Kuvalayamala Part 2

Author(s): Udyotansuri, A N Upadhye
Publisher: Bharatiya Vidya Bhavan
Catalog link: https://jainqq.org/explore/002778/1

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siMghI jainazAstra zikSApITha siMghI jaina granthamAlA-granthAMka 46 pradhAna saMpAdaka -AcArya jinavijaya muni dAkSiNyacihnAka-zrImad-udyotanasUriviracitA kuvalayamAlA (prAkRtabhASAnibaddhA campUsvarUpA mahAkathA ) dvitIya bhAga aMgrejI prastAvanA, TippaNI, pariziSTa ityAdi ratnaprabhasUri-viracitA kuvalayamAlA-kathA saMpAdaka DaoN. AdinAtha neminAtha upAdhye DIna, kalAvibhAga, zivAjI vidyApITha, kolhApura bhAratIya vidyA bhavana caupATI, muMbaI-7 1970 mUlya ru. 25 For Private & Personal use only www.lainelibrary.org

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Mmmmmmmmmmmmm svargavAsI sAdhucarita zrImAn DAlacandajI siMghI bAbU zrIbahAdura siMhajI siMghIke puNyazloka pitA janma-vi. saM. 1921, mArga. vadi 6 svargavAsa-vi. saM. 1984, poSa sudi 6 Accccwwwwwwwwwwwwwwww

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dAnazIla-sAhityarasika-saMskRtipriya sva. bAbU zrI bahAdurasiMhajI siMghI janma: 28-6-1885 ] ajImagaMja- kalakattA [ mRtyu : 7-7-1944

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SINGHI JAINA SASTRA SIKSAPITHA SINGHI JAIN SERIES--XXXXVI GEN. ED. - ACHARYA JINA VIJAYA MUNI UDDYOTANA-SURI'S KUVALAYAMALA (A Unique Campu in Prakrit) Critically Edited from Rare Mss. Material for the First Time with Various Readings etc. PART II RATNAPRBHA-SURI'S KUVALAYAMALA KATHA (A Stylistic Digest of the above in Sanskrit) Critically Edited with Various Readings etc., and also Introduction, Dr. Agrawala's Cultural Note, Gatha Index, Notes etc. BY Professor A. N. UPADHYE, M. A., D. Litt. Dean, Arts Faculty, Shivaji University, Kolhapur 0 1970 BHARATIYA VIDYA BHAVAN CHOWPATTY: BOMBAY 7.. .

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All Rights Reserved First Edition Published: First Part - 1959 Second Part - 1970 Price Rs. 25/ PRINTED IN INDIA By P. H. Raman at Associated Advertisers & Printers, Tardeo, Arthur Road, Bombay 34. and Published by S. Ramakrishnan, Executive Secretary, Bharatiya Vidya Bhavan, Chowpatty, Bombay 7.

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siMghI jaina zAstra zikSApITha siMghI jaina granthamAlA-granthAGka, 46 pradhAna saMpAdakaH- AcArya jinavijaya muni dAkSiNyacihnAGka zrImad uddyotanasUriviracitA kuvalayamA lA (prAkRtabhASAnibaddhA campUsvarUpA mahAkathA) atidurlabhaprAcInapustakadvayAdhAreNa suparizodhya bahuvidhapAThabhedAdibhi: pariSkRtya ca saMpAditam dvitIyabhAga: ratnaprabhasUrikA kuvalayamAlAkathA prastAvanA, TippaNI, sUcI Adisahita saMpAdaka : DaoN. AdinAtha neminAtha upAdhye, ema.e., DI. liT Dona, kalAvibhAga, zivAjI vidyApITha, kolhApUra ChauAma SEAS FD naI bhAratIya vidyA bhavana caupATI : muMbaI-7 1970 mUlya ru. 25

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/ / siMghIjaina granthamAlA saMsthApaka prazastiH // asti baGgAbhidhe deze suprasiddhA manoramA / murzidAbAda ityAkhyA purI vaibhavazAlinI || bahavo nivasantyatra jainA UkezavaMzajAH / dhanADhyA nRpasaMmAnyA dharmakarmaparAyaNAH // zrIDAlacanda ityAsIt teSveko bahubhAgyavAn / sAdhuvat saccaritro yaH siMghIkulaprabhAkaraH // bAlya evAgato yazca kartuM vyApAravistRtim / kalikAtAmahApuryAM dhRtadharmArthanizcayaH // kuzAgrIyasvabuddhacaiva sadvRttyA ca suniSThayA / upArNya vipulAM lakSmI koTyadhipo'janiSTa saH / / tasya mannukumArIti sannArIkulamaNDanA / abhUt pativratA patnI zIlasaubhAgyabhUSaNA / zrIbahAdurasiMhAkhyo guNavA~stanayastayoH / abhavat sukRtI dAnI dharmapriyazca dhInidhiH / / prAptA puNyavatA tena patnI tilakasundarI / yasyAH saubhAgyacandreNa bhAsitaM tatkulAmbaram // zrImAn rAjendrasiMho'sya jyeSThaputraH suzikSitaH / yaH sarvakAryadakSatvAt piturdakSiNabAhuvat // narendrasiMha ityAkhyastejasvI madhyamaH sutaH / sunuvarendrasiMhazca kaniSThaH saumyadarzanaH // santi trayospi satputrA AptabhaktiparAyaNAH / vinItAH saralA bhavyAH piturmArgAnugAminaH // anye'pi bahavastasyAbhavan svastrAdibAndhavAH / dhanairjanaiH samRddhaH san sa rAjeva vyarAjata // anyacca- sarasvatyAM sadAsakto bhUtvA lakSmIpriyo'pyayam / tatrApyAsIt sadAcArI taccitraM viduSAM khalu // nAhaMkAro na durbhAvo na vilAso na durvyayaH / dRSTaH kadApi tad gehe satAM tad vismayAspadam // bhakto gurujanAnAM sa vinItaH sajjanAn prati / bandhujane'nurakto'bhUt prItaH poSyagaNeSvapi // deza-kAlasthitijJo'sau vidyA-vijJAnapUjakaH / itihAsAdi - sAhitya-saMskRtisatkalApriyaH // samunnatyaM samAjasya dharmasyotkarSa hetave / pracArAya ca zikSAyA dattaM tena dhanaM dhanam / / gatvA sabhA samityAdau bhUtvA'dhyakSapadAnvitaH / dattvA dAnaM yathAyogyaM protsAhitAzca karmaThAH // evaM dhanena dehena jJAnena zubhaniSThayA / akarot sa yathAzakti satkarmANi sadAzayaH // athAnyadA prasaMgena svapituH smRtihetave / kartuM kiMcid viziSTaM sa kArya manasyacintayat / / pUjyaH pitA sabaivAsIt samyag jJAnaruciH svayam / tasmAt tajjJAnavRddhayarthaM yatanIyaM mayA'pyaram // vicAryaivaM svayaM cittaM punaH prApya susaMmatim / zraddhAspadasvamitrANAM viduSAM cApi tAdRzAm // jainajJAnaprasArArthaM sthAne zAntiniketane / siMghIpadAGkitaM jainajJAnapIThamatISThipat // zrIjinavijayaH prAjJo muninAmnA ca vizrutaH / svIkartuM prArthitastena tasyAdhiSThAyakaM padam // tasya saujanya - sauhArda - sthaiyAdAryAdisadguNaiH / vazIbhUya mudA yena svIkRtaM tatpadaM varam // kavIndreNa ravIndreNa svIyapAvanapANinA / rasa - nA' gAGka' - candrA 'bde tatpratiSThA vyadhIyat // prArabdhaM muninA cApi kAryaM tadupayogikam / pAThanaM jJAnalipsUnAM tathaiva granthagumphanam // tasyaiva preraNAM prApya zrIsidhokulaketunA / svapitRzreyase caiSA prArabdhA granthamAlikA // udAracetasA tena dharmazIlena dAninA / vyayitaM puSkalaM dravyaM tattatkAryasiddhaye // chAtrANAM vRttidAnena naikeSAM viduSAM tathA / jJAnAbhyAsAya niSkAmasAhAyyaM sa pradattavAn // jalavAyvAdikAnAM tu prAtikUlyAdasauM muniH / kAryaM trivArSikaM tatra samApyAnyatra cAsthitaH // tatrApi satataM sarvaM sAhAyyaM tena yacchatA / granthamAlAprakAzAya mahotsAhaH pradarzitaH // nanda' -nidhya'ka'- candrA 'bde jAtA punaH suyojanA / granthAvalyAH sthiratvAya vistarAya ca nUtanA 1 2 us 9 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33

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tataH suhRtparAmarzAt siNdhiivNshnbhsvtaa| bhA vi dyA bha va nAyeyaM granthamAlA samapitA // AsIttasya manovAJchA'pUrvA granthaprakAzane / tadartha vyayitaM tena lakSAvadhi hi rUpyakam // durvilAsAd vidherhanta ! daurbhAgyAccAtmabandhUnAm / svalpenaivAtha kAlena svarga sa sukRtI yayau // indu-kha-zUnya-netrAbde mAse aassaaddhsNjnyke| kalikAtAkhyapuryAM sa prAptavAn paramAM gatim // pitRbhaktazca tatputraiH preyase piturAtmanaH / tathaiva prapituH smRtyai prakAzyate'dhunA punaH // iyaM granthAvaliH zreSThA preSThA prajJAvatAM prthaa| bhUyAd bhUtyai satAM siMdhIkulakItiprakAzikA // vidvajjanakRtAlhAdA saccidAnandadA sadA / ciraM nandatviyaM loke zrIsaMdhI granthapaddhatiH // // siMghIjainagranthamAlAsaMpAdakaprazastiH // svasti zrImedapATAkhyo dezo bhAratavizrutaH / rUpAheloti sannAmnI purikA tatra susthitA // sadAcAra-vicArAbhyAM prAcInanRpateH samaH / zrImaccaturasiMho'tra rAThoDAnvayabhUmipaH // tatra zrIvRddhisiMho'bhUd rAjaputraH prasiddhibhAk / kSAtradharmadhano yazca paramArakulAgraNIH // muja-bhojamukhA bhUpA jAtA yasmin mahAkule / kiM varNyate kulInatvaM tatkulajAtajanmanaH / patnI rAjakumArIti tasyAbhUd guNasaMhitA / cAturya-rUpa-lAvaNya-suvAk-saujanyabhUSitA // kSatriyANI prabhApUrNA zauryoddIptamukhAkRtim / yAM dRSTava jano mene rAjanyakakulajA tviyam // patraH kisanasiMhAkhyo jAtastayoratipriyaH / raNamalla iti cAnyada yannAma jananIkRtama / zrIdevIhaMsanAmAtra rAjapUjyo yatIzvaraH / jyotibhaiSajyavidyAnAM pAragAmI janapriyaH // Agato marudezAd yo bhraman janapadAna bahUn / jAtaH zrIvRddhisiMhasya prIti-zraddhAspadaM param // tenAthApratimapremNA sa tatsUnuH svasannidhau / rakSitaH, zikSitaH samyaka, kRto jainamatAnugaH // daurbhAgyAt tacchizorbAlye guru-tAtau divaMgatau / vimUDhaH svagRhAt so'tha yadRcchayA vinirgataH // tathA ca -- bhrAntvA nekeSu dezeSa sevitvA ca bahUn narAn / dIkSito muNDito bhUtvA jAto jainamunistataH / jJAtAnyanekazAstrANi nAnAdharmamatAni ca / madhyasthavattinA tena tattvAtattvagaveSiNA // adhItA vividhA bhASA bhAratIyA yuropajAH / anekA lipayo'pyevaM pratna-nUtanakAlikAH / / yena prakAzitA naike granthA vidvatprazaMsitAH / likhitA bahavo lekhA etihyatathyagumphitAH // sa bahubhiH suvidvadbhistanmaNDalaizca sa stkRtH| jinavijayanAmnA'sau khyAto'bhavad manISiSu / tasya tAM vizruti jJAtvA zrImadgAndhImahAtmanA / AhUtaH sAdaraM puNyapattanAt svayamanyadA // pure cAhammadAbAde rASTrIyazikSaNAlayaH / vidyApITha iti khyAtaH pratiSThato yadA'bhavat // AcAryatvena tatroccainiyuktaH sa mahAtmanA / rasa muni nidhIdvande purAtattvAkhyamandire // varSANAmaSTakaM yAvat saMbhUSya tat padaM ttH| gatvA jarmanarASTre sa tatsaMskRtimadhItavAn / tata Agatya sa~llagno rASTrakArye ca sakriyam / kArAvAso'pi saMprApto yena svarAjyaparvaNi // kramAta tato vinirmaktaH sthitaH zAntiniketane / vizvavandyakavIndrazrIravIndranAthabhaSite / / siMghIpadayutaM jainajJAnapIThaM tadAzritam / sthApitaM tatra siMghIzrIDAlacandasya sUnunA / /

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zrIbahAdurasiMhena dAnavIreNa dhImatA / smRtyartha nijatAtasya jainajJAnaprasArakam // pratiSThitazca tasyAsau pde'dhisstthaatRsnyjnyke| adhyApayan varAn ziSyAn granthayan jainavAGamayam // tasyaivaM preraNAM prApya zrIsiMdhIkulaketunA / svapitRzreyase hyeSA prArabdhA granthamAlikA // athaiva vigataM tasya varSANAmaSTakaM punaH / granthamAlAvikAsAdipravRttiSu prayasyataH // "bANa-ratna-navendra 'bde muMbaInagarIsthitaH / muMzIti birudakhyAtaH kanhaiyAlAladhIsakhaH / / pravRtto bhAratIyAnAM vidyAnAM pIThanirmitau / karmaniSThasya tasyAbhUt prayatnaH saphalo'cirAt // viduSAM zrImatAM yogAt saMsthA jAtA prtisstthitaa| bhAratIya padopeta vidyA bhavana sajJayA / AhUtaH sahakArAya suhRdA sa muniH kRtI / tataH prabhRti tatrApi sahayoga pradattavAn / tadbhavane'nyadA tasya sevA'dhikA hyapekSitA / svIkRtA namrabhAvena sA'pyAcAryapadAzritA // 'nanda-nidhya Gka-candrAbde vaikrame vihitA punH| etadgranthAvalIsthairyakRte tena navyayojanA // parAmarzAt tatastasya zrIsiMghIkulabhAsvatA / bhAvidyAbhavanAyayaM granthamAlA samarpitA // pradattA dazasAhastrI punastasyopadezataH / svapitRsmRtimandirakaraNAya sukIrtinA // devAdalpe gate kAle siMghIvoM divaMgataH / yastasya jJAnasevAyAM sAhAyyamakarota mahata // pitRkAryapragatyarthaM yatnazIlastadAtmajaH / rAjendrasiMhamukhyazca satkRtaM tadvacastataH // puNyazlokapiturnAmnA granthAgArakRte punaH / bandhujyeSTho guNazreSTho hyarddhalakSaM pradattavAn / granthamAlAprasiddhayarthaM pitRvattasya kAMkSitam / zrIsiMghIbandhubhiH sarva tagirA'nuvidhIyate // vidvajjanakRtAlhAdA saccidAnandadA sadA / ciraM nandatviyaM loke jinavijayabhAratI //

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CONTENTS Pages Kuvalayamala, Part I, Singhi J. Series No. 45 (Published in 1959) 1 2 1. Page of Dedication .. 2. Preface by the Editor: A. N. Upadhye .. .. ... 3. Kincit Prastavika: The background of the publication of the Kuvalayamala by Muni Jinavijaya .. .. 4. Kualayamala: Prakrit Text with Various Radings . 3-15 1-284 Kuvalayamala, Part II, Singhi J. Series No. 46 1. Singhi Jain Series and Late Babu Bahadur Singhji Singhi xi-xviii 2. Page of Dedication .. .. . xix 3. General Editorial by Muni Jina Vijaya xxi-xxiii 4. Foreword by Prof. Dr. L. Alsdorf .. XXV-XXvi 5. Preface by the Editor: A. N. Upadhye ... xxvii-xxviii 6. Photographs of Mss. etc. on Art Paper .. 7. Introduction by the Editor: A. N. Upadhye 1-112* 1. 4. 5. Critical Apparatus Comparison and Mutual Relations of P. and J. Broad Principles of Text Constitution The Kuvalayamala and Modern Scholarship The Kuvalayamala: A Critical Study 1) Contents of the Kuvalayamala i. Author's Introduction .. ii. Prince Kuvalayacandra: His Horse Flies iii. Dharmanandana: Biographies of Five Souls .. .. iv. Kuvalayacandra's Journey to the South v. Kuvalayacandra in Vijayapuri .. .. vi. Kuvalayacandra Starts Back for Ayodhya vii. Kuvalayacandra in Ayodhya .. .. 1-7 7-13 13-17 18-21 22-96 22-60 22-23 23-27 27-39 40-45 45-49 49-51 51-53

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KUVALAYAMALA Pages viii. Mahavira's Samavasarana and the Five Souls ix. Author's Conclusion 53-59 60 60-67 67-70 70-71 71-72 72-74 74-76 2) The Story Retold Broadly .. .. .. 3) Jaina Discourses in the Kuvalayamala .. 4) Religious Touches in the Kuvalayamala 5) Different Lores etc. .. .. .. 6) Socio-Cultural Glimpses . . . 7) Court, Territorial Divisions etc... .. 8) Authors and Works Referred to in the Kuvalayamala 9) Languages and Dialects used by the Author 10) Metrical Forms in the Kuvalayamala .. 11) The Kuvalayamala Influenced by Earlier Works 12) The Kuvalayamala Katha of Ratnaprabhasuri 6. Uddyotana: The Author .. .. .. .. .. 8. A Cultural Note on the Kuvalayamala by Dr. V. S. Agrawala a .. .. 76-77 77-84 84-86 86-91 91-96 96-112 113-129 9. Table of Topics, with references to the pages of the Prakrit and Sanskrit Texts of the Kuvalayamala 130-132 10. Preface to the Edition of the Sanskrit Text 133-135 11. Kuvalayalamala-Katha Ratnaprabhasuri .. .. .. *1- 88* 12. Gathasuci (of the Prakrit Text) .. .. .. .. *89-124* 13. Notes .. .. . .. .. *125-160* 14. Concordance of the Printed Text with the Mss. J. and B. *161-166* 15. Index of Names and Subjects .. .. .. *167-182 .. .. 16. Glossary of Significant words .. .. .. *183-187* 17. Additions and Corrections 188-191*

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SINGHI JAIN SERIES and Late BABU SHRI BAHADUR SINGHJI SINGHI My dear, sincere and noble friend, Babu Shri Bahadur Singhji Singhi, who, under my special inspiration, had founded this: Singhi Jain Series in 1931, in sacred memory of his saintly father, Babu Shri Dalchandji Singhi and realizing whose uncommon devotion to the cause of learning as well as his ideal munificence, I also dedicated with my heart the dynamic and the precious portion of my remaining life to the Series, seeing whose fairly satisfactory and prompting progress since its inception and to find it in more advancing and comprehensive form in future, cherished an intense desire which resulted in associating the Series with the Bharatiya Vidya Bhavan, according to a scheme outlined by me. Full five years have passed since the sad demise of that noble man. In his revered memory, I am penning a few lines here. On the 7th of July, 1944, Babu Shri Bahadur Singhji Singhi left his mortal coils at the comparatively early age of fiftynine. His loss has been widely felt. His aged mother received this rude shock so ill that she did not long outlive him. His worthy sons have lost an affectionate and noble father, the industrialists and businessmen of the country one of their pioneers, the large number of his employees a benevolent master, scholarship one of its best patrons and the poor people of his native district a most generous donor. To me his loss has been personal. My contact with him was a turning point in my life. Whatever I have been able to achieve, during the past eighteen years, in the field of scholarship, is due directly to him. The financial assistance with which he backed my activities was the least of his contributions. But for his love of scholarship with which he inspired me, this chapter of my life would have been entirely different. Babu Shri Bahadur Singhji Singhi was born in Azimganj, Murshidabad, in Vikram Samvat 1941, in the ancient family of the Singhis, who were of old the treasurers of the Mughal emperors. The family had passed through many vicissitudes of fortune and in the 17th century it migrated from Rajputana to Bengal, but thanks to the energy and enterprise of Singhiji's father, Babu Shri Dalchandji Singhi, the family firm became a very flourishing concern. Babu Dalchandji Singhi was born in Azimganj (Murshidabad) in the Vikram Samvat 1921 (1865 A.D.), and died in Calcutta on the 30th December, 1927. Owing to financial difficulties, Dalchandji Singhi had abruptly to cut short his educational career and join the family business at the early age of 14. The family had been carrying on business in the name of Messrs Hurisingh Nehalchand for a long time though, in those days, it was not at all a prominent firm. But having taken the reins of the firm in his own hands, Babu Dalchandji developed it on a very large scale; and it was mainly through his business acumen, industry, perseverance and honesty that this comparatively unknown firm of "Hurisingh Nehalchand" came to be reckoned as the foremost jute concern with branches in almost all the important jute centres of Bengal. The fruits of Dalchandji Singhi's toils were immense, and the reputation of the firm in commercial circles was, indeed, unique. Having thus brought his jute business to the most flourishing condition, Babu Dalchandji Singhi diverted his attention to the mineral resources of India and spent many lacs of rupees in prospecting the coal fields of Korea State (C,P.), limestone deposits of Sakti State and Akaltara, and the bauxite deposits of Belgaum and Sawantwadi and Ichalkaranji States. His scheme for the Hiranyakeshi Hydro-Electric Project and manufacture of aluminium from bauxite ores, the first of its kind in India, is

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KhI KUVALAYAMALA yet to be developed. His mining firm, Messrs Dalchand Bahadur Singhi, is reputed to be one of the foremost colliery proprietors in India. While so engaged in manifold business, he also acquired and possessed vast Zamindari estates spreading over the districts of 24-Perganas, Rangpura, Purnea, Maldah, etc. But the fame of Babu Dalchandji Singhi was not confined to his unique position in commercial circles. He was equally well-known for his liberality and large-heartedness, though he always fought shy of publicity attached to charitable acts and often remained anonymous while feeding the needy and patronizing the poor. A few instances of his liberality are given below. When Mahatma Gandhi personally visited his place in 1926, for a contribution to the Chittaranjan Seva Sadan, Babu Dalchandji Singhi gladly handed over to him a purse of Rs. 10,000. His War contribution in the first world-war consisted in his purchasing War Bonds to the value of Rs. 3,00,000; and his contribution at the Red Cross Sales, held in March 1917, under the patronage of H.E. Lord Carmichael on Government House grounds, Calcutta, amounted to approximately Rs. 21,000, in which he paid Rs. 10,000 for one bale of jute which he had himself contributed. His anonymous donations are stated to have amounted to many lacs. In his private life Babu Dalchandji Singhi was a man of extremely simple and unostentatious habits, Plain living and high thinking was his ideal. Although he had been denied a long academic career, his knowledge, erudition and intellectual endowments were of a very high order, indeed. His private studies were vast and constant. His attitude towards life and the world was intensely religious, and yet he held very liberal views and had made a synthetic study of the teachings of all religions. He was also well-versed in the Yoga-darsana. During the latter part of his life he spent his days mostly in pilgrimage and meditation. Noted throughout the district and outside for his devoutness, kindness and piety, he is remembered even now as a pride of the Jaina community. During the last days of his life, Babu Dalchandji Singhi cherished a strong desire to do something towards encouraging research in important branches of Jaina literature and publishing their editions scientifically and critically prepared by eminent scholars. But fate had decreed otherwise, and before this purpose of his could become a reality, 'he expired. However, Babu Bahadur Singhji Singhi, worthy son of the worthy father, in order to fulfil the noble wish of the late Dalchandji Singhi, continued to help institutions like the Jaina Pustaka Pracaraka Mandala, Agra; the Jaina Gurukula, Palitana; the Jaina Vidyabhavana, Udaipur, etc.; and also patronized many individual scholars engaged in the publication of Jaina literature. Besides, with a view to establishing an independent memorial foundation to perpetuate the memory of his father, he .consulted our common friend, Pandit Shri Sukhlalji, (formerly a Professor of Jainism in the Benares Hindu University), an unrivalled scholar of Jaina Philosophy, who had also come in close contact with the late Babu Dalchandji Singhi, and whom the latter had always held in very high esteem. In the meanwhile, Babu Bahadur Singhji Singhi incidentally met the late Poet, Rabindranath Tagore, and learnt of his desire to get a chair of Jain studies established in the Visva Bharati, Shantiniketan. Out of his respect for the Poet, Babu Sri Bahadur Singhji readily agreed to found the Chair (provisionally for three years) in revered memory of his dear father, and pressingly and cordially invited me to organize and conduct the same. I accepted the task very willingly, and felt thankful for the opportunity of spending even a few years in the cultural and inspiring atmosphere of Visva-Bharati, the grand creation of the great Poet, Rabindranath. During the period of 10 years of my Principalship of the Gujarat Puratattva Mandir,

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SINGHI JAIN SERIES XIII Ahmedabad, and even before that period, I had begun collecting materials of historical and philological importance, and of folk-lore etc., which had been lying hidden in the great Jaina Bhandars of Patan, Ahmedabad, Baroda, Cambay, etc. I induced my noble friend Babu Bahadur Singhji Singhi, also to start a Series which would publish works dealing with the vast materials in my possession, and also with other allied important Jaina texts and studies prepared on the most modern scientific methods. Hence the inauguration of the present Singhi Jaina Series. At an early age Babu Bahadur Singhji joined the family business by pushing ahead with his father's enterprises, and succeeded in making the firm the foremost in the mining industry of Bengal and Central India. Besides he also acquired vast zamindaries and had interests in many industrial and banking concerns. This early preoccupation with business affairs prevented his having a college education. But Singhji was studious and introspective by nature. He devoted all his spare time to study and cultural development. He acquired an excellent command over several languages. Art and literature were the subjects of his choice. He was very fond of collecting rare and invaluable specimens of ancient sculpture, paintings, coins, copper-plates and inscriptions. His manuscript-collection contained a large number of rare works of historical and cultural importance, among which mention must be made of a unique manuscript of the Koran which was handed down from Baber to Aurangzeb and bears the autographs of all of them. His numismatic collection, especially of Kushan and Gupta coins, is considered the third best in the world. He also had a good and large collection of works af art and historical importance. Singhiji was a Fellow of the Royal Society of Arts (London), a member of the Royal Asiatic Society of Bengal, the Bangiya Sahitya Parishad, the Indian Research Institute and a Founder-Member of the Bharatiya Vidya Bhavan. He was also the President of the Jaina Swetambara Conference held in Bombay in 1926. Though he had made no special study of law he was well up in legal matters. On one occasion in the Calcutta High Court when he found that even his distinguished lawyers were not properly representing his case he himself pleaded out the case successfully, much to the surprise of the opposite party who was a manager of a big European firm. Though a highly religious and leading figure in the Jain Community he had an outlook which was far from sectarian. More than three-fourths of the six lakhs and over of his donations were for non-Jain causes. More often than not he preferred to give his assistance anonymously and he did not keep a list of his donations even when they were made in his name. To the Hindu Academy, Daulatpur, Rs. 15,000/to the Taraqi-Urdu Bangala 5,000/to the Hindi Sahitya Parishad 12,500/to the Vishuddhanand Sarasvati Marwari Hospital 10,000/to several maternity homes 2,500/. to the Benares Hindu University 2,500/to the Jianganj High School 5,000,to the Jianganj London Mission Hospital 6,000/to the Jain Temples at Calcutta and Murshidabad 11,000/to the Jaina Dharma Pracharaka Sabha, Manbhum 5,000/to the Jaina Bhavan, Calcutta, 15,000/-. to the Jain Pustak Prachar Mandal, Agra, 7,500/to the Agra Jain Temple 3,500/-. to the Ambala Jain High School, 2,100/-. for the Prakrit Kosa 2,500/to the Bharatiya Vidya Bhavan 10,000/ At the Singhi Park Mela held in December, 1941, at his Ballyganj residence in which Viscount Wavell, then Commander-in-Chief and Lord John Herbert, Governor the fourth that his

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XIV KUVALAYAMALA of Bengal, and Lady Herbert participated, he donated Rs. 41,000/- for the Red Cross Fund. Really speaking, he did not in the least hanker after name and fame even though he was a multi-millionaire and a big Zamindar, and even though he was a man of superior intellect and energy. He was by nature taciturn and a lover of solitude. Art and literature were the pursuits of his choice. He was very fond of seeing and collecting rare and invaluable specimens of ancient sculpture, painting, coins, copperplates, inscriptions, manuscripts, etc. He spent all his spare time in seeing and examining the rarities which he had collected in his room, as well as in reading. He was seldom seen outside and he rarely mixed with society and friendly circles. Wealthy persons like himself usually have a number of fads and hobbies such as seeing the games and races, visiting clubs, undertaking pleasure trips etc., and they spend enormously over them, but Singhiji had none of these habits. Instead of wasting money on such things, he spent large sums on collecting ancient things and valuable curios and on the preservation and publication of important literature. Donations to institutions and charities to individuals were, for the most part, given by him anonymously. I know it from my own experience that these gifts, donations and charities reach a very high figure at the end of every year. But he was so modest that on his being requested so often by me he did not show the least inclination to part with the names and whereabouts of the individuals and institutions that were the recipients of such financial aid from him. By chance I came to know of a very recent example, just now, indicative of this characteristic of his nature. In the year 1941 he shifted, like other innumerable inhabitants of Calcutta, his headquarters to Azimganj (Dist. Murshidabad) when the fear of the Japanese invasion was looming large, and decided to stay there with his whole family during war time. Taking into consideration the then grievous condition of the country as well as the excessive scarcity of grains in Bengal, he had stocked grains in large quantities with a view to distributing them gratis according to his capacity. Thereafter the problem of food became rather more serious and the prices had risen inconceivably high. Babu Bahadur Singhiji Singhi could have earned four to five lacs of rupees if he had, like many other miserly merchants, sold off the hoarded lot of grains, taking undue advantage of the prevailing conditions. But he resisted the temptations, and had been daily distributing freely the grains among thousands of poor people who showered blessings on him; and he enjoyed a deep self-satisfaction. This is the most recent example that puts us in adequate knowledge of his silent munificence. Really he was a very silent and solid worker and he had no desire to take active part in any controversies, social or political, though he had sufficient fitness and energy to do so. Still, however, he was skilful enough to do what was proper at the particular time. The following incident will best illustrate this statement. It was in the fitness of things that a wealthy multimillionaire like him should give an appropriate contribution to the war funds. With this end in view he arranged in the second week of December, 1941, an attractive show, styled Singhi Park Mela in the garden of his residential place at Calcutta in which all the local people and officers of name and fame, including the Governor of Bengal, Sir John Arthur Herbert and lady Herbert as well as the Commander-in-chief (later the Governor-General) Viscount Wavell, had also taken part with enthusiasm. This show fetched thousands of rupees which were considered substantial financial help to the war funds. As mentioned above, the Series was started, in 1931, A.D. when I worked as a Founder-Director of the Singhi Jain Chair in Visvabharati Shantiniketan, at Singhji's request. It was, then, our aspiration to put the Singhi Jain Chair and the Singhi Jain Series on a permanent basis and to create a centre at Visvabharati for the studies of Jain cult in difference to the wishes of the late Poet Rabindranath Tagore. But unfor

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SINGHI JAIN SERIES tunately I was forced to leave this very inspiring and holy place on account of unfavourable climatic conditions etc. which I had to face during my stay of about four years there. I shifted, therefore, from Visvabharati to Ahmedabad where I had formerly resided and worked in those glorious days when the Gujarat Vidyapitha and the Puratattva Mandira had been established as a part of the movement for national awakening and cultural regeneration. I went there in the hope that the reminiscences of those days and the proximity of those places would serve as sources of inspiration in my literary pursuits. XV During this period of my aim of life had centred round the Singhi Jain Series and I devoted every iota of my energy to its development and progress. In June, 1938, I received, to my agreeable surprise, letter from my esteemed friend Sri K. M. Munshi who was, then, the Home Minister of the Congress Ministry of the Bombay Presidency. In that letter he had mentioned that Sheth sri Mungalal Goenka had placed a liberal sum of two lakhs of rupees at his disposal for the establishment of a good academic institution for Indological studies and he had asked me to come down to Bombay to discuss and prepare a scheme for that. Accordingly, I came here and saw Munshiji. Knowing that he had a fervent desire of founding at Bombay an institution of the type of the Puratattva Mandira, I was extremely delighted and I showed my eagerness to offer for that such services as might be possible for me. We, then, began to draft out a scheme and after some deliberations and exchange of ideas the outline of the Bharatiya Vidya Bhavana was settled. Accordingly, on the auspicious full-moon day of the Kartika of 1995 (V.S.) the opening ceremony of the Bharatiya Vidya Bhavana took place amidst the clappings and rejoicings of a magnificent party which was arranged at the residence of Munshiji. The brilliant achievement and the wide publicity which the Bhavan has been able to secure during its short career of the last few years bear eloquent testimony to the inexhaustible fund of energy and unsurpassed skill of Munshiji. As I am inseparably linked up with it from its very beginning, I also feel the same amount of joy and interest at the Bhavan's progress as Sri Munshiji, its Founder-President, and therefore I have been always offering my humble services in its various undertakings and activities. On the other hand, the Singhi Jain Series is the principal aim of my remaining life and the results of my thinking, meditation, researches and writings have all been devoted to the development of the Series. As life passes on, the time of activity is also naturally shortened and therefore it was quite appropriate, now, for me to chalk out lines of its future programme and permanence. As Babu Bahadur Singhji Singhi, the noble founder and the sole patron of the Series, had placed the whole responsibility of the Series on me from its inception, he had also the right to expect that more and more works might more speedily and splendidly be published. I have neither seen nor come across any other gentleman who can match with him as regards generosity and unbounded zeal for the revival of ancient literature. On the works of the Series he had spent through me more than 75,000 rupees during his life-time. But he had not even once asked me, during this long period of a dozen years, as to how and for what works the amount was spent. Whenever the account was submitted to him, he did not ask for even the least information but sanctioned it casting merely a formal glance on the account sheets. He, however, discussed very minutely the details regarding things such as the paper, types, printing, binding, get-up, etc. as well as internal subjects like Preface and others, and occasionally gave very useful suggestions thereon with deep interest. His only desire being to see the publication of as many works as possible in his life-time, he was always ready to spend as much after it, as required. He did not labour under a delusion that the things should be done in this or that way when he was no more.

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XVI KUVALAYAMALA As these were his ideas and desires concerning the Series and as every day that passed left me all the more convinced of the fickleness of my advanced life too, it was imperative for us to draw out a scheme for its future programme and management. Just at this time a desire dawned in the heart of Shri Munshiji, to the effect that it the Singhi Jain Series be associated with the Bharatiya Vidya Bhavana, both the institutions would not only be admirably progressing but the Series would get permanence and the Bhavan, unique honour and fame by its hereby becoming an important centre for the studies of Jain culture and the publication of Jain literature. This wellintentioned desire of Munshiji was much liked by me and I conveyed it in a proper form to Singhji who was, besides being a Founder-Member of the Bhavan, also an intimate friend of Munshiji since long. Eventually he welcomed this idea. I also came to a final decision of associating the Series with the Bhavan, having consulted my most sincere friend, life-long companion and co-worker, Pt. Sukhlalji, who is a well-wisher and an active inspirer of the Series, and who is also an esteemed friend of Babu Bahadur Singhji. Luckily we all four met in Bombay in the bright half of Vaisakha (V.S. 1999) and on one auspicious day we all sat together and unanimously resolved, at the residence of Munshiji, to entrust the Series to the Bhavan. According to that resolution, the publication of the Series thereafter began under the management of the Bharatiya Vidya Bhavan under my sole supervision and direction. In addition to transferring all sorts of copyright of the Series, Singhji also donated a liberal sum of Rs. 10,000 which will be spent on erecting a hall, to be named after him, in a prominent place in the Bhavan. In appreciation of this generous donation of Singhji, the Bhavan has also resolved to style permanently the Department of Jain Studies as the "Singhi Jain Sastra siksapitha". In the mean time we considered to purchase for the Bhavan a well-equipped library of a retired professor living in Calcutta, and consequently I was entrusted with the work of making a proper move in the matter. I then went to Calcutta for this very purpose and started negotiations through Singhji with the professor whose demand was somewhere about Rs. 50,000. Singhji asked me just casually as to what arrangement had been made for meeting with the costs. I promptly replied that there was no cause for worry so long as donors like himself were there. He smiled at it with a suppressed sense of satisfaction and also remarked that he had to assume the role of a negotiator for a buyer who he himself was eventually to be. He considered seriously my candid utterance and made up his mind from that moment, luckily of course for the Bhavan, to donate the Library to the Bhavan. He invited the professor concerned to his residence and talked in my presence about the approximate cost of the whole collection which appearing rather more to him and to me, the bargain could not be struck. He himself thereafter suggested to me to go in for the Nahar collection and promised with his usual preparedness to make complete arrangements in due course of time for the same. As was natural with him, he disallowed me at the same time from making known his intentions to any one. From close association with him I very well knew this aspect of his sober mind. This taciturnity of his mind was so much developed that even his sons who are equally able and worthy did not get a clue to his intentions till they were put into practice. But to our great mishap he did not live long enough to present this literary treasure to the Bhavan himself; but his eldest son and my beloved friend, Babu Shri Rajendra Singh has fulfilled his father's wish though he was totally ignorant of it and has got this unique collection for the Bhavan and spent Rs. 50,000 for the purpose. Singhiji began to take keen interest in the progress and development of the Bharatiya Vidya Bhavan, seeing that it had at last become the centre of research and literary activities of Shri Munshiji and mine. In his last visit to Bombay he had also expressed

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SINGHI JAIN SERIES XVII to me his sincere desire to come and stay occasionally with us in the building of the Bhavan at Andheri when it is made over to us after the war. At this time he also expressed with great enthusiasm his generous desire in clear terms as to how increasing progress of the Series can be achieved and how more works an be brought out with added speed. He also told me to make an arrangement, as I wished, regarding as much publication as possible of the works in the Series till I and he were alive, wishing me not to worry at all concerning the expenses. He mentioned that he would not feel satisfied even if the present rate of the publication which three to four works annually be raised to two works per month. What a noble zeal and a domineering passion for the advancement of learning and literature! Having been fully reinvigorated by this unequalled enthusiasm and liberality I came to Bombay and was immersed in making plans of a large-scale production of the works in the Series and its extension in pursuance of his eager desire. By the end of 1943 his health began to decline. In the first week of January, 1944, when I went to him at Calcutta in connection with the work of the Bharatiya Itihasa Samiti I found him extremely unwell. Notwithstanding his ill-health. he talked to me for more than a couple of hours on the day of my arrival there. The first thing he did in the course of this lengthy, though very sweet talk, was to give me a mild reproof for undertaking the long and tedious journeys to Calcutta, Benares and Cawnpore in spite of my ill health. He discussed with absorbing interest the details of the Samiti's proposed History of India, a subject of great interest to him. I could see that he was at that time quite forgetful of his physical ailments. Our talks then drifted to the subject of the History of Jainism in which connection also he expressed his opinion about the material to be utilised for such a work. At the termination of our talks, which this time lasted for over three hours, I found him much exhausted and drooping in spirits. On the 7th January his health took a turn for the worse. On the 11th January I went to take leave of him, which he, full of emotions, gave with a heavy heart, exclaiming "Who knows whether we shall meet again or not?" I requested him to take heart and remain buoyant and assured him that he would be soon restored to normal health. But while I was stepping out of his room, my eyes were full of tears and his last words began to eat into my heart. Ill-Iuck prevented our second meeting. That lofty and generous soul finally left its mortal habitat at mid-day on 7th July, 1944. May his soul rest in peace!

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SINGHIJI'S WORTHY SONS Though the heavy loss caused by his sad demise is irreparable for me and the Jain community at large, still it is indeed, a matter of real consolation that he has left behind him equally illustrious and worthy sons. His sons, Babu Rajendra Singhji and Babu Narendra Singhji are treading the foot-steps of their revered father. It gives me great pleasure to record here that during the past five years on the Series alone they have spent more than Rs. 50,000. They also handed over a sum of Rs. 5,000 to the Indian Research Institute of Calcutta for the publication of the Jain works in Bengali language. I have already mentioned how Babu Rajendra Singhji made a generous donation of Rs. 50,000 for the purchase of the famous Nahar Collection of Indological works which now forms a most precious part of the Bhavan's library. Babu Narendra Singhji has donated Rs. 30,000 for the foundation of a Jaina Bhavan at Calcutta for which Babu Bahadur Singhji had already contributed Rs. 15,000. He liberally gave Rs. 5,000 on the occasion of the celebration of 'Virasasana Mahotsava' in November 1944 which was held by the Digambar Jain Samaj. Further he has shouldered the responsibility of continuing now under his patronage to help the work of social and religious upliftment among the Sarak tribe of Bengal which was started by his illustrious father and for which the latter had spent thousands of Rupees. Babu Rajendra Singhji and Babu Narendra Singhji have also very generously promised to continue to meet all the expenses of the Singhi Jain Series and requested me to bring out as many works as possible, at whatever cost, so that this unique Series founded and cherished by their late lamented father may continue to bring to light the invaluable treasures of Jain literatures and culture. In recognition of his unique assistance the Bharatiya Vidya Bhavan has decided to perpetuate Singhji's memory by naming its Indological library as Babu Bahadur Singhji Singhi Library. Further, one of its main halls will bear his name as Babu Bahadur Singhji Singhi Hall. The Bhavan's Jain Department will also be known as the Singhi Jain Shastra Shikshapith. Bharatiya Vidya Bhavan, BOMBAY 7th July, 1949 JINA VIJAYA MUNI

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dAnazIla, sAhityarasika, saMskRtipriya pAra kara svargIya bAbU zrImAn bahAdura siMhajI siMghIjI sAdara samarpita. isa granthamAlAke janmadAtA aura poSaka ve hI the| unhIke saMkalpase granthamAlA phalI phUlI aura unhIke protsAhanase maiMne isa granthamAlAko paripuSTa karanekA bharasaka prayatna kiyaa| muni jinavijaya

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GENERAL EDITORIAL Acarya Haribhadra (c. 750 A.D.), Uddyotanasuri (779 A.D.) and Siddharsi (906 A.D.) were great Teachers and eminent Authors. Uddyotana was an immediate sisya and Siddharsi, a parampara-sisya of Haribhadra from whose works both of them derived inspiration. Their works Samaraiccakaha, Kuvalayamala and Upamitibhava-prapanca katha are significant didactic tales, full of moral fervour. They aim at curbing, if not altogether eliminating, baser human instincts, so that men and women grow into balanced individuals, respect others as much as themselves, and contribute to building up a really cultured society. Their works have been my favourite subject of study. The eminent Indologist, the late H. Jacobi , wrote an original paper on the Upamitibhava-prapanca katha (Bonn 1891), and later, edited both the Upamitibhava-prapanca katha (in collaboration with P. Peterson) and Samaraiccakaha for the Bibliotheca Indica. The Upamiti is a remarkable allegory. The Samaraiccakaha is a classical piece rich in cultural data. The Kuvalayamala contains abundant linguistic material for a researcher in Middle IndoAryan in addition to the wealth of cultural details. I myself wanted to edit the Kuvalayamala; and, had, in fact, got one forme of it even printed, by way of specimen, as early as 1931. But, owing to my other literary preoccupations, I had to keep it aside for some time. As the General Editor of the Singhi Jain Series, I was very much impressed by the methodology and meticulous scholarship of Dr. A. N. Upadhye, Kolhapur. His editions of the BIhatkathakosa and the Lalavai were included in this Series. I had given the basic material of the Lilavai to him; and his superb edition of it with a scholarly Introduction won the praise of eminent scholars like L. Renou in Europe and Dr. V. Raghavan in India, as is obvious from their reviews. Impressed by his scholarship and painstaking habits, I felt like requesting him to edit the Kuvalayamala. I placed at his disposal some rare material, especially the photographs of the Jaisalmer Mss. Dr. A. N. Upadhye acceeded to my request, rose to the occasion and has now fulfilled one of my great desires. I am quite aware of the trials through which he has passed while working on this edition which absorbed a major part of his time during the last fifteen years and more. In my kimcit-prastavika to the First Part, I have already explained the circumstances under which this edition was undertaken. The late H. Jacobi was very keen that the Kuvalayamala should be critically edited and published. The late H. Luders and W. Schubring (who passed away on 13-4-69) showed keen interest in this work. The First Part containing the Prakrit Text and Various Readings was published in 1959; and the Kuvalayamala-katha in Sanskrit by Ratna

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XXII KUVALAYAMALA prabhasuri was separately issued in a limited number of copies in 1961. For reasons beyond anybody's control, the publication of this Second Part, No 46 of the Singhi Jain Series, was delayed. It includes the Introduction by the Editor, A Cultural Note on the Kuvalayamala by the late Dr. Vasudev Sharan Agrawala, the text of the Kuvalayamalakatha of Ratnaprabha, the Gathasuci, Notes by the Editor and the concordance of the printed text of the Kuvalayamala with the two Mss., J and P, and Index etc. The learned Introduction of Professor Upadhye is characterised by the thoroughness and meticulous scholarship, so usual with all his writings. After carefully studying both the Mss., he has evolved his discipline of text-constitution and followed it with great success. His Introduction is a substantial study of the various aspects of the Kuvalayamala and of the personality of its gifted author. His Notes are a rich mine of information and testify to his wide reading both in Sanskrit and Prakrit literatures and of the critical studies connected with them. Dr. Upadhye has earned the gratitude of scholars interested on Indic studies by critically editing both the Prakrit and the Sanskrit works and by shedding a flood of light on them and on their authors in his scholarly Introduction and Notes. His is an all-sided study of the Kuvalayamala. He has certainly added to the prestige of the Singhi Jain Series which has already received great praise. My sincere thanks are due to late Dr. V. S. Agrawala who contributed to this volume a Cultural Note on the Kuvalayamala and to my friend Dr. L. Alsdorf who kindly agreed to our request and wrote a Foreword to this publication. Dr. Alsdorf is the doyen of Prakrit and Jaina studies in Europe, a worthy successor of the late Dr. W. Schubring. The late Shriman Bahadur Singh Singhi was a great philanthropist and a patron of learning. It is due to his munificence and nobleheartedness that the Singhi Series could achieve so much distinction in the annals of Indian learning. On the eve of my life, I look upon it as a duty to remember him with gratitude by dedicating this Volume to him. My thanks are due to both Shri Rajendra Singh Singhi and the late Shri Narendra Singh Singhi who have been upholding the great traditions of their family. I feel sorry that Shri Narendra Singhaji did not live to see the publication of the Kuvalayamala, Part II, in which he was keenly interested. I cannot adequately express how happy I feel in seeing this work published in such a worthy form. The same Hridevi who inspired Uddyotanasuri to compose this work has perhaps stood by Professor Upadhye who completed this edition with arduous labour and great patience. This is my humble purnahuti in the cause of Indian learning.

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GENERAL EDITORIAL XXIII In conclusion, I should only quote a few lines from the Kuvalayamala of Uddyotana himself: ujjuya-paya-gamaNillA saralullAvA ya bhUsaNa-vihUNA / duggaya-bAla vva mae diNNA tuha suyaNa heNa // NehaM dejja imIe khaliyaM chAejja vayaNayaM pulae / ahavA kulassa sarisaM karejja ho tujjha jaM suyaNA // daMsiya-kalA-kalAvA dhamma-kahA Neya-dikkhiya-NariMdA / iha loe hoi thirA esA usamasta kitti vva // Anekanta Vihara Shreyas Colony, P.O. Navarangpura, Ahmedabad-9. 28-8-1969 MUNI JINA VIJAYA

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FOREWORD It is for me a matter of satisfaction and joy to congratulate my friend Dr. Upadhye on the successful completion of an arduous task which has engaged his attention and absorbed a major portion of his working power for the last sixteen years. The history of the present critical edition of Uddyotana's Kuvalayamala does indeed go back even much further: it was first planned by Munimaharaja Jinavijayaji shortly after the turn of the century, and actually started by him in 1931. When other activities and duties eventually compelled him to abandon this most exacting and difficult undertaking, he was fortunate indeed in being able to hand it over to the present editor, who succeeded in bringing out the first volume, containing the Prakrit text, exactly ten years ago. Every friend of Prakrit literature, and of Indian literature in general, is sure to welcome with gladness and gratitude the long-awaited second volume, with Dr. Upadhye's comprehensive introduction and the Sanskrit digest by Ratnaprabhasuri, which, after many unexpected vicissitudes and delays, is now being laid before us. Of the numerous Prakrit works which Dr. Upadhye's indefatigabie zeal and critical scholarship have rescued from oblivion and made accessible to modern research, the Kuvalayamala is in several respects the most important and interesting. The unusual linguistic inclinations of its author, presenting us with valuable specimens of a number of Prakrit and Apabhramsa dialects and even of "the mysterious Paisaci", were noticed long ago and have given rise to several investigations, all duly recorded by Dr. Upadhye; it is to be hoped that the full text now avail. able in a critical restitution will provide the solid basis for further linguistic studies. If Dr. Jacobi in the preface to the edition of Hari. bhadra's Samaraiccakaha wrote that it gives "a picture of Indian Life in the 8th century which the antiquarian may study with profit", this might be said with even greater force of the work of Haribhadra's dis ciple Uddyotana; the wealth of cultural data to be gleaned from it is duly emphasized by the editor. From the purely literary point of view, we are presented with one of the great masterpieces of that voluminous Katha literature which is perhaps the most famous contribution of Jainism to Indian literature in general. The possible sources and literary connexions of the Kuvalayamala have been fully and ably discussed in Dr. Upadhye's introduction. The nearest, and very natural, kinship seems to me to exist between it and the just mentioned Samaraiccakaha. The latter, as is well known, is centred round the motif of karman and transmigration, used as a lite rary device in a characteristically Jaina fashion: the story follows the fates of two jivas, connected by a nidana, through nine births. Uddyo. tana would seem to have deliberately outdone his Guru by increasing

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XXVI KUVALAYAMALA the number of jivas, whom we accompany through the vicissitudes of a number of bhavas, to five. As their histories are not connected to begin with but interlace only at a later stage; and as, moreover, they are not told in a tedious systematic or chronological order but-by a device common also in modern literatures are often put into the mouths of different characters of the story who tell them in retrospect, the plot of the novel becomes involved to a degree and is so difficult to follow that the editor has deemed it expedient to have the detailed analysis of contents followed by a second survey ("The story retold broadly") arranged systematically according to the five jivas; I am sure every reader will find this as helpful as I did myself. I wish and hope that Prakrit studies, happily on the up-grade in India after long times of neglect, will receive a fresh impetus and derive rich benefit from this edition of the Kuvalayamala, by which Dr. Upadhye has rendered one more signal service to the cause of Prakrit literature and Indian Literature in general. Seminar fur Kultur und Geschichte Indiens University of Hamburg Hamburg (West Germany). May 18, 1969. L. ALSDORF

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PREFACE The Kuvalayamala, Part I, containing the Prakrit Text accompanied by Various Readings, was published in 1959 as No. 45 of the Singhi Jaina Series. Subsequently the Kuvalayamala-Katha-Samksepa of Ratnaprabha-suri was issued separately as well, in 1961, with a short Preface. In this Part II are now included an English Introduction, the late Dr. V. S. Agrawala's 'A Cultural Note on the Kuvalayamala,' the Kuvalayamala-Katha-Samksepa noted above, the Index of Gathas, Notes and other accompaniments at the end. By way of specimen, to illustrate the paleographic discussion in the Introduction, charts of letters from the two manuscripts and photographs of some palm-leaves are also given here. None regrets more than the Editor himself the delay in issuing this Second Part for reasons beyond his control. In his weaker moments, the Editor even wondered, now and then, whether the Introduction would be published at all; and some portions of it were contributed by him as independent papers to some Journals. The patience of readers is more than tried for which the Editor expresses his apology. His only relief is that at last this Volume is being published in a manner matching the earlier volume. It is some satisfaction for me that this work, so important from the point of view of the basic ethical values (with a view to removing individual imbalances and bettering human relations), linguistic material and cultural data, which occupied my major time for more than fifteen years, has seen the light of day. I am sure, those who are accustomed to the exacting work involved in editing Prakrit texts from rare Mss, will certainly appreciate my humble labours on this important, classical religious romance of our country. In a self-imposed undertaking which extended over such a long time and on which I was working almost single handed all these years, there are bound to be shortcomings of which none can be more aware than myself. I shall be very happy to receive suggestions from my active colleagues in the field. It is a pleasure for me to record my sense of gratitude to numerous scholars and friends who have obliged me in various ways in accomplishing this arduous duty. I cannot adequately express my sense of gratitude to Muni Shri Jinavijayaji who kindly entrusted this work to me which he himself had undertaken some years' back. He stood by me all these years and encouraged me in various ways to fulfil this difficult job. I am thankful to the authorities of the Bharatiya Vidya Bhavana for publishing this work in the Singhi Jaina Series. My thanks are due to Prof. S. A. Upadhyaya who is keenly interested in the progress of this Series. It has been extremely kind of Prof. L. Alsdorf, University

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XXVIII of Hamburg, Hamburg (W. Germany), to have contributed a Foreword to this volume for which both the General Editor and myself are very thankful to him. As the work lingered on for many years, now and then some of my post-graduate students helped me in checking the collations; and I should specially mention the name of Prof. M. S. Ranadive, Satara. My friend, the late lamented Dr. V. S. Agrawala contributed a Cultural Note on the Kuvalayamala with his usual academic zeal. What pains me most is that he did not live to see the note printed. Muni Shri Punyavijayaji has been helpful and keenly interested in my studies all along. He read the whole of the Kuvalayamala, along with his younger colleagues, and made a number of suggestions on the readings; and most of them are included by me in the Notes. I am so grateful to him. I also record my sincere thanks to the Manager, Nirnaya Sagar Press, Bombay, and to the Manager, Sharada Press, Mangalore, but for whose cooperation I would not have been able to present this volume in the present form. KUVALAYAMALA The Singhi Jain Series has carved a name for itself in the records of Sanskrit and Prakrit publications. My thanks are due to Shri Rajendra Singh Singhi and the late Shri Narendra Singh Singhi who have been very keenly interested in the publication of the Kuvalayamala. What pains me is that Shri Narendra Singhiji did not live to see in print this Second Part. Lastly, I would be failing in my duty, if I did not record my sincere gratitude to the University Grants Commission, New Delhi, for having so graciously made me the Grant intended for Retired Teachers. It is this timely aid that has enabled me, even after retirement from service, to pursue my researches in my specialised branches of Indology with the peace of mind all such work needs. karmany evadhikaras te| Dhavala, VIII, Rajarampuri, Kolhapur-1. July 21, 1969 A. N. UPADHYE

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a zra SMWALI ggho dda pha 1 pha ka ka ka ppa ya gha ca da kka jhazaH jhA 8 jjha jab jha 22 ru 8 sa stam sa tamuha ttu di pha "bbhi C 5:9-FWFI kkha te ttu ttha i 8 na za ddh ain dha na nta ta Tu 8 dda ddha dha rani ha 3 u khaM gaM na ksa kha ga 8 cha ja U ccha cha ja ju bha la la na nha tha haTTha Tha tta tha a ma ma ma me lla // 8 // ttha tha da - nda ta M FGD FIND-06 paNa pha gga ha mhe ppa ppha lla 6 za a lla va sa du 5 ya S.N.Ghorpade Symbol at the close of a paragraph or section. DRAWING OF THE SELECT AKSARAS OF THE MS. J OF the Prakrit Kuvalayamala 51

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AT 16: WI KELE: IT: we si part: I 744-29 Aylmu So M134-er EB11 212 tou and feel fresh Du Dia TH-69 337 2.34% DI FOU DEM 09:09 EM:914-4 ED: 3112 19 678 luz Ezt w as to lha hu - S.S. Dongar sane * Symbol at the close of a paragraph or section. *** The symbol of bhale at the beginning of the work. DRAWING OF THE SELECT AKSARAS OF THE MS. P OF the Prakrit Kuval ay amala

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Saathilaysiate SEE THEATER amjeptemSHIARHNDIA MEERatiPRICE LamateuMARitellationITANINTERESHERIEDOAUTARIRADHEMALERY TIWARTOONDHinbaniLEEDEIRDESHPANDHAREMESH RASSAIReadMETHULITRESENitrateetajetNCH AR N HONESINE PRITINBISATIRSANHIDENTINE vizvAmitra kAnapura nagara rimAla HINMARAPUURetire SHUJA Shephejattnebelteio RATERekies PRAMOURNEAREDEEM HAPagladettineDRENANDLIONETIRasraelibeTTERRRENIDATERMER ANDESena HEALENGEENABADNASONITORLDNESS ENTERNANDEANINribiEiNDRAPRINEERSTARA MitAIDIEROFIRemetenRLDIPLORENERATEETT E palHD T ARGAludeUALLE-megstretcheatheERTENERAPTIMATERNINE CIE m ahatyteSJINNI TAARADuraRSATISelenat ONAL MALAnesiantulatakarDEMINARISTRAPAMERARMINATI SADEHDasteishers Portions of the palm-leaf Ms. (No. 58 of 1880-81, Bhandarkar o. R. Institute, Poona), folios Nos. 44a (half) and 43b (half), of the Visesavasyakabhasyavrtti, see the Intro. p. 6, footnote 1.

