+khaNDa I, 3, 4. *choDa-mocay i X, 7, 5. (H. choDanA to 'chaja rAj , zobh 'i ], 9, 3. ( llen. uuite). __ IV, loo, prob. from saja) chohAradIva-dvIpavizeSa VIII, IO, 3. "chajamANa-sajamAna , zobhamAna VII, 9,6. chaDaya-chA I,4,7. chaNavAsara-kSaNa ( pUrNimA ) V, 19, 5. chaNNava-kSudra+nau (1) VII, 8, 10. jaha-yadi I, 2, +. chatta-chatra II, 8, 2. jayahuM-yadA II, 8, 10 (H. jyoMhI). chattAimANa-chatrAyamAna IV, 9, 2. jaivara-yativara VI, 2, 8. chamma-chadma VIl, 16, 6. jAvi-yadyapi I, 2, 5. chanvAsaya-SaD+Avazyaka IX, 20. 20. jaI-yati V, 9, 1. 'chaMDa-muc deg3 III, 5.3 degu II, 4, 6, "hi jaIsara-yatIzvara IX, 22, 2. III, 21, 5; "DAvai II, 11, 2; degDiUNa jau-yAvat II, 21, 3 (H. jaba). VII, 10, 1; DAviya V, 18,2; Divi III jauNA-yamunA (nadI) X, 12, 9. 2, 6. ( Hem IV, 91; H chor3anA) jaulagi-yAvat+lanam VIII, 2, 9 (H jabalaga chAiya-chAdita III, 16, 3. ___ or jauloM). chAya-cha yA I, 7, 9. jakkha -yakSa I, 3,7. chiNNa-chid hu VIII, 7, 8. jagatilaa-jagat+tilaka IV, ISIO. chiNNia-chinna III, 16, 6. jagattaa-jagat+traya V,6,3. *chiva-spRz degi I, 4, 2 ( Hem IV, 182; jaDIa-jaTita IV, 9, 4. H. ziac to touch ) jaNa-yAna II, 2,4. chiMdaNa-chedana IV, I0, 3. jaNavaa-janapada ], 2,4X, 29, 14. 'chuTTa-muc ( karmaNi) i IX, 5, 10. ( H. jaNavaha-janapati VI, 16, 8. gear to be released ). jaNavara-jantuvara VIII, 7, 6 (H. jAnavara). *chuTTiya-mukta III, 20, 10; X, 14, 1. jaNAvia-jJApita II, 9, 9. (H. chUTI ). jaNia-janita V, 7, 1. *chuDu-kSipram III, 19, 1. jama-yama II, 6, 8. - 207 -

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jamarAya ] karakaMDacarita [ joyaNa jamarAya-yamarAja IX, 5, 1. jamma-janman V, 12, 3. jammAvayAra-janmAvatAra X, 26, 11. jammi -yasmin V, II, 6. jayaeva-jayadeva. pu. I, 2, 9. jayaMtI-na. VI, 10, 3. jara-ubara III, 4, 11, jalaNa-jalana 11, 14, 7. jalahara-jaladhara I, 10, 8. jalahi-jaladhi I, 2,5 jalia-jvalita III, 8,8. jalolliya-jala+AI VI,1, 12. javiya-japita VII, 12, 8. jasaluddha-yazolubdha VIII, 18, 10. jasahaha-yazobhA, muni II, 7, 5. jasahara-yazodhara muni, V, 8, 10; X, 5, 1. jaha-yathA III, I, 12. jaMta-yAn (pre. part of yA ) I, 13, 10. jaMta-yantra II, 9, 4. jaMpa-jalpa II, 19,7 ( substitute for kath Hem. IV, 2). jaMpia-jalpita VI 14, 3. jaMbudIva-jambUdvIpa I, 3, 1. jA-yAvat I, 12, 1. jA-yA i I, 11, 9; hi I, I3, 6; 'huM III, 5, 2; degivi, II, 11, 9; degu IV, 3, 2; 'vi V, I, 12. jAi-jAti IX, 8, 4. jAgara-jAgR ravi X, 17, 6. jANa-yAna VII, 11, 20. jANa-jJA mi I, 1,53 "hi III, 21, 33 __ gaMta III, 20, 8; degNivi II, 4.9. jANAvima-jJApita II, 9,7. jANia-jJAta 1, 11, 2.. jAma-yAvat I, 14, 3. jAmAya-jAmAtR VII, 8, 5. jAmiNI-yAminI I, 8, 5. jAya-jAta I, 17, 10. jAlA-jvAlA II, I4, 7. jAva-yAvat 1, 13, I. jiNa-ji degF VIII, 13, 4; degNahaM VIII, 14, I0; jevi V, 19, 3. jiNiya-jita VIII, 13, 5. jiNiMda-ninendra V,6, 2. jiNesara-jinezvara V, 6, I. jitta-jita II, 11, 2. jiya-jita V, 6, 7. jiha-yathA III I, !2. jIa-jIva II, 15, 4. jIya-jita VIII, 15,4. jIha-jihvA I, 17, 6. jua-yuta III, 16, 4. jujjha-yuddha II, 9,6. juNNa-jIrNa X, 18, 9. (M jUnA Hem. ____I, 102) jutta-yukta I, 12, 5. jaya-yuta II, 9, 2. juI-yuvati VII, 7, 4. juvala-yugala VII, I5, 9. javANa-yuvan VII, 7, 6. jaMja- yuj i IX 20, 21 jujia-yojita VI, 2, 9. jUriya-jvarita I, I7, 9. subs for khid Hem IV, I32, 135) jUva -yUta VIII, 13, 4. jUvAra-dyUtakAra VIII, 15, 2. je?utta-jyeSTha+putra VIII, 4, 8. jema-yathA I, 10,4. joha-yogin IX, 24, 1. *joia-dara 1,75. 'joDa-yojaya Divi II, I, 12; X, I9, 10; X, 28,8. joya-yoga X, 26, 14. joyaNa-yojana I, 3, 2.

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jovvaNa ] zabdakozaH [ gaha jovaNa-yauvana X, 13, 9. joha-yodha III 17.7. johiya-yodhita III, 17, 7. Dara-dara (bhaya) VII, 3, 4. Dariya-dIrNa (ha+kta) I, I, 63; VIII, I8, II. ___or patita as in H. SrA fallen. Dasia-daSTa VII, 4,6. DasiyAhara-daSTa+adhara III, I3, I0. DaMbha-dambha IX, 12, 5, DiMDima-vAdyavizeSa II, II, 6, Dola-dolAy i IV, I5, 5. *DohaMta-gambhIra+anta I, 13, 10 ( H. M. deep water). jhaci-jhaTiti VIII, 4, 3. jharaMta-kSarat III, I, 3. jhalajhalia-onomatop. III, 18, 8. jhalAjhala-onomatop. J.V, 6, 5. jhA-dhya evi VII, 12, 10; yai VII, 13, I, yahi VI, 10, 1. jhANa-dhyAna II, 7,7. jhANajoi-dhyAna+yogin IX, 13, 8. jhANaTThiya- dhyAna+sthita III, 2, 1. jhANANala-dhyAna+anala X, 27, 5. jhAya-dhyAta V, 5, 8. jhija-khid i IX. 8,7. jhINa-kSINa II, 6, 9; III, 6, 5. jhuNi-dhvani X, 6, 3. * DhaMkha-zuSkaprAya I, I4, 2 (M DAMka an old and decaying tree DhaMka-dhvAkSa of D IV, 13 and Pai.67 does not suit well) "DhAla-nira+vam lesahi II 19, IO H DhAlanA to pour down). duka-Dhaukita IV, 5, 4; VII, I0, 6. Takka-jAtivizeSa VIII, 16. I. TalaTalia-onomatop. III, I8, 7. *TiMTa-dyUtasthAna VIII, 15,2;(TeMTA D. IV.3) 'TevaMta-tatriIkurvat (?)X, 19, 8 (H TenA to sharpen). ThA-sthA Imperative IX, 20, 15. ThAa-sthAna III, II, 2; V, 3, 3 (HThAMva) ThANa-sthAna II, 15, 3. Thia-sthita III, 4, 3. Nai-nadI I, 3,3 Naa-nava IV, 13, 9. Naa-nata II, 2, 9; VIII, 4, 2. u-na I, II, I2. Naula-nakula IX. 9,7. *NagguDa-nagna VIII, 15, 5 ( H. nagoDA penniless). NaJca-nRt deg3 III, 3, 5 (Hem. IV, 225). NacaNa-nartana VIII, IO, I. Nacira-nRt+ira (tAcchIlye) I, 17, 6 ramaNazIla ___D IV, I8), Na?-naSTa II, I3.7. *NaDiya-vaJcita, VI. I0, 9 ( D. IV, 18). NaNha-snigdha VIII, 2, 6. DakAra dutkAra onomatop. ( H. DakAra ). ujjhamANa-dahyamAna I, I7, I0. - 209 -

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patthi ] karakaMDacariu [ NiNNAsayara Natthi-nAsti I, 2, II. NAsa-nAza II, 195 Nada-nAda IX, 2, 2. NAsa-nAsA II, 3, 6. Nabhagga-nabhaH+ga VIII, 3, 2. NAsiya-nAzita II, 21, 3. Namiya-namita III, 20, 8. NAha-nAtha III, 9.4. Naya-nata III, I9,6. NAhi-nAbhi I, 16, 6. NayaNulla-nayana+ulla ( svArtha) I,3,6. Nia-nRpa II, I2, 5. Nayara-nagara II, 6, 7. *Nia-dRz ei I, 15, I (Hem IV, I81.) NarayAla-narakAlaya IX, 8, 2. jiuNiyA-nipuNikA II, 6, 2. Naravai-narapati I, I0, 6. jiuNa-nipuNa X, 26, 22. NaravAhaNadatta-pu. V, 19, 9. NikAa-nikAya VIII, I3, 7. NarAyaNa-nArAyaNa X, 25, 3. NikiTa-nikRSTa IX, 6, 8. NarAhiva-narAdhipa II, 16, 3, Nikea-niketa III, 3. 3. pariMda-narendra I, 2, 3. NikkhaNa-niSna-san Navi V, 8, 8. jaresara-narezvara I, IO, 7. Nikkhaya nikSata IV, I7, 7. Nava-nam i III, II, 9; hu IV, I, 7; hu~ NikkhavaNa-nikSapaNa X, 26, 14. __IV, I, 9; 'vevi III, 9, 5. Niggaa-nirgata III, I+, 9. NavakAra-navakAra maMtra V, 18, 8. Niggama-nirgam mei IV, I4, 4. NavaNiya-navanIta (ghRta) IX, 21, 4. Niggaha-nigraha IX, 21, 3. Navalla-nava+aha (svArthe ) II, 17, Io. NiggaMta-nirgacchat IV, I4, 5. Naha-nabhaH III, I2, 4. NiggaMtha-nigraMtha III, 2, 5. Nahayala-nabhastala II, 21, 8. NigghiNa-nighRNa IX, 4, IO. NaharUva-nakha+rUpa I, 16, I. NiciTra-niveTa VIII, 8, 2. NahaMgaNa-nabhaH+aMgana IV, 8,8. NiJca-nIca II, I4, 2. NaM-nanu I, 3,5. Nicca-nitya IV, I0, 8. NAiNi-nAginI X, I2, 1I. NiJcala-nizcala V, 2, I0. *NAI-iva I, 9, 6; I, I6, 1; II, 20, 3. (H Nicchaa nizcaya I, I0, IO. nAI like). Nicchediya-nizchidrA X, I3, 2. NADaya-nATaka II, 9, 2. NijhuMja-ni+yuj "jivi X, 27, 8. NANa-jJAna I, I, 4. Nijara-nirjarA IX, I4, I. NAyakumAra-nAgadeg X, 3, I. Nijiya-nirjita IV, 10, 4. NAyadatta-nAgapu X,6,7. Nijjhara-nirjhara III, I, 3. NAyadatta-nAgadattA, strI,X, 10, 6. NijjhAiya-ni+dhyAtA VII, I2, I0. jAyara-nAgara III, I, 8. NAraya-nAraka IX, 8, 2. NivaNa-niSThApana III, 22, 9. NAri-nArI I, 15, I0. NiTTara-niSThura VI, 6, 7. NAlaMda-nAlandA, na. X, I0, 9. Niddariya-nira+dulita V, I4, 9; X, 20, 3. NAsa-naz deg3 VIII, I4, 5. NiNNAsayara-nirnAzakara V, 6, 9. - 210 -

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Nitti ] zabdakozaH [ gevAvi Nitti-nIti II, 18, 10. Nivesia-nivezita IV, II, 9. Nituliya-nistulita IX, II, II. NiviNNa-nirviNa X, 25, I. Niddha-nigdha IV, Io, IO. NisAyara-nizAcara IX, 21, I0. NiddhaNa-nirdhana VI, 5, 3. NisibhoyaNa-nizi+bhojana V, I2, 2. *NiddhADa-niH+sa (Nic ) degDivi V, 2, 4 jisiyara-nizicara II, 13, 9. ( Hem. IV,79). Nisivaa-nizi-vrata X, I2, 2, "NiddhADia-nissArita X, I, 9. Nisua-nizruta IV, I2, IO. NinbhAcchaa-nirbhasita IV, I, 8. NisuNa-ni+zu hi V, 9, I;Ni I, 14, 53 ninbhara-nirbhara V, I4, 5. ___ Nivi IV, I2, 7. Nivajjha-ni+gaMdha ( karmaNi )i VI, 4, 2. Niya nizruta X, 29, 4. Nimisa-nimeSa IX, 15, 5. jihaNa-nidhana ( maraNa ) II, I4, 8. Nimmala-nirmala II, H, 7. NihaNa-nidhana IX, 5, 10. Nimmacia-nirmApita V, 3,2. Nihamma-ni+ han ( karmANi ) 's IX, 8, 2. Nimmia-nirmita VII, 2, 9. NihaMta-ninnat IX, 13, + Niya-nija II, I, 4. NihAtha-nipAta IV, 15, 3. Niya-nIta, II, II, I. NihANa-nidhAna I, 3: 4. *Niya-dRz i VIII, I2,3. NihAla-nibhAl hi V,6, I (H. nihAranA Niyaya-nija+ka VI, I, 9. to see attentively ) Niyara-nikara I, 2, 3. NihAlaNa-nibhAlana ( avalokana ) IX, 8, 9. NiyaMba-nitamba I, I6, 4. Nihiya-nihita II, 16, 8. NiyANa-nidAna VI, 4, 4. Nihila-nikhila X, 25, 6. Nirattha-nirartha III, 19, 5. NihINa-nihIna V, 16, 6. Niraharia-nihata II, 18 2. "NihoDaNa-nipAtana V, 5, I0. ( Hem. *NirAriu-nitarAm X, 6, 2. __ IV, 22; prob. from niryaTanam ). *Niru-nitarAm I, 2, 4. NIa-nIta IV,8,6. Niruttau-nitarAm (niruktam ) VII, I, 4 NIi-nIti II, I4, 3. ( M. nihata certainly ). NIyANa-nidAna VI, 4, 5. NirUva-nirUpa II, 3, 8. NIla nIla, pu. V, 2, 2. Nilaa-nilaya II, I, 9. NIvi-nIvI X, 7, 5. Niva-nija X, 19, 8. NIsara ni:+sai IV, 13, 2; 'huM IV, I3.7; Niva-nRpa II, 21, 5. ___ "rivi VI, 9, 8. Nivai-nRpati III, II, 9. NIsasaMta-niH+vasat III, 5, 3. Nivaja-naivedya IX, 20, I7. NIsAria-niH+sArita X, 22, 4. NivaDiya-nipatita III, 6, 4. Neura-nUpura III, 2, 6; ( Hem I, I23; NiviTTha-niviSTa VIII, I5, 3. _Var. I, 26). Nivitti-nivRtti IV, I, II. Netta- VII, 3, I. Niveja-navedya VII, 12, 7. NevAvi-nI+NicyatvA VIII, 13, 2, - 211 -

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/ tuI SI / karakaMDacariu vI-nI+bhaviSyat II, 5, 4. taMta-taMtra II, 9,4. Neha-sneha I, 3, 7. taMda-taMdrA I, 9,7. Nehala-sneha+la ( matvarthe ) VI, II, 6. tA-tadA I, II, 4. NehavaMta-saMha (tela)+vat VIII, 2, 2. tAa-tAta III, I9, 8. NhavaNa-snapana X, 26, 2. tAu-tAvat I, 6, I. NhaMta-nA+at ( pre. part. ) III, I2, 8. tAma-tAvat I, I4, 3. NhA-snA ivi IV, II, 7; viUNa X, 17, 8. tAmalitti-tAmralipti, na. X, I0, 5. NhANa-snAna V, 3, 4. tAya-tAta VII, I5, 2, tAra-asuradevatA, Ti II, 2, 3. tAva-tAvat I, I3, 2. tAvasa-tApasa VIII, 8, 3. taa-tapas V, 9, 10. tAvia-tApita VI, I2, 5. taiya-tRtIya V, I2, I0. tikkha-tIkSNa II, 3, 3. tahaya9-tadA VII, II, I8. niNu-tRNa VIII, I9, 8. taulagi-tAvat lagnam VIII, 2, 10. tiNNi-trINi II, 8, 6. (H. tauloM or tabaloM). titti-tRpti X, I0, 5. taka-tarka II, 9, 2. titthavara-tIrthavara V, 9, 6. takkhaNa-tatkSaNa I, I0, 2. tiya-strI X, 9, 6. ( H. tiyA ). taggaya-tadgata III, I, 8. tiyAla-trikAla X, 27, I. taJca-tatva IX, 21, 3. tiriyaloya-tiryag loka IX, I5, 3. tahIya-tat+sthitA III, 18, I. tirIDa-kirITa IV, I0, 2; IV, I6, 3. taDa-taTa III, 20, II. tilaa-tilaka X, 25, I0. taDayaDa-Onomatop. III, 18, 6. tilayadIva-tilakadvIpa VII, 15, I. taNa-saMbandhavAcaka, I, 2, 3. tilariNa-tailatva (sneha ) VI, I0, 5. taNau-tanu II, 6,4. tiloya-triloka V, 6, 4. taNuvaNa-tRNa+vana II, 4, 7. tivaNa-tribhuvana VI, I, 9. taNha-tRSNA II, I6, 5. tuTTa-truTa dRti III, 15, 4; degdevi VIII, I, 6. taNhAura-tRSNAtura IV, 7, 3. tuTTa-tuSTa VII, 8, 5. tama-tamas I, 16, 14. tuhi-tuSTi IV, II, 3. taralia-taralita I, I4, II. tumhArisa-tvAza VIII, I0, 6. tavacaraNa-tapazcaraNa II, 13,7. turaa-turaMga VII, 2, 7. tavasi-tapasvin IX, 5, 9. turaMta-tvarita II, 15, 3. tavasiri-tapaH+zrI III, 22, 8. turia-tvarita II, 10, 7. tavohaNa-tapodhana VI, 6, 6. tulla-tulya VIII, 6, 10. tasa-nasa IX, 24, 3. tusAra-tuSAra IX, I4, 4. taha-tathA I, 2, I. tuhAra-tava II, 18, 5 ( H. tumhArA). taMDau-tANDava IV, II, 6. tuhuM-tvam I, 10, 3. - 212 -

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tUra 1 tUra tUrya X, 17, 6. tUsa - tuS vi II, 14, 9. tea-tejas II, 8, 9. teti tAvatI V 6, 3. -tatra I, 14, 10. tema - tathA III, 8, 10 teya - tejas I, 9, 3. teyaNihi tejonidhi III, I, 12. terau - tava III, 21, 5 ( H terA ) terahama - trayodazama X, 16, 7. terANayara - terAnagara V, 2, 6. te / - tataH I, 2, 8; I, IO, I0. toa-toya II, 14, 8. toDa- troTay ma IV, 17, 2; degti III, 15, 9; DeviNu X, 27, 2. 8. toDiya-Tita VIII, 12, 8. toyajANatoya +yAna VII, 9, tolAdaMDa - tulA II 2, 2 tAsa-toSa II, 34. zabdakoza: thA - sthApaya i VI, 7, 5; vaMti VII, 13, 7; vi V, 2, 7; evi X, 17, 3; viUNa VII, 10, 7. thakka - sthAi X, 25, 2 ( Hem. IV, 16). thakka - sthita II, I, 8. * thaTTa - samUha III, 8, 6 ( M. thaTa or yaha; H. or 3 ). dhaNa - stana I, 9, 4. thambha - stambha IV, 4, 3. tharaharanta - kampamAna onomatop. III, 13, 5. thala-sthala I, 3, 9, thavia - sthApita VI, 16, 10 thANa-sthAna V, 8, 7. thAma-stambha I, 17, thAla - sthAlI IX, 2, 6, 8. -- 213 Shree Sudharmaswami Gyanbhandar-Umara, Surat thAvara sthAvara IX, 24, 3 thia - sthita III, 4, 12. *forcq-fanzia III, 15, 8; ( Hem. IV, 175.) *thippira tRp + ira ( tAcchIlya 1, 17,5 ( Hem. IV, 138 ). [ dasaraha thiya - sthita IV, 17, 9 thira - sthara III, 2, 10. dho- strI X, 22, 9 thIa - sthita X, 23, 2. thIvea - strI+veda X, 15, 5. thui - stuti III, 20, 9. thuNa - stu '3 VII, 14, 3; naMti IX, 2, 4; u V, 6, 2. dhUla-sthUla VII, 10, 6 thora-sthUla II, 12, 10 (M. G. thora much) dhovaa - stoka, VIII, 2, 6. the|vNtr - stokAntara IV, 8, 7. da daiva-daiva VII, 11, II. dakkha- dAkSA 1, 3, 9 (H. dAkha) dakkhAla-darzay degli IV, 13, 6. dakkhAlia - darzita VII, 7, 5. dakkhiNa - dakSiNa V, 4, 5. dakkhiNa vaha - dakSiNApatha IV, 2, 4. daDDa-dagdha IX, 4, 9. daddura-dardura IV, 13, 8. darpaNa - darpaNa VIII, 5, 11. davbhaMkia - darbhAGkita III, 12, 9. daya - dayA V, 2, 1O. daramalIya- durmudita VIII, 19, 4. daviNa - draviNa II, 17, 8. davva - dravya VII, 12, 9. dasaNa - darzana III, 15, 5. dasaraha-dazaratha pu. III, I, 12 www.umaragyanbhandar.com