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paramAnanAmAvItarAmAyApadamanamadaniNidelApanatijamiAdavInAzavallirabAjalayAraNatamaNivalayAnAlahiparisakaravariyAkAmalagaligIdalajalataragaraMgatAzivarAyamadhAgabibara dyAvAdiyavasinaviraMUlahArakAlAklAvasahicANazidamAdhyavanassalalIyadyaviyasayaMvarAsamazAzajaNakAlayasayaruNAgirivarayaruniyamarAhasamarthamiAsaharisaharavAsahanasaNe sapanAsAhatavattaviyapAvakAlANAnAepanAijaramasaranivahA saMsAranIranAItariyatipaNacarakhahAnirasayativAratatithasavastAvisakamAdapyAkarakamalamalisohAcalAsamaMtipura 3 pataMpaDamahayAlayaTamapantiyamudhammavaracavAnicApAgaNapaDhayaNamadamaNigaNidAdavAnasinavayamajarizyamAruyavivaliyaMvarAsaNazamAnavasirIsaharisAkAzlajalamajalAlA vAkSiNavasirIsasAmA zrAyavarapADalachidvayalilAdAspavAnAsAsaNIsudAgimUlalIvinAyagaruthAnaharamANaharAsikSiparatavamminAmasinanavaraphulathaparizthApAnasasisa vivithasithatAmarasamuhAUklayakaliyA vilAsadihillAkAmalamaNAlAvallahalabAliyAsarayalacchIviAdamaMtasirIvisArAha tilayalIlAlisalaliyAlazyAmallirAmalamukhyAni taruminnArAmabANavarayasamiramajayazivayaMzumaMjarikathAvayasillAviphariyamadadasaNAsisirasirIsAyarataNazAdasahayaUNapasAyaMpasIyabAsasa DAlI kAmanAlAla rimANadavihipaviniyamAzyAjAsaMgamayAmarakathanamasirirAyarahasattapimA vimANAdhiNayacalitavIranamahasatIpAyavAjAijarAmaraNAvariyApuratA vhaalhitaarnnsaahsaabviykssinnvaarnmhaaakssvaaktinbniivaa| sitizakavikaMmamalasavAtiMcana miniANahivitatibanamahattrI mahAlakSmaNa mAyAmayAmAhamahAeballamallANAlaNAvaDaNavamaDhaNAmradajhiyayaramahAca ekAtadAsaMkilihapariNAmacAyAsAsayasalilasaMsathalayabAmANya ksiegaa| sakapakApAlavANAgasayasAvarasAyasAlAhapiMDassavaDAlamiDAniNaraNAcavA paDapAtavizvANayakayAlayatAvatADaNAdoDAghaDaNaviTAUiMATERIAL khavanassavANAhajIvanAvasmAkiMzimatakaMmmamalassAtiriyAlAesamAgama tabavikiAzlakAyAkalyAkamalAkasarIkAsiesAtamyavasAvAhika yAyAgANagADithamayaramacchakachattavavaktarachAchattallasatvakimayamakSisamasaesasasasamaNasabarasivAsayasAriyAsalasasamAstajhADAlA lathAvaNasmazatasANayasavAsayasaMkalamAsavasaMsAramAliTikaNatahAvidakammAepachIsamAyanikahakahavimAeyatAnAjIvAniciniyAbAsasa ssamayarAbarakasahassamIpAebajAsAyasahassapAvapAparisAsaMsAraejaladisAmahiMDimANyapAvazmANusakampayADavAkarakAviSaE T ERNMENT lAthAkhasapArasasillamurAMDAhAbAcasAsabarapaliMdasiMghalAisaparittamaMtasmAiladaMciyasaUlajammatitiviAkAUMTamuTAadhabalirAjanAthagAmaRASNALISHALTH samAgaNApUrisaNarisAbasuyAyArAkAyAbAniAviyAdamitavasasAhalayalahaMbhikaravimaSNayAnAMparisAsarisAbasaMnivapaMcama yAsAThI kAmAkasiMdhimArakAviepahiMviradiyArasamaNArisarasamahaladasaNAdirAmassAmachukAsamarasavaNikalAMcayajamaMtivyaviyAdhammacakAmajassaekaTamA roedinokSiNativAsAtahiMkAlAbajakalAUsAlAsitaviyANakadArakAyApariyAdavayAbAjadhAtinirapakinAsivavaMdagaNAyadamayArAvirasAebAgadasAmi rininnamAnanayaraMbhisaMgikaNasArakAzAtasmarakhamAsamAyaNAnAmagajarakadaravanagaNinAmAsiAramAmahamahAyAtrAsitiAlApaviNyaDajAsatassayamIsAbajayAtava vISiyanavavaraNasaMyamAzamArAdhArAdarasAjidika davadarapazidhAgAsavayanayAravADasArAmAsAjAravamAsamANAtasamamadadasANabiyapraviesamazakAadAbAvAtaspraya aAdhAradhArAnavAyajizinAmasAragaraNAyAsitavAsayavichiyapAvAmAnAdiNayArAbAjIjhasamasanilayabAhAdagadauratayaesadassANAsIlaMgavilasAlAlagnagaravAlA chavikopAmAsaNatasmaesAhizidavAdinadasaNamaraNaNArazyAUvayamAlAvilasiradarikAmAgAdinadibiyaphalaubajakinIUsamAradizAlAjAmAyariyavIralAddAzvA bArASyakArakAvAsAsinayarupamANanApaNajaspadaritAhAlagaMdhasabaviNyayaDamagarAyAravatriyANAmanAuADasArAnAmAnamAchAyaNamAmAtra ddiyaa| mahAnagamalaMghaniNatavaNamaNaharasAvayAulAvAvayavadAemA agidhavalemaNadAnirayaNapasaraMtamayavadhADAyousadAlANadAyayaNakAraviyaMvAranAhANAnimi vipaNanAvAzmIpavikSasAkiTraparakamizanimma ciyAbAdakaratacANaM dAumANApayaMkadakAUpaNAviyaMmAvimalAmAjakiriyAvinaMtAvatAvadAamAtaNAsA makAlAvAloramarisANamAdimanadiMgapadiAegadiNANadiyA samanAvarImAbuvaMtijabajAvAsi'tivikavikamamalamakAjAmiyakiraNaditisa mahamAnaNAyaNamAmiAsakSamAdAmAsaciUraNaautaranamimosa maNaeyatAeMgaNadarAdAvayayaNamAmiAAkavalanAyaNamAmidaMsaragatadayasabanANAzacArikavi haMsAviNanAmAmisaMpannamaNamAmidhammavakkakSiNANaniyaMgyavinAyamAtayativAdAvazyakarakaMpadAjAlapavamAsaNavazaMdadhAmaraDavalaMyakiraNAlAkhamarAmiDAsara niyamavANivadAmibiMdAmisaisimapaMcAyataranivAsirAjayAlAyatipayAdavavaMdemanmasidayAzrAdArayAdavadAravadalayaridArasaMviesaNiNAvasAmagAmaNicavaMdanA tabhavavagAsAdAbAvodavaradasapachIkAgatadarAyAgayayaNamAmiAyagArasamiyAyArakSArapasamiNyAarakIemadANamipavAdadasIyAtayAlamiAnAvAraNamacaMdadaUM ghaacaaraannnmiaamaa||graasiishisyvaaduubaamdirevl usadicArayAgrAmAsadIyaviyAsahIyasancAsardivAdAvazAmivIyAvAdavilaMzakAmbapiMcAmaDAyariyaNakAal ysnnmstyaaudimaagnnvaampdyvaannipnnaayaatmmaaynnmaamigiithiNsaabhidiaamaadyaa|blaaksvaannvaannsmraamidvvvhinnaasaaamvivNdnniaapth sAviyAminiNardhAmaNamAudaNanibANanANAmamaMcAsImayamalasidArasiyayANapaNivayAmipAvApadanArAAgAsAyacayalamanimazAnAmamikaka chaThiyadezasyavimalavinAzyapasagaNitItaramakalagAijAmadasmAjJAnAvikAgiNadAsAnAhItaciyAsaMgvAdhyayamamatabiyadiridevIyavAsAyaNAkazANAdA / napasanAyiphalayAyasaMghasmAsamAAlayakavalayamAlAmAmakAjAghasarayAsadamrAkRtizayapaTanAdhamAnaviNyalAMbanaspadhdyolanamAyA Kuvalayamala, Ms. P, 1) first page (1b), ending with kim tena jivi, printed text p. 2.15 and 2) last page beginning with rie dinno jinanivosa etc., printed text p. 282.7 (see v. l.).

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pr kiche htthmukhrokhaalistaan elaamntrmntrii sbaa y'aat e 64 giguy'aagaajiosmghsse mst smrthn jy'kaaliimo aami sbpnyaas| blnsNr'kaar' tthaaiksu khaaoy'aa ) praay'khaajaay' thaapmssnyjikaal jaalaakmukhi sbaadhikaar phaa] ithaakaabsaatmishriik osiiptm sb aphis klim sbbhaaraay'tt somnyjii estuddhijiir`sthaabaa ghdbiaay'ttshaar bybhRt chphaa| lnnddbhaaish chtrchaay'aangglaam| hashaay' o hr'iphissiiy'bhsthigilaaphhaat dy'aal = hulusbaabhaassttiijhaarughaasthi suijshaah'...saadhaanyjntristhlguli Thr'r'kaar'r' iraakiiricaalk " asstt| bhy'enyjaassttikssmtssttishiiy' aaliy'i hy'ni| aaj angg shjph i hl naa| kaahindrimaay'jaamaalgnyj phaasth 25 * ghliy' sthaar`ikskaa hy'nyjaa mi iishuy'echil ?vibhii o shuss o hoy'aahh

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INTRODUCTION 1. CRITICAL APPARATUS The Prakrit text of the Kuvalayamala, critically edited here for the first time, is based on the material from the following Mss. P-This paper Ms., written in Devanagari characters, belongs to the Deccan College Collection, and is now deposited at the Bhandarkar Oriental Research Institute, Poona, No. 154 of 1881-82. It has 133 folios, the first being written on only one side. It measures 32.5 by 12.5 cms. The mode of writing is uniform, but it changes on page 80a, line 8. There onwards, the letters are slender, the ink is more thick, and the writing point a little more broad. To begin with, there are 18 lines on each page for some 8 pages and then 17 lines on each page, and then again 18 lines from p. 81a onwards where, as noted above, the writing is more compact with smaller letters. In full lines there are some 72-77 letters in the earlier part, but they rise to 76-80 in some lines where the writing is more close. This Ms. is well preserved on the whole. The paper is good, though turned brownish now. Some corner portions are exposed to moisture with the result that there is darker appearance, and the ink also is rubbed in some places. Here and there the white ants have eaten the edges of some folios and bored holes too in the middle. The edges of some folios are lately mended with paper pasted along the border. The first folio, which was damaged in the corner, has a backsheet lately pasted; while the last folio is more thick originally. Folio 2 is torn but mended with transparent paper, and some of its letters are rubbed away. The written portion on a page measures about 9.5 by 27 cms. On the right and left sides there are two marginal lines (in black ink) sometimes single and sometimes double. There is a decorative blank space (sometimes written ornamentally with some letters from the running line as on folios 25-7, 115-6, 119-21, 125-27) in the centre of a page; and this space was necessary for the string-hole in the palm-leaf Mss. This Ms. is written in black ink. Here and there the numbers of Gathas (wherever they are put), the double or single Danda, beginnings of fresh topics, terms like ahava, avi ya, tattha vi, cha, tam jaha, kim etc. are spotted with red chalk (gairuka). The top left-hand corner of the margin bears the name Kuvalayamala (sometimes contracted as kuvalayama, kuva o mala etc.) in Devanagari and the right-hand corner of the page below has the page number, this being the back-side of the folio. Taking the folio No. 25, one side say 25a has no title and page-number which are put on 25b. The letters which the copyist could not read from his exemplar are left blank by him only with the head-lines or serifs. The traces of the use of modern black, red and green pencil and of red or blue ink are also seen here and there to mark some references of geographical, historical, cultural and literary interest. There are a few marginal additions and corrections: those on pp. 26a, 39b, and 51b are modern, while that on p. 80b is perhaps of the copyist himself. The Ms. has the following beginning after the symbol of bhale (with two Dandas on both the sides) which looks like Devanagari sixty (see the chart of its aksaras): 1

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KUVALAYAMALA I FAT GITTIS II TCH AE etc. It ends thus: Fara Fantarar FTA FT || 3 || ITHGUT AEA II 80000 Il fat [:] nitaarvaru atrudiTTET STUTETT [:] 11 J 11 11 The above number of the granthagra is written after covering the original writing with yellow paste. There is no record here of the age of the Ms., but according to expert opinion this Ms. may be assigned to the 15th century A.D. and is thus slightly more than four hundred years old. The copyist of this Ms. has often confused between y and dh, n and l: perhaps he or his predecessor has not carefully read the adarsaprati. He numbers serially only a few verses at the beginning. He consistently uses palimatra or prsthamatra, though here and there e and o show the topstrokes. His jja looks like dya and is read by some as jya. The letters ch and cch are not duly distinguished by him. Though there are many scribal slips and usual lapses, the copyist has a neat hand throughout. He distinguishes his u and o, with a dot or stroke on the top of the latter. In orthography, this Ms. is more inclined to the use of ya-sruti, though there are cases where it is not used (printed text p. 4, line 8: raia, but in the next line raiya). It has some cases of inorganic t as well. On the whole very often it uses n initially and in a conjunct group, though there are cases of initial n and of nn. It uses anusvara almost as a rule and not parasavarna. In a few cases, m is used generally at the end of a line or so. Conjunct groups like cch, jjh and tth are written even after an anusvara. In Sanskrit passages, in the conjunct groups with r as the second member, the other consonant is written double (the developing partner unaspirated with the aspirated remnant). In this volume are included the drawing of the select aksaras of this Ms. as well as the block-prints of the photographs of its two pages Nos. 1b and 133 b. The page 35 a is reproduced by F.B.J. KUIPER in his paper The Paisaci fragment of the Kuvalayamala', Indo-Iranian Journal, vol. I - 1957 - NR 3. J - This is a palm-leaf Ms. of the Kuvalayamala belonging to the Big Bhandara at Jaisalmer. It contains 254 leaves, each leaf measuring 58.5 by 6.4 cms. The breadth noted is obviously at the centre of the widest leaf, because it decreases at some corner or the other and varies from leaf to leaf. Muni Sri JINAVIJAYAJI placed at my disposal 54 photographs each measuring 29.3 by 24.2 cms. put on mounts 39.4 by 31.8 cms. and containing some ten pages (of one side of the leaf or the other) of the palm-leaves. While arranging the leaves for photographing, a few pages are repeated in different plates. In this lot are included the photographs of the wooden boards of the Candra-prajnapti and Bhagavativrtti and of some of the leaves of the Vilasavati-katha. The palm-leaves Nos. 1 and 254 1 C. D. DALAL and L. B. GANDHI: A Catalogue of Mss. in the Jain Bhandars at Jesalmere, p. 27, also Intro. p. 42, G. O. S. XXI, Baroda 1923. 2 There is a set of photographs also in this Oriental Institute, Baroda.

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INTRODUCTION are written on one side only. Muniji also gave me a transcript prepared from the palm-leaves directly; and a copy of this, got prepared by me, I repeatedly used while preparing my press-copy. Though I have not handled the palm-leaves directly, every reading recorded by me is checked in the light of the photographs in which the leaves are of reduced size, a little less than half. As it was difficult to read them with naked eyes, a few photographs I got enlarged to 51 by 40.7 cms.; and therein the letters were easily readable, though due to not-verysharp focus some leaves gave a blurred appearance. The original Ms., I imagine, must be an admirable piece of calligraphic workmanship. The number of lines varies from 4 to 7 on different pages depending on the breadth of suitable writing space available on each side of the leaf. Each fulllength line contains letters (including dandas etc.) ranging from 135 to 140. Excepting the first and the last, all the folios are written on both sides in black ink. The written portion on each page gets divided into three parts with space and a hole (for the string) in between them. There is margin left at both the ends. Some leaves are broken at the ends here and there, and as the photographs indicate, on a few pages the ink is rubbed. Perhaps the letters could be read easily in the original palm-leaves, because what is apparently blurred is duly copied in the transcript prepared directly from the palm-leaves. The leaves bear page-numbers on one side only; on the left-side margin (generally at the centre) in symbolic syllables, standing vertically, i.e., one below the other, the lowest syllable forming the first place: and on the right-side margin (also at the centre) in numerals written horizontally. A careful study of these symbolic syllables discloses that they are practically covered by the excellent table drawn up by Muni Sri PUNYAVIJAYAJI. Some of the symbolic syllables in the photographs of J are covered by the strings. One or two deviations I could mark, but they may be looked upon as scribal slips. Some of the syllables have a wavy crest on the serif or a couple of dots on the head: all this may be either decorative or just a flourish of the pen. The zero is also given sometimes a decorative figuration: it is faced, on four sides, by four round brackets with inward or outward curve; or its place is taken by a cross, or the sign of multiplication, the angles being filled by round brackets of outward curve. In this Ms. every letter is separate, or a unit by itself, and the serif or headline of one is not connected with that of the other. The padi-matra or prsthamatra is used here and there; but it is less frequent, if not altogether absent, in the first line which has ample blank space for the top-strokes for the vowels e and o. Both para-savarna and anusvara are used. There are instances of ya-sruti, but it is not uniformly used. Almost uniformly n is used everywhere: the instances of initial n and conjunct nn are scarce. There is plenty of use of inorganic t, or what is often called ta-sruti. The Ms. J perhaps makes no distinction between v and b; and it uses the same letter for both of them. There are certain letters which look very much alike in some places, for instance, cand v, tha and ddha, y and v, bh and h etc. Many 1 Jaina-citra-kalpa-druma by S. M. NAWAB, p. 63 of the First Section, Ahmedabad 1935; also Sanmati-prakarana (Gujarati Intro.) by S. SANGHAVI and B. DOSHI, pp. 15-27, Ahmedabad 1932.

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KUVALAYAMALA of the letters have such a peculiar and old style that a novice might confuse one for the other; some pairs may be noted here by way of illustration: a & jh, u &o u & j, e & p, gh & pp, gh & vv & pp, tsh & dah, d & r, t & n, n & l, th & vy, ph (second variety) & d, bh & ru, m &s, y & p etc. With regard to u and o, one feels that there is a slight difference in their shape; but it is not always definitive. Very often cch is written for ch, and cch, ijh and tth follow an anusvara, the first two even a long vowel. At times initial doubling as in thio is seen. The sign of avagraha is used here and there, of course rarely; and a somewhat peculiar symbol (a round bracket with a stroke below) is used for m. In this Ms. J, verses are not numbered; separation of words is sometimes indicated by very small strokes or dots on the head of a line; very often dandas are helpful, but they are not put always at the required place, especially in prose. In verses, however, single or double danda is used regularly and correctly. At times some letters are rubbed out and stand faint: they are to be treated as cancelled. Semetimes dots are put on letters which are to be omitted; and a stroke below them means striking off of that portion. Portions within round brackets are also to be left out. There are some marginal additions and corrections, often in a different hand of the later style. Big sections in stories are concluded with a symbol which looks like cha, put between single or double danda The Ms. J opens thus: & ST CAT opatra II TCH THE Fafone etc. and ends thus: // iti kuvalayamAlA nAma saMkIrNakathA parisamAptA // (0) // maMgalaM mahA zrIH / / cha / saMvat 1139 phAlgu vadi 1 ravidine likhitamidaM pustakamiti // Thus this Ms. is written in Samvat 1139, i.e., (-56), A.D. 1083; and so it is nearly 900 years old. The concluding sentence, mentioning the date, shows a slightly different hand; but I think, it is written by the same writer. A paleographic study of this Ms. by duly handling the original palm-leaves would bring to light many interesting details. As already observed by Prof. F. B.J. KUIPER, 'J is written in a hand which closely resembles that of pl. VI, col. XV of BUHLER (taken from a Ms, that is only two years older than J), except for the aksara na. The serif or the head or top line of many letters in J is not just a short line above the aksara, but often it looks like a wedge (with thick ink) and resembles the serif of certain letters in pl. V, col. iii and pl. VI, col. xiv of BUHLER.3 What is seen as hollow triangle of the serif in the Banswara plates of Bhoja of Dhara (11th century A.D.) is thickened with ink in J. It is interesting to study the aksaras in J in more details. a and a structurally resemble those in BUHLER VI. XV-xvii, but may also be compared with those in 1 See the charts of Aksara-vatikas at the beginning. 2 Indo-Iranian Journal I. No. 3, p. 231. 3 These references to BUHLER are to his Indische Palaeographie in the Grundriss, 1896, with plates; its English translation by J. F. FLEET in the Indian Antiquary, XXXIII, 1904; lately issued, along with plates, in Indian Studies : Past and Present, Calcutta 1959.

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INTRODUCTION V. viii and VI. xiv: what deserves to be noted is the graded thickness of the vertical line with a pointed tip. For i cf. BUHLER V. viii, ix & xxi; VI. vi; it is clearly different from that in VI. xv. This letter 7 in J is peculiar and unlike those noted by BUHLER in plates V & VI, the nearest in shape being that at VI. vii. 4; but it resembles the Pratihara (9th c. A.D.) type noted by C. SIVARAMAMURTI. In its second variety (see the aksara-valika block at the beginning) the top mark is not the usual curvy or wavy line but a half-bracket-like hook resembling the upper roundish mark as in BUHLER VI. xv. 4 or V. xxi. 4, very much like the present-day hook on the top of Devanagari i to show that it is 7. For u of J, cf. BUHLER V. iii & VI. XV-xvi, its lower hook being more sharp pointed. For u cf. BUHLER V. xv & VI. XV-xvi: its wedge-shaped serif is very striking, and it looks very much like ja of J. For e, cf. Ibidem V. vi & VI. xv-xvii: the sharp point at the bottom is striking. For o of J, cf. BUHLER VI. XV-xvi. 13, the symbols in which are sufficiently similar to those for u. J writes u and o apparently alike. There seems to have been some difference, but it is not definitive. The forms of these aksaras in our chart are taken from a context where the values are definite. The letters u and o in OJHA's, plate xix, the varna-mala from the palm-leaf Ms. Usnisa-Vijayadharini, deserve comparison.2 In later corrections which are made in a squarish hand, o is represented by u with a top-stroke as in later Devanagari found in Mss. like our P. For k of J, cf. BUHLER VI. v, xiv & xv; the flourish of it agrees more with that in xiv than that in xv. For kh, cf. Ibidem V. xvi and VI. xiv. For g, cf. Ibid. VI. xv, but its shape in J is more curvy. For gh, cf. Ibid. VI. XV-Xvi; at times it is similar to that in V. xi etc. For c of J, cf. BUHLER V. iii and also VI. xv; its shape is more acute angled in J; and when the interior space is covered by ink, it often looks like r. For ch, cf. Ibidem V. xvi and VI. XV; it is very much similar to th in the conjunct group; and often cch stands for ch. For j, cf. Ibid. V. xvi, and also VI. xiv-xvi. For jh, cf. Ibid. VI. xvi; it is often difficult to distinguish it from jjh: and it very much resembles the aksara in paragraph 2, Plate XXVI of OJHA. For + and th of J, cf. BUHLER VI. xv. For d, Ibid. VI. xvi; at times it looks like r when the ink column of the letter is less thick. For dh cf. V. xiv. For n, cf. VI. XV; it has roundish arms, one of which has a fine point; and by later scribes it is sometimes misread as l. For t of J, cf. BUHLER VI. xvii-xvi; the top wedge of our t is very thick. For th cf. Ibidem V. xxi; but often it resembles tth. For d cf. VI. xv, but its style is very much like that in V. iii-xi. For dh cf. VI. xv, but the style as in V. iii-x. The structure of ddh is somewhat ticklish. For n, cf. VI. xv, but for its style V. xi. For p of J. cf. BUHLER VI. XV. For ph cf. VI. xv, but in some places its shape is different (both the types being shown in the chart) and resembles that in V. viii. (c. 993 A.D. or the Sena type (p. 125) noted by C. SIVARAMAMURTI.3 For b cf. VI. xii; b and v are similar; and perhaps the same symbol served the pur C. SIVARAMAMURTI Indian Epigraphy and South Indian Scripts, Fig. 87, p. 181, Madras 1952; also p. 64. 2 G. H. OJHA: The Palaeography of India (2nd ed.), Ajmer 1918. 3 See C. SIVARAMAMURTI's book noted above, pp. 127 and 140.

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KUVALAYAMALA pose of both in early days. The Nagari form of both of them was the same for a pretty long time; and the cross line in the belly of the letter, to mark out b, came much later, say by the 13th and 15th century A.D. For bh cf. VI. xv, but often it gets closed at the lower point. For m cf. VI. xv. For y of J, cf. BUHLER VI. xv, but note the parallel bend on both the sides. For r, cf. VI. xiv-xv, and also V. vi etc.; the thick line and dagger-like shape of our r are striking. For 1 cf. VI. xv, but the shape of its serif is somewhat different. For v, cf. VI. xv; its longish and angular shape deserves attention. For s cf. VI. XV; it occurs in J only in a few Sanskrit verses, and at times it is written like s. For s cf. VI. xv; but the style is more similar to those at V. xvi, and VI. x-xi. For s cf. VI. xv, but some difference in the shape; cf. also VI. xiii. For h cf. VI. xv, but for its style cf. V. iii and VI. xiii. For ks cf. VI. xv. For jn cf. V. x. 44; our symbol is more roundish. From the above detailed observations it is seen that most of the aksaras of the Ms. J have a close resemblance with those recorded by BUHLER in plate VI, column xv. He has drawn them from a palm-leaf Ms, of the Sanskrit commentary of Kotyacarya on the Visesavas yaka of Jinabhadragani (together with some supplements from the Royal Asiatic Society's Ganaratnamahodadhi, of A.D. 1229), now deposited in the Bhandarkar 0. R. Institute, Poona. I have personally inspected this Ms. with a view to have precise palaeographic comparison of it (V) with J. Both V and J contain Jaina works; they belong originally to Jaina Bhandaras; and possibly hail from nearly the same area. V is written is sam. 1138 Pausa and J in Sam. 1139 Phalguna; that is V is older than J by a year and two months. The writing of V is strikingly clear, though some of its leaves are damaged and even broken to pieces: possibly, for its age, it is adversely exposed to weather and repeatedly handled. J has its leaves, however, quite intact; and my impression is that it is not much handled. The aksaras of J, in most cases, have a close structural resemblance with those of V. Some letters in these have clearly different patterns, for instance, i, 7, n, ph (second variety), and even d and dh. Despite this structural resemblances between many letters in V and J, the appearance and impression of the written matter that one gets are different. Some of the apparent reasons are as below: In V letters are squarish but in J, longish, angular and slanting. In V serifs or headlines are flat, straight and mutually not very much detached; but in J, their shape, in most of the letters, 1 See A catalogue of the Govt. Collection of Mss. Deposited in the Deccan College, XII, Collection of 1880-81, p. 169, No. 57. Luckily I could spot the concluding leaf. The Ms. ends thus: samAptamidaM vizeSAvazyakam // cha / kRtijinabhadragaNikSamAzramaNapUjyapAdAnAM // cha // bhASyaM sAmAyikasya sphuTavikaTapadArthopagaDhaM yadetacchImatpUjyarakAri kSatakalaSadhiyAM bhUrisaMskArakAri / tasya vyAkhyAnamAtraM kimapi vidadhatA yanmayA puNyamAptaM / pretyAhaM drAglabheyaM paramaparimitAM prItimatraiva tena // cha / likhitaM pustakaM cedaM A T T I grat a Tarafa feat 11 # %3Catafa 11 o 11 [Then in a different hand:) # MT ETT ATafalla Il [Then in a different hand:] TUHET TOETAEFITfor saptazatAdhikAni // 13700 // pustakaM cedaM vizrutazrIjinezvara pUriziSyasya jinavallabhagaNeriti // Syllabic numbering of pages seems to be original; numeral pagination is perhaps put later. The first folio is pasted on paper by Prof. E. LEUMANN; and he has left a note on the sheet like this: pasted by Ernst Leumann of Strassburg Alsatia'.

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INTRODUCTION is peculiar and different: they are wedge-shaped, often show a pool of ink at the head, stand mutually detached, and do not generally extend beyond the body of the letter, especially on the right side, as in V. In V lower point of the letters is often blunt, but in J generally slanting and as a rule pointed. The pool of ink at the top, slanting lines and pointed ends of aksaras raise a suspicion whether J is written with a fine brush. This is not unlikely; but these, according to expert opinion, can develop even when written by a wooden quill, with a graded point. Though V and J come from nearly the same locality and are of the same age, they illustrate two styles of writing though structurally majority of aksaras is of the same pattern. The squarish handwriting in V can be favourably compared with that found in some old palm-leaf Mss. at Jaisalmer and other places in Western India. The writing of J, as seen above, is a little angular and cursive, with wedge-shaped serif, the line of writing showing different thickness occasioned by the point of the quill (or brush ?) and the quantity of the ink at different places, This style has close resemblance with the one found in the palm-leaf Mss. of Nepal and Eastern India, from which specimens are drawn by BUHLER in plate VI, columns xiii-xiv. It is not unlikely that the copyist of J comes from Eastern India or is more accustomed to the style of writing seen in palm-leaf Mss. like the Astasahasrika prajna-paramita of the late 12th century A.D., belonging to the Prince of Wales Museum, Bombay;a or the Ni palm-leaf Ms, of the Ramayana, dated c. A.D. 1020, belonging to the Bir Library, Kathmandu, Nepal;3 or in the Ms. of the Arya-gandavyuha-mahayana-sutra-ratna-rajah.4 A palm-leaf Ms. of the Upadesamala, with the Heyopadeyavrtti, was an interesting item for me in the exhibition of Mss, arranged at the time of the session of the All-India Oriental Conference, Ahmedabad 1953. Its writing very closely resembles that of the Ms. J of the Kuvalayamala. On an inquiry, Muni Sri PUNYAVIJAYAJI told me that the Ms. belongs to his collection and can be assigned to the 12th century (of the Vikrama era ?). One can have a fairly correct idea of the script of J from the chart of select aksaras carefully traced and given in this volume and also from the photograph of a few leaves reproduced here and elsewhere. 2. COMPARISON AND MUTUAL RELATION OF P & J To compare and contrast and thereby to ascertain the relation between the 1 See the photographs (Nos. 2 and 3) of the Mss. Upadesapadatika, dated samvat 1212 and Bhagavadgita Samkara-bhasya, dated sam. 1300, in the Bharatiya Vidya, part 3, pp. 240-41, ed. by Sri JINA VIJAYA MUNI, Bombay 1945. See also Citra Nos. 11-15, in the Jaina-citra-kalpa-druma, at the close of Muni PUNYAVIJAYAJI'S essay, Bharatiya Jaina Bramana-samskTti and lekhana-kala, Ahmedabad 1936. 2 P. CHANDRA: Indian Illustrated Mss., The Times of India Annual, Bombay 1960, pp. 42 ff. 3 Reproduced in the Valmiki-Ramayana, Critical Edition, Vol. I, Fascicule I, Oriental Institute, Baroda 1958. 4 Two folios of this in photographic print were shown to me by my Professor, Dr. P. L. VAIDYA, Poona. This Ms. of Gandavyuha belongs to the Library of Oriental Institute, Baroda and bears No. 13208. The size is 61.5 cm. by 27.2 cm. with 9 lines to a page and about 98 letters to a line. It is a paper Ms. white on one ride and yellow on the other in the fashion of Nepalese Mss. It was procured by the Institute from Vajracarya monastery in Kathmandu. The folios are 218,

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KUVALAYAMALA two available Mss., P. and J, on the basis of which the critical text of the Kuvalayamala is presented in this edition, constitute an interesting study by themselves. J is written on palm-leaves and is dated samvat 1139, i.e., A.D. 1083, while P is written on paper and may be assigned to the 15th century A.D. Some of the readings of P confusing v and dh, n and I, c and v etc. clearly indicate that it is a descendant of a palm-leaf Ms. of sufficient antiquity. J is preserved in Jaisalmer (Rajasthan); and P, though now in Poona, also hails from Gujarat. The text of P gives 13,000 granthas as the extent of the work, but the copyist puts it at 10,000 only. On the whole the copyist of J is more efficient, apart from his calligraphic superiority; while that of P has committed many a lapse in copying from his exemplar; often he has wrongly read some of the syllables from his adarsa, and some of his haplographical omissions are quite obvious. These copyists wrote in terms of words with which alone, more than the sense of a sentence in a particular context, they were conversant; naturally they preferred mamgala to mamdala, punna to panna etc. Both the Mss. show this tendency. 8 The text of the Kuvalayamala found in the two available Mss. is not exactly identical, and there are differences of various types between them: they are all recorded in the first forme (pp. 1-8) as exhaustively as possible. There is a large number of variations in syllables in these Mss. Some of them belong to the category of orthographical conventions. For instance, J presents a larger number of cases of inorganic t (or what has come to be called ta-sruti); and it is more partial for n initial, medial and conjunct. It also retains Sanskrit t in some words. It has plenty of instances of ya-sruti, but its general tendency is to leave the udvrtta vowel as it is. There are in it a few cases of changing k to g and t to d and of retaining d: some of these are Sauraseni tendencies. P, on the other hand, has a very few inorganic t, is more partial towards initial n and conjunct nn and prefers more consistent use of ya-sruti (with the constituent vowel a or a), and also ya for ca after a vowel. Then there are syllabic variations arising out of incorrect auditory or visual reception on the part of the copyist. He may not have heard a syllable correctly, if the text is dictated to him from an exemplar by some one else; or he may not have read correctly the script from his adarsa. To this category belong the variations between i, o and ya and between u and o as case termination, and also between i and e and u and o before a conjunct group (J nevvana P nivvana 5. 14). Grammatical rules are optional, and the Devanagari script has no symbol for short e and o, for which i and u are often used. In the early medieval Devanagari script, there are some symbols which are likely to be misread by one who is not skilled in the earlier form of the script but tries to read it as if it is the modern form to which he is more accustomed: for instance, J via P cia 5. 23, J mokkhai P sokkahi 2. 28, J tu P nu 5. 4, J Dadhavammo P Dadhadhammo 9. 13 etc. Then some words are apparently mis-understood and some closely resembling forms of them are written instead; for instance: J pavittiya P pavattiya 1. 8, J narae P nirae 2. 7, J ruddammi P rumdmmi 2. 12, J viviha P vihava 3. 5, J payayam P paiyam 3. 27, J tasai P hasai, J gavviya P gaddiya etc. The initial consonant of a non-initial word in a compound expression may remain unchanged, get elided leaving behind the constituent vowel, or be softened; or may stand single or double, if it is a conjunct: this option also gives rise to many

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INTRODUCTION a syllabic variation. This holds good in the case of enclitics and some of them like puna, kimci etc. give alternative forms (so puna or so una, na kimci or na-imci). Besides these, certain variations arise out of optional grammatical forms, such as anna or annao, navari or navaram, taha or taha, buddhim or buddhi; and there are others due to scribal lapses arising out of confusions and attempts to improve on them. Then J and P show a pretty large number of variations in vocables; and a study of all such cases shows that they are voluntary substitutions for which one cannot hold mechanical copyists responsible. Some instances are of synonyms, sometimes with identical or closely approximate meaning; for illustration: 1.18 P bhattIe J bhAveNa 2.18 P vaccA J pAvaha 10.28 P ruvvaha tti J ruNNayaM ti 12.1 P ceDiyA J vilAsiNI 40.7 P bhakkhiyaM J vaMphiyaM 42. 5 P hiyaeNaM J bhAveNa 54.9 P gambhagharayAo J vAsagharayAo 73.13 P rAyauttaNa J rAyataNaeNaM 95.11 P pUtiUNa J pecchiUNa 102.3 P sahassAuyANaM J lakkhAuyANaM 107.5 P loyaNAI J acchiyAI 152.17 P veyapAyamaDhavuddhINaM J aNAhavaTTiyANaM 152.21 P vivAho tti J ki pi kajaM ti 164.24 P samuhakAu vya J mANasahaso vva 195.13 P ephkeNa J aNNeNa 224.31 P nayaNAe JloyaNAe 238.5 P loNiryA paMDa J devi kilADa 242.19 P savva J sayala 254.3 P kAlaMmi J samayammi 274.4 P virAli J viDAla Some cases are of grammatical options or of alternative forms; for illustration: 7.7 P bahu J prabhUta [bahutta] 9.18 P diyahe J divase 21.1 P divaso J diyaho 19.17 P vidha [-ciMdha] J ciNhaM 46.20 P bhAuNo J bhAuassa

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10 53.1 67.16 108.14 120.2 140.5 147.1 P 147.10 P do tiNNi 147.31 P erise 186.22 P dAhI 192.9 199.2 237.6 269.2 2.9 8.9 P mama P hohi P aMba P uttimaMga P gaNejjAsu KUVALAYAMALA 115.6 P muvva [ = cca] mha P pariphaMsa P kuNaha P siMghe These variants cannot go back to a common focus. There is, obviously, a conscious improvement or substitution in one or the other Ms. These two Mss. show some different lines, or portions of lines, or sentences and even verses here and there; for instance: P dullahaM ciya sukulajammaM ti / J dulahaM ceva AriyakhettaM ti / P saMkaMtara vikaraggehiM / J maha J bhavisa [ = ssa] ti ammayaM J uttamaMga J gaNejjejjA J saMketasUrakahiM / 32.30 P davAvesu imassa su ( = mu ) rukkhassa / keAraNe ( = rANa) addhalakkha / J davAvesu imassa cammarupakhassa dINArANa addhalakkhaM / 38.7 P tahaM mi te khajjaMtA acchiviacchapakharaM ca virasaMtA / here vikicisesA vajjakuDaMgesu pahasaMti // vajjakuDaMgapaviTThA khaNametaM tattha kiMci citaMti / tehi vi te khajjetA aMchaviyaMchaM kharaM ca virasaMtA / see a fasesA vajjakuDaMgaM aha pavaTTA // aha te viyaNaparaddhA khaNamettaM te vi tattha ciMteMti / 43.28 P jalarehAsAricchA kIlaMtapaNaTukovasabhAvo / P bhayavaM paNamAmi tuha calaNe / bhagavaM vettha raNasmi / tumhe J doNi tiNi parisamma mariUNa teulesA purisA devattaNe jaMti || J jalahAsariso uNa purisA koheNa tara teulessAe / mariNa pakkhamette aha te devattaNamuveMti / 67.17 P vigaNo [Ne] mo AyavayaM kentiyaM ajjiyaM ti / J vigaNimo AyavvayaM kettiyaM ti / J dAhi J muccAmu J parimAsa J kareha sohe

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148.2 203.14 159.22 P jaM jaM suvvaha loe payaDaM AhANayaM NaravariMda | J aMtaM jaM suvva payaDaM AhANayaM jaNe sayale / P aphAliyA vi DhakkA jiNadhammo suMdarI tti logammi / ane uNa je dhammA DhaM DhaM DhaM DhaMti vAharai // J phAliyA va DhakkA chajjIvaNikAyarakkhaNaM dhammo / jIyadayAdamarahio DhaM DhaM DhaM DhaM ti vAharai || P jalaNaM jalaM ca jIe tassa vaho apaghAio puriso / J veyasuI viruddha apyavaho Nidio ya vibuhehiM / P puhaIjalajalaNA nilavaNassaI taha ya jaMgame jIve / mAreMtassa vi dhammo harejja jara sIyalo jalaNo // J duviho ttha hoi dhammo bhogaphalo hoi mokkhadhammo ya / dANaM tA mokhaphalaM tA bhogaphalaM jai jiANaM Na pIDayaro || P bhAgIra hijala vicchAliyassa parisara kaha va kammaM se / bAhiramalAvaNyaNaM taM pi hu NiuNaM Na jAejjA / / J jai hoi suddhabhAvo ArAhai haTThadevayaM paramaM / gaMgAjalalayA ko Na viseso bhave tassa // 204.33 205.5 205.9 INTRODUCTION P aNavaraya ruvatIe bAhajalorallidhoyanayaNAe / J aNusamayaruyaMtI vAhajaloyAlimAlavayaNAe / In some places J seems to add more matter (see for instance 26.10, 91.1, 147.2 etc.), but at times it could even be said that P omits it. In certain contexts J seems to add something and P something (see 24.12, 230.19, etc.). There are some places in which the alternative portions of P and J cannot go together (for instance, 151.20 -25; see also, 204.19 and 204.23 etc.). The concluding mangala passages (SS 431) also belong to this last category. Judged by themselves J is more efficiently copied than P. P is full of lapses by way of omissions of portions here and there; in many cases these omissions are haplographical. The eyes of the copyist have wandered to a common word little later wherefrom he goes on copying omitting a portion in the middle (for instance, 96.21, 105.2, 139.1, 179.31, 182.14, 197.6, 210.9, etc.) J also has missed some portions haplographically (for instance 61.17, 72.26, 156.15, etc.), but such instances are comparatively a few on the whole. There are some two significant contexts in which innocent references to flesh etc. appear to have been skipped over in Pat 248.14 and 254.7; in the latter case P looks like improving on J. Then in another context, asisiya in J stands as dhammala(b)hiya etc. in P (99.25,31). 11 Then one is attracted by some longer and significant passages in J which are not present in P. Sometimes they are amplificatory or add fresh matter. The colloquial passage in J (151.20-26) is special to it, and the corresponding passage in P (reproduced in the footnotes: 151.24) is different. Then a pretty long passage, covering a page and a half (172.4 to 173.17 ) is found only in J. It is a

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12 KUVALVYAMALA romantic situation very well depicted, but somehow it is absent in P. Further the author's prasasti (8 430) stands differently in J and P; as far as I understand it, there is no contradiction in the two drafts, but what J gives is more than what is found in P. As already noted above, the concluding mangala (8431) is as good as different in the two Mss., though some contents are common. Paragraph 432 is special to P only. Even this sample study of the variations in the text of the Kuvalayamala, as found in the only two available Mss., raises a number of questions: Why are there so many variations? Who is responsible for them? Which Ms. is more authentic or earlier, P or J? And what is the relation between them? etc. Our answers to the above questions can be only tentative, because we have only two Mss. at our disposal. If and when a third independent Ms. is dis covered, the above questions can be answered more satisfactorily. Uddyotanasuri, as he himself tells us, went on composing about one hundred granthas, say roughly eighty gathas, in a prahara or a period of three hours (281.27.) He hints that he went on writing. To me, however, it appears highly probable that, to begin with, some two copyists might have taken down the dictation and thus prepared two drafts; and these must have been subjected to revision by the author himself in due course. Presuming, in the light of the available evidence, that two copies were prepared in this manner, and revised independently, J represents a successor of one draft and P the successor, a bit more remote, of another. As noted above, there are such differences in syllables, words, lines and paragraphs that one cannot be a copy of the other: such variations cannot emerge from a common focus. Some of the various readings might be called scribal lapses due to various reasons, usual in the transmission of texts through copying or dictation, such as, confusion of syllables due to similar sound or shape (in writing); omission or transposition of syllables and words; substitution of familiar words for the unfamiliar ones; improving on the spelling or orthography; trying to mould a prose line into metrical form or vice versa; slips and haplographic omissions; repetitions and conflated readings; additions from marginal glosses; etc. The Prakrit dialects were not fully standardised in the sense in which we understand them to-day); and copyists' imperfect knowledge of them might have added certain irregularities in the Mss. Hemacandra's Prakrit grammar supplied a standard as it were for the regularisation of dialectal features of Prakrit texts composed or copied after him in Gujarat and the roundabout area. Though the Ms. P is based on some old palm-leaf Ms., its version of the text of Kuvalayamala has, no doubt, come under the influence of Hemacandra's grammar. This explains the scarce use of inorganic t, more regular elision or softening of intervocalic consonants, abundant use of n initially or as a double consonant and more regularised use of ya-sruti. The Ms. J (1083 A.D.), however, is older than the Prakrit grammar of Hemacandra (1088-1172 A.D.) and is not consequently subjected, like P, to its influence. The copyists have not always been successful in detecting metrical lines in the body of prose; and as they were conversant more with words only, it did not make material difference for them whether they wrote navara or navari, jaha or jaha, and so on. In the Paisaci and Apabhraisa passages and in colloquial conversations, the syllabic variations are too many,

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INTRODUCTION 13 partly because the grammatical standards were nebulous and the copyists took liberty with the readings sometimes due to their ignorance, preconceived notions or their understanding of a particular word. Studying the variations in words and changes in lines, verses or prose passages, in most of the cases J presents a better version than P; and it is quite likely that the author himself improved on the first draft at a second thought. The basic exemplars of J and P have been independently revised: that alone can explain certain alternative passages and what look like additions in one or omissions in the other. Some longer additions must have been made when the basic exemplar of J was revised, and these revisions did not find place in the basic exemplar of P. In the context of philosophical discussion (pp. 230 f.) the author seems to have revised his earlier draft possibly to improve on or supplement the text. It would not be very wrong to presume that many Mss. of the Kuvalayamala were not prepared and circulated, and the text also does not seem to have been as widely studied as the Samaraiccakaha of Haribhadra. The Ms. P is not an efficient copy. It is full of scribal omissions. But even there some omissions have significance, for instance, the omission of references to flesh etc., revision of a general term asisa into a conventional phrase dharmalabha. Possibility of a revisionist's hand, even other than that of the author himself, is not altogether ruled out in such contexts, because the text in P has passed through more transcriptions at the hands of copyists than J. And, as shown below, it is the text of P that lies at the basis of its stylistic Sanskrit digest by Ratnaprabha-suri. As to the prasasti of the author, the one in P is the first draft and that in J is a revised draft, because the latter gives supplementary details. The concluding Mangala is something conventional or just a ritual, and it might have been added at the time of the consecration of a Ms. when it was completed. 3. BROAD PRINCIPLES OF TEXT CONSTITUTION In view of the variations in the readings of J and P and the possible authenticity of the basic exemplars of J and P, one has to be very cautious in adopting a particular reading and relegating the other to the footnotes. There are only two Mss, available, and their authority (going back perhaps to the author himself) is often very well balanced. Under such a peculiar circumstance an eclectic method had to be adopted to present a readable text. It may often be felt that the readings of both J and P are equally good, authentic and acceptable; but practical necessity demands that one has to go to the footnotes. Then there is a dialectal aspect of the readings; and if they differ chaotically, between the two Mss. as well as in the same Ms., some standard orthography had to be adopted, as a part of editorial discipline, in presenting the text uniformly throughout the work. As already noted above, the inorganic t (or ta-sruti, as it has come to be called) is profusely used in this Ms. J and sparingly in P. It is quite possible that in the earlier stages when the Prakrits gradually evolved into standardised literary speeches, the t in Sanskrit words might have been retained here and there; but the abundant use of inorganic t in place of elided consonants, almost to the

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14 KUVALAYAMALA extent of obscuring the sense, is a strange phenomenon. It has no linguistic justification; it is not sanctioned by any early Prakrit grammarian; it is understood on reliable authority that it finds no place in the canonical and other passages which constitute the daily recitation of Jaina monks; and the modern critical editors, to begin with hesitatingly and later on even without any explanation, have ignored it. A small minority of scholars1 has looked upon it as a characteristic of the Arsa Prakrta or Ardhamagadhi; and the authority for its usage is sought from the following verse of the Natyasastra of Bharata (xxii): avaztagiurt & adzemfkran: 1 annagoi fazi ag moj golada 11 And implicitly they defend its retention while editing the early Jaina works in Prakrit. This approach is not quite sound. Hemacandra, who has noted a number of peculiarities of the Arsa Prakrta, makes no mention of ta-sruti. As to Bharata's sanction, it is very much weakened by the fact that o-kara-bahulam is an alternative reading for ta-kara-bahulam; the former reading is not only preferred to but the total description also is taken to cover the Sauraseni by critical scholars.2 Ultimately this minority has the support of Mss. where too the usage is anything but consistent. What then is the source of this ta-sruti and how can we explain its usage in Mss. on such a large scale? It is profusely used in the Mss. of Chedasutras and Curnis; and it is from them possibly, it affected the Jaina Mss. especially in Gujarat and round about for a pretty long time. My humble surmise in the matter is that it is an orthographical convention, perhaps intentionally popularised to keep the contents of the Chedasutras guarded from common readers, who were not entitled to their study. There is not the least doubt that these texts have been obscured by this ta-sruti; it takes some moments for one to realize that natamata=nayamatma. Due to favourable factors like common authorship, study in groups of monks and the same set of copyists, this convention of ta-sruti spread to canonical texts, post-canonical works of various categories and even other works in Prakrit. Though the text of the Samaraiccakaha edited by H. JACOBI (who has not discussed anything about it in his introduction, possibly due to his original notes having been lost in the war) is quite clean of this ta-sruti, it is seen from the observations of Sri RAMANIK VIJAYAJI MAHARAJ1 that a palmleaf Ms. of the Samaraiccakaha (from the Jaisalmer Bhandara) dated samvat 1250, i.e., A.D. 1193, contains plenty of ta-sruti. 1 H. DASA: Paiasadda-mahannavo, Intro. p. 28, Calcutta 1928. B. J. SANDESARA: Vasudevahimdi, Gujarati Translation, Intro. p. 27, Bhavanagar 1946. 2 L. NITTI-DOLCI: Les Grammariens Prakrits. p. 70, Paris 1938; P. L. VAIDYA: Prakrit Grammar of Trivikrama, pp. 473, 475, Sholapur 1954. 3 D. MALAVANIA: Nisitha eka adhyayana, Intro. to the Nisithasutra-bhasya, p. 6, Agra 1959. 4 He gave me a copy of his Gujarati article Samaraiccakahanu maulika bhasas varupa published in the Buddhiprakasa when I had an occasion to discuss this topic with Sri PUNYAVIJAYAJI in Ahmedabad.

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INTRODUCTION 15 In the critical text of the Kuvalayamala, presented here, the inorganic t is not admitted; the actual readings of both the Mss. are fully noted in the first forme but sparingly in the subsequent formes. The presence of ta-sruti is more conspicuous in dogmatical passages: may be that it is inherited from some canonical texts and their commentaries like the Curni. As isolated cases, the retention of t is admitted in stray words like citi, chitam, rutam etc. written alike in both the Mss. Difference of opinion is possible about these cases. About the use of n or n, the earlier discussions need not be repeated here.1 It has been noted that earlier palm-leaf Mss. are inclined more towards n (everywhere, initially, medially and in a conjunct group). The basis of pronunciation about n or n is uncertain in Prakrit dialects; the Mss., obviously, wavered erratically, according to the prejudice, aptitude and whim of the copyist; the early Prakrit grammarians, like Vararuci, preferred n; but Hemacandra, possibly in view of the vagaries of Mss. in his part of the country, made the use of n initially optional with the result that the orthographical conventions of Jaina Mss. in Gujarat and round about inclined to use n initially, n medially and nn or nn in a conjunct group. This explains, to a very large extent, the difference seen in this respect between the pre-Hemacandra and post-Hemacandra Mss. from Pattan and round about. This is borne out, in general, by the variants about n or n (fully recorded in the first eight pages) in the Mss. I and P. As to the usage in Prakrit Inscriptions Dr. MEHENDALE's observations may be taken into account. A scrutiny of the Ghatayala Inscription of the Pratihara Kakkuka for the usage of n or n has a special relevancy for our purpose. It belongs to a place near Jodhpur in Rajasthan: its object is to record that a chief named Kakkuka founded a Jaina temple and made it over to a Jaina community which belonged to the gaccha of Dhanesvara; it is dated samvat 918, i.e., roughly middle of the 9th century A.D.; and some twenty lines of it are in Prakrit, the rest being in Sanskrit. Even though the Sanskrit influence is legitimate in this record, it is found that it uses throughout n only, initially, medially and in a conjunct group. This is a valuable pointer to the convention about the use of n in Prakrit writing in Rajasthan in the middle of the ninth century A.L., not in any way far distant from the place and age of Uddyotana, the author of the Kuvalayamala. As a healthy rule, n is used uniformly in this edition, the readings of n or nn (in subsequent formes) being noted only if both the Mss. write n. Of course in the Paisaci passages and in certain words for which grammarians have special rules, n is allowed to remain according to the agreement of Mss. The back-ground of ya-sruti is already discussed by me. It is found in some early Prakrit inscriptions as well. To begin with, its use appears to have been sporadic, but gradually it became a question of orthographic standardi 1 A. N. UPADHYE: Lilavai, Intro. pp. 8 f., Bombay 1949. 2 M. A. MEHENDALE: Historical Grammar for Inscriptional Prakrits, p. 276. Poona 1948. 3 Journal of the R. A.S., 1895, pp. 513-521. 4 A. N. UPADHYE: Lilavai, Intro. pp. 10 f. 6 Dr. D. C. SIRCAR has contributed a paper of the Burhikhar (Dist. Bilaspur, M. P.) Brahmi Inscription, Quarterly J. of the Mythic Society, Culture and Heritage number, pp.