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daha ] karakaMDacariu [ dea daha-daza III, I2, 3 dIha-dIrgha III, 4, 11. dahi-dadhi VIII, I3, 6 dIhara-dIrgha III, 16, 4. (Hem. II, I71 ). daMtIpura-na. II, 5, 4. duija dvitIya X, I0, 8 (H. dUjI ). dasaNa-darzana IV, 10, IO. dukiya-duSkRta IX. 8, 3. dAija-dAya VII, 8, 2 (H dAyajA or daheja) dukkhAura-duHkhAtura IX, 4, I. dAiya-dAyAda VI, 4, 9. dukkhiya-duHkhita II, 6, 2. dADhA-daSTA IV, 5,4. dujaNa-durjana I, 2, 4. dAmoyara-dAmodara IX, 17, 10. dudR-duSTa I, I2, 9. dAra-dvAra X, 22, 6. duNNIi-dunIti II, I9, 4 dAriya-dArita I, I7,5 dutthia-duHsthita VI 5, I, dAva-darzay i X, 7, 5 ( Hem. IV, 32) duppavesa-duSpraveza X, I0, 2. dAhiNa dakSiNa II, 2, 4 duddha-dugdha X, 20, Ic. dia-dvija X, 21, 3. duddhara-durdhara I, 13, 9. diesara-dvijezvara II, 20, I. duma duma I, 3, I, dikkha-dRz vikhavi II, I2, 8. dummaNa-durmanas I, I5, 7. dikkha-dIkSA X, 24, 7. dummiya-dUna VI, 8. 9; VIII, 19, 3. dija-dA (karmaNi ) deg3 II 15, 2. (Hem. IV, 23; Var. VIII, 81. diTa-dRSTa I 14, 2. dummuha-durmukha VII, II, II. diDha-dRDha II, 9, 5. duriya-durita I, 5, 6. diNayara-dinakara I, I, I. dareha-dvirepha IV, 6, 7. diNNa-datta I, I0, 5. duvAra-dvAra VIII, 6, 6. ditta-dIpta I, 4, 5. davAria-dauvArika VIII, 6, 8. dippaMta-dIpyamAna III, I4, 6. duviha-dvividha IX, II, I0. digmuha-diGmukha II, 3, 4. dusama-duHSama IV, I7, 5. diyavara-dvijavara III, 4, 3. duha-duHkha I, I, 6. diyaha-divasa II, 5, I0. duhamahiya-duHkha+mathikA I, 7, Io. diyaMbara-digambara X, 28, 2. duhayara-duHkhakara VI, 5, 5. divaha-divasa III, 8, 3. duhiya-duHkhita VII, 8, 5. divAyara-divAkara II, 3, I. duhiya-duhita X, I2, 2. diviDadesa-draviDadeza IV, I, 4. . duMduhi-duMdubhi IV, 9, 3. divva-divya I, 2, I. disAmuha-dizAmukha IV, 6, 7. dUa-dUna III, 9, I0. dihi-dhRti VI, 2, 6 (Hem. II, I31 ). dUsaya-yaka (tent) IV, 2, 6. dita-dadat VIII, 4, 4. dUsiya-dUSita IX, II, 2. dIvaa-dIpaka III, 3, 9, de-dAi II, I, 8; degu III, II, 7; degmi II, dIva-dvIpa, dIpa I, 3, I, ___14, 58 degvi I 17, I; "viNu II, 21,7. dIsa-dRz (karmaNi) i I, 14, 5. deva-deva I, II, 8. -- 214 -

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dekha ] dekha - dRz '3 V, 12, 8: huM III, 4, 7. 'vikhavi II, 6, 9. devasaMta- pazyat V, 5, 4deva - devatA VII, 12, 10. devAvi dApita II, 15, 6 (H. divAyA ). desa-dveSa II, 12, 3. desa- deza I, 3, 5. dehi-dehin 1, 17, 9. doNi- dvau 11, 18, 3, dolahara - dala gRha III. 6, 2 dovAlasa- dvAdaza X, 16, 6. dosa - doSa I, 17, 1. dohala - dohada I, 9, 11 ( Hem. 1, 221 ). dha dhaNu- dhanup I, 16, 12, dhaNuveya- dhanurveda II, 9, 5. dhaNuhaDiya - dhanuH+ghaTekA or ghaTikA (?) VII, 5, 13 (prob. a catapult) dhaNuhara - dhanurdhara III, 12, 12. dhaNNa - dhanya I, 14, 12. dhamma-dharma I, 13, 4. dhaya- dhvaja II, 8, 2. dhara - degmi IV, 13, 5; 'hi II, 11, 8. dhara-dharA III, 2, 8. dharaNiMda - dharaNendra III, 18, 8. dharaNivai - dharaNIpati III, 19, 10. dharANivAla - varaNIpAla VII, 8, 8. dharia - II, II, 5. dharitti - dharitrI II, 14, 5. dhAia - dhAvita V, 14, 7. dhADIvAhaNa-pu. I, 4.10. fag-aaiga (?) I, 17, 4. dhiTTha-dhRSTa III, 17, 2. dhIya - duhitR I, 16, 6. dhuNa-dhU deg3 IV, 15, 6; degNivi II, 20, 10. dhutta - duhitR VIII, 11, 2. -- Shree Sudharmaswami Gyanbhandar-Umara, Surat zabdakoza: dhura dhurya VIII, 2, 5. dhUmaketu, pu. VI, 10, 4. dhUya - duhitR VII, 7, 9. A-dhenukA ( khaGga) VII, 3, 7. dho- dhAv ivi IV, 7, 9; vei IX, 20, 16; da X, 5, 6; pa paa - pada IX, 9, 3. pai pati VII, 11, 18. paija - pratijJA IV, 1, 12. pa - praviSTa III, 4, 10 paTThANa -pratizana, na. VI, 9, 2. paiDia - prakaTita X, 29, 14. paNa - pradatta II, 12, 8. paisa- pra + viz deg3 III, 3, 7; huM VI, 5, 5. pasara - prati + u IX, 7, 4; rivi X, 23, 12. pasaMta - pravizat III, III. paisAra - pratisAra ( praveza ) IV, 3, 4. paisAria - pratisArita ( pravezita ) III, 3, 10 paI-tvam III, 10, 6; tvAm III, 20,4; tvayA I, 10, 9; tubhyam III, 11, 9. paukta-prota III, 10, 1. pautti - prokti V, 16, 10 pauma - padma IV, 4, 6. paumaeu - padmadeva, pu. VI, 11, 3. paumAvai - padmAvatI, strI I, 7, 9; II, 1, 12. paura-pravara I, I, 8. paesa- pradeza II, 3, 6. paohara - payodhara III, 2, 10. pakkha - pakSa III, 6, 5. [ pacchaI pakkhala-pra+skhal laMti VIII, 18, 10; "laMtu VI1, 9, 6; degleiIX, 13, 5. pakkhAli - prakSAlita IV, 7, 9. pakkhi-pakSin I, 17, 7. paghosia - praghoSita V, 10, 6. paccakkha - pratyakSa X, 7, I pacchaI-pazcAt VI, 6, 10. 215 - www.umaragyanbhandar.com

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pacchaNNa ] karakaMDacariu [ payatta pacchaNNa-pracchanna IV, 7, 6. pacchala-pakSmala VIII, 2, 4. pacchitta-prAyazcitta X, 23, 5. pacchima-pazcima IV, 4, 2. pajuNNa-pradyumna, pu III, 21, I0. pajaliyamANa-prajvalat III, 7, 2. paTTaNa-pahana I, I3,8. paDa-pat Dei IV,6,3. paDadhara-paTa+dhara III, 5, I. paDala-paTala IV, 8, 6. paDaha-paTaha II, 9, 8. paData-patat IX, 9, I. paDAya-patAkA I, 4, +. paDia-patita II, 16, 5. paDiphUla-pratikUla V, I5, 10. paDikesava-prati+kezava IX, 17, 11. paDikhala-prati+skhala degi I, I0, 2. paDikhalaNa-prati+skhalana IX, 18, 6. paDigAha-prati+graha (Nic) hu VIII, 19, 5. paDichaMda-pratichanda V, 7, 3. paDipelliya-prati+prerita V, 2, 3. paDima-pratimA IV, II, IO. paDilava-prati+lae degi VIII, I0, 9. paDiva-pratipad X, I5, 9. paDivaja-prati+vac deg3 V]II, 7, 6. paDivaNNa-pratipanna III, 8, I. paDivayaNa-prativacana I, 10, 4. paDisaha-pratizabda VI, 9, 4. paDihAra-pratihAra III, 9, 8. paDihAsa-prati+bhAm hiM VIII, I0, 8. ( rocante iti TippaNam ). paDIya-patita IV, 9, 6 ( lengthened for metre ). pahuttara-pratyuttara VIII, 5, 14. paDhama-prathama IV, 14, 4.... paDha-paTh hi II, I4, 5; DhaMta II, 20, 1; Dhivi III, 8, 8. paDhiya-paThita II, 14, 6. paNakallANa-paJca+kalyANa X, 25, 9. paNaJca-pra+nRt hi VII. I, II. paNa?-praNaSTa II, 3. 4. paNayiNi-praNayinI III, 3, 5. paNamiya-praNamita III, 9, I. paNava-pra+Nam degs X, 4, IO; vesai V, 19, 48 __ "veppiNu VI, 9, 3. paNavia-praNamita X, 3, 9. paNAsa-pra+Naz ha IX, I9, IO. paNAsiya-praNAzita V, 17,3. paNNa-parNa VHI, 6, I. paNNarasa-paJcadaza X, 16, 8. patta-patra II, 9,7. patta-prApta I, 13, 8. patta-pAtra IX, 23, 6. patthara-prastara IV, I3, 9 patthiva-pArthiva I, 8, 7. padiNNa-pradatta III, 9, 3. padhAiya-pradhAvita X, 24, 2. papucchiya-pra+pRSTa X, I8, I. papphulla-praphulla IV, 9. 9. pabhaNa-pra+bhaNa 'i I, II, +; deghi II, 7, I0. pabhaNia-prabhaNita II, 4, 9. pamaNNa-pra+man Nivi VII, 3, 6, pamANa-pramANa V, 6, 4. pamuka-pramukta III, 20, II. pamUDha-pramUDha IX, 3, 5. pamelliya-pramukta II, I, 9( Hem IV, 91) paya-pada IV, 7, 9. paya-payas X, 26, 2. payaDa-prakaTa I, 2, 3. payaDAia-prakaTita IV, I3, 4. payaDia-prakaTita IV, 14, 9. payavaya-prativratA V, 15, 8. payANa-prayANa III, 12, 4. payatta-prayatna III, 5, 4. - 216 -

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payaMDa ] zabdakozaH [ paleba payaMDa-pracaNDa II, 3, 7. paripAva-prAp deg3 VI, 3, 2. payaMpa-pra+jalp i I, IO, I. paripucchia- pRSTa II, I0, 9. payAga-prayAga, na. VI, 6, 5. paripujia-pUjita V, 5, 8. payAsia-prakAzita II, 3,7. paripuNNa-pUrNa II, 19, 9. parajiya-parAjita II, 3, I. paripesiya-preSita II, II, IO. paramuTThaa-parama+utsuka V, 8, 5. parippamANa-pramANa I, 3, 2. parammuha-parAGmukha VI, 4, II. pariphuria-sphurita II, 19, 8. parayAra-paradArA X, I0, I. parimaa-bhava VI, 4, 5. paraloya-paraloka III, I, 9. paribhama-bhram 3 II, I2, I; hiM IV, 5, 43 parAia-parAgata II, II, 6. 'mei I, 15, I. parAI-parakIyA IX, 22, 7. parimalia-parimRdita V, IO, 3( Hem. parAyaa-parAgata II, 8, 7. ___ IV, I26). pariakkhia-pari+AkhyAta II, 21, +. parimuka-mukta V, I5, 7. pariosa-paritoSa V, 2, 9. parimella-muJc deg3 IX; 4, 5; degllivi V, 7, 9. pariggaha- parigraha IV, I, II. (Hem. IV, 91). parighulia-pari+pUrNita VII, 8, 9. pariyaNa-jana VII, II, I9. (Hem. IV, II7.) pariyaria-carita III, 3, 12. paricatta-parityakta IX, 12, 3. pariyANia-jJAta II, 2, 5. "parichAMDiya-parityaktA VII, II, 16; Hem. parilagga-deglagna VIII, II, 8. IV, 9I.) parivaDa-pat degDei IX, 9, 5 parijaMta-pari+yA+zatR V, 5, 4. parivaDIya-patita V, 4, 7. parijhA-pari+dhyA ivi X, 9, 14. parivADia-vardhita V, 8, 7. parijhija-pari+kSI i IX, 8, 6. ( Hem. parisamaNa-zayana IX, 7, I. " II, 3.) parisaria-mRta III, 18, 9. parijhINa-kSINa V, 8, 9. parisava-nava i IX, II, 7. pariTria- sthita II, 3, 9. parisaha-zobha i IV, 14, 6. pariNa-pari+NI hi VIII, I0, 5; NevI (rAj Hem. IV. 100.) ____VIII, 10, 6. parisohia-zobhita VIII, II, 5. 'pariNaDia-vaMcita III, 21, 4. parihariya-'hRta I, 2, II. (D. IV, 18). parihava-paribhava ( parAbhava) V, 18, 9. pariNimmiya-nirmita I, II, 7. parihA-parikhA, I, 4, I. pariNiya-pariNIta VI, 16, 2. parihaNiya-paridhAnitA VII, I2, 9. paritti-paritRpti III, 7, I. parihANa-paridhAna III, 2, 3. paridakSiNa-pradakSiNA IV, 6, IO. parihAviya-paridhApita III, 9,6. paridita- dadat III, 12, 8. palaya-pralaya VII, 4, 2. parighariya-'dhRta V, 9, 3. palAva-pralApa VI, 3, 4. paripAliya- pAlita II, 6, 6. palaMba pralamba IX, 3, 3.

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paloa] karakaMDacariu [pAva paloa-pra+loka 'ivi II, 3, + pahu-prathu I, 10, 6. pallANa-palyaHNa VIII, 9, 2. pahu-prabhu IV, I0, 9. pallovama-palyopama VIII, I7,7. pahUya-prabhUta II. 2, 7. palhatthia-paryasta IX, I5, 2. paMkaa-paMkaja I, 3, 6. (pallattha Henn. II, 47 ). *paMgura-prA+ revi X, 17,4 (Hem. I, I75. pavajamANa-pratrajan I, 13, I. ___M. pAMguraNe, pAMgharaNeM ). pavajiza-pravAdita II, 20. 2. paMcavIsa paJcaviMzat V, I, 9. pavaDia-pravardhita II, 9, I. paMcubara-paJca-udumbara V, 12, 2. pavaNavea-pavanavega, pu. VI, II, 4. paMjali-prAJjali VI, 5, I0. pavaNNa-prapanna IV, 2, 6. paMjaliyara-prAJjali kara X, 4, 2. pavayaNa-pravacana VI, 2, 7. paMDiya-paNDita I, 2, I. pavara-pravara VI, 8,4. paMDiya-pANDya, nareza, VIII, I8, 5. pavarisia-prakRTa I, II, 8. paMti-paMkti I, 3, Io. pavAha-pravAha X, 12, 9. paMtha-pAnya VI, 12, 2. paviddhi-pravRddhi VIII, 6, 5. pathi-pathika II, 2, 4. pavuDDi pravRddhi VIII, 2, 6. paMthiya-pathika I, 3, 9. pavva-parvan V, 4,4. pAa-pAda V, I8, I. pavvaa-parvata IV, 4, 2. pADa-pAtay 'mi IV, I7, 2. pasaNNa-prasanna II, 18, 3. pADala-pATala (haMsa) VII,5,5( D. VI,76). pasatya-prazasta I, 9, I. pADia-pAtita III, I6, 6. pasara-pra+sai I, 2, 6; u II, 4, 7, rt| pADhAvia-pAThita II, 9, I. ___IV, 2, 2; degriya I, 7, 9. pANa-prANa III, 7, 2. pasaMsa-prazaMsA I, I, 7. pANAhAra-pAna+ AhAra X, 16,9. pasAa-prasAda II, 15, 7. pANia-pAnIya VIII, 9, 8. pasAriya-prasArita VII, I3, 8. pANi-prANin I, 5, 5. pasAhaNa-prasAdhana I, II, I0. pAya-pAda I, 2, I. pasiddha-prasiddha II, 2, I. pAyAga-prayAga, na. VI, 7, 7. paha-patha ( pathin ) I, I, 4. pAyaDiya-prakaTita III, 7, I. pahara-prahara VIII, I2, 2. pAraddhi-pAparddhi II, I6, 4. pahara-prahara or prahAra X, 9, 4. pAraMbhia-prArabdha III, 3.7. pahasiya-prahasita II, II, 5. pArAvai-pArAvata V, 17, 8. pahANa-pradhAna I, 3, I, pArAviya-pAra+Apita I, I,4. pahAva-prabhAva II, 4, 8. pAva-pApa I, I, I. pahiSTa-praSTa I, I2, 9 pAva-pra+Apa i V, IO, IOB I, I0, 23 pahirAviya-paridhApita VII, 8, 6. hi V, II, 16; deghiM V, 5, 10; vati III, ( By varNavyatyaya. H. paharAnA ). 15,7 degvevI II, 5, 4: vesai II, 8, 35 pahilAra-prathama+tara III, 8, II ( H. pahilA ). ___ sahi V, 19, 5. - 218 -

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pAvia ] pAvia - prApta I, 12. 10. pAviTTha - pApiSTha II, 13, 7pAsa parzva (tIrthaMkara) V, 2, 5. pAsa - pAza VIII, 7, 10. pAsa-pArzva II, 1, 6. pia - priya I, 16, 15. piu-pitR VI, I, 8. piDa - piNDa X, 8, 10, piya - pati V, 10, 5. piyayama - priyatama VI, 5, 2. piyara - pitR VI, 6, 2 piyasoa - pitR + zoka VI, 2, 3. piyArI - priyA I, 3 12. * pilla - laghupakSin VII, 5,5 (pilha D. VI,46). pilli - pIlu ( phalavizeSa ) IX, 21, 5. pisAa - pizAca III, 21, 4. zabdakoza: pisuNa - pizuna III, 7, 9. pihANa - vidhAna X, 15, 6. pihiya - pihita X, 8, 1. pihula - pRthula 1, 5, 9. pitta - pRthula I, 16, 5. piMDaya - piNDaka IX, II, 6. pIDiya - pIDhita I 10, I. pINia-nIta I 52. pIlaNa - pIDana IV, 10, 5. pukAra - AvhAna zabda II, I, 9 (H. pukAra ). pucchi - pRSTa I, 10, 3. puja - pUjA VII, 12, 7. pujja-pUjay degi IV, 4, 6; degjJai X, 4, 5; shini II, 19, 9. pujia - pUjita IV, 7, 10. puTThasara-puSTa+svara III, 9. 9. puNu - puna: I, 2, 3. puNNa-pUrNa I, 3, 11. goor-goa I, 14, 12. puNima - pUrNimA X, 16, 8. putta-putra II, 16, 1. Shree Sudharmaswami Gyanbhandar-Umara, Surat puttaya - putraka II, 18, 8. gra-gar I, 15, 7. puttiyA putrikA VIII, 4, 9. phayaMta puSpadanta kavinAma 1, 2, 9. purau-pura: II, 8, 9. purayaNa- purajana III, 13, 1 puraMdhi-puraMdhi IX, 3, puhai - pRthvI III, 9, 4. pulaa - pulaka III, 4, 3. putra - pUrva II, 2, 2 putta - pUrvokta X, 4, 10. puMDarIya - puNDarIka X, 2, 4. pUjia - pUjita IV, 6, 10. pUdI - parvatavizeSa V, 5, 3. pUya-pUjay ei IX, 13 7. pRya - pUya (pus ) IX, 11, 5. pariya-pUrita I 17,9. peiyA - peTikA I, 7, 2. pekkha- pra+I hi I, 11, 9; huM IV, 3, 2; degkli III, 18, 3; degkkhiUNa VII, 10, 1. pekkhiya-prekSita VIII, 2, 1. peccha - pra + Izdegi V, 15, 1; pecchaMta-prekSamANa IV, 17, 6. pevaNa - pretavana X, 14, 3. pella - preray klivi VII, 4, 5, pesaNa - preSaNa III, 16, 10. pesiya preSita III, 16, 8. * poTa udara VII, 10, 7. ( poTa D. VI, 60 ) poTTivaMta - puSTi+nat I, 12, 1. potha - pustaka X, 17, 6. poma - padma III, 14, 4. (Hem. I, 61). pomarAya - padmarAga X, 2,50 pomAvai - padmAvatI, strI II, 5, 3. pomaNi - padminI VII, 13, 1 pha phaNa- phaNA IV, 9, 2. 219 [ phaNa wendige www.umaragyanbhandar.com

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phaNi ] karakaMDacariu [ bhanna phaNi-phaNim IX, 5, 8. balaea-baladeva IX, 7, 9. phaNidattA nAga, strI. X, 6, 9. balahadda-balabhadra IX, 5, 5. pharNida-phaNIndra II, 4, 8. balA-abalA VIII, 4, 6. phaNivaha-pati II, I, 8. balia-balin V, II, II. pharaharaMta-onomatop. III, I3, 5. bahiNi-bhaginI II, I, I3. (H pharrAnA) baMbhacera-brahmacarya IX, 24, 6; ( Hem. I, phaliha-sphaTika IV, 12, 2.(Hem I, 186). 59; II, 74). phaMsa-sparza IX, 10, 5. ( Hem IV, I82). baMbhaNa-brAhmaNa X, 6, 9. phADaNa-sphATana IX, 8,5 (pATana acc. Hem. bAraha-dvAdaza V, IO, I; ( Hem. I, 219: _I, 198; 232). 262). phAra-sphAra IV, IJ, 5 ( M phAra) bAla-bAlA I, 3, 8. *phAraka-sphAraka (vaja). III, 13, 5. The bAlaea-deva, pu II, 2. 8. tippana on the word is asr which bAhiri-bahiH IV, I4, 5. in M. means any coarse cloth ). bAhuDi-bahiH I, 12, 10. *phiTTa-sphiTa (hiMsAyAm ) i IX, 21, 2. bujjha-budh degi VI, 7, 6. degjjhu II, 14 3. (bhraMza, acc. Hem. IV, I77 ). bujjhAvia-bodhita VI, 7, 6. phukara-phUt ka rivi V, 17, Io. *bullAviya-uktA I, 15, 6; (bola-kath Hom. phuTa-sphuTa dRti III, 15, 6. IV, 2). phubu-sphuTam II, I3, 9. ( spaTam Hem. buhamaMgalaeva-budha+maMgaladeva, pu. X, 28, 3. IV, 258). buhayaNa-budhajana I, I, 7. phura-skur i IX, 7, 3; degrata IV, I0, 6. bUDhau-vRddhaH IX, 5, 4 ( H. bUDhA). phuria-sphurita X, 2, 7. *bola-tumula II, 3, I; ( D. VI, 90) phuliMga-sphuliMga IV, I4, 2. "bolla-kathaya degi II, 5, I; degllivi IV, I2, 6; phaikarata-ke (phikkI harisammi D, VI, 83) iti laMta X, 21, 8; ( Hem. IV, 2.) zabdaM kurvat I, I7, 6. bohi-bodhi IX, 16, 9. pheDa-skiTa (hiMsAyAm ) deghiM V, 5, 9; Divi bohitha-vahitra (pravahaNa) VIII, 12, 3. X, 27, 9. degDiya V, 5, 7;DehuM IV, 13, 7. (D. VI, 96). pheMphari-phalavizeSa IX, 21, 5. *phera-cAraNa ( taking on a round) VIII, 9, 3. ( H pherA ). bhaa-bhUna III, 8, 10. bhaa-bhaya III, I2, 12. bhaiya-bhUtA IV, II, 3. baula-bakula I, 14, 6. bhauhAvali-bhrUdeg I, 16, 12. bamha-brahman X, 8, 9. bhagga-bhanna ( Also used as a term of bamhaNa-brAhmaNa X, 21, 4. ___abuse) II, I, I0. barahiNi-bahiNI II, 15, 2. bhaja-bhAryA VI, 12, 8. 220 -

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bhanna zabdakozaH [ ma bhaja-bhaJja jaMti III, 15, 4. bhAva-bhAi I, 14, 9. bhaTTa-bhraSTa II, 13,7. bhAvaDU-bhAvAya. III, 8, 6. bhaDa-bhaTa III, I5. II. bhAvia-bhAvita VI, 15, 1I. bhaDAraa-bhadhAraka VI, 3,3. bhAvija-bhAvaya karmaNi ) VI, 3, 4. bhaDArA-bhaTTAraka III, 22, 2. bhAsia-bhASita VII, 6, 2. bhaDAria-bhaTTArikA I, II, I0. bhiMga-bhRGga VII, I3,4. bhaDAvalea-bhaTa+avalepa (garva) III, II, T. *bhiDia-AkrAnta III, 15, 3 (H. M.G. bhaNiya-bhaNita II, I, 12. bhiDanA to enter into a close combat). bhatta-bhakta III, I4, 4. bhiMtara-abhyantara IX, II, 9. bhatti-bhakti IV, IO, I. bhiMda-bhid divi IV, 9, 5. bhada-bhadra IV, I7, 7. bhIya-bhIta III, 19, I. bhaddavaa-bhAdrapada (mAsa)X, 26, 6. bhIyaMkara-bhItikara III. I. I. bhamaNa-bhramaNa X, I3, 3. bhIsANaNa-bhISaNa+anana X, 14, 7. bhamara-bhramara I, 16, II. bhIsAvaNa-bhISaNa X, I+, I. bhamADai-bhrAmayati X, 26, 22. bhua-bhuja III, 16, +. bhamADia-bhrAmita X, IO, I. bhuaMga-bhunaMga II, 20, 3. bhayavai-bhagavatI VII, 14, 7. bhukkha a-bubhukSita VII, I, 6 ( H. bhUkhA ). bhayavaMta-bhagavat V, 6, 5. bhukkhA -bubhukSA II, 16, 5 ( H. bhUkha ). bharaha-bharata I, 3, 3. bhutta-bhukta V, 10, 5. bharahesara-bharatezvara IV, 4, TO. bhuya-bhuja II, I2, Io. bharia-bhRta I, 2, 3. bhuvalayA-bhuja+latA I, 16, 8. bhallaa-bhalaka I, 17,7. bhuvaMgama-bhujaGgama I, I, 5. bhavaMtara-bhavAntara VIII, 20 2. bhuMbhukai-onomatop. IV, 14,4. bhavitti-bhavitrI X, 26, 9. bhU-5 IX,6,7. bhaviya-bhavya I, I, 4. bhUyathANa-bhUna+sthAna I, 17,3. bhaviyaNa-bhavyajana IV, I0, 7. bhUvalaa-bhU+valaya II, I8, IO. bhava-bhavya IV, I4,7. bhUvAla-bhUpAla X, 29, 5. bhAa-bhAva VI, 7, 6. bheya-bheda V, II, 9. bhAiya-bhrAtR IV, 3, Io. bhesaha-bheSaja VI, 3,7. bhAmari-bhrami X, 19, 2. ( H. bhAMvara ). bhoa-bhoga VI, 2, 2. bhAa-bhAva IX, 4, 6. bhoja-bhojya VI, 6, 2. bhAya-bhrAtR III, 5, 2. bhoma-bhUmi IX, I7, 7. bhAyaNa-bhAjana X, 2,5. bhoyaNa-bhojana V, I0, 2. bhAyara-bhrAtR V, 2, 2. bhoyadhara-bhoga+dharA (bhUmiH) III, IO, IO. bhAraha-bhArata (kSetra) V, I, 5. bhAriya-bRhat IV, I7, 5. ( H. bhArI), bhAlayala-tala I, 16, 13. maa-mada III, 18, II.