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KUVALAYAMALA sation in Jaina Mss. Hemacandra's rule is more rigorous: ja-sruti can stand with a or a and when preceded by a or a. The Ms. P uses ja-sruti more regularly, but J rather sparingly. In this edition ya-sruti is uniformly used with the constituent vowel a or a, irrespective of the preceding vowel. All the readings, in this respect, from both the Mss. are recorded in the first forme and in the context of the Paisaci dialect; but elsewhere only some significant readings are noted. 16 When the Mss. P and J waver between e or i and o or u' I have written S and with a consonant and elsewhere and . But if both the Mss. write e and o and if they are metrically short, a curve is put on them to indicate their short metrical value. Very often P writes -ya for -e2 as the termination of the Inst. sing. of the Fem. type. In J it is very difficult to distinguish between u and o, and it is interpreted in the light of the reading of P. But much uncertainty remains especially in Apabhramsa passages which are scattered all over the text in the midst of other Prakrit passages. Whenever the author passes from one dialect to the other, there results a good deal of uncertainty of readings. About the elision (more regular in Maharastri) of intervocalic consonants like k, g, c, j, t and d, or of softening k, t and th or of retaining g, d, dh and bh; and of changing th, dh and bh to h-there is a large number of variants between the two Mss. As a rule, the reading of J is adopted, noting duly that of P in almost all cases. The Ms. J makes no distinction between v and b; but, in this edition, it is spelt in the light of its Sanskrit counterpart current in Western India. Both the Mss. use anusvara almost as a rule, but there are some instances of parasavarna here and there: in this edition only anusvara is used. In terminations where anusvara is optionally used J is followed; but, if both the Mss. use anusvara and the accompanying vowel is metrically short, the sign of nasalisation or the candrabindu is used instead. The locative singular termination is necessarily written as mmi and not mmi. J often writes kinna, but here it is written kim na. In the Sanskrit passages, however, parasavarna is used; and the consonant, in the conjunct group with r as the first number, is written single (i.e., varga, and not vargga) irrespective of the spelling in the Mss. Grammatical standard of Hemacandra is always kept in view, but nowwhere is it forced against the readings agreed upon by both the Mss. Once it was realized that it is highly probable that the revisionist is the author himself in most of the cases, it was felt that the readings from both 221-24, Bangalore 1956. He observes thus: 'The epigraph may be palaeographically assigned to a date about the close of the First Century B.C.' The language of the inscription is Prakrit. Interesting from the orthographical point of view is the ya-sruti in the names Payavati for Prajavati and Bharadayi for Bharadvaji. But there is no case in which a surd has been modified into a sonant.' 1 As a corollary of the rule that a long vowel before a conjunct is necessarily shortened, it is found that often e and o become i and u before a conjunct. In the absence of orthographic symbols in Devanagari for e and o, which being their phonetic value before a conjunct, i and u (respectively) are used instead. Panini (I. 1. 48) has recognised the symbols i and u for e and o.'-Vide my intro. to the Karttikeyanupreksa, p. 73, Bombay 1960. 2 This may be even a with the glide y.

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INTRODUCTION 11 J and P should be recorded as exhaustively as it is necessary and possible. In the first forme (pp. 1-8) all syllabic variations are noted meticulously; but in subsequent formes variants arising out of va-sruti, inorganic t, u or o, i or e, n or n and others of this type are not fully recorded, excepting in crucial contexts. In some cases obvious corruptions are noted, because they go to confirm what the basic reading might have been. If the readings given are felt to be more than necessary, it is pleaded that the editor has erred on the safer side. And there are valid reasons for this erring as well: we have only two Mss. of the Kuvalayamala, and they show such variations as need preservation. Obvious scribal errors, of course, are skipped over. The Prakrit phonology has such potent possibilities that what is a wrong form to us, and according to our grammatical standards, may show its counter-part in some dialect or the other of the New-Indo-Aryan, which is being so zealously studied now-a-days. This meticulous recording of variants has a special value in the Paisaci and Apabhramsa passages and in the contexts of the colloquial conversations and illustrations of regional dialects which are a speciality of this work. Lastly, almost single handed as I have worked, I am quite conscious of my limitations as well as possible lapses in handling the material of this great Prakrit Campu which is being edited and published for the first time; and hence, I must leave the maximum evidence for a subsequent rigorous and searching connoisseur who would like to improve on my text. In a few places, where the readings are improved upon or emended, the requisite data are given in the foot-notes. All the additions, in one or the other Ms., are included in the critical text. If the passages in P and J are obviously alternatives, one is adopted in the text and the other is relegated to the foot-notes. Further both the Mss., J and P, are so closely and compactly written that it is hard to distinguish prose and verse. In the prose matter, the placing of dandas is not uniform in both: in short, it is highly irregular in P. I have adjusted them to suit the meaning and context. Wherever a shorter pause was needed, enumeration was to be indicated, a vocative was to be separated (after the last vocative, if there are many words in that case), I have put a comma. The object is to help a clearer understanding and bring better force in conversation. Single or double inverted commas are used to mark out direct statements or thoughts. Hyphens are used to separate words in a compound expression, but if there is uncertainty or slesa in any expression, they are not introduced. If the initial consonant of the following word is phonetically changed, the hyphen is hesitatingly used in such cases. The verses are not numbered, but for referential purposes the lines are numbered (1, 3, 6 etc.) on each page; and the foot-notes have a reference to these lines. Going from line to line, one can easily detect for what portion there is a variant reading. Whenever both the Mss. put numbers for enumerated topics, they are retained in the constituted text. The whole text is continuous, and there are no chapters or prakaranas. For referential convenience and for neat presentation (rather than necessarily at appropriate contexts), the matter is divided into paragraphs in somewhat an arbitrary manner.

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KUVALAYAMALA 4. THE KUVALAYAMALA AND MODERN SCHOLARSHIP It is necessary and interesting to review the studies of modern scholars.in connection with the Kuvalayamala mainly with reference to some of its significant passages. The attention of modern scholars was attracted towards this work only after the Ms. P (No. 154 of 1881-82) was secured for the collection of Mss. of the Government of Bombay, then belonging to the Deccan College, Poona, and now in the Bhandarkar Oriental Research Institute, Poona.1 In the Jaina Granthavali2 there are references to the Prakrit Kuvalayamala of Uddyotanasuri and Sanskrit Kuvalayamala of Ratnaprabha, the sources being the Brhattippanika and the Deccan College lists. The Ms. of the former in the Deccan College (KANTIVIJAYAJI?) and of the latter in Cambay and Ahmedabad are mentioned. The attribution of the Kuvalayamala to Indrasuri is based on a wrong reading in an extract given by P. PETERSON from the Santinathacarita of Devacandra.3 18 The The Kuvalayamala-katha, a stylistic Sanskrit digest of the Prakrit work of Uddyotana by Ratnaprabhasuri (c. middle of the 13th century A. D.), was edited by Muni CHATURAVIJAYA from three Mss. and was published in 1916.* prastavana (in Sanskrit) of this volume introduces most exhaustively, for the first time, the earlier Prakrit work of Uddyotana quoting its significant extracts from the Poona Ms. which correspond to the following passages in this edition; p. 282, l. 6 to the end of SS 432 omitting a few verses vamdami savva-siddhe to [pani] vayami; p. 173, 1. 31 to p. 174, l. 6; p. 1, II. 2 to 8; and p. 3, l. 14 to p. 4, l. 14. A bare outline of the story is indicated; and significantly enough it is stated that Haribhadra, who is styled as bhava-viraha, is earlier than Uddyotana and not at all a contemporary of Siddharsi, the author of the Upamitibhava-prapanca-katha. The extracts given in this Introduction attracted the attention of various scholars who used some of these references in their studies. It was in 1916, the Kavya-mimamsa of Rajasekhara,5 edited by C. D. DALAL and R. A. SHASTRY was published; and in its notes were given some extracts from the Kuvalayamala, based on the Ms. P and corresponding to our text, p. 3, l. 18 to p. 4, l. 2, which attracted the attention of some other scholars, towards the Kuvalayamala. 1 H. D. VELANKAR: Jinaratnakosa p. 94, (Poona 1944) gives reference to KIELHORN III, A list of the third collection of Dr. KIELHORN known as Collection of 1881-1882. Dr. P. K. GODE kindly informs me that the entry regarding Ms. No. 154 of 1881-82 stands thus (p. 207): "[Name] Kuvalayamala (in Prakrit) [Author ] Uddyotanasuri, leaves 183, slokas 10,000, No. 154 of 1881-82." 2 Published by Sri Jaina Svetambara Conference, Bombay 1909, pp. 222. 3 A Fifth Report of operations in search of Sanskrit Mss. in the Bombay Circle, Bombay 1896, p. 73. 4 Sri-Jaina Atmananda Sabha, Bhavanagar 1916, No. 54. A revised and critical edition of this text is included in this volume. 5 Gaekwad's Oriental Series, No. 1. Baroda, 1916; p. 124 of the Re-issue, Baroda 1924; pp. 204-5, 3rd edition, Baroda 1934. 6 N. PREMI: Padmacaritam (Bombay 1928), Intro. p. 2; A. N. UPADHYE: Annals of the B. O. R. I., XIV, i-ii, p. 62, also the Varangacarita (Bombay 1938), Intro. pp. 9-10.

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INTRODUCTION 19 MUNIRAJ SHRI JINAVIJAYA read a paper (in Sanskrit) at the First [All-India) Oriental Conference (Poona 1919) on The Date of Hiribhadrasuri'. It is an exhaustive paper which scrutinises the views of earlier scholars, lists the works attributed to Haribhadra, enumerates the traditional sources for his biography, and takes up for discussion the traditional date, A.D. 529, assigned to him, Siddharsi's (A.D. 906) reference to him as me dharma-prabodha-karo guruh and consequent conclusion of H. JACOBI that Haribhadra was a senior contemporary and guru of Siddharsi. JINAVIJAYA shows that Gargarsi was the guru of Siddharsi and correctly interprets the latter's reference to Haribhadra. It is in this context that he quotes the Kuvalayamala (p. 4, 1. 2) and reaches the conclusion that Haribhadra, the author of Samaraditya-katha could not be later than A. D. 778. Then he studies the various references from Haribhadra's works, quotes an extract from the Kuvalayamala (corresponding to p. 282, 1. 6 to l. 20) from the Ms. P, and assigns Haribhadra to A. D. 700-770. In the appendix, the chronological relation of Haribhadra with Santaraksita, Dharmottara, Mallavadi and Samkara are indicated. The Brhattippanika is an old valuable list of Jaina works prepared in Sam. 1440 (-57), i.e., A. D. 1383 by some Jaina monk acquainted with the Mss.-collections at Pattan, Cambay and Broach etc. (but not Jaisalmer). It was used by the compilers of the Jaina Granthavali, noted above. It is published ased on the Ms., three to four hundred years old, belonging to the collection of Sri Kantivijayaji Jaina Jnanamandira, Baroda) by MUNI JINAVIJAYA.?. Therein the references to the Kuvalayamala (p. 10) stand thus: 320. FESTAST OT. . [(?)] <34 20 square ftar 13000 1 321. AZ E. TTHETIT 34881 A Catalogue of Manuscripts in the Jain Bhandars at Jesalmere, compiled by C. D. DALAL and edited with Introduction, Indexes and notes on Unpublished Works and their Authors by L. B. GANDHI was published in 1923. It presents the entry of the Ms. of the Kuvalayamala in this manner (p. 27): 229. CUTATET of FENT (EFFITU) af 254 leaves. 23 x 2 Col:-iti kuvalayamAlA nAma saMkIrNakathA . saMvat 1139 dAtu (Asu) vadi 1 ravidina likhitamidaM pustakam / In his Sanskrit Intro. and its notes (pp. 42-43) Pt. GANDHI gives some bits of information about this work (possibly based on the extracts from the Poona Ms. quoted by the Editor in the Introduction to the edition of its Sanskrit digest by Ratnaprabha published from Bhavanagar and noted above), especially quoting references to Uddyotana by Ratnaprabha and Devacandra.* 1 Separately issued, pp. 1-23, in the Jaina Sahitya Samsodhaka Granthamala, Poona. 2 Jaina Sahitya Samsodhaka I, 2, Supplement pp. 1-16, Poona (1920?); see also Ibidem I, 4, pp. 157-58. 3G. O. S., No. XXI, Central Library, Baroda 1923. 4 PETERSON, in his Fifth Report, already noted above, gave an extract from the Kantinathacarita of Devacandra (Sam. 1160, i.e., A.D. 1103) afacagaf ThfH arquor THT TUTTI

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KUVALAYAMALA H. JACOBI completed his edition of Haribhadra's Samaraiccakaha, Vol. I, Text and Introduction, in 1926;' and in his Introduction (pp. ii & iii), while reviewing the earlier discussion and accepting the revised date of Haribhadra (c. 750 A.D.) as proposed by MUNI JINAVIJAYA in his paper presented to the First Oriental Conference, Poona (1919), he discusses the exact date of the completion of the Kuvalayamala as specified by its author, ascertaining it as 21st March, 779 A.D. There is an exhaustive essay in Gujarati on the Kuvalayamala by JINAVIJAYAJI. Giving an outline of the Jaina narrative literature with pointed reference to certain works of which the Taramgavai of Padalipta and Samaraiccakaha of Haribhadra are introduced in details. The controversy about the date of Haribhadra and the latest conclusion are reviewed. Then follows an account of the Kuvalayamala based on the study of relevant sections from the Mss. from Jaisalmer and Poona, especially the Prasasti portion ($ 430, with variants of P noted in the foot-notes) which is translated into Gujarati with valuable explanatory comments on some of its references to Toramana, Pavvaija, Jabalipura, Gupta etc. Pt. L. B. GANDHI edited three Apabhramsa works of Jinadattasuri, a senior contemporary of Hemacandra, in the G, O. S. in 1927. As an appendage to his Introduction (in Sanskrit), he has added a well-documented essay in Sanskrit) on the Apabhramsa language. He explains incidentally the background of Prakrit, its relation with Sanskrit and the nature of Ardhamagadhi. In the context of the discussion about Desibhasas, he has introduced in details the Prakrit Kuvalayamala and has quoted a number of passages from it, from the Jaisalmer Ms. (giving reference to its palm-leaves) corresponding in the order they are quoted to our text: (p. 89, f. n.): p. 282, I. 19 to p. 283, I. 6; [p. 90, kuvalayamAla vva mahA kuvalayamAlA kahA jassa / / Pt. GANDHI reads imdha for imda and suggests suha for maha, Prabhacandra (A.D. 1277) refers to the Kuvalayamala thus: ofefferoyTEUT Tata 4 : 1 72 acht T II, XIV 89. That only shows how the original reading dakkhinna-imdha was not correctly understood. 1 Bibliotheca Indica, Work No. 169, Calcutta 1926. 2 See Jaina Sahitya Samsodhaka III, 2 pp. 169-94, Poona Sam. 1983, i.e., A. D. 1927; also Vasantarajata Smarakagrantha, Ahmedabad 1927, its English summary by A. S. GOPANI in Bharatiya Vidya II, 1, Bombay 1940. . 3 The photographs of the Jaisalmer palm-leaf Mss., which are described above, were used for the present edition. There appears to be another set of these photographs in the Oriental Institute, Baroda, about which my friend Dr. B. J. SANDESARA, Director, O. I., Baroda, writes to me thus (21-2-1961): 'A photo-copy of Kuvalayamala (O. I. No. 13163) is available in our Mss. collections. There are 54 photographs 15'' x 12' size each. Eight leaves are included in the first photograph and 10 in the last one. The photographs were taken in 1927 at Ahmedabad. The colophon of the photo-copy agrees with that of the Jaisalmer Ms. of your printed edition.' 4 A. M. GHATAGE: Narrative Literature in Jaina Maharastri, Annals of the B. O. R. I., XVI, i-11, p. 34; N. C. MEHTA; Jaina Record on Toramana, J. of the Bihar & 0. R. S. XIX, 1928; Toramana visayaka Jaina ullekha, Jaina Siddhanta Bhaskara, XX, 2, pp. 1-6, Arrah 1953. 5 L. B. GANDHI: Apabhramea-kavyatrayi, G. O. S. XXXVII, Baroda 1927. 6 As noted above, a photo-copy of it is already there in the Oriental Institute, Baroda.

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INTRODUCTION f. n.): p. 282, 1. 4 to 1. 18; [pp. 91-94); p. 152, 1. 21 to p. 153, 1. 12; [p. 91, f. n.): p. 4, II. 11-14; p. 281, II. 22-25; p. 281, 1. 26 to p. 282, 1. 3; [pp. 97-98]: p. 71, II. 1-8; (pp. 104-7]: p. 151, I. 18 to p. 152, l. 17; (pp. 108-9]: p. 55, II. 10-21; [p. 109]: p. 63, ll. 18-25; [p. 110]: p. 47, l. 6: [p. Ibid.); p. 59, I. 5. He has added his Sanskrit chaya and minor comments here and there. It is he who published, beside the prasasti verses (already published by MUNI CHATURAVIJAYA and MUNI JINAVIJAYA) a number of extracts from the Jaisalmer Ms. of the Kuvalayamala. Some of these passages are really important, and as such they have attracted the attention of some scholars. The Paisaci dialect has been of great interest for scholars;' and A. MASTER, who wrote a paper The Mysterious Paisaciwas obviously attracted by the Paisaci passages in the Kuvalayamala a detailed acquaintance with which he came to have from Pt. GANDHI'S Introduction noted above. In his paper 'An Unpublished Fragment of Paisaci' he gives not only a critical text (based on J and P) of the Paisaci passage (along with the photo-prints of the relevant leaves of J) corresponding to our text, p. 71, II. 7-26, but also presents a tentative translation accompanied by grammatical and other notes. He continued his studies on the Kuvalayamala, in two more papers 'Gleanings from the Kuvalayamala Kaha',' Nos. I and II. In the first he has presented his critical observations on three fragments (corresponding to the printed text, p. 63, II. 16-26; p. 47, !. 6; p. 59, I. 5.) and specimens of Eighteen Desa-bhasas. His linguistic notes are interesting. In the second he has critically studied (adding grammatical notes) the specimens of prose Apabhramsa and contemporary Middle Indian mixed with Sanskrit, especially the passages corresponding to the printed text, p. 55, II. 10-21: p. 151, I, 18 to p. 152, l. 17. This is prefaced with a few general remarks on the author etc. and concluded with an excursus on the Jaina Katha. Lately, F. B. J. KUIPER, Leiden, in his paper "The Paisaci Fragment of the Kuvalayamala',5 has re-edited and published at A. MASTER's instance the Paisaci passage from the Kuvalayamala (corresponding to the printed text, p. 71, II. 10-26). It is prefaced with a thorough grammatical analysis of the dialect and followed by English translation and notes, both explanatory and textual, which are very helpful to understand certain knotty points in the text. He has given a block-print of the page from the Ms. P containing that passage. 1 A. N. UPADHYE: Paisaci Language and Literature, Annals of the B. O. R. I., XXI, i-ii, pp. 1-37. 2 Journal of the R.A.S. 1943, 217 f. 8 Bulletin of the S. O. A. S. XII, 3-4, London 1948. 4 Bulletin of the S. O. A. S., xiii, 2 and xiii, 4, London 1950. 5 Indo-Iranian Journal I, 3, pp. 229-40, The Hague 1957.

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KUVALAYAMALA 5. THE KUVALAYAMALA: A CRITICAL STUDY 1. CONTENTS OF THE KUVALAYAMALA [i. Author's Introduction] INTRODUCTORY MANGALA; HUMAN LIFE AND ITS OBJECTIVES: In the opening mangala, to begin with, the author directs salutations to Rsabha, the first Tirthakara, with poetic references to some events in his career; secondly, to Mahavira who could not be shaken in his meditation even by the tempting appeals of the charming seasons prompted by (god) Samgama; thirdly, to the rest of the Jinas; and lastly, to the Tirtha which enlightens the souls, which enables some of them to attain Liberation, and which is sacred even to the Jinas. The souls, under the pressure of passions and previous Karmas, plunge into hells; thence they pass through various species of sub-human beings; and , through some punya, they are born as men with a perfect body and in a good family. With the acquisition of this rare human birth, one should pursue the human ends which are three: dharma, artha and kama, and to these is added moksa as well by some. They could be graded thus: Kama is adhamd, Artha is madhyama and Dharma is uttama; and it is through dharma that all others, including moksa, are achieved. A wise person, therefore, should persist in the practice of dharma which is variously presented with different deities and by different teachers, but the one preached by Jinendra is the best Dharma which is constituted of dana, sila, tapas and bhavana. The first Tirthakara himself practised these precepts, and is thus an example for others. Due to want of necessary wealth, moral rectitude and physical strength, the first three are not practicable for all; therefore, the words of Jina should be understood and bhavana should be cultivated. Even in the midst of the wicked, who are out for scandalising the meritorious and merits, we should make our life fruitful by glorifying the merits of Jina, Sramana and supurusa: with this object in view, a narrative is being presented (Pages 1.1-3.15; *1.2-*2.15). EARLIER AUTHORS; TYPES OF KATHAS: The earlier great poets have p many a narrative (for details, see below); but the range of subject matter being infinite, this one also is being presented. There are five varieties of the Katha: sakala-, khanda-, ullapa-, parihasa- and vara-katha; and besides, there could be samkirna-katha as well which combines the characteristics of all these: this is being presented here. It is miscellaneous with varied poetic embellishments, metrical forms and compositional patterns. It is composed in Prakrit, with marahatthayadesi descriptive pattern, almost a pure sakala-katha, in which are introduced tapasa, jina and sarthavaha; but just out of curiosity, in the mouth of various characters Sanskrit, Apabhramsa and Paisaci passages are introduced. Being endowed with the merits of various narratives, with amorous sentiment, with well-arranged sub-plots and with the exposition of various arts and branches of knowledge, it has become a samkirna-katha. Katha is again of three types: dharma-, artha- and kama-katha. Though this is primarily a dharma-katha, it has become samkirna in-as-much as it has all the characteristics and has embraced the topics of artha and kama. Here are narrated activities

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INTRODUCTION 23 of worthy men; and here one can learn what is dharma and adharma, what is karya and akarya, and what is hita and ahita. This dharma-katha is of four facets: aksepini, pleasant or catching; viksepini, unpleasant or distracting; samveda-janani, leading to knowledge or enlightening; and nirveda-janani, leading to detachment or renunciation. Minds of men should first be captivated by catching topics; secondly, they should be disillusioned; thirdly, they should be enlightened or made to know the real nature of things, and lastly, they should be made to renounce the world that is the way how five hundred robbers were induced by that self-enlightened Kapila] to accept the life of self-control and renunciation. Topics connected with love-matters are welcome to the extent to which they are conducive to the adoption of religious life (Pages 3.18-5.13; * 2.16-* 2.26). AN OUTLINE OF THE STORY: Daksinyacihna composed this Narrative Structure (katha-sarira) which is great on account of the acquisition of Samyaktva and in which friends carry out their mutual obligations and attain Nirvana. How Kuvalayacandra was born and was carried away by a god, his former associate; how he met the lion, the monk and the god in a lonely forest; how he heard the past lives of all the five from Kevalin; how they acquired samyaktva, practised austerities, and were consequently born in heaven; how, after enjoying heavenly pleasures, they were born in the Bharata-varsa; how they did not know one another but were enlightened by the omniscient Teacher; and lastly, how they adopted renunciation, practised penances and attained Liberation, being free from Karmas: all these topics are covered in this composition, has been elaborated thus by the author through the grace of Hri- devata who supplied its clues to him (Pages 5.14-5.24; * 2.26-34). DISCOURSE on DURJANA and SAJJANA: The author starts his narrative in a grandiose style, but halts to present a discourse on durjana and sajjana. The former's weaknesses are effectively sketched with various similies often with double meaning. A poet should go on with the work on hand despite the wicked and their scandals, like a lofty elephant ignoring the barking dogs. As contrasted with him the various merits of a sajjana are depicted; and it is the sajjana who is the hope and support of worthy poets (Pages 5.25-7.3; * 2.36-39). [ii. Prince Kuvalayacandra: his Horse Flies ] KING DRDHAVARMAN AND QUEEN PRIYANGUSYAMA OF VINITA: In Jambudvipa, in Bharatavarsa, to the south of Vaitadhya and in between Ganga and Sindhu, there is the Madhya-desa (described 7.7-12) at the centre of which stands the town Vinita (described in details, SS 14-7). There ruled a king, DIdhavarman by name (described, SS 18); he had a loving queen (described, 19) Priyangusyama; and he spent in her company many happy years (Pages 7.4-9.17; *3.1-32). THE MALAVA PRINCE MAHENDRA BROUGHT AS A CAPTIVE: One day, when the king was seated in the inner assembly along with the queen and a few chosen ministers etc., Susena, the Sabara prince, just returned from a successful military operation against the Malava king. Though wounded, he narrated in a triumphant mood how the army of the enemy was routed, how the war-spoils were

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24 KUVALAYAMALA captured, and how a gallant prince of five years was arrested and brought there. The king and queen affectionately welcomed that prince, Mahendrakumara, who entered the hall with remarkable self-confidence; but soon he was overpowered with feelings, making all the dignitaries shed tears at the moment. Not satisfied with the various explanations of the ministers why the prince, though seated on the king's lap, started shedding tears, the king asked Mahendra himself the reason of his deep sorrow. The prince explained his sad plight that he should have been seated on the lap of an enemy. The king at once expressed to him that there was no more enmity and that the prince was his veritable son. He gave the prince his necklace and formal presents; and he also told the ministers to look after the prince in such a way that he would not remember his parents and that he would become a son to himself who had no issue. (Pages 9.18-11.14; * 3.33- *5.3). THE QUEEN PINING FOR AN ISSUE: On getting a confidential report that the queen Priyangusyama--apparently there being none of the five reasons (11.25-6) on account of which ladies get angry--was out of her mood and was not attending to her daily routine, the king went to her apartment and found her in the Anger-chamber (kopa-grha), quite out of temper. He inquired why she was angry; and he wanted to know from her the specific reason of her anger which even added a little charm to her face. The queen told him that the cause of her remorse was that, unlike the mother of Mahendrakumara, she had no son; and consequently, she was angry with the king. She was told by the king that she was indiscreet and that the fulfilment of her desire was beyond human power. Then she appealed to him to solicit a boon from some deity. Quite lovingly he pacified her with the assurance that he would secure divine favour at any cost, by offering the oblation of his own flesh to Isvara, by sacrificing his head to Katyayani etc.; and she felt quite happy. In this context, he took into confidence his ministers who greeted his decision, stressed the need of a son in every respect, dissuaded him from taking any risk for his life, and advised him to solicit the favour of the Kula-devata, Rajyalaksmi, seeking her boon for a son, which idea the king approved (Pages 11.15-14.3; * 5.4- * 6.14). THE KING PROPITIATES AND GETS A BOON FROM KULA-DEVATA: Then on an auspicious day, the king offered oblations to the town-deities, gave gifts to mendicants, fulfilled the desires of the poor, and entered the devagrha, in a proper form. He offered worship to gods and goddesses, spread a layer of flowers on the pavement, took his seat (now all alone), offered (with folded hands) lavish prayers to Rajalaksmi referring to the various aspects of her personality, and urged her either to give audience to him within three days or accept his head. He sat there for two days recounting her merits. On the third day, when he was about to sever his head for an offering, his hand (with the sword) was miraculously held back, and the goddess appeared before him in full womanly bloom and glory. He saluted her. She smiled at his rash impatience. When he appealed to her effectively and with self-respect, she blessed him with a boon that he would have an outstanding son and disappeared (Pages 14.4-15.14; * 6.15-38).

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INTRODUCTION ALL-ROUND SATISFACTION AND QUEEN'S DREAM INTERPRETED: Returning from the temple, the king took his meals in a happy atmosphere; and then he conveyed to his ministers the details of the boon received by him, to their great satisfaction. He went thereafter to the apartment of the queen who, on hearing about the boon, received it as a great blessing. The happy day passed, and there followed the evening and moonlit night (graphically described 15.26-16.5). Early in the morning, the queen woke up after seeing in her dream the Moon clung to by a garland of highly fragrant lilies (kuvalaya-mala); and when she modestly conveyed the same to the king, he assured her that this was quite in consonance with the boon of the Deity and that she has conceived a son. She considered herself highly blessed. The king entered the assembly attended by many: mantrin, mahanarendra, mahavira, mahavaidya, mahabrahmana, mahakavi mahasenapati and mahapurohita. There were courtezans, some reciting in Prakrit. some in Sanskrit, some knowing Apabhramsa and many others skilled in different branches of knowledge (the list is interesting 16.23 f.): in that assembly all the kala, kautuka and vijnana were represented. The expert decision on the inter pretation of the dream was that the queen, as blessed by the divine boon, wil have a great son and that the kuvalayamala represents his beloved attached to him from an earlier life (Pages 15.15-17.7; *6.39- *7.25). A PRINCE BORN and DULY NAMED KUVALAYACANDRA: Carrying the child and living in a happy atmosphere, the queen grew in her grace more and more and her longings of pregnancy were more than fulfilled to her satisfaction. The effects of the growing child were apparent on her body (17.16 f.); and at a highly auspicious moment, she delivered a fine male child. The palace was flushed with manifold festive talks (described SS 44). A blooming maiden broke the happy news to the king and received rich presents from him. There was a royal directive for the celebration of birth-festivities which were duly carried out with great eclat and entertainments (described 18.11-31). Ordered by the king, the Astrologer interpreted the planetary influence etc. at the moment of the prince's birth and prophesied (from the astronomical data) that the prince would become either an Emperor or an Emperor-like king. On a specific enquiry from the king, the astrologer enumerates the rasis (zodiac signs) and gives their gunas (fruits, consequences) in the context of the birth (details given, 19.12 f.) on the authority of Vamgala-jayaga of Vamgala-risi. The king duly honoured the astrologer, and enjoyed drinks (described 20.28 f.) and meals. So the days passed. On the 12th day he decided, in consultation with maha-brahmanas, that the prince should be significantly called Kuvalayacandra, and also by a second name Sridatta (Pages 17.8-21.6; *7.25- * 8.28). PRINCE'S EDUCATION: Fondled by five maids, the prince gradually grew making all happy by his activities of childhood. When he was eight years old, he was duly entrusted to a lekhacarya under whom he lived in a lonely place, not visited even by his parents, and mastered various arts till he was twelve. After finishing the course, the teacher led him to the king who heartily welcomed him, with all the more joy, on learning that the prince was so gifted by nature that hardly any instruction was necessary for him. The teacher enumerated the seventy-two kalas (22.1-10) already mastered by the prince and also those in

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26 KUVALAYAMALA which he had special proficiency. The prince had developed well, both in body and expression. Then he went to the apartment of his mother who heartily embraced him and kissed on the head; he called on other queens as well who all greeted him with good wishes (Pages 21.7-23.3; * 8.29- *9.6). PRINCE ON THE HORSEBACK CHARMING TO ALL: As directed by the king, the prince, then, accompanied him to the horse-ground or race-course where horses were to be tested for different purposes; and there, the horse-keeper gave for riding different horses to different persons: Pavanavarta to the king, Garudavahana to Mahendrakumara, Udadhikallola (described in details 23.12-19) to Kuvalayacandra, and so on. Inquired of by the king, the prince explained to him that there were eighteen breeds (23.22-4) of horses of which he would describe the colour, marks etc. of a few only (23.25 to 24.9). Saying that he would hear further details at leisure, the king rode his Pavanavarta, the prince his Udadhikallola, and their feudatories started on their respective conveyances all of which crowded the palace-ground by their march (described 24.19 f.) and then gradually proceeded along the royal road. When the prince reached the heart of the town, ladies, in a disturbed state (described 24.30 f.) took their positions here and there (25.8-10), making various remarks (25.12-15) to have a glimpse of the prince whom they gazed at with eyes full of passionate affection (25.21-32) and about whom they discussed with complimentary references that he was superior even to Narayana, the full moon, Puramdara, Isvara, the sun and Kumara (26.1-14). They were captivated by the personality of the prince, and all their activities and demeanour (described 26.15-27) showed that their minds were out of gear. The prince passed through the bazaar and reached the race-course where stood the entire troop. The king drove his Pavanavarta and the prince his Samudrakallola; well, the latter overtook the former to the jubilation of the entire gathering (Pages 23.4-27.1; * 9.7-31). PRINCE (WHO ATTRACTED THE EYES OF MANY), FLOWN BY THE HORSE, MEETS A SIGNIFICANT TRIO, THE SAINT FROM WHICH PROMISES TO EXPLAIN THE MYSTERY OF THE HORSE AS WELL AS THEIR CAREER: As the prince was being greeted with victory, the horse flashed towards the south and flew up in the sky (description of the ground below etc. 27.7-9). Struck with wonder by its behaviour, he decided to test whether it was some god by striking it with a knife, before it reached the ocean. When he gave a heavy stroke on its belly, it fell dead; the prince too came down, and, while he stood still puzzled over the riddle whether it was a horse or a god, he heard an anonymous voice greeting him with his name and directing him to go towards the south to find something unprecedented. As he proceeded, he reached the great Vindhya forest presenting manifold scenes and situations (described 27.28 to 28.19), one of which, which most surprised him, was that birds and beasts, well-known for their natural antipathy, played together (28.22-27). With a little thinking, he realized that in the vicinity there must be some great saint of benign influence. A little ahead, under a Vata tree he saw a monk, emaciated with penances but ablaze with lustre, an embodiment of dharma and an incarnation of upasama (described 29.7-9). To the left of the monk, he saw a great person of divine appearance (divyakaram mahapurusam), an embodiment of all that could be handsome

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INTRODUCTION 27 (described 29.11-20); and to the right, he saw a Lion, terrific in appearance but quiet in temper (described 29.21-24). These three seemed to the prince as the veritable quintessence of dharma, artha and kama. As great saints are gifted with divine knowledge, the prince wanted to know from this great saint who the horse was and why he was carried away etc. The great monk welcomed him with dharma-labha; the divya-purusa stretched his right hand decked with jewelled bracelet to greet him; and the lion too received him suitably. The prince responded with all modesty. The great saint assured him to enlighten him on his questions. The prince sat there before the saint in a receptive mood, when the latter started his religious sermon: In this Samsara the souls wander in a chaos of relations and reactions (details given SS 66). The gale of sin whirls round this leaf of soul in this mountain-thicket of worldly existence. The souls alone are responsible for all that they have done; and all others are really others. Like children playing with sand-structures on the shore, the ignoramuses are deluded by various attachments in life: it is all hollow. Whatever is experienced by us on account of i) krodha, anger; ii) mana, vanity; iii) maya, deceit: iv) lobha, greed; and v) moha, infatuation will be narrated ending with the episode of the prince being carried away by the horse (Pages 27.2-31.2; *9.31-*11.6). [iii. Dharmanandana: Biographies of Five Souls ] MINISTER VASAVA TAKES KING PURANDARADATTA TO THE PARK, FULL OF VERNAL GLORY; THEY PAY RESPECTS TO DHARMANANDANA WHO DISCOURSES ON SAMSARA etc.: In the Vatsa country (described 31.3-18), in the town of usambi (described 8 68), there ruled a king Purandaradatta by name (described 31.33-32.8); and he had an able minister in Vasava who was endowed with Samyaktva (described 32.9-15). One day, on his way to the temple of Arhat for worship, the minister Vasava was presented with a bunch of mango-blossoms by the gardener Sthavara who reported to him, first, the advent of spring, and secondly, the arrival of the preceptor Dharmanandana (with his disciples) in the garden; but received in return, firstly rebuke from his master for his unjustified sequence in reporting the events, and secondly, a good reward. Afterwards, Vasava called on Purandaradatta, presented him with the same bunch of mangoblossoms, and requested him that they might personally witness the vernal glory of the park in the forest (described 33.5-13). In the park, they enjoyed the charming sight of trees, creepers and flowers attended by swarms of bees - all bathed in vernal beauty. Intending to pay respects to Dharmanandana, who was halting on a dry spot in the garden, the minister led the king there under the pretext of seeing the Asoka tree planted by the latter as a prince. There they saw a multitude of monks some of whom were studying different Angas (enumerated by names), logic with five or ten limbed syllogism (34.20) nimitta, Joni-pahuda etc., and some were very much emaciated on account of penances. In the midst sat the preceptor Dharmanandana gifted with fourfold knowledge ($ 73). On being inquired of, the minister duly introduced the monks and the Preceptor to the king, and as proposed by the minister, who offers a prayer (35.9.12), the king joined him in offering obeisance to them: both of them were

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28 KUVALAYAMALA blessed with dharmalabha. The Preceptor welcomed them along with others who arrived there and saluted him. The king wondered why the preceptor, so gifted as he was, had taken to renunciation. The preceptor started his discourse on the nature of samsara which itself is an enough cause for renunciation. He continued how hissa of various types committed through passions and different pretexts leads to hells where the doer himself has to suffer (35.24 to 36.6). The hells are full of tortures (described $8 75-78) as preached by the omniscient; even in the various subhuman species there are many miseries (described $$ 79-80); - the human birth, with its advantages, is not without its pitfalls and pangs (described $8 81-82); and the birth in heavens too has its limitations (described $$ 83-84). This was in reply to the thoughts in the mind of Purandaradatta who received some instructions on virtues and their cultivation (43.23 f.) and was taught how the words of Jina would rescue one from the misery of Samsara and lead to eternal bliss. The minister Vasava was told that the cause of wanderings in this miserable Samsara consists of krodha, mana, maya and lobha (and also moha) which are defined (44.17-21) and the four grades (anantanubandhi, apratyakhyanavarana, pratyakhyanavarana and samjvalana) of which (44.22 to 45.37) are illustrated (Pages 31.3-45.5; * 11.6-* 13.4). 1. ANGER--BIOGRAPHY OF CANDASOMA: Anger leads to mental unbalance whereby one kills even one's brother and sister, as seen from the career of this angry-looking man seated here, Dharmanandana continued, which deserves to be heard. In the settlement Ragada by name (described 45.17-20), close to Kanci, the capital of the country of Kanci of Dravidas, there lived a poor twice-born Susarmadeva. His eldest son was Bhadrasarma, who, due to his naughtiness in childhood and illtreatment of other boys, came to be called significantly Candasoma, the one seated here. The parents married him to a suitable girl and, leaving to him the responsibility of the house, went on a pilgrimage to the Ganges. His beloved Nandini reached the bloom of youth and thus attracted the eyes of the village youths. Candasoma grew jealous of her, though she was chaste of character; with the advent of the autumn (described 46.5-8), a party of actors reached that village; and Haradatta, the leading mayahara, arranged a show for which the whole village was invited. When people started going thither, Candasoma, equally eager to attend the show (to which his brother too had already gone), started worrying about the safety of his blooming beloved, whom he entrusted to his sister Srisoma, and went to the show. Despite Nandini's warning, Srisoma also went to the show. There in the audience (ranga), Candasoma heard amorous whisperings of a couple; and from an indirect mention of the word canda, he suspected that his beloved had come with her lover to the show. He got a timely hint from a song; and, burning with anger, he went home and waited hidden behind the door with a stick to strike his wife on her return. As the show was over by this time, both his brother and sister returned home; and mistaking them for the suspected couple, he hit them both who fell dead. Hearing the noise, Nandini came from inside and pointed out to him what havoc he had made. He was full of remorse, started lamenting over the past, and decided to immolate himself on their funeral pyre ($ 93).

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INTRODUCTION Next morning he took their bodies to the cremation ground. When he was about to jump into the flames, people held him back. The learned Brahmanas assured him with inconsistent diagnosis and prescriptions that there was prayascitta for purification from such sins. He was asked, at last, to quit the house, distribute the property among Brahmanas, and go clean-shaved and abegging to various tirthas. He was thus being misguided. He came here full of Vairagya and wanted to know further how he could be free from sin. Dharmanandana told him that one must reap the fruits of one's Karmas: any way, he was advised to practise penance and adopt the code of virtues (49.15-18). When Candasoma's Karmas were sufficiently quieted, he was duly given diksa by the preceptor (Pages 45.6-49.21; *13.5-*15.2). 2. VANITY-BIOGRAPHY OF MANABHATA: Dharmanandana continued that mana (pride or vanity) brings mental torture and leads to all sorts of ruin. A vain person loses all sense of discriminination, and cannot save his parents and beloved from dying. This is seen from the career of this vain-looking person, seated here, which deserves to be heard. To the north-east of the beautiful town of Ujjaini (described, 50,10-19), right in the heart of Malava-desa, in the Avanti-janapada (described 50.3-7), there is a rich village Kupavandra by name. There lived an old royal Thakura Ksetrabhata by name, who had fallen on evil days; and his son was Virabhata whom he loved more than his life. For their service, the king of Ujjaini, gave them the above village. Due to old age and exacting active war service Ksetrabhata remained at home; Virabhata attended the king; and in due course Saktibhata (the son of Virabhata) continued the service. Saktibhata was highly vain, haughty and given to luxuries; so he came to be known as Manabhata in the cely order. One day, Manabhata found that his seat in the Durbar of king Avantivardhana was occupied by a Pulinda prince, who apologetically explained that this would not be repeated. He took offence, gave wrecklessly a fatal stroke of his sword on the prince's chest, and ran from the Durbar to his village. His father advised him to quit the country for safety. He sent his father bag and baggage to the bank of Narmada; and staying behind with vanity, he faced the Pulinda forces which he defeated. Though heavily wounded in the battle, he joined his father, camped in a fortified village and spent his time comfortably (described 51.29-34). One day, as a part of the spring sports, the village youths agreed among themselves to sing about one's beloved while playing on the swing. Manabhata happened to praise a darkish beloved (52.13-15) wherefore his fair wife, who was present there, felt offended; and she was so much humiliated and irritated by her friends that she dashed homewards in the dark evening (described 52,27-30) with a decision to die. She entered her bed-room, prepared a noose for her neck, appealed to the Lokapalas (53.6-9) that her husband behaved like this despite her faithfulness to him, and hanged herself. In the meanwhile, Manabhata came there and could rescue her before the breath was gone. After a little conversation with her, he realized that he was misunderstood by her. He tried to convince her about his innocence and, holding his vanity in abeyance, even fell at her feet, but without any effect on her who remained quite silent. His vanity surged up; and in sheer disgust of her frailty, he left home to see

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30 KUVALAYAMALA how she reacts. Then she felt repentant, and, telling her mother-in-law about it, she rushed after him. His mother, and after her, his father followed them. Seeing his beloved behind him, he decided to test her attachment for him. Reaching the village well, he dropped a big stone in it and hid himself behind a tree. The noise of the falling stone gave her the impression that he had jumped into the well, and she followed suit as a true wife should do; the mother-in-law also followed her; and even the warrior, Virabhata, saw no other alternative than to jump into the well. Manabhata saw the whole episode; but repentance came on him too late, and he started lamenting (SS 106) over his cruelty and ungratefulness. Finishing their obsequial ceremonies, he started on a tour with a view to meeting by chance some preceptor who would purify him of that sin. At Mathura he heard a colloquial conversation in the camp of disabled and diseased destitutes, and got the clue that a dip in the confluence of the Ganges would wash him of his specific sins. He has arrived in Kausambi with that idea. The purity of mind accompanied by penance and rules of good behaviour would wash the sins and not a dip into the Ganges etc. Hearing this, Manabhata sought further light and guidance from Dharmanandana who preached to him the fourfold steps (samyaktva, jnana, tapas and samyama) and finally initiated him duly in the order (Pages 49.22-56.10; *15.4-*18-3). 3. DECEIT-BIOGRAPHY OF MAYADITYA: Dharmanandana continued that maya (deceit) is abominable, and a deceitful person behaves crookedly to the ruin of his reputation, wealth and friends. This is illustrated by the career of this treacherous looking person, seated here, which is worth hearing. There is a village, Saligrama, to the south-west of Varanasi (described 56.26-30) in the territory of Kasi (described 56.21-25). In it lived a Vaisya, Gangaditya, who was poor, ugly, socially abominable, morally heinous and full of treachery wherefore he was unanimously nicknamed and addressed by all as Mayaditya (: here he is). He developed friendship once with a rich local businessman Sthanu who, being essentially of good nature, and despite warnings from others, responded affectionately. Somehow their contacts grew, though hypocritical on the one side and sincere on the other. Though they basically differed on the ways of earning wealth (57.16-17 and 24-26), they decided to go to Daksinapatha for suitable business, and duly reached the town of i By trying their hands at various trades, each one could earn, to his satisfaction, five thousand; and they decided to convert each one's cash into five precious stones for the safety of a distant journey. They packed those ten pieces in a dirty rag, dressed themselves as friars (58.2-3) on a pilgrimage, and travelled on abegging. One day Sthanu, when he went to the market for provisions, entrusted the package of ten precious stones to Mayaditya, who, however, prepared a similar package of ordinary stones with a view to running away with the former. Later, when Mayaditya ran away, giving one package to Sthanu, he found, after covering a long distance, that he had duped himself by bringing with him the package of ordinary stones. He decided to meet his friend and mend matters to his advantage. Sthanu with all his innocence and goodness started searching for his friend in sorrow. One day, being quite tired, he halted for the night in a temple where the song of a Gurjara (59.3) way-farer gave him

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31 some consolation and courage. He proceeded homewards deciding to give half of the jewels to his friend's successors in the family. Just then, to his joy, there arrived Mayaditya who, in all hypocrisy, narrated a fictitious tale of his lonely adventures how he was arrested as a thief and detained there, how, under the guidance of a maid servant, he escaped the fatal ordeal of being offered as bali to a goddess, and how he came over here, ever yearning to meet him. Both of them crossed the river Narmada, but missed the way and entered a thick forest (described 60.15-24). In the terrific heat of summer (described 60.26 to 61.1) this straying through that awful jungle was a torture for them. As the package of jewels was slipping down from the loins, Sthanu requested Mayaditya, to the latter's satisfaction, to take it. They reached an ancient Vata tree, and close by there was a deep well with no means in the vicinity to take out water. Mayaditya thought that there was an opportunity for his wicked plans. He requested Sthanu to see at what depth the water was there in the well that he might prepare a suitable creeper-rope. While he was doing it, Mayaditya pushed him into the well: luckily he fell into the water, with little hurt to his body. On account of his innate goodness, he could not convince himself that his friend Mayaditya had pushed him into the well. While Mayaditya was, on the other hand, feeling joyful at the prospect of having all the ten jewels for himself, a party of robbers headed by Sabarasena overpowered him, took the jewels, and threw him bound-alive in a thicket. On their way, one of the robbers wanting to take out water from that well saw Sthanhu inside, and, under orders from his master, took him out safely. They all wondered at his goodness, credulity and respect for his treacherous friend, and handed over to him the five jewels of his share, warning him, however, to be at a distance from a friend like that. Sthanu searched out his friend, bandaged his wounds, and shared equally those five jewels. Mayaditya felt remorse now, and decided to enter fire to expiate his sin of treachery towards a friend. The village elders in their colloquial language (63.18-26) analysed his sin; and the chief among them asked him to dip in the Ganges and die there fasting for washing the stain of his sin. On his way he has come here. When he sought further light and guidance, Dharmanandana advised him to seek shelter in the words of Jina, and finally gave him diksa seeing that his Karmas were sufficiently quieted (Pages 56.10-64.13; * 18.5- *21.15). INTRODUCTION 4. GREED BIOGRAPHY OF LOBHADEVA: In the village Uccasthala (described 65.1-2), situated to the south-west of Taksasila (described 64.28-35) in Uttarapatha (in the Madhyama-khanda to the south of Vaitadhya, in Bharata Varsa, in Jambudvipa), there lived a sarthavaha's son, Dhanadeva, sudra by birth, who spent his time with other sarthavaha youths. As he was highly greedy, deceitful and avaricious of other's wealth, he was nicknamed Lobhadeva by which he became well-known. Lobhadeva told his father that after all the family wealth was there, but he wanted to increase it by trading in Daksinapatha. The horses, conveyances etc. of the caravan were ready. His father indicated to him the possible dangers and instructed him in tactful behaviour to suit an emergeny (65.15-19). He reached Daksinapatha and camped at Soparaka with an old Sresthin (guild-head, banker). In due course, he sold horses and earned

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32 KUVALAYAMALA enormous wealth. As it was the custom in the Native Traders Club (desiyavaniya-meli), he went there with his host to narrate his experience and receive the formal presents (gandha, malya and tambula). Local traders started talking about their respective adventures: how different commodities brought them great profits. It was disclosed that neem-leaves could secure precious stones in the Ratnadvipa, but the journey to it was full of risks; of course, risks and gains go together. The gains of Ratnadvspa captivated the mind of Lobhadeva who proposed to Bhadrasresthin that they might sail thither for trade. The latter advised contentment to him, but he was firm in his adventure with which alone goes Laksmi (66.18-24). Bhadrasresthin narrated to him his past experiences, but at last agreed just to accompany him who alone would be the bhandapati, the master of the merchandise. They arranged their fleet, and duly started on an auspicious day (described 67.1-7). After a rough sea journey, they reached the Ratnadvipa. After trading profitably there, on their return journey, when their ship, full of exchange-commodities, reached the mid-sea, that avaricious Lobhadeva, fearing that Bhadrasresthin would be his partner on reaching the shore, took him to the ante-room under some pretex, cruelly pushed him into the sea, and raised a cry of accident, rather too late. He pretended to jump into the sea to meet his friend; but the sailors dissuaded him, and that suited him well. Dying there under the waves, Bhadrasresthin was reborn as a Raksasa in the Vyantara region; and, when he reviewed his death, he realized how wicked it was on the part of Lobhadeva to have pushed him into the sea like that. His anger flared up, and he decided to ruin the fortunes of Lobhadeva: there he developed a fatal gale which made all the inmates of the ship nervous, and they began to seek divine grace. The Raksasa reminded Lobhadeva of his wickedness and tossed that ship up and down (described 69.1-7) till it was smashed to pieces. Lobhadeva, however, floating precariously with a plank touched Taradvipa almost unconscious. The cool breeze refreshed him. But he found himself in the hands of some fierce-looking persons whose apparent hospitality he could not understand. They fed him fat, chopped his flesh and took his blood; and then they healed his wounds with special medicine. This was repeated every six months; and his blood and flesh were used for alchemical experiment (69.24-28). After twelve years like this what remained of him was a skeleton. One day while he was yearning for death with his body chopped like that, he was picked up by a giant bharanda bird which was attacked in the sky by another for this prey, with the result that he slipped down from its beak, fell in the ocean, and, suffering a good deal, reached eventually the shore covered with forest (described 70.16-18). When he was comfortable in that forest, a lovely spot reminded him of gods and their previous merits, of hell and sins leading thereto, and of his ingratitude to Bhadrasresthin. He was overcome by remorse for his sin of having killed his friend, and wanted to purify himself: with these thoughts, he fell asleep. When he woke up, he heard a catching conversation which was neither in Sanskrit (described 71.1-3), nor in Prakrit (described 71.3-5), nor in Apabhraisa (described 73.5-7) but in Paisaci in which the Pisacas were discussing as to what was a fine spot. Their decision was that the stream of the river Ganges was attractive; and the sin of a friend's murder could be washed off there.

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INTRODUCTION 33 He proceeded towards the Ganges. On his way he has come here, and is now eager to know what to do further. It is only the practice of austerities and the cultivation of religious virtues that can remove the sin. In due course, with the pressure of his passions subsiding, he was given diksa by Dharmanandana (Pages 64.14-72.17; *21.17-*24.30). 5. INFATUATION--BIOGRAPHY OF MOHADATTA: Dharmanandana continued that moha (infatuation) unbalances the mind, dislodges the sense of discrimination, and leads to all-round ruin. This is obvious from the career of this handsome person, seated here, who never understood what is right or wrong; and it is worth hearing. A stern king Kosala by name ruled in Kosala (described 72.34-73.2) the capital of Kosala (described 73.30-34). Prince Tosala was his worthy son who moved freely in the town. One day he saw a beautiful girl behind the latticed window of the Banker's palace; he gazed at her with passionate affection, and she responded favourably. When it grew dark (described '73.16-18), he equipped himself properly and managed to get into her private apartment where she was all alone (73.22-24). With stealthy steps he closed her eyes from behind; his touch thrilled her; and she could identify who he was. The gallant prince was about to leave her, respecting her fidelity to chastity; but she detained him on account of her surging passion. She was, she disclosed, Suvarnadeva (-devi), beloved daughter of the local banker Nanda and his wife Ratnarekha. She was married to Haridatta, son of Visnudatta. Her husband went to Lankapuri for trade, some twelve years back, and nothing was heard of him. This unfortunate separation had made her restless, and the passion of youth was surging up beyond restraint. In a despondent mood, when she wanted to commit suicide, she saw the prince from the window; and their eyes responded favourably. She wanted him to behave in such a way that she suffered no humiliation in the family for her immorality. Either he should be her natha (whom she would follow), or she would die; saying this, she embraced him. They spent many happy nights together thus, and she became pregnant. The scandal was whispered all round and reached the ears of Nandasresthin who reported the matter to king Kosala for investigation that his daughter, though guarded, was being molested by somebody. The king ordered his minister to behead prince Tosala who was found guilty of this crime. The minister, accordingly, led the prince to the cremation ground; but, hesitating to kill him, asked him to disappear anonymously to an unknown place. The prince ran for safety and began to serve as a common man under king Jayavarman at Pataliputra. Suvarnadeva came to know, while she was spending her time in humiliation and anxiety, that the prince was beheaded by the minister on account of her. She managed to teave home and flew from the town, and could join a caravan bound for Pasaliputra. Due to her physical disability, she lagged behind, missed the track, and started treading her way, full of suffering and fear. She wept and wailed; and she fell unconscious, when it was night-fall (described 75.21-28). Coming back to her senses, she was at the end of her wits in that dead of night. The period of pregnancy was full; and in that hopeless and helpless condition, she Rave birth to twins, a girl and a boy on whom now she looked for support and

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34 KUVALAYAMALA shelter (76.7-10). She decided to live looking after these children somewhere. Round the boy's neck she tied a coin with prince Tosali's name, and round the girl's neck another with her own name. She wrapped up the babies with the two ends of her upper garment, left them there, and went to a nearby stream for a wash. In the meanwhile, a hungry tigress, just delivered, came in search of prey and picked up that garment with packings of children dangling at both the ends. As it crossed the road, Ujjaini to Pasaliputra, the girl dropped down on the road unnoticed by it. She was picked up by a messenger of Jayavarman who entrusted her to his issueless wife to her joy; and she was named Vanadatta and grew at Pataliputra. The tigress, carrying the boy on the way to its den, was hit dead with an arrow by prince Sabarasimha (attached to king Jayavarman) who had come for hunting. He picked up the lovely-looking boy, and his wife consecrated him as her regular son naming him significantly Vyaghradatta. They came to Pataliputra where the boy, as he grew, was nicknamed by his companions as Mohadatta. The disappearance of the babies shocked the mother who burst into lamentation. The steps of the tigress gave her a little clue; following them she reached the house of an abhiri (a cowherd's wife) who sheltered her like a daughter; and then, going from village to village, she soon reached Pataliputra, where, as luck would have it, she was emplo messenger's house, as a maid servant, to nurse Vanadatta, her own daughter whom she did not recognise. Vanadatta grew into a lovely maiden easily captivating with her glances the youths of the town. During spring, on the day of Madana-trayodasi, when she had gone for the festival in the park with her mother etc., she was seen by Mohadatta who significantly hinted his passion for her; and she also responded quite favourably (77.22-26). Suvarnadeva also grasped the situation, but asked her to come there again to meet him after the festival. Vanadatta went home, and remained plunged in the pangs of separation. One day, on her way to the park, Vanadatta was seen by Prince Tosala whom Suvarnadeva (who was escorting Vanadatta) could not recognise, nor did he recognise her, for obvious reasons. Tosala fell in passionate love with Vanadatta, and resolved to win her hand at any cost. He followed her to the park, and, finding an opportunity, asked her, with naked sword in hand, either to accept him or be a prey to his sword. Suvarnadeva and others on the spot were terrified, and raised a hue and cry. Hearing that, Vyaghradatta (i.e., Mohadatta) rushed on the scene and encountered Tosala. There was a duel between the two in which Tosala met his end. When Mohadatta took nervous Vanadatta aside for love-sports, some unseen voice announced to him that it was unworthy of him to enjoy his own sister, in the presence of his mother, and that, too, after killing his father. He could find out that a monk of divine knowledge, who was there in the vicinity, had announced this. On inquiry, the monk explained to Mohadatta that Tosala was his father, Suvarnadeva his mother, and Vanadatta, his sister. Mohadatta felt remorse for his ajnana, ignorance, and consequent sin for which he wanted expiation. The monk preached to him religious virtues and austerities which would duly lead him to liberation. Mohadatta wanted to accept diksa; but the monk, being a caranasramana, could not give it to him. As directed by him Mohadatta came to

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INTRODUCTION 35 Dharmanandana, and with his Moha quieted now, received diksa from him (Pages 72.17-80.32; *24.32- *29.40: in this context the Sk.text glorifies the mount Satrunjaya). A DISCOURSE ON FIVE PASSIONS: Dharmanandana continued his discourse to minister Vasava that these five passions (krodha etc.) delude the soul which, then, is driven round in samsara: they should be kept under control, or, if in operation, made ineffective (a detailed discourse 81.4 to 82.7). Purandaradatta and Vasava took leave of the monks and entered the town (Pages 81.1-82.7; *30.1-3). PURANDARADATTA'S EXPERIENCES ON THE ROYAL ROAD AND HIS CURIOSITY ABOUT MONKS' ROUTINE AT NIGHT: It was sun-set (described SS 156) followed by the usual movements and activities in different places (described, especially the talks and behaviour of courtezans in their apartments, $S 157-58). After covering the evening routine, King Purandaradatta, whose mind was already affected by Vairagya, was curious to see anonymously what really the monks did at this time. He changed his dress suitably (84.8-25), and started at a time when the activities of monks and courtezans were diametrically opposite ($ 160 ). As he proceeded he learnt on the way how an irritated beloved was tricked by her companions into heightened love towards her husband whereby his passion was tickled (85.3 to 86.2). He came across a monk on the road practising penance and standing undisturbed like a statue, and he felt great respect for his hidden glory (86.3-21). He escorted a daring and devoted woman rushing in the dead of night to her lover whom she meets on the way, to the joy of both (86.21 to 87.10). He crossed the city-wall with a miraculous flight (vidyut-ksiptam karanam) and reached the spot in the park occupied by Dharmanandana whose ascetic pupils were occupied, as professed, with a variety of religious routine, especially study and meditation (87.20-27). He heard Dharmanandana discoursing to the newly ordained five monks (Candasoma etc.) on the rarity of human birth and of the adoption of the religion of Jina therein ( 165 ); and it occurred to him to practise this religion after enjoying worldly benefits which are equally rare. Reading his mind, Dharmanandana denounced the worldly benefits as worthless, by narrating the parable of Kaumbari fruits. (Pages 82.8-88.29; *30.7-33). THE PARABLE OF KAUMBARI FRUITS: Three ship-wrecked persons (corresponding to three kinds of souls (abhavya, kala-bhavya and tat-ksana-bhavya) reached by chance a lonely island (= human birth) where they could find three thickets (=houses) with kaumbari plants (= women, wives) to the fruits of which they were very much attached. When some sailors (=religious preceptors) came to their rescue, one would not leave the place at all, the second said that he would go later, and the third immediately accompanied them. The first was irrevocably entangled in the worldly temptations; the second lingered a little as a householder; and the third immediately renounced the world for attaining eternal bliss (Pages 88.30-90.20; *30.34- *31-39). [Here the Sanskrit text adds the Vrata-drstanta (*31.40-*33.30): A merchant wants to test the ability of his four daughters-in-law in managing the household. Publicly he gives them each five grains of rice with instructions to return them

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36 KUVALAYAMALA when he wants them. The first daughter-in-law throws them away thinking that the granary is full and five grains can be picked up and given any day. The second one thinks alike but eats them. The third one preserves them in her ornament-casket. The fourth one plants and reaps the harvest over and over again for five years. The Merchant gives the meanest task to the first two in the house; the third one is made a treasurer, and the fourth, the Manager of the family affairs. The best disciple is he who not only preserves the Five Maha. vratas (which correspond to five rice-particles) but also propagates them for the. benefit of others.) [The Sanskrit text adds further the story of Vinita (*33.40-*39.3) along with a discourse on Vinaya (*33.32-9): Vinita, lying as a child in a field, was by Visavakya, of bad speech; he grew up worthily; and he was recognised as a Sresthin by king Harsa. Once, during the famine, an old man, an old woman and a youth became his dependants. In a battle against Jitari of Campa, he had to run for life. On the way, he saved a deer being hunted to death by king Ptthvicandra of Ksmatilaka who was pleased to appoint him as a minister. His earlier dependants also joined him. Visavakya, who had accepted dikna, went to Vinita's place, but could not accept food there. Vinita was advised by Teachers that he should be above attachment and was thus enlightened on the path of religion by a detailed discourse (*36.1-*38.7). When he wanted his father to stay on, the Teachers enlightened him that Visavakya was only his guardian; and his father, mother and brother were working as attendants in his house. He went home and duly respected them: he became famous for his vinaya. Once he wanted to give some specific medicine to a monk, but as his wedding was at hand, it was forgotten. He remembered it at the moment of wedding. He felt sorry and repentant for it. He left the bride to be wedded and rushed to the monk to give the medicine. By virtue of this superior bhavara, he attained omniscience.) REPENTANCE AND RENUNCIATION PANACEA AGAINST SINS: Candasoma and others were ready to practise all that, but their sin was pricking in their heart, against which the sovereign remedy was, they were advised, repentance with renunciation. The king was much impressed by the integrity of the monks; his mind became very much inclined to religious life; and, quietly offering salutations to Dharmanandana from a distance, he returned to his palace by midnight for rest (Pages 90.21-91.8; *39.4-9). PURANDARADATTA BECAME A SRAVAKA: With the dawn (described 91.9-13) announced by bards, the king woke up, finished his morning duties, came, along with his minister, to the park, and paid respects to Dharmanandana, who, he could realize, was aware of his arrival earlier night and of his thoughts. He accepted, as he was not able to renounce worldly attachment, the sravaka-dharma consisting of twelve vows founded on samyaktva (91.21-22). The king and the minister learnt that the monks were to go away that day; they paid respects to and hoped to meet them again; and they returned to the town (Pages 91.8-30; *39.9-20). MUTUAL AGREEMENT BETWEEN THE FIVE: The five monks (Candasoma etc.) were very much attached to each other; and they started leading a rigorous

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INTRODUCTION religious life. Once Candasoma, the eldest of them, was requested by others to bestow samyaktva on the rest, if circumstances were favourable, in the next birth; and they agreed to enlighten one another subsequently (Pages 91.30-92.9; *39.21-27). 37 LOBHADEVA'S CAREER IN SAUDHARMAKALPA: Lobhadeva died a pious death, and was born in the Saudharmakalpa (described SS 171) in the Padma-vimana (described, the details of birth etc. SS 172) where he was looked after by heavenly attendants (described 93.14-8) and possessed celestial prosperity. He is called Padmaprabha there; and on reflection, he recollected his past and how he was born as a god. He saluted Jina and the religion preached by him. As a part of the routine, he reached the bathing pool (described 94.15-24); and enjoyed water-sports with nymphs there (described 94.24-32); he wore a pair of celestial garments and reached the temple of Padmaprabha; there were many images of precious stones (described 95.6-10). He offered worship there and solicited for samyaktva. He opened the book and read therein prayers to the Pancaparamesthin and the religious duties prescribed for laymen and monks (SS 177). Thus he lived happily there (Pages 92.9-96.3; *39.27-30). FOUR OTHERS TOO REACH SAUDHARMAKALPA: Likewise, after some time, Manabhata also was born as Padmasara, Mayaditya as Padmavara, Candasoma as Padmacandra, and Mohadatta as Padmakesara in the same Vimana. They were friendly to each other and recollected their earlier agreement (Pages 96.3-10; *39.30-36). DHARMANATHA'S SAMAVASARANA: Consequent on Dharmajinendra developing omniscience, there was a gay rustle (96.10-15) in the heaven; and the seats of gods suffered a tremor. Along with Indra, all the gods reached with respect and joy and in a great pomp (96.21-25) his samavasarana in the town of Campa. With the assent of Indra, Padmasara constructed the Samavasarana, the audience-hall of Dharmanatha, with its walls, gates, wells, pratiharyas etc. (SS 178). Various beings, with no antipathy between them and in a peaceful order, took their seats; and Dharmanatha, from his prominent position, began to preach to all of them, who clearly understood him in their respective medium of expression (sva-bhasaya): the seven Tattvas, the nature of Jiva, its relation with the body and Karmic matter, its liberation from them, the samsara and the causes of it, moksa and the means of it, etc. (SS 179). On an inquiry from the Ganadhara, Dharmanatha disclosed that the tiny wild Mouse (which attracted the attention of all on a reference being made to it), seated there, would be the first in the audience to reach Liberation. He narrated its biography to satisfy the curiosity of the gathering (Pages 96.10-99.13; *39.37-*41.40). THE BIOGRAPHY OF THE WILD MOUSE: King Kosala attacked the encampment, Vindhyavasa; its ruler Mahendra being killed in the fray, the queen Tara ran for life taking with her the eight-year boy, Taracandra, and reached the town of Bhrgukaccha where she knew nobody. She met on the road two nuns who kindly led her to the pravartini in the monastery who, struck by her dignified demeanour and knowing her tale, sheltered her as a daughter, and, in due course, as a remedy against her plight, advised her to submit the boy to the Acarya, Sunanda, and accept renunciation in their midst, whereby the misery of samsara

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38 KUVALAYAMALA would be terminated. Taracandra, who was duly initiated in the order, could not reconcile his mood with the intensely rigorous discipline of the monastery ($ 182) but envied the free life of the wild rats; he was born as a god after an accidental death; and then he was reborn as a wild rat on account of the earlier nidana for which there was no due atonement. As a rat, he enjoyed various pleasures in the company of his mates, has now arrived in this samavasarana and recollected his past, and, therefore, is all remorse about his earlier behaviour. A soul with right faith never incurs fresh bondage of tiryag-ayus, but just experiences the earlier one. In due course, the rat will die a pious death with mental resignation, be born as prince Mitrakumara (son of Mihilla =Maithila and his queen Citra), be enlightened by a clairvoyant monk, and then soon be liberated as anta-krt Kevalin. All of them fondled the rat in appreciation of its happy prospects (Pages 99.14-102.12; *41.40- *44.24). FIVE CONFER AND SET UP MEMORY-CLUE: At this stage, on an inquiry from Lobhadeva>] Padmaprabha, the revered one explained that they all (five) were bhavya, would easily attain enlightenment, and get liberated in the fourth birth (their next births being duly indicated). They consulted together, realized the difficulty of mutual enlightenment, requested (Mohadatta>] Padmakesara (who was the last to leave heaven) to enlighten them; by way of memory-clue, they all prepared their counter-parts (i.e., images resembling them) in precious stone, buried them at the spot where the (Candasoma > Padmacandra > ] Lion was to be born in the forest, and put a stone on it to mark out the spot. They all returned to heaven (Pages 102.13-103.2; *44.25- *45.5). SAGARADATTA AND HIS ADVENTURE: [Lobhadeva>] Padmaprabha was reborn at Campa as Sagaradatta, son of the banker Dhanadatta and Laksmi, and, in due course, was wedded to Sri. One day, on the autumnal full-moon night, Sagaradatta gave a gift of one lakh to an actor for his subhasita. He took a hint from the taunt that his munificence was based on ancestral wealth; he determined to earn seven crores within a year, and failing this to enter fire; he left on the door of his house a record to that effect; and he started from home towards the prosperous South. He reached the town Jayasri, on the southern shore (described 104.8-12). When, tired with long journey, he sat brooding under a tree on the various alternatives of earning wealth, he observed a malura tree, having secondary pada or trunks (spread round) which indicated, as studied by him in the lore of mining (khanya-vada, details given), that there was wealth below. By digging, as advised by the voice of deities prayed to, he took a handful of silver pieces (and the rest of the treasure disappeared) which would bring seven crores for him. He entered the town. An old merchant was very much pleased with his efficient salesmanship, welcomed him at his place, and offered his lovely daughter to him in marriage. Sagaradatta explained to him his objective, and taking necessary merchandise, started to a distant port in Yavanadvipa, where he earned more than seven crores. While returning, on account of a mighty gale, the ship went to the bottom of the sea. Somehow he reached Candradvipa (described 106.21); and he satisfied his hunger with various fruits. As he moved about, he heard a voice which he ascertained to be that of a lovely girl who was about to hang herself to death. He loosened the creeper-noose

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INTRODUCTION on her neck; she came back to consciousness; and, on an earnest inquiry by him, she started narrating her tale to him (Pages 103.3-107.15; *45.5- *47.11). THE GIRL IN DESPAIR INTRODUCES HERSELF TO SAGARADATTA: "I am the daughter, freely grown up, of a wealthy banker, Mahadhana, from Sritunga, situated on the southern shore. While sleeping on the terrace, I was kidnapped by a Vidyadhara to find myself awake in the forest. Captivated by his form, I offered myself to him. Even before he accepted me, another Vidyadhara, with sword in hand, appeared on the scene; both of them attacked each other and fell dead in the encounter. I was aghast and plunged in sorrow; and in that helpless mood, I attempted suicide' (Pages 107.16-108-14; *47.12-38). SAGARADATTA REBUKED, REMINDED OF HIS DUTY AND REACHES HOME: Sagaradatta told her about his ship-wreck and the consequent breach of his solemn resolution. Both of them decided to seek grave in fire and duly jumped into the flames of a burning bamboo-thicket. Lo! the flames were turned into lotus-flowers, and there came a god in his Vimana. The god (Padmakesara) rebuked Sagaradatta for his cowardly act, reminded him of his glories in heaven, and requested him to possess seven crores (in the form of jnana, samyaktva and five mahavratas), enjoy pleasures (as the Karmas would have it) and then accept renunciation. He took Sagaradatta and the girl into the Vimana, put twentyone crores there, led him to the town of Jayatunga where he married both the girls, and then finally took them all to Campa (Pages 108.15-109.28; *47.38- *48.19). SAINT SAGARADATTA REVIEWS THE CAREER OF THE REST; KUVALAYACANDRA ENLIGHTENED, AND THE LION BORN AS GOD: The god reminded Sagaradatta of the rest of his duties and returned to heaven. Then I ( - Lobhadeva > Padmaprabha > Sagaradatta > now Saint), in due course, accepted renunciation under Dhanadatta. I developed clairvoyance. I could visualize the career of my four colleagues: Candasoma > Padmacandra is born as a Lion in the Vindhyas; Manabhata > Padmasara is born as prince Kuvalayacandra, son of king Dsdhavarman in Ayodhya; Mayaditya > Padmavara is born as Princess Kuvalayamala, the daughter of king Mahasena of Vijaya in the South. Our mutual promise to bestow samyaktva was recollected. God Padmakesara conferred with me, and we planned to enlighten the rest. It is adversity that makes one receptive of Religious enlightenment. So I reached the spot where Candasoma > Lion dwelt. God Padmakesara possessed your horse and brought and left you here in a mood of frustration. That is how you (= Kuvalayacandra) happened to be here; and you can see here the counterparts of the four in precious stones which should serve as mementos. Hearing all this, Kuvalayacandra developed right faith and was prescribed the duties of a householder, as his Karmas would have it: he resolved to respect only the Jina and the Sadhu, and not to kill even an enemy who is unarmed, running away and meek in words. Attending to all this, the Lion too was enlightened. It accepted fasting and remained intent on religious virtues. You (= Kuvalayacandra) will marry Kuvalayamala by completing the verse hung publicly, and (Mohadatta > Padmakesara) will be born as your son. As it was a fit moment, Kuvalayacandra whispered sacred syllables into the ear of the dying Lion, which, after death, became a god (Pages 109.29-112.1; *48.19- *50.12).

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KUVALAYAMALA [iv. Kuvalayacandra's Journey to the South ] KUVALAYACANDRA WORSHIPS JINA IN THE VINDHYA FOREST: Then Kuvalayacandra proceeded to the South crossing the Vindhyan peaks, spotted with camps of wild tribes and presenting various scenes (described 112.3-25). By the time he reached the Vindhyan forest, the summer set in, and its effects on the forest, on the animals, on the town ladies were obvious (described SS 197). The mid-day heat was oppressing to one and all. He was very thirsty, and from the appearance of elephants arriving there he could infer the presence of a lake which he soon reached to his great joy. Being aware of dietectic rules (reference to Ayuhsastra, 114.22-8), he did not drink water at once. He rested for a while, and then enjoyed a hearty bath there. Thereafter, he had his thirst and hunger quenched with water and lotus fibres and stalks. While in search of fruits and flowers, he saw in a bower an image of Yaksa crested with a pearl-statue of Arhat or Jina, to his great dismay and heightened reverence. He bathed, worshipped the Jina, offered prayers, and prostrated himself in salutation (Pages 112.2-115.15; *50.12-40), KUVALAYACANDRA MEETS KANAKAPRABHA IN THE TEMPLE: At this juncture there was an upheaval in the lake, and there emerged from it a lovely maiden, attended by a little girl. To save them from embarrassment, Kuvalayacandra hid behind the statue. They were surprised to see the Jina lately worshipped by somebody; and it was inferred with justification that the worshipper must be a great man. They duly offered their worship, and started singing dvipadi lines, attracted by which Kuvalayacandra disclosed himself complimenting them for the fine recitation. The prince and the Yaksa-kanya greeted each other as co-religionists, and were very much eager to know mutually. The prince introduced himself; and then she narrated her biography to satisfy her curiosity (Pages 115.16-116.33; *50.41- *51-18). RATNA- OR JINA-SEKHARA'S BIOGRAPHY AND KANAKAPRABHA'S GIFT OF MEDICAL COIL TO KUVALAYACANDRA: In the town of Makandi (described 117.1-5), there lived a Brahmana couple, Yajnadatta and his wife Savitri, quite ugly in appearance. They had thirteen issues of which the last was (Yajna-) Soma, on whose birth there occurred a terrific famine extending over twelve years and with devastating results (described 117.13-21). The town of Makandi was in utter desolation. The Brahmana family became extinct; but Soma, however, survived as a destitute, in utter misery. He was a Brahmana in name only and was about sixteen, when the famine was over. Remorseful about his fruitless life and miserable plight, Soma decided to leave Makandi and migrate to some other territory. He reached the Vindhyan forest by summer (described 118.16-24). Losing the track, and wandering nervously all alone, oppressed by thirst and hunger, he reached a lake (118.28-30), There he took bath, drank water, and chewed lotus-stalks. While in search of fruits, he saw in a bower the pearl-image of Adinatha, the like of which, he remembered, he had seen in Makand, and felt great respect for it. Full of devotion, he surrendered himself to Jina and resolved to remain there ever worshipping Adinatha's feet. In course of time, he died of colic; and, as he breathed his last with his eyes devotedly intent on the face Rsabha-jina, he was born in the region of

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INTRODUCTION Ratnaprabha as a glorious Yaksa, Ratnasekhara by name, among the Vyantaras who are of eight classes: Yaksa, Raksasa, Bhuta, Pisaca, Kimnara, Kimpurusa, Mahoraga and Gandharva. He recollected his past and the way he died. He developed all the more reverence for Rsabha; he offered eloquent prayers; and he prostrated himself before Jina. He explained to his people how he got the fruit of namaskara to Jina. He miraculously projected a pearl-image of himself with Jina on his crest; and the Yaksas called him Jinasekhara. He directed me, Kanakaprabha, to worship this image daily; and I have been doing it.' Though the prince was content with all that he had seen and experienced, Kanakaprabha insisted on his receiving something from her, and gave him a specific coil of medical herb (ausadhi-valaya-visesa), an antidote against all adversities in the journey. He thanked her for the gift (Pages 117.1-120.31; *51.19- *52.35). KUVALAYACANDRA MEETS ENIKA AND ROYAL PARROT IN THE HERMITAGE: The prince Kuvalayacandra travelled on in the Vindhyan ranges and reached the river Narmada or Reva (described SS 206). He crossed it and reached a hermitage, rich in fruit and flower trees. As he inferred, it was the residence of a female ascetic, Enika by name, who, with her dignified appearance, arrived on the scene followed by her retinue of domesticated beasts and birds, among which was prominent a Raja-kira (Royal-Parrot). She ran with dismay at the presence of this biped (i.e., prince Kuvalayacandra) into the hermitage; but on receiving some explanation from the Parrot, she duly welcomed him. He introduced himself to her; and, as she was a bit bashful, the Parrot started narrating their biography to him to satisfy his curiosity (Pages 120.31-122.30; *52-36- *53.18). THE ROYAL PARROT INTRODUCES ITSELF: 'On the bank of Narmada, in the forest Mahatavi, there lived a couple of Royal Parrots, Maniman and his beloved, in the hollow of a banyan tree. They gave birth to a Royal Parrot yself) which, during childhood, fell into the hands of a young hunter who gave it to the Pallipati from whom it passed on to Bhsgu, the ruler of Bhsgukaccha, who entrusted it to Madanamanjari directing her to train it in all the fine arts. Soon I, i. e., the Royal Parrot, mastered everything (including conviction in the words of Jina) and became a Pandita. During summer, a saint (formerly the father of Bhrgu), plunged in religious meditation, came touring to Bhsgukaccha and attained Kevala-jnana. On getting the information, Bhsgu and his harem etc. attended on the Kevalin and offered respects. I, the parrot, too went there along with the princess and offered prayers. At that time, there arrived two Vidyadharas, one dressed in blue and the other in yellow. Once they went from Vaitadhya to Sammeta-sikhara, and thence to Satrunjaya. On the way, they saw a lovely and dignified maiden, in the forest. She did not reply to them, but ran away, almost scared, with the pack of deer. And now they wanted to know from the Kevalin all about her. King Bhrghu, too, was equally curious, and so the Kevalin started narrating her biography (Pages 122.31-124.26; *53.19- *54.9). ENIKA's BIOGRAPHY: Srivatsa ruled at Ujjayini (described 124.28-31). He had a son, Srivardhana, and a daughter, srimati. Srimats was given in marriage to Simha, the son of king Vijaya of Vijayapura. Simha was turbulent

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42 KUVALAYAMALA by temper; so, being banished by his father, he resided with his wife in a village on the frontier. Once Srivardhana, who entered the order under Dharmaruci's instructions, came to that village, touring all alone, to receive food and terminate his one month's fast. He happened to reach his sister's house. She had heard about his renunciation. She recognised him; and, overflowing with affection for the brother, she embraced him with tears in her eyes, Just then Simha came there; and suspecting something foul in all this, he hit that monk to death on the spot. In anger she hit Simha fatally with a stick; and before he died, he cut her into two with his sword. Simha and his wife were reborn in the first hell. The monk, however, went to Saudharma-vimana, and thence, was reborn as a king in Bhrgukaccha, the same as this (myself) Kevalin. Simha was reborn as a Brahmana in Nandipura; later, he accepted Eka-dandin vow; and he was consequently born as a Jyotiska god. Knowing his earlier life from a Kevalin, he decided to take revenge on his wife who, he saw, was just born as a daughter to king Padma and his queen Srikanta at Padmanagara. He picked up that female child, rushed to the South, and dropped the child from the sky. Luckily, the child fell in soft thicket and was thus saved from death. Just on that spot, by that time, a wild deer had delivered and seeing its young one and this female child, it felt convinced that these were its twins. It suckled and nourished both of them. The female child grew into a fine girl under this sylvan atmosphere and in the company of forest birds and beasts; but she ran away scared at the sight of human beings. She is my (i. e., Kevalin's) sister of the previous life. She is a bhavya, and would get samyaktva in this very life being instructed by this Rajakira. The princess released me (i. e., the Rajakira), as advised by the Kevalin. I paid respects to the Kevalin, and came to her in the forest. I gradually trained her in the various arts, in worthy acts and in the words of Jina. I gave her an idea of her past life, and requested her to man society; but she abhorred it and preferred to lead a life of self-restraint and austerities, as she is seen doing now, (Pages 124.27-127.26; *54.10- *55.14). HAPPY TIME IN THE HERMITAGE AND MEETING WITH VIDYADHARAS: Hearing this, prince Kuvalayacandra greeted Enika as a co-religionist. As it was mid-day, they had their bath in a stream in the vicinity and changed their clothes. Then they came to a spot with a crystal image of Rsabha which they duly worshipped and to which they offered devotional prayers individually. They returned to the Asrama. The prince had his meals, and thereafter Enika and Rajakira too. While Kuvalayacandra and Enika spent their time discussing topics of learning and piety, there arrived one day a Sabara-couple (described 128.19-25). The prince, who knew Samudra-sastra or Samudrika (and gave an exposition of it to Enika in one verse in Sanskrit and in details in Prakrit verses, 129.8-131.23) could see that in the guise of Sabara there was some great man. The Sabara also understood this, and went away immediately lest he might be found out. Enika appreciated the prince's intelligence and disclosed that they were Vidyadharas who were practising Sabari-vidya, one of the many Vidyas (enumerated 132.2-3), which Dharanendra bestowed on Nami and Vinami pleased by their seva of Rsabha. The Rajakira had seen them how they performed a detailed

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INTRODUCTION worship of the image of Rsabha with great pomp, how they gave up their original dress, put on the appearance of Sabaras, and how they pursued the cultivation of Sabari-vidya under the auspices of the image of Rsabha. That is how both Enika and Kuvalayacandra came to know those Vidyadharas (Pages 127.27-133.28; *55.14- *57.9). 43 KUVALAYACANDRA DISCLOSES HIS OBJECT AND ANTECEDENTS: After some days Kuvalayacandra disclosed to them that he had to fulfil a sacred and solemn mission in the South where he must go now. As he left the place, on an inquiry by them, he narrated his antecedents thus: 'During boyhood, Rsabha wished for the sugar-cane seen in the hands of Indra; and consequent on that his race came to be called Iksvaku-vamsa. Thus became famous Iksvaku Ksatriyas, of whom Bharata was a Cakravartin. Rsabha's other son was Bahubali. Bharata's son was Adityayasas and Bahubali's Somayasas: from them started Adityavamsa and Sasi-vamsa. It is in the latter, in the long run, that king Drdhavarman of Ayodhya was born; and I, Kuvalayacandra, am his son. I have to go to Vijayapuri on some mission. Enika could see that this separation must have been unbearable for his parents; so she arranged to send the message of his well-being to Ayodhya through the Royal Parrot (Pages 133.28-134.23; *57.9-15). KUVALAYACANDRA JOINS A CARAVAN AND HIS ENCOUNTER WITH THE PIOUS BHILLA CHIEF: Prince Kuvalayacandra travelled on posthaste and reached the Sahya mountain (described 134.25-30). Further, he came across a caravan of traders (134.32-135.3). Knowing that the caravan was bound for Kancipuri, he joined it, to cover some distant, with the consent of its leader Vaisramanadatta who welcomed him marking his dignified demeanour. The caravan reached a spot with Bhilla camps in the vicinity; it was well guarded (described 135.10); it was sunset (described 135.12-17); and next morning when it started there was a lot of bustle of instructions etc. (135.21-24). At that time, there was an attack from the Bhillas who robbed the caravan of all that was valuable. When the caravan was routed, the merchant's daughter, Dhanavati, ran about helplessly and sought shelter of the prince who routed the Bhilla party by an incessant shower of arrows. The Bhilla leader appreciated his bravery, and challenged him to a duel. Both of them fought in various ways, with different weapons and missiles (136.15-27). When the Bhilla chief realized that the prince was more than a match for him and that his death was certain, somehow there was an awakening in him to follow the words of Jina; and he drew himself sufficiently aside, threw the weapons, took the kayotsarga position, and engrossed himself in meditation uttering the panca-namaskara. Seeing him like that, the prince rushed to him non-plussed, and embraced him as a co-religionist, requesting him not to take such a step and to forgive him. He expressed micchami dukkadam. They understood mutually so well that they felt great affection for each other. The Bhilla chief explained how right conduct was rather impossible for him. First, he withdrew the attack against the caravan, and secondly, assured the leader all safety and full restoration of his possessions (Pages 134.25-138.9; *57.17- *58.12). KUVALAYACANDRA, THE GUEST OF BHILLA-PATI: Both of them proceeded towards the Palli (described 138.11-14) situated in the valley of the Sahya

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44 KUVALAYAMALA mountain, and approached the palace situated on a lofty peak. The Bhilla chief tried to divert the prince with jocular talks lest he should feel tired in climbing. With a question containing the answer, the chief disclosed to the prince that his Palli was called Cintamani. After they visited the palace-temple, their physical comforts were attended to. After a luxurious bath, they worshipped Arhat; they had their meals; and then they rested comfortably. One day, when they were seated together, there arrived a person, clad in white and with an iron club in hand, and gave a good blow on the head of the Bhilla chief reminding him specifically that he was not following caritra. On second thoughts, the Bhilla chief welcomed this and felt remorse that he was not behaving worthily. On an enquiry by the prince, he explained the episode as below (Pages 138.10-139.33; *58.13-31). DARPAPARIGHA'S AUTOBIOGRAPHY AND KINSHIP WITH KUVALAYACANDRA: 'In the town of Ratnapuri there ruled a king Ratnamukuta; and he had two sons: Darpaparigha and Bahu- or Bhuja-parigha. One night, when the king was alone in his private apartment, he happened to see a butterfly jumping at the flame of the lamp; with innate kindness, he tried more than once to ward it off, but it again came to the lamp. He had a desire to save its life; but if that was not possible, he himself would attend to his benefit in the next world. He put that butterfly in a casket, closed its mouth, and kept it near his pillow. When he opened it later, he realized that possibly it was swallowed by a domestic lizard. He felt convinced that there is no rescue from Death, and one's Karmas are all-powerful. He was disgusted with worldly life, and mentally accepted renunciation. A deity in the vicinity presented him rajo-harana, mukha-potrika etc.; and he became a Pratyekabuddha. When it was daybreak, the king came out of his apartment as a monk; and this was a matter of surprise and sorrow to one and all including his queens. Followed by many, he reached the park where gathered his ministers, queens and his two sons; and to all of them he gave a discourse on the nature of samsara and its ties. He explained the episode of the butterfly which was the immediate cause of his renunciation: he added how there was asaranata, how he recollected his previous births (a monk in the Apara-videha, a Saudharma-deva, and thence a king here), how he pulled five handfuls of hair, how a deity gave him the equipment, and how he became a nirgrantha monk. Inquired of by the minister Vimala, the Royal Saint gave a detailed exposition on Dharma, its practice and its object. Dharma, Adharma, Akasa, Jiva and Pudgala are the fundamentals; and the interaction of the last two gives rise to Nine Padarthas. Being in the company of Karma, the Jiva, through Pramada, fourfold passions and threefold activities, wanders through high and low grades of births; it is in human life that one has the sense of discrimination whereby one adopts right conduct; and one practises dhyana etc. to attain omniscience and finally the bliss of Liberation (SSSS 233-34). The Royal sage urged them to practise it for their spiritual benefit, and left the place to pursue his vihara. Since then we are Sravakas having only the samyaktva. On the advice of our uncle, kind Drdhavarman of Ayodhya, I, Darpaparigha, the eldest son, was to be installed on the throne; but there was intrigue in the palace to back my younger brother; and I was

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INTRODUCTION 45 administered some medical preparation which made me physically, mentally and morally unfit. I was unbalanced, and behaving like a mad man, I reached the Vindhya valley. Oppressed by hunger and thirst, I drank the water from a pond in which various fruits were naturally decocted; I suffered terribly from vomitting and motions; and I was completely cured of all my ailments. It was a second birth as it were, and all my faculties functioned as before. While in search of fruits and flowers, I met a dignified person followed by Bhillas. He took me to his Mahapalli. We paid respects to Arahanta there, and spent our time in comfort. He inquired about me; and, finding that both of us belonged to the Soma race, he put me as his successor on the throne and ordered all the chiefs to obey me. He told me that though these people were Mlecchas, they had a code of behaviour (146.13-17): I was free to stay with them or go away. In course of time, as Karmas would have it, I too stooped to this profession of robbery. Just to remind me of the words of the Royal sage, I have asked this man to strike me with a loha-damda, because I had become a victim of loha (= lobha, greed).' Prince Kuvalayacandra was much overpowered by this episode; and consequently, by stressing on the rarity of Jina's instructions, he urged Darpaparigha to leave this profession and adopt the career of self-restraint and penances as preached by Jina. Lately, Darpaparigha had no news from Dtdhavarman; and when he learnt now that the prince was Kuvalayacandra, the latter's son got through divine favour, he embraced him as his brother. The prince narrated all about his journey and how he has to enlighten Kuvalayamala at Vijayanagari for which he wanted to start soon. Darpaparigha detained him for some time, because the sky was overcast with clouds, there were strong winds, and there were showers which brought about many changes on the earth and in the hearts of separated ladies (all described 147.13 to 148.15). When the prince decided to start on his mission, Darpaparigha wanted to leave the place and also to escort him with his army, but was dissuaded by the former. The prince paid respects to him and proceeded towards the South; and soon Darpaparigha, too, left home with a view to taking to renunciation (Page 140.1-149.3; *58.32- *61.1). (v. Kuvalayacandra in Vijayapuri] KUVALAYACANDRA REACHES VIJAYAPURI AND LEARNS ABOUT KUVALAYAMALA'S RESOLVE: Travelling through thick and thin and meeting various kinds of people, Kuvalayacandra reached the country of Vijayapuri (described 149.6-17) on the southern coast. Passing through the country, he captivated many fair eyes and, in due course, came to the capital, Vijaya (described 149.20-26). As he was wondering how to meet Kuvalayamala, he gathered from the talk of town ladies out on the streets to fetch water that Kuvalayamala, though dark in complexion, was very beautiful (described 150.6-9), that she had hung an incomplete verse in public, and that, as prophesied, she would marry him who would complete it. Then he visited a residential school in which pupils from all parts of India (150.20) were studying different branches of learning such as, grammar, Darsanas (Bauddha, Samkhya, Vaisesika, Mimamsa, Naiyayika, Anekanta and Lokayata), different lores, arts and crafts (described

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46 KUVALAYAMELA 150.21 to 151.10). The teachers there were well-versed in seventy-two kalas or arts and sixty-four vijnanas or lores. There he heard the naughty lads irresponsibly gossipping in contemporary Middle Indo-Aryan spoken dialect about various topics, personal and urban, and had a confirmation that the princess had exhibited an incomplete verse in the Palace Yard. On the way to it, ere was a festivity at a merchant's place; in the market, he came across traders (from different parts of the country) who could be distinguished from their traits and who were speaking in their own language (described 152.23 to 153.18): and he heard various conversations in the bazar (153.13-18). In the palace yard, he came across many rulers who seemed dejected at the idea that the princess would marry him who completed the verse of which she exhibited only one foot: pamca vi paime vimanammi'; and, for verification, the entire verse was kept under lock and seal in the royal treasury. He could at once guess and hit on the complete Gatha (154.5), seeing how trickily that princess Mayaditya > Kuvalayamala ] had drafted it (Pages 149.4-154.6; *61.1-31). KUVALAYACANDRA WINS KUVALAYAMALA'S HEART AND MEETS MAHENDRAKUMARA: Just then, there was great commotion among the people, because the invincible elephant was running amuck after breaking its chains and killing its keeper (described 154.11-13). The king with his harem rushed to the terrace. He was warning the prince to get away from the elephant. The prince, seeing the infuriated elephant rushing at him, tricked it with a garment, and, as he got on its back, recited the full verse, hearing which Kuvalayamala declared that the verse was duly completed and put a garland of fragrant flowers round his neck. The king (Vijayasena) felicitated his daughter on her worthy choice; there was a shower of flowers from heaven: and shouts of Victory' resounded the sky. At that moment Mahendrakumara came on the scene, and greeted the prince on his triumph with significant reference to the parents of the latter. Recognising Mahendrakumara, the prince made the elephant sit and took him on its back: both of them embraced each other, and inquired about mutual welfare. King Vijaya was happy at the fine coincidence (155.7-9), to the good fortune of his daughter. The prince was duly welcomed in the palace, and Kuvalayamala could have an affectionate glance at him (Pages 154.7-155.13; *61.31- *62.24). MAHENDRAKUMARA NARRATES WHAT HAPPENED AT VINITA: King Vijayasena was curious to know how both of them were there. Mahendrakumara narrated what happened at the capital after Kuvalayacandra was carried away by the horse. The parents were in a miserable plight at the loss of the prince; the ministers tried to console them by reminding them of the privation suffered by Sagara; and all possible attempts (155-31 ff.) were made to get some news about the prince. The maidens suffered a sense of separation; and when the metropolis was thus plunged into frustration caused by this privation, the Royal Parrot got the audience of the King and narrated to him, to his joy and satisfaction, how prince Kuvalayacandra came to the hermitage of Enika, how on his important mission of enlightening Kuvalayamala, he proceeded to Vijayapuri, and how the duty of conveying his welfare to the parents was entrusted to it. On getting this information, king Drdhavarman was ready to

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INTRODUCTION 47 proceed to Vijayapuri, but at last allowed Mahendrakumara and his party to go there. That is how Kuvalayacandra and Mahendrakumara could luckily meet here. King Vijaya was extremely happy at these developments which were almost miraculous. Both the princes rested there quite comfortably (Pages 155.14-158.2; *62.27- *63.30). DELAY FOR MARRIAGE AND KUVALAYACANDRA'S PASSIONATE ANXIETY: It was gathered that it would take some time to fix up a date for the wedding: this caused some anxiety to Kuvalayacandra who was impatient for the hand of Kuvalayamala. He was passionately yearning for her, and started brooding over her beauty (158.13-24). He planned desperately various alternatives of meeting her (158.25-159.5). Mahendrakumara came and mentioned to him how a letter conveying their well-being was despatched to Ayodhya. He could easily see that the prince was restless on account of separation and was losing faith in the promises of the king, because of his own impatience. Mahendra reminded him of the prophecy, of his being chosen by Kuvalayamala with a garland and of her deep affection and passionate love for him; and requested him not to suspect the good intentions of king Vijaya (Pages 158.3-160.8; *63.30- *64.3). KUVALAYAMALA SENDS A LOVE PRESENT TO KUVALAYACANDRA: At this stage, there arrived a girl who brought to Kuvalayacandra personal presents consisting of a garland and a flower-ornament; within the stalk of the latter, there was the figure of Rajahamsika, cut on a bhurja-leaf; and its expression was indicated by a verse inscribed below it. Mahendra warned him not to misunderstand the situation: the symbolic swan was eager for him. The bard announced the evening, indirectly reminding the prince that the Dharma was quite important and one should not be carried away by worldly attachments. The prince took leave of the girl-messenger just with a remark complimenting Kuvalayamala on her skill (Pages 160.9-32; *64.34-38). BHOGAVATI INTRODUCES KUVALAYAMALA AND ARRANGES A MEETING OF KUVALAYACANDRA WITH HER: Both Kuvalayacandra and Mahendra offered evening worship to Rsabhanatha. Mahendra found fault with Kuvalayacandra for not sending any message to Kuvalayamala who would be fatally restless on account of separation. Next morning, they woke up, hearing the bard's recitation (161.16-22). An elderly lady (Bhogavati) who was a motherly attendant of Kuvalayamala came to them, and narrated to them the following details: King Vijayasena and his queen Bhanumati of Vijayapuri had no issue, so they worshipped many a deity etc. for a child; and at last, as indicated by a dream, they had a daughter, Kuvalayamala, who was duly brought up almost like a son. On her reaching youth, as she had developed aversion for man, her parents inquired about her marriage of a Vidyadhara-sramana (who knows the past, present and future). The Sramana gave them a discourse on heya, adeya and upeksaniya both in this and the other world. Further, on an inquiry by the king, the Sramana narrated all about Mayaditya > Padmavara > Kuvalayamala till her welcoming the triumphant prince Kuvalayacandra (i.e., yourself). On seeing you on the back of the elephant, many doubts and expectations crowded her heart (163.24-32); then, on your completing the verse, she garlanded you; and to her thrill, you looked at her affectionately. Though she went away from

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11009 KUVALAYAMALA the palace at her father's direction, her heart was left behind as it were. She reached her apartment, but was awfully restless whether you would accept her at all. We all assured her, but her doubts could not be dissipated. Just to test your bonafides, we requested her to send you the garland etc. She learnt that the day of the marriage also was not immediately fixed; and that made her unhappy. Further, as she did not receive any message from you, she is on the verge of break-down; and her condition is critical, almost beyond all normal remedies. Mahendra consulted her as to what should be done to save the situation. She requested them to go to the garden where she would arrange to bring Kuvalayamala. Kuvalayacandra and Mahendra reached the garden (described 166.16-19) discussing half-serious and half-jocular topics (156.1-15); and while they were enjoying various scenes etc. in it, there arrived Kuvalayamala of striking beauty (described 166.32 f.), still in a suspicious mood. Her attendants including Bhogavati left her in a bower, and went out to trace the prince from his conspicuous foot-prints: she had almost decided to hang herself to death, if she were not to meet the prince. They met, however, in that bower; and the prince welcomed her and received her in his arms to her pleasant embarrassment. She reminded him that he did not send any message; but he assured her that he came all the distance to enlighten her, as it was agreed between them in the past. Bhogavati came there under the king's direction, and Kuvalayamala returned to her apartment with a consoled heart, leaving the prince in a mood of assurance. He narrated his experience with her to Mahendra. Both of them spent their time happily as if in their own country; and Kuvalayacandra was receiving a number of love presents from the princess. Now the cold season arrived (described 169.12-170.4) with all its characteristics (Pages 161.1-170.4; *64.9- *65.35). 48 WEDDING CEREMONY; PLEASURE SPORTS AND DIVERSIONS; AND KUVALAYAMALA DULY ENLIGHTENED: The astrologer informed the king how the most auspicious lagna-yoga was now available for the marriage of Kuvalayacandra and Kuvalayamala who felt very happy on hearing this. The whole town was busy with various preparations of the marriage (170.20-28). On the appointed day, at that auspicious moment, the marriage ceremony was celebrated with due eclat and rituals (described 170.31-171.26). Then followed their bed-ceremony to which, to begin with, her companions added a good deal of mirth and fun. When they left the room, Kuvalayamala also wanted to go out, but Kuvalayacandra charged her with stealing' his heart; she also made a similar charge; the companions were called back and accepted for arbitration; and their decision required the couple to embrace each other heartily. Thus passed the first, the second and the third night which ended in their amorous satisfaction. One day, the couple enjoyed from the terrace the scene of the ocean (described 173.33 f.) the waves of which were washing the southern rampart of the metropolis; and they saw therein each other's characteristics in a symbolic way. Then they decided to divert themselves with learned pastimes such as prahelika, antimaksara vudha etc. (174.21-24) of which bindumati, atthavidaya, prasnottara, prstartha, aksara-cyutaka, matra-cyutaka, bindu-cyutaka, gudha-caturtha-pada, bhaniyavviya, hrdaya, padma-gatha, gathardha, samvidhanaka, gatha-raksasa,

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INTRODUCTION 49 prarnamaksara-racita are duly illustrated. She changed her mind and expressed her desire rather to know how he came to this far-off country and completed the verse than to spend time on these diversions. Kuvalayacandra narrated his tale right from his birth to his marriage with her, and incidentally the career of the Five ($ 281): he reminded her that it was his duty to enlighten her and that, therefore, she should accept samyaktva, which is rare and unique (illustrated with apt similes, $ 282). He further urged her to follow Jinadharma which is the shelter and rescue for souls wandering in Samsara, and have the highest respect for the Tirthakara. He requested her to reco agreement in the past life, and follow the words of Jina. She accepted all that he said and felt enlightened in the religion of Jina (Pages 170.4-180.12; *65.36- *66.31). [vi. Kuvalayacandra Starts Back for Ayodhya ] KUVALAYACANDRA ETC. START FOR AYODHYA WITH AUSPICIOUS OMENS AND MEET A MONK: Kuvalayacandra received a letter from king Drdhavarman asking him to return to Ayodhya at the earliest along with Mahendra. He consulted his beloved who agreed to his decision; and king Vijaya also felt that they should return home early. The necessary preparations for the journey were made, and the date of departure was fixed by the astrologer. Kuvalayamala took leave of the trees etc. in the garden (180.31-181.13) and of the domestic birds and beasts (181.16-24) with a touch of sentiment. The rituals of the departure for the couple were gone through (181.25-27); and at the auspicious moment, they started. As the couple mounted, the triumphant elephant and proceeded along the road, the onlooking town girls entertained various thoughts and gave expressions to different views about them both (details given, 182.4-183.3). After leaving the metropolis, they camped at a distance. The prince offered worship to Jina; and, in response to his appeal, the Pravacanadevata presented an auspicious sakuna simultaneously with which king Jayanta of Jayanti presented him with a prominent umbrella: the prince felt that all his desires would be fulfilled. Incidentally, he gave her an exposition on the sakunas, good and bad (183.24-184.20), and explained to her that they are after all consequences of one's own Karmas: the worship of Jina, in the samavasarana, leads to the fruit of Punya. From the next halt, the king, queen and the citizens (who were accompanying them for a distance) returned, at the prince's request, to the metropolis. The prince, in his onward travel, camped in the vicinity of the Sahya mountain. It was reported to him that there had arrived a Saint of charming personality, the hair on whose head was pulled out, who was wearing a white garment, and who had a piccha in his hand to be distinguished from a tapasa or tridandin). The prince could see that he had recently entered the order and that there was something superhuman about him. On being saluted by the prince and his beloved, the saint blessed them with dharma-labha, and, on being inquired of, started narrating his biography (Pages 180.13-185.6; *66.36- *67.34). SAINT BHANU'S AUTOBIOGRAPHY AND ENLIGHTENMENT THROUGH THE PAINTINGS OF SAMSARA-CAKRA: "In the country of Lata, known for its dresses and

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50 KUVALAYAMALA desa-bhasas, there ruled a mighty king, Simha by name, of whom I, Bhanu, have been the eldest son, addicted rather too much to painting. One day a teacher showed me a painted scroll presenting what he called the Samsaracakra and depicting all that was there on the earth. He explained pointing out with a stick that the various regions were hell, human world and heaven. With excessive sin one gets misery in hell; with excessive merit one gets pleasures in heaven; with a little merit and plenty of sin one is born as a sub-human being, and with plenty of merit and a little sin one is born as a man: everywhere, however, there is misery. A king with great sin to his credit goes to hell. A king with hunting paraphernalia only earns sin. Here was a thief suffering awfully for his deeds. The cultivators were illtreating the beasts of burden and causing injury to one-sensed beings; and they alone had to suffer for their sins. One carried only punya and papa with him, and left everything behind, on the eve of death. Young men enjoyed various pleasures, and they were painted on the scroll. Similarly, men in various professions and positions, proud of this and that, were depicted, with the consequences of their acts etc. In the subhuman world there were the various beasts and birds, killing each other. Then there were painted the scenes in hells, and also those in heavens. Lastly, there was the picture of Liberation which is characterised by eternal bliss. When he unfolded the scenes of this Samsara-cakra, I could realize the despicable character of the worldly life, and I told him that he must be a god or so coming from heaven, with this scroll, having some definite purpose in mind. Then there was another picture the details of which he explained thus: 'Here in the town of Campa ruled the king, Maharatha. Dhanadatta was a rich merchant; from his wife Devi he had two sons: Kulamitra and Dhanamitra. Soon after their birth, the father died; and the mother urged them to do some business and earn their living. They practised varied professions and tried their hands at different arts and crafts; but they proved failures everywhere, with no earnings to their credit. They decided, at last, to commit suicide; and when they were about to jump down a mountain peak, a divine voice prevented no rash. It was the admonition of a great saint who knew their plight and who advised them sympathetically to take to renunciation, so that they would never be born poor again but would get heavenly happiness and liberation. Both of them entered the order, practised austerities, and were born in heaven. Thence one was born as Bhanu, the son of Simha, i.e., yourself; and I, the teacher or painter, am the second. I have come here to enlighten you.' Hearing this, I, Bhanukumara, fell into a swoon, and on coming to my senses, found in that teacher a brilliant god who reminded me of our earlier births and urged me to accept renunciation with a view to attaining eternal bliss. On hearing this, I pulled out five handfuls of hair, received the ascetic's equipment (rayaharana, muhapottiya and padiggaha), and left the park to the great consternation of my friends etc. who rushed to the king. The god brought me here." The prince appreciated his autobiography and his obliging brother. Mahendrakumara accepted Samyaktva which grew more and more firm (Pages 185.7-194.33; *67.35- *69.4).