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mai ] mai-mati V, 17, 7. mauDa-mukuTa VI, 8, 5 ( Hem. 1, 107 ). mauDagga-mukuTA VIII, 18, 13. mauliya - mukulita III, 4, 13 ( Hem. I, 107 ) makkaDa - markaTa IX, 13, 6. magga-mArgay degmi VII, 14, 6; `ggi VII, 13, 10; degevi X, 20, 6. magga - mArga I, 15, 3. maggaNa - mArgaNA ( tech. term of Jain philosophy ) IX, 167. maccaloa - martyaloka IX, 4, 7. maccha - matsya VII, 9, 2. macchara-matsara III, 17, 1. majja - madya X, 8, 3. majAra - mArjAra III, 2, 7. majiya - mArjita III, 19, 3. majjha - madhya II, 20, 8. majjhaNNa-madhyAnha IX, 20, 14. maDha - ma3 X, 18, 9. maNa-manas I, I, 5. maNamAra - manmatha II, I. ve - manovega, pu. VI, II, 4. maNahara - manohara J, 16, 5. maNia-mAnita V, 13, 2.. maNuva - manuja VI, 4, 2. maNoja - manojJa III, 6, 4. maNoraha - manoratha II, 14, 12. maNohirAma - manobhirAma II, 16, 3. maNNaNija - mAnanIya VI, 6, 3, maNNaNIa - mAnanIya VIII, 4, 2. maNia-mAnita II, 8, 11 arisarta matthaa - mastaka II, 1, 8. maddaa - mArdava IX, 1, 6. maddala-mardala (vAdyavizeSa ) II, 20, 2. mayagala - madagala (gaja ) II, 19, 9. macchi - mRgAkSI VIII, 14, 6. mayaNa - madana I, 10, 1. Shree Sudharmaswami Gyanbhandar-Umara, Surat mayaNayaNa - mRga + nayana III, 2, 10. mayaNAvali - madanI strI III, 5, 10 mayarake u-makaraketu VII, 7, 1. mayarahara - makaragRha (samudra) I, 16, 6. mayAri - madAri V, 6, 6. mayovara mRta+udara I, 17, 6. mara- mRi VI, 7, 8; 'uM 1, 10, 10; 'mi VI, 8, 10;'huM V, 9, 5. `rivi V, 10, 8; rehu I, 13, 3 malaya - mudita VIII, 18, 12 ( Hem. IV, 126). masAja - zmazAna I, 17, 10. mahagya - mahArgha I, 16, 13, mahaNa - mathana V, 13, 10. mahaNIla - mahAnIla pu. V, 2, 3. mahaNNava - mahArNava IX, 17, 4. maharisi - maharSi X, 25, 10 mahala - mahat+la ( svArthe ) III, 2, 9 ( D. IV, 143 ). mahavvaya - mahAvrata IX, 15, 9. mahusUyaNa - madhusUdana pu. VI, 4, 9. mahaMta - mahat II, 15, 8. mahAyaNa-mahAjana X, 9, 6 [ maMgala eva mahAraa-mama III, 19, 9 ( H. hamArA by varNa vyatyaya ) mahia - mahita ( pUjita ) V, 10, 1. mahiyala - mahItala I, 3, 12 mahila - mahilA 1, 3, 5. mahisi - mahipI X, 2, I. mahihara - mahIdhara II, 1, 4. mahu - madhu IX 4, 8. mahuyara - madhukara X, 29, 10. mahura - madhura I 2, 2 mahurAura - mathurApurI VI, 4, 8. mahesa - maheza II, 2,7. mahovahi - mahodadhi I, I, 4. maMgalaeva - "deva, pu. I, 2, 1. 222 -- www.umaragyanbhandar.com

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maMjUsa ] maMjUsa - maMjUSA V, 88. maMDa- maNDU eva III, 15, 11 ( II mAMDakara ) ( Pai. 487. bala maMDamarda ( 3 ) II, 11, 1 fa.) maMDaa - maNDapa VII 7, 10. maMDia - maNDita III, 22, 8. maMta-mantra I, I, 5. maMti-mantrin II, 12, 7. maMdarAa - mandarAga IV, 11, 7. maMsa - mAMsa - I, 17, 6. mAa - mAtR III, 19. 7. mANika - mANikya VIII, 8, 10 mANiNi - mAninI I, 10, 1. mANiya-mAnita VIII, S, 4. mANivi - mAnavI VI, 14, 1 mANuNNa imAna + unnati VI, 5, 5. mANusa - mAnuSa I, 17, 9. mAma - mAtula II, 10, 10 ( H. mAmA ). mAya-mAtR III, 9, 1. mAya - mAyA IX, 24, 2 mAyaMga - mAta II, 21, 5. mAra-mAra ( madana ) II, 20, 8. mAla-mAlA III, 2, 6. mAlia - mAlin II, 5, 4 mAhappa - mAhAtmya I, 4, 9. mAhava - mAdhatra, pu. VI, 4, 9. mi-api V, 7, 4. miu-mRdu V, 18, 1. micchaa - mithyAtva IX, 21, 2. micchatta - mithyAtva IX, 12, 3. mitta - mitra II, 8, 1. milAviya - melApita II, 20, 1. miliya - milita IV. 8, 8. mI - mIna IV, 7, 4. mIsiya- mizrita I, 12, 6. mua - mukta III, 12, 12. mua - mudeg i IX, 3, 12, zabdakoza: Shree Sudharmaswami Gyanbhandar-Umara, Surat [ moNavaa muamuca 3 IX, 5, 8; hi IV, 16, 7; "aMti I, 3 9; ivi VII, 1, 6. mua - mRta III, 21, 3. muiya - mRtA X, 22, 10. mukka-mukta III, 17, 1. muccha - mUrcchA III, 17, 7. mujjha muhU hi III, 21, 5. muNa- muN ( pratijJAne) i VII, 14, 3; hiM II, 13, 8 nivi III, 5, 2. muNAla - mRNAla VII, 2, 8. maNi - muni (mata ) III, 5, 1. mudi-munIndra II, 4, 8. muNIsara - munIzvara II, 5, 1. muttAhala - muktAphala III, 3, 4. muddha - mugdha III, 2, 3. muya -mRta VI, 5, 6. muraya - muraja (vAdya vizeSa ) II, 9. 8. * musumUra - bhaj 'ma IV, 17, 3. ( Hem. IV, 106 ) muha - mukha I, 16, 14. 223 muhala - mukhara X, 17, 9. muhavaDa - mukha+paTa III, 8, 7 meNi medinI I, 3, I0. - maiM ( hastipaka) IV, 2, 7 meta mAtra III, II, I. meti - maitrI IX, 6, 8. * mera - maryAdA IX, 24, 6 (D. VI, 113 ). meraa - mama VI, 11, 6 (H. merA ) * mela 'la- muc deg3 II, 19, 1. ( Hem. IV, 91 ). laMta III, 14, 3; livi II, 19, 2. meha M-megha N I, 12, 7. mehala-mekhalA VII, 13, 5. mokkala - mucdeglai I, 12, 7; degli X, 23, 6; deglevi X, 2, 1. mokalaa - mukta IV, 17, 10. moDaNa - meTana (bhajana) III, 7, 7. moNavaa - mauna+vata VI, 3, 9. - www.umaragyanbhandar.com

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mottiya ] karakaMDacariu [ risiMda mottiya-mauktika VII, 7, I0. mora-mayUra II, 15, 5. morulla-mayUra+ulla (svAyeM ) II, 15, I0. molla-mUlya II, 17, 3. mohiya mohita III, 17,7. ya-ca I, 15, 3. raa-rakha II, I9, 6. raa-rata V,7,3. raha-rati II, 19, 3. raivi-racayitvA VIII, 12, 7. ravinbhama-rativibhramA, strI, VI, 12, 10. raiveya-rativegA, strI VII, 7, 5. raudda-raud III, I8, 5. rakSa -rakS hu~ V, 18, 2. rakkha -rakSas II, II, 2. rakkhavAla-rakSApAla I, 15, 3. rakkhasa-rakSas I, I7, 6. rakkhasi-rAkSasI II, II, I. rakkhiya-rakSita 1, 3, 8. raja-rAjya I, I3,4 rajuya-rajju+ka IX, 15, I. raNajhaNaMti-onomatop. IX, 2. 4. raNaraNaa-raNaraNaka (cintA) III, 6, II; (H. raDhanA). raNaMta-raNat III, 3, 5. raNa-araNya VII, I, II; (Hem I, 66.) rasa-raka I, 17, 6. rattattaNa-raka+tva I, 16, Io. rattaMdaNa-rakta+candana VII, 12, 6. rattaMvara-raka+sambara X, 9.5. ratti-rAtri X, II, 9. rattiya-raktA II, 2, 9. rattuppala-rakta+utpala I, 4, 8. ramma- ramya IV,4, 2. rammamANa-ramamANa II, 2, I0. raya-rajas III, I2, 3. rayaa-racita VIII, 7, 6. rayaNa-ratna 1, 2, 2. rayaNamaa-ratna+maya IV, I7, 9. rayaNaleha-ratnalekhA, strI, VIII, I0, 5. rayaNAyara-ratnAkara I, 3, 4. rayaNAvali-ratnAvalI, strI, VII, 16, +. rayaNi-rajani IX, 7, I. ralhA-pu. X, 29, 13. ravaNNa-ramya I, 3, 5. rasAla-rasa+Ala ( matvarthe ) III, 8, 5. raha-ratha I, 5, I. rahaNeura-rathanUpura, na. 1, 2, I. rahasa-rabhasa III, 2, 2. rahiya-rahita I, 1, 6. raMgamANa-raMgat (ragi-gato ) VII, 9, 7. (H. reMganA to crawl or go slowly ) raMjiya-rakta III, 3, I. rAya-rAjan I, 13, 8. rAya-rAga I, I7, 2. rAula-rAja+kula III, 3, 2. rANa-rAjan I, I3, 6. rANiya-rAjJI I, 13, 2. rAyautta-rAjaputra VII, I, 9. rAyahaMsa-rAjahaMsa I, I,7. rAsahi-rAsabhI IV, 2, 7. rAhava-rAghava VII, 3, I. rAhula-pu. X, 29, 13. riNa-RNa II, 18, 2. riddhi-Rddhi VI, 4, II. risi-RSi VI, 12, 5. risiMda-RSIndra VI, I, 9. - 224 -

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riMgira ] zabdakozaH [ lulAviya riMgira-raMga+ira (tAcchIlye) I, I7, 9 (rigai pravizati gacchati vA Hem. IV, 259; rigiyaM bhamaNaM D. VII, 203). rukkha-vRkSa I, 13, 7 (Hem II, I27). ruca-ruc i VI, 11, 10. ruTTha-ruSTa II, I5, 8. ruva-rud deg3 IX, 4, 4; 'raMta V, I5, 7. ruhira-rudhira III, 15,8. ruMjaMti-svanti IV, 5, 2 (Hem. IV, 57 ). ruMbhiya-ddha IV, I0, 6 (Hom. IV, 245). rU va-rUpa I, I0, 8. rUsa-ruS 'mi IV, I7, 2; deghi III, 12, 10; degsevi II, 4, 2. reha-rekhA VII, 16, 2. 'reha-rAj i I, 3, 10 ( Hem. IV, IOD ) romaMca-romAJca III, 14, 7. roya-roga IV, I3, 3. 'rola-kalarava II, 3, I; VII, 13, 5; (D. ___VII, I5). rova-rud degi V, 16, 1; hi II, I, I3; degvaMta ___V, 19, 2. rosa-roSa III, I8, 2. rosiya-ruSTa, I, I7, I. lacchi -lakSmI VI, 2, 1. laja-lanA V, 16, 8. laTThi-yaSTi I, 16, 12. ( Hem. I, 247) 'laDaha- ramya I, I, 6; II, I4, I. (also vidagdha; D VII, 17). laDDu-( tatsama ) II, 7, I. laddha-labdha V, I7, 2. laya-latA I, I4, 6. layaa-lAta (gRhIta) VI, 6, 7. layaNa-layana (guhAmaMdira) [V, 4, 3. lalaMti-(lala vilAse) VIII, 18, I0. lalia-lalita I, 2, 2. *lalli-saspRhaM nyUnaM ca ( D. VII, 26) VIII, ___7, 8. lava-lap i III, II, IO. lavaNaNNava-lavaNArNava I, 3, 2. laviya-lapita VII, II, 17. labha-lam ( karmaNi) deg3 II, I3, I. laha-labha i II, I7, 8. lahari-(tatsama) VIII, 12, 8. lahu-laghu II, 8, I, laMkasara-lakezvara IV, II, I. laMchia-lAJchita I, 3, I. laMpaDa-lampaTa VIII, 15, 5. laMbha-lAbha III, 3, I. lAyaNNa-lAvaNya II, 12, 2. litta-lipta I, 5, 8. liha-likha haMti IX, I, 6. lihAviya-likhApitaM III, 7, 5. lihiya-likhita I, 16, 7. liMta-lAt (gaNhata ) IX, 5, 8. lINa-lIna IV, I0, 8. lIla-lIlA II, 12, 10. lIlAvaha-tI, strI VI, 13, 3. luddha-lubdha I, I4, 8. lulAviya-lolAyita II, 20, 4. la-lA (graha) i II, 6,53; degeviNu II, I, 9. lai-Interjection I, II, I0; I, I5, 73 ___ III, IO, 2 ( H. le). laiya-lAta (gRhIta) II, 6, I0. lauDa-lakuTa X, 19, 9. lakkha -lakSa I, I7, 7. lakSa Na-lakSaNa I, 17, II. lakkhArasa-lAkSA III, 2, 4. lakkhiaya- lakSita VIII, 2, I. lagga-lagna I, 16, 13. laggi-lagne ( arthe ) I, I3, 3. ( H liye ) - 225 -

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lariya ]. karakaMDacariu [ varAiya *lUriya-lUna VII, I0, 8 (china, Hem. vaja-vajra IX, I9, 4. ____IV, I24). vajaNa-varjana V, 12, 2. lesa-leza IX, 20, 21. *vajara-kathaya degF IX, 12, 4. ( Hem. loa-loka II, 12, 6. ___ IV, 2). loTTaNa-loTana II, 9, 6. vaTTa-vRn i I, IO, I0. loyacAra-lokacAra III, 8, II. vaDa-vaTa ]X, 21, 4. loyaNa-locana II, 1, 6. vaDaNa-patana IV, I4, 2. loyANuvekkha-loka+aprakSA IX, 15, 9. vaDDaya-baTuka VII, 3, 9. lolira-lul+ira (tAcchIlyaM ) I, 17, 8. vaDa-mahat ( vRddha ) X, 3, 5. ( D. VII, 29. loha-lobha II, 9, I0. H. bar3A ). lohia lohita (rakta.) I, 17, 5. vaDDa-vRdh i II, 7.4. 'lhika-ni+lI kivi II, 15, + V, I5, 9; vana-vRddha X, 3, 5. (Hem. IV., 55. H. ghar to hide ). vaDia-vadhita III, 13, Io. vaNaNiha-vraNa+nibha IX, II, 5. vaNavAla-vanapAla I, I4, 5. vaNasiri-vanazrI I, 14, 8. vaa-vrata II, 6, I0. vaNi-vaNik II, I0, 5. vayara-vyatikara (vRttAnta) II, 15, 7, vaNNa-varNa I, 4, 5. vahara-vaira VI, 4, 4. vaNNa-varNaya 'mi I, 16, 8, 'hu~ VII, 16, 1. ghaharAya-vairAgya X, 28, 2. vatta-vRtta I, 6, 6. vairi-vairin II, 19, 4. vattha-vastra III, 9, 6. vaivasa-vaivasvata (yama) VII, 9. vaddhAvaNa-vardhApana III, 22, 6 vaisara-vi+tri i IX, 7, 3. (congratulation). vahasAriya-pravezita II, 21, I0. *vamAla-tumula III, 3, 5. ( D. VI, 90). vasAha-vaizAkha III, I9, 2. vasmaya-varma+ka VII, I0, 8. (An attitude in shooting). vammaha-manmatha I, 14,9 ( Hem. I, 242; vaga-baka V, I0, 9. ____II,61.) ghagga-valg gati III, I5, 5. vaya-vrata III, 20, 9. vagga-varga X, 16, I. vayaNa-vadana I, 3,6. vagghi-vyAghrI X, 20, I0. vayaNa-vacana I, I5, 8. vaJca-vraj deg3 II, 21, 6; (Hem. IV, 225) paccharAa-vatsarAja, pu. VI, I, 4. vayaNucchava-vacanotsava VII, 4. I. vayaNulla-vacana+ulla (svArthe ) VIII, 13, 9. vacchala-vatsala III vayara-vaira VI, 4, 3, vacchAyaNa-vAtsAyana (kAmasUtrakartA ) II, 9, 3. vacchAvayaMsa-vatsa+avataMsa VI, I, 3. vayavaMta-vrata+vat .IX, 22, I, vana-vAya III, 15, 2, vayahala-vrata+phala X, 27, I0. vaja-vAday (karmaNi) degi II, IO, IO. varAiya-varAkI VII, II, I5. - 226 -

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varAya ] baandhaay' [ vijAhima varAya-varAka II, II, 2. vAmia-valmIka VI, 4, 5: ( H. vAmI ) varAyaa-vRta VII, II, Io. vAya-vAk 1,6, 2. vari-varam VI, 5, 6. vAya-vAta IV, 9,7. varisaNa-varSaNa X, 29, 9. vAyaa-vAta+ka I 17, 8. varisaMta-varSat I, I0, 8. vAyaraNa-vyAkaraNa I, 2, 5. varisAula-varSAkula IX, 14, 3. vAyavala-vAta+valaya IX, I5, 6. valia-valita ( parAvRta) V, 17, 9. vAyAhaya-vAta+Ahata III,6, 6. valittaa-vali+traya I, 9, 6. vAra-dvAra III, 2, 2. vallaha-vallabha V, 3, I0. vAriya-vArita I, I, 8. vavahara-vyavaha i II, I8, Io. vAvara-vyApR rati III, I7,4. rei IX, 13,2. vavahAra-vyavahAra X, 29, 7. vAvala-vyApRta VII, I, 12.( Hem. I, 2063; vasa-vasA IX, II, 8. ___D. VII, 54 com. H. vAvalA ). vasaNa-vyasana IX, 21, 9. vAvIsa-dvAviMzat V, I0, 3. vasia-uSita X, I8, 9. 'vAsI-kardama iti TippaNam S.kuDhAru J.X,27,6. vasiyaraNa-vazIkaraNa II, 9, 4. vAha-vASpa VI, I, 12. vahu-vadhu X, I4, II. vAhi-jaDhA I, 13, 6. vaMkuDa-vakra I, 2, 4. (Var.IV, 15; Hem. vAhi-vyAdhi IX, 5, 4. IV,418 ex.) vi-api I, 7,5. vaMkuDiya-vakrita III, 13, 6. vi-dvi III, 8,7. vaMcaNa-vaJcanA IX, I3, 4. vidaNNa-vitIrNa VIII, 13, 6. vaMchia-vAJchita I, 2, II. viula-vipula VI, 16, 7. vaMdaNa-vandana V, 4, 4. viusagga-vyutsarga X,26, 18(Hem.II,174). vaMdaNahAtti-vandana+bhakti V, 8, I. vioa-viyoga VI, I, II. vaMdaNija-vandanIya IV, 8, I. vigaya-vigata V, I7, 3. vaMdIyaNa-vandIjana III, I3, 3. viggaha-vigraha VII, 7, I. vaMsa-vaMza III, 4, I. vicitta-vicitra I, I4, 4. vAa-vAk II, 6, I. *vicchoya-vikSobha (viraha) X, I, 4. (vicchoha vAia-vAdika II, II, 6. D. VII, 62). vAiUNa-vAdayitvA I, I2, 2. vijayaddha-vijayArdha, pa. II, 2, I. vAiya-vAcita I, 7,7. vijavAla-vijayapAla, pu. X, 29, 2. vAiya-vAdita III, 8, 5. vija-vidyA II, 4, 2. vAu-vAyu I, I2, 6. vijANAha-vidyAnAtha II, 6, I. vAula-vyAkula IX, 3, 8. (H. bAvalA). vijANiyara-vidyA+nikara II, 2, 6. vAuvea-vAyuvega, pu. V, I, 3. vAesari-vAgIzvarI I, 2, 9. vijAvaMta-vidyAvat II, 13, I. vADaa-vATaka VIII, 8, 3. (H. vAr3A) vijAhara-vidyAdhara V, 18, 6. vANi-vANI V,6,3. vijAhia-vidyAdhipa II, II, 4. - 227 -