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INTRODUCTION KUVALAYACANDRA OBLIGES ALCHEMISTS: In their onward march, one night prince Kuvalayacandra saw some fire burning bright in a Vindhya valley and some people hovering about it. He left his beloved on the bed, and, duly equipped, went nearer the fire. After hearing their conversation about the colour of the flames and about the metal that was being melted), he could realize that they were alchemists (dhatu-vadins), busy in preparing gold. Lest they should be scared, the prince remained hidden watching their movements. Despite all their precautions and preparations, their experiment failed; and the metal that turned out was just copper and not gold. Defeated in their purpose and in a mood of despair, they were about to go back to their place, when the prince greeted them with success; and they, in their turn, wel introduced himself to them in a half serious and half jocular manner. He got the details from them as to what they were doing, and he requested them to repeat the experiment, so that he might put things right. He saluted the Jinas and Siddhas, and added the curna as prescribed in the Jonipahuda: to the satisfaction of all, the gold was ready. They all submitted to him to learn the Vidya from him. He told them that Sarvajna was the presiding deity who had given out the Jonipahuda; and at their request, he bestowed the Vidya on them. He asked them to call on Kuvalayacandra (i.e., himself) when he is proclaimed as king. He returned to his camp to find Kuvalayamala awfully worried at his disappearance, and narrated to her his experience about those alchemists. Further, at her request, he explained to her the technique of alchemy (197.28 to 198.5) as prescribed in the Jonipahuda (Pages 195.1-198.5; *69.4-26). [vii. Kuvalayacandra in Ayodhya ] KUVALAYACANDRA JUBILANTLY WELCOMED IN AYODHYA AND DRDHAVARMAN'S SELECTION OF TRUE RELIGION: Next morning (described 198.7 f.), fulfilled their religious duties; and their camp marched on in its usual bustle (described 198.23 f.). With continuous march, he reached the frontiers of his home territory, and sent the message of his arrival to King Dsdhavarman through prince Mahendra. The king gave an ovation to him. The prince got down from the horse and greeted his father by falling at his feet. Both the mother and father received him with great feelings, and learnt from him all about his career since he was carried away by the horse. An auspicious day. for his reception and coronation as an heir-apparent was duly calculated by astrologers; and on that day, Ayodhya was live with manifold activities 9.27-30). To the joy and appreciation of the citizens, the prince came into the town, was crowned as Prince, and was, along with his wife, duly blessed by the king. After some time, the king expressed his desire to practise Dharma. He had some discussion with the prince as to which Dharma was worthy and fit to be practised. The Kuladevata was propitiated and appealed to in the matter, and, as announced by a divine voice, the king received a costly Ms. in Brahmi characters, the contents (described 201.33-202.30 or $ 320) of which were respectfully read by the prince. The king, however, wondered how to find out the religious teachers who preached such a religion, especially when every teacher claimed his religion to be the best. The prince planned that all

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52 KUVALAYAMALA the religious teachers might be invited by a declaration; and the religion, which agreed with the one described in the Ms. would be accepted by the king (Pages 198.6-203.21; *69.26- *70.42). DRDHAVARMAN HEARS VARIOUS RELIGIOUS TEACHERS, ADOPTS TRUE RELIGION AND ACCEPTS PRAVRAJYA: Accordingly, there arrived various religious teachers and propounded what they considered to be the Dharma; and every time the king saw whether and how far a particular view agreed with what was laid down in the Ms. They (such as Tridandi, Advaita, Sadvaita etc.) gave their views about Jiva, Elements, Liberation, Sacrifice, Living, Dying, Purification, Meditation, Begging, God etc. Finally, one Teacher preached abstention from five sins and Arhat as the divinity: this, the king found, agreed with what was prescribed in the Ms. The king took leave of all the other teachers; and from the teacher, whose religion he accepted, he got further enlightenment about agama, apta and moksa. The prince conveyed to the king how he was carried away by the horse to enlighten him in this religion, how he met his colleagues of the earlier birth, and how he had many other occasions to realize the greatness of this religion. The king was convinced of the urgency of adopting this religion. Next morning, he duly greeted his relatives etc., gave rich gifts to various people, called, along with the princes, on the teacher of his religion, and requested him for being initiated into the order of monks. The teacher gave him pravrajya according to due formalities (Pages 203.22-209.14; *71.1-31). TEACHER'S RELIGIOUS DISCOURSE AND DRDHAVARMAN'S SPIRITUAL PROGRESS: Then, to that gathering, the teacher gave a discourse on the rarity of human birth, of religious instruction, of faith in religion and of the practice of selfcontrol (illustrating them with jugasamila drstanta, SS 326, and other similes). The royal saint Drdhavarman started following the course of his duties in their positive and negative aspects for a pretty long time till very little of his Karman remained to be destroyed (Pages 209.15-211.31; *71.31- *72.4). GOD PADMAKESARA DULY REBORN AS PRINCE PRTHVISARA AND SOON MADE THE KING: Kuvalayacandra ruled for many many years. The heavenly period of life of Padmakesara came to termination. Quite sensibly he reconsidered his past, came to Ayodhya, conveyed to Kuvalayacandra and Kuvalayamala that he would be born as their son, and presented them some ornament which would make him remember his past and take to renunciation. In due course, he was duly born as a son to them and was named Prthvisara. After seeing those ornaments he remembered his past and developed a detachment for worldly pleasure and royal pomp. Much against his instincts, he was crowned as yuvaraja and requested by Kuvalayacandra to look after the kingdom. When the prince desired to relinquish the world, Kuvalayacandra dissuaded him in view of his young age; but he himself remained awaiting some teacher with a view to looking after his benefit in the next world. The king, after discussing religious topics with Kuvalayamala, retired one night, and, early in the morning, occupied himself with pious thoughts yearning for ascetic life in the near future. When it was morning, Kuvalayamala reminded him of his earlier resolve that in case he met his parents alive and got himself crowned, he would put his son on the throne and enter the order. Thus she indicated and confirmed whatever

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INTRODUCTION 53 thoughts he had in mind. Now that Prthvisara was put on the throne both of them decided to take to religious life at the earliest (Pages 212.1-214.33; *72.4- *73.9). KUVALAYACANDRA, MAHENDRA AND KUVALAYAMALA TAKE TO PRAVRAJYA AFTER MEETING DARPAPARIGHA, SO ALSO PRTHAVISARA IN DUE COURSE; AND IN A SUBSEQUENT BIRTH THE FIVE MET IN HEAVEN AND RECOLLECTED THEIR AGREEMENT: Later, the king saw in the street of the metropolis a couple of monks who told him that they were the disciples of saint Darpaparigha, the son of Ratnamukuta. In due course, he (along with Mahendra and Kuvalayamala) paid respects to Darpaparigha who blessed him and told him about his activities subsequent to their last meeting. Darpaparigha told the king that after leaving the Cintamani-palli he met a great Saint at Bhrgukaccha, who had given him that Palli and from whom he accepted renunciation. Then that saint went to Ayodhya, initiated king Drdhavarman into the order, both of them reached Sammeta-sikhara, and became Anta-ket Kevalins. This was a sort of inspiration to Kuvalayacandra, Mahendra and Kuvalayamala. All of them accepted renunciation, and started practising penance according to the rules. In course of time, Kuvalayamala was born as a god in the Saudharma-kalpa; the saint Kuvalayacandra was born as a god in the Vaidurya-vimana there; the Lion too, after due religious fasting, was born there; and the clairvoyant saint, Sagaradatta, reached there, after his death, as a god. After enjoying royal pleasures for a while and putting his son Manorathaditya on the throne, king Psthvisara also took to asceticism and joined them in the same heaven after his demise. They recognised each other, reflected together on the importance of Samyaktva (216.23-32) and the value of the words of Jina in the terrific ocean migratory circuit, and agreed that, in the subsequent births, wherever they were, any one of them having omniscience should enlighten the rest (Pages 215.1-217.7; *73.9-40). (viii. Mahavira's Samavasarana and the Five Souls ] MANIRATHA, AN ASANNA-BHAVYA, AND THE OCCASION FOR HIS SAVEGA: Then, during the age of Mahavira, the soul of Kuvalayacandra came down from heaven and was born in the town of Kakandi as prince Maniratha, the son of king Kancanaratha and his queen Indivara. Much against the wish of all, prince Maniratha became addicted to hunting. While he was out in the forest, there arrived Mahavira, who, in his Samavasarana constructed by the gods, preached to the audience, including Kancanaratha and others, twofold Dharma based on Samyaktva (217.28-218.6), and also explained the characteristics ($ 337) and the defects (218.22-30) of Samyaktva (does this cover caritra also here, see line 30, p. 218.13, p. 219-4?), as well as darsana, jnana and caritra ($$ 339-40), the nature of himsa, asatya, steya, maithuna and parigraha, of those who abstain from it, or how it is guarded ($8 341-45). The twelve vows of a house-holder end with samlehana (which is there for both sravaka and sramana), and the aticaras (five for each) of them should be avoided ( 346). Further, Mahavira explained to Kancanaratha that prince Maniratha, though addicted to hunting, was not only a bhavya but would reach liberation also in this very birth: in fact, he was enlightened and with a view to adopting religious life, he

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54 KUVALAYAMALA was reaching the Samavasarana. The occasion for his developing samvega was like this. He had gone into the Kosamba forest for hunting. Afraid of his arrows, all the deer ran away; but one young female deer came to him quite affectionately. He was much moved by the situation, broke his bow and sword, and felt great remorse on account of his cruel activities. He was thrilled at the touch of that loving deer; and he realized that there must be some connection of the earlier birth. He came by this time to the Samavasarana; and to explain his earlier relation with that deer Mahavira narrated thus (Pages 217.85 224.15; *73.41- *74.36). EARLIER LIVES OF MANIRATHA AND THE DEER, AND FORMER'S DIKSA: In one of his earlier lives, Mahavira was prince Ananga, the son of king Madana of Saketa. There was a merchant Vaisramana. His son was Priyamkara, a fine youth, who married Sundari, a girl from a neighbouring family. Priyamkara and Sundari were so much attached to each other that they would not tolerate separation even for a monient. In due course, as ill luck would have it, Priyamkara fell ill and died. Sundari would not believe that he was dead, but started caressing his dead body without allowing it to be burnt. She was mad on account of her affection, continued fondling the corpse, and would not attend to what others said. She addressed the corpse that people round about had gone mad; and, to avoid them, she took the rotten corpse (described 225.23-27) and reached the cemetery. She started nursing it. Her father requested the king to do something in the matter, and prince Ananga took the responsibility of outwitting her. He also went there with the corpse of a woman, claiming her to be his wife whom people called dead much against his will: in fine, he presented a replica of Sundari's role. He imitated her in his behaviour towards his dead beloved. In course of time, they became friendly, and entrusted to each other their dead partners, whenever they had to leave them and go out. Once Ananga complained to Sundari that he heard her beloved making overtures to his wife Mayadevi. Ananga shrewdly developed a situation, threw both the dead bodies in a well, and began to lament over his sad lot that his wife was kidnapped by Sundari's beloved. Innocent as she was, she felt sorry for the behaviour of her husband. When she wanted to know from him what to do, he expounded to her on the vanity of attachment and inevitability of death: So one should reflect (through twelve-fold anupreksa) on the nature of samsara etc. and devote oneself to the practice of Dharma (SS 352). Sundari was enlightened. That soul of Sundari was reborn as Manabhata > Padmasara > Kuvalayacandra > Vailuryaprabha > Manirathakumara; and the soul of that merchant-youth (i. e. Priyamkara) was ultimately born as a female deer which showed so much affection to Manirathakumara. Hearing all this Manirathakumara accepted renunciation. Mahavira explained ($ 354) to Gautama how a samyag-drsti who is avirata is subjected to misery but one who is virata enjoys happiness (Pages 224.16-232.5; *74.36- *76.20). MAHAVIRA IN SRAVASTI AND KAMAGAJENDRA'S DREAM: Once, Mahavira reached Sravasti, in his samavasarana, and in reply to a question of Gautama, or enlightenment of one and all, Mahavira expounded how different kinds of Karmas take a soul through different gatis, equip it with

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INTRODUCTION 55 various genders, and bestow on it fortune or misfortune, intelligence or ignorance, pain or pleasure, and various gifts and faculties etc. It is the three jewels (samyaktva (=caritra?) jnana and darsana) that lead the soul to the town of Liberation. At the conclusion of this discourse, a man of striking personality came there and inquired whether all that he saw in dream was true. Mahavira told him that it was true. Then he went away attracting the eyes of all gathered there. For the information of the rest, Gautama asked about that man; and Mahavira reported as below (Pages 232.5-22; *76.20-29): PASSIONATE KAMAGAJENDRA DUPED; AND HIS PRESENCE IN THE APARAVIDEHA AND SUBSEQUENT DiKsA: King Ranagajendra was ruling over Arunabha. Kamagajendra was his son. He was highly passionate. His queen was Priyangumati. One day, while he and his queen were riding a mad elephant, he saw a lovely girl, playing with a ball on a merchant's terrace, and fell in love with her. The queen, who had noticed this, arranged for his marriage with that girl, and got, in exchange, a promise from her beloved that he would disclose to her all that he saw, heard and experienced. One day, a skilled painter came to him with a portrait, and assured him that it was not just imaginary but that of a virgin princess, daughter of king Avanti of Ujjaini. Kamagajendra was eager to secure her hand. The ministers advised him to send his portrait to her. Though she was averse to men, she liked and accepted him. He (accompanied by the queen and his retinue) started for Ujjaini for the celebration of the marriage. While camping on the way and asleep in his bed, he felt a sweet touch and woke up to find two girls of captivating beauty. On an inquiry, he learnt that they were Vidyadhara maidens. They disclosed their mission to him, after shrewdly securing his solemn promise that he would do the needful in the matter. Princess Bindumati, they added, was the extremely charming daughter of the Vidyadhara king Ptthvisundara (from his queen Mekhala), ruling over Anandamandira on the notrhern range of the mountain Vaitadhya. She had devel man, and would not choose any Vidyadhara youth for her companion. Any way, her parents left this choice to her sweet will. One day while moving with her friends in a mountain valley, she heard a Kimnara couple singing in praise of the handsome prince, Kamagajendra. After learning about his whereabouts, she developed passionate attachment for him and grew restless. The only remedy against her ailment was that she should meet him. So, as suggested by their mistress and guided by Prajnapti-vidya, they came to him. They requested him to accompany them to their mistress who was now on the verge of calamity from which he alone could rescue her. He sought the consent of his queen who allowed him to go on an express promise from them that he would be returned safe to her. They took him immediately in their Vimana, to the wonder and worry of the queen. On his return, he conveyed to the queen his experiences during her absence: "It was a fine flight through the autumn sky (described 238.1-5), when the mind was crowded with various thoughts (SS 336). Soon we reached a white house and entered a fine cavern; therein was seen that Vidyadhara princess on a cool bed of leaves. They announced my arrival to her, requesting her to have now her desires fulfilled. But she was found without any movements; in fine, lifeless. They began to lament for her loss (239.5-9),

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56 KUVALAYAMALA making me almost unconscious, seeing her dying thus on account of my separation, as they put it. They sought my advice as to what should be done. It was day-break by this time. They decided to finish her funeral, and faggots of sandal tree etc. were gathered together. As her body were consigned to flames, they fell into a swoon; I consoled them; but, in a fit of lamentation (239.30-33), they jumped into the flames of the funeral pyre. Even before I could dissuade them, they were reduced to ashes. I was shocked and plunged into remorse: I too decided to enter the same flames. Just then I heard. a Vidyadhara couple conversing on the propriety of an action like that which I was about to do, and changed my decision. For funeral offerings, I entered a lovely lake, and lo! I sank in a well; and when I came up, I saw a surprising scene: everything appeared magnified, and men were five hundred bows in height. It was a strange land. The well was converted into a Vimana; and getting down from it, I started moving about. I met two boys, in whose presence I looked like a worm, an ant; they wondered about my human speech, and from their talk I gathered that it was Apara-videha. They took me on their palm and, to my pleasure, reached the Samavasarana of Simamdharasvamin with a view to inquiring my antecedents. In reply to Gautama's question, Mahavira explained about the udaya, ksaya and ksayopasama of the Karmas (SS 371). Then I offered prayers to Jina, attracting the attention of all there. To a questionnaire from the audience, Mahavira gave out the details about me. He disclosed that as I was an addict to women, a couple of Vidyadhara youths, dressed as females, tempted me away like that and played on me that joke of entering the funeral pyre. When I was ready to enter the fire, that very Vidyadhara couple arranged to bring me here in this form. Among the five souls agreed to enlighten one another, I was one: Mohadatta > God > Prthvisara > God > and, now finally, Kamagajendra, to be enlightened here to attain final liberation. The lord also explained the peculiar conditions in the Aparavideha (243.13-22) contrasted with those in the Bharata-ksetra. I offered prayers to Jina; and when I lifted my head, I found myself back here." The queen told Kamagajendra that all this sounded like a miracle, beyond spatial, temporal and sequential proportions; but he assured her that all that was really experienced by him; and Simamdhara was still in his heart. It was got verified from Mahavira as true, next morning. Kamagajendra realized the vanity of worldly ties and pleasures, put his son Diggajendra on the throne, and accepted renunciation. Mahavira told him the whereabouts of the Five colleagues: one in heaven, with a short life now, and the rest on the earth here (enumerated 244.24 f.); and that he would attain liberation in this very life (Pages 232.23-244.28: *76.29- *79.40). VAJRAGUPTA AND HIS RENUNCIATION: When Mahavira reached Kakandi with his Samavasarana, he expounded there, in reply to a specific question of Gautama, how, in the same activity, different souls, according to their passional intensity, incur the bondage of different Karmas, as illustrated by the theory of six Lesyas (SS 376); this carried great conviction upon the audience. Just then, there arrived a striking prince and inquired whether what was recited by a divine voice was true, blessed or not. Getting Mahavira's reply in the affirmative, he went away bent on doing according to the instructions,

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57 Mahavira enlightened Gautama and others on his antecedents thus: 'He is Vajragupta, the son of king Candragupta of Rsabhapura. One day the prominent citizens waited on the king and requested him to find out the robber who was regularly looting the town of its best things every night, but could not be noticed, as admitted, even by the city-guard. Vajragupta, however, came forth with a solemn pledge that he would either detect the thief within a week or kill himself in flames; and the king accepted his offer. Six days passed quietly, without any success; so, now, the prince felt anxious that death was inevitable for him. At last, he decided to propitiate with his flesh the Vetala in the cemetery. Accordingly, he went there at night and appealed to Pisaca etc., to accept his flesh and give the required information. A Vetala demanded his bony and roasted flesh, followed by a mouthful of his blood offered in his skull (Gautama got an explanation that this was just a joke of Vyantaras). As the prince, quite ready to fulfil this, was about to cut his head, a divine voice, pleased with his courage, promised him the boon; and thus he got the requisite details where that invincible thief lived. He reached cautiously the door of the cellar at the foot of a banyan tree. He smelt the fragrance of incense and heard sweet notes of music. He entered a rich hall there and attracted the attention of a charming girl whose glances were the veritable shafts of cupid. In course of mutual inquiry, he gathered that she was the daughter of Surendra, king of Sravasti, and was betrothed to Vajragupta; but, in the meanwhile, she was kidnapped by that gifted thief and pent up there. He could recognise that she was Campakamala, his once-proposed beloved but was said to be carried away by a Vidyadhara. He disclosed his identity, and requested her to help him to kill that Vidyadhara thief, provided she continued to love him. She gave him some details about the ladies etc. there, and assured him her aid in this plot. She was not sure of the fidelity of other women (251.1 f.), but it was likely that they would love him. She appreciated his wisdom, and presented him with the miraculous sword etc. of the thief and substituted the ordinary ones of the prince in their place. Thus nicely equipped, and getting the necessary hints from her, the prince ambushed at the mouth of the cellar to strike that robber immediately on his entering there. Before daybreak, the robber returned kidnapping princess Campavati, the very beloved of the prince, namely, Vajragupta, who was loudly crying for his protection from the robber. The prince thought that the robber was caught red-handed, and was about to cut his head; but, on second thoughts, he decided rather to give a fair fight than to murder him treacherously. He challenged the robber who was surprised by his presence there. The robber realized that his divine weapons were substituted. Reviling each other in a challenging mood, they fought like wild buffaloes. When the duel was being fought evenly, Campavati [rather Campakamala] hinted to him to remember (the power behind) the Khadga-ratna. When the prince did so, that robber suspected the treachery of Campakamala, and rushed to strike her; but his head, in the meanwhile, was lopped off by the prince; and he fell dead on the ground. At Campakamala's suggestion, the prince took also the miraculous pill from the mouth of the dead body, and thus gained additional lustre and strength. Thus triumphant and miraculously equipped, INTRODUCTION

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58 he stayed in that underground cellar enjoying pleasures in the company of those beloveds and forgetting his parents and kingdom. Thus twelve years elapsed. One early morning, a voice of an unseen bard greeted him by his name, reminded him 1) of the rise and fall in Samsara, and urged him to mind his benefit of the next world. That voice was heard by him for seven continuous nights, reminding him 2) to develop virati in his heart, 3) of the mockery of enjoyments, 4) that Dharma alone is the real shelter, 5) that worldly pleasures never give lasting satisfaction, 6) that samsara has terrible miseries, and 7) that the enjoyment of sense-pleasures is fatal, and must, therefore, be followed by the practice of samiti, gupti and penances. His mind was distracted; so next day, he questioned that voice why this renunciatory admonition was being given to him. The voice reminded him of the time he spent in the cellar, and requested him to get out of it and meet the Sarvajna. When his beloveds tried to come in his way, he made them ponder over the advice of that voice. They also agreed to follow his footsteps. So he came here for verification of the veracity of the bardic appeal. Thus this Vajragupta is enlightened along with his beloveds.' Mahavira reminded him of his past colleagues and the series of births. Manirathakumara is here; Kamagajendra is here; and he is Vajragupta, the soul of Lobhadeva. He is thus enlightened by the souls (in heaven) of Mayaditya and Candasoma, through that bardic voice. Vajragupta accepts renunciation, so also his beloveds (Pages 244.28-256.20; *79.40-*84.8) MAHAVIRA'S DISCOURSE ON GODS; SVAYAMBHUDEVA'S CAREER AND DikSA: In reply to a question raised by Gautama in the Samavasarana, at Hastinapura, that gods, unlike kings, do not necessarily favour and punish when they are pleased and displeased, Mahavira expounded that there were two classes of gods, saraga and viraga. The former (Govinda, Skanda, Rudra etc.,) are full of attachment and aversion (raga and dvesa) and seem to bestow favours and frowns; but, really speaking, these are the coincidental results of one's own Karmas. The niraga gods preach the path of liberation, and those who worship them get the happiness of Moksa, in due course. These gods are indifferent to praise or blame, but he who offers these to them will get the fruits of his bhavana. Just then there entered a Brahmana boy who wanted to know from Mahavira what that bird was, whether it could use human speech, and whether its statements were true. To allay the curiosity of the audience, Mahavira narrated as below: 'This is Svayambhudeva, the eldest son of Yajnadeva, a rich and learned Brahmin of Saralapura. Soon after the death of Yajnadeva, the family was reduced to poverty. Svayambhudeva was urged by his mother to earn a prosperous living. He pleaded that prosperity depended on punya of which they were devoid now. Determined rather to die than to return home in poverty, he left home and, wandering for long, reached at last the town of Campa. He reached there rather late; so he decided to stay for the night on a Tamala tree. There he heard the conversation of two merchant youths who buried some treasure under that tree, covered it with earth, marked it with a creeper, appealed to divinity to guard it duly, and went away. Svayambhudeva thought that his luck was favourable. After digging out the treasure, he found there five precious jewels. He took them, and started home with great joy. On KUVALAYAMALA

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INTRODUCTION the way, he rested at night on a banyan tree; the tree was inhabited by many birds; and his mind was crowded with manifold thoughts. Just then a big bird came to its father and explained with joy how it visited the Samavasarana of Mahavira who expounded various religious principles (261.1 ff) and explained its query that it would soon have right faith as well as partial conduct. The Lord explained to Gautama the four types of acts (261.9-14) which lead the soul to hell. In order to escape hell, the big bird, following the advice of the Lord, observed fast, and was now seeking permission of its father to die fasting and was offering final apology. The old bird with paternal affection tried to dissuade it with various reasons and arguments, but had to yield finally. Likewise it approached its mother, brother, sisters, wife, children, mother-in-law, father-in-law, friend and other birds; and offered (after touching conversations with them) ksamapana to all of them. Then it flew up taking leave of them all. Svayambhudeva was very much touched by the pious behaviour of birds, and started wondering whether it was proper for him to pick up jewels like that and live on them. He thus came here for enlightenment and renunciation. He is the same as the soul of Candasoma (Pages 256.21 --268.8; *84.8- *85.41). MAHARATHA'S DREAM AND DIKSA: Lord Mahavira reached Rajagrha in Magadha; the gods arranged the Samavasarana for him; king Srenika was very happy on the Lord's arrival; he attended on him and offered prayers to him; and the Lord gave him a discourse on jnana, especially that branch of Srutajnana whereby Naimittins read the past, future and present (288.25 f.). There entered prince Maharatha, the eight-year-old son of Srenika, and wanted the meaning of a symbolic dream he had. Mahavira explained to him how he was the Jiva of Kuvalayamala, how his other colleagues were there, and how he would duly attain liberation in this life. He received diksa and met his other colleagues; they all moved with Mahavira for many many years (Pages 268.9269.18; *85-41- *86.30). THE FIVE ADOPT SALEKHANA AND ATTAIN LIBERATION: Advised by Mahavira, Maniratha-kumara adopted samlekhana and cultivated four-fold aradhana (with reference to jnana, darsana, carana and virya) on his pure deathbed (269.23 f), and became an Antakst Kevalin in due course. Likewise, the saint Kamagajendra saw that his end was near, took the samlekhana vow and on his death-bed offered Samayika and ksamapana in details (414). He became an Antakst Kevalin. Similarly, the saint Vajragupta became an Antakst Kevalin after observing samlekhana and duly offering alocana and pratikramana (8 415). In the same manner, the saint Svayambhudeva saw his end nearing, adopted samlekhana; and on his death-bed, he reflected on the varieties of death (SS 416) etc: He developed omniscience etc., and became an Antakst Kevalin. Lastly, the saint Maharatha also realized that his end was near, had his body emaciated with samlekhana, and offered, in the end, detailed salutations to Arhat, Siddha, Acarya, Upadhyaya and Sadhu ($$ 420-25). He adopted Ksapaka-sreni. Thus they all attained final liberation (described $ 426) in the end (Pages 269.18-280.17; * 86.31- * 87.31).

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KUVALAYAMALA [ix. Author's Conclusion ] UDDYOTANA'S PERSONAL OBSERVATIONS AND MANGALA: The author explains how different sections, episodes, characters and events of the plot serve different salutary purposes, ultimately intended to achieve the religious objective. Then, in anticipation of likely criticism, he justifies certain sentiments, contexts, discussions etc. saying that they all constitute dharma-katha and are ultimately conducive to the development of samyaktva or right faith ( 428). He who reads or hears sincerely this Kuvalayamala either develops samyaktva or has it made more firm. If one is adept in Desi-bhasas etc. one should recite it; otherwise one should read it from a Manuscript in order to appreciate its merits: it gives pleasure, if approached gently and intelligently. It is Hridevi who is instrumental for this composition: good people are requested to welcome and look after this, so that it may live long like the fame of Rsabha ($ 429). Further, the author gives some details about his predecessors and himself and about the place and time of the composition of the Kuvalayamala (SS 430). Then follows the concluding ind lastly the extent (8 432) of this work is stated to be about 13 thousand granthas (Pages 280.18-284.9). 2. THE STORY RETOLD BROADLY The Kuvalayamala presents the biography, through a number of bi five souls (1. Candasoma-Svayambhudeva; 2. Manabhata-Masirathakumara; 3. Mayaditya-Maharatha; 4. Lobhadeva--Vajragupta; and 5. Mohadatta-- Kamagajendra) who, to begin with, degraded themselves (respectively) on account of intense anger (krodha), vanity (mana), deceit (maya), greed (lobha) and infatuation (moha); but, with due guidance and mutual co-operation and help on the path of religion, they practised penances etc. and attained liberation in the end. The story is put in the mouth of the author, of saint Sagaradatta, of Dharmanandana, and of various characters who figure in the narrative. [I] (i) Candasoma, alias Bhadrasarman, from Ragada in Kanci, was a naughty youth. His wife Nandini was such a nice girl as to captivate the eyes of the village youths. He, however, doubted her fidelity without any reason; and one day, on returning from the theatre, where he heard some foul whisper, he hit, in a fit of anger, his sister and brother, thinking that they were his wife and her lover. Seeing both of them killed by his hand, at his own door, he felt remorse for his sin, and wanted to die with them. People prevented him, and Brahmanas prescribed various prayas'cittas to get rid of the sin; but he was in a mood of despair and repentance. He went to the saint, Dharmanandana, from whom he adopted a code of religious behaviour and at last accepted renunciation (pp. 45.15- 49.21). He grew proficient in his religious practices (p. 91.30 his anger was not altogether quieted (p. 92.8). In due course, he was born in the Saudharma-kalpa as (ii) god Padmacandra (p. 96.8); and from there, he took birth once as (iii) a Lion in the Vindhyas (102.18). Being duly instructed (by Kuvalayacandra) the Lion died piously and was reborn as (iv) a god in the Vaidurya-vimana (pp. 111-12, 216.16). Thence, in course of time, he was reborn

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INTRODUCTION 61 as (v) Svayambhudeva (pp. 256.26 f.) who had to leave home and wander about for a prosperous living. He reached Campa, but had to rest at night on a Tamala tree. He saw two traders who significantly buried under that tree some treasure and went away. Svayambhudeva found, to his good luck, five jewels there; he took them and started home. On the way he rested on a banyan tree. There he heard a touching conversation between a bird and its father, mother, wife etc. The bird succeeded in taking their permission to die fasting in order to escape from hell, as instructed by Mahavira. This conversation was a lesson for him; and it opened his eye that it was not proper for him to pick up jewels like that and live on them. Being thus enlightened, he accepted renunciation in the samavasarana of Mahavira, practised penances, submitted himself to samlekhana-marana, became duly an Antakrt-kevalin and thus attained liberation (SSSS 416-19, also SS 426). [II] Priyamkara and (i) Sundari, of Saketa, were a wedded couple, highly attached to each other. They would not tolerate separation even for a moment. As ill-luck would have it, Priyamkara fell ill and died. Sundari could hardly accept the fact of his death. She would not agree to the cremation of her beloved's body which she closely guarded. None could convince her. Her father was helpless and appealed to king Madana for some way out. Prince Ananga (i.e., Mahavira himself in one of his earlier lives) took this responsibility on himself. He picked up a dead body of a woman, claiming her to be his wife, and behaved exactly like Sundari. So they had a common cause and some understanding between them. At last Ananga managed to throw both the dead bodies in a well, and told Sundari that her husband, as feared by them, eloped with his wife. So she was brought round to her senses (SSSS 349-54). Sundari, in due course, was born as Manabhata, alias Saktibhata of Ujjaini who inherited the position in the royal Durbar from his grand-father, an eminent Thakura. One day Manabhata found his seat in the Durbar occupied inadvertently by a Pulinda prince. Vain as he was, he took offence and hit that prince fatally on the chest in spite of the latter's apologetic promise that this would not be repeated. He came out successful in the fray that followed. For safety, he left that place along with his father and lived comfortably in a fortified village. One day, during spring-sports, he happened to sing on the swing complimenting a darkish beloved to the offence of his fair wife who felt humiliated and hanged herself, but was rescued by him in time. He tried to convince her of his bonafides, but without success. His vanity surged up, and he left home in sheer disgust. His wife followed him, and she was followed by his parents. To test her fidelity, he threw a big stone in the well and concealed himself behind a tree. Thinking that he jumped into the well, she threw herself there; his mother and father also did likewise. Manabhata realised that his vanity led to this fatal tragedy of the whole family. He was full of remorse, and, in a penitent mood, started out in search of a preceptor who would purify him. He gathered from a gossip of destitutes in Mathura that a dip in the Ganges would cleanse him of his sin. But in Kausambi, he heard the futility of such practices, adopted four

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62 KUVALAYAMALA fold Dharma and accepted diksa from Dharmanandana (pp. 50.1- 56.10). In due course, after following the religious routine, he was born as god (iii) Padmasara in the Saudharma-kalpa (p. 96). From heaven, the soul of Manabhata was born as prince (iv) Kuvalayacandra, the son of king Drdhavarman (who ruled at Vinita in Madhyadesa) and queen Priyamgusyama who got him through the boon of the Kuladevata (pp. 15.12 f., 21.6 f.). God Padmaprabha was born as Sagaradatta (p. 103.6) who accepted renunciation under Dhanadatta and, as a saint, developed clair voyance: he visualised the career of his other colleagues. In consultation with god Padmakesara a plan to enlighten Kuvalayacandra was hatched (p. 110.3 f.). One day, prince Kuvalayacandra went out for a ride with his companions; but his horse was possessed by Padmakesara: and he was carried to the Saint (Page #102
INTRODUCTION since then he had been residing here. The prince realized that Darpaparigha was his uncle's son. He instructed him in the words of Jina and urged him to adopt good conduct. After the rains were over, Kuvalayacandra travelled to the South, and Darpaparigha soon took to renunciation (88 223-41). Kuvalayacandra reached Vijayapuri. There he learnt from popular gossip that princess Kuvalayamala was very beautiful; she had hung in public an incomplete verse; and she would marry him who completed it. When he came to the royal court-yard, he at once hit on the rest of the verse. Just then, the state elephant was running amuck. The prince brought it under control to the dismay of one and all. He recited the complete verse to the satisfaction of princess Kuvalayamala who garlanded him and chose him as her bridegroom. Mahendrakumara also was there by that time, and he gave an account of the prince etc. to king Vijaya. Though there was suspense of separation after the first meeting, Kuvalayacandra and Kuvalayamala exchanged affectionate messages and love-presents, learnt more and more about each other, and at last their wedding was celebrated with great pomp. They had a happy time full of pastimes and enjoyments of various types. Finding an occasion the princes narrated their past lives and requested her to accept Samyaktva which she did (88242-84). On receiving a letter from Ayodhya, prince Kuvalayacandra accompanied by his beloved and Mahendrakumara, started to meet his parents. They had auspicious sakunas on the way. After reaching Sahya, they paid respects to a saint. They learnt from his autobiography that he was enlightened by seeing the paintings of the Samsara-cakra, wherefore he entered the ascetic order. This made Mahendrakumara firm in his Samyaktva. The prince met som on the way and helped them in their task. He reached the outskirts of Ayodhya. He was lovingly welcomed by his parents, and was soon crowned as heir-apparent, to the joy of the whole town. After a good deal of discussion, the right Dharma was discovered as directed by the Kuladevata. Putting the prince on the throne, Drdhavarman practised religion and his Karmas were nearly destroyed. Kuvalayacandra ruled for many years. God Padmakesara (Page #103
64 KUVALAYAMALA [III] (i) Mayaditya, alias Gangaditya, was a treacherous merchant from Varanasi. He developed friendship with Sthanu of good nature. Both of them reached Pratisthana for business. They earned five-thousand coins each and converted the cash into five jewels for each. They started home, dressed as friars for safety of travelling. Mayaditya attempted, more than once, to deceive his companion and deprive him of his share: he pushed him once into a well; but a party of robbers saved him once from that plight, gave him his share of five jewels, and warned him to beware of his treacherous associate whom they had already thrown in a thicket taking all the ten jewels on his person. Sthanu's behaviour was so straight and sincere that Mayaditya felt penitent. A dip in the Ganges was prescribed by the village elder as prayas'citta. It was saint Dharmanandana who advised him to seek shelter in the words of Jina, and gave him diksa seeing that his Karmas had sufficiently quieted (SSSS 110-25). In the next birth, Mayaditya was born as (ii) Padmavara in the Saudharma-kalpa (p. 96.6). He constructed the Samavasarana of Dharmanatha at which all the colleagues met and decided what they should do to get samyaktva (pp. 96.27 f.; 102.13 f.). Thence, in due course, he was born as (iii) Kuvalayamala, the daughter of king Mahasena (or Vijayasena) and his queen Bhanumati of Vijayapuri in the South, born to them through divine favour (pp. 162 f.). She developed aversion for men. When, however, Kuvalayacandra overcame the mad elephant in Vijayapuri and completed the verse hung by her in public, she garlanded him as her bridegroom. Soon she was married to him. She had quite a happy time with him during the period of honey-moon. Reminded of their earlier resolve and receiving due instructions from him, she developed Samyaktva and followed Jinadharma. She left her parents with a heavy heart and accompanied her husband to Ayodhya. On the way, she shared the adventures and experiences of her beloved. After king Drdhavarman accepted renunciation, she enjoyed the kingdom with her husband for many years. God Padmakesara was born as a son to them, and became known as prince Prthvisara. As resolved earlier she took to religious life along with her husband and practised penances. She was reborn as (iv) a god in the Saudharmakalpa. Further that god took birth as (v) Maharatha, son of king. Srenika (p. 269.13 f.). As a boy of eight, he entered the Samavasarana of Mahavira and sought the explanation of his dream. On hearing his future from Mahavira, he took diksa, practised samlehanamarana and adopted Ksapaka-sreni to get liberation (SSSS 420 f.). [IV] (i) Lobhadeva, alias Dhanadeva, was highly greedy. For earning more wealth, he went to the South and camped with Bhadrasresthin at Soparaka. By selling horses in the local market, he earned enormous wealth there. He was given a reception in the Native Traders' club where he heard of still greater profits in distant countries. By prevailing upon Bhadrasresthin to accompany him, he reached with him Ratnadvipa where they had huge gains. While returning in a ship, he trickily pushed Bhadrasresthin into the sea, so that he was no more to share his gains. The latter was reborn as a Raksasa, and took revenge on

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INTRODUCTION Lobhadeva who floated unconscious to an island the residents of which took out periodically his flesh and blood for alchemical purpose. He was left just a skeleton and was picked up by Bharunda birds. When he was dropped by them on a lonely spot, somehow he felt remorse for his ingratitude to Bhadrasresthin. He wanted to purify his sin. Some mysterious conversation induced him to go to the Ganges to wash his sins. On the way, he paid respects to Dharmanandana under whose religious guidance he accepted dikna (S$ 126-140). After a pious death, he was born in the Saudharma-kalpa as (ii) god Padmaprabha (p. 92.9 ff.). Thence he was reborn as (iii) Sagaradatta in a banker's family at Campa. With his self-respect pricked and his vanity tickled, he left home with a resolve to die in flames failing to earn seven crores within a year. He reached Jayasri on the southern shore, and worrying about his gains he came across a significant Malura tree with wealth beneath it. Guided by an anonymous voice, he took from there a handful of silver coins, won the favour (as well as the daughter of a local merchant by his skill in salesmanship, and sailed to Yavana-dvipa where he earned more than seven crores. But while returning, he lost everything due to ship-wreck. He touched alive Candradvspa where he saved a lonely maiden who was about to hang herself being frustrated in her love. Both of them tried, in a mood of despair, to enter flames which were turned into lotuses. God Padmakesara ( < Mohadatta) rebuked him for his cowardly attempt, reminded him of his responsibility, gave him 21 crores of coins, married him to both the girls, and reached him to Campa. In due course, Sagaradatta accepted diksa under Dhanadatta, and became a great Saint endowed with clairvoyance. He remembered his earlier colleagues and the mutual agreement. He went to the place where the Lion was staying. Through Padmakesara, who possessed the horse, Kuvalayacandra was brought there and enlightened by showing the jewels which were to serve as a memento (S$ 185-95). The saint Sagaradatta was reborn in the Vaidurya-vimana as (iv) a god (p. 216-17 f.). Thence he took birth as (v) Vajragupta at Rsabhapura (S$ 378 f.). When the town was being regularly robbed by a mysterious robber, Vajragupta openly resolved to burn himself in flames, in case he failed to spot the robber within a week. Six days passed without any success. At the risk of his life, he invoked the grace of a Vetala. He found out the place of the robber, and, through the aid of Campakamala who was once betrothed to him but was kidnapped by the robber, he successfully finished him. He stayed in that cellar enjoying various pleasures in the company of his beloved for twelve years. For seven mornings continuously, he heard an anonymous voice (that of the souls of Mayaditya and Candasoma in heaven) exhorting him to follow the path of true religion by meeting a Sarvajna. At Kakandi he went to the Samavasarana of Mahavira who enlightened him on his antecedents and duties. He accepted diksa, so also his beloved ($ 394). After practising samlehana-marana, he became an Antakst-kevalin and thus attained liberation ($ 415). [V] King Kosala gave capital punishment to his son Tosala for violating the chastity of Suvarnadevi who was separated for long from her husband and

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66 KUVALAYAMALA consequently loved Tosala intensely. The minister in charge of beheading Tosala allowed him to go scotfree provided he disappeared to an unknown destiny. Accordingly Tosala ran to Pataliputra, and started serving under king Jayavarman as a common man. Suvarnadevi, who was carrying, believed that Tosala was beheaded; and in sheer humiliation she ran away from the town and joined a caravan bound for Pataliputra. Due to physical disability, she lagged behind; and one night she delivered twins, a boy and a girl; though in despair, she wanted to live now for them. When she went out for a wash, the garment in the two kids were folded and tied was picked up by a hungry tigress. The girl was dropped on the road, later picked up by a messenger of king Jayavarman, and was nourished, at Pataliputra, by his wife who named her Vanadatta. Sabarasimha, attached to Jayavarman, while out for hunting, picked up that boy who too grew in Pataliputra as Vyaghradatta, alias (vi) Mohadatta. In due course, Suvarnadevi also reached Pataliputra and happened to serve as a nurse to Vanadatta, not in any way recognising her. During spring, Mohadatta and Vanadatta saw each other at a festivity, and felt passionately attracted mutually; the separation was unbearable to Vanadatta. Later, Tosala saw Vanadatta (escorted by Suvarnadevi who did not recognise him nor did he mark her), was full of passion for her, and rushed for her hand at the point of sword. There was a great commotion in the garden. Mohadatta came on the scene, and in a duel finished Tosala on the spot. As he started love sports with Vanadaita, a voice announced that it was unworthy of him to enjoy his sister, in the presence of his mother, and that too after killing his father. It was the voice of a monk in the vicinity who explained all the relations. Mohadatta felt remorse for his ignorance and wanted to expiate for his sin. He came later to Dharmanandana, and, with his moha sufficiently quieted, accepted diksa (S$ 141-54). After an equanimous death, he was born as god Padmakesara in the Saudharmakalpa (p. 96.8-9). At that time, he dissuaded Sagaradatta from entering flames (p. 109). Later he conferred with saint Sagaradatta (p. 110), possessed the horse of Kuvalayacandra, and thus brought about the meeting of the three (i.e., the Lion, Kuvalayacandra and himself). Thence he was born as prince (iii) Psthvisara, the son of Kuvalayacandra and Kuvalayamala. Right from the beginning he had no attachment for the world, and he took the reins of the government much against his will ($ 330). Later, he put his son Manorathaditya on the throne, practised asceticism, and joined his colleagues as a (iv) god in the Saudharma-kalpa ($ 335). Thence he was reborn as prince (v) Kamagajendra at Arunabha. He was highly passionate. His loving wife was Priyangumati. Once he fell in love with a lovely girl from a merchant's family; his wife secured her for him in marriage, and took a promise from him that he would share all his experiences with her. Later, he wanted to marry a princess from Avanti. While he was going thither, he was carried away by a couple of Vidyadhara maidens saying that princess Bindumati, who had heard about him, was pining for him in separation. When he reached there she was dead; the two maidens burnt her body; and they also entered the flames. He too wanted to follow them, but changed his mind, hearing the conversation of a Vidyadhara couple. As he entered a lake for funeral offerings,

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INTRODUCTION he found himself transported to Aparavideha where he had strange surroundings and paid respects to Simandharasvamin from whom he learnt his antecedents. Mahavira explained to him that because of his high passion, the Vidyadhara maidens played a trick on him. Kamagajendra realized the vanity of worldly infatuation and accepted diksa. When his end was near, he accepted samlehana, became Antakrt-kevalin and thus attained Liberation. 67 These five souls, with their respective passions somewhat quieted, met each other in the presence of Dharmanandana. There they took diksa and were mutually attached. Candasoma was requested by others to bestow samyaktva, if circumstances permitted (SS 170). Lobhadeva was born in the Saudharma-kalpa where others also followed in their subsequent births. It was Padmasara who constructed the samavasarana of Dharmanatha. There they learnt from that omniscient Teacher (SS 184) that they were Bhavyas, that they would attain Liberation in the fourth Bhava thereafter, and what would be their subsequent births. Realizing the difficulty of developing samyaktva under the circumstances, they requested Padmakesara to do his best. For memory clue they prepared their counterparts in precious stones and buried them in the forest where the Lion was to be born, marking the spot with a stone (SS 184). Sagaradatta, as a clairvoyant saint, could visualize his colleagues in the third birth. He went to the spot where the Lion was dwelling; he conferred with Padmakesara (SS 194) who brought there Kuvalayacandra who helped the Lion to die piously. In due course, in the next birth, they were contemporaries in heaven (p. 216). They repeated their earlier resolve, and agreed that any one who had superior knowledge should enlighten the rest. Then in their last birth, they were (respectively) born as Svayambhudeva, Manirathakumara, Kamagajendra, Maharatha and Vajragupta. They were contemporaries of Mahavira, and gathered together in his Samavasarana. They took diksa and attained Liberation in due course. 3. JAINA DISCOURSES IN THE KUVALAYAMALA Jainism is called Ethical Realism, and this brings out its salient traits to the fore. The theory of rebirth, the Karma theory which automatically operates, moral responsibility of the individual and allied doctrines were the characteristics of Sramanic culture; and they are all inherited in Jainism. The Jaina Karma doctrine is most uncompromising and undiluted: every one is responsible for, and can never escape without reaping the consequences of his Karma. The soul is subjected to a sort of vibration operating through mind, speech and body as a result of which it incurs material Karmic bondage. Thus the Jaina teachers, therefore, have evolved philosophy of conduct and pattern of behaviour uninfluenced by any reliance on Supernatural intervention or guidance. First, the individual is made highly self-reliant, and the Teacher leaves no opportunity to put him on the right track of religion. The erring soul is shown the correct path through religious instruction. Secondly, the Kuvalayamala is primarily a dharma-katha; if it is called, and has become, samkirna-katha, it is because the author has incidentally added contexts and topics of artha and kama; and even those, in the long run, are conducive to the practice of Dharma. In this pattern

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68 KUVALAYAMALA of narration, the various facets of dharma-katha are as well included. Thirdly, ery objective of the tale is to illustrate the effects of morbid temper, i.e., of krodha, mana, maya, lobha and moha under the sway of which are acting the chief characters in this story. If they are to be brought on the right track, religious instruction is the most effective remedy. Lastly, moral instruction is the chief aim of the author, and the entire tale is narrated in such a manner that the erring man and woman should learn the pattern of good behaviour by seeing and hearing what is happening to the characters under various circumstances. The Sramanic teacher is an adept in this art. The result is that the Kuvalayamala has become a huge repository of religious discourses put in the mouth of religious Dignitaries; and the element of story will not suffer much, even if these are excluded from the narration. All such discourses may be put together here to see what a vast range of Jaina dogmatics is covered by Uddyotana. First the pages and lines are noted, and against them are enumerated the topics under broad heads: 35.30 f.: The major types of himsa and the reasons or pretexts with * which they are committed. 36.14 f.: Hells, the tortures etc. therein. 39. 1 f.: The sub-human births (according to the number of Indriyas) and the miseries etc. therein. 40.13 f.: Human birth, its causes, grades, miseries etc. 42.29 f.: Gods, their anxieties etc. 44.15 f.: A discourse on krodha, mana, maya, lobha and moha; and their fourfold gradation (anantanubandhi etc.) with illustrations. 90. 8 f.: An explanation of abhavya, kala-bhavya and bhavya. 92.12 f.: A conventional description of [Saudharma-]Kalpa and [Padma-] Vimana, the birth of a jiva there, the local environments etc. 95.12 f.: Some details of puja; see also 132.27 f. . 95.24 f.: Five Paramesthins and the duties of laymen and monk 96.28 f.: Details of the samavasarana; See also 217.21 f. 97.27 f.: A discourse on Jiva, its nature, its relation with Karman, its migration through various births and its liberation. 142-21 f.: A discussion about Dharma, its practice and its objective. 177.28 f.: A graphic glorification of samyaktva. 185.22 f.: A detailed picture of hellish, human and divine beings: their acts and consequences. 192.27 f.: Symbolically spiritual interpretation of various vocations etc. 201.33 f.: A succinct exposition of the fundamentals of Dharma. 209.18 f.: Rarity of religious enlightenment in human birth, explained by yuga-samila-drstanta. 217.27 f.: Discourse on twofold Dharma. 219. 9 f.: A discourse on five mahavratas and the attendant bhavanas. 227.19 f.: An exposition of twelve anupreksas. 230. 5 f.: A samyag-drsti and his traits. 20 f.: Elaboration of the types of Karmas and their consequences. 242. 1 f.: An exposition of udaya, ksaya, ksayopasama of the Jnanavara

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243.13 f.: 245. 6 f.: 253.18 f.: 261. 8 f.: 269.23 f.: 279.26 f.: 69 niya and other Karmas with reference to dravya, ksetra, kala, bhava and bhava. A contrasted picture of the conditions in the Aparavideha-and Bharata-ksetra. INTRODUCTION An exposition of the Lesya doctrine, typically illustrated by the lesyavrksa; how the same act can incur different quantity of sin according to the temperamental state. Through the medium of a divine voice, a few religious discourses on the following topics are presented: i) One's benefit in the next world has to be ever remembered. ii) virati or detachment is necessary even in the midst of pleasures. iii) The practice of Dharma leads to Punya which brings pleasures; so Dharma is important. iv) Dharma alone, and not the lures of Indriyas, can save one from the pangs in hell. v) One thirst quenched leads to another; and there is nothing like satisfaction in this Samsara. vi) One should get rid of the infatuation for pleasures recollecting the manifold tortures, ailments, humiliations and sufferings of the past. vii) The pleasures of sense-organs are fatal in their consequences; so one should be circumspect with restraint on mind, speech and body. A discourse on the causes which lead to life in hell. A discourse on samayika. 271. 1 f.: 272. 7 f.: An exposition of what may be called in general pratikramana. 273.25 f.: Explanation of the two types of Death, namely, pandita and 277. 7 f.: A doctrinal exposition of the fourfold aradhana, namely jnana, darsana, carana and virya. bala-marana. Here is an elaborate salutation to Arhat, Siddha, Acarya, Upadhyaya and Sarvasadhu; and a good many details about whom are recorded. Details about a soul's ascent on the ksapaka-sreni. All this shows that the author has snatched every opportunity to introduce Jaina dogmatical details to make his tale worthy of the name of Dharmakatha. The structure of the narrative would remain intact in most of the cases even if these contexts are skipped over. There are, besides, casual references to Jaina ideas here and there. A Jaina monk, who has pulled out his hair on the head. wears white garments and has a bunch of feathers (piccha), is distinguished from Tapasa and Tridandin and considered to be honoured in view of his ascetic emblem. He blesses dharma-labha (185); and some details about his entry into the order and equipments are available (194.19). The Pancanamaskara is a shelter and has great miraculous potency in adversity (137); and the karna-japa (uttering of the panca-namaskara in the year) given even to an animal leads it to a better future birth (111.32). The way in which one takes to a asceticism and becomes a pratyeka-buddha is interesting (141.1-5, 142.17 f.). The idea of

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70 KUVALAYAMALA sadharmika-vatsalyatva (116.23, 137.20) clearly indicates that Jaina religion was not a theoretical philosophy, but a way of living tending to community life. A carana-sramana is gifted with certain miraculous powers; he has no gacchaparigraha; and he does not initiate others into the order. (80.17 f.). The Jaina Tirthakaras and saints are introduced here and there more than once. The saints staying in the forest have an atmosphere of peace and amity around them; and their routine of living is also interesting (28.22, 34). 4. RELIGIOUS TOUCHES IN THE KUVALAYAMALA Besides the insertion of Jaina dogmatical details, there are contexts in the Kuvalayamala in which the author either criticises the views of other creeds or casually refers to them whereby we get a good glimpse of the contemporary religious ideas. According to the Lokasastra, or scriptures current among the people, a son is necessary for the parents to reach better worlds and to satisfy the ancestors; so, for securing an issue (13.5 f.) various cults were current: flesh from one's body, dripping with blood, was offered as oblation in front of Isvara; one's head was offered to Katyayani who is stepping on a buffallo felled with Trisula; human flesh was sold on the burial ground; guggula resin was burnt on the head as an act of devotion; Bhutas, gods and Matrs were pleased with blood; and prayers were offered to Indra. These are all risky practices (SS 32). Advised by wise ministers, king Drdhavarman offers prayers, after due rituals (SS 34), to Rajalaksmi (addressed by various names 14.16) and urges her to grant him audience within three days; otherwise he would offer his head. This Rajalaksmi is the spouse of ancient kings like Bharata, Sagara, Madhava, Nala, Nahusa, Mamdhatr, Dilipa and others; and after a little joke with her, the king gets the promise of a son from the Kuladevata. Once prince Candragupta passes through a fatal test and satisfies a Vetala (SS 379) from whom he gets the required details about a robber who could not be spotted by the city guards. The deities, the author tells us, are twofold: saraga and viragin (SS395); and for worldly ends, the credulous people worship the latter of different names : Govinda, Skanda, Rudra, Vyantara, Ganadhipa, Durga, Yaksa, Raksasa, Bhuta, Pisaca, Kinnara, Kimpurusa, Gandharva, Mahoraga, Naga, astral bodies, natural phenomena etc. Sailors in difficulty offer prayers and make propitiative promises to different deities (68.17 f.) A lady about to commit suicide appeals for grace to Lokapalas (53.6). Yaksa worship is referred to; and there were Yaksa statues with Jinas on their heads. There is a substantial section (SS 322) in which the author reviews various tenets and practices of different religious schools rather than religious systems as a whole, and those too as contradistinguished from the Jaina ones. It is quite likely that these views are picked up and stated with the object of showing them to be contradictory and not acceptable to Jainism. Taking them seriatim, some of the systems reviewed are Buddhism, Tridandin, Samkhya, Upanisadic, Vedic sacrifice, Vanaprastha creed, gifts to Brahmana, the alleged Advaita creed, extreme Bhakti cult, self-immolation or torture for divine propitiation, Digging of wells, etc., washing sins in the holy Ganges etc., Caturvarnya-dharma,

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etc. INTRODUCTION erecting earthen deity etc., extravagant Dhyana, Vainayika creed, Carvaka view, gift of cows etc. to Brahmana, Karuna-dharma, killing of harmful beings, the Pandarabhiksu's view, Fatalism, Isvara as the guiding spirit, extreme Jnanamarga As against these the Dharma consisting of Five Vows is said to be acceptable. A severe attack is levelled against the Brahmanic prescription of Prayascitta which is backed by great saints like Manu, Vyasa, Valmika, and Markandeya, which has the sanction of Bharata, Puiana and the Gita, and which consists in giving one's all possessions to Brahmins, in wandering a-begging, cleanly shaven and in bathing and offering oblations at holy places like Ganga (-dvara ?), Bhadresvara, Virabhadra, Somesvara, Prabhasa, Puskara etc. (SSSS 94, 107). As against this, the Sramanic prescription is different and consists of repentance, mental purification and penance in a proper perspective of religious virtues (49.14 f., 55.24 f., 90.21 f.) Some interesting sidelight is available on the temples and holy places (p. 82): the former dedicated to Rudra, Jina, Buddha, Kottajja (Durga?), Sanmukha etc.; and the latter, such as the sacrificial enclosures, Brahmanic schools, residences of Kapalikas and lodges in which the Bhagavadgita was recited. In the evening, Brahmanic houses resounded with Gayatri-japa. Elsewhere there is a nice glimpse of the Mathas or colleges for higher learning where students from different parts of India (150.20) flocked and were trained in handling weapons and in various fine arts, crafts and miracles (151.6 f.). There were held classes (vakkhana-mamdali) as well in advanced branches of learning such as grammar, Buddhism, Samkhya, Vaisesika, Mimamsa, Naiyayika, Jainism and Lokayata the characteristic topics of which are enumerated (SS 244). The description of the students is quite typical; and some of them mastered Vedic recitation (151.12 f.). 71 5. DIFFERENT LORES, ETC. The author makes a distinction between 72 kalas and 64 vijnanas (15.11 f.). Among the miraculous lores prajnapti and mahasabari-vidyas are mentioned (236.22, 132.3, 133.5). The prince Kuvalayacandra knows dhatuvada or alchemy, turning baser metal into gold; and he comes across a group of people who are attempting that experiment, but without success. Their activities are described, and we get a good sketch of what is done in this process (SS 311 f.). The text Jonipahuda is said to be the source of this Vidya (196.32, 197.6 & 19). The Laksanasastra is elaborated more than once (116.9 f., 129.3 f.): a branch of it is called samudra (129.3). There is mentioned a lore of detecting treasuretrove (khanyavada) from the plant above; some characteristics of the latter are described as if some source is being quoted (SS 187; 104.23 f.). There is a prince highly skilled in the art of painting, and he has painted an elaborate scroll of the Samsara-cakra (185.18 f.). There are repeated references to belief in astrology, and an astrologer is consulted on various occasions (SSSS 47, 273). There is a good discourse on rasi-phala (SSSS 48-9), giving the traits and longivity of a child born on a particular rasi, on the authority of Vamgala-risi: may be that the name of his treatise was Vamgala-jayaga (20.2, 3, 24). The prince explains why one should not eat food or drink water or even bathe immediately

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KUVALAYAMALA after one is over exerted and is hungry and thirsty; and he refers to Ausattha in this context (114.23 f.). The author has his own ideas about the digestive process inside (228.11 f.); and in one context, he describes graphically the predelivery signs (76.1 f.). Horse riding was quite necessary for princes. Possibly using some manual on Asvasastra, the author enumerates eighteen breeds of horses (23.20-1); and he gives details about some of them with reference to their varna and lanchana ($ 56.). Here and there, we have dreams and their symbolic interpretations (8 41: 269.7 f.) The Nimitta-jnana, which is a branch of Srutajnana, is potent enough to indicate subha and asubha of the past, present and future; and it is illustrated in details ($ 412). Besides the reference to Bhurjapatra which was used for writing (the script being avara-livi) a love-letter (160.13 f.) there is a graphic and detailed description (a bit dignified) of a palm-leaf Ms. written in Brahmi-lipi (201.28 f.). 6. Socio-CULTURAL GLIMPSES The Kuvalayamala bristles with striking social and cultural touches of great interest. The author draws his chief characters from the different well-known layers of the society. By birth Candasoma was a Brahmin; Manabhata, a Ksatriya; Mayaditya. a Vaisya; Lobhadeva, a Sudra; and Mohadatta, a prince. The pilgrimage to Ganga and other holy Tirthas was prescribed by the priest as a prayas'citta against various sins (48 f., 63 f. 72 f.), though not approved of by the author. A typical Tirtha-yatrika is described with reference to his dress and equipments (58.1 f., see also 48.24 f.). A famine or draught of twelve years often led people to migrate for food and prosperity (S202). The author supplies a list of respectable ways of earning wealth (57.22 f., also 191.1 f.) and also of benevolent channels of spending it (65.8 f.). Though Benares had many good and bad openings for earning wealth (57.16 f.), it was Daksinapatha, with Pratisthana as an important town therein, that was looked upon as a prosperous territory by the traders (57.27 f.) whose preparations for a trade-trip and onward travel from camp to camp (65.13 f., 135.21 f., 198.23 f.) are noteworthy. We get a good sketch of the preparation of a traders' fleet; the rituals are interesting; and the various items in the boat deserve special attention (67.1 f.). Often the trade-routes pass through perilous forests (118). In the vicinity of Sahya mountain, there were Pallis of Bhillas who often robbed the caravans (135.27 f.). Their Pallis (for instance the Cintamani, p. 139) seem to be pretty prosperous samnivesas (227). The Bhillas are Mlecchas, but now and then, despite their wild habits (112.21 f.) in contrast to the respectable, they too have their code of behaviour (146.13-7). Traders had their clubs; and the custom at such a club in Sopparaya (i.e., Sopara, near Bombay) was that the foreign traders narrated their experience and adventures and were honoured there with Gandha, Tambula and Malya (65.22 f.). These traders exchanged their information as to what commodities were available in different places and where they could be sold with greater profit. Horses were sold in Kosala in return for elephants; betal nuts were exported to Uttarapatha in exchange for horses; and pearls were exported to eastern country (purva-desa) in exchange for Camaras, Conchs were available in Dvaraka. From the Barbara-kula

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INTRODUCTION tusks and pearls were brought in exchange for clothes. Palasa flowers could fetch gold in Suvarna-dvipa.. Buffaloes and cows fetched netra-patta in Cina and Mahacina. Neem leaves could buy jewels in Ratnadvipa. Men were in great demand in the kingdom of women etc. Some of these details cannot be accepted on their face value; they may be just exaggeration ($ 129). In the busy market places, men from different parts of the country came and had conversations in different languages ($ 246) which are interesting spacimens of contemporary spoken idioms as the author could catch them. Their business conversations are quite lively and give some ideas about weights and measures (153.16 f.). Greedy merchants took risks of travelling on land and by sea of the dangers of which they were quite aware (65.15 f., 66.6 f.). Now and then there were ship-wrecks (8 166). Traders went on long journeys, sometime for more than twelve years, leaving their young wives behind (74.12 f.). Various good and bad omens were attended to while going on a journey (for the preparation etc. see SS 285), and they are explained in short (289). The birth of a prince and the subsequent activities and festivities are elaborated in a stylistic manner (S$ 44-46.). Likewise, the wedding is described in all the details: the preliminaries of the marriage, the wedding function along with the rituals and concluding rites, the bed-ceremony, the couple enjoying the sea-sight from the palace-terrace and various pastimes such as prahelika etc. (88 273-80.). A good description of the coronation of Yuvaraja is available (200.8 f.). There is a scene of the royal apana-bhumi at which various sweet drinks are served ($ 50.). Very interesting are the gossips of the village ladies bringing water and of the boys in residential schools (149.30 f., 151.18 f.). The parade of conveyances ($ 57) in the royal courtyard and the scene of the Jayavarana running amuck ( 248) reflect events in the contemporary capitals. Playing on the swing was an important sport of the spring (51 f.) during which was celebrated Madanamahotsava, giving an occasion for youths to meet in the festive garden (77 f., see the reference to madana-trayodasi in line 15). During the autumn, parties of dancers, actors etc. moved from village to village; and how a programme was enacted at a village is graphically described (46.5 f.). There was a festival on the day of the Sarat-paurnima (103.32). While describing the scenes and activities in the city, lat evening, the author presents a picturesque sketch of the movements of the Kamini ($$ 156-58.). There may be some exaggeration; still there are available some glimpses of the fashionable and luxury-loving section of the society. Festivities like the Indramaha, Mahanavami, Dipavali and Baladevotsava appear ** to follow in succession after the rainy season (148.11 f.) There is a pretty good number of beliefs reflected in the Kuvalayamala here and there. Blood and flesh were taken from a living body and used for alchemical purpose (69-24 f.). A robber possessed a miraculous sword and a pill, the latter being always placed by him in his own mouth (251.25, 253.18). More than once, a miraculous movement, jumping up like a flash of lightning (vijjukkhittam karanam) is mentioned (73.24, 87.13).