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vijijamANa ] karakaMDacariu [ visahara vijijamANa-vIjyamAna III, I, 5. vipphuraMta-vi+sphurat I, 3, 3. viju-vidyut VIII, 17, II. vipphuria-vi+skurita III, 16, 9. vijuppaha-vidyutprabhA, na. II, 2, 5; 'bha, pu. vibuha-vivudha X, 28, 6. II, 2, 6. vibhama-vibhrama IX, II, 2. vijalavaMta-vidyut+mat V, 7, 6. vibhatti-vibhakti X, 14, 4. viTi-vRSTi IV, 9, 6. viyakkhaNa-vicakSaNa VII, II, I2. viTTha-viSNu VII, 7,3. viyappia-vikAlpata I, I4, 12. viDaa-viTapa II, 7, 9. viyaraMta-vicarat II, 19, 4. viDavi-viTapin IX, 19, 5. viyasiya-vikasita IV, 7, 6. viDaMbia-viDaMbita II, 9, 10, viyaMbhia-vijRmbhita I, 14, I0. viNaa-vinaya I, 2, I0. viyANa-vi+jJA degNevi VIII, 15, IO. viDiya-vi+vaJcita I, 6, 3. (see NaDiya). viyAra-vicAra (vRttAnta ) III, 5, 5. viNAmiya-vi+nAmita VI, 6, I. viyAra-vicAra V, 6, 7. viNAsa-vinAza I, I, I. viyAra-vi+dAra rivi IV, 5, I. viNAsayara-vinAzakara IX, I8, 9. viyAla-vikAla (anta ) II, 8, 5. viNiggaa-vinirgata II, 20, 3. virai-virati IX, 6, 4 viNimmia-vinirmita II, 2, 3. viraiya-viracita II, 9, 3. viNIa-vinIta VIII, 4, 2. viratta-virakta VI, 9, 5. viNIsarIya-viniHsRtA IV, 15, I. virama-virAma IX, 22, 9 viNu-vinA III, II, I. virahaggi-viraha+agni III, 7, 2. viNNaDia-(see viNahiya) II, 16, 5. virAa-virAga IV, I2, 8. vireia-virecita II, 20, 9. viNNi -dvi II, I2, I (Hem. III, I20). viNhu-viSNu VII, 9, 3 ( Hem. II, 75). vilakkhI-pilakSI VI, 12, 6. vitta-vitta II, 12, 8. vilaya-(tatsama) I, I, 2. vitta-vRta VII, 4, I0. vilitta-vilipta II, 7, 7. vivajia-vivarjita IX, IO, I0. vitti-vRtti III, 2, 5. vivaNammaNa-vivarNa+magAH VI, 12, I. vitthaDa-vistara ( vistIrNa) VIII, 2, +, vivarIa-viparIta II, I3. 3. vittharia-vistRta VII, 5, II. vivarIsara-vi+pari+sai V, 7, 6. vitthAriya-vistArita VI, I, 9. viviha-vividha IV, 7, 6. vitthiNNa-vistIrNa I, 3, 3. visaja-vi+pRj degF IX, 23, 8. vidamaNa-vi+damana IX, 18, 5. visajia-visarjita VII, 8, 7. vidANiya-vidIrNa I, I0, 3. visaNNa-viSaNNa II, 3, 4. vidAvaNa-vidrAvaNa II, I9, 4. visamiya-viSamita X, 14, 4. vipAa-vipAka X, 12, 8. visaya-viSaya IX, 18, I. vippa-vipra II, I0, 4. visayAsatta-viSayAsakta IX, 4, I0. vipphAra-visphAra deg2vi X, 8, 2, visahara-viSadhara V, I8, 2. - 228 -

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visAa ] zabdakozaH [ sagga visAa-viSAda V, I9, 2. veDhia, ya-vaiTita I, 3, 2. visAla-vizAla II, 5, 7. veya-veda II, 9, 5. visiTTa-viziSTa 1, 15, Io. veyaDa-vedyartha or vaitAvya, pa VI, II, 4: X, I, 7. visutta-vi+supta VIII, 4,8 veyamai-vegavatI strI. VI, 16, 3. visuddha-vizuddha I, I4, 8. vela-velA IX, 23, 6. vihaGa-vi+ghaTa i III, 8, 10. *cellahala-kamala, vilAsin VII, 2, 8 *vihaDapphaDa-vihvala III, 2, 2; VIII, (D. VII, 96, vella -ram Hem. IV, ___15, 9. ( Hem. II, I74). ____168) viharaMta-viharat X, 24, I0. "vellaMta-vyAvulIbhavat V, II, I4. ( Hem. "vihalaMghala-vihvala III, 2, 8; III, 6, 58 ___ vella-ram IV, 168, does not suit VI, I, 12; X, 8, 3. here. H. velanA to roll in pain) vihaMja-vi+bhaJ jeSi, VIII, 17, +. velli-velA VIII, 7, 8. (Hem. I, 58). vihA-vi+bhA degi I, 16, 12. vevAhiya-vivAhita VI, 16, 3. vihANa-vidhAna VIII, I7, 8. vevira-vec+ira (zIle) V, I2,3; X, 13, 13. vihi-vidhi I, 2, 2. vesa-vezyA VIII, 13, 3. vihiba-vihita I, 16, 5. vesa-vepa IX,3,8. vihuNa-vi+dhui X, 7, 4. vva-vat (iva ) I, 3, 4. ( Hem. II, 150 ). vihara-vidhura II, I3, 3. vijjha-vindhya, pa. I, I2, 8; JI, 2, II. vibhia-vismita III, 4, 12. (Hem II,74). vIya-dvitIya IX, 22, 5. vIyarAa-vItarAga IV, 5, 8. sa-sva VIII, I9, 5. vIyavaMta-vIryavat VII, 12, 8. saa-zata VIII, 3, 2. vIsama-vi+zram degi I, I4, 3; hiM II, I0, 9. sai-satI I, II, I. saI-svayam II, 5, 9. vIsAmaa-vibhramita VI, 9, 3. vIsara-vi+smRi IX, 4, 5. sauNa-zakuna I, 8, 9. vIsaria-vismRta II, I, 3. sauNNa-sapuNya VIII, 2, 4 ( utrata , di.) vAhiya-vIkSita I, I3, 2. sauNha-sa+uSNa III, +, II. vIhiya-vibhIta X,7,8. sakaMThI- (tatsama)X, 21, 3. vukkaraMti-buk iti zabda+kurvanti IV, 5, 3. sakittaNa-svakIrtana X, 28, 10 vuccai-ucyate VIII, 6, 3. saka-zakta IX, 6, 7. bUDhamANa-vi+uhyamAna X, I3, 2. saka-zaka i VII, 16, I; hi III, 7, I; vutta-ukta I, I3, 2. _ 'hiM VI, 4, 5. ve-dvi II, II, 9. sakara-zarkarA II, 7, I. vebha-vega V, II, 5. sakiya-zakta IX, 8, 3. vei-vedi VII, 7, 1I. sagoura-sa+gopUra I, I0,9. vegavai-vegavatI, strI, VI, I++. sagga svarga X, 22, 6. -229 -

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sagamaa ] karakaMDacariu [ sayaMbhu saggamaa-sa+gamaka IX, 19, II. samacciya-samarthita VIII, 9, II. saggiNI-sargiNI or stragviNI III, 14, 8; samaNiyara-sannikaTa II, 6,7. VIII, 2, 8. samaNirayA-zama+niratA II, 6, 8. saceyaNa-sa+cetana VI, 15, 3. samatta-samyaktva IX. 13, I. saJca-satya VII, 14, 7. samattha-samartha IV, I7, I. sacalacchIpura-satyalakSmI VII, 5, 2. samappia-samarpita II. I5, 8. saccha-svaccha VII, I0, 9. samarINa-zrAnta VIII, 9,7. sanjaya-sajjA VIII, 5,5. samalahIya-saMvAhita (lepita) VII, 12, 6. sanjiya-sajjita III, I4, 2. samAgaya-gata VII, I3, I. sajjhAa-svAdhyAya IX, 20, 7. samANiyA-nikA VIII, 5, 12, saTi-SaSTi IV, 17, 7. samAyaa-gata IV, 6, 4. saNarAla-sa+nAlIka (3) IV, I3, 9. samAyara-car i V, I0, 9. saNAha-sanAtha II, I4,6. samAva-sam+Apa i IX, I4, II. saNiddha-snigdha VIII, I4, 7. samAsiya-sita IX, 22, 2. saNeura-sa+nUpura VII, I3, 5. (VarI,26). samAhigutta-samAdhigupta, pu. II, 6, 9. saNeha-sanaha II, I7, 6. samicchia-samiTa I, I, 12. saNNajjha-sam+naha i III, 12, I. samiddha-samRddha II, 2, 5. saNNaya-sannata IV, IO, I. samIu-samIpam X, 4, I. saNNANa-sadjJAna VI, IO, I. samujala-samujvala IV, I7, 9. saNNAsa-sanyAsa V, I2, 9. samuTTia-samutthita II, 7, 9. saNNAha-sannAha III, I4, 7. samuNNai-samunnati II, 20, 6. saNNiha-sannibha IX, 10, 4. samudda-samud I, 2, 8. saNha-sUkSma X, I7, 2. ( Hem. I, II8) *samubhiDiya-sam+AkrAnta VIII, I5, IO satta-sapta III, 8, 8. (see bhiDia) sattama-saptama X, 16, 4. samuha-sanmukha V. 17, IO. satti-zakti II, 9, 5. samoDia-sam+moTita (muTa AkSepamardanabandhaneSu) sattha-zAstra VIII, 8,4. VIII, 7, 10. saha-zabda III, I8, 5. sammai sanmati, pu. II, 8, 4. sadaha-zraddhA IX, 21, 3. sammatta-samyaktva V, 4, 3. sahaMta-zabdaM kurvat II, II, 5. sammANia-sanmAnita II, I0, 8. sadasaNa-samyak+darzana X, 25, 7. sammuha-sanmukha II, 5, I. sapotthaya-sa+pustaka VII, I3,4. saya-zata I, I, 9. sappa-sarpa IV, 9, 2. saya-sva or zata VI, 8, 8. sambhAva-sadbhAva X, 9, I. sayaNa-svajana IX,6,8. samakkha-samakSa II, I2, 5. sayameva-svayameva II, I3, 2. samagga-samagra II, 20, 6. sayala-sakala I, I4, 6. samaggala-samagra+la II, 7, 7; VII, 16, 10. sayaMbhu-svayambha, pu. I, 2, 9. - 230 -

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sayA / haattiiy' [ saMcaDia sayA-sadA X, 15, 9. savaNa-zakuni VII, 5, 10. sayANa-sajJAna II, 5,9 (H. sayAnA, M.zAhANA). savaNa-zakuna VII, 2, 3. sara-saras I, I4, I. savahaNAI-zapatha+Adi III, 8, 9 (Var. II, sara-zara III, 12, 12. ___15, 27). sara-svara I, I4, 8. savivAya-savipAka IX, I4, I. sara-smR hi II, I0, 2. samva-sarva II 6, 3. sara-sai II, 21, 6; degu VII, II, 15, savvattha-sarvArya X, 27, I0. sara-smara mi I, I, 2. savvaMga-sarvAGga II, 6. 3. saraNa-zaraNa IV, 5, Io. savvAyara-sarvAdara IX, 20, 9. saramaMjUsa-smaramaMjUSA, strI VI, 14, 5. sasahara-zazadhara II, 7,4. saraya-zarad II, I7, +. sasi-zazin I, 16, I. sararuha saroruha X, 3, I. sasura-zvazura II, 10, 7. saralima-saraliman I, 16, 7. 'saha-rAj deg3 I, 16, 13 ( Hem. IV,10). saravara-sarovara I, I, 7. sahajAya-saha+jAta VI, 2, 6. sarAya sarAga IV, I6, 2. sahayara-sahacara II, I3, I0. sarAsai-sarasvatI I, 2, I. sahala-saphala III, 9, 5. sariya-sRta I, 16, I. sahasa-sahasra I, 3, 2. sarisa-sadRza III, 22, I. sahasatti-sahasA III, 16, 5. sarIra-zarIra I, 16, 2 sahA-svabhAva I, 15, 2. sarUva-svarUpa I, II, 7. sahAa-sahAya V, 18, 7. saroya-saroja I, 3, I0. sahAsa-sahastra IV, 4, 3. sarosa-sa+roSa II, 3,3. sahia-sahita VII, 7, 3. salamakhaNa-salakSaNa III, 4, Io. sahiya-sakhin III, 6, I. *salavala-onomatopdeglaMta IX, 23, I0; sahu~-saha I, I0, 9. X, 23, I0; deglaMti I, 4, 4; lia III, sahoyara-sahodara V, 7, 8. 18, 8; V, 10, 3; lei IV, I5, 5. saMka-zaMk i X, 7, 6; hu II, 21, 6. salaha-zlAghA VI, I5, I. saMkara-zaMkara IX, 17, I0. salahijamAna-lAdhyamAna III, I, 9. ( Hom. saMkAiya-zaMkAdika IX, 21, 3. __IV. 88). saMkia-zaMkita V, I5, 3. salehaNa-sallekhana (Jain form of termi saMkheva-saMkSepa III, 7, 3. Dating life by abstention from saMgahia-saMgRhIta V, IO, I. food ) VI, 6, 8; IX, 23, 8. saMgAma-saMgrAma III, I4, 8. saloNaa-sa+lAvaNya X, I, 3. saMghaDa-saMghaTa Dei X, 16, 7. salla-zalya IX, I2, 2. saMghAa-saMghAta IX, 12, I. salliya-zalyita X, 7, 3. *saMcaDia-sam+ArUDha VII, I4, 10 (Hem. savaNa-zravaNa (karNa) I, 2, 2; V, 15, 8. IV, 206, H. caDhanA) - 231 -

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saMcallibha karakaMDacariu [ sAha saMcallia-saMcalita III, 1, 5. saMbharIa---saMbhRta I, I2, 8. saMchAyaa-saM+chAdita I, II, 8. saMbhAsia-sambhASita VIII, 7, 2. saMjaNiya-saMjanita II, I4, 12. saMbhUya--sambhUna IV, 9, 6. saMjama-saMyama I, I, 7, saMmANia-sanmAnita III, I0, 4. saMjaliya-saMjvalita II, I4, 7. saMmuhiya sammukhI III, 2, 9. saMjAya-saMjAta II, I, 2. saMrakkhiya-saMrakSita VIII, 2, 2. saMjua-saMyukta I, 16, 8. saMvara-sam+ hi III, 19, 8; rei IX, 13, saMjutta-saMyukta III, 3, II. saMjoia-saMyojita VII, 8, 7. ___I; revi X, 24, I. saMjhA-sadhyA X, 9, 5. saMvaliya-saMvalita V, I9, IO. saMThiya-saMsthita III, 2, 2. saMsaa-saMzaya I, I3, 8. saMtAa-saMtApa VII, 7, 4. saMsagga-saMsarga II, 14, I, saMtADiya-saMtADita IV, 2, 6. saMsAhiya-saMsAdhita VI, 16, 6. saMti-zAnti II, I2,7. saMsa-zasya IV, 6, 6. saMtuha-saMtuSTa II, 16,7. saMsi-zaMsita VI, I, 3. saMtosa-saMtoSa II, I6, 4. saMsitta-saMsikta, II, I4, 8. saMthava-saM+sthApay hi I, II, I0;degvaMtu IX,18,3 sAa-zApa II, 4, 2. saMthuNaNa-saMstavana IV, 5, 8. ( Hem. sANurAya-sAnurAga III, 22, 6. -IV, 241 ). sAma-sAma ( veda) II, 20, I. saMthuvvamANa-saMstUyamAna III, I, 7. sAma-zAmay hi II,4,7. saMdhiya-saMhita VI, 14, 6. sAmaNNa-sAmAnya I, I5, 5. saMpai-sampatti II, 13, I. sAmAia-sAmAyika IX, 23, 2. saMpaja-sam+pad 'i II, 16, I; hiM IX, 17,5; sAmi-svAmin III, II, 5. hu~ IX, 16, 3. sAmiNi-svAminI V, 15, 5. saMpaDa-sam+pat degi I, I0, 7; degu IX, 16, 4. sAmisAla-svAmin+sAra ( zreSTha) I, 7, 4. (M. sApaDaNe). sAyara-sAgara II, 2, 2. saMpaNNa-sampanna IX, 6, 9. sAraa-sarva I, 16, 2 (H. sArA) saMpatta-samprApta II, I, II. sAraNi-(tatsama) I, 3, I0. saMpaya-sampad I, I, 9. sArahi-sArathi III, I6, 6. saMpAu-sam+pAtay i II, 7, 2.. sAria-sArita I, 16, 2. saMpIDiya-sampIDita V,8, 4. sArijua-sAri+cUta VIII, 15, 8. saMpINiya-samprIta II, I4, IO. sAli-zAli I, 3, 8. saMpuNNa-sampUrNa IV, 9, 8. sAlUra-( tatsama-frog ) VII, 4, 6. saMpesia-sampreSita IV I, 6. sAva-zApa II, 21, 3. saMboha-sam+bodhay hivi VII, II, I9. sAvatthi-zrAvastI, na. X, 6, 2. saMbhara-sam+bhR hi VIl, 16, 10. sAvaya-zrAvaka IX, 16, 2. saMbharaa-saMbhRta VI, 15, 12. (samhalanA sAsaya-zAzvata I, I, 9. to steady ). sAha-sAgham hivi IV, I. I. - 232 -

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sAhaNa ] zabdakozaH [ sumara sAhaNa-sAdhana I, II, I0. sAhAmaya zAkhAmRga IV, 5, 3. sAhukAra-sAdhukAra X, 5, 8. sia-ziva, pu. IV, 3, [. sikkhAvaya-zikSAvrata IV, I, 8. sigya-zIghra IV, 6, I. siTThI-preSThin VIII, + + simira-zibira VII, 6, 5. siya-sita I, 16, II. siya-zIta III, 12, 6. sira-sRta IV, I2, 9. sira-ziras II, 20, 9. siraruha-ziroruha I, I6, I+. siri-zrI I, 2, 9. siriseNA-zrISeNA, strI, V, 5, 2. sila-zilA IV, I2,2. silavai-zilpin IV, I3, IO. siva-ziva (mokSa) I, I, 3. siviNa-svapna X, 27, 5. ( Hem I, 46.) sisira-zizira IX, I1, 4. sisu-zizu X, 7, 2, sihara-zikhara VI, 3, 6. sihi-zikhin II, I5, 6. siMga- III, 3 3. siMcia-siJcita (sikka) IV, 3,7. siMbha-laSman IX, II, 3. siMhavAra-siMha+dvAra III, 9, IO. sIyalatta-zItalatva III, I0, 8. sIlagutta-zalagupta, pu. IX, I, I0. sIsa-zIrSa I, 17, 8, sIsa-ziSya X, 28, 3. sIha-siMha IV, 2, 5. sIhu-sIdhu (surA) IX, 21, 6. sIhovama-siMhopama III, 13, 8. sua-zruta I, 2, 5. sua-suta II, 5, 9. suaNa-sujana VII, [5, 6. su -zuka VIII, 4, 3. suaveya-suvega, (nAma) V, II, 9. suaMdha-sugaMdha I, I2, 6. suiNa-svapna VIII, 5, 14. suINa-svapna VIII, 4, 8, suutti-sUkti V, IO, 7. sukka-zukra IX, II, IO. suka-zuSka I, I0, 6. sukheyari-su+khecarI VI, 14, 4. suchaMda-suchandam VIII, 4, IO. sujaMta-su+yantra IV, IO, 5. sujhANa-su+dhyAna V, 6, 8. suTTha-sughu VII, 5, 12. suNa dhrui X, 28, 9 degNi II, I0, 4. Nivi II, 5, I. degNIUNa VIII, 4, I. suNaMdA-sunandA, strI, VI, IO, 4. suNANa-sujJAna VI 3,7. suNimmala-sunirmala V, 7, 6. sutea-mu+tejas VII, 7, I. sutta-supta IX, 7, 2. suttadhAri-sUtradhArin IV, I2, 4. suttiya-suptA I, 8, 5. sutthiya-susthita IX, 7, 7. suthunva-su+stU ( karmaNi) degi V, 6, 3. suthUla-su+sthUla IX, 22, 3. suMdasaNa-sudarzana II, I4, 4. sudittivaMta-sudIptivat I, I2, I. sududdhara-su+durdhara III, 22, 9. sudea-sudeva V, 6, 2. suddha-zuddha II, 3,8. supasaNNa-su+prasanna X, 26, 5. suppayaMDa-su+pracaNDa I, 8, 6. sumara-smRdegi III, I0, 7; "hi IX, I, 48 "raMta I, I, I2. - 233 -

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sumittA ] karakaMTacariu [ soraha sumittA--sumitrA, strI, X. 18, 4. sumottiya-su+mauktika IV, 6, 8. suya-zruta V, 2, 8. suya-suta III, 21, I. suya-zuka VIII, I2, 7. suya-svap yati I, 3, 9; hi VIII, II, IO. suyaNa-sujana I, I, 6. suyANa-sujJAna II, 3.8. surai-suti II, 9, 9. suraNAha-suranAtha V, I3. 7. surarAa-surarAja III, 18, 9. suraloa-suraloka III, 5, 6. suravai-surapati III, I, 4. surasari-sura+sarit III, 9, 4. surahara-suragRha VI, 3, 10. surAa-murAga IV, 7, I. suriMda-surendra I, I2, 5. surUva-surUpa IV, 16, 7. suresara-surezvara IV, I, I4. suroharAa-sura+ova+rAga VI, 9, I. sulakkha Na-sulakSaNa II, I4, 3. sulaliya-sulalita VII, 7, 5. suloyaNa-sulocana II, 20, 4. suva-svap iX, 6, 5. suvaNNa-suvarNa VIII, 6, 2. suvAa-suvAta VII, II, 5. suvijalayA-suvidyullatA II, 2, 7. suvea-suvega, pu. IV, 8, 2. sunvaa-suvrata, pu. II, 3, 5. susahAa-susahAya IX, 9, I. susura-zvazura II, I0, 9. susoha-su+zobha II, 9,4. susohaNa-su+zobhana II, 20, 9. susohia-su+zobhita VII, 3, 10. suha-sukha I, I, 3. suha-zubha V, 5, I. suruDa-subhaTa II, I0, 2. suhaya-subhaga IX, 9, 8. suhayara-sukhakara I!, 9, 7. rahAvaha-sukhAvaha I, 2, 2. khuhi-guhRd VIII, II, 9. suMDa zuNDA II, 20, 4. sUSa guka VI, I2, 6. saba-sUna ( mercury ) IX, 6, 6. sUrappaha-sUraprabha, pu V, 5, 2. sUla-zUla I, 17, 4. sRva-zruta III, 6, 10. sahaa-subhaga VI, 7, 2. sejjA -zayyA X, I5, I0. ( Hem. I, 573 ___II, 24. H. seja ). seThi-thrISThan VIHI, 5, 2. seDhi-zraNi II, 2, 4. saNi-Ni V, I, II. seNNa-sainya IV, I, 14. seya-zreyas X, 26, I. seya-sveda III, 19, 3. seya-zveta I, 4, +. seva-sevA II. 4, 6. sala-zaila II, 2, II. sevia-sevita I, 16, 3. sevijjamAna-sevyamAna III, I,8. sevAli-zAlmali ( taru ) VIII, 7, 7. soa-zoka III, 6, 6. sokkha-saukhya V, 12, I. sokkhavIhi-saukhya+vIthi X, 17, 3. soNiya-zoNita IX, II, Io. soNiya-zroNI I, 16, 5. sottia-zrotriya IX, 5, 9. somarAa-somarAja VIII, 4, IO. soya-zoka IV, 16, I. soraTu-saurASTra, de. III, 5, 6. soraha-saurabha VIII, 2, 3. --- 234 -

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solaha ] zabdakozaH [ huAsa solaha-poDaza X, 17, 9. hari-harit IV, I2, 2;X, 2, 5. sova-svap i VIII, I3, 5; deghi VI, 9, 5. hariya-harita I, 14, 6. sovaNNa-sauvarga III, 3, I0. hAraya-hata III, 17, IO. soyANa-sopAna X, 16, I0. haridIDha-haripITha ( siMhAsana ) IV, I2, I. sovIra-sauvIra ( buttermilk) IX, 14, 8. harisa-harSa I, II, II. soha-zobhA II. I, 8. harisiya-hRSTa III, 9, 3. soha-zobha degi I, 15, 4 haMti, I, IG, II. harisukaMTha-patkiNTha II, 21, 4. __ "heviNu X, 28, 6. hala-phala X, 27, 10. sohaNa-zobhana VI, 4, 2. halahara-haladhara IX, I7, II. sohamANa-zobhamAna IV, 4, 5. *hale-AmantraNe avyayam VIII, 16, 7. sohala-zobhA+la ( matvarthe ) I, 9, 10. ( Hem. II, I95.) sohA-zobhA I, I6, 8. *halliya-calita 1V, 2, 3 ( D. VIII, 62; sohAyamANa-zobhamAna I, 3, + H. halanA to shake) "hallohali-vyAkula VII, I0, 13. ( Hem. __ IV, 396 ex.) hava-bhUi III, I9, 9; 'vesai IV, I7,53 haI-hatA IV, 9, 6. _ 'vei IX, II, II. ha-aham II, 5, 8. hasaMta hasat I, 3, I0. haka-hak iti zabdaH III, 14, 3. ( H. hAMka ) haMsaraha-haMsaratha, pu. VI, I3, 9. haTTa-(tatsama-market ) III, 8, 4. hAlipi-halinI ( kRSaka-strI) I, 3, 7. *haDDa-asthi III, I5, 9 ( D. VIII, 59 ). hiaa-hRdaya I, II, I. haNa-han 3 V, I+, S; deggaMta V, I9, I; Nevigu hikA-( tatsama Hiccough ) VIII, 2, 5. ___X, 5, 4; Nivi X, 8, 8. hiTu-hRSTa II, I2, 8. haNaNa-hanana II, 3, I0. hiMDa-(hiDi-gatyanAdarayoH ) mi IV, I7. I0%; haNia-hata II, 17, I0. 'V, 15, 2; "Data III, I4, 5. hattha-hasta III, II, I, hiMDiya-hiDita VIII, I2, 8. hatthi- hastin I, 13, 6. himavaMta-himavat III, I2, 7, hamma-haH I, 15, 8. hiya-hRdaya I, I4, I2. hiyaya-hRdaya I, I, 9. haya-hata III, I5, I. hiyavaa- hRdaya I, IO, I0. haya-(tatsama-azva) IV, 2, I. hiraNNa-hiraNya VIII, 6,4. hara-harata III, 13, 6; rivi II, 5, 3; 'remi hilihilaMta-hepamAna III, I3, 4. ____X, 23, 6. hiMsAlaa-hiMsAlaya IX, I2, 7. haraI-haranti (viharanti) X, 29, 15. hIra-dhIra X, 29, 8. harAviya hArApita VIII, 6, I. (H. harAnA hIlaNa-helana III, I, 7. to defeat) huAsa-hutAza III, 13.3. - 235 -

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huAsana ] huAsaNa-hutAzana I, I, 8. hua-bhUta II, 2, 6. hukkarAMti-huM kurvanti III, I7, 2. huya-bhUta II, 12,7. huva-bhUta V, II, II. huvAsa-hutAza IX, 18,7. huMta-bhavat V, 17, 8. hua-bhUta V, I5, 4. karakaMDacarita [ hoi haI-bhUtA III, 5, 10. hUva-bhUta VI 10,5 "heTThAmuha-adhomukha V,16,8(Hem II,I4I). hoi-bhavati I, I3, 4; enahi VI, 4, 6; evi ___II, 3, 5; eviNu III, Io, IO; hoti I, 13, 45 vi V, II, 3; "sai II, 5, 6; sahi II, 5, 7, 'sami V, 18, 7; deghai I, 16, 15; hahiM II, 4, IO, hi II, 18, 5. -- 236 -

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Index of Personal Names WITH NOTES.