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14 KUVAL AYAMALA 7. COURT, TERRITORIAL DIVISIONS AND GEOGRAPHICAL BACKGROUND King Drdhavarman possesses quite an imperial dignity (9). His council of ministers consists of eight members: Mantrin (like Bshaspati), Mahanarendra, Mahavira, Mahavaidya (like Dhanvantari), Mahabrahmana (like Caturvadana), Mahakavi (like Vyasa), Mahasenapati (like Sanmukha) and Mahapurohita (like Sukra) who are compared with their mythological counterparts, if not predecessors ($ 40). There is a scene of the court of Avantivardhana; and therein was observed the court-precedence who is to sit where in the audience hall. A Pulinda prince who occupied a higher seat by mistake was hit on the spot by Manabhata who felt offended because his seat was taken by the former (50). The Yuvaraja appears to enjoy de facto powers of the king (213.7 f.). The rich encouraged poets with rewards for Subhasitas (103.19). The references to Magadha, Rajagrha and king Srenika (contemporary of Mahavira) bring us to the historical period (268.9 f.). The territorial (or what might be, in many cases, political) divisions and the geographical details referred to in the Kuvalayamala deserve special attention. In the southern half of Jambudvipa, which is surrounded by the ocean, there is the Bharatavarsa, isolated by the Vaitadhya mountain (7.7 f.): the two Desas, Uttarapatha and Daksinapatha ($ 430) are well-known. The town of Taksasila the Madhyamakhanda of the Uttarapatha ($ 127); the river Candrabhaga flows there and conflows into the ocean (jalahi-dai ya); on its bank there is the famous town Pavvaiya where ruled Toraraya (8 430). To the South of Vaitadhya, in between Ganga and Sindhu, there is the Madhyadesa; its capital is Vinita, the same as Ayodhya; and it was being ruled by king Dudhavarman (S$ 13-7, 156.26, SS 285). Avantijanapada, possibly a part of Malava-desa, has Ujjaini as its capital (97). Prince Mahendra is the son of the king of Malava who is not on good terms with Dtdhavarman of Ayodhya ($ 21 f.). From Ujjaini there was a highway to Pataliputra (77). Vatsadesa has its capital in Kausambi, ruled over by Purandaradatta (SS 67-69). The term Purvadesa is used at times (62.17, 65-31). Daksinapatha was looked upon as rich (104.6 f.); and there the town of Pratisthana was prosperous, affording opportunities for earning wealth. ($ 114). Soparaka was a big emporium for traders who came there from different parts of the country (S$ 128-29). Lata, which has its specialities of dress and desa-bhasa, and in which Dvaraka is located ($ 291) is mentioned along with Karnata, Malava, Maharastra, Saurastra etc. (150.20, 185.8). Among other towns mentioned we may take note of Bhrgukaccha (99, 123 etc.); Varanasi in the territory of Kasi (56.21 f.); Kosala in Kosala (73.30 f.); and Campa located in Daksina-madhyama Khanda (96, 103, 109). Among the Jaina holy places, Sammeda-sikhara and Satrunjaya (124.18; 80.18) deserve attention. The author shows some acquaintance with the extreme South of India. Candasoma belonged to Ragada (not a Sanskritic name), a village in the vicinity of Kanci, the capital of Kanci of Dravidas (45.15 f.). Parties of traders used to go to Kancipuri (134.32 f.). It is interesting to trace the route of Prince Kuvalayacandra. He is flown by the horse from the town of Vini

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INTRODUCTION 75 towards the South. He passes through the Vindhya forest (27.28 f.) which possesses camps of wild tribes (112.3-25). He crosses the river Narmada or Reva ($ 206), on the banks of which there is a Mahatavi. Then he comes to the Sahya mountain (134.24-30) in the valley of which he stays with a Bhilla chief in his palli (138.11 f.). Then he reaches the country of Vijaya-puravari on the southern coast (149.6 f.). Its capital is Vijaya (-nagari,-puravari or-puri), quite a prosperous town and situated right on the shore of the ocean the scenes of which could be witnessed from the terrace of the palace: in fact, its southern rampartwall was washed by the waves of the ocean (173.32 f.). It is to be distinguished from Jayanti (183.19). Other towns named Jayasri (104.8), Sritunga (107.16) and Jayatunga (109.26) are referred to, and they are all located on the southern shore. The most important question is the identification of this port town Vijaya in the South. Uddyotana may not have personally visited the South, but it is quite likely that he had heard a good bit about it from the mouths of traders going to the South possibly travelling along the Western Coast. In the South of India there are some towns with their names beginning with Vijaya, such as Vijayapura, Vijayanagara, Vaijayanti; and some of them pretty ancient. The proposed identification has to fulfil certain conditions: it is located on the Western Coast, as it is reached after crossing the Sahyadri; secondly, it is situated right on the sea-shore; and thirdly, its southern wall was washed by the waves of the ocean (173.31). One is inclined to identify it with Vijayadurga in the Ratnagiri District. Very interesting information about it is noted in the Ratnagiri Dt. Gazetteer (p. 379). It was known to the European travellers as the best of the Konkan ports. It is a rocky spot surrounded by sea practically on three sides: the river Sukhanadi (as it is locally called) flowing down from Kharepattan almost makes a good lake near the fort, and it is a safe haven for the boats plying along the Western Coast. Though the present structures belong to the Maratha period, the port shows a good rocky base which must have been well-known and striking to the travellers along the Western Coast. It was under the rulers of Bijapur (the former Vijayapura). Lately, I visited the place and was struck by the coincidental description in the Kuvalayamala that the southern wall is washed by the waves of the sea. "A. HAMILTON (1710) mentions it as Gheria or Vizendruck, fortified by a strong castle washed by the sea (New Account L. 246). In 1756 Sir W. JAMES, surveying before the English attack, speaks of a very large town betwixt the fort and a hill to the South. The town seems to have been nothing but a large collection of palm-leaf huts (Lows' Indian Navy, L 133). Its great natural advantages make it probable that the mouth of Vaghotan river is one of the oldest coast settlements. There seems reason to suppose that it is Ptolemy's (150) Byzantium, a Greek corruption of Vaijayanta (see WEBER in Ind. Ant. II. ' 148). Rashid-uddin's (1310) Karoba has been thought to be Gheria (YULE in Ind. Ant. III. 209)." About the identification Vaijayanti (mentioned in the Kadamba copper plates) and Jayantipura (of the Vijayanagar grant) there is a difference of opinion. Some take them to be Banavasi, in the South Kanara District, while R. G. BHANDARKAR1 proposes Vijayadurga. Uddyotana, as noted above, distinguishes 1 Early History of the Dekkan, 3rd ed. Calcutta 1928, pp. 73 f,

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76 KUVALAYAMALA Jayanti from Vijaya. The environments of Vijaya and the route to it from Ayodhya, as stated by him in the Kuvalayamala, very well suit the present-day Vijayadurga which was included in the Vijayapura territory. 8. AUTHORS AND WORKS REFERRED TO IN THE KUVALAYAMALA Uddyotanasuri is an adept in the Katha branch of literature, and his Kuvalayamala is a veritable gem in it. He enumerates various types of Kathas, and styles this work as Samkirnakatha ($$ 7-9.). He is a poet of wide learning; and he is fully acquainted with his predecessors and their works in this field. His references to them occur mainly in one paragraph ( 6), mainly in one paragraph (SS 6), at the beginning of this work : 1) Padalipta (Palittaya) is the well-known author of the Taramgavai which receives here great compliments. He seems to have been taken as a contemporary of Hala (=Salahana) who is mentioned along with him. 2) Hala had a great hold on the village folk, and his Kosa is an inexhaustible thesaurus. 3) Chappannaya is not the name of any author like Padalipta or Hala, but connotes a group of poets (to which Padalipta and Hala also could be assigned) adept in wise sayings; and lately, a Gathakosa attributed to them has been brought to light. 4) The Vaddakaha (i, e., Brhatkatha) of Gunadhya (who is called Kamalasana) is a veritable mirror for poets and is likened to Sarasvati. 5) Vyasa and Valmika to whom we owe Bharata (see also $ 94) and Ramayana are unsurpassed models. 6) Bana's Kadambari is brilliant with exquisite expressions. 7) Vimala (the author of Paimacariya) who is Vimalanka is complimented for his lucid Prakrit. 8) Devagupta, a royal saint from the Gupta family (see also SS 430), is well-known for his Supurisacariya. 9) Harivarsa, the author of Harivamsuppatti, is complimented for his popularity and spotless expression. 10) The Sulocana is a well-narrated Dharmakatha. 11) The royal saint Prabhanjana is famous for his Yasodharacarita. 12) The charming Varanga- and Padma-caritas are composed by praiseworthy poets, Jadiya (=Jadila) and Ravisena. 13) The author of the Samaraditya-katha, (namely, Haribhadra) who is Virahanka, is mentioned as a teacher or Guru (of the author, see also $ 430 below) in scriptural instruction. 14) Other poets (whose names are not given) known as Abhimanaoka, Parakramanka and Sahasanka are also remembered (86). In other contexts some other works and authors find mention rather casually. A great authority on astrology is Vamgala Risi, and long quotations possibly from his Vamgalajayaga are given (S$ 48-9). The Jonipahuda (=Yoniprabhrta) is a work dealing with the utpatti of various Jivas and about the fusion of metals etc. (34.24.). It was an authority on alchemy, turning baser metals into gold; and there were adepts in the study of this work (196.32; 197.6, 20). The Gita or Bhagavad-Gita, as a text which was recited, is referred to (48.17; 82.33). There is mentioned (56.28) Canakya-sastra (in plural): this may have the Arthasastra of Kautilya in view. In the light of the context, I have shown elsewhere (Bharatiya Vidya, Jan. 1947, pp. 23-4) how Samaramiyamka Kaha stands for the Samaraiccakaha,

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INTRODUCTION the reference to Kamasastra (78.9) has possibly Vatsayana's work in view. Some symbolic gestures to indicate that one wants to meet the lady in private are noted (73.12; 74.23 f.). The Nitisastra (255.26) must be a Sanskrit text allied to the Pancatantra, a recension of which known as Tantrakhyana is mentioned and quoted in this work (236-7, lines 30 & 1). There is a mention of Samudra-Sastra dealing with purusa-laksana etc., which is too extensive but which is summarised here in one Sanskrit verse (129.3 f.), and when asked for, which is propounded in more details in Prakrit verses subsequently ( 216). There is a casual reference to Bharata-sastra (16.23), possibly the Natyasastra of Bharata. What are looked upon as two parts seem to be mentioned as two works, Vasudeva-himdi and Dhammilla-himdi, indicated by the plural (281.11). 9. LANGUAGES AND DIALECTS USED BY THE AUTHOR Uddyotanasuri presents, in this work, quite knowingly a vast range of linguistic material which has a special significance for the Indo-Aryan in particular and of Indian Linguistics in general. The author tells us that this work is composed in Prakrta-bhasa, and the patterns of description (vannaya) are of the Maharastra-desi type. In some contexts, just out of curiosity, some passages are composed in Sanskrit by way of quotations, something, i. e., some portions or passages are written in Apabhram sa, and Paisacibhasa is illustrated (4.11-2). He clearly recognises three literary languages : Praksta, Samsketa and Apabhramsa; and bards reciting in these languages are introduced in the Asthana of King Dudhavarman (16.22). By Prakrta he means the standard Prakrit dialect, Maharastri or Sauraseni; so other dialects are Apabhramsa, Paisaci, Magadhi, Raksasi (Culika-Paisaci?) and some admixture of these (175.14). Besides he speaks elsewhere of Desa- or Desi-bhasas (281.23), the Lata-desa having the same in quite a charming form (185.8.). The traders from different territories (desavanie) spoke in their various Desabhasas in the market place, and some eighteen of them the author illustrates by specifying their names ($ 246); and besides he refers to the languages spoken by Khasa, Parasa and Barbara people (153.12). The languages spoken in the South India were also included among Desa-bhasas (149.4). The knowledge of Desi-bhasas was looked upon as a cultural equipment (128.17). These appear to be territorial spoken forms of speech, as distinguished from the literary languages having cultivated styles of their own. On the style and structure of Sanskrit, Prakrit and Apabhramsa, relatively viewed, Uddyotana has given his observations which are indeed classical and as such are presented here in free rendering. In his opinion, Sanskrit, with its manifold vocabulary, compounds, indeclinables, prepositions, cases and genders, is full of difficulties and dangers like a villain's heart crowded with hundreds of bad thoughts. The association with Prakrit, like that with the words of good people, is a happy one: it is an ocean of worldly information crowded with the waves of discussions about various arts; it is full of nectardrops that are oozing out on account of its being churned by great persons; and it is composed with a variety of nice arrangement of words. Apabhramsa is a balanced and pleasing admixture of the waves of pure and impure

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78 KUVALAYAMALA Sanskrit and Prakrit words; it is even (or smooth) as well as uneven (or unsmooth); it flows like a mountain river flooded by fresh rains; and it ca the mind like the words of a beloved when she is coquettishly angry (138). Quantitatively the Sanskrit passages are few and mostly metrical. As a rule, they are quotations (para-vayana, 4.12, as the author puts it). A few observations might be offered on them individually. i) In the discussion about prayascitta, the five sentences, which are metrical lines (48.18-21), appear to have been taken, perhaps in a mangled form, from some Smrti works. The sentence jighamsantam etc. is found as the second line at III.20, Vasisthasmrti. ii) The long verse in the Sardulavikridita metre (103.17-8) is called a Subhasita by the author himself. It is not found in the centuries of Bhartphari. iii) This is a prayer (116.17-9) offered to the first Jina, Rsabha or Adinatha Tirthakara. The author calls it Dvipadi Khanda, meant for singing. iv) This is an Anustubh verse (129.8) giving the gist of the Samudra-Sastra which is very extensive. v) This is described as Carcarika (145.7-8) sung to the accompaniment of dancing and is said to be composed of irrelevant expressions. The verse contains obvious mistakes, though metrically it sounds fairly well. vi) This (152.8) occurs in a jocular context. It is called Gatha by one and Skandhaka by the other. It has a traditional ring; and obviously it has a mangled form, combining portions of a verse from the Pancatantra and of another usually found in inscriptions (See Notes). vii) This is a Sloka (175.10) to illustrate the distribution of its 32 syllables in a diagram. It glorifies Jinasasana and might be an old verse; and there are available similar verses composed by Akalanka and others. Some prose sentences in Sanskrit are also found on this page (see 11.4, 23). viii) This is a prayer (198.18-20) to be offered in the blessed morning. Similar Suprabhatastotras are current among the Jainas. ix) This is also a morning prayer (214.20) offered to the Jina. It is not unlikely that the author himself composed it. x) This (233.9) is obviously a quotation. xi) This is an important quotation (237.1). The source of this sloka is specified as Tamtakkhana, i, e., Tantrakhyana. The Ms. J has originally takkhana ya which, on the margin, is prefixed by Pamcatam in a later hand. Including the additional marginal gloss, the reading would be Pamcatamtakkhana ya. The reading of P adopted in the text stands for Tamtakkhane i. e., Tantrakhyane which was the title of a recension of the present-day Pancatantra.' HERTEL has noted that the Buddhist version from Nepal was called Tantrakhyana. The Pancakhyanaka of Purnabhadra is assigned to A. D. 1199. The Ms. J is 116 years older. The verse in question is not traced in the text edited by HERTEL. xii) This sentence in Sanskrit (244.5) is a prose quotation. xiii) This piece (247.7), omitting the word deva is a metrical foot repeated in the Sanskrit text as well. The verse given by P (foot-note No. 7) looks like a parallel quotation. xiv) The source of this Anustubh verse (255.27) is Nitisastra. It is not traced in the Pancatantra noted above The Apabhramsa passages, which are scattered practically all over the text, but mainly in the first half of it, fall into, or can be grouped into, some types in view of the form or contents. 1) See HERTEL: The Pancatantra Text of Purnabhadra. HOS, Vol 12, Intro. p. 20.

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INTRODUCTION The dohaka (47.6) sung by the gramanati is in Apabhramsa, so also the song put in the mouth of the gurjara-pathika (59.5). Then there are a few such verses which go along with the prose passages in Apabhramsa (6.9, 11; 31.26 f.). There is some uncertainty in view of the alternative readings whether 2.28 could be taken as in Apabhramsa: one Ms. reads atthau but the other attho. In some prose passages, Apabhramsa forms intrude here and there, may be that a few of them were current in the spoken idiom of those days. At 23.9 f., the king is addressing the Asvapati, the chief of the stable; and he uses an Apabhramsa form, the Gen. sing. in -ho. The forms ghari at 79.30 and animittu at 99.19 etc. are stray intruders. Then here and there, some short Apabhramsa sentences like sa puna kaisiya etc. are followed by Prakrit passages, 7.22, 60.16; etc. There is a pretty good number of passages which freely use what are looked upon as forms special to Apabhramsa. They are often introduced with a question containing a Prakritic synonym of kidrsa, such as kerisa, kaisa, etc. in the required form, with or without the k-suffix. These passages (some of them including a verse or so) are usually descriptions: of durjana 5.27 f.; of sajjana 6.15 f.; of a horse 23.13 f.; of a samnivesa Ragada by name 45.17 f.; of Avanti and Ujjaini 50.3 f., il f.; of Kasi and Varanasi 56.21 f.; 27 f.; of Kosala and Kosala 72.31 f., 35 f.; of a patti 112. 9-12, 14-19, 21-24; of summer scenes 113.6-8, 10-12, 21-24; of a town struck with famine 117.20 f.; of Vindhyan forest 118.16 f.; of Narmada 121.1 f.; of Ujjayani 124.28 f.; of a caravan 134.33 f.; of the town Rayanauri 140.2 f.; of the scenes of rainy season 147.24 f.; of Vijayapuri, territory and town 149.6 f., 20 f.; etc. Then some other passages, which often go with the above, contain what might be legitimately called Apabhramsa forms. They describe situations or activities with short sentences following in quick succession (beginning with terms like ja jahim etc.), as at 50.15 f., 82.25 f., 169.13 f., etc. 19 In order to mark out the Apabhramsa traits all these passages can be studied together. The rules about Apabhramsa, noted by Hemacandra and other grammarians, are often optional; and later grammarians have recognised an admixture of Prakrit and Apabhramsa to which a name Upanagara is given by Kramadisvara and Markandeya. Here many passages are in Prakrit so far as the vocabulary and even some forms are considered, but they possess striking characteristics of Apabhramsa the presence of which gives them a label as Apabhramsa passages. The Apabhramsa, as Hemacandra presents it, is positively a remodelling of some popular dialect or dialects to the status of a literary language. Such a process must have gone for long in different areas, and all this on the pedestal of Prakrit itself. This alone explains how Apabhramsa forms could encroach upon literary Prakrit, a phenomenon which is seen even in the Paumacariya of Vimala who flourished much earlier than Uddyotana. By Uddyotana's time, Apabhramsa as a literary language, much closer to the spoken form of speech than the standardised Prakrit, was a fact; and that is how it could affect some of the passages. It is perhaps for the first time that we are coming across a large amount of prose which shows Apabhramsa forms. The king uses Apabhramsa forms while addressing an Asvapati; the grama-nati sings

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80 KUVALAYAMALA in Apabhramsa; and the Gurjara traveller has his verse in Apabhramsa. This at once indicates the layers of the society in which Apabhramsa was favoured more, and it affected by proximity the literary Prakrit now and then. The broad yet striking grammatical traits of all these passages studied together may be noted here preferably in comparison with the description of Apabhramsa given by Hemacandra in his grammar. Some liberty of vowel changes is seen in forms like varai < varakah 6.9; puni < punar 6.22; piyami for pibami 112.23; anni pani < anye punar 149.15; and bhadaraya < bhattarakah 147.28. The vowel r is retained in trna 31.12, and a conjunct group with r is noticed in a word like prana 47.6 (cf. Hema. VIII. iv. 329, 398). Coming to Declensional forms, Nom.sing. termination u (often with ksuffix) is seen besides o in the case of a-ending nouns; dujjanu 5.27; janiu 5.31; vanu 149.8, lohium 112.23 (cf. Hema. VIII. iv 331-2 also 354). Sometimes the termination in the Nom. and Acc. is absent, and besides vowel-variation is seen: kajala ghuja (for kakah ghukah) 82.27 (see also 112.10, 15); navamkurarehira puhai, vavada haliya 147.25.27; ekka, cciya koila mottum 147.30 (cf. Hema. VIII. iv. 344, also 330, especially illustrations). The forms of the Nom. pl. of neuter nouns ending in a of the type kesaraim, bhavanaim, gamaim (besides gamaim 72.31) 31.16-7, 56.22 (see also 112.32 f., 117.21 f.) are found in plenty (cf. Hema. VIII. iv. 353). The Instr. sing. forms of a-ending nouns are of the type mahallenam saddem 6.1 (Hema. VIII. iv. 342). The Gen. sing. forms of a-ending nouns are of the type dujjanaho 6.11, demtaho 6.22 etc. The form mayahim (mrtasya) 5.28 is either a case of vowel-variation or of contamination with i-ending types; the pl. forms are of the type cilayaham 112.21 (cf. Hema. VIII. iv. 338-9, 341). The Loc. sing. forms of a-ending nouns show the types cittae 6.1, samsaggi 6.20, ghari 79.30, gharoyare 147-26 (cf. Hema. VIII. iv. 334). Pronominal forms like jasu 47.6, tahu, 47.6; jahim 31.15, tahim 72.35 and kahim 121.2; jaha 118.18; and ayaho 6.2 are found in our passages and have their correspondence in Hemacandra's rules. The k-suffix is used here quite in plenty kaduyau, mahurai 6.5, juvalulla 23-16. Participle forms with the suffix alla, illa or ulla etc. are quite interesting: jayalliya 6.2, bhariyallai 6.9, see also 112.11-12, kaisiyao jayalliyao 113.10. Agreement in gender seems to be upset in pahayau nayara-baliyai 140.3 (Hema. VIII. iv. 445). The potential participle form type of mariyavvai 112.21 is noted by Hemacandra (Ibid. 438). In these passages though the vocabulary is the same as in Prakrit, one is struck by the tendency to use Desi words (112.22) and Dhatvadesas (112.18 etc.). Forms like jaisai, kaisaiya 5.27, 7.22 are sanctioned by Hemacandra in a special sutra (VIII. iv. 403); and saim (for svayam) 6.4 is found more than once in his illustrations (on sutra 402). The words like ghaim 5.28, ji, jji or jje (for eva) 6.25, 6.56 and vunna (= visanna) are noted by Hemacandra (VIII. iv. 420-21, 424). Onomotopoic dhatvadesas used by Uddyotana, such as, karayara 5.30, cadapphada 5.29, khamakhama, phuraphura 23.16, cilicili, kilikili 82.27-28, maghamagha 169.27 are perhaps colloquial. These characteristics of the Apabhramsa passages are covered by the rules of Hemacandra. The description of Apabhramsa given by Hemacandra is a bit more pervasive covering many dialects, or local variations,

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INTRODUCTION 81 without making any distinctions; any way it can safely be said that the Apabhraiia used by Uddyotana is duly covered by the rules given by Hemacandra; and this is but natural, because both of them hail from nearly the same linguistic area and belong to the same tradition of learning. Uddyotanasuri has illustrated another bhasa, namely, Pesaya, i. e., Paisaci, as we have it elsewhere: and the passages are included in $ 139. They have already attracted the attention of earlier scholars like L. B. GANDHI, A MASTER and F. B. J. KUIPER. The last two have attempted not only a critical constitution of the text based on JP but also discussed grammatical forms and presented a translation in English. Paisaci language and literature have been a matter of great scholarly curiosity, investigation and even speculation for one main reason, namely, the Brhatkatha of Gunadhya was written in Paisaci. The two Mss. J and P vary in details of readings; individually the Mss are not without faulty readings; and they seem to have suffered unconscious syllabic changes because the Paisaci passages come in the midst of nonPaisaci ones. As these passages are thoroughly scrutinised by MASTER and KUIPER, only a few observations will be added here in the light of the rules of Hemacandra. In these passages the tendency to retain invervocalict (quite possible in Pali-and now and then even in Ardhamagadhi both of which form along with Paisaci an earlier stratum of MIA), to change even d to t, to use n instead of n, to prefer yy (=dy) for ji, to use verbal forms like lappiyyate, ujjhit (t)u [u] na and to use words like Kusumotara tamotara in Hemacandra) sinnana and hitapaka is quite in tune with the rules of Hemacandra. The use of I for 1 and some traits of Culika Paisaci are not noticed here. Then may be studied together three contexts in the Kuvalayamala in which some conversational passages occur; first (55.15 f.), talk of the decrepit-anddestitutes; secondly (63.18 f.), prescriptions of the Grama-mahattaras for the purification of culprits who have committed the sin of mitra-droha; and thirdly (151.18 f.), the conversation between the boys belonging to a residential school. The grammatical substratum for these passages is literary Apabhramsa (the first passage could be easily styled as Apabhraisa); but there are certain elements in them which give a different tone and flourish to them. The Indian society has all along a two-fold current of languages: the literary and the spoken. In a way, they were independent, but all the while running parallelly with mutual interaction. These three contexts, under study, are a part and parcel of a A. N. UPADHYE: Paisaci Language and Literature, Annals of the B. O. R. I., XXI, parts i-ii, pp. 1-37, Poona 1940, in which are included some earlier references. A. MASTER : The Mysterious Paisaci, JRAS, 1943, 217 f. V. RAGHAVAN: The original Paisaci Bshatkatha, Bharata Kaumudi, Allahabad 1947 pp. 575-588; see also his Bhoja's Srngara-prakasa' (Madras 1963), pp. 846 ff. Asada, a commentator on the Sarasvatikanthabharana believed that the Paisaci quotation panamatha etc., given by Hemacandra is the adi-namaskara of the Byhatkatha, Bharatiya Vidya (Hindi) III, i, pp. 231. Dr. SUKUMAR SEN (Journal of the O. I., XI, 3, pp. 193 ff, especially pp. 207-8) holds the view that what the Prakrit grammarians call Paisaciwas probably the early MIA literary language which after being cultivated by the southern schools of Buddhism later received the name Pali in Ceylon'. There is no doubt, and it is accepted, that Pali and Paisaci have much in common, and form perhaps the earlier group.

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82 KUVALAYAMALA Prakrit text which contains plenty of Apabhramsa elements; but they positively verge on what must have been the spoken form of speech. It may be called Middle Indo-Aryan colloquial, or even Mid-Indian colloquial. The orthodox authors, who are brought up in the tradition of conventional court poetry, would not like to admit such conversations; but Uddyotana has done it; and he must be complimented on his having given us such linguistic material which would not have been otherwise available. The growth of Middle Indo-Aryan languages shows many gaps, because the spoken predecessor stages are not preserved: and what is found by way of its counterpart in literary strata is only partial and inadequate in linking the continuity of the speech formation. Dr. A. MASTER has already studied and offered grammatical notes on these passages. It may not be out of place to look at these passages from the points of view of Sanskrit, Prakrit (i. e., Maharastri and Sauraseni) and Apabhramsa and observe their constituents with reference to their phonetic make-up, grammatical forms and vocabulary. The alternative readings only show that the passages have suffered changes in copying, beause the dialect is not clear-cut as expected; and the forms are often obscure. The first conversation is set in an orphanage at Mathura, and the list of the destitutes is quite interesting. The names in the list stand perhaps without terminations as one would use ordinarily while speaking. This is not impossible even in Apabhramsa. Besides the Prakrit forms, the Apabhramsa -u, Nom. pl. -im (with a preceding), Gen. pl. --ham, the form kahim, perhaps je or jje (standing for ji or jji in some cases), the retention r in Prayaga, and a word like kheddu (Hema. VIII. iv. 422/9) are easy for detection. 1 miliellae, rutthellao and jampiellau, ekkekkamaha (Gen. pl. agreeing with the preceding nouns ?), gayaham (besides gayaham, repetition of so, and expressions like kahio vuttantao, tena jampiellai, kaim kajju etc., add a positive colloquial tone to the passage. The second context consists of four statements (63.18, 20, 22 and 25, which have perhaps a metrical ring) which are put in the mouth of Grama-mahattaras, the last of whom, however, is a Dramga-svamin, Dramga being a settlement of the Gurjara tribe. The Prakrit background of these speeches is clear. The Apabhramsa traits are seen in forms like ehaus, u-endings, the word kira (Hema. VIII, iv. 419) and forms like Gamga, brolla, pravu etc. The retention of r in a number of conjunct groups, alternative forms like etu, eu and ehu, Sanskritic tendency as in protu (=proktam ?), sampratu (=sampratam, besides samprati), bhrati, retention of intervocalict (once its softening in viraidu) etc., may be even dialectal traits (not unknown to Hemacandra) in the different sections of the society. But all these put together do point out to the colloquial format of the speeches uttered by people whose language is not standardised by some or the other grammatical discipline. The third context is perhaps the most interesting conversation between the inmates of the residential school. They are all grown-up boys and are trained in reciting Veda (veda - padha-mula-buddhi-vitthara). Dr. A. MASTER has already studied some of the grammatical details. The Prakritic basis is obvious. The Apabhramsa characteristics like the u-endings, Gen. pl. in -ham, forms

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INTRODUCTION The without terminations (like ka, bhadariya), Present 1st p. pl. in --hum, etc. most striking aspect of these speeches is the sprinkling of Sanskritic pronunciation (kidrsam, sometimes wrongly sprsta from prcch), introduction of Sanskrit words and also forms shaped after the Prakritic set up (varnni < varnaya, yadrsiya, parinetavya, vismrtu) and even broken sentences. A form like pathasi is quite usual in a variety of Prakrit called Pali on account of its use in the Buddhist canon. This colloquial speech is made to smack of Sanskritic learning and skill in metres, quite natural in a Vedic school. An old Sanskrit verse is a bit mangled: and what is put in Sanskrit must have been originally in Prakrit (tambola-raiya-rayam aharam datthuna kaminiyanassa). Here and there some Desi words like catta, simgha etc., are used. analysis of any Modern Indo-Aryan speech today will disclose elements more or less on this line. The alternative passage in P and alternative readings show that subsequent readers or copyists might have taken some liberty with the expression. May be that there is some exaggeration and artificiality in imitating the speeches of these boys. But that the author seems to have done his best to reproduce approximately the contemporary colloquial idiom used in an orphanage, by village headmen and by youths studying in a Vedic School, should be accepted as highly probable. An The prince reaches the market place in Vijayapuri. There he sees countrytraders who could be distinguished by their territorial speeches (desa-bhasalakkhie) i. e., dialects and languages (their traditional or conventional number is eighteen) current in different parts of the country. He describes these categories of people, physically and temperamentally, and gives some words or so from their speech (p. 152, 1.24 f.): 1) The Gollas are dark and of harsh words; they enjoy a number of skirmishes or fights and are devoid of modesty (lajja); and they utter adade'. 2) Those from the Madhyadesa are adept in state policy and in treaties of peace and war. They are talkative by nature. They speak tere mere au'. 3) Those from Magadha are pot-bellied, ugly and rickety, and yearning for amorous sports. They speak 'ege le'. 4) Those from Antaraveda are reddish (in complexion), with brown eyes. They are actively gossipping about food. They talk sweet using the expressions 'kitto kammo'. 5) The Kiras are characterised by lofty and fat nose and golden complexion; they carry heavy loads, and they speak sari pari'. 6) The Dhakkas lack in courtesy, generosity, manliness, skill and kindness; and they talk 'eham teham'. 7) The Saindhavas are graceful, sweet and tender; they like singing and are homesick; and they utter caudaya me'. 8) The Marukas are crooked, dull and sluggish; they eat more and have their limbs rough and fatty; and they speak 'appam tuppam'. 9) The Gurjaras have their limbs nourished with ghee and butter; they are pious and skilled in treaties of peace and war: and they speak nau re bhallaum'. 10) The Latas bathe, anoint and comb the hair, and thus make their limbs attractive; they speak thus amham kai tumham'. 11) The Malavas are slender and dark; they are irritant, fierce and leading a life of self-respect (or pride): and they speak thus bhauya bhaini tumhe'. 12) Those from Karnataka are excessively proud, too much given to pleasures, fierce and of fickle temper; and they utter adi pamdi mare'. 13) The Tajikas 6 83

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84 KUVALAYAMALA cover their bodies with bodice; they like flesh, wine and merriment (love ?); and they speak isi kisi misi'. 14) Those from Kosala are adept in various arts, proud, irritable, and well-built; and they speak "jala tala le'. 15) Those from Maharastra are hardy, lean, dark and enduring; they are proud and quarrelsome; and they speak 'dinnale gahiyalle', 16) Those from Andhra like women and warfare; they are handsome and fierce in eating; and they utter 'ati puti ratim'. The prince observed these 18 (really 16) Desi-bhasas and those of Khasa, Parasa and Barbara people. For some observations about these people and their speeches, one has to study the discussions of Dr. A. MASTER and the Notes at the end. The indefinite nature of the readings raises some problems which await further investigation. Any way Uddyotanasuri is one of those few authors who have shown not only that language-insight but also illustrated a number of languages and dialects which, in view of his definite age and locality, are a remarkable document for the study of Indo-Aryan in general and Mid-Indian in particular. 10. METRICAL FORMS IN THE KUVALAYAMALA The Kuvalayamala, as a whole, looks apparently like a massive work in Prakrit prose with a continuous narration uninterrupted by any division like the ucchayasa or pariccheda etc. For a big work like this, this is a speciality and even a hindrance in following the complicated threads of the story which not only deals with a number of lives, but also embodies a large number of sub-stories emboxed here and there. The original Brhatkatha was possibly divided into Lambhas. The Vasudevahimdi, which is looked upon as the Jaina prototype of Gunadhya's great work, has also suitable Lambhas. The Kadambari of Bana is one continuous story, and this looks like a good prototype for our author who is quite acquainted with Bana and his works. The Vasavadatta of Subandhu does not, somewhow, find a place among the works referred to in the Kuvalayamala. A Katha, according to Bhamaha, does not contain Ucchvasas; and it is to be remembered that the Kuvalayamala is a (Dharma-) Katha of the Samkirna type. The Taramgavai of Padalipta, there are reasons to believe, was also a continuous narration without any sections. The Samaraiccakaha of Haribhadra is, however, divided into Bhavas, which serve the purpose of Adhikaras. In a number of Prakrit and Apabhramsa works the division of Paricchedas or Samdhis is rather artificial. Any way this Kuvalayamala is a prominent example of a continuous composition in Prakrit. A closer scrutiny shows that it is composed partly in prose and partly in verse: both the types get mixed up without any clear-cut restrictions. In view of its poetic qualities and free admixture of prose and verse, it can be called Campu, which style is cultivated by a number of Jaina authors in their religious romances. The verses here come some time to continue the narration, now and then by way of an effective description, often as gnomic, religious or didactic See the Introduction pp. 41 ff., to the Lilavai edited by A. N. UPADHYE, Singhi Jain Series, No. 31, Bombay 1949.

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INTRODUCTION sermons and at times by way of clarificatory elaboration. Uddyotanasuri mixes up various stylistic and metrical forms of composition; and he has made a pointed reference to this at the beginning of his work (SS 7). In fact some metrical forms are specified by him, though a few of his expressions are open to different interpretations. The total number of verses in this work is not less than 4180, the major bulk of which is made up of Gathas, the predominant Prakrit metre. Uddyotanasuri has such a remarkable hold on the composition of Gatha that it comes to him most naturally. The liquidity and smoothness of his Gathas stand unparalleled, if not unsurpassed. Besides the Gatha, the metrical forms used by him are listed below alphabetically; and a few observations are added on some of them in the Notes at the end. adhikaksara: 25.30 anustubh: 129.26, 29; 130.27, 131.11, 152.8, 214.20, 230.12, 237.1 avalambaka: 94.11 avaskandhaka: (32/29):9.9 carcari: 4.27 (dhuvayam)? caru: [10 (5, 5)], 10.7 chittaka see also totaka; 28.19f., 38.21 f., 144.7 dandaka: 18.11f. (see Notes); 28.11f. (bhujamga), 68.24, 174.7f. (pracita) dohaka: 47.6 (see Notes), 152.11 dvipathaka: 47.6 (see Notes), 59.5 dvipadi: 31.30f., 41.33-4, 78.13f., 84.12f., 84.22f., 95.15f., 116.17, 160.24 (called duvai-khamdalayam) galitaka (with four lines, each having 21 matras: 5, 5, 4, 4, 3): 4.28, 4.31, 5.3, 5.6 giti: 14.15, 33.17, 37.9-10, 42.1, 60.17, 61.28, 76.19f. (?), 94.23), 120.4, 134.26 gitika (This differs from the giti type. Its third and seventh caturmatras jambhettika [9(4, 5], 10.7f. lalita: 33.17 (see Notes) 85 have in fact five matras): 2.8 (see the Notes) harinikula (having thirty matras in a line: 47, 2): 8.29 (see the Notes), 235.16 indravajra: 43.18 matrasamaka: 18.19 naraca: 154.12; see also pramanika pancacamara: 24.20 pancapadi: 63.18, 20, 22, 25 pramanika: 154.12; see also naraca samkulaka (6, 4, 4, 2): 14.26, 18.2f., 18.19, 171.18f., 174.14. sardulavikridita: 103.17 skandhaka: 152.9 (see Notes) sragdhara: 19.13, 19.16, 19.19, 19.22, 19.25, 19.28, 20.5, 20.11, 20.14, 20.17, 20.20, 20.28, 40.9, 44.9. sumana (see Vrttajatisamuccaya III, 1. It has four padas, each having three caturmatras and a guru, thus in all fourteen matras): 2.7 totaka, see chittaka

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86 KUVALAYAMALA udgiti, see vigatha: 26.18 upagiti: 9.12 (see Notes), 25.16 ullala (with 27 matras in each foot, with a pause after the 15th): 6.11 vandanaka, see samkulaka vigatha, see udgiti vipula (only a speciality of the gatha): 29.13, 15, 21; 30.18, 22; 31.6, 22; 32.26, 33.6, 21; 42.25 (?), 45.10, 146.21, 161.18, 166.16, 211.25, 238.1. Besides the above, which could be identified more or less with the known types, there remain some unidentified metrical forms: 6.9, 6.17, 12.21, 30.27, 31.26, 54.8, 127.11 and 236.12. 11. THE KUVALAYAMALA INFLUENCED BY EARLIER WORKS It is seen above (pp. 76 f.) how Uddyotana respectfully refers to a number of earlier authors and works. He is widely read, and consequently he has enriched his composition with a vast range of information and a variety of contexts many of which are inherited from earlier works, consciously or sub-consciously. Uddyotana's reference to the Taramgavai with an adjective cakkaya-juvalasuhaya has in view the central idea of that romance which gives the biography of a beautiful nun, Tarangavati by name, more or less a contemporary of Mahavira. The original work of Padalipta with plenty of Desi words is no more available; but what we possess today is only a digest in Prakrit, (samkhitta-) Taramgavai, also called Taramgalola, in 1642 Prakrit stanzas'. The concluding verse yields no satisfactory meaning: the author may be Nemicandra (or his pupil Jasa or Yasas, in case he is not only copying it for his teacher), the pupil of Virabhadra. Comparing the Kuvalayamala (Km) with the Taramgalola (T), it is seen, Uddyotana directly or indirectly owes some contexts to Padalipta. The motif of jati-smarana plays an important role in T which further illustrates that the law of Karman is inviolable, that none escapes the consequences of one's own thoughts, words and acts, and that renunciation is the only panacea against all the ills of Samsara. These items are found in plenty in Km as well. Both are Dharma-kathas, though Km, on account of its varied contexts, has assumed the form of samkirna-katha. Princes and girls from distinguished families are trained in various Kalas (T 8.17; Km 22. 1-10). The thoughts of onlookers while Tarangavati (T 15) was passing by the road in a chariot have close resemblance with a similar scene in Km (182.4 ff.). The religious and cultural background is identical in both T and Km; and the tendency to introduce religious details is quite patent in both the texts (T 83.18 f.; Km 142.21 f.; see Intro. pp. 68 f.). The effects of purva-krta-karman are often elaborated (T81.79 f.; 1 E. LEUMANN: Die Nonne, Taramgalola (from Mss.) Translated into German, Zeitschrift fur Buddhismus, III, pp. 193 ff., 272 ff., Munchen 1921. N. I. PATEL: LEUMANN'S German Essay Translated into Gujarati and included as a Supplement in the Jaina Sahitya Samsodhaka, II. 2, Poona 1924. The Text in Prakrit is published in the Sri-Nemivijnana-Granthamala, No. 9, Surat 1944. Though said to be based on five Mss., the text presented is far from satisfactory. A critical edition of this beautiful romance is an urgent desideratum. Some mature Prakrit scholar has to undertake it.

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INTRODUCTION Km 129.12 etc.). Tarangavati escaping with her spouse reminds us of Suvarnadeva going out with prince Tosala, though the circumstances are somewhat different. A Sabara chief looting the caravan and retiring to his palli is referred to in both the texts; and so also therein figures the deity Katyayani. Relatives dissuading one from taking to renunciation are introduced in both the works. That a woman is not to be taken into confidence is a common idea in both (T 54, Km SS 364). Some striking points of difference in both the works may as well be noted. The T is essentially a manusi katha with a few characters introduced, while Km is divya-manusi katha, and the number of characters is too large to be easily managed. The T has a compactness; and its descriptions are so worldly, natural and catching that it is these which appear to have made T so memorable. Uddyotana's canvas is vast; and his descriptions are grafted as pieces of style and beauty, at times even in a detachable manner. The geographical background of Km is far wider than that in T. As the original T is no more available, verbal agreements here and there carry no special significance. Uddyotana refers to the Kadambari1 of Bana whose well expressed style is complimented for its grace. He imitates Bana in his descriptions of town etc. loading them with similes and slesa. The description of Vinita in Km (SS 14) resembles that of Ujjayani in K. The pratihari ushering in Sabarasenapati in Km (SS 20) reminds one of the entry of Candala-kanyaka in K; and even some expressions are common (See Notes at the end on 9. line 21.) Uddyotana's details at Km 27.30 f. reminds one of Bana's pattern of description of the Vindhya: kahim here corresponds to Bana's kvacit; and even some expressions are common to both (See Notes on 27.30 f.). The context in Km at 127.7 f. resembles the parrot episode in K; and there is close agreement in some words as well (See Notes on 123.14). 87 Uddyotana is Daksinya-cihna just as Vimala is Vimalanka; and he has great praise for Vimala's sweet Prakrit style and clarity of meaning seen in the Paumacariya (P)2. Narration of earlier lives and jatismarana are common to both. Sections on Jaina dogmatical topics are found in both. The conventional sakunas are common to both (P 94.35 f., Km 184.10 f.). Different acts lead to different grades of existence (P 14; Km 185.21 f.). Certain episodes and tales closely resemble in both the works. The context of Kuvalayacandra concealing 1 P. PETERSON, Bombay 1883, and subsequent Reprints and revised editions. P. M. UPADHYE: Influence of Vimalasuri's Paumacariya and Bana's Kadambari on Uddyotanasuri's Kuvalayamala, J. O. I., XVI. 4, Baroda 1967. Still there is scope for a more detailed comparative study in this regard. 2 Edited by H. JACOBI, Bhavnagar 1914. Edited by Muni PUNYAVIJAY. Published in the Prakrit Text Society, No. 6, Varanasi 1962, with Hindi Translation and an Introduction in English by Dr. V. M. KULKARNI. Lately, a good deal is being written on this work. P. M. UPADHYE: The Sect of Vimalasuri, Oriental Thought, pp. 17-27; Some Glimpses of the Society and Culture as Reflected in the PC, J. of the Uni. of Bombay, XXX. 2, pp. 81-105 Bombay 1961; Paumacariya and Padmapurana, Ibid. XXXI. 2, Bombay 1962; Geography Known to the Paumacariya, pp. 46-51, J. O. R., XIV. 1, Baroda 1964; Maxims and Pithy Sayings in the Paumacariya, J. of the Uni. of Bombay, XXXII-XXXIII, 2, pp. 165-76, Bombay 1963. K. R. CHANDRA: New light on the Date of PC, also Sources of the Rama-Story of PC, J. O. R., XIII. 4, pp. 134-47 and XIV. 2, pp. 378-86, Baroda 1963-64,

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88 KUVALAYAMALA himself in the temple of Rsabha and Kanakaprabha and party worshipping the Jina (Km $ 200 very much resembles the one in P where Janaka hides himself and Candragati offers the Puja (28.44 f). It is interesting that both Kuvalayacandra and Janaka were flown by a miraculous horse. Certain descriptions in both the works show resemblance and even common ideas and expressions: description of the Vimana (P 14.89 & Km 92.21 f.); of hemanta (P 31.42 f. & Km 169.19 f.); of the forest with a long Dandaka metre (P 53.79-80 & Km 28.11 f.); of battle (P 53-107 & Km 10.7 f. rather short etc.) Both the authors have much traditional knowledge, more or less common; and onomatopoetic expressions are used by both. Uddyotana refers to Jadiya (=Jadila or Jatila) and his Varangacarita' which is available in print and is specifically called a dharma-katha. The Varangacarita (V) and Kuyalayamala (Km) have a number of common points. The story in both starts in the metropolis Vinita. The heroes in both, Varanga and Kuvalayacandra, are carried away into wilderness by a horse (though the antecedents of the event are different with them). What Varadatta preaches to Dharmasena (V v-ix) runs quite parallel to what Dharmanandana discourses to Purandaradatta (Km SS 75-84). If Varanga inquires about samyaktva and mithyatva (V xi), the minister wants to know about the causes etc. of samsara (Km $ 86 f.). Both Varanga and Purandaradatta (V xi, Km 91.21-2) accept the vows of a Sravaka. Varanga as well as Kuvalayacandra (Vivx, Km 135.27 f.) fight the Bhillas and oblige a merchant. The lamentations of the parents etc. consequent on the prince being carried away by the horse are expressed in similar terms (V xv, Km 155.21 f.). Both the heroes enjoy rich pleasures on their return to the capital. Both V and Km are basically. dharma-kathas (though the latter form of a samkirna-katha), and as such they are impregnated with Jaina dogmatical discourses and religious sermons. The topics tabulated in the Introductions of both (V pp. 29 f. and Km pp. 68 f.) bear close similarity; and in different contexts also they possess dogmatical details which deserve mutual comparison. Though there is so much similarity between V and Km, some striking differences deserve to be noted. Prince Varanga reminds us of Rama both of whom have to leave home on account of the jealousy of a step-mother; and his consequent sufferings are a clear testimony of the law of Karma which the author demonstrates to be supreme. But after all it is the tale of one life only unlike the journey of five souls over a number of births in Km. The V has a simple thread of the story, while in the Km it is a highly complicated network in which a number of other episodes are interwoven. If V is a dharma-katha following the pattern of a mahakavya in Sanskrit, the Km is a narrative mosaic of great magnitude, apparently Campu in form, but a veritable katha-bandha or -prabandha of the samkirna type, in Prakrit, with touches of different dialects given here and there out of curiosity and for popularity. Uddyotana looks upon Haribhadra as his Guru in Jaina (samaya-saya-sattha) scriptures as well as in yukti-stastra or pramana-and-Nyaya. He is aware of 1 A. N. UPADHYE: Jata-Simhanandi's Varangacarita, Manikachandra D. Jaina Granthamala, No. 40, Bombay 1938.

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INTRODUCTION extensive contributions of Haribhadra to various branches of learning, and refers to his Samaraiccakaha1 specifically. It is necessary, therefore, that the Samaraiccakaha (Sk) of Haribhadra (H) and Kuvalayamala (Km) of Uddyotana (U) are studied side by side. H refers to three katha-vastus and four kinds of kathas (Sk 2-3) with their details. His work is a dharma-katha with divya-manusa-vastu. U presumes all this and gives some further types of dharma-katha: his Km is, however, a samkirna-dharma-katha. 89 Rebirth accompanied by consequences of one's own Karmas is the backbone of the tales in both Sk and Km. If in the Tarangalola, as observed by JACOBI, Karma, remembrance of a previous birth and its consequences etc. serve to motivate the story, in the Samaraiccakaha the story serves to illustrate those ideas and to impress the hearer with certain moral principles'. Uddyotana follows Haribhadra in whose Sk the idea of retribution underlies the main story and a number of sub-stories. It is the nidana, remunerative hankering, of Agnisarman, through intense hatred, that takes revenge on Gunasena in different births. These two souls pass through nine births: the hereditary revenge manifests through anger (krodha), deceit (maya), greed or avarice (lobha) etc. in different births. If there are two souls, one urged by nidana and the other suffering consequently, in the Sk, there are five souls suffering the consequences of krodha etc. and passing through a series of births, meeting each other here and there till they reach Liberation in Km. Both H and U have not missed any opportunity to stuff their works with sub-tales, drstantas, parallel episodes etc. Both the works are evidently intended to illustrate the evil consequences of vices, sins and all transgressions of the Jaina code of morals, and to warn the reader or hearer of it against carelessness in conduct'; and in this sense, both are eminently dharma-kathas. The love-presents and the metrical message of Kuvalayamala (Km SS 259) remind us of those of Kusumavali (Sk 72: and the dvipadi verse has some striking common words). Here and there some verses have common expressions: the one under reference (Sk 115.1-2 & Km 96.1) is possibly an inherited traditional Gatha. Though in a different context, the idea of danta-vina is found in both the works (Sk 180.7-8; Km 169.21). The descriptions are generally introduced with phrases like avi ya, tam ca kerisam etc., and those of seasons and scenes are often in a heavy style in both the works (vide sarad, Sk 195-6; grisma, Km 113.10 f.). A context of putting questions with answers concealed in them in a subtle manner is found in both the works (Sk 611, Km 175.18 f.). The Sk (616.3 f.) has a gudha-cauitha-gotthi which corresponds to what is found at Km 176.10 f. Now and then, especially in descriptions, common ideas are found in both the works. Religious background is the same in Sk and Km. H presents it uniformly in a serious and classical form, but U might often do so even in a light vein. The Samavasarana is described in both the works (Sk 139 f., 644 f.; Km SS 178); and some expressions are inherited from the canon. Dharma consisting of dana, sila, tapas and bhavana is mentioned by both (Sk 154.9 f.; Km 3.2 f.). The 1 H. JACOBI: Samaraiccakaha, B. I., No. 169, Calcutta 1926. References are to pages and lines of this edition,

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KUVALAYAMALA external characteristics of samyaktva are given in both the works (Sk 48-9, Km SS 337). If H describes the birth of a god in short (Sk 56-7), U gives elaborate details (Km SSSS 172 f.). In Sk (488 f.) a friend of the earlier birth comes to enlighten and put the other on the right track: this, of course, is the very contract between the five souls whose biographies are narrated in Km. There is a context of enlightenment by seeing some memento, ear-rings in Sk (477.15) but jewel images in Km (102.29). Memory of earlier life, often given by a Kevalin, and confusion of relations in the same birth are seen in both the works (Sk 476.7 f. & Km 93.34 f., 79.12). A contemporary Tirthakara in Videha is consulted in Sk (473.16 f.), so also in Km which graphically describes the conditions in that area Km (243.13 f.) The diksa ceremony described in Sk (181.16 f.), deserves to be compared with that in Km (208.30 f.) and elsewhere. What Sikhikumara observes about inescapable Death (Sk 186) is very close to what Ratnamukuta has realised in his attempt to save the butterfly from death (Km SS 230). Religious discourses on the duties of laymen and monks (Sk 48-49, Km 91.21 f.) are usual in both the works. 90 Certain characters, contexts and motifs in Km remind the reader of similar ones in Sk. Mayaditya pushing Sthanu into the well (Km 61.21) has his counterpart in Anahaka doing the same for Candrasara (Sk 99). Labhadeva pushing down Bhadra on high seas (Km 67.15 f.) is something like Dronaka pushing down Viradeva from a jutty (Sk 105: the word nijjuhaga occurs in both the contexts). A confused treacherous friend, Dhanadeva, figures in Amaragupta's tale (Sk 104) and resembles Mayaditya (Km 58.22 f.). Dhana and Sagaradatta are similar characters who want to give dana from the wealth earned on personal initiative and not out of ancestral property: the idea is expressed almost alike in both the works (Sk 195.15-6, see also 409.9 f.; Km 103.23). Though the contexts are somewhat different, a girl is hanging herself for the sake of her lover (Sk 346.12 f.; Km 53.6-9, 107.10 f.). In Sk (469.17 f.) a monk is made to dance, while a monk enacts rasa-naccana in Km (4.25 f.) to enlighten a band of robbers. The details of the attack of Sabaras in both the texts have some common words (Sk 537.4 f., Km 135.27 f.) apart from the similarity of the context. The idea of a horse carrying the prince into the forest is common to both the texts (Sk 671.11 f. Km SS 61). same. The religious, social and cultural background in Sk and Km is nearly the In the details about marriage, of a party of merchants preparing for land or sea travel, the procession of a prince entering the metropolis etc. have much in common both with H and U. Taking an overall view certain areas of difference are striking. H is more self-confident in narrating his tales: that may be the reason why he does not introduce the sajjana-durjana topic, and why he does not make any reference to earlier authors and works. His build-up and narration of stories have a classical background and training; while U is popular in taste and aiming at wider appeal. The Gathas of H are metrically perfect, but they do not possess the liquidity, smoothness and ring of those of U with whom they have a natural outflow as it were from the mouth of a gifted singer. Both H and U are contemporaries. The language of H, however, is more learned in its make-up and style,

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INTRODUCTION while the expression of U has a popular character, showing forms, vocabulary, expressions and stylistic features drawn from Apabhramsa and Desi stock. Haribhadra shows maturity and serious temper, while U adds a number of contexts in a light tone and even tries to justify their presence in a dharma-katha. The wider and popular appeal of Km is further apparent from its miraculous, erotic and jocular touches which are not very much favoured by H. Though U has received lessons in Jainism and Pramana-Nyaya from H, he outshines his teacher in his liquid Gathas and catching contexts with which he has embellished his Prabandha. In many a context in Km we find ideas and expressions echoed from the canonical texts, Niryuktis, Smrtis and from classical works like the Sakuntalam etc. as indicated in the Notes here and there. 91 12. THE KUVALAYAMALA-KATHA OF RATNAPRABHASURI May be under the impetus given to Sanskrit learning under the Paramara rulers of Malwa like Munja and Bhoja and the Chalukya kings of Gujarat like Siddharaja and Kumarapala, there was seen an attempt to put into Sanskrit some of the earlier works in Prakrit and Apabhramsa. For instance, Amitagati1 wrote his Dharmapariksa in Sanskrit (A. D. 1014); and it is obviously based on earlier Prakrit and Apabhramsa works of the same name composed by Jayarama and Harisena. Jayarama's work in Prakrit is not discovered as yet, but Harisena specifically refers to it. Likewise Amitagati's Pancasamgraha and Aradhana are Sanskrit versions of earlier Prakrit works of those titles. In Gujarat it is found that Pradyumnasuri2 prepared a Sanskrit digest or epitome, the Samaradityasamksepa (A. D. 1268) of the Samaraiccakaha of Haribhadra (c.A. D. 700-777); and amongst his contemporaries and colleagues Munideva epitomised in Sanskrit the Santinathacaritra (A. D. 1265) of Devacandra who had written it in Prakrit, so also Ratnaprabha presented in Sanskrit, Kuvalayamala-katha-samksepa (Kmk) a stylistic digest of Uddyotana's Kuvalayamala (Km) in Prakrit. It is interesting to note that both of them had their works corrected by Pradyumnasuri. It is such Sanskrit adaptations that gave a set-back to the study and circulation of earlier Prakrit works which, in due course, were neglected and some of them even lost into oblivion. Many Mss. of them were not prepared, because the thirst for their contents was satisfied by the Sanskrit versions. The Prakrit work of Uddyotana and its stylistic Sanskrit digest by Ratnaprabha, both of which are edited here need a comparative study. The Km has 13,000 or 10,000 granthas according to the Longer or Shorter Recension, but the granthagras of Kmk are given differently as 3,804, 3,894 and 3,994 in different Mss. Any way Kmk is roughly one-third of the extent of Km. The Km is onewhole text without any formal divisions of chapters etc., while Kmk is divided into four Prastavas: the second and fourth are nearly of equal length; the first is almost half of them; and the fourth is a little less than double of them. Both Km and Kmk are apparently in mixed prose and verse. The structure of 1 N. PREMI: Jaina Sahitya aura Itihasa (Bombay 1956), pp. 275 f.; A. N. UPADHYE: Harisena's Dharmapariksa in Apabhramsa, Annals of the B. O. R. I., XXIII, pp. 592 f. 2 H. JACOBI: Samaraditya-samksepa, Ahmedabad 1906; Samaraiccakaha, B. I. Calcutta 1926.