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INDEX OF PERSONAL NAMES WITH NOTES. Ahula X, 29, 13. Son of the minister who urged kanakAmara to compose the work. kAJcanamatI ( kaMcanamaI) VI, 16, 3. A vidyAdharI ol kanakapura married by naravAhanadatta akalaMkadeva I, 2, 8. A Jain logician (see Intro.) ajavarmA or ajaya ( ajavamma ) III. 5. 8. King of Girinagara, who married his daughter madanAvalI to karakaMDa. ajitAMgI ( yaMgi) III, 5, 8. Wile of ajavarmA of Girinagara, motherinlaw of karakaMDa, anaMgalekhA ( leha ) VII, 16, 2. X, 24, 4. A vidyAdharI of tilakadvIpa married by karakaMDa. amitavega ( amiya ) V, 4, 2; V, 9, 9; V, II, I. A vidyAdhara, friend of nIla; lived at gaganatala. He and his brother savega picked up the image of pArzvanAtha from pUdI hill, and deposited it on the hill near Terapur where it was discovered by karakaMDa, buried in an ant-hill. aridamana VIII, I, 5. King of Ujjain (for story see Intro). ariviMdu II, 16, 3. King of Benares. arjuna ( ajjuNa) X, 22, 7. sumitrA reborn as. kanakaprabha ( kaNayappaha ) VII, 14, I0; VII, 15, 7. A vidyAdhara of tilakadvIpa, who marriod his daughter kanakaprabhA to karakaMDa. kanakaprabhA (kaNayappaha) VII, 15, I. ___A vidyAdharI of rilakadvIpa, married by karakaMDa. kanakamatI ( kaNayamaI ) VI, 14, 9; VI, 15, I. A vidyAdharI of kanakapura. kanakAmara ( kaNayA ) I, 17, II; II, 21, 10; ____III, 22, 21; IV, I7, 9;V, 19, 93 VI, 16, 10; VII, 16, IO; VIII, 20, 14; IX, 24, 12; X, 28, 2; X, 29, 13. The author of karakaMDacariu (see Intro) karakaMDa I, 2, 3; II, 7, 3; etc. The hero of the poem. kusumadatta I, 6, 7, X, 13, 5. The - 239 -

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[ nIla char tarApadana kusumadattA ] karakaMDacariu garland-maker of Frage who had dhanamitra of terApaTTana who was born as brought up padmAvatI. karakaMDa in the next birth. kusumadattA I, 6, 9. Wife of kusumadatta of dhanapAla (dhaNa) X. I0. To. The dhanapAla (dhaNa) X, IO, Io, The son of kusumapura, dhanadatta merchant of nAlaMda. kusumadattA I, 15, 9. IVife of the forest- dhanamatI (dhaNamaI) X, I0, 8. Daughter guard of gaige who had found of agina and amgar of als farat, and padmAvatI in the forest. __married to dhanapAla of nAlaMda kusumAvali VII, 16, 48 X, 24, 3. A dhanamitra (dhaNamitta) X, I, II. A mer vidyAdharI of tilakadvIpa married by karakaMDa ketumatI ( keumai) VI, 12, I. A vidyAdharI dhanamitrA (dhaNamittA) X, I0, 9. Wife of of jayaMtI. dhanadatta merchant of nAlaMda. guNaniketa (Nikeu ) II, 2, 8; II, 5, 6. dhanavatI (dhaNai) X, I, I2. Wife of A vidyAdhara who became a mAtaMga by dhanamitra merchant of tairApaTTana. the curse of a sage. He brought dhanazrI (dhagasirI) X, I0, 8. Second up till the latter was daughter of vasumitra and nAgadattA of crowned king of gaige. tAmnalipti, married to vasumitra of kauzAmbI gaurI (gauri ) II, 2, 7. Consort of Siva dhADIvAhana (degNu) I, 4, 10; II, 5, 2; caMdralekhA (caMdaleha) VII. 16, 3;X, 24, 4. III, II, 8. King of campA, father of A vidyAdharI of tilakadvIpa married by karakaMDa. ( See Notes I, 4, 10). karakaMDa, dhUmaketu (u) VI, I0. 4. A vidyAdhara ruling caMdrarSi (caMdArisi) X, 28, I. The gotra at jayaMtI in vidyAdhara-parvata. ____of kanakAmara the author, naravAhanadatta (MV, 19, 9. etc. Prince jayadeva (degeva) I, 2, 9 A Jain author. ____of kauzAmbI. (for story see Intro). (see Intro) nAgadatta (NAyadeg) X, 6, 3. A merchant tAra II, 2, 3. He is said to have of zrAvasti. raised the Vijayardla mountain, nAgadattA (NAya' ) X, 6, 7. Wife of nAgadatta (asuradevatA iti TippaNam ) ___of prAvasti . dazaratha (dasaraha) III, I, 12. King of nAgadattA (NAya') X, I0, 6; Wife of Ayodhya, father of Rama, vasumitra of tAmralipti, the faithless wife dAmodara (degyara) III, 21, IO; IX, I7, 10. of nAgadatta in her former birth. epithet of Vishuu. nArAyaNa (deg) X, 25, 3. An epithet of dhanadatta (dhaNayatta) X, I0, 9 A merchant Vishnu. of nAlaMda. nIla (NI) V, 2, 2; V, 3, 8, X, I, 8. dhanadatta (dhaNayatta) X, I, I4. Cowherd of A vidyAdhara who ruled at rathanUpura but - 240 -

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padmadeva ] zabdakozaH [ rativegA later on migrated to terApura and madanadeva (mayaNaeu) VI, II, 3. The son built the first cave there. of padmadeva vidyAdhara He was transfor. padmadeva ( paumaeu) VI, II. 3. A vidyAdhara med into a parrot by the of upalakheDi daughter of a sage. padmAvatI ( paumaHvai, pomA') I, 7, 9; II, I, madanAmara (mayaNAmara) VI, 10, 8; VI, I2, 12; II, 5, 3; II, 6, 7; III, 9, I. The 2; VI, I2, 6. Same as madanadeva. daughter of vamupAla king of kauzAmbI, madanAvali ( mayaNA ) III,5, IOB V, 15, I. wife of dhADIvAhana king of campA and Daughter of ajavarmA of girinagara mother of this the hero. and wife of karakaMDa. pavanavega (pavaNaveu) II, 12, 4. A rAkSasa. madhusUdana (mahasUyaNa) VI, 4, 9. A pavanavega (pavaNaveu) VI, II, 4. A vidyAdhara A Brahman of Aut ( for story son of manovega, see Intro). pArzva jinendra ( pAsa jiNiMda ) V, 2, 5. The manovega (maNaveya ) VI, II, 4. A vidyAdhara 23rd Tirthankara. ___of utaravedyartha; father of pavanavega. puSpadanta ( pupphayaMta ) I, 2, 9. A Jain mahAnIla ( mahIla) V, 2, 2. Brother of nIla. Apabhramsa poet (see Intro). pradyumna (parchaSNu ) II, 21, I0. Son of maheza (degsa). II, 2, 7.God Siva. dAmodara (kRSNa). mAdhava (mAiva ) VI, 4, 9. A Brahman baladeva (degeu ) IX, 7, 9; X 25, 3. The ___of mathurA ( for story see Intro.) _elder brother of nArAyaNa. yazodhara ( jasahara) 7, 8, I0. A muni balabhadra (deghadda) IX, 5, 5. same as baladeva. ___met by amitavega and suvega in the bAladeva II, 2, 8. The Vidyadhara sahastrakUTa caityAlaya at Terapur. who took Karakanda away from yazodhara ( jasahara) X, 5, I. A muni whom his mother, ___ karakaMDa in his former life wanted to bharatezvara (deghesara) IV, 4, 10; V, 5, 5. worship. The first Chakravarti, son of yazobhadra ( jasahadda ) II, 7, 5: II, 8, I. ___ RSabhadeva, the first Tirthankara. A ye who came to the cemetery bhUpAla (bhUvAla) X, 29, 5. A king con ___of daMtIpura. our author rativibhramA (raivibhama ) VI, 12, 10; Intro). VI, 15, 9; VI, 16, 2. A fagree of maMgaladeva (eva) I, 2, I; X, 28, 3. The ___kanakapura married by naravAhanadata. _teacher of kanakAmara. rativegA ( raiveya ) VII, 7, 53 X, 24, 2. mativara (maI) IV, I, I; IV, I, 3 The The princess of the married by minister of karakaMDa. karakaMDa. tempor -241 -

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ranaleNA ] karakaMDacariu [ ziva ratmalanA (syaNalehaM ) VIII, 10, 5. vasumatI (mai)x, 9, 12. Wife of king A damsel of chohAradIpa married by vamupAla of caMpA, and mother of dhADIvAhana. maravAhanadata. vasumatI (mai) X, II, I. Wife of vapAla ratnAvalI ( rasagAvali ) VII, 16, 43 _merchant of kauzambI. X, 24, 3. A vidyAdharI cf tilakadvIpa vasumatI (mai) X, 12, 6. Wife of vasupAla married by karakaMDa. ___king of kauzAmbI. teet X, 29, 13. Son of the minister vasumitra (degtta) X, I0, 6. A merchant ___who patrouised kanakAmara. of tAmralipti. rAghava ( rAhava ) VII, 3, I. The des vAtsAyana ( vacchAyaNa ) II, 9,3.Theauthor ___cendant of raghu i. 7. rAma, of kAmasUtra a work on erotics, It is rAvaNa V, 5, I. Ancestor of sUraprabha who used here in the sense of the built the Jain temple on get hill. science of erotics. rAhula X, 29, 13. Son of the minister vAyuvega (vAubeu) V, I, 3. A vidyAdhara who patronised the author. who narrated to F*3 the account laMkA IV, II, I; V, 5, I. The capital of the buildi of the cave at of tran and his descendants. Terapur. laMbajhalaMbA VIII, 13, I. The bawd vijayapAla (vijavAla) X, 29, I. A king of AsAiya, contemporary of kanakAmara. (kuhinI) of khaMbhAyacca who gave shelter to ratnalekhA. vidhutprabhA (vijuSpaha) II, 2, 6. King of vidyutprabhA, father of guNaniketa. lIlAvatI (degvai ) VI, 16, 3. A vidyAdharI of kanakadvIpa married by naravAhanadata. vimalAdevI (evi) VI, 13, 10. Wife of vatsarAja ( vaccharAu ) VI, I, 4. King of haMsaratha vidyAdhara of kanakapura. kauzAmbI, father of naravAhanadata. vimalA VHI, I, 9. Wife of aridamana of varadatta VII, I, I0. The minister of ___ Ujjain. ___ aridamana. vIrabhadra (6) II, 7. 5. A sage who vasudatta X, II, 2. Son of vasupAla, mer- arrived at the cemetery of daMtApura. chant of kauzAmbI. vegamatI (veyamai) VI, 16, 3. A vidyAdharI vasupALa I, 7, 9, X, I2, 6. King of of kanakapura married by naravAhanadata. kauzAmbI, father of padmAvatI'the mother vegavatI (degvai) VI, I4, 4. A vidyAdharI of of karakeDa. kanakapura. vasupAlax,9, 12. King of caMpApurI, father ziva (siu) IV, 3, I; IV, 4, 8. King of dhAavAhana. of Terapur who visited Fine and vasupAla X, 23,7. Son and successor who probably gave the pame of of karakaMDa. dhArAziva to the place.

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| hemamAlA zIlagupta ] zIlagupta (sIlaguta) IX, I, I0. The sage from whom karakaMDa took dIkSA. zrISeNA (siriseNA) V, 5.3 Wifeof sUraprabha ___king of laMkA. samaMtabhadra (6) I, 2, 8. A Jain logici___an (see Intro.) samAdhigupta (higutta) II, 6, 9. A sage from whom padmAvatI, the mother of karakaMDa took vovs. sammati (i) II, 3, 4. A Brahman from whom Fattis wrested the three lucky bamboos. siddhasena (Na) I, 2, 8. A Jain logician (see Intro). sudarzana (degdasaNa ) II, I4, 4. A merchant (see Intro., the story of low com pany). sunandA (gaMdA) VI, IO,+ Wife of dhUmaketu vidyAdhara. sumitrA (ttA) X, 18, 4. Daughter of the king of ujjaina. survANA VI, I, 5. IVife of vatsarAja, mother of naravA hanadatta. suvega IV, 8, 2; V, 4, 2; V, 10, 8; V, ____II, 9. Brother of amitavega vidyAdhara, ___rcborn as an elephant. suvrata (muvvau) II, 3, 5. A sage on the Vindhya, by whose curse guNaniketa lost his Vidya and be came a mAtaMga. sUraprabha (paha) V, 5, 2. King of laMkA, descendant of ziau, He built the Jaiu temple on the gall mountain. svayaMbhU ( sayaMbhu) I, 2, 9. A Jain Apabh___ransa poet ( sce Intro). ER IV, 11, 2; IX, 5, 5. An epithet of viSNu haMsaratha ( raha) VI, 13, 9. A vidyAdhara, king of kanakapura. He carried away tho wife of naravAhanadatta. hemamAlA (degla) II, 2, 9; II, 6, 5. IVife of guNaniketa; the adopted mother of karakaMDa,

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Index of Geographical Names WITH NOTES.

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INDEX OF GEOGRAPHICAL NAMES WITH NOTES. In writing the gengraphical notes the following abbreviations have been used:-- Arch. Re.- Archaeological Survey of India Report. Bh. Nat.-- Bharata's Natya-sostra. Cun. Geo.-Cunningham's Ancient Geography of India. Cun. S D.-Cunningham's Stupa of Barhut. Dey. Geo-Geographical Dictionary of Ancient and Modiacval India by Nandlal Dey. Ep. Ind Epigraphia Indica. J. Stupa.-Jain stuja and othor Antiquities of Mathura by V. Smith. Kss. --Katla-sarit-sagara of Somnadeva. Mbli.--Mahabharata. Padma P.-Palma Purala of Ravishenacarya. Ram.--Ramayana. SIJ.-South Indian Jainism by Bamasvami Iyangar. TS P.-Trisasthi-salaka-purusa-carita of Hemacandra. Vagy P. - Vayu Puraua. Vikram. - Vikramauka-deva-garita, Buhler's edition. V P.-Vishnu Purana. ATENT IUI, I, 12. The birthplace of Rama in Oudh. Also the birthplace of the first Tiptham. kara Adinatha. A 1, 3, 5. With capital.at zapi. The country about Bhagalpur including Monghyr. The king dom of Bomapada of the Ramayana and Karpa of the Mahabharata. For the signi. ficance of the name, see Rama. pana Balakanda XXII, 14. HEYETAT ) III, 22, 5: Tthe city of geds.

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Braila as ] karakaMDacariu [ kusumapura maiat ET VIII, 1, 6. With capital of ITT I, 12, 9; at VI, 2, 4. at ganti, ruled by king aitana. Probably identical with KalanIt was the ancient name of gala mentioned as the eastern Malwa in central India. boundary of the middle couptry BU ( 2 ) II, 2, I Between it in Vinaya II, 38.(Cunningham's and kaliMga stood the mountain viMdhya. Geography P. 723). Our Kalin. The country between the Goda- jar might be identified with vari and the Krishna. Its capi. Keunjar of the maps in Orissa tal was Dhanakataka or Ama- on the Baitarni river and close ravati at the mouth of the to a mountain range, an offshoot Krishna. The ancient kingdom of of Mahendra. It is near Puri the Andhras also called Satava. with which Dantipur is identihanas or Satakarnis. fied. The name is at present BET X, 28, 4. The town where borne by a celebrated fortress in Kanakamara wrote the Kara- Bundelkhanda, in the Badausa kandacariu (sce Introduction ). subdivision of the Banda district ujjainI or ujayinI ( ujeNi ) VIII, I, 7; of U. P. X, 18, 4. The capital of Avanti TRIST ( FUJH 1177) II, 10, 4. desa of ancient fame, situated Modern Kanouj. It was the on the river Sipra, capital of the southern Pancala Jata ( 0973 ) VI, II, 4. The during the Buddhist period. northern agu which see. (Rhys David's Buddhist India p. 27). Harshavardhana ruled gooers VI, 11 2. A town in there when he was visited by vijayAcaM or vaidyardha, ruled by padmadeva Hiuen Tsang in 636 A. D. It ( 9345 ) faglegt was the birth-place of Visva. Fong ( 2017 ) VI, 13, 8. A town mitra ( Ramayana, Balakanda ) on the bank of Sindhu in Vija. yardha, ruled by Hamsaratha Friforet III, 9, 4; etc. Another name Vidyadhara. of the river Jamna ( Yamuna ) PEST II, 2, 11; X, 10, 2. According genge (38) I, 6, 1; X, 13, 5. to Uttaradhyayana Sutra XVIII, Another name for Pataliputra 460, Karadanda ruled here. It is which was the capital of identified with the Northern Cir- Magadha under the Nandas and cars, a country lying on the the Mauryas. In the Sanskrit south of Orissa. Its capital was drama Mudra-rakshasa, it is Dantapur or Dantipur, mentioned as the capital of 286

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alon ] haahaa [initania Chandragupta Maurya, and as the son of Kusa (Ram. Balakanda situated on the river Sona. It is XXXII, 6). Fa Hian locates it also described by Megasthenes, 13 yojanas N W of the Deer It was built by Ajatasatru in Park ( modern Sarnath near Be 480 B, C. ( Mahavagga VI, 28). nares). It is identified with a VIII, 12, 9. The country bc- Kosam a village on the Jumna 30 tween the Western Ghats and the miles S W of Allahabad, which sea froin about Bombay south- is still called Kausambi by the ward to Goa. Hiucn Tsang Jains. Ancient coins are frequmakes mention of one Kong-pien. ently discovered here and an na-pu-lo or Konkanpur, probably ancient Jain inscription of the identical with Annagundi on the Kushan period has been found northern bank of the Tungabha. (Arch. Re. 1913-14; Ep. Ind. II, dra river (Cun, Geo.p. 632, 745). 240). TT ( Fare) visited by Bharata CHT TEU VIII, 12, 10. Modern (son of the first Tirthamkara Cambay, being at the head of a Adipath ) who also built temples gulf of the same name, was an there. IV, 4, 10; V, 5, 5. It was important trade port in ancient once lifted up by the king of times, but has now last its imLanka (Ravana) IV, II, 1, A portance owing to the silting up celebrated mountain of Pauranic of the gulf. fame. It is identfied with the tina ( deg 13 ) I, 3, 3; III, 12, 5; III, Kangrin-poche of the Tibetans, 20,7; IV, 14, 6; X, 13, 2. The about 25 miles to the north of river Ganges. Manasa lake, and to the east of Trade ( 17747 ) V, 3, 9. A town in the Niti pass ( Dey. Geo. ) It is ___ uttaravedyardha, where lived the two also called Ashtapada. The first Vidyadharas Amitavega and Tirthamkara Rshabha is said Suve ga. to have practised penance there fotrator i Polar) III, 5, 7. In and his son Bharata visited it Saurastra (soraTradesa ) ruled by during his journey of conquest king Ajavarma. It is represented (Jinasena's Adipurana). by modern Junagadha in grat (FERIT) 1,7, 9; X, 11, 1; X, Gujrat, the old name being 12,6. The capital of the Vatsas transferred to the hill about ten ruled over by Naravahanadatta miles east. The 22nd TirthamVI, 1, 3. Founded by Kusamba kara Neminatha practised - 288 -

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nasa ] karakaMDacariu [ als austerities here and the hill is a IV, 1, 5; VIII, 18, 5. In Dravida even now held sacred to him country whose kings did not at and is a place of pilgrimage for first submit to Karakanda but Jains. The inscriptions of Asoka, were subsequently overpowered. Rudradamana and Skandagupta Mentioned in Asoka inscriptions are found engraved here on a as Keralaputra, and by Periplus single rock. as Cerobothra. The country, at Trasa ( sago) IV, 11, 2. A hill 18 one time, comprised the present miles from Brindavana in the kingdom of Mysore, Coimbatore, district of Muttra, Krishda is Salem, South Malabar, Travan. said to have taken it upon his core and Cochin. According to little finger and held it as an Ptolemy (2 od Cent. AD.) its umbrella over the heads of his Capital was Karour or Karur, cattle and townsmen to protect also called Vangi. The Pandya them from the deluge of rain country lay to its south. poured upon them by Indra. als II, 10, 5; IV, 1, 5, VIII, 18, 5. ( Mbh. Udyoga, chap. 129). In Dravida country. Its king +911, 3, 12; II, 5, 2; X, 9, 12, did not at first submit to Kara. Capital of Apga country, ruled kanda but was subsequently by Dhadi-vahana son of Vasu- overpowered. It is mentioned pala and father of Karakanda. in the Varttika of Katyayana, insIt was the birth-place of the criptions of Asoka and the epics. twefth Tirthamkara Vasupujya. Identical, probably, with Hiuen It is metioned in the Ramayana, Tsang's Choliya (Chu-li-ye or Mahabharata and other Puranas. Jho-li-ye) which he describes Hiuen Tsang mentions it as as a small district 2400 li or 400 Chenpo and locates if at a dis- miles in circuit and 1000 li or tance of 300 li or 50 miles east 167 miles south-west from Dhava. of Monghyr, on the strength of kataka. It is the modern Corowhich Cunningham identifies it mandal Coast. Its capital was with Patharghata, 24 miles Uraiyur on the Kaveri and later east of Bhagalpur, But N. L. Kanchipur, Combakonum and Dey identifies it with Campa- Tanjore, During the time of our pagar four miles to the west of author the Caudas seem to Bhagalpur. (Cun. Geo; Dey have been the leading power of Geo.) the South, 340 --