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92 KUVALAYAMALA the tale is such that it presents inherent difficulties for dividing it properly in different sections. Ratnaprabha compliments the Km for its captivating contents. He plainly states how he is composing his Campu in Sanskrit based on the earlier Prakrit work of the saint (Uddyotana), known as Daksinyacihna (I.9-10). He is quite modest about his poetic abilities (asara-vacasa'pi maya *2.34). He is after all summarising for his spiritual benefit (asyah kathayah samksepah kriyate svarthasiddhaye I.13b) the tale composed by (Uddyotana-) Suri, Daksinyacihna, who received it from Hri-devata. In this tale, the importance of acquiring Samyaktva is emphasized; friends discharge their responsibility of mutual co-operation; and the essential objective is the attainment of Nirvana (*2.27-8). Uddyotana describes the Km as a dharma-katha which has assumed the form of a samkirna-katha (4.16); because it inherits the characteristics of different Kathas, it uses different metrical forms, it employs different narrative styles, and in it various languages (and dialects) are used (4.5 f.). The label samkirna is all the more confirmed by the complex threads of the story which covers many lives of five souls, by author's richness of information and proficiency in different lores, by varied situations and descriptions, by manifold episodes and religio-didactic exhortations, by parables, sub-tales and conversations depicting different poetic flavours, and by religious elements seen everywhere in this work. Ratnaprabha does not describe his work in these terms, though he inherits some of these contents. However he calls his work a Campu. An admixture of prose and verse is the usual definition of a Campu. But this blending can be effected even in different ways. It appears that the Prakrit work, viz., Km was intended more for recitation than for a learned man's reading. That explains why some time the verses repeat the ideas from the earlier prose, why more than one piece of description is added in a context, why questions are put and followed by details and descriptions, why conversations are added, and why different languages and dialects are employed. The Km is both instructive and entertaining: it is informative enough to attract the intellectual aristocrat; but more than that, it caters to the tastes and sentiments as well of the popular sections of the society. The Kmk is essentially a Campu, written in a learned style following earlier models in elegant Sanskrit, though the religious teacher in the author is obvious in more than one place. Ratnaprabha's object is to narrate the tale of Kuvalayamala in an ornate style so characteristic of Campu works in Sanskrit: thus every attempt is made to present the structure of the story in its fundamental details, incidentally incorporating the didactic, religious and entertaining touches as concisely as possible. He closely follows the Prakrit text so far as the narration of the events is concerned; and the matter in both the works can be easily compared paragraph to paragraph. Descriptions in Apabhramsa, conversations (sometimes in Paisaci and often in colloquial Mid-Indian), elaborated details, contexts full of information from various lores and walks of life and long-drawn religious sermons are some of the specialities of Uddyotana. But longish descriptions of urban and natural situations, series of similes and strings of utpreksas of Km are often passed over

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INTRODUCTION 93 by Ratnaprabha who gives at the most a few adjectives and similes to suit the idiom. The Km has a few paragraphs for describing Madhyadesa and Vinita (S$ 13-17); some descriptions seem to be put together for stylistic effect; they are detachable partly or wholly, without much loss to the narration; and they are richly embellished with slesa and parisamkhya. The Kmk, however, has just some sentences rounded with a few verses with slesa (*3.1-18). Likewise Ratnaprabha gives the description of the river Narmada in four lines (*52.36-39), but in Km nearly a full page (121) is occupied with what may be called alternative ches of description of a river. Uddyotana's elaborate description of Vijayapuri (referring to such details as buildings, talks in the street, schools of study, gossips in Boys' hostels, conversation of merchants from different parts of the country, traders' dialogues, a mad elephant running amuck etc., 149.20-154.24) is covered in kmk in half a page (61.13-30). Ratnaprabha has stood the temptation of describing the Saudharma-vimana (92.12 f. & *39.55), though he has devoted nearly a page for the details of the Samavasarana (*41). In such descriptions the Kmk does inherit some words, ideas, similes etc., but these are well digested and expressed effectively to suit the Sanskrit idiom. Ratnaprabha's verse-for-verse renderings (for instance, 10.17 & *4.14) are quite catching. Often Uddyotana heightens curiosity and skilfully pushes the reader into entertaining and interesting contexts, while Ratnaprabha goes on narrating the story in a likable manner (cf. 28.20 f. & *10.7 f.). Ratnaprabha effectively summarises the elaborations of Km (31.3 ff. & *11.7 f., this being the description of Kausambi). What are series of simple narrative sentences in Prakrit become, at times, gerundive clauses in the Sanskrit style which is more terse and compressed (for instance, 62.17 f. & *20.26 f.). Even in narrative contexts, in some places, the Prakrit text is closely followed by Ratnaprabha (10.18 & *4.15, 17.4 f. & *7.23 f., 23.12 & *9.11 f., 27.28 & *10.2, 31.1 & *11.5-6, 51.19 & *16.3, 63.5 & *21.2, 77.32 & *28.15 etc.). In a few cases, even conversational contexts which heighten the effect of narration are closely followed by Ratnaprabha (cf. 10,24 f. with *4.21 f.). Some of the catching conversations (53.18 f. & 17.1 f.), a number of descriptions in Apabhramba (for instance, 8.18 f. & *6.24), talks in Mid-Indian colloquial and Paisaci (for instance, 55.12 f. & *17.31, 71.9 f. & *24.17 f.), interesting situations (14.24 & *6.24 f.) and informative details and contexts (16.17 f. & *7.16, 23.21 f. & *9.17 f., 129.4 f. & *55.36 f.). of the Prakrit original are not allowed in kmk to subordinate the narration of the story. Sometimes Ratnaprabha has his independent ideas (17.20 & *7.28 f., 54.3 & *17.12 f., 74.18 & *26.20 f.). Though such contexts are rare, they testify to Ratnaprabha's poetic talents and literary training (see also his description of Bhrgukaccha, *42.36). He has a classical touch about his descriptions as against the homely and rural affectations of the Prakrit original (51.32 ff. & *16.9 f.). Now and then, he catches the style of short sentences in quick succession so often used in the Prakrit original (119.10 f. & *52.6). Thus in Kmk the story element, the current of narration, neat spicing of expression and embellished ideas are mainly attended to. Ratnaprabha's narration is less distracted by digressions, descriptions, religious details, language puns, jocular contexts, subordinate episodes and poetic flourishes than in Km. , Interest: quial and Apabhra Catching contexts

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KUVALAYAMALA What Uddyotana elaborates poetically is narrated by Ratnaprabha in a nutshell. The fourfold Dharma, detailed compliments to literary predecessors, references to sajjana and durjana (SSSS 11-12), miseries of samsara in four grades of existence (SSSS 75-85), enumeration of kalas (22.1 f. & *8.34), types of horses (23.22 f. & *9.17), details of rasi-phala (19.12 f. & *8.14 f.), religious, philosophical (203 & *71), dogmatical and technical discussions like those on kasayas (81.1 f. and *30.8 f.), lesyas (245.6 f.), aradhana(269.23 ff. etc. are duly curtailed in Kmk. Ratnaprabha just refers to garbha (*7.26-7), but the Prakrit text describes it elaborately, along with the activities in the palace (17.15 ff.: one has to compliment the wide range of information of Uddyotana). 94 As contrasted with Uddyotana's elaboration of religious ideas and ideals throughout his work, Ratnaprabha's exposition of them in Kmk has to be called 'moderate', because he has not been able to avoid them altogether in his Campu. In one or two contexts he has added them to such an excess (*36-*38.5) that he should have avoided them altogether in a stylistic Campu, so ably attempted by him. Here and there one finds some differences in details between Km and Kmk. In Km Taracandra was initiated under Sunanda (100.5), but in Kmk he is called Dharmanandana (*42.31). While contracting the details Ratnaprabha describes Bhogavati as janani of Kuvalayamala (*64.13), but the Km correctly describes her as janani, dhai etc. (161.26 f.). In one case the confusion of details noticed in Km (244.24) is duly set right in Kmk (*79.36): possibly Ratnaprabha could have better control on his details, because his work is smaller. Ratnaprabha tries to stick to the conventional list of four kasayas (*12.23), though Uddyotana adds moha in a separate verse (44.16). It is interesting to note that the scheme of illustrations of anantanubandhi etc. has reference to four kasayas only (44.24 f.). The Km has five ascaryas following the tradition, but Kmk has six of them (*62.17-8). The Km has casual reference to Settumje (80.18), but Kmk adds a few verses on it (II.162-72). May be that Satrumjaya became more famous as a ksetra by the time of Ratnaprabha. The Kmk adds what is called Vratadrstanta (*31.40 ff.) which is absent in Km. This story of four daughters-in-law is an old one, found in the Nayadhammakahao VII. The Kmk has also an additional discourse on vinaya and tale of Vinita (*33.32-9, *33.40-*39.33). The Jaina dogmatical details added by Ratnaprabha (*36.1-*38.5) may indicate his learning, but they are a positive hindrance in the narration of events in a stylistic manner. 1 Some words and expressions in Kmk look like back-formations of their Prakrit counterparts: they could not have been used by Ratnaprabha, if he did not have Uddyotana's text before him. Some of the words etc. used by Ratnapraba may be just listed here with their counterparts in Prakrit: koti-sastra (*14.16) for the Pk. komti of komki (SS 92); krayanakam (*46.30); khatika-khamda (*45.30, Pk. khadiya-khamdalaya 104.3); caccara (*42.11, *45.17, the same in Prakrit 99.22); pottala (*21.2, pottalao in Pk. 63.5); bohittha (*46.36); bhatakena (*46.31, Pk. bhamdeyavvaim, P tadeyavvaim for perhaps *bhadeyavvaim, 105.27); bhara (= bara) patte (*45.36, Pk. dare or the reading might have been even bare, 104.3) vaha-keli (*9.7, Pk. vahiyali 23.7 for which the usual Sk. word is vahyali).

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INTRODUCTION 95 11 In this connection a peculiar usage of Ratnaprabha catches our attention: anvesayami lagnah (*26.37), vilok yate lagnah (*80.39). The use of lagna with Infinitive has its counterpart in New Indo-Aryan; but its use with verbal forms of the Present tense needs explanation, and many such cases are noticed by me in the Aradhana Kathakosa of Prabhacandra (c. 11th century A. D.). Then in the Kmk we are attracted by certain expressions which are not quite appropriate renderings of the Prakrit original, uccatthala (65.10), Sk. uccala (*21.35), correctly ucsasthala. - kuvavamdra (50.20), Sk. kupapadra (*15.20), correctly kupavrnda. - Khettabhado (50.22), Sk. Ksatrabhatah (*15.21, perhaps following the reading of P, Khattahado), correctly Ksetrabhatah. - cittaviya adiyattiya (65.14) does not seem to be correctly rendered, if the equivalent is as in Sk, vahannalikadattapadah (*22.4). - Dappaphaliha and Bahuphaliha (104.8), Sk. Darpaphalika Bhujaphalika (*58.36), but correctly, Darpaparighah and Bahuparighah (See Hema. Praksta Grammar, I. 232, 254). -- Barayauri (185.9), Sk. Parapuri (*67.35), correctly Dvarakapuri. - Bhaddasetshi (70.28), Sk. Rudrasresthi II. $ 25): this has arisen from the orthographical confusion between bh and ru which are alike (p. 73, reading 7). - mahasunnaranna (53.27) is rendered as mahapunyaranya (*17.6), really sunna stands for sunya. - Vairagutto (247.2), Sk. Vairiguptah (*80.35), more appropriate Vajraguptah. - Sattibhado (50.28), Sk. Santibhatah (*15.25), correctly saktibhatah (nti and tti are very similar in writing). It is seen that J and P present almost two Recensions of the Text of the Kuvalayamala. The Kmk of Ratna prabha deserves to be studied in comparison with these two recensions and see which of them is being followed by it. Below are listed a few crucial contexts from J and P and the corresponding one in kmk. j) 32.30: J. imassa cammarukkhassa dinaranam addhalakkham; P imassa su (= mu) rukkhassa kearane (= rana) addhalakkham; Kmk *11.34: kedaranam laksardham tvaritam dapaya. ii) 47: J. komki; P komti; Kmk *14.16: koti-s'astra. iii) 50.22: J Khettabhado; P Khattahado; Kmk *15. Ksatrabhatah. iv) 50: J omits but P has tassa a se puttassa Sattibhado nama; Kmk *15.25: tasyapi santibhatah sunur asti. v) 54.11 f.: J omits cimtayamto maggalaggo so vi Virabhado which is found in P; Kmk *17.23 f. has iti cintayan so'pi tesam marge lagnah. vi) 61.17 f.: J omits imina Mayaiccena to thoya-salilam pecchai, kuvodaram Thanu found in P; Kmk *20.6 f.: bhanitam Mayadit yena etc. which closely corresponds to the above. vii) 67.2: J omits thaviyam laggam found in P; Kmk *23.2: sthapyate lagnam. viii) 74.26 f.: J omits java tumam agao tti to tao tuha paccha found in P; Kmk 26.29-30: some ideas corresponding to the above are there. ix) J Sabarasihena, P Sabalasilena: Kmk 27.35: Sabarasilena. The above points clearly indicate that Ratnaprabha is composing his Campu with the recension of P before him. Just as Ratnaprabha composed a Sanskrit digest, namely, Kmk, Amradeva (A. D. 1134), who wrote a Vrtti on the Akhyanamanikosa of Nemicandra NEN

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96 KUVALAYAMALA (A. D. 1073-83)1, includes therein the tale of Mayaditya in Prakrit verses, (97 gathas and 1 sloka in Sanskrit) which is based on Uddyotanasuri's Km, SSSS 110-125. Amradeva closely follows this text while writing his gathas in which many words, poetical devices etc. are inherited from the Km. He is interested in the narration of the story and its moral, so he passes over conversational contexts. The gatha No. 21 is obviously a quotation, found also in the Vajjalaggam (XIV.7). The concluding portion imitates Km too closely by repeating almost as it is katto tanam tanam mottum etc. In another context, Amradeva (p. 363, verses 35 f.) appears to have before him the text of Km (129.6 f.) while giving details from Samudrasastra. There are no clear indications to say whether he is following the recension of J or P. Ratnaprabha gives meagre details about himself in this work. In the colophons, he calls himself the sisya of Paramanandasuri, and further states that this Kmk was corrected by Pradyumnasuri. No other work of Ratnaprabha is known so far, nor do we get any more details about him from any other source. It is highly probable that this Pradyumnasuri2 is the same as that great critic who corrected Vivekamanjari-tika (c. 1222 a. D.), Santinathacarita of Munideva (c. 1265 A. D.), Dharmopadesamala-vrtti (c. 1268 A. D.), Salibhadracarita (c. 1278 A. D.), Upamitibhava-prapanca-katha-saroddhara (c. 1242 A.D.), Prabhavaka-carita (c. 1278 A. D.) etc. He belonged to the Candragaccha. He seems to have been highly esteemed by his contemporaries as a critic of so much authority that some of them own to have submitted their works to him for correction. He is the author of the Samaraditya-samksepa (completed in A. D. 1268), a Digest in Sanskrit, of the Samaraiccakaha of Haribhadra in Prakrit, as already noted above. Ratnaprabha was a contemporary of Pradyumnasuri at whose hands was corrected the Kmk; so he is to be assigned to the middle of the 13th century A. D. 6. UDDYOTANA: THE AUTHOR Unlike many of our eminent authors, who are usually silent about their biographical details, Uddyotana has obliged the posterity with some factual information about himself and his contemporaries etc. All this is found in his Prasasti (SS 430) which is entirely biographical. It is not identical in both the Mss. But, as already noted above, the basic textual tradition in both of them goes back to the author himself; and the most significant feature is that the details in both being supplementary, and not at all in any way contradictory, give a more complete sketch of the situation. At Mahadvara, there lived a famous Ksatriya, devoted to three karmas (viz., performing ceremonies, repeating the Veda and gifts), Uddyotana by name 1 Ed. Prakrit Text Series, V, Varanasi 1962, Story No. 78, pp. 222-25. 2 For these details about him see H. JACOBI: Samaraditya-samksepa, Ahmedabad, 1906, Intro. pp. 2 f.; C. D. DALAL & L. B. GANDHI: A Catalogue of Mss. in the Jaina Bhandaras at Jesalmere, Baroda 1923, pp. 52 ff.; M. D. DESAI: Jaina Sahityano Samksipta Itihasa (in Gujarati) Bombay 1933 (see the Index of authors etc.); H. D. VELANKAR: Jinaratnakosa, Poona 1944 (under different works); Dharmopadesamala-vivarana, Singhi Jaina Series No. 28, Bombay 1949, Intro. pp. 19-20.

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INTRODUCTION 97 who, then, enjoyed (suzerainty over) it. He had a son Samprati by name, but far-famed as Vatesvara. And our author Uddyoiana is the son of this Vatesvara. Thus Uddyotana hails from a ruling Ksatriya family (from Mahadvara the identification of which is a desideratum), quite pious in its traditions. He was given the name of his grand-father, quite a normal practice in many a renowned family. Uddyotana gives more details (going back a few generations earlier) about his dikna- and siksa-gurus, i.e., his ascetical and tutorial parentage, as distinguished from the natural one noted above. In the Uttarapatha, there is a famous town, on the bank of Candrabhaga, Pavvaiya by name. It is from there that Toraraya, or Toramana, enjoyed suzerainty over his kingdom (over the earth). His preceptor was Acarya Harigupta who hailed from the Gupta-vamsa; and at that time (i.e., when Toramana was ruling there), he had his camp (possibly during the rainy season) in that town. His famous pupil was Devagupta, a mahakavi: according to Ms. P, he was expert in various Kalas, well-versed in the Siddhanta and a poet whose fame persisted (even at the time of Uddyotana). Devagupta's pupil, Sivacandraganin, who in his wanderings for paying respects to the temples of) Jina, stayed, like a veritable wish-fulfilling tree, in Bhillamala-nagara. Sivacandra's pupil was Yaksadatta, a ksama-s'ramana, of great glory and farspreading fame. This Yaksadatta had many pupils endowed with penance, spiritual ability and miraculous gift (in their words); and they rendered the Gurjara country beautiful by (being instrumental in constructing Jaina) temples. Amongst them the following pupils were like the six faces of Sanmukha: Naga, Vtnda, Mammata, Durga, Agnisarman, and the sixth Vatesvara. This Vatesvara had got constructed in the town of Akasavapra an attractive temple of Jina the very sight of which would pacify the Karmas of even an Abhavya. He had a pupil Tattvacarya by name who was highly merited, effective with penancial lustre and firm in his religious practices even under adverse times. It is his pupil (namely Uddyotana, having a pen-name or title) Daksinya-cihna that composed the Kuvalayamala, with the presence of Hri-devi in his heart. The ascetic genealogy of Uddyotana stands thus: Harigupta (a contemporary of Toramana in Pavvaiya) Devagupta Sivacandra (in Bhillamala) Yaksadatta Naga Vinda Mammata Durga Agnisarman Vatesvara! Tattvacarya Uddyotana (Daksinyacihna) 1 It is an accident that the name of the father of Uddyotana is Vatesvara, and his grandteacher also bore the same name. Names like Vatesvara, Uddyotana etc. seem to be of frequent occurrence in certain families in those days.

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KUVALAYAMALA As to the instructional heritage of Uddyotana, he received lessons in Siddhanta (i.e., in Jaina scriptures) from Acarya Virabhadra who was like a moving wish-fulfilling tree satisfying all (spiritual needs) and shining with great fame; and his Guru in Pramana and Nyaya (i.e., yukti-stastra) was Haribhadra who has propounded most of the principles (of Jainism) in his vast range of works. Uddyotana gives some specific details as to where and when he composed Kuvalayamala. Comparable to Astapada, or mount Kailasa, there is Jabalipura (possibly including also the township on the hill itself) which is lofty, insurmountable, charming with Jina-temple (s), full of Jaina house-holders (savaya=sravaka) and inaccessible. Virabhadra had got constructed a temple (there) dedicated to Rsabha-jinendra which is lofty, white and fluttering with charming and rich banners. While staying there (at Jabalipura, in that temple) this Kuvalayanala, which is expected to be instructive and enlightening to all the pious people, was completed on the fourteenth day of the krsnapaksa of Caitra, during the afternoon, when one day was less for the saka year 700. At that time (jaiya) the (ruling) king was (Sri-) Vatsaraja, the (proud) elephant on the battle-field, who crushed the enemical and loved the friendly. In conclusion, Uddyotana expresses his modesty and acknowledges his inspiration to Hridevi: he calls himself (at the fag end of his career, perhaps when or after he completed the Kuvalayamala) an Acarya of the Candrakula. That Toramana, or Toraraya, is referred to by Uddyotana is an important piece of information. He was the chieftain of a Huna invasion of India and is known to have been established as a ruler of Malwa in Central India prior to A.D. 500. Lately we have some detailed study about Hunas and their invasion of India. Dr. D. C. SIRCAR observes: "That the Hunas were a patent force in the social and political life of the Punjab Rajasthan-Malwa--Gujarat region during the early medieval period seems to be clear from their mention in a large number of epigraphical and literary records." Toramana assumed the style and titles of an Indian 'sovereign of maharajas.' He died about A.D. 502. His dominion passed on to his son Mihiragula whose capital in India was modern Sialkot in the Punjab. His Guru was Harigupta who came from the GuptaVamsa and was initiated as an acarya, in the Jaina order of monks. Harigupta stayed at Pavvasya, the capital of Toramana. It is not pretty clear what exact relation he had with the then Gupta dynasty. Any way the age of Harigupta is to be assigned to c. A.D. 500. Taking into account the general longevity of life among Jaina monks, a period of 250 years, for six generations, between IV. A. SMITH: The Early History of India (4th ed.), pp. 335, 346, Oxford 1957. Three inscriptions naming Toramana are known: Ibidem f. n. 1, p. 335. For the texts of these inscriptions, D. C. SIRCAR: Select Inscriptions, pp. 396 f., University of Calcutta, Calcutta 1942. Dr. N. SHASTRI alleges (Haribhadra ke Praksta katha-sahitya ka alocanatmaka parisilana, p. 64, item No. 8, Vaishali 1965) that the Kuvalayamala gives historical facts like the looting by the Huna king Toramana; but nothing like this is found in our text. 2 R. K. CHOUDHARY: The Huna Invasion of India in the J. of the Bihar R. Society, Altekar Memorial Volume, Vol. XLV, i-iv, pp. 112-42, Patna 1959. U. THAKUR: The Huns in India, Chowkhamba Publication, Varanasi 1967.

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INTRODUCTION 99 Harigupta and Uddyotana, is quite natural. Harigupta's pupil was Devagupta who is called Mahakavi and who seems to be identical with one referred to by Uddyotana at 3.28. Devagupta also came from the Gupta-vamsa, a ruling family, for he is called rajarsi: possibly he had composed a work with some title like Su- or Tri-purusacarita. The note on Toramana by N. C. MEHTA! who depended mainly on an article of Muni JINAVIJAYAJI has been sharply criticised by some scholars; and their views require to be scrutinised at this stage. Some of the statements of N. C. MEHTA are half-truths, and some bold conjectures. K. P. MITRA has been hypercritical and is not quite fair to the facts. N. C. MEHTA apparently considers that Uddyotana was a southerner, because he writes a kind of Prakrit which is of the southern type Maharastri, because he uses the Saka era, and because he is daksina-cihna. All these are partial truths. Once Maharastri became a literary language, it could be used by any author, staying anywhere. As a matter of fact, Uddyotana tells us that he composed his work in Praksta (paiya-bhasa-rasya, 4.11). Some Jaina authors have used Saka era in the north as well, for instance, Jinasena just five years later, uses the saka era; and he is writing his Harivamsa at Vardhamana. Lastly, the title dakkhinna-imdha really stands for daksinya-cihna which has nothing to do southerner. Ratnaprabhasuri, who prepared the Sanskrit Digest of the Kuvalayamala, clearly describes its author as daksinya-cihna-munipa. So MITRA'S argument how Uddyotana hailing from Deccan could have known about Toramana loses all force. Now as to the readings, J gives Torarayena and P Toramanena: sand ni are very much alike in appearance. In the light of what I have observed about the authenticity of the readings of both P and J,' I do not see any reason why this reference to Toramana should be doubted. It is true that Kuvalayamala is a religious romance: this reference does not come in the story of the text, but occurs in a paragraph where Uddyotana is giving biographical details, almost at the close of his work. He is primarily mentioning his ascetic ancestry. His Teacher ancestor, Harigupta, an Acarya of the Jaina Church six or seven generations earlier, was camping (obviously during the rainy season) at Pavvasya, the metropolis of Toraraya or Toramana. This Harigupta is described as the Guru of Toramana and as having hailed from Guptavamsa. There is no eulogy bestowed on Toramana by Uddyotana, nor there is any hint that the king was converted to a creed of kind-heartedness?. All that Uddyotana says is that Harigupta was a Guru of Toraraya or Toramana; and if one is aware of the rigorous life of detachment which a Jaina monk leads, there is nothing improbable that Toiamana respected him as Guru, even as matter of expediency, as some have tried to understand it. There are many instances of Jaina Teachers winning royal respects like this. There is no doubt N. C. MEHTA: Jaina Record on Toramana in the J. of the Bihar O. R. Society, Vol. XIV, pp. 30 f., Patna 1928; also Jaina Siddhanta Bhaskara, XX, 2, pp. 1-6, Arrah 1953. 2 K. P. MITRA: Toramana in Kuvalayamala in the I. H. Quarterly, Vol. XXXIII, 4, pp. 353-59, Calcutta 1957. 3 N. C. MEHTA himself quotes this verse. 4 See above pp. 12 f.

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100 KUVALAYAMALA that Uddyotana tells us that Harigupta came from Guptavamsa and Devagupta was a Mahakavi (who elsewhere is assigned to Guptavamsa and is called Rajarsi): but there is no sufficient evidence before us to connect them with one or the other namesake from the Gupta dynasty known to us. What was a conjecture put in a question form has been taken almost as a fact by MITRA and elaborately refuted. This all belongs to the realm of conjecture and probability. We must wait for more positive evidence. There might have been many persons belonging to the Gupta family, and we have hardly any contemporary census to come to positive conclusions. We should not hesitate to accept what is plainly stated by Uddyotana. Though the Indian capital of Mihiragula was known to be Sakala or Sialkot, Uddyotana is the first to tell that Toramana ruled from Pavvaiya and it was on the bank of the river Candrabhaga. The Candrabhaga is the modern Chinab, the Asikni of the Vedic literature and the Acesines of the Greeks. Ptolemy calls it Sandabala or Sandabal.' It sometimes stands for the united stream of the Jhelum and Chinab. The location of Pavvaiya is to be sought on the bank of this river. A territory in Punjab to the north-west of Multan between the Ravi and the Sutlej was called Parvata:3 may be Pavvaiya= Parvatika1 was located in that area, down the stream where Sutlej conflows into Candrabhaga. Pt. DASHARATH SHARMA has drawn our attention to a very good context that Siharas had established four maliks, or governors, in his territories. The first at Brahmanabad and the forts of Nirun, Debal, Lohana, Lakha and Samma, down to the sea (darya), were placed in his charge. The second at the town of Siwistan: under him were placed Budhpur, Jankan, and the skirts of the hills of Rujhan to the borders of Makran. The third at the fort of Askalanda and Pabiya, which are called Talwar and Chachpur; under him were placed their dependencies to the frontier of Budhpur etc. According to ELIOT Maibar and Chachpur still exist, under the modernised names of Mirbar and Chachar, close together at the very junction of the Acesines and Indus, on the eastern side of the river, opposite to Mittankot.' All this means that Pabiya is possibly our Pavvaiya and identical with modern Chachar. The 1 D. C. SIRCAR: Studies in the Geography of Ancient and Medieval India, p. 40, 44, Varanasi 1960. 2 N. L. DEY: The Geographical Dictionary of Ancient and Medieval India, p. 47, Calcutta Oriental Series, No. 21. E. 13, 1927. 3 Ibidem, p. 150. 4 Muni JINAVIJAY and N. C. MEHTA had observed that this might be Po-fa-to or Po-la-fa-to of Hiuen Tsang, but left its modern equivalent to future investigation. 5 Bharatiya Vidya (Hindi), Vol. II, No. 1, pp. 62-3, Bombay 1941-2. J. P. JAIN in The Jaina Sources of the History of Ancient India, Delhi 1964, p. 195, equates Pavvaiya to mod. Chachera, but he does not give any evidence of his source. The Prakrit passage quoted on p. 193 is very badly printed and some names are wrongly written. He adds in a foot-note on p. 195: Another plausible identification of Pavvaiya may be with Padmavati (or Pawaya near Gwalior) and in that case Candrabhaga might be identical with river Chambal. Is Chambal called Candrabhaga anywhere? * ELIOT and DowSON: History of India as told by its own Historians, Vol. I, Kitab Mahal, Allahabad, pp. 138, 366, also p. 140.

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INTRODUCTION 101 only difficulty, I feel, is that Pabiya, in ELIOT's extracts, is often described as south of the river Bias', 'on the southern bank of Bias' etc. Any way Pt. SHARMA's suggestion is quite welcome. Sivacandra is moving probably from the area of Pavvaiya towards Bhillamala' with a view to paying respects to Jina-temples: this shows how Jainism was well rooted and neatly established in the Gurjara-desa corresponding to modern Rajasthan of which the capital was Bhilmal or Srimala about fifty miles to the north-west of Mount Abu. Vatesvara had a temple constructed in the town of Akasavapra by name. Shri HEMASAGARASURI suggests in his Bhillamala (the ancient Srimala), written variously as Bhinmal, Bhilmal, Bhinnamala, Bhilmal etc. (Pi-lo-mo-lo, of the Chinese traveller) finds plenty of references in Jaina works: it must have been a thriving cultural centre for the Jainas. According to the Nisithacurni (10.255) of Jinadasagani-mahattara (c. 676 A.D.) king Varmalata had a silver statue of Jina (made or installed) in Bhillamala. An inscription of A.D. 625 of a king of this name is found; and it is plausible that Suprabhadeva, the grand father of Magha, was a minister of this king. The famous astronomer Brahmagupta (A.D. 628) is called Bhil (1) a-ma (la) carya and was a contemporary of Vyaghramukha of Capavamsa or Cavada family who ruled possibly at Bhillamala. Siddharsi refers to Bhillamala as a prosperous town with a gorgeous Jina-temple. It is in this very town that his grand-preceptor Durgasvami passed away and that he completed his Upamitibhava-prapanca katha in A.D. 906. Vamana, son of Jajju, who belonged to the Pragvata family hailing from Bhillamala (had got) constructed a beautiful temple of Jina in 1034 A.D. at Kayandra. Vadivetala santyacarya (A.D. 1038) wrote his commentary on the Uttaradhyayana at Anahila-pataka (Pattan in Gujarat) in the Jina-temple constructed by Amatya Santi of Bhillamalakula, possibly a famous family hailing from Bhillamala. Asada, the author of Vivekamanjari (A.D. 1191), refers to himself as the son of Katukaraja of the Bhillamalakula. Those who migrated from Srimala or Bhillamala mentioned this as their family name or vamsa. It is learnt from an inscription of A.D. 1276 that a statue of Mahavira was brought to Srimala or Bhillamala after the fall of Valabhi (mod. Vala) and since then Srsmala became a mahasthana. Even a branch of Jaina monks, Bhinnamala-gaccha, is referred to in an inscription of A.D. 1506. References to the discovery of an image of Parsvanatha, with miraculous powers, are found in records of the beginning of the 17th century A.D. Epigraphical records show that Jayantasimha (Sam. 1239), Udayasimha (Sam. 1262-74), Cacigadeva (Sam. 1333-4), Samantasimha (Sam. 1339-45) ruled over Bhillamala (See for the above details L. B. GANDHI: Aitihasika Lekha-Samgraha, pp. 153 ff., Baroda 1953.) Shri RATIBHAI DESAI, Ahmedabad, has given me some notes in Old-Gujarati. Their language is as much interesting as their contents. They are from the family records (vaiyavata) of Mahatma NARASIMHAJI of Radhanpur, and their writing may be assigned to the beginning of the 19th century of Samvat era. Possibly they are copied from older notes. The first note claims to give an episode which occurred in Sam. 503. One Virasuri instructs a Rathoda ruler in Jainism. The ruler gets a son by fasting and propitiating a Sasanadevata, and subsequently becomes a good Sravaka. A second note refers to Devabhadrasuri's arrival to Srimala or Bhinnamala in Sam. 785 where a statue and temple of Adisvara were consecrated. Later, he came to Jalor and a similar statue and temple were constructed there. Thus Bhinnamala and Jalor were centres of Jaina cultural activities; the sravakas were pretty rich; and the propitiation of Sasanadevatas was sufficiently popular in this part. 2 Muni JINAVIJAYAJI and others proposed that it might correspond to Vadanagar, the old Anandapur. Akasavapra means a city which has the sky for its walls, i.e., unfortified town. Anandapur got a wall around it only in 1157 A.D. during the reign of Kumarapala,

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102 KUVALAYAMALA Gujarati Translation that it stands for Ambarakotta or Umarakot. It looks quite apt ambara and kotta being rendered as akasa and vapra. Now a town of this name is shown in the maps in Sind; there is one Ambargadh in Rajasthan; and a place Amarakota has Jaina associations even in later days. The exact identity needs, however, further confirmation, just as Mahadvara requires identification.' Uddyotana calls himself Daksinyacihna (280.18, 282.16), perhaps his penname, as many others have called themselves Vimalanka, Abhimananka, Parakramanka, Sahasanka, Virahanka etc. It has nothing to do with his alleged connection with the South, as explained above, but refers to his quality of daksinya. Uddyotana composed this Kuvalayamala while he was staying at Jabalipura, modern Jalor, which is situated about 75 miles south of Jodhpur city on the left bank of a river called Sukri. It is now a Railway station of the Northern Railway on the Bhildi-Raniwar-Samdari line at a distance of thirtythree Kms. from Bhinmal or Bhillamala. As Uddyotana describes it, Jabalipura included the hill as well as the township at the foot of it: that alone explains better the adjectives tumga, alamgha, astapadam va and sravakakulam. Perhaps the hillfort was the best part of that place; and it is on the hill that Virabhadra must have got constructed a temple dedicated to Rsabha. Published in Sri-Ananda-Hema Granthamala, No. 10, p. 457, foot-note 2, Bombay 1965. In this context Dr. DASHARATH SHARMA writes to me thus (his letter of 17-6-68): "Ambara. kotta (mod. Amarkot). Here amara-ambara=akasa. The identification was proposed by Muni KALYANAVIJAYA. Amarkot belonged at one time to Jodhpur State and is now in Western Pakistan. Akbar was born here. The exact position is 25.21' N. and 69.46' E. It was a medieval Rajput fort. Today there are a few Jaina families. Some old images are said to have been discovered there. Dr. N. J. SHAHA, Ahmedabad, reminds me, in this connection, of Amber, the ancient but now decayed capital of Jaipur at a distance of 7 kms. to the north-east of Jaipur. Some Jaina temples also are there. It has a fortified hill and a fine lake. Ptolemy also refers to Amber. "The picturesque situation of Amber at the mouth of a rocky mountain gorge in which nestles a pretty lake, has attracted the admiration of all travellers including Jacquement and Heber. Founded by primeval Minas, it was flourishing in A.D. 967 (See The Imprerial Gazetteer of India, Vol. I, by W. W. HUNTER, pp. 228-9, also A Handbook to India, Pakistan, Burma and Ceylon by L. F. R. WILLIAMS, pp. 181-2, 472.). Shri A. P. SHAHA, Ahmedabad, draws my attention to Amargadh in Rajasthan as the possible modern equivalent of Akasavapra. It is not far away from Srimala; and it has Jaina associations. Without or in the absence of more positive clues one can only conjecture that Akasavapra may be either Amarkot in Sindh, Amber near Jaipur or Amargadh in Rajasthan. 2 In Samvat 1561, a statue of Sumatinatha is consecrated at Amarakota (m) nagare. See Jaina Inscriptions, Jaisalmer, by P. C. NAHAR, Part III, No. 2487, Calcutta 1929. 3 Dr. SHARMA writes to me (his letter of 17-6-68): Mahadvara cannot be identified satisfactorily. Most probably it stood near some hill and commanded the road leading to some hill-town, i.e., Haradvara and Kotadvara.'

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INTRODUCTION 103 Today the town Jalor, at the foot of the hill Sovangiri or Songiri,1 is gradually extending towards the Railway Station; it has quite a modern look on the outskirts of the old part of the town adjacent to the hill-fort. I am given to understand that in the population of the town there are more than two thousand Jainas, mostly of the Murtipujaka Svetambara section: some of the Jaina families have trade contacts with big towns like Bombay, Bangalore etc. Besides the Saiva temple, Masjid etc., there are, in the town today, a dozen Jaina temples: one on the Station Road still under construction is an eloquent proof of the traditional religious zeal of this ancient locality. On the hill, within the fort, there are four Jaina temples: i) Of Mahavira, known as Candanavihara, renovated some time earlier than thirteenth century A.D., perhaps at the time when Kumarapala constructed the Kumaravihara in this fort. This is considered to be the same as the Yaksavasatiprasada. ii) Of Santinatha, popularly called Astapadavatara. The garbha-grha etc. are older than thirteenth century A.D. iii) Of Parsvanatha, rebuilt on the remains of the Kumaravihara constructed by Kumarapala in 1164 A.D. iv) Of Adinatha, which is a place for the annual festival of the locality. None of these can be definitely proposed for identification with the temple of Rsabha, which was got built by Virabhadra and referred to in the Kuvalayamala. According to Merutunga's Vicarasrent, it was during the reign of king Nahada,2 the temple of Mahavira, called Yaksavasati was built on the Suvarnagiri, i.e., the hill-fort of Jalor. As the story goes, this Suvarnagiri was inhabited by the richest section of the society: those who were worth less than a crore even by one lakh had no accommodation there. The gatha in this respect runs thus: After this traditional information about Nahada, the history of Jalor is in dark till Uddyotana's time. According to TOD's information the ruler lent his help to Rana Khomana when Chitor was beseiged by foreign armies some time between navanavai - lakkha - dhaNavai aladdhavAse suvaNNa - giri - sihare / nAhaDa niva kAraviyaM thuNi vIraM jakkha vasaIe // 80 // 1 Dr. S. N. VYAS, in his Hindi monograph Universal Poet Kalidasa: A Study (Gwalior 1957), pp. 71 ff. puts forth his view that Alaka, the Yaksabhumi, referred to by Kalidasa in the Meghaduta, is this Suvarnagiri with its Yaksavasati and its inhabitants each possessing not less than a crore. He has shown some common points in the description of Kalidasa and of Jalor and its premises. The following is the description of the Jalor fort from the Rajaputana Gazetteers, Vol. III-A, pp. 189-90, The Western Rajputana States Residency and the Bikaner Agency, Allahabad 1909: On a hill to the south and entirely commanding the town stands the fort, one of the most famous in Rajaputana. Built early in the Christian era by the Parmar Rajputs, its walls, composed of huge masses of cut stone remain even now in a perfect state of preservation, although the place has been many times besieged. The fort is about 800 by 400 yards in extent, and accessible only by an ascent of three miles up a steep and slippery stone roadway, passing three distinct lines of defence, all of considerable strength; it is amply supplied with good drinking water from a couple of tanks within the walls, and possesses several handsome palaces and temples, as well as the tomb of Malik Shah, a noted Muhammadan saint.' A.D. 2 Nahada stands for Nagabhata, and he is to be put in the first half of the 8th century See Rajasthan through the Ages, pp. 122 etc., Bikaner 1966,

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104 KUVALAYAMALA A.D. c. 801-35. At the close of the 10th century A.D. Munja of Malwa appointed Candana as the Governor of Jalor. Then in 1026 A.D. Buddhisagara refers to Jalor as a prosperous town in his Sanskrit grammar (sa-srika-Javalipure). A number of inscriptions are locally available from which it is learnt that in 1164 A.D. Kumarapala had the image of Parsva installed there with due ceremonies. Some more events of the later years are also recorded. During the last part of the 12th century Kirtipala and Samarasimha ruled from Jalor: the latter built the extensive ramparts of the fort. About 1310 A.D. Alauddin Khilji took advantage of the feudal factions among Rajputs; and Jalor and Suvarnagiri came under him with the result that the temples and statues there suffered terrible damage at the hands of the iconoclasts and adversaries. In 1608 Jahangir had the enclosure of the fort rebuilt. It is only at the beginning of the 17th century, when Jalor became a part of the Jodhpur State after the death of Aurangzeb, renovation and reconstruction of the temples started on the Sovangiri under Jayamalaji Muhnot of Jodhpur. This Muhanota Jayamala was a great warrior and philanthropist. The Mughal emperor gave two districts of Jalor and Sanchor to Maharaja Gajasimha who appointed Muhanota Jayamala as the governor. Jayamala carried on the administration successfully. He defeated five hundred Marathas who invaded Sanchor. When a dreadful famine broke out in 1630 A.D., he distributed grains free of charge among the needy and distressed. Besides, he spent his entire property in these charitable activities." He used to stay at Jalor. 1 K. C. JAIN: Jainism in Rajasthan, p. 218, Sholapur 1963. 2 For these details about Jalor, see Jaina-tirtha Suvarnagiri by Muni KALYANAVIJAYA in the Silver Jubilee Number of the Jaina, pp. 42-55, Bhavnagar Sam. 1985, i.e., 1928. Dr. K. C. JAIN gave me a typed note on Jalor from his dissertation on the ancient towns of Rajasthan for which I feel very thankful to him. Shri RATIBHAI DESAI, Ahmedabad, kindly sent me a translation into Hindi of a note on Jalor from the Jaina-tirtha-sarva-samgraha, Vol. I, part ii, pp. 187-92 by A. P. SHAHA, (in Gujarati) and published by Anandaji Kalyanaji, Jhaveriwad, Ahmedabad 1953. Since I read the prasasti of Uddyotana and his reference to Jalor, I was yearning to visit that place which was once hallowed by the presence and movements of Uddyotana. Thanks to Pt. DALASUKHBHAI MALAVANIA and Shri RATIBHAI DESAI our trip was very comfortably arranged, and Pt. BECHARDASAJI and his daughter also accompanied us. After the session of the International Congress of Orientalists we all left Delhi on the night of 10-1-1964. We reached Jawai Bandh Rly. station at about 3 p.m. next day. Some Sravakas from Jalor had already come there to receive us. We reached Jalor by evening. We paid respects to Muni KALYANAVIJAYA. He knew me through correspondence for the last many years. He stays in Jalor nowadays, and he is very old. He gave me a good deal of information about the locality and its past history. He mentioned to me his Gujarati article, noted above, and obliged me with copies of some local inscriptions. Even though he is very old, he has a good memory for a number of details. Next morning we three (Pt. DALASUKHBHAI, Shri RATIBHAI, and myself) accompanied by some local sravakas and a guide started climbing the hill fort, Songir, at about 9 a.m.; and we were on the top of it by about 10.30 a.m. We saw all the temples, the palace, rampart etc.: the town below gives a picturesque view and so many anecdotes are narrated about the fort and brave fighters during the Rajput and Mugal periods of history. Some of the temples have an appearance of antiquity, but they are often renovated, We came down late in the noon. In the afternoon we visited some more temples in the town: some are old, some new, and some under construction, dedicated to different Tirthakaras. They all speak for the wealth and religious zeal of the local Sangha. The new Nandisvara temple on the station road is worth a visit, both by the pious and the artistic. Next morning we started by train for Ahmedabad and on the way passed Bhinmal, the ancient capital of Gujarat. Any way my impressions about Uddyotana and his associations with Jalor were given a more concrete form by actually visiting this place and by moving about in the fort in a temple of which the Kuvalayamala was composed more than eleven hundred years ago.

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INTRODUCTION 105 Uddyotana refers to a contemporary king Vatsaraja (whom he calls ranahatthi) who crushed the frowny soldiers of the enemy and who was a source of joy to his own people. The word jaiya only shows that Vatsaraja was the king at that time; Jalor was possibly a part of his territory; and it cannot be inferred, without additional evidence, that he was ruling at Jalor. This title, rana-hastin, of Vatsaraja is quite important. Some nine coins bearing the Brahmi legend Sri Ranahastin have come to light. One was found in Kana uj; one was discovered in Rajasthan; five of unknown locality, now in the Indian Museum, Calcutta; one obtained from somewhere in Saurashtra, and one more coming from Uttara Pradesh or Rajasthan. The characters appear post Gupta-Brahmi. According to P. L. GUPTA 'the characters are not earlier than eighth century A.D.' RAPSON suggested once that this ruler is identical with Maharaja Hastin of the Parivrajaka family. Dr. DASHARATH SHARMA has already suggested that this Ranahastin is the same as Vatsaraja who is qualified with the adjective Ranahastin by Uddyotana. This identification is accepted as quite plausible by P. L. GUPTA. The provenance of the coins points to Vatsaraja having ruled in the West. King Dhruva of the Rastrakuta dynasty prided himself on his defeat of Vatsaraja whom he made to enter upon the path of misfortune in the centre of the desert of Maru. He despoiled Vatsaraja of two white umbrellas taken by him from the king of Gauda, perhaps Gopala, who had suffered defeat at the hands of Vatsaraja, the Gurjara king of Bhinmal. There is no doubt that Uddyotana is referring to this Vatsaraja in A.D. 779. Five years later, in Saka 705 (c. 783-4), when Jinasena completed his Harivassa at Vardhamana-pura," 1 Journal of the Numismatic Society of India, XVI. 282-3, XVIII. 222-3 and XX. 189-91, Bombay 1954-58. 2 V. A. SMITH: The Early History of India (4th ed.), pp. 413, 445, Oxford 1957. For more details about Vatsaraja, B. N. PURI: The History of the Gurjara-Pratiharas. Bombay 1957. D. SHARMA: Rajasthan through the Ages, pp. 124 ff., Bikaner 1966. 3 Seeing that the earlier expressions are in the Acc. sing. (uttaram, daksinam, parvam and aparam), the Sauranam adhimandalam is quite in order, and need not be amended into Loc. sing. -adhimandale as some scholars seem to propose. Both the editions of the Harivamsa (Manikachandra D. J. Granthamala, Bombay 1930 and Bharatiya Jnanapitha, Varanasi 1962) have the form in Acc. sing. 4 The identification of Vardhamana-pura has become a matter of controversy which is linked with the interpretation of the famous verse from the Harivansa of Jinasena on which the scholars have differed. After much thought and studying respectfully the views of my predecessors (For my earlier observations, see Brhat-Kathakosa, Bombay 1943, Intro. pp. 121 ff.), I would understand the verse as noted above. Jinasena, in my opinion, is speaking in general and noting the directions without any particular locality in view. He has in view four rulers in the four directions in general: Indrayudha in the North; Srivallabha, the son of Krishoa in the South; the king of Avanti in the East; and the king Vatsaraja in the West. Some have taken Avanti-bhubhrt, -raja or -natha as the name of the king himself, and parallels can be quoted from literature (For instance, Raghuvamsa, VI 32: Avantinatho'yamudagrabahuh etc.). Or politically it was a period of instability, and no outstanding ruler could be specified. * Jinasena does not stop here, but goes on further to add that Sauramandala was ruled by Jaya Varaha. The reason why he is not satisfied by merely mentioning four rulers in foar directions

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106 KUVALAYAMALA he tells us that Indrayudha was ruling (in) the North, Srivallabha, the son of is that the place where he is writing, namely Vardhamana(-pura), is located in Sauramandala, also known as Saurastra-mandala (as in the Una grants), roughly corresponding to Kathiawar. Vardhamana gets correctly equated with modern Wadhwan in that area. When any other place outside is suggested for identifying Vardhamana (-pura) the significance of mentioning Sauramandala, in addition to the general directions of the country with their rulers, is missed; and any such attempt, therefore is out of context. Thus in Saka 705, Jinasena associates Vardhamana(-pura) with the Punnata Samgha of his own and with the local chief Jaya Varaha.* In this connection, the Haddala grant is of special significance. This was discovered in Eastern Kathiawar. It refers to Dharani Varaha resident in Vardhamana who was samadhigat asesamahasabda-Mahasamantadhipatih, and who through the favour of Rajadhiraja-ParamesvaraSri-Mahipaladeva ruled the Addanaka-desa named after his own grand-father.' It is dated in Saka S. 836. This Addana is the same as modern Haddala 'a large village on the old road from Dholka to Dhandhuka, but belonging to Eastern Kathiawar.' The contents of this grant confirm what Jinasena says that there was a Varaha Samanta at Vardhamana, (a subordinate of Mahipaladeva); this Vardhamana is in Eastern Kathiawar and obviously to be identified with mod. Wadhwan (G. BUHLER: The grant of Dharanivaraha of Vadhvan, I. A., July 1883, pp. 190 f. H. C. RAY: The Dynastic History of Northern India, Vol. I, pp. 582-3, Calcutta 1931, P. C. BAGCHI: Baurah or Baruza? I. H. Q., XIX. iii. pp. 266 ff.). *Then in saka 853, Harisena, like Jinasena, belonged to the Punnata Samgha and completed his (Brhat) Kathakosa while staying at Vardhamana(-pura). There are good reasons to believe that this Vardhamana(-pura) is the same as the one mentioned by Jinasena and referred to in Haddala grant. First, Jinasena and Harisena belong to the Punnata Samgha. Secondly, if Jinasena speaks about Vardhamana -(pura) as kalyanaih parivardhamana-vipula-sri-Vardhamane pure, Harisena adds kartasvarapurnajanadhivase. Both Jinasena and Haddala grant refer to the ruling local family of -varahas; and the Haddala grant (in saka 836) and Harisena (in Saka 853) rightly refer to successive rulers Mahipala and Vinayakapala. If Harisena has not mentioned any -varaha ruler, either he did not think it necessary or the rulers of that family had lost their prestige after Dharani Varaha. The linking is so perfect in the details supplied by Jinasena, Haddala grant and Harisena that one is perfectly justified in identifying Vardhamana(-pura) with modern Wadhwan in Kathiawar.* The other locality which has been suggested (H. L. JAINA: Indian Culture, XI. 4, pp. 161 ff., April-June, Calcutta 1945; also Madhyabharati, No, 3, pp. 1 ff., Jabalpur 1965) for identification with Vardhamana(-pura) is Badnawar(Dhar): North of Dhar, on MhowNeemuch road; 12 miles from Baruanagar, a station between Rutlam and Indore on the W. Rly. Numerous remains like images, mosque, fort, temples etc. are discovered there (Central India State Gazetteer Series, V, P1. A 1908, and also The Bibliography of Madhya Bharata Archaelogy). The claims of this place to be identified are to be judged on their own merits. First, the corruption of Vardhamana (-pura) into Badna(war) is not at all intelligible: the proposed change is speculative acrobatics of vowel and consonant changes. The fact is obvious that Badnawar is a natural corruption or changed form of Vardhana(a)pura as local inscriptions mention it (Lekhas 1-3). Secondly, no clear-cut evidence has come forth from the locality to show that the place was called Vardhamanapura. The quotation from Dr. H. TRIVEDI's report only shows that Badnavar possesses Jaina antiquities. The inscription on which the proposed identification is based is Lekha No. 3 (of Sam. 1229, p. 168) which clearly mentions Varddhanapura and not Vardhamanapura, as claimed. In fact, Dr. TRIVEDI plainly says (Jaina Antiquary, XVII, p. 72, foot-note 10): The inscription is important as it records the ancient name of the place which is Vardhanapura'. A few months back I was in Ujjain. Shri SATYANDHAR SETHI is a zealous upholder of the view that Vardhamanapura-Badnawar. He showed me some images from Badnawar in the Ujjain Museum in a Jaina temple there, and gave me a typed copy of some 17 short and long inscriptions which cover those reproduced in the papers referred to above. On the images and in the inscriptions the reading is Varddhana(a) pura. In some records there is a reference to Vardhamana-vara (-pura) anvaye, As a rule. an anvaya

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INTRODUCTION 107 Klsna (in) the South, the king of Avanti (in) the East, the king Vatsaraja (in) the West, and Jayavaraha over the Saura-mandala. I agree with Dr. DASHARATH SHARMA and Dr. H. L. JAIN that Vatsaraja need not be connected gets mentioned in a locality with reference to a Teacher who hails from a different locality: a man mentions the locality as a part of his surname only when he migrates to some other place. This reference, therefore, cannot be adduced as an evidence to show that the place was called Vardhamanapura. Thirdly, the equation of Dostatika with Dotariya is tempting (apart from its conjectural etymology). but it cannot be proposed without first proving that Vardhamana. pura-Badnawar. Fourthly, to bring urjayantalaya-simha vahini to Ujjain and associate her with Mahakala there is only a forced conjecture. Fifthly, in none of the epigraphs found at Badnawar is mentioned the Punnata Samgha with which both Jinasena and Harisena are associated. Sixthly, the Badnawar records mention neither any local Varaha ruler nor any suzerain -pala king referred to by Jinasena and Harisena and also in the Haddala grant. Seventhly, Badnawar presumes an earlier form of its name to end in -pura (like Varddhanapura, as the local records show). But the locality which Jinasena (Vardhamane pure, and not Vardhamanapure) and Harisena (Vardhamana+akhya-pure) mention (along with the Haddala grant which I am using from a second hand source) Vardhamana is really the name of the locality, and the term pura is more a descriptive appendage than a part of the name of the town proper. So it cannot be equated with Badnawar but it can be with Wadhawan with greater justification. Lastly, the list of Nannarajas is quite welcome, but no specific evidence is brought forth to prove that any one of them had built a temple either at Vardhamana(-pura) or at Badnawar. Proposing identity based on similar names either in the case of Jaina Acaryas or dignitaries is always fraught with uncertainty, because our information is necessarily limited. Lately, a scholar (see the Introduction of the Parevabhyudaya by Shri M. G. KOTHARI, Bombay 1965) has identified Nannaraja, in whose name a temple stands at Vardhamana-pura in Saka 705, with Nanna, the patron of Puspadanta who completed his Mahapuranu in Saka 887: all this on the basis of similarity in name. Thus the well-established dates of these authors are upset. The above discussion shows that Badnawar has no claims for being identified with Vardhamana (-pura) of Jinasena and Harisena. For verifying the details of the political history discussed in this connection, I do not have here the necessary material on which the theory is built; nor is this discussion needed for the identification of Vardhamana (-pura). Some historians have not taken this discussion sympathetically (B. N. PURI: The History of Gurjara Pratiharas, p. 35, Bombay 1957, where these theories are considered to be highly speculative.). Dr. V. V. MIRASHI (Studies in Indology, Vol. IV, pp. 137 ff., Varanasi 1966), however, would like to endorse the view of Dr. H. L. JAIN, merely because he has not examined the basic facts on which the structure of arguments is based. Some of these facts have been duly scrutinised above. There is one more inscription found in Ujjain and assigned to the time between the Vikrama years 1197-1200. It mentions Jayavarmadeva residing in Vardhamanapura and informing his officials. He was dethroned soon after his succession by Ajayavarman. The various places mentioned there including Vardhamanapura are not identified. May be that Jayavarman was staying at Vardhamanapura perhaps during the period of his exile: the identity of this place in Malwa is still to be proved (Indian Antiquary, Nov. 1890, p. 350, and reference to this in the article of Dr. V. V. MIRASHI noted above). For a reference to Vardhamananagari in the South, see 1. A. XI, January 1882, pp. 11, 18. 1D. SHARMA: Annals of the B. O. R. I., XVIII, iv, pp. 396-98; J. of I. History, XXII, ii-iii, pp. 92 ff.; Ibid. XXIII, i, pp. 43-44; Ibidem XLI, iii, Dec. 1963, pp. 757 f. Also the observations of Drs. H. L. JAIN and V. V. MIRASHI, noted above. G. C. CHOUDHARI: Political History of N. India, Amritsar 1963, pp. 40 f. 2D. SHARMA: Rajasthan through the Ages, Bikaner 1966, pp. 126 ff., Bikaner 1966. H. L. JAIN: Identification of Vardhamanapura and the Ruler of Avanti in Saka 705, Madhya Bharati, Vol. III, p. 8, Jabalpur 1965.