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FIERENT ] Togbin [ daMtIpura SERGIO VIII, 10, 3. King Ari. Karakanda was carried away to damana of Ujjain, after crossing this island by a Vidyadhari, It the sea,reached there and married may be one of the few fat is. Ratnalekha. Seems to have been lands off the Jaffna pezinsula some island off the western coast. which forms the extreme north HET I, 3, 1; V, 1, 3. etc. The of Ceylon, and was the gateway continent surrounded by the by which the hardworking briny ocean (aanvia) and one Tamils of South India entered hundred thousand yojanas in Ceylon. It is also mentioned in extent; in which the Bharata the Bhavis-yatta-kaha of Dhapakshetra is situated; so called pala because it is characterised by a STEFOTTE (alfanaa) IV, 2, 4; AnJambu tree, cient Dame of Deccan i. e. the Attra VI, 10, 3. A town in the part of India to the south of the Narmada. The name occurs in southern part of the Vidyadhara mountaic (Vediardha), where the Pali books of the Buddhists. Dhumaketu Vidyadhara ruled. It is the Dakkinabades of the (see aga ). Greeks. It is defined in Bh. Nat. XIII, 26, as follows: HET ( araisia ) X, 10. 5. A town mentioned in the Mbh., the Pur mahendro malayaH sahyo melakA palapiJjaraH anas and the Buddhist works. eteSu saMzritA dezAH sa zeyo dkssinnaapthH|| It was celebrated as a maritime gaige I, 14, 4; II, 5, 4; II, 19, 3; port ( Kss XII, 14. )It was from III, 1, 2; III, II, 9. Here here that Vijaya is said to have Padmavati was taken by the sailed for Ceylon. Fa Hian des- elephant running away from cribes it as being at the sea Campa. Karakanda was born in mouth, 50 yojanas east of its viciaity and later was crownCampa. It was the capital of the ed king of the city. It is identiSumha country. Formerly, at the cal with Dantapur, the ancient mouth of the Ganges, but is now capital of Kalinga, mentioned in situated on the western bank of Pali books in connection with the the Rupagarain in the district tooth-relic of Buddha (see Dattha of Midnapur in Bengal and is vansa ). It is probably the called Tamluk, Dandagula, oguda or 'pula of faoingia (ais) VII, 15, 1. While Pliny. Cuoningham identifies it returning from Simhala by sea, with Rajamahandri while N. L. - 348

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alaster ] karakaMDacariu [ giaozia Dey identifies it with Puri. 18, 5. Mentioned in the epics, Danti being a synonym for the Varttikas of Katyayana and Hasti ( elephant) later writers the inscriptions of Asoka. Megas have mistaken it for Hastinapur. thenes refors to Pandoe as the cfasoa IV, I, 4; VIII, 18, 4. only Indian race ruled by women. The land of the three kingdoms, The country corresponded rouCoda, Cera and Pandya. Dami. ghly to the Madura and Tinnerica of Periplus and Damirike velly districts, Travancore and of Ptolemy. Acc. to Mbh. parts of Coimbatore and Cochin. Vanaparva, 118, its northern Its capital was Madura boundary was the Godavari, (Mathura or Dakshina Mathura). Later, the southern part of the In the soventh Century A.D. the Peninsula bounded on the north Pandyas conquered the Cola by the Krishna and the Tunga and Cera territories, but were bhadra was called as such. It is subdued by the Colas in the otherwise known as the Tamil middle of the ninth century. country. It was also called Fri fant gai) V, 4, 6; V, 5, 3. A Coda ( Vikram. Intro. P. 27 mountain in the Malaya ( Mala. Note ) bar) country on which stood are (opeia) X, 10, 9. The most the temple of the 24 Tirthanfamous seat of Buddhist learning. karas reputed to have been Fa Hian places the hamlet of Nalo built by the lord of Lanka, a at one yojana or seven miles descendant of Ravana, from from the hill of the isclated where the Vidyadharas picked Rock (Giryeka ) and also the up the image of Parsvanatha same distance from new Raja on their way to Simhala. It is griha. It is now identified with probably identical with the Bargaon or Badgaon (Vata- Podyil hill in the Western Ghats, grama or Vihara-grama ) which south of the Palaghat gap and lies seven miles to the north west of Tinnevelly (see SIJ.) west of Rajagriha in the district Tata ( 93101) VI, 9, 2. Going to of Patna. Excavations carried the Ganges from Kausambi, Naraon at the place have revealed vahanadatta came to this place. traces of the vast Buddhist So it can not be the Pratisthana monastery. on the Godavari. It is probably qruse (afos or qios4 ) IV, 1, 5; VIII, identical with Jhusi opposite to - 749

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897 ] 7 : [ Allahabad across the Ganges now this very false custom has which is still called Pratisthana- been practised. " Ravishena iu pur. It is mentioned in the his Padma P. III, 281, mentions Mahabharata and the Kurma and it as follows:Agni Puranas. It was the capital prayAga iti dezo'sau prajAbhyo'sminAto yataH / of king Pururavas of the Vikram prakRSTo vA kRtastyAgaH prayAgastena kIrtitaH // orvasiyam, Acc. to Ram. Uttara It is identical with Allahabad kanda 90, 22, it was founded by king Ila aaa ( HTEZT) 1, 3, 3; II, 2, 1; IV, TOTT ( 1977 ) VI, 6, 5;VI, 7, 7. Two 1, 3; V, 1, 5; X, 1,7; X, 6, 2. same as Bharata-varsa, by which Brahmins Madhava and Madhu. name India is mentioned in all sudana of Muttra go there one ancient books. after another to terminate their life through sheer disgust. Com ATST ( "fa94 ) V, 4, 5; V, 5, 4. The pare this with the description of Malayalam or Malabar country the place given by Hiuen Tsang including Cochin and Travancore, " In the city there is a Deva the Malayagiri and the southern temple beautifully ornamented part of the Western Ghats. Famous for its sandal. It included and celebrated for its numerous the Pudi mountain, miracles. Before the hall of the temple, there is a great tree with Hyttg (EUR) VI, 4, 8; Modern spreading boughs and branches Muttra in U. P. The capital of and castiog a deep shadow. There the ancient Surasena, the habitat was a body-eating demon here of the Sauraseni Prakrit. Hence who, depending on the custom also called Sauripura, It was the ( of committing suicide) made birth-place of Krishua. Many Jain his abode here. Accordingly, on remains have been excavated at the left and right one sees heaps Kapkali-tila (J. Stupa.) It had of bones. Hence, when a person trade connections with the south comes to this temple, there is in very ancient times ( see stories everything to persuade him to of Mahilaropya in Panchataotra.) despise his life and give it up; he HEI, 16, 3; II, 3, 8; V, 3,6. A is encouraged there to, both by mountain of Pauranic famo, also promptings of the heretics and called Sumeru. Identified with also by the seduction of the evil the Rudra-Himalaya in Garhwal spirit. From very early days till where the river Ganges has its - 348 -

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ugar ] karakaMDacariu [ vidyAdhara source near Badarikashrama(Dey. it some where at the equator Geo; Mbh. Santi 335, 336). It (IHQ. II, 3445; IV, 339, 694.) is also called Pancha-Parvat, for r et (923) VI, 1, 3. The country boundaries of which see Matsya round about Kausambi which P. 113; Padma P, 128. In sound was the capital, King Udayana at least, it agrees with Meros of classical fame and his son mountain which was ascended by Naravahanadatta of the KathaAlexander (Mac Crindle: In- sarit-sagara and of the present vasions of India, P.338)and which woris, belonged to it. is identified with Marhoh near JORTE II, 16, 3. Modern Benares Jalalabad in the Punjab. in U. P. It is sacred to the Jains Tgar ( 530 ) X, 12, 9. The river being the birthplace of their 7th Jumpa and 23rd Tirthamkaras. Close Tera GT (TEST) V, 2, 1; X, 1, 8. A to it is Saranath which is so town in south Vediardha from called because it was the birth. where came Nila and Mahanila place of the 11th Tirthamkara who established themselves at Sreyamsanatha. Benares is one Terapur and excavated the first of the most sacred places of the cave there. Hivdus. It was the capital of TV, 4 5; V, 5, 1 Amitavega and Kasi (Ram. Uttarakanda 48 ) Suvega had to cross the Malaya which, at the time of Buddha, (Malbar) to reach it. The king formed a part of the Kosala of Lanka, a descendant of Ravana kingdom. According to one had built a Jiva temple at Pudi account, it was founded by Kasa in Malaya. It is described as or Kasiraja, a descendant of Trikuta or three peaked in the Pururavasa king of Pratisthana, Ram. Sundara kanda chap.1. It is It was visited by Hiuen Tsang believed by some to be identical who has recorded a description of it. with the present Mantotte in Pastar (Qaqa'z) II, 2, 1; V, 1, 6; V, Ceylon. Others think it to be a town now submerged in to the 7, 2;VI, 11, 2; VI, 13, ?. A moun. sea ( Mutu Coomar Swami's. tain in the north of the Bharata Datha vamsa p. 97 ). Sardar Kibe: Kshetra, so called because it has tried to locate it near Amara- marks half the conquest of a kantaka in the Central Provinces. cakravartin. Same as Vediardha. Dr. Jacobi located it in Assam, rett vaa VI, 10, 3. Same as while Mr. V. H. Vader places Vediardha, - 247

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fagligt ] TACT: [ sahasrakUTabhavana fach (laacn ) II, 2, 5. A town in Southern Vediardha. Perch ( fa jg ) I, 12, 8; II, 2, 11. The Vindhya mountain. It included Kalinjar, and is said to lie between Andhra and Kalinga. aeri (azz ) FE V, 3, 9; X, 1, 7. The mountain of the Vidyadharas. According to the Kss, XIV, 3, 65-66, 'On the Himacala mountain there are two Vediardhas of Vidyadharas, the northern and the southern. On the other side of the Kailasa is the northern Vediardha and on the lower side is the southern Vediardha.' ( See lotro. ) According to Hemacandra's TSP. Vaitadhya mountain was 400 miles long touching the rivers Ganges and Sindha on either side. It was given as dominion to Nami and Vinami hy Dharanendra the protecting deity of the first Tirthainkara Adinath, Nami occupied the southern Vaitadhya and founded fifty cities in it including Jayanti and Rathanupura Cakravala, and Vinami occupied the nor thern Vaitadhya and similarly founded another fifty towns. Siarraiget ( Arifugit ) X, 6, 2. Modern Sahet Mahet on the Rapti river in the Gooda district of Oudh. It was the birth-place of the 3 rd and 8 th Tirtham. karas Sumculinather and Candraprab'ix on account of which it is also known amongst the Jains as Cienclrrpuri. It was the capital of Uttara Kosala ( Ram, Uttara kanda 121). It was founded by Sravasta the king of the solar race (V P. IV, 2, 13). Rama, when dividing his kingdom,gave it to Lava (Vayu P. Uttara, 26). At the time of Buddha, Prasenjit was the king of Uttara Kosala with his capital at Sravasti. His son Jet built the Jeta vanavihara close to the town where Buddha resided for 25 years, and out of the 498 Jatakas ( birth stories ) 416 were told at this place. (Cun. SB, p. 90; Arch. Re I, 330. ) Escavations carried on at the place have revealed numerous Jain images mostly of the 11th century. ( Arch. Re. 1907-08). HURTIGT ( Hastato ) VII, 5, 2, Home of the Khecara who met Karakanda at Terapur. FEEDCHA V, 8, 9. Name of a temple at Terapur. May refer to the first cave built by Nila and Mahanila which is said to have had a thousand pillars ( Sahasa-khambha ). On inquiry Mr.Nemchand Balchand Gandhi of Osmanabad wrote to me to - 44 -

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tag ] karakaMDacariu / himavat say that in Dhara Siva there was a Sahasrakuta.Jina-laya which is now ruined. Some pillars are traceable in the mosques and other buildings of the place. Some images of that temple were lying in the compound of Kazi Mahal, but they have now been removed from there to another house." ( Letter dated 11-9-31). hy , 3, 3. The river Indus. farci VII, 6, 4. Modern Ceylon, Karakanda visitedit, married the daughter of the king of the island and returned by sea. grafia III, 9, 4; VI, 9, 1; VIII, 7, 4. The river Ganges. T ( Hng Ta ) III, 5, 6. The peninsula of Gujrat and Kathiawad; the Syrastrene of Ptolemy and Sula-cha of Hiuen Tsang who locates its capital at the foot of Mount Yeuchen-ta (Ujjanta SK, Urjayat, ) which is also mentioned in the inscription of Rudradaman and Skanda-gupta. It is, thus, the old city of Junagadh which is the same as Girinagara mentioned by our author as the capital ( see Titane). HET PRO III, 12, 7. The mountain Himalaya where the Ganges has its source, - 24EUR -

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NOTES CRITICAL AND EXPLANATORY,

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NOTES After a complete translation and glossary together with indices of personal and geographical names with notes, as well as the material reserved for the Introduction, what remains to be given under this head is clucidation of technical terms of Jaina religion and a discussion of the few difficult and obscure expressions. The necessity of lengthy explanations of technical terms has been avoided by giving fuli references to standard works, 1, 2, 8. For iacha and others mentioned here see Introduction. 1, 2, 5. ata -angh. See also I, 5,5 dag-194, and agors-af494 (14). 1, 3, 7. gr guferio etc, cf, Nayak. I, 13, 7-8; Jasa. I, 21, 7. 1, 4, 2. It is difficult to say what frie exactly means here, The tippana on the word is kosIsA which in Hindi is equivalent to kAsIsa= green vitriol or sulphate of iron. (For construing the line in this sense of the word see translation). We could also dissolve the word as P3BT+831 = ri+pa hundreds of silk ( banners ). In this sense cf. Jasaharacariu I, 3, 17' gear forsynt TET greit isa a m i yait | But silk banners are separately mentioned further on in line 5. If $3 could be equated with some word meaning a house or mansion then the word could be taken to mean hah+zIrSa (zikhara) which would suit the context excellently. I, 4, 1o, aisiarka literally meaas leader of an assault' PSi+9767. The name is given as ficarea in Prakrit and ciaaara in Sanskrit versions of the story. (see Appendices ) At one place Subhacandra also gives fiae ( faalea arsiarenatis14: II, 38 ). - 349 -

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KARKANDACARIU 1.7. In this and similar other stanzas (III, 15; 17; IV, 16; VII, 9; 10; VIII, 1;3; 4; IX, 3,) we find a predominance of the Maharastri Prakrit. I, 13. The escape of the king as described here strikes one as very unchivalrous. The account in Devendra's story is superior (see Appendix B). I, 14, 2. A JE TE TJ etc. antigaha ca aitti ad qui africa: sta ga area: hier: 1 1, 16 2. The exact meaning of this line is not quite clear, My translation of the line is merely verbal taking the words as a ritmicchantyA iha sRte jaMghe kadalyA / I, 17, 4. I have interpreted the line as gosaog aitrisar: arti: Trai a aur par: sa faar: arcanar: ( EZT:) | Compare this stanza with a similar one in Jasahara-cariu I, 13. II, 1, 11. Compare geen g: art 7 grac-i ngisTE gitigarotzea __ tAvad dvitIyaH samupasthitaM me chidreSvanA bahulIbhavanti // II, 2, 3. art means (1) Vishnu (2) Siva (3) The mysterious symbol ss. But the tippana on the word is atataaar. This suits our context quite alright. II 2, 4. quid=978: has been shortened for the sake of metre. II, 2,8. Both Subhacandra and Nemidatta in their version of the story take Baladeva to be the name of the Vidyadhara, and I have followed the same in my translation, But quand occurs again in II, 5, 6, which leads one to suspect that perhaps this was meant by our author to be the name of the Vidyadhara. II, 3, 3 397814-81+01+iraz (za ) = 311Fesch unmoving. II, 3, 6. The line has to be construed as ( 964 ) gigi Fila: garai szihat (geral) I (wa) afla araq araigaa i II, 6, 7-8. The corresponding description in Subhacandra's work is - P&O -

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NOTES atha padmAvatI khinnA gAndhArI kSAntikAM kSamAm / kSaNAtsA khedato dakSA zizrApa sukhAsaddhaye // 53 // tathA padma / jagAmAzu supadmAbhA jinAlayam / nissahIti padaM procya nanAma ca jinAkRtIH // 54 // samAdhiguptanAmAnaM muni guptitrayAtmakaM / triratnarajitaM ramyaM sA vavande vidAMvarA // 55 // canto II Subhacandra goes on to say that Padmavati requested the sage to give her Diksha, the latter refused saying that she had broken a vow three times in her past life as a result of which she had experienced separation from her father, husband and son in this life, and that she would be fit for Diksha when the sin is completely pacified when her son would be crowned king. (For her breaking a vow in her past life, see X, 12, 3). II, 7.7. ja la ma lle Na vili ta gatta-Neglecting the body altogether and allowing dirt to settle on it was a form of penance and those ascetics who practised it were given the title of Asar(see Jaina Silalekha Sam. graha, Index.) jala meant perspiration and the dirt settled on it, while mala meant the excretions of the nose, eyes, ears, etc. See pratiSThApATha of jayasena p. 223 svedAvalambitarajonicayo hi yeSAmukSipya vAyuvisareNa yadaMgameti / tasyAzu nAzamupayAti rujAM samUho jalloSadhIzamunayasta ime punaMtu || 690 // nAsAkSikarNaradanAdibhavaM malaM yanairogyakAri vamanajvarakAsabhAjAm / teSAM malauSadhasukIrtijuSAM munInAM pAdAcanena bhavarogahati nitAntam // 691 // II, 7, 9. The corresponding portion in Subhacandra's work is tatra kazciddadarzAzu nRkapAlamukhe punaH / netrayozca samutpannaM veNutrayaM trilokAt || III, 68. II, 9. Compare similar passages in Jasa, I, 24; Naya. III, 1; Bhavis. II, 2. II, I5, 2. As the line stands it should be construed as asya rAjJaH bahiNImAMsena nizcayena jIvAmi ( tat ) mA dIyatAm / . II, 18, 3. For the translation of this line substitute 'Two crimes more I shall still forgive'. Subhacandra's translation is eko'yamaparAdhastu kSAnto dvAvaparAdhako / soDhavyo mayakA ( ? mayA ) prItyA maMtriNo'sya sukheSiNaH // IV, 57 . II, 20, 7. caccaravaMtu has been translated and explained in the glossary as an adjective of 14: It is, however, also possible to take it as an adjective of 987 being equivalent to 782297 full of squares. Subhacandra has - 261 -

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KARKANDACARIU vAtha pattane padmI pathyApaNasupaddhatI / gehe gehe mahAbhyAsazcatvare catvare punaH / IV, 10. III. III, 2. Compare this passage with Nayak. V, 8, 10-15. III, 4, 1. For the history of the bamboos see II, 7-8 III, 7, 7. We could take the whole of the first foot as one compound and make it an adjective of hauM ( ariduHsaha moTana - bhaTa-sahAya: aham ). But from the context it does not appear that he was accompanied by any other person. III, 19, 2. va i sA dda thA Nu-vaizAkhasthAnaM is an attitude in shooting in which the archer stands with the feet a span apart. Apte: Sans. Eng. Dictionary. IV. IV, 1, 4. The three old Dravidian kingdoms of the South are conceived here as still very powerful and forming a confederacy with the Colas at the head. IV, 12, 4. For the mechanical skill of a ga see Mudra rakshasa P. 130 Telang's edition. II IV, 13, 9. The tippana on saNarAla is ' morA pAhANa ghAlAvaNu '. Now morA or in Hindi, Marathi and Gujrati means a little channel to carry off water. This suggested me the Sanskrit equivalent (see glossary). In Sanskrit means the earth. From this we might interpret as With stones masoned with earth'. also means water in Sanskrit. IV, 17, 1-4. Compare this boast of the Sura, with that of Bhairavananda in Rajasekhara's Karpura-manjiri I, 25-- daMsemi taM pi sasiNaM vasuhAvatiSNaM thambhemi tassa vi ravissa rahaM Nahadve / Ami jakkhasurasiddha gaNaMgaNAo taM Natthi bhUmivalae maha jaMNa sanam // Also see Jasaharacariu I, 6. COPTER Shree Sudharmaswami Gyanbhandar-Umara, Surat 262 www.umaragyanbhandar.com

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NOTES V. V, 85.muha has been taken by me as equivalent to paramotsukaiH It is also possible to take it as equivalent to para+moSakaiH = stealing others' property. V, 10, 3. parISada is thus defined-- zArIramAnaseotkRSTabAdhadetUn kSudAdikAn / prAhuranta hirdavyapariNAmAn parISaddAn // For exposition of the twenty two Parisahas see anagAra-1 Asadhara VI, 84, onwards V, 12, 1-2. For the five aNutrata, three guNavata and four zikSAvrata, see sAvayadhamma dohA 59-72. The five udumbara are vaTa, pippala, parkara, udumbara and kAkodumbara. V, 12, 4. The Pratimas or stages of a house-holder 's religious advancement are eleven, namely, darzana, vrata, sAmAyika, proSaghopavAsa, sacittatyAga, rAtribhojanatyAga, brahmacarya, ArambhatyAga, parigrahatyAga, anumatityAga and uddiSTatyAga. For exposition see sAgAradharmAmRta, adhyAya 3 and onwards. VI. 1 VI, 6, 8, salleha - sallekhanA is thus defined in the ratnakaraNDa zrAvakAcAra of samantabhadraupasarge durbhikSe jarasi rujAyAM ca niHpratikAre / dharmAya tanuvimocanamAhuH sallekhanAmAryAH // 122 // antakriyAdhikaraNaM tapaH phalaM sakaladArzinaH stuvate / tasmAdyAvadvibhavaM samAdhimaraNe prayatitavyam // 123 // snehaM vairaM saGgaM parigrahaM cApahAya zuddhamanAH / svajanaM parijanamapi ca kSAntvA kSamayotprayavacanaiH / / 124 / / Alocya sarvamenaH kRtakAritamanumataM ca nirvyAjam / AropayenmahAvratamAmaraNasthAyi nizzeSam // 125 // zokaM bhayamavasAdaM kledaM kAluSyamaratimapi hitvA / satvotsAhamudIrya ca manaH prasAdyaM zrutaramRtaiH // 126 // AhAraM parihApya kramazaH snigdhaM vivarddhayetpAnam / snigdhaM ca hApayitvA kharapAnaM pUrayetkramazaH // 127 // kharapAnahApanAmapi kRtvA kRtvopavAsamapi zaktyA / paJcanamaskAramanAstanuM tyajetsarvayatnena // 128 // ra- dharmAmRta of nidAna or looking forward to the reward of the penitential act is one of the transgressions ( aticAra ) of sallekhanA as jIvitamaraNAzaMse bhayamitra smRtiInidAnanAmAnaH / sallekhanAticArAH paJca jinendraiH samAdiSTAH || 129 // VI, 7, 8. For am as the place where people went to end their life prematurely, see Index of Geographical Names, under ia. Also see an purANa, adhyAya 111; - Shree Sudharmaswami Gyanbhandar-Umara, Surat 263 - www.umaragyanbhandar.com

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KARAKANDACARIU na vedavacanAdvipa na lokavacanAdapi / matirutkramaNIyAnte prayAge maraNaM prati // 8 // vaTamUle saMgamAdau mRto viSNupurI najet // 13 // VII. VII, 1, 2. For the sight cf an ascetic regarded as an auspicious omen, see zrIzAkunasAroddhAra by mANikyasUri, prakaraNa 2 darzanaM zvetabhikSaNAM sarvottamaphalapradam / kiM punaH sUrisaMyuktaM rAjayogo'yamuttamam // 10 // na kevalaM mayaivoktaM zrIvyAsenApi bhASitam / zakunArNave'pi niNItaM zubhaM nigraMthadarzanam // 11 // zramaNasturago rAjA mayUraH kuMjaro vRSaH / prasthAne vA praveze vA sarvasiddhikaraHsmRtaH / / 12 // VII, 5, 4. Ni va sa mA Nu = nivasamAnaH = or napasamAnaH like hayasamANu in VIII, I2, 2. Karakanda was accompanied by other princes as is clear from VII, 6, 4. VII, 5, 13. Commenting on uttarAdhyayanasUtra V, 8, Devendra tells a short story of a certain shepherd who, during his midday-rest, pierced all the leaves of a nyagrodha tree with his arrows. (Charpentier's edition p. 298). Also see Jacobi's Maharastri Tales, the story of Bamhadatta, and its translation by J. J. Meyer in his Hindu Tales p. 61, where we read "He wandered about in the wood and saw a goatherd who was making holes in the leaves of a sig tree with peastones (by throwing them at the leaves)." From this it appears that this was once a favourite pastime. ___VII, 9,4-5. The measurements of the sea-monster are thus given by zubhacandra in his version SaSTiyojanasUtaMga tadardhAyatisaMgatam // saptaSaSTimahAsphItayojanai darSitAM gatam / nirubhyAdhi sthitaM madhye meruvallaMghanAtigam // 11,95-96. VII, 13. The description of the goddess in this Kadavaka is thus reproduced by Subhacandra: komalAMgI sulAvaNyA lIlayA sahitAmalA / lalAmalakSitA kamrakuNDalAbhyAM virAjitA // 142 // sapustakakarasphAra,gAraparibhUSitA / sumRNAlakarAramyaraktAbharaNabhAsurA // 143 // kiMkiNIkalarAvAyamekhalAmaMDitotkaTA / sanUpurapadA divyA prasannA guNamAlikA // 14 // phaNAbhiH paMcabhiH......... phaNinaM param / dadhatI mUrtIi sanmAnyA zravaNAmRtavAgvarA // 145 //

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NOTES vyaMjayantI dizAM cakraM dhAmnA dhAmAliliGgitA / vIkSya vakSaHsthalasthUlamuktAphalasudAmikA // 146 / / tadA padmAvatI devI dharAyAM dadhatI dhRtim / taddhyAnAdvadanAbjenA'vAtaradbhAsino drutam // 147 // sarga 11. VII, 15. With regard to the practice of capturing husbands which is exemplified in this Kadxvaka, I quote the following from 'Tribes and Castes of the Central Provinces' by Russel and Hiralal, Part II, p. 521-- Kolams, a Dravidian tribe residing principally in the Wun taluka of the Yeotmal district of Berar" had the practice of capturing husbands for women who would otherwise have gone unwedded, this being, apparently, a survival of the matriarchate. It does not appear that the husbands so captured were ever unphilosophical enough to rebel under the old regime." Viil. VIII, 5, 5. The word 391 has been discussed by Mr. A. N. Upadhye in his article Kanarese words in Desi lexicons' published in Bhandarkar ORIJ ( 1931 ). The word occurs in various languages, Aryan, Dravidian and Scythian, and, according to Dr. Caldwell," the ultimate base of all these words is probably. Ak old." VIII, 5, 13. aes according to Vararuci VIII, 12, is a term of address '31597Hrou !, VIII, 7, 8. I find this line a bit obscure. Subhacandra's version is as follows: zatapaMcapramAH kIrA vayaM tasthima conate / anokahe sadaikasmillabhamAnAH phalAvalim // // 34 // tadbudhne varddhitA vallI kSitA khyAtA mayA zukAn / kRtituM naiva kenApi chinnA sA pakSiNA punaH / / 35|| kAlena varddhitAM vallI kirAtA vIkSya cAgatAH / ( sarga 12.) We can get the substance of these lines in the original if we include the additional line of D given by me in the foct notes. VIII, 16, 1, 28-an inhabitant of the exha which embraced the whole of the plains of the Punjab from the Indus to the Bias, and from the foot of the mountains to the junction of the five rivers below Multan. (Cun. Geo. p. 171.) VIII, 17, 6-8. raladi, siani, syniai or geqishles, 984174, ag: maraia and -- 884 -

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KARAKANDACARIU vasudhArAvidhi, are various kinds of fasts and rituals observed on special days during a particular period of time. IX, 6. The twelve kaduvakas, beginning with the sixth, deal with the twelve Bhavanas or pious thoughts namely anitya, azaraNa, saMsAra, ekatva, anyatva, azucitva, Azraya, saMvara, nirjarA, loka, dharma and bodha. For an exposition of these, also see bArasa aNuvekkhA of Kundakundacarya, _IX, 16, 3. The five oratas are ahiMsA, acaurya, satya, brahmacarya &nd aparigraha (see IX, 22, 3-8) IX, I6, 6. The ten characterstics of Dharma. are kSamA, mArdava, Arjava, satya, zauca, saMyama, tapaH, tyAga, AkiJcana and brahmacarya. IX, 16, 7. The fourteen mArgaNA or soul-quests are gati, indriya, kAya,yoga, veda, kaSAya, jJAna, saMyama, darzana, lezyA, bhavyatva, samyaktva, saMjJitva and AhAra. For exposition, see gommaTasAra, jIvakANDa, gAthA 140 onwards. IX, 16, 8. The fourteen guNasthAna or spiritual stages are mithyAtva, sAsana or sAsAdana, mizra, avirata samyaktva, dezavirata, pramattavirata, apramattavirata, apUrvakaraNa, anivRttikaraNa, sUkSmasAmparAya, upazAntamoha, kSINamoha, sayogakevalI and ayogakevalI. For exposition see gommaTasAra, jIvakANDa gAthA 8-69. __IX, 20, 3. The two divisions of Dharma are that of the householder and that of the homeless ascetic (sAgAra and anagAra ). see IX, 22, IX. 20, 9. The four kinds of charity are auSadha, zAstra, abhaya and AhAra, (see IX, 23, 4-7), and the three worthy recipients are the sage, the Jaina house-holder observing vows and one who is faithful but not observing the vows. see sAvayadhammadohA uttamapattu muNiMdu jagi majjhimu sAvau siddha / avirayasamAihi jaNu pabhaNiu pattu kaNidu // 79 // IX, 20, 20. The six occupations of life are asi, maSi, kRSi, zilpa, vidyA and vANijya. The six compulsory daily duties (SaD Avazyaka) of a faithful Jaina householder are devapUjA, gurUpAsti, svAdhyAya, saMyama, tapaH and dAna IX, 20, 21. lezyA or thought-paint is thus defined: liMpai appIkIrai edIe Niya-apuNNa-puNNaM ca / jIvo ti hodi lessA lessAguNamANayakkhAdA // 489 jIvakANDa, They are six kRSNa, nIla, kApota, pIta, padma and zukka of which the first three are regarded azubha. For exposition see gommaTasAra, jIvakANDa, gAthA 481.551 - 266 -

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NOTES IX, 21, 3. The tattras are seven jIva, ajIva, Azrava, bandha, saMvara, nirjarA and mokSa. For exposition in English, see 'Practical Path' by Champat Rai. For the eight qualities of Right Faith, a etc., see ratnakaraNDa zrAvakAcAra of samantabhadra 11-18. IX, 21, 9. The seven are enumerated in the following verse:taM mAMsaM surA vezyAkheTaM caurya parAGganA / mahApApAni saptAni vyasanAni tyajed budhaH // IX, 23, 2. dhyAna is of four kinds Arta, raudra dharma and zuru. Of these the first two produce evil and the last two good Araudravikalpena durdhyAnaM dehinAM dvidhA / dvidhA prazastamapyuktaM dharmazuklavikalpataH // 20 // syAtAM tatrArtaraudre dve durdhyAne'tyantaduHkhade / dharmazu ke tato'nye dve karmanirmUlanakSame // 21 // etc. jJAnArNava, prakaraNa 25. IX, 24, 2. The five vows of the ascetics are the same as those of the householders, differing from the latter in their rigour and thorough. ness of observance. IX, 24, 6. Celibacy observed by a, a, a, and ga, mina, sgdiga constitutes the nine kinds of brahmacarya. IX, 24, 7. The two kinds of area and af. i. e. the inner passions and material belongings. IX, 24, 8. The of ascetics are twenty-eight, five Mahavratas, five Samitis, five sense-controls, six obligatory duties and seven other observances. For an exposition of these, see it, a 9. IX, 24, 9. The number of is given as eightyfour lakhs, for a classification of which, see mUlAcAra, gAthA 1023 and onwards. X X, 9, 4. There is double-meaning in the second part of the line bahupraharaH nanu sUryo'pi suptaH and bahuprahAraH nanu zaro'pi suptaH / X, 9, 6. On puNgAya ( putrAgA ! ) the tippana in S is puMzcalI strI and in N garkort. X, 19, 8. I am not sure whether I have interpreted the first foot of this line quite correctly. But I could not find any other meaning which would suit. Subhachandra does not help here. His version is 267

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KARAKANDACARIU yAvadAste vane rAtrI bhavane devanirmite / tAvattatra sa AyAsIdrAkSasyuskSiptamatkarA (matsarA) // X. 26. In this kadavaka is described the method of celebrating the five kalyanakas garbha, janma, tapaH, jJAna and nirvANa of a Tirthamkara. Subhachandra's version of it is as follows: mAse bhAdrapade kRSNe proSadhaH pratipattithau / garbhakalyANakAlyaH sa kAryaH satkAryakovidaH // 111 // siddhacAritrasacchAMtibhaktibhiH kriyasakriyA (?) / taddine munibhirmukyai mahadbhirnirmalAzayaiH // 112 // gRhasthaiI vidugdhAdyaiH snapanaM zrIjinezinaH / vidhIyate tanutyAgo rAtrI jAgaraNaM tathA // 13 // paMcamyAM proSadhastasmijanmakalyANasaMjJitaH / pUrvoktAstAH kriyAH kAryA dine tasminzubhAptaye // 114 / / aSTamyAM kSapaNastasminmAsi khyAto mahAbhiH / saniSkramaNasannAmA sarvasiddhipradAyakaH // 115 // siddhacAritrasadyogazAMtibhavatyA'bhivaMdyate / jino vijitakA'tha manmayonmAdamathakaH / / 116 // kevalajJAnakalyANo dazamyAM proSadhI malaH / siddhazrutasucAritrayogazAMtikriyAM bhajet / / 117 / / nirvANAkhyaM caturdazyAM kSapaNAya paNaiH kriyA (? / kAryA siddhazrutovRtadhoganirvANazAntibhiH // 118 // vratAnAM tilakaM tena paMcakalyANasaMjJakam / paMcavakaraparyantaM tene caturacetasA // 119 // x.26. 18. viusaggahiM advahiM-vyutsarga means kAyotsarga, but it is not clear what eight refers to in that respect. " The tippana is " kAyotsarga karavu ATha gaNIe NukAra" which means renunciation of the body having repeated the Navakara mantra eight times. The translation should be corrected accordingly. - 268 -

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APPENDICES.

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APPENDIX A. kara NDa rAjA [Extract from kumbhakAra-jAtaka in Jataka Vol. III ] atIte bArANasiyaM brahmadatte rajaM kArente bodhisatto bArANasinagarassa dvAragAme kumbhakArakule nibattitvA vayappatto kuTumba saNThapetvA ekaM puttaJca dhItaraJca labhitvA kumbhakArakammai nissAya puttadAraM posesi tadA kAliGgaraTe dantapuranagare karaNI nAma rAjA mahantena parivArena uyyAnaM gacchanto uyyAnadvAre phalabhArabharitaM madhuraphalaM ambarukkhaM divA hatyikkhandhargato yeva hatyaM pasoratvA ekaM ambapiNDaM gahetvA uyyAnaM pavisitvA maGgalasilAya nisinno dAtabbayuttakAnaM datvA ambaM paribhuji / raJA gahitakAlato paTThAya sesehi nAma gahetabbamevA ti amaJcApi brAhmaNagahapatikAdayo pi ambAni pAtetvA khAdisu / pacchA pacchau AgatA rukkhaM Aruyaha muggarehi pothetvA obhaggavi. bhaggasAkhaM katyA AmaphalaM pi aseselvA khAdisu / rAjA divasaM uyyAne koLityA sAyaNhasamaye alaMkatahasthikkhandhe nisAditvA gacchanto taM rukkhaM disvA hatthito otaritvA rukkhamUlaM gantvA rukkhaM olokatvA " ayaM pAto va passantAnaM atittiko phalabhArabharito sobhamAno ahAsi, idAni gahitaphalo obhaggavibhaggo asohamAno Thito" ti cintetvA puna anato olokento apara niSphalaM ambarukkhaM disvA " esa rukkho attano niSphalabhAvena muNDamaNipabbato viya sobhamAno Thito, ayaM pana phalitabhAvena imaM vyasanaM patto, idaM agAramajham pi phalitarukkhasadisaM pabbajA niSphalarukkhasadisA sadhanasseva bhayaM asthi nidhanassa bhayaM nasthi, mayApi niSphalarukkhena viya bhavitabbaM " ti phalarukkhaM ArammaNaM katvA rukkhamUle Thitako va tINi lakkhaNAni sallalevA vipassanaM vaDUtvA paJcekabodhiANaM nibbattetvA " viddhaMsitI dAni me mAtukucchikuTikA chinnA tIsu 1 rakulaM. 2 dAnaM. 3 3. 4 nanda. 5 karaNDako. 6 vakhandhavaragato. 7 only one pacchA. 8 AmaphalaM. 9 naM. 10 dhivare. 11 saphalabhA. 12 omit atthi. 13 vidhaM.

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KARAKANDACARIU bhavesu paTisandhi, sodhitA saMsArakArabhUmi, sosito' assusamuddo, bhinno ahipAkAro', na tthi me puna paTisandhI" ti Avajanto sabbAlaMkArapatimaNDito va aTThAsi / aya naM amacA AhaMsu " atibahuThita attha mahArAja " ti / " na mayaM rAjAnoM pacekabuddhA nAma mayaM " ti / " paJcekabuddhA nai tumhAdisA honti devA " ti / " atha kIdisA hontI " ti / oropitakesamassukAsAva. vatyapaTicchannA kule vA gaNe vA alaggA vAtacchinnavalAhakarAhumuttacandamaNDalapaTibhAI himavati nandamUlapabbhAre vasanti, evarUpA deva pacekabuddhA " ti / tasmi khaNe rAjA hatyaM ukkhipityA sIsa parAmapti tAvadevassa gihiliGga antaradhAyi samaNaliGgaM pAturahosiH ticIvarazca patto ca vAsi sUci ca bandhanaM / parissAvanena ahete yuttayogassa bhikkhuno // ti evaMvutta samaNaparikkhArA kAryapaiTibaddhA va ahesu / so AkAse ThatvA mahAjanassa ovAdaM datvA anilapathena uttarahimavante nandamUlapabbhArameva agamAsi / karaNDe nAma kaliMgAnaM gandhArAnazca naggai / nimirAjA videhAnaM paJcAlAnazca dummukho / ete raTThAni hitvAna pabajiMsu akiJcanA // sabbevime devasamA samAgatA / aggI yathA pajalito tathevime // ahaM pi eko carissAmi bhaggavi / hitvAna kAmAni yathodhikAnI ti // [ tAsaM attho / bhadde esa saMghattherapaJcekabuddho dantapure nAma nagare karaNTuM nAma kaliMgAnaM janapadasa rAjA.... I] 1 sodhitA. 2 chindo. 3 attA. 4 jento. 5 paTi'. 6 mahArA. . nAma. 8 lAhakA'; lAhatarAhumukhAmu. 9 vuttA'. 10 kAye. 1 karakaNDa, 2 degvame; pime. 3 omit samA, 4 all four MSS deggi. 5 'pime. 6 eko va; eko vi; eko cassA. 7 aggavi; aggivaM. 8 yatoThitAnIti; satocaditAni, 9 karakaNDako. - 272 -

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TRANSLATION. Once upon a time when Brahmadatta was reigning in Benares, the Bodhisatta was born in a potter's family in a suburb of Benares : when he grew up he became a householder, had a son and daughter, and supported his wife and children by bis pottor's handicraft. At that time in the Kalinga kingilom, in the city of Dantapura, the king named Karandu, going to his garden with a great retinue, saw at the garden-gate a mango tree ladlen with sweet fruit: le stretched out his hand from his seat on the elephant and seized a bunch of mangoes: then entering the garden be sat on the royal seat and ate a mango, giving some to those worthy of favours. From the time when the king took one, ministers, brahimins and householders, thinking that others should also do so, took down and ate mangoes from that tree. Coming again and again they climbed tlie tree, and beating it with clubs and breaking the branches down and off, they ate the fruit, not leaving even the unripe. The king amused himself in the garden for the day, and at evening as he came by on the royal elephant he dismounted on seeing the tree, and going to its root he looked up and thought," In the morning this tree stood lieautiful with its burden of fruit and the grazers could not be satisfied: now it stands not beautiful with its fruit broken down and off." Again looking from another place he saw another mango tree barren, and thought, " This mango tree stands beautiful in its barrenness like a bare mountain of jewels; the other from its fruitfulness fell into that misfortune: the householder's life is like a fruitful tree, the religious life like a barren tree: I too would be like the barren tree." So taking the fruit-tree as his subject, be stood at the root; and considering the three ( impermanence, suffering, unreality ) properties and perfecting spiritual insight, lie attained pacceka-buddhahood, and reflecting the envelope of womb is now fallen from me, rebirth in the three existences is ended, the filth of transmigration is cleansed, the ocean of tears dried up, the wall of bones broken down, there is no more rebirth for me," he stood as if adorned with every ornament. Then his ministers said, " You stand too long, O Great King!" "I am not a King, I am a Pacceka-buddha." << Pacceka-buddhas are - 2009 -

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KARAKANDACARIU not like you, O king."" Then what are they like ? " " Their bair and beards are shaved, they are dressed in yellow robes, they are not attached to family or tribe, they are like clouds torn by wind or the moon's orb freed from Rahu, and they dwell on Himalaya in the Nandamula cave: such, o king, are the paccokabuddhas." At that moment the king threw up bis hand and touched his head, and instantly the marks of a householder disappeared, and the marks of a priest came into view: Three robes, bowl, razor, neodles, strainer, zone, A pious brother those right marks should own. The requisites, as they are called, of a priest became attached to his body. Standing in the air be preached to the multitude, and then went through the sky to the mountain cave Nandamula in the upper Himalaya. Kalinga's king Karandu, Gandhara's Naggai, Pancala's ruler Durmukha, Videha's great Nimi, Have left thrones and lived the life of Brothers sinlessly. Here the godlike forms they show Each one like & blazing fire: Bhaggavi, I too will go, Leaving all that men desire. - 2008 -

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APPENDIX B. kara ka NDU rAyA [ The story occurs in Devendra's commentary on Uttaradhyayana Sutra. It is reproduced here from Jacobi's Ausgewahlte Erzahlungen in in Maharashtri. The translation is repuduced from J. J. Meyer's Hindu Tales. ] tatya karakaNDU / campAe nayarIe dahivAhaNo raayaa| tassa ceDaga-dhUyA paumAvaI devii| annayA ya tIse dohalo jaao| kihohaM rAyanevacchene nevacchiyA mahArAyadhariyachattA ujANakANaNAni hatthikhandhavaragayA viharejA / sA u luggA jAyA, rAiNA pucchiyA, kahio sambhAvo tAhe, rAyA sA ya jayahathimi ArUDhAI gayA chattaM dharei gayA ujjANaM / paDhamapAuso ya tayA vadRi sIyalaeNaM surahigandha-maTTiyA-gandheNaM hatyI ajjhAhao vaNaM sNbhrei| karI vi payatto vaNAbhimuho payAo pahAo jaNo na tarai piTThaoM olggiuN| do vi aDaviM pavesiyAI rAyA vaDarukkhaM pecchaI devi bhaNai / eyassa vaDassa heTTeNeM jAhii tao tuma sAhaM gehejAsi / tAe pddisuyN| na tarai geNhiu~ / rAyA dakkho teNa sAhA ghiyaa| so uttiNNo nirANando kiMkAyavyayAmUDho gao campaM / sA ya paumAvaI nIyA nimmANusiM aDaviM / jAva tisAio tAva pecchai talAgaM mahaimahAlayaM hatyI / tao tatya oiNNo abhiramai / imA vi saNiyaM saNiyaM oiNNA kariNo uttiNI tlaagaao| disAo na jaanni| bhayabhIyA samantao taM vaNaM ploei| tao aho kammANa pariNaI jeNa atakkiyameva erisaM vasaNamahaM pttaa| tA kiM karemi kA me gai tti soyapairavvasA roviuM payattA / khaNametteNa kAUNa dhIrayaM cintiyaM tiie| na najai, bahuduTThasAvayasaMkule eyaMmi bhausaNe vaNe 1 kilA. 2 tya'. 3 Ne. 4 'A, 5 sIyA. 6 oM. 7 degA. 8 A. 9 degkkha'. 10 hepUrNa, 11 bhoiNNA. 12 add kattha gacchAmi. 13 mss. sAya. - 205 -

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KARAKANDACARIU kiM pi havai / tA appamattA hvaami| tao kayaM causaraNaM gamaNaM garahiyAI ducariyAI khAmio sayalajIvarAsI, kayaM sAgAra bhattapaccakkhANaM / jai me hoja pamAo imassa dehassimAe velaae| AhAramuvahidehaM carime samayaMmi vosiriyN|| tao paJcanamokkAro me saraNaM, jao so ceva ihaloga-paralogesu kallANAvaho / bhaNiyaM caH vaahi-jl-jlnn-tkr-hri-kri-sNgaam-vishr-bhyaaii| nAsanti takkhaNeNaM navakAra-pahANa-manteNaM // na ya tassa kiMci pahavai bAiNi-veyAla-rikkha-mAri-bhayaM / navakAra-pahAveNaM nAsanti ya sayala duriyAI // tahA: hiyayaguhAe navakArakesarI jANa saMThio niccaM / kammaTTagaNThi doghaghavaM tANa parinaTuM // tao navakAramaNusarantI paviTThA egadisAe / jAva dUraM gayA tAva diTTho ego taavso| tassa mUlaM gayA abhivAio so ! pucchiyA teNa kao si, ammo, ihaagyaa| tAhe kahei ahaM ceDagassa dhUyA, jAva hatthiNA ANIyA / so ya tAvato ceDagassa niyallao / teNa AsAiyA mA bIhehi tti / bhaNiyA ya mA soyaM karehi Iiso ceva saMjogaviogaheU jamma-maraNa-roga-sogapauro asAro saMsAro / vaNaphalehiM aNicchantI vi kArAviyA pANavitti nIyA vasima bhaNiyA ya etto pareNa halakiTTA bhUmI taM na akkamAmo amhe / eso dantapurassa visao dantavako ya ettha rAyA / tA tuma nibbhayA gaccha eyammi nayare / puNo satyeNa gacchaK campaM ti / niyatto tAvaso / iyarA paviTThA dantapuraM, gayA pucchantI sAhuNImUlaM / vandiyA pvttinnii| pucchiyA kaoM saavigaa| kahiyaM tIe jahaTTiyaM / paruNNA maNAgaM saMThaviyA pavattiNIe mahANubhAve, mA kuNasu cittakheyaM alaMghaNio hu vihipariNAmo / jao:-- vihADavai ghaDiyaM pi hu vihaDiyamavi kiMci saMghaDAvei / ainiuNo esa vihI sattANa suhAsuhakaraNe // kiM ca khaNadiTTanaTThavihave khaNapariyaTTantavivihasuhadukkhe / khaNasaMjogavioge saMsAre natthi ki pi suhaM // jeNaM ciya saMsAro bahuvihadukkhANa esa bhnnddaaro| teNaM ciya iha dhIrA apavaggapahaM pavajanti // 1 add savvaM tiviheNa vosiriyaM / 2 ha. 3 Ieso, 4 mss. vittI. 5 tApasAbhamaM 6 gacchejjAsu. 7 kuo. 8 haM ka. - 276 -