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108 KUVALAYAMALA with Avanti, the name of the ruler of which is not obviously mentioned by Jinasena. Vatsaraja is ruling over or in the West. Uddyotana does not clearly specify that Vatsaraja ruled at Jalor; and it is not unlikely if he ruled at Bhilmal, the traditional capital of the Gurjaras. Had Vatsaraja been the ruler of Avanti, Uddyotana would not have depicted (in the Kuvalayamala) a Malava prince brought as a captive and put in a humiliating condition. If any further inference is justified, Uddyotana indicates that the ruler of Avanti (or Malava)might not have been on good terms with Vatsaraja in whose kingdom Jalor was included. While mentioning his parentage, Uddyotana only specifies that he hails from a Ksatriya family and nothing about his lunar lineage. But when he describes himself as an Acarya, he mentions that he was an avayava or member of the Candrakula. The Ms. P describes Uddyotana as svetapata-natha-muni; so Candrakula is the name of the Gaccha of which a number of authors are known from the 10th century onwards. Some of them have later changed over to Raja-, Kharatara-, Khandilla-gaccha etc. This Kula seems to have split into other branches like Brhad-, Paurnimika-gaccha etc. Uddyotana specifies the Saka year in which he completed the Kuvalayamala; and as worked by H. JACOBI (see Notes on 283.6) it corresponds to March 21, 779 A.D. Jinasena writing at Vardhamana(pura) also uses Saka era, 705; and Harisena who composed his Brhat-Kathakosa (931-2 A.D.) at the same place gives both the Saka (853) and Vikrama (989) eras. After knowing so much from Uddyotana about himself and after critically scrutinising these details, it is interesting to see what Prabhacandra" says about him in his Prabhavaka-carita (1277 A.D.) while writing the biography of Siddharsi (906 A.D.): sa copadezamAlAyA vRttiM bAlAvabodhinIm / vidadhe'vahitaprajJaH sarvajJa iva gIrbharaiH // 88 // sUrirdAkSiNyacandrAkhyo. gurubhrAtAsti tasya saH / kathAM kuvalayamAlAM caka zRGgAranirbharAm // 89 / / kiMcit siddhakRtagranthasotprAsaH so'vadat tadA / likhitaH kiM navo granthastadavasthAgamAkSaraiH // 90 zAstraM zrIsamarAdityacaritaM kIrtyate bhuvi / yadrasormiplatA jIvAH kSuttaDAdyaM na jAnate // 91 // arthotpattirasAdhikyasArA kiMcitkathApi me / aho te lekhakasyeva granthaH pustakapUraNaH // 92 // atha siddhakaviH prAha manodUno'pi no kharam / vayo'tikrAntapAThAnAmIdRzI kavitA bhavet // 93 // kA spardhA samarAdityakavitve pUrvasUriNA / khadyotasyeva sUryeNa mAdRgmandamateriha // 94 // itthamuttejitasvAntastenAsau nirmame budhaH / ajJadurbodhasaMbandhAM prastAvASTakasaMbhRtAm // 95 // ramyAmupamitibhavaprapaJcAkhyAM mahAkathAm / subodhakavitAM vidvaduttamAGgavidhUnanIm // 96 // granthaM vyAkhyAnayogyaM yadenaM cakre zamAzrayam / ataH prabhRti saMgho'sya vyAkhyAtRbirudaM dadau // 97 // 1 Though this is accepted, Dr. H. L. JAIN's suggestion that Vinita - mod. Bink in the old Sonapur State is contradicted by Uddyotana himself for whom Vinita is Ayodhya. See Kuvalayamala 8.27, 180.18, 156.26, 177.7, etc. 2 M. D. DESAI: Jaina Sahityano Itihasa (in Gujarati), Bombay 1933, pp. 192, 207, 236, 238,-9, 275, 340, etc. Even though H. JACOBI had worked out the details about this date, some have expressed doubt about its correctness, of course, without offering any evidence to substantiate their view. Prof. HARIHARA BHATTA's further elucidation sought and given by Pt. SUKHALALAJI in his Samadarsi Acarya Haribhadra (Hindi ed., Jodhpur 1963), pp. 8 ff. should set at rest all such doubts in this connection. 4 Prabhavakacarita of Prabhacandra, pp. 123-4, ed. JINA VIJAYA MUNI, Singhi Jaina Series, Ahmedabad-Calcutta 1940. g any eviden by Pt. SUKHAL Est all such

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INTRODUCTION 109 As to the gist of the above verses, Siddharsi composed the Balavabodhini Vrtti on the Upadesamala; and he was obviously proud of it. But his guru-bhrata (both Uddyotana and Siddharsi being presumed to have been the pupils of Haribhadra), Daksinyacandra, who had composed his Kuvalayamala full of erotic sentiment, laughed at his new literary feat. He incidentally referred to the Samaradityacarita (of Haribhadra) which is so much flooded with flavour that its readers would forget their hunger and thirst (while reading this sastra), and also to his own (Kuvalayamala-) Katha, quite worthy for its contents and flavours. He derided Siddharsi's performance as a scribe's stuff. Siddharsi was quite modest about his poetic gifts as compared with those of Haribhadra; but this worked as an inner challenge, and he composed consequently his Upamitibhava-prapanca katha. Then the Samgha gave him a title of vyakhyatr. That Siddharsi was a contemporary pupil of Haribhadra is a myth exploded long back.1 Prabhacandra's statement that Siddharsi (906 A.D.) and Uddyotana (779 A.D.) were contemporaries is an anecdote devoid of any historical foundation.2 The Kuvalayamala is the only work of Uddyotana so far known to us. The references like the above clearly show that very few Acaryas seem to have read the whole of it. Very few authors like Gunapala (c. 11th century A.D.), Amradeva (1134 A.D.) show some acquaintance with it.* The dakkhinhaimdha is misunderstood both by Devendra (A.D. 1103) and Prabhacandra (1277 A.D.). The Mss. of it are few, so far known, only two. After Ratnaprabha prepared its Sanskrit Digest, very few authors appear to have touched the Prakrit original. There is no wonder, therefore, that what were just characters in a religious and diadactic romance came to be looked upon as Religious Heroes, great Saints of yore in flesh and blood who attained liberation after practising penances (see Notes on 280.17, the details about Panca-aradhana-prakarana). For Prabhacandra, Daksinyacandra was just a title and his Kuvalayamala had a little romantic hallo with the result that he put both Uddyotana and Siddharsi as contemporaries of Haribhadra. 6 After studying the various aspects of the Kuvalayamala, quite a clear-cut personality of Uddyotana as a man of letters stands before us. His aim is to elevate man to his highest spiritual height by eleminating the baser elements in him and by cultivating the more sublime qualities. Man's baser instincts are anger, vanity, deceit, greed and infatuation; and if they are not kept under proper restraint, they run amuck to his ruin and also to that of humanistic qualities so needed for an orderly and balanced society. This basic problem is handled by Uddyotana in this Dharmakatha. The characters which Uddyotana 1 Siddharsi calls Haribhadra me dharma-bodhakaro guruh, because, as he puts it, Haribhadra wrote (even before Siddharsi was born) his Lalitavistara that it may prove to be for the benefit of Siddharsi. See H. JACOBI: Introduction, p. i, Samaraiccakaha, B. I. No. 169, Vol. L, Calcutta 1926. 2 Such disclosures only indicate that one should not take these tales as historical without additional and corroborative evidence. 3 See Notes at the end on 1.2-18, 4.13-14, 5.27. etc. 4 See above, Intro. p. 95, Amradeva's use of the tale Mayaditya. 5 Intro. p. 19, footnote 4, above. 6 See the verse No. 89 quoted above from the Prabhavakacarita.

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110 KUVALAYAMALA introduces can be seen anywhere in our Indian society under the environments so well sketched by him with personal experience and observation and study: this invests the story with some eternal values which need sympathetic understanding and renewed explanation for the betterment of man as a social being. Uddyotana is a good teacher; he knows the psychology of the audience; and he tells us how the minds of people are to be captured for better ends ($ 9). Uddyotana is typically modest. His literary gifts and equipments have not made him vain. He has regard for his critics, but their alleged criticism does not undermine his faith in his involvement in and dedication to a purpose, namely, composing a Dharmakatha to instruct men and women in correct behaviour in their social set-up. He has as much regard for the appreciative critics as he has faith in his pursuit (6.11-2). In fact, he anticipates what kinds of flaws might be found in his Prabandha, and tries to explain them in a way ($$ 427-8). All the details, howsoever discordant, are justified in a dharmakatha, because they ultimately lead to Samyaktva. He wrote this only as a Dharmakatha, not out of any pride of his poetic abilities and not with the intention of composing a Kavya, a piece of ornate poetry. He is prepared to admit grammatical lapses here and there. He adds that he was merely a mouthpiece in composing this work which was all inspired by Hri-devi dwelling in his heart ($ 429): otherwise how could he compose 100 granthas within a prahara. The work is meant primarily for reciting by those who know desi-bhasa and the style of Gatha, otherwise it may be read from a Ms. Despite his modesty, Uddyotana exhibits significant poetic talents throughout his work. His descriptions are often of the Varnaka type, rather ready-made for setting up wherever needed; so now and then some ideas get repeated (49.7 f.; 72.20 f.; etc.). Long metres and heavy descriptions add to the dignity of his verse and prose which often go together in this work as is the style of a Campu.1 1 On the Campu style see A. B. KEITH: A History of Sanskrit Literature, Oxford 1948, pp. 332 f. K. K. HANDIQUI: Yasastilaka and Indian Culture, pp. 85 ff., Sholapur, 1949; Ch. TRIPATHI: Campu-kavya ka alocanatmaka evam aitihasika adhyayana, Chowkhamba Prakasana. No. 83, Varanasi 1965. The Campu style is characterised by a natural blending of prose and verse both of which flow out spontaneously for the poetic effect of the narration, One or the other cannot be detached without harming the current of composition: in fine, both are inseparable constituents of the poem. It is but inevitable from the trends of literary currents and from the age-old literary training and habits of our poets that prose would be used for narrating events and the verse would be better impregnated with poetic flash and flavour. Still it is not that they cannot serve each others' functions. Judged in this light, many works could not be called Campu simply because of the mixed presence of prose and verse. In the Pancatantra, for instance, the verses stand detached; and the narration does not suffer, even if they are omitted. Likewise in the Samaraiccakaha of Haribhadra many verses are introduced for descriptions, religious instructions and moral exhortations: some of them can be skipped over and the narration is not affected. To a less extent, however, the same tendency is seen in the Kuvalayamala. Here and there Uddyotana adds a description for heightening the effect of the context: he does not hesitate to duplicate such descriptive sections in verse and prose. Comparatively speaking the Kuvalayamala has better claims for being called a Campu than the Samaraiccakaha. Some earlier Kannada Kavyas like the Adipurana and Bharata of Pampa (A.D. 941) are in the Campu style. Though Trivikrama and Somadeva are pioneers of this style, it is rather in later works like the Bharata-campu that the style becomes more effective.

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INTRODUCTION 111 He is quite at home in strings of similes, rupakas, utpreksas, slesa etc. The sirnkhala-yamaka is often used. His descriptions of towns, seasons, natural scenes etc. are a significant contribution to the poetic wealth of the Kuvalayamala. At places, his style is appropriately swift and catching on account of short sentences (199.30 f.). In certain descriptions more than one piece is added, for instance, that of Narmada ($ 206, also $ 118). As in oral delivery some looseness in construction is seen (SS 143, cimtiyam, cimtium etc.). His conversational style is throughout successful ($ 104, $ 129 etc.). The talk between the prince and Vetala ($ 380), amongst water-carrying ladies ($ 243), in the circle of boys in the Matha ($ 245) and between ladies at the sight of Kuvalayacandra ($ 59) are quite poetic and attractive. Sometimes the style suits the context (8 61) with apt expressions and similes. Uddyotana is a master of Prakrit expression, not of the rigid type seen in the Ravanavaho etc. but elastic enough to absorb popular traits from Apabhramsa as well as Desi styles. His illustration of the Mid-Indian Colloquial ($ 245) and the bazaar talk (246) in eighteen desa-bhasas are a speciality of this work, and not found anywhere else. He uses a string of verbal forms with a slight shade of difference in meaning (18.26 f.). As a religious teacher, he has packed his work with details about Jaina doctrines put in the mouth of Tirthakaras, eminent teachers and offered by himself at suitable contexts. The painting of samsara-cakra is a fine occasion to project in details the picture of life and illustrate the law of Karman and retribution (88 292 ff.). There are pieces of advice full of ethical rigour and moral elevation (8 85). Then throughout the work stand scattered gems of moral maxims and worldly wisdom, more or less arthantaranyasas (10.17, 12.24, 13.16, 18,20; 34.1, 48.14, 51.19, 57.9-10, 61.31-2, 127.24, etc.). Though the society depicted in the Kuvalayamala, on the whole, is an affluent one with plenty of comforts, pleasures and pastimes ($ 209 f.) for which Uddyotana has a keen eye, he has uniformly held detachment, equanimity and renunciation as the highest values. In fine, ascetic attitude is writ large in various contexts. All the characters, whatever their antecedents, renounce the world and attain better status by their life of piety and austerity. The author does not want the defaulters to be duped by priestly prayascittas, but puts them on the path of good conduct, placing before them a philosophy of hope and spiritual progress on their own strength. It is a touching context that even birds are talking the language of renunciation when their kith and kin are trying to dissuade them from entering the order of asceticism ($ 402 f.). The parable of kudamgaddiva (SS 166), the juga-samila drstanta ($ 326), symbolic interpretation of certain popular notions (8 306), the episode of Priyamkara and Sundari (8 349), the biography of rannamdura ($ 181), Ratnamukuta trying to save the butter-fly from dying ($ 230) etc. give good finishing touches to the general atmosphere of renunciation in this work. Uddyotana is deep in his learning, cosmopolitan in outlook and broadbased in his information. His exposition of Jaina dogmatics and religious doctrines (see pp. 67 f. above) shows his thorough study of Jaina scriptures. He shows good knowledge of asva-sastra ($ 56), rasi-phala ($ 48), khanya-vada (SS 187),

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112 KUVALAYAMALA samudra-stastra (SS 216), dhatu-vada ($ 311) etc. He is quite conversant with traditional and contemporary philosophical tenets ($ 320 f.) and religious practices ($ 157), modes of worship (say that of Katyayani, $ 32), customs and rituals ($ 286) etc. His similes are homely and apt (113.22 f.) drawn from various walks of life and different layers of literature and mythology ($ 19). His work thus reflects the entire society more than an isolated socio-religious sector to which he might belong. He has an open eye for everything, and presents the same in a catching manner. He depicts in a pleasing style a number of scenes noticed by the prince when he enters Vijayapuri (S$ 243 f.). Uddyotana has introduced many episodes which are instructive, engrossing and entertaining. He has a keen insight into the workings of human mind; and his experience of human relations and patterns of behaviour is realistic. The way in which Manabhata behaves while striking a Pulinda prince who unintentionally occupied former's seat in the Durbar of Avantivardhana is typical of feudal vanity ($ 98). Kamagajendra's love-madness is well caricatured; and he is duped in his trap for his spiritual benefit (358 f.): his love-mad mood and his transportation to Aparavideha are a fine study in contrast. The activities of kamini-sartha ($ 158), the conversation between the taruna and yuvati (161) and the dedicated love of a self-willed lady moving about with a purdah (SS 163) are remarkable for their erotic touch which gets diluted as it were by a fine comparison, in that context, between the behaviour of monks and courtezans (8 160). The first night of Kuvalayamala and Kuvalayacandra and the arbitration of friends on the robbery of heart is skilfully worked out ($ 275). If the meeting of Kuvalayamala and Kuvalayacandra in the park, even with previous appointment, depicts a tense mood of the loving parties ($ 269 f.), the scene of Vyaghradatta and Mohadatta fighting for the hand of Vanadatta has a thrilling effect: all this becomes simply tragic when the gifted monk discloses their mutual relation ($$ 151 ff.) Uddyotana has a balanced mind for logical deduction (about the sound etc., $ 269) and a sense of humour. The latter is obvious when the king cuts a joke (15.12) even with the goddess who is sportive enough to take it as a parihasa and bless him with the boon of a son. Likewise, Ananga's enacting a countersituation by presenting a dead body of his beloved (Mayadevi) and by declaring that she eloped with (dead) Priyamkara is at once amusing but effective enough to bring Sundari to her senses and to herald the dawn of enlightenment about the vanity of attachment and inevitability of death ($ 349 ff.). The conversation between the Prince and Bhillapati is logical and jocular enough to bring out a serious conclusion and correct understanding ($ 228). Uddyotana has a knack of probing into the minds of his characters and then give out fine specimens of loud thinking ($ 256). To this category belong the thoughts in the minds of men and women who are witnessing the prince and the princess on the back of an elephant ($ 287 f.). Uddyotana is primarily a religious moralist, out to teach lessons in good behaviour. He is endowed with deep learning, wide experience of men and matters, mastery over catching expression and entertaining style and earnestness of purpose. As such, he deserves to be ranked, as the author of the Kuvalayamala, with the great classical writers of our country.

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A CULTURAL NOTE ON THE KUVALAYAMALA OF UDDYOTANASURI Vu [The Late ] Dr. V. S. AGRAWALA' The Kuvalayamala is a Prakrit Campu written by Uddyotanasuri (779 A.D.). It is full of cultural material which gains in value because of the firm date of its composition. It had long been known in Mss. form. It has been edited and printed by Dr. A. N. UPADHYE who has very kindly invited me to make a study of the text from the cultural point of view. Obviously the material belongs to the post-Harsha period when the three great empires of the Gurjara Pratihara in the North, Rashtrakutas in the Deccan and Palas in the Eastern India had been established. That played a magnificent role in the glorious rehabilitations of art, literature, philosophy, culture and commerce. Uddyotanasuri was a writer of a very keen observation gifted with the same pictorial memory as Bana; and his knowledge of men and matters was of a wide character as shown by the description of the Kuvalayamala. The Campu opens with salutations to the great Tirthamkaras on the occasion of whose birth even the gods take part in the great festival, clapping their hands with bejewelled bracelets (mani-valaya, 1.2). The personified beauty mentioned as mahava-siri, gimha-lacchi, pausa-siri, saraya-lacchi and hemamta-siri is full of beautiful expression not found elsewhere (1.9-14). There is a reference to gold of highest purity (jacca-suvanna=jatya-suvarna, 2.2). Whatever impurity or dross was contained in the gold brought to the goldsmith was removed by the latter by subjecting it to different processes of testing it on the touch-stone (kasa), cutting (cheda), heating under regulated fire (tava), beating out into flat sheets (tadana), filing the sheets and the same process of beating it into a different shape, giving it a shape of round bar and dividing into several parts for final testing (vihadana). The purest gold (jacca-suvanna) The late lamented Dr. VASUDEV SHARAN AGRAWALA, in whom I had an intimate friend and academic associate for over thirty years, was a versatile Indologist; and his Cultural Study of the Harsacarita, published by the Bihar Rashtrabhasta Parishad (Patna 1953), in Hindi, has proved a pioneer study and a model in the field for a number of subsequent monographs. As he had always a keen eye for the cultural data, he was very much attracted by the Kuvalayamala of Uddyotana. I earnestly requested him, therefore, to spare some time to study the Kuvalayamala and shed some light on its cultural aspects. Despite ill health, he sent these notes to me, which are of immense value for a student of cultural history of medieval India, especially in its western parts. The Notes were dictated by him, and what reached my hands was the first typed draft. Due to indifferent health, he could not spend more time on their revision. I retyped them for the Press. If some different opinions are there between my views and these Notes, I should submit that we had no occasion to discuss them; and the scholars may take them for what they are. My sincere thanks are due to the departed soul. What pains me, however, is that Dr. AGRAWALA did not live to see these Notes in print (a.n.u.).

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114 KUVALAYAMALA was styled as dohdahi in Persian. In India it was called Barahvani (barahi vanniya) as in Dravya-parikna, 17 (Jodhpur 1961) of Thakkura Pheru, i.e., gold refined to the twelfth degree which was regarded as the standard gold (bhittikanaka). In the pre-Muslim period, the highest purity was of sixteen degree, and such gold was called sooasa-varnaka (Kavyamimamsa of Rajasekhara, Saka 900, chapter 17) which must have been the jacca-suvanna of Uddyotanasuri. We also find reference to sodasa-varna gold in the Manasollasa (yat syat sodasavarnakhyam kose sthapyam tad eva hi, 1.2.398, Mysore ed. p. 797) from which was derived the Hindi word solaha vani which in Rajasthani became solamo sono referred to as solen in the Jnanesvari (1290 A.D.). For more details see my article: The highest purity of gold in India, (The Journal of the Numesmatic Society of India, Vol. 16, pp. 270-74). This seems same as the s'rngi-kanaka mentioned in the Kadambari ( 85). On page 2.9 occurs a list of peoples in a country in which persons are born: i.e., Saka, Yavana, Barbara (the Negro tribe), Kirata, Khasa, Parasa (the Persian name given to the Sassanian rulers upto their extinction by Muslims in the 7th century and continued even later), Bhilla, Muramda (a branch of the Saka which the author must have borrowed from some varnaka list, since there were no Muramdas left in the 8th century A.D.), Odda, Bokkasa (a mythical tribe called Bhokas in medieval Hindu literature), Sabara, Pulimda and Simghala. On pp. 3.18-4.12, Uddyotanasuri gives the names of a number of Kathas and their authors, in Sanskrit, Prakrit and Apabhramba, i.e., Padalipta and his Tarangavati, Hala (Salahana) and his Kosa, the club of poets known by the term Chappannaya, Brhatkatha of Gunadhya, Vyasa and Valmiki to whom we owe Bharata and Ramayana: that was the usual practice of all writers like Subandhu, Bana, Dandin, Haribhadra, Svayambhu etc. We are able to know the names of about fifty works including romances. Dr. A. N. UPADHYE has dealt with these in his paper entitled Works and Authors referred to in the Kuvalayamala of Uddyotanasuri' submitted to the A.I.O.C. Session at Gauhati. There is an important reference to a story book named Supurisacariya written by Devagupta of the Gupta dynasty. The poet mentions five kinds of Kathas (4.5): Sayala-kaha, Khamda-kaha, Ullava-kaha, Parihasa-kaha etc. His disquisition on the nature of the different Kathas according to the metres, topics, serious or humourous, and style of writing is very enlightening and shows the richness of Katha literature during his time. It is noteworthy that the topics of these were cast into the mould of the Rasa literature that carried forward the Katha-sahitya in Apabhramsa Avahatta, Old-Gujarati, Old-Rajasthani, etc. and later in Avadhi, Brja-bhasa and Rajasthani languages. It is a fascinating subject worthy of classified investigation. It was customary with the poets beginning from Kalidasa, Bana etc. to prefix their narration with an account of durjana-ninda and sajjana-prasamsa; and Uddyotanasuri too has done the same at some length. Kalidasa gives it in the minimum way, while Gosvami Tulasidasa at much length. Uddyotanasuri gives durjana-ninda in nineteen lines and sajjana-prasamsa in fifteen lines. Several of the epithets of this topic were common; so, in that, he has followed a conventional description of varnaka nature.

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A CULTURAL NOTE 115 On page 7, $ 13, we find an exhaustive description of the Madhyadesa which closely follows in spirit and word the description given in the Mulasarvastivada-vinaya of Sanskrit Buddhism. A bunch of architectural terms is available (7. $ 14): tumga-bhavana, mani-torana, dhavala-dhaya, mani-sihara in the description of the city Viniya. There were usually eightyfour market places in a medieval town of which a list is given in the Prthvicandracarita (Sam. 1161 [?]; but here ($ 15] some names of shops according to articles displayed in them is given, i.e., 1) kumkuma-kappura-agaru-mayana-abhivasa-padavasa ; 2) ela-lavamga-kakkolaya; 3) mattahala-suvanna-rayana; 4) netta-juyala; 5) vasana (= cloth); 6) vidao: 7) samkha-valaya-kaya-maniya; 8) sara-sarasana; 9) samkhacamara-ghamta; 10) viviha-osahio; 11) sineha-niramtara-bahu-khajja-pejja; 12) haliddi: 13) sura-mahu-masao. Thus Uddyotana has in his view a complete form of a medieval market place with the number of lines full of different commodities on the basis of which was compiled later on a list of 84 caiihattas. There is (9. $ 20 a reference to abbhamtarovatthana-mamdava, Hall of Private Audience, corresponding to bhuktasthana-mandapa of Bana, or Darwar khasa of Mugal architecture. There (9.20) is a reference to vettalaya padihari which throws light on the Mathura railing figure (No. 2) in the Mathura Museum showing that such attendants actually existed in royal palaces. Later (11.15), there is a reference to bahirovatthana-mamdava, the Hall of Public Audience, to which all people were admitted and which was known as Darware Am in Mugal times. That was also known as savvavasara (= sarvavasara) in Apabhramsa texts. On page 11.21 there is a clear statement that the king, after dismissing the public Durbar, entered the private apartment of his palace known as vasa-bhavana. At 12.1 there is a reference to kovahara (= kopa-grha). On page 12, line 11, there is a reference to suvannaddha-sahassam, five hundred of Suvarna. At 12.27 there is a reference of Mahakala Siva of Ujjain which had a crowd of joya-joyanisiddha and of those who were proficient in Tantras and Mantras. This is a welcome reference to Mahakala about a century and half later after Bana's Kadambari. The description given by Uddyotanasuri is much more detailed about the bloody offering and sacrifices and use of wine and the skull of human beings and Vetala-sadhana carried on in the temple. On page 14. $ 34, there is repetition of gods mentioned at 2.23. At 14.13-7, there is a Stotra of Rayasiri Bhagavai describing her beauty and ornamental glory. On p. 15.18 there is again a reference to bhoyana-mamdava and abbhamtarovatthana-mamdava; and further at 16.18, there is again a reference to bahirovatthana-bhumi which are already mentioned. There is also a reference to rayana-vinimmaviya-mahariha-sihasana, i.e., the simhasana of the king, also called Indrasana. On the same page a graphic account is given of Rajasabha which included Mamtino, Mahanarimda, Mahavira, Mahavejja, Mahabambhana, Mahakaino, Mahasenavaino, Mahapurohiya, Varavilasinio and authorities on different subjects of learning of which the list is given. At 17.24 there is a description of festivities; and at 18.26-8 there is a reference to cast fabrics and coins. At 20.28 there is a reference to avanaya-bhumi and again to bhoyanatthanamamdava and atthana-mamdava. An important topic during early medieval times was the education of

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KUVALAYAMALA princes. We have a detailed description in the Kadambari of the education of Prince Candrapida. The description presented by Uddyotanasuri is no less important. The prince was sent under an auspicious star to his vijja-ghara (21.14). The prince spent twelve years in receiving instructions from his Teachers. The author has given a list of 72 Kalas (kala-kalave, 22.1-10). At page 23.22 f. there is an enumeration of 18 kinds of horses, e.g., 1) Mala, 2) Hayana, 3) Kalaya, 4) Khasa, 5) Kakkasa, 6) Tamka, 7) Tamkana, 8) Sarira, 9) Sahajana, 10) Huna, 11) Semdhava, 12) Cittacala, 13) Camcala, 14) Para, 15) Paravaya, 16) Hamsa, 17) Hamsagamana, and 18) Vatthavvaya. Further, there is a very important reference of three kinds of horses named Vollaha, Kayaha and Seraha. These were Arabic names of horses introduced by Arab Horse-Traders. The first mention of Vollaha is found in the Samaraiccackaha of Haribhadrasuri in the beginning of the 8th century A.D. The Arab traders entered into very good relations with the Rashtrakuta rulers who depended on them for the supply of the horses. Gradually the names of Indian horses as given by Bana and Dandin were taken from the market terminology, and they were replaced by Arabic names until the author of Manasollasa and Hemacandra in his Abhidhana-cintamani completely left out the Indian names and replaced them by the Arabic terms. Hemacandra was so ignorant of their origin that he considered them of Sanskrit origin and has treated them in his Sanskrit commentary (See my article: Indian Names of Hoses [?]). Page 33, SS 70: The Puspakarandaka Udyana at Kosambi is elaborately described as of a Varnaka type. Page 35, SS 74: it is an important passage describing an assembly of followers of the different religious schools discussing from the point of views of sorrow, although the names of those schools are not mentioned: only their several views are given. In this context a list of hells is also given. 116 On page 55.11 f., there is a description of poor home (anaha-mamdava) in the city of Mathura. In its population there was a sprinkling of disabled persons: leprosy (koddhie), suffering from leucoderma (valakkha), tuberculosis (khaiyae), extreme poor (dina), extreme helpless (duggaya), blind (amdhala), lame (pamgula), slothful (mamdula), hump-backed (madaha), short in stature (vamana), clipped or cut-nose (chinna-nasaya), clipped-ear (todiya-kanna), cut-lips (chinnottha), scorched (tadiya, better tanuva), a parasite (kappadiya) and several classes of mendicants. The invaders of the orphan home exchange their views as to which sin may be washed at which holy place. Some one said that the sin of leprosy could be washed out at Varanasi. Another said that it could be done better at the Sun temple of Mulasthana (mod. Multan). Another one said that six months' stay at Mahakala would wipe this sin. Another said even long accumulated sin could be washed at Aksaya-vata of Prayaga. Some said that even the most horrible sin of killing one's father and mother could be cleaned at Gangasamgama, i.e., at the holy confluence of Ganges with the sea and paying homage to the deity Bhairava Bhattaraka there. Page 56.27: There is a description of the holy city of [Vanarasi, in the territory of] Kashi where, among other subjects, there was provision of the teaching of Arthasastra of Kautilya (Canakka-satthaim). Uddyotanasuri does

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117 not mention by name any other text except the treatise of Canakya which shows that the Arthasastra of Kautilya was existing and formed an important subject of study by young men at the educational centre at Varanasi. Page 57.13-15: There is an expression of views about the relative importance of Trivarga consisting of Dharma, Artha and Kama in which emphasis is laid on Artha, according to individual precipitation, adding that wealth should be earned even by crooked means. It was a topic on which the political thinkers usually express their opinions. A CULTURAL NOTE Page 57.27: There is a vivid description of a commercial prosperity of the city of Pratisthana where rich merchants earned plentiful of gold and jewels. Page 58.32: There is a reference to raccha-caukka or Police posts which were like defence citadels garrisoned by soldiers and were a common feature of medieval administration Thane. These were also known as gulma-sthana, the garrisioning contingent of the government, in Gupta administration and found in Mrcchakatika. In the medieval period, the raksa-catuskika had come into existence and is recorded in the inscription of Vastupala and Tejapala (Tejapalaprasasti, about 1225 A.D.). According to Malika Muhammad Jayasi, Allauddin also continued this practice of establishing defence posts (thane) along the path of his marching army which suggested the means of his occupations. Abul Fasal in the Ain Akbari also refers to this practice in the time of Akbar (Ain Akbari, BLOCHMAN'S Trans., Vol. I, p. 369, foot-note). The words thane and chauki are still current terms in Hindi languages, sometimes used together as an instance of poly-glottism showing that the origin of the word sthana, which is also used by Kautilya, proceeded by catuska to denote this meaning. Page 59.4: There is a reference to a gujjara-pahiya, that is, a traveller of the Gujjara clan which seems to be one of the earliest references to the Gurjara settled down in the region of south Rajasthan and Gujarat. Page 59.5: This is a Dvipadi: a new metre is availed in Prakrit in which the first and the second line agree in tukanta; and each line consists of 24 moras with a yati at 13 and 11 moras which correspond exactly Doha-chanda of Apabhramsa and Hindi languages. Page 62.5: There is a reference of Palli, which was a forest settlement, and to its sabara chief, the description being partly modelled after Bana's Harsacarita. Page 63. SS 124: The author has given specimen of spoken dialects as used by the village people. In line 22 there is a reference of Kapalika sect as a means to get rid of sins. The details of this religious practice are not given; but it appears to be quite familiar. It implies the assumption of Saiva practice of eastern character and roaming about the country visiting great teachers and centres of pilgrimage. There are references to Kapalika mendicants in contemporary literature. In line 24 there is a reference to Jyestha Maha-mahattara who was placed in charge of all the Drangas, or defence posts, in that area. The word is very often used in the Rajatarangini of Kalhana to denote an institution which was common in the North-west. Its mention by Uddyotanasuri is significant as showing its extension to Rajasthan area. Page 64. SS 127: There is a description of the capital city of Taksila which

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118 KUVALAYAMALA seems to have been resounding with its fame during the 8th century, about 150 years after the visit of Yuan Chuang who found it in flourishing condition. The Kuvalayamala describes Taksila with its deep mote (parikha) and high city-walls and as a centre of Jainism where the Samavasarana of the first Tirthamkara was being held. Page 65.13 f.: This is a brilliant description of a Sarthavaha taking his caravan, or a trading expedition, from Taksila to Surparaka which was the biggest sea-port. Here there are two motifs well-known from Gupta time, firstly, relating to the ardent desire (11.5 f.) of a young son of a rich merchant to earn wealth by his own diligence. His father at first dissuades him from undertaking the journey saying that there was wealth enough in his house to last for several generations, but, in the end, allows the young man to travel to foreign country for earning wealth. The second motif is the description of the caravan consisting of an army of horses and wheeled vehicles for transport of merchandise. In Surparaka he sold away the excellent horses of the northern breed which he had brought with him and earned large profits thereby. At Surparaka there was the merchant Bhaddasetthi whose wealth lasted for several generations, and there was also a guild of local merchants. It was their custom to hold a reception in honour of merchants from outside and to learn from them the country of their origin, the destination, field of trade, the nature, value and volume of commodity in which he is interested and all such matters relating to his business. It was the ancient and traditional custom of the great emporium city of Surparaka which was also a flourishing sea-port for oceanic commerce with the western world. He was offered essence, betel leaf and perfume as a mark of honour. An interesting record is preserved here (65.27 f.) of the conference of the merchants relating to the conditions of their trade. The topic was the countries visited and the goods brought on return journey. One said: 'I went to Kosala with a troop of horses. The king of the country gave one she-elephant-calf equal in value to my horses.' Another said: 'I went to Uttarapatha with a load of betel nuts, and I bought horses out of the earned money profits.' Another said: 'I went with pearls to the eastern country (probably Assam) and brought fly-whisks.' Another said: 'I went to Dvaravati and brought conchshells from there.' Another said: 'I went to the coast of Barabaricum (a region along the sea-coast of Sindh) taking fabrics with me and brought superior pearls (probably of Persian gulf) and ivory (of African origin)." Another said: 'I went to Suvarna-dvipa (Sumatra) taking flowers of the Palasa tree (Butea frondosa) and brought gold from there (contemporary with the Sailendra emperor of Sumatra and Java).' Another said: 'I went to China (Indo-China) and Mahacina (great Chinese mainland) taking buffaloes and the naval dear and brought from there two kinds of fabrics named gangapatta and netrapatta. This information is important; and Gangapatta seems to have been a special kind of silk manufactured for export to India which was here famous under the name of cinamsuka. It seems to have been white silk known in India as gamgajul. The other fabric known as Netrapatta is a colour-silk mentioned for the first time in the Raghuvamsa of Kalidasa (7.39). Bana mentions Netra about 150 years

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A CULTURAL NOTE 119 before Uddyotanasuri, and it appears that Netra was a special kind of figured and coloured silk which according to Samkara was synonymous with prnga. It is new information that figured Chinese silk was given the new trade name of Netra in India (See Harsacarita: A Cultural Commentary [in Hindi ), pp. 78-9 and 149). Somadevasuri (959 A.D.) refers to Netra as a superior silken fabric that was in use in the Rashtrakuta empire. The Varnaratnakara of Jyotirisvara Thakkura (about 1400 A.D.) mentions two kinds of Netra cloth mostly according to their different colours. Jayasi (circa 1528 A.D.) mentions Neta as a superior silken fabric used in the royal houses. Another said: 'I went to Mahilarajya, the kingdom of women, taking men with me and brought gold in exchange.' Mahilarajya was a name applied to several kingdoms; but this was probably the state of Kerala in South India ruled by amazon chiefs. Another said: 'I went to Ratnadvipa with leaves of the Nimba tree and brought gems from there.' The above is a graphic cross section from the commercial life of India during the 8th century drawing a picture of trade from China to Barabaricum and from Taksila to Sumatra within which brisk commerce was maintained and valuable goods were exchanged by international merchants. Page 66.28: sijjhai jatta is a Prakrit rendering of the Sanskrit siddha-yatra that was applied to sea-journey including going and safe return. This had become a technical phrase in medieval literature. Page 67.1-3: Details of preparation for sea-voyage are given which include the following items relating to preparatory ritual and the equipment of the ship: i) arrangement of boats or ships (janavattaim); ii) loading of merchandise (bhamdaim); iii) bringing together other sailors (nijjamaya); iv) calculation of the duration of the journey both outward and inward (gaaijjae diyaham); v) fixation of the date and time of departure (laggam); vi) observation of portends whether favourable or vice versa (niruvijjamti nimittaim); vii) making announcements about the journey (kiramti avasuio); viii) prayers to proper deities (sumarijjasti itthadevae); ix) feeding the Brahmins (bhumjavijjamti bambhane); x) paying respects to select persons (ruijjamti visitthayane); xi) worshipping of deities (accijjamti devae); xii) arrangement of sails (sajjijjamti seyavade); xiii) raising of the mast (ubbhijjamti kuvakhambhae; xiv) fitting the furniture for sitting and sleeping (sayane); xv) collecting loads of timber for plank and fuel (katthasamcae); and xvi) filling the containers with fresh sweet water (jala-bhayane). When the ship was to take off auspicious musical instruments were sounded, conch-shells were blown, auspicious songs were sung, Brahmin asisa; and thus in the sound of invocation and jaya jaya the ship took off its voyage, the sails were unfurled, the ropes and riggings were pulled up, the oars began to be operated, the helmsman took observations, the ship fell into its course, favourable winds began to blow: thus the ship started its journey being tossed on the high sea waves. The ship reached to its destination. It touched the landing, and the merchant got on the coast. It was then the custom to pay a visit to the king by making suitable presents, while obtaining from him his consent or tacit charter to trade in his territory. They paid all the customs, charges and taxes (dittho raya kao pasao). In the trade of precious stones and gems, it was customary not

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120 KUVALAYAMALA to utter the value loudly by word of mouth but through a piece of cloth or a scarf on the jewels and pearls to be sold and then the buyer and seller put their hands under the cloth, both of them negotiating by means of some signs conveyed through the fingers of the hands (dinna hattha-sanna). It is also stated that after taking other goods in exchange and before leaving the place the foreign merchant makes some charitable gifts to the local religious teachers and establishments (dinnam danam). On the return journey the greedy merchant pushed his friend in the midocean and raised a false cry of his having slipped into the sea. The pious merchant after struggling for some time against the waves sank under the water and lost his life. He however became a Vyantaradeva who, in order to revenge himself against the mischief-making merchant, caused the storm leading to shipwreck. This had become a literary motif as appears from Jayasi (1527 A.D.) describing a similar situation of a storm and ship-wreck brought about by a Raksasa when Ratnasena was returning from Singhala (Padmavata, dohas 389-90, p. 68.12). A vivid description of the storm is given consisting of rushing or gathering of clouds, dashing of waves, splashing of sea-monsters, etc. As a result the ship was tossed from side to side, the masts were broken, etc. In such a plight the men on the ship uttered prayers to their respective gods of motley pantheon, e. g., reciting a stotra to Narayana, promising an annual sacrifice or offering to Candika, a holy pilgrimage to Siva and prayers to Matskas, Surya, Vianyaka, Skanda, Yaksa (probably Kubera), Revanta (the son of Surya), Buddha and others. Others vowed to feed Brahmanas on their return. The ship was split into splinters and completely lost into vicious sea, the goods under water, and the sailors all died. Page 69.18: A strange reference is found to the capture of the floating merchant by some people on Taradvipa and preparing from his blood and flesh an ingredient considered essential in making of gold. This ingredient was known as momai in Muslim time and was highly praised by Unani physicians. The motif of the Bharumda bird darting from the sky and catching hold of and carrying a human victim to another place otherwise difficult of access was well-known in medieval time story-literature and occurs in the Brhatkathaslokasamgraha of Budhasvami, ascribed to Gupta period. Page 71.1-8: There is a mention of four major languages, namely, Sanskrit, Prakrit, Apabhramsa and Paisaci; and during the 8th century, vast body of Apabhramsa literature appears to have been already produced. The Paisaci language seems to have been represented by the Brhatkatha which had survived in its original form upto the time of Uddyotanasuri. This appears to be very probable since the original Paisaci Brhatkatha was known to Ksemendra who based his Sanskrit version on it. Page 77.16-28; There is a reference to Madana Mahotsava on the madanatrayodas i day in the bahyodyana where there was a temple at which the festival was held. Page 80.17: There is a reference to Carana Sramana who moved alone in the air from place to place, whereas the other kind of teacher was gacchapariggahi who took his whole Gaccha or Gana with him while on the move. In

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A CULTURAL NOTE 121 line 18 there is a reference to the holy mountain Satrumjaya which seems to have become a famous religious centre before 779 A.D. when Uddyotanasuri was writing. Page 82.30: Here is a list of religious establishments of different denominations as Mantra-japa-mandapa, Brahmana-sala, Rudra-bhavana, Dharmikamatha, Home of Kapalikas, Holy platforms of Yaksas, Nagas etc., Brahmanical songs were sung in avasati, Jinagrha, Buddha-vihara or Buddhist monasteries, Shrine of goddess Kottavi, Temple of six-headed god Karttikeya and temple of other deities. In this list mention of Kottajja-ghara is most important as Kottavai was the most ancient goddess of Tamil land whose worship is spread towards many centres in North India upto the Himalayas where, at Kottal Garh, in Almore District, there was a shrine dedicated to her. She is mentioned in Bana's Harsacarita as a nude woman. According to the Vamana-purana, Kottavai was the name of ancient Goddess at Hingulas in Baluchistan who was later on renamed by Scythians as Nani and by the Hindus Carcika during the Gupta period. It is gratifying to note that Uddyotanasuri refers to the shrine of Kottavi [ Kottajja). In the Des inamamala (12th century) Kotta is given as the name of Parvati (2.35) which seems to have been due to a later religious synthesis of Goddess' name. Page 83.3-9: Here is the description of the house or the sleeping chambers of young ladies which were beautified for the reception of their husbands. The select items in this list are as follows: cleansing the dust from the painted walls citra-salika (papphodesu citta-bhittio); dropping pieces of Karpura in madira; arranging pendant garlands in the houses; painting scroll-designs on the floor (kottime pattalayao); arranging of flower-beds; burning of incense pots; placing the pet birds in the cages (jamta-saunae); prepare clusters of nagavalli leaves in their cases; filling camphor sticks in boxes (kappura-phada-samuggae); placing of Kakkola globules; spreading of coverlets and seats in the jala-garaksa (airel windows); putting on the srngataka and valakkhala necklaces and round earrings ornaments; lighting of lamps; collecting wine on the drinking tables; dressing the hair and pouring the jugs; handing over the drinking cups; and arranging of eatables by the side of the beds. Page 87.14: There is a reference to Khadga-vidyadhara, the other classes being Mala-vidyadharas wearing garlands, and Gulika-vidyadharas, wearing necklaces of beads as depicted in an Ajanta painting. Page 87.20-28: Here is a vivid description of the intellectual and spiritual life in the Asrama of a Jaina Muni, somewhat similar to that in the hermitage of Divakara Mitra described by Bana in the Harsacarita where scholars studied, devoted and held controversies, disputations and exchange of views on several points of religion and philosophy. A similar atmosphere is envisaged by Uddyotanasuri writing a century and a half after Bana. He gives a list of twentyone methods of study and discussions and approaches to the tenets of religion and philosophy, e.g., self-study, teaching, reflecting, resolving doubts, exposition by those who had grasped the meaning, listening to the texts after reciting them, composing new poems or Stotras, practising meditations and attending to the service of teachers, learning of rules of Vinaya, observing of

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122 KUVALAYAMALA . Triratna in the form of darsana, jnana and caritra, extolling the knowledge of the Tirthakaras and their Ganadharas, interrogating about points of doubts about the scriptures, practising the art of disputation, developing points of controversies in matters relating to Dharma and Adharma, deliberating about Bondage and Salvation of souls, pursuing the stages of Sukladhyana and Dharmadhyana, condemning the evils of egoism, pride and anger and greed, and speaking against the suffering of the world. Page 88.32: Here is a reference to Kudangadvipa to which had floated three merchants after experiencing shipwreck on return journey from Ratnadvipa, Suvarnadvipa and Lankapuri. It is stated that those merchants mounted a lofty tree and brandished remains of the wrecked boat to attract the attention of the passing ship. It happened that certain merchants noticed their sign and despatched the sailors in a small doni to take them. Page 92.24-31: A Devi-vimana is described as being decorated with rubies, pearls-pendants and festoons, rows of bells (kinkini-mala) attached to banners (dhvaja-pata), rows of vaijayanti flags fixed on the top, lotus-medallions formed by the inset work of rubies (mani-pomaraya-ghadiyam), figures of the lotus-pond and thus giving appearance of Padma-vimana. Such was the external appearance of Vimana but in its middle portion or inside (vimana-majjha) there were living apartments with rooms or retiring chambers beautified all-round with pearlfestoons (mauktika-jala-mala) furnished with a bed spread (sayana) of chalcedony and blue stone, foot-stool of emerald, placed on a floor of precious stones and furnished above with a devanga cloth and upper canopy like devadusya cloth. Page 93.17-8: There is a list of eight auspicious girls holding respectively sprouted water-jars, fan-palm, fly-whisk, parasol, mirror, mrdanga, harp, drum and cloth and ornaments. These were regarded as eight celestial nymphs of Indra's heaven and frequently referred in literature as astakunya or sabha-kanya. They are mentioned as forming part of the articles collected for Rama's coronation (Ayodhya-kanda 15/8) and that of Sugriva where their number became sixteen. King Yudhisthira looked at these auspicious maidens as amongst the objects seen by him every morning (svalamkrtah subhakanyah, Drona-parvan 58/20). These were regarded as auspicious to be seen before starting on a journey (prayatrika-mangala-drayya 2/28). It is stated in the Valmiki Ramayana (Sundara-kanda 18/11-4) that these eight auspicious girls moved in the train of Ravana holding respectively: i) a golden lamp; ii) fly-whisk; iii) fan-palm; iv) golden water-pot; v) sword; vi) rolled-up seat; vii) platter of gems; viii) parasol with golden star. These were depicted on the railing pillars at Mathura during the Kushan period some of which were obtained from the Jaina Kankali Tila and others from Buddhist Stupa, they being accepted in both religions as auspicious. The list of eight auspicious girls also occurs in the Lalitavistara (VII, p. 71) where their names are: 1) Purnakumbha-kanya; ii) Mayurahastakanya; iii) Talavantaka-kanya; iv) Gandhodaka-bhongara-kanya; v) Vicitrapatalaka-kanya; vi) Pralambaka-mala-kanya; vii) Ratnabhadralamkara-kanya; and viii) Bhadrasana-kanya. These were also known as the eight women of Indra's court (astau yositah or astau apsarasah). Page 96.27-33 and p. 97.1-24: Here is a description of Samavasarana

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A CULTURAL NOTE 123 consisting of enclosures, gateways, beautified by figures of Salabhanjika women and in the centre of all was placed on a high terrain the throne of the Tirthakara furnished with three parasols, fly-whisks, a rain of heavenly flowers, an Asoka tree and halo (bhamandala). Page 103.15: Here is a reference of the Kaumudi Mahotsava celebrated in the city of Campa on the Saratpaurnima day (line 32). It was attended by great festivities of music, dance and drama. In the city-square a Nata gave demonstration of his dance. The Nata is called Bharata-putra, i.e., the follower of Bharata or an adept in Natya-sastra. Page 103.20: It is said that a Subhasita listened got the award of one lakh of money. This is the earliest reference to such a practice and also indicates the high value put on Subhasita literature in that age. Page 104.26: There is a reference again to a sea-voyage undertaken by Sagaradatta of Campa with his starting from a big sea port of south India named Mahasamudra-nagari Jayasri with its destination to Yavana-dvipa. Details about the taking off of the boat are similar to those already given. Sagaradatta sold the goods in Yavana-dvipa and purchased from there gems and precious stones and took emerald, pearls, gold and silver as his pratibhanda of the value of seven crores. A special official of the ship is named as panjarapurusa (106.6), the person who made observation from the high top of the mast. In the time of a storm the ropes and riggings were unfastened, the sails were rolled up, the goods on the ship were consigned to the hull, and the ship was brought to a standstill. Page 107.34: Here is a reference to lakkhavai kirada in which the word kirada means a retail merchant who was not regarded much, thus spoken of as lak sapati and not a kotipati. The word is used for the first time in the Pancatantra, and it is still in use in the dialects of western U.P. Page 112.28-33, also 113.1-26: There is a description of the summer season which is extremely rare both in Sanskrit and Prakrit literature, the only other instance known to me is in the Harsacarita of Bana. Page 113.27 f.: There is a description of Vindhyatavi. The other comparable examples being that of Bana in the Kadambari and that of Bhavabhuti in the Uttararamacarita, the latter having been written about fifty years before Uddyotanasuri. Page 119.3-4: There is a reference to colossal image of Tirthakara made of white marble (muttasela-vinimmiya, see also p. 115.3-4). A similar big image was made by the Yaksa for himself on the crown of which he depicted a miniature figure of Tirthakara (nivesio esa maulie bhagavam jinayamdo) (120.16). This is important as showing the use of white marble for making Tirthakara images during the 8th century, a practice continued later throughout the medieval period. Page 124.27-30: There is a short inset of Ujjayani with its rich market place, city gates, rampart and moat. There are also references to some famous cities as Bhsgukaccha, Nandipura (mod. Nandeda), Padmanagara (mod. Paunara), see pp. 125.29-30, 126.1. Page 128.6: There is a reference to ratnamai mahapratima. By the time

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124 KUVALAYAMALA of Uddyotanasuri the distinctive signs (lamchana-lamchiya) of Tirthakaras (line 11) had come into existence. They did not exist on the image of the Kushan period but appear to have been introduced in the religion and art of the Gupta period. Page 128.17-8: There is a reference to a Sabara and his wife who knew the desi-bhasa, probably a reference to the dialect of the Sabaras. There is also a reference to Patra-sabaras or Parna-sabaras who were foresters living in much greater wilderness. Page 132.1-3: The special cult-practices and beliefs in Mantras amongst the tribes of Pulindas, Kapalikas, Matangas, Raksasas, Vanaras on hilltops and forests formed part of the Sabaravidya. This was a cult involving occult practices like the muttering of sabara Mantras and uttering the same through the ear (133.5). It appears that during the 8th century, in the time of Uddyotanasuri, Jaina occult religion and mysticism brought into close touch such practices as Sabaravidya of which Vidyadhara godlings were considered medium of transmission (133.9-10). The shrine of Rsabhanatha became a centre for performance of sadhana and for the perfection of Vidyas. Page 134.32-33 f.: There is a description of a caravan with a large number of camels, bullocks, horses and donkeys. It had come from Vindhyapuri and was going to Kancipuri. Page 135.6: There is a reference to Vijaya Mahapuri which was situated on the sea shore and the same as Nagarjuna Kunda