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APPENDIX B. evamAI aNusAsiyA saMvegamuvagayA tANaM ceva mUle pavvaiyA / pucchiyAe vi dikkhAe adANabhaeNa gambho na akkhaao| pacchA NAe mayahariyAe~ sabhAo khio| pacchannaM dhariyA~ pasUyA samANI saha nAmamuddAe kambalarayaNeNa ya saptANe chaThei / panchA masANapAleNa gahio bhajAe appio / avakiNNao tti nAmaM kayaM / sA ya annA tIe pANIe samaM metti karei ti / sA ajjA tAhiM saMjaIhiM pucchiyA kahiM gambho / bhaNai mayago jAo, tA me ujhio| so tattha saMvaDhai / tAhe dAragarUvehi samaM ramai / so tANi DiMbharuvANi bhagai ahaM tumbhaM rAyA, mama karaM deha / lukkhakacchUe ghio| tAgi bhaNai mamaM kaNDUyaha / tAhe se kArakaNDa tti nAma kayaM : so ya tAe saMjaIe apuratto / sA ya se moyae dei, jaM vA bhikkhaM laddhaM lhii| saMvaDio so sasANaM rakkhai / tattha do saMjayA keNai kAraNeNa aigayA; jAva egattha kuDaMge daNDa pecchanti / tattha ego daNDalakkhaNaM jANai, jahA:egapavvaM palaMsanti dupayA kalahakAriyA / tipavyA lAbhasaMpannA caupanyA mAraNantiyA // 1 // paJcapavvA u jA laTThI panthe RnTahanivAriNI / chapavA ya AyaMko sattapanyA aromiyA // 2 // cauraMgulapaTTANA addhaMgulasamUsiyA / sattapavvA u jA laTThI mantagayanivAriNI // 3 // aTupavA asaMpattI navapazvA jasakAriyA / dasapabvA u jA laDI tahiyaM samghasaMpayA // 4 // vaMkA kIDakkhaiyA cittalayA polyA ya daDDAya / lakI ya ubhasukkA vajeyanvA payatteNa // 5 // ghaNavaTTamANapabvA niddhA vaNNeNa egavaNmA y| emAi lakkhaNajuyA pasattha lahI muNeyavyA // 6 // tao teNa bhaNiyaM jo" eyaM daNDagaM geNhissai so rAyA hohii; kiMtu paDicchiyavyo jAva annANi cattAri aMgulANi vaDhei tAhe jogo ti / taM tena mAyaMgaceDageNa suyaM ekkeNa ya dhijjaaienn| tAhe so dhijjAio appasAriyaM tassa cauraMgulaM khaNiUNaM chindei / teNa ya ceDageNaM diTTo so uddaalio| so teNa dhijAieNa karagaM niio| bhaNai, dehi daNDagaM / so bhaNai, mama masANe esa vaDio ao na demi / dhijAio bhaNai, annaM geha / so necchai / so dArago na dei / tehi so dArago pucchio kiM na desi / bhaNai, yaH ahaM eyassa daNDagassa pahAveNa rAyA hohAmi tti / tAhe kAraNiyA hasiUNa bhaNanti, jayA tumaM rAyA hojAsi tayA tuma eyatsa gAma dejAsi / paDivannaM teNa / dhijjAieNa vi anne dhijjAiyA bhaNiyA, jahA evaM mArettA daNDagaM harAmo / taM tassa piuNA suyaM / tANi tiNNi vi nahANi jAtra kaMcaNapuraM gyaanni| tatya rAyA aputto mo| Aso ahi. yAsio tassa bAhiM suyantassa mUlamAgao payAhiNI kAUNa tthio| jAva AyareNa nAyarA pecchanti 1 pamAi, 2 mss, nAe, verb mahayariyAe. 3 pacchaNNA. 4 avakaNNio. 5 Dika, divva. 6 mama. 7 bha. 8 daNDaM. 9 pollarA, 10 ujjha. 11 omeyaM. 12 daNDaM. 13 paricchiyavao. 14 dArageNa, add bhaNNamANaM. 15 vAhiM. 16 go. - 277 -

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KARAKANDACARIO lakkhaNajuttaM jayasaddo kao nandItUramAhayaM / iyo vi jambhanto uddhio| vIsatyo Ase vilaggo pavesijjai / mAyaMgo tti dhijjAiyA na denti pvesN| tAhe teNa daNDarayaNaM gahiyaM / taM jaliumADhattaM / te bhIyA ThiyA / tAhe teNa vADahANagA hariesA dhijjAiyA kayA / uktaM ca dadhivAhanaputreNa rAjJA ca karakaNDanA / vATadhAnakavAstavyAzcAMDAlA braahmnniikRtaaH|| tassa ya gharanAmaM avakiNNago tti avahIriUNa tehiM ceva ceDagakarya paiTThiyaM karakaNDu tti / tAhe so dhijjAio Agao dehi mama gAma / bhaNai : jo te ruccai te gehaha / so bhaNai : mamaM campAe gharaM tA tIe visae dehi / tAhe dahivAhaNassa lehaM dei : eyassa bamhaNasta dijje egaM gaam| ahaM tujjha, jaM ruccai, gAma vA nagaraM vA demi / so ruSTo : duTumAyaMgo appANaM na yANai ti / dUeNa paDiyAgaraNa kahiyaM / karakaNDU kuvio| campA rohiyA juddhaM vaTTai / tAhe saMjAIe suyaM / mA janakkhao hohi tti mayahariyaM ApucchiUNa gayA taM nayaraM / karakaMDu ussaoNrittA rahassaM bhindaiI esa tava piya tti / teNa tANi ammApiyaro pucchiyANi / tehiM sabbhAvo kahio mANeNaM na osarai / tAhe sA campaM aigayA sno gharaM aIi, nAyA pAyavaDiyAo dAsIo paruNNAo / rAiA~ visuyaM / so vi aago| vandittA AsaNaM dAUNa taM ganmaM pucchai / sA bhaNai eso jeNa rohiyaM nagaraM / tuTTho niggao milio / do vi rajjANi tassa dAUNa dahivAhaNo pavaio / karakaNDu ya mahAsAsaNo jaao| so kila goulappio aNegANi tassa goulANi jAyANi / jAva sarayakAle egaM govacchaM thoragattaM seyaM pecchai / bhaNai : eyassa mAyaraM mA duhejjaha / jahI vaDhio hojA | tayA annANaM gAvINaM duddhaM pAejjAha / te govA paDisuNanti / so uvvattaivisANo khandhavasabho jAo rAiNA dittttho| so juddhikao jaao| puNo kAleNa rAyA Agao pecchai mahAkAyaM juNNavasabhaM paDaehiM parighaTijantaM / gove pucchai : kahiM so vasabho tti / tehiM so dAio tayavatyo / bhaNiyaM caH goTuMgaNassa majjhe DhikiyasaddeNa jassa bhajanti / dittA vi dariya vasabhA sutikkhasiMgA samatthA vi // 1 // porANayagayadappo galantanayaNo clntvismotto| so ceva imo vasabho paDDayaparihaTTaNaM sahai // 2 // taM tArisaM pacchiya gao visaayN| cintei aNiJcayaM aho tAriso hoUNa saMpai eyArisoM . 1 kaNNigo, kannago. 2 dehi mama egaM gAma, 3 tAe. 4 'hari. 5 dUsAritA. 6 dei. . 8 mss. rAyaNA. 9 add vi 1. jayA. 11 aJcaMta; ucita. 12 degho. 13Dhakiya, DhaMkiya (balavaMta). - 278 -

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APPENDIX B. jAo esa vsbho| tA savve athirA saMsAre payatthA / tahA hi : jo tAva bhoganibandhanaM mahAmohaheU ya atyo so adhuvo / bhANiyaM cacavalaM suracAvaM va vijjuleha vva' caJcalaM / pAA valaggaM paMsu vva dhaNaM athiradhammayaM // 1 // atthaM corA vilumpanti uddAlanti naresarA / vantarA ya nigRhanti geNhanti aha dAyA // 2 // huyAsaNo Dahe savvaM jalaippIlo vinAsae / savvassa haraNaM cAvi karei kuvio jamo // 3 // tahA paramANandaheU iTThajanasaMgamo vi aNicco, kaha:jahA saMjhAe rukkhami milanti vihagA bahU / panthiyA pahiyAvAse jahA desaMtarAgayA // 1 // pahAe janti savve vi annamantraM disantaraM / evaM kuDambavAse vi saMgayA bahavo jiyA // 2 // narAmaratirikkhAi-joNIsu kammasaMjuyA / maccuppahAyakAlaMmi sabve janti disodisi3|| jaNu mattapamatta hiNDai puraipahehi / moDAu~Di karantau veDhiu bahunarehi // 4 // taM joyaNu aireNa jaNakkhayabhaMguraM / jararogehiM sosijaI rakkhaM taha khara" // 5 // tahA gambhe jamme bAlattaNaMmmi taruNataNami thertte| maTTiyabhaNDaM va jIyA savvAvaTThAsu vihaDanti // 6 // emAi cintanto paDibuddho, patteyabuddho" jAo / kAuNa paJcamuTThiyaM loyaM devayA viiNNaliMgo viharai / bhaNiyaM ca seyaM sujAyaM suvibhattasiMgaM jo pAsiyA vasaMbhaM goTThamajjhe / riddhi ariddhiM samupahiyANaM kaliMgarAyA vi samikkha dhammaM // 1 lehaM ca. 2 pAulaggaM ghaMsa, poAva'. 3 jaju (jalapravAha). 4 Da'. 5 saMgayA. 6 nurmattau. v add pattaNa. 8 moDAtoDi. 9 ayareSa vi. 10 sijjhai. 11 kharaM. 12 jiyA. 13 ddhoM. 14 deghai. - 279 -

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TRANSLATION Here Karakandu. In the city of Campa there reigned a king, Dabivabana. His queen was Paumavai, the daughter of Cedaga. One day this longing of a pregnant woman came upon her: "How can I divert myself riding through the parks and groves on the most excellent back of an elephant, attired in the costume of the king, having the royal parasol held over me by the great king?" She became sick and was questioned by the king. She told him matters as they were. Then the king and she mounted his elephant of victory, the king held the royal parasol, she went to the park. It was then the beginning of the rainy season. When the elephant was touched by the odour of the fragrant-smelling earth he remembered the woods and went out of the path. The people could not keep up with him. The two entered the woods. And the elephant started towards the woods and went out of the path. The people could not keep up with him. The two entered the woods. The king saw a fig tree. He said to the queen : " He will pass under that fig tree; then you are to take hold of a bough." She promised but could not take hold. The king was prompt: be seized the bough. Joyless he descended, and perplexed as to what to do he went to Campa. And this Pauinavai was carried into a desolate wood. When the elephant was thirsty he saw a lake which had a very great basin. Theu he descended to it and amused himself. But she softly dismounted from the elephant and ascended from the pond. She did not know the directions, affrighted with fear she looked at the wood on all sides. Then overpowered with distress, she began to weep: " Alas for the isgue of one's acts ( in a former existence ), since all unexpected I have fallen into such a disaster ? Now what shall I do? What refuge is there for me?" In a moment she gathered strength of mind and reflected : "One does'nt know something might happen in this dreadful wood swarming with many, many, vicious, wild beasts. There fore I shall be careful." Thereupon she made the fourfold refuge her protection, repented of her sins, asked the forgiveness of the whole host of living beings, and. engaged in abstinence from delicate food. - 360 -

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APPENDIX B. If any carelessness be mine with regard to this body and this time, I havo now renounced food, the clinging to the world, and the body. Then the fivefold formula of worship is my refuge, for that bringe welfare in this world and the next. And it is said : "Dangers from desease, water, fire, robbers, lions, elephants, fights, and poisonous snakes vanish instantly by the supreme charm which consists of the formula of worship. And no danger from female imp. vampire, goblin, or Lamia prevails against it. And by the power of the formula of worship all calamities ranish. The it is said : " The assault of the elephant, the eight fetters of karna on those in whose innermost hearts continually abides the lion formula of worship', is frustrated >> Then remembering the formula of worship she pushed ahead in one direction, When she had gone far, she saw an ascetic. To his feet she went. She saluted him He asked her : "Whence have you come here, good lady?" Then she related: "T am the daughter of Cedaga and have just now been brought here by an elephant." And that ascetic was one of Cedaga's own subjects. He comforted her: "Do not criere. Just such is this unsubstantial samsara, the cause of union and separation, full of birth, death, desease, and sorrow." With the fruits of the forest he made her sustain life against her own will, took her to his hermitage, and said to her : " From here on, the ground is til!ed with the plough; we do not set foot on it. This is the territory of Dantapur; and Dantavakkba is king here. Therefore go you fearless into this town; from here again set forth most cheerfully to Campa." The ascetic returned. The other entered Dantapura. She went enquiring for a Jaina convent of nuns. She saluted the lady superior. She was questioned: "Whence comes the lady disciple ?" She told how matters stood. Crying bitterly, she was comforted a little by the superioress." Illustrious lady, do not give way to distress of mind. The development of one's fate can not be averted. For : "As we know, it tears apart even what is united, and some things it unites although they are separated. Extremely dexterous is this fate in working weal and woe for beings. And, there is no happiness in the samsara, where greatness is seen one moment and disappears the next, where various pleasures and sorrows change in a moment, where union and separation are only matters of a moment, Because this samzara is a storehouse of manifold sorrows, just for that reason wise men here betake themselves to the path of final beatitude." Bing comforted in such and similar manner she was stirred to the depths of her soul and renounced the world on the spot in their convent. And although she - 30 -

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KARAKANDACARIU was asked at her consecration, she did not tell of her pregnancy, for fear they might not grant ( her ordination ). Later, when the matter was found out she told the truth to the abbess. Being kept in concealment she gave birth to a child and exposed it in the cemetery, together with a ring bearing a name and a jewel of a blanket. And afterwards the child was taken by the guardian of the cemetery and banded over to his wife. They named the boy Avakinnaya ( Castaway). And this noble lady became a friend of this Candala woman. And this noble lady was questioned by the nuns : " Where is your child ?" She said: "It was stillborn and therefore left ( in the cemetery ) by me." The boy grew up there. He played with the boys. He said to the children there : " I am your king: pay me taxes." He was seized with the dry scab. He said to them: "Scratch me." Then they gave him the name of Karakandu. And be was very fond of this nun. And she gave him sweetmeats or whatever delicate alms she obtained. When he had grown up he guarded the cemetery. For some reason two ascetics passed by there. At once they saw at one place a stick in a coppice. One of them know the signs of sticks as follows: A stick with one joint they praise; those with two joints cause quarrel; those with three joints are fraught with profit; those with four joints entail death. A staff that is five-jointed wards off quarrel on the way; & six-jointed one is desease; a seven-jointed health. A stick that has a base of four finger's breadth and riss half a finger's breadth and has seven joints wards off mad elephants. A staff of eight joints is failure, one of nine productive of fame, but one of ten joints truly is all prosperity. A stick that is crooked, worm-eaten and spotted and bunchy and burned and dried up at the top is to be carefully avoided. Having massive joints, shining with colour, and of one colour, a staff provided with such marks is to be considered an excellent staff." Thereupon he said: "He who will take this staff will be king. But one must wait for it till it grows four inches more: then it is serviceable." This was heard by that Candala lad and by a Brahman. Then that Brahman dug out the four ioches of the staff that had not yet shot up (out of the ground ) and cut the staff. And that lad saw him and snatched it away from him. He was taken before the Court by that Brahman. He said: "Give me my stick." He answered: " It has grown on my cemetery; therefore I will not give it." The Brahmau said: "Take another." He did not want to. The boy did not give it. The boy was asked by them: "Why do you not give it ?" And he said: "By the power of this stick I shall be king." Then the people of the Court laughed and said: "When you do come to be king, then you 862 -

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APPENDIX B. shall give this Brahman a village." He agreed. The Brahman spoke to other Brabmans as follows: "Let us kill him and take the stick." That was heard by his father. The three fled and staightway went to Kancanapura. There the king bad died sonless. The deputed horse came to Karakandu's feet while he slept outsid3 (of the city ), circumambulated him with its right side turned towards him, and stood still. In the meanwhile the people of the city saw with great respect that he was endowed with the marks ( of a king ), the cry of " Victory" was raised and the drum of rejoicing beaten. But he got up yawning. With perfect composure he sat on the horse and was taken into the city. "He is a Candala", said the Brahmang and would not grant him entrance. Then he seized the jewel of a staff. It began to blaze They were terrified. Then he made the Candalas of Vadabana Brahmans. And the saying arose: By king Karakandu, the son of Dahiavhana, the Candalas who lived in Vatadhana were made Brahmans. And they too disregarded the name given him: at home, Avakinnaga, and established the name given him by the Candala boys, Karakandu. Then that Braliman came: "Give me the village." "Take the one that pleases you." He said: "My home is in Campa; therefore give it to me in her territory." Then be gave bim a letter to Dabivahana: "Give this Brahman a village. I shall give you any village or city that pleases you." He was enraged: "The wicked Candala does not know his own self." The messenger returned and reported this. Karakandu was incensed. He besieged Campa; fighting was going on. Then the nun heard of it. Saying: "Let there be no destruction of people ", she took leave of the abbess and went to the city. She took Karakandu aside and disclosed the secret to him: "He is your father." He questioned his mother and his father. They told him the real state of affairs. From pride he did not march away. Then she repaired to Campa, went into the king's house, she was recognized, the female servants fell down at her feet and wept. The king too heard of it; he too came, greeted her respectfully, gave her a seat, and enquired about her child. She said: "It is he by whom the city is besieged." Delighted, he went out and had a meeting with him. Giving him both the kingdoms Dabivahana renounced the world. And Karakandu became a mighty monarch. Now he was very fond of herds of cattle. In the meanwhile, at the time of autumn, he saw a bull calf, strong-limbed and white. He said: "Do not milk the mother of this one. When he has grown, then let him drink the milk of other cows." The cowherds promised. When his horns had come out and he had become a power

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KARAKANDACARIU ful bull, the king saw him. He became ,,olely intent on fighting. Agaiu in the courseof time the king came and saw a big-bodied, old, bull that was being harassed on all sides by the young bulls. He asked the cowherds: " Vhere is that bull ?" They pointed him out in such a condition. And they said: " This very same bull here, by the sound of whose lowing in the middle of the yard of the cowpen even all the proud, overbearing bulls with very sharp horns were subdued, now suffers being harassed ou all sides by the young bulls as his pride bas departed on account of old age, his eyes. drip and bis distorted lip quivers." When the king saw him in such a plight he fell into despondency. He pondered on transitoriness: " Alas, this bull who was such a splendid fellow has now come to this ? So all subjects in the Samsara are short-lived. For thus it is " Wealth, which is indeed the basis of enjoyment and the cause of great delusion, is impermanent." And it has been said: "Perishable by its very nature is wealth, evanescent as the rainbow, unstable as the streak of lightning, like unto dust that clings to the feet. Riches the thieves rob, the princes snatch away, the Vyantara demons hide, the kinsmen seize. Fire burns every thing, a deluge of water destroys it and angry Yama (the god of Death) is engaged in carrying off all. Likewise union with beloved people, the cause of supreme joy, is transitory. How so? As many birds meet in the evening on a tree, as travellers, who come from other countries ( meet ) in a traveller's lodging house and in the morning all go away, every one in a different direction, so also the many beings that have come together in one family home, at the time of the blow of death, all go in different directions, accompanied by their karma, to births as men, gods, animals and other beings. A man strolls along the streets of the city, wanton and heedless, engaged in crushing and pushing, surtounded by many men. That same resplendent man, who perishes in a moment, is soon, dried up by old age and desease, that thus make him a goblin. Likewise, in the womb, during birth, in childhood, in youth, in old age, in all states, living beings go to pieces like earthernware vessels." Reflecting in such and similar manner he experienced the spiritual awakening he became a protyckabuddha. Having torn out his hair in five handfuls, and having been presented by a deity with the distinguishing tokens of a monk, he wandered about. And the saying arose: Having seen the white, noble bull with wellformed horns, in the middle of the cowpen, the king of Kalinga saw prosperity and ruin and perceived the true religion. - 868 -

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kAraMjA jaina sIrIja ke saMrakSaka va sahAyaka saMrakSaka 1. zrImAn talakacaMda sakhArAma javherI, bambaI 2. , phUlacaMdajI godhA ujjaina 3. , seTha geMdAlAlajI nAgapura vizAlakIrtijI bhaTTAraka nAgapura , motIlAla gulAbasA nAgapura , seTha vRddhicandajI zivanI ! " sahAyaka 1. zrImAn lAlacanda khuzAlacandajI bAlApura 2. , seTha sukhalAla iMsIlAlajI bAlApura 3. , mUlajI devajI zrIsthAnakavAsI mahAvIra bhavana, nAgapura -JA11-1992291cdear9036JREJamesed

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sAvayadhammadohA devasenakRta Edited ly-Prof. HIRALAL JAIN. Opinion of- Prof. E. J. KAPSON, Cambridge Luniversity. - The excellent vocabulary of the Sasaya-d1:a:nma-doha, together with the clear and concise account of the phonology and grammar of Apabhrams'a io your introduction will enable students of Parkrit to master the difficulties of this language accurately and intelligently. I have been able to find time to read some portions of this work and thus to appreciate the value of your edition. pAhuDa dohA rAmasiMhamunikRta Edited by Prof. HIRALAL JAIN. Opinion of - Dr. A. BERRIEDALE KEITH, Edinburgh University, I bavej received with pleasure your latest work in elucidation of Apabhrams'a poetry and congratulate you on your useful contribution to our knowledge. I note your viewiof Deshibhasha and Apabhrama's wbich seems plausible.

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pApanA DIRE kAraMjA sIrIz2a aura devendrakIrti sIrIz2a me prakAzita ati uttama apabhraMza bhASA ke graMtha 1. jasahara-cariu ( yazodhara-caritraM ) DAkTara pI. el. vaidya dvArA sampAdita. 6) 'aisI pustakeM apane deza meM nikalatI dekha pratyeka bhAratIya ko garva aura utsAha honA cAhiye.' hiMdusthAnI patrikA. "The book is based upon sound critical judgement." Dr. W. Schubring. " Prof. Vaidya has done the work excellently". Journal of the R. A. S. 2. NAyakumAra-cariu ( nAgakumAra-carita)-pro. hIrAlAla jaina dvArA sampAdita. 6) " It is a most valuable addition to our knowledge of Apabhramsa and appears to have been very satisfactorily edited in a manner well adopted to afford valuable assistance in the study of the language.". Dr. A. B. Keith " An excellent proof of a throrough commandment of the subject and of scientific spirit". Dr. W. Schubring. 3. lAvayadhammadohA (zrAvakadharma dohA)-pro. hIrAlAla jaina dvArA sampAdita 2 // ) " It is a very fine production " Dr. S. K. Chatterji. " A new proof of your successfully working in the Apabhramsa field. I express my satisfaction as to the inward and out ward merits of the book ". Dr. W. Schubring. " sampAdana sarvAta suMdara aura ucca koTi kA hai" Dr. Baburam Saksena. 4, pAhuDadohA (prAkRta dohA )-pro. hIrAlAla jaina dvArA sampAdita. " I congratulate you on your useful contribution to our knowledge." Dr. A. B. Keith. "A most valuable addition to our knowledge of Apabhramsa literature." Dr. Winternitz. 5. karakaMDa-cariu ( karakaMDU-carita)-pro. hIrAlAla jaina dvArA sampAdita. _aneka uttamottama graMtha taiyAra hokara chapa rahe hai| pAMca rupyA dekara grAhaka bana jAne se kula graMtha paunI kImata para mila sakeMge, maMtrI, kAraMjA jaina sIrIz2a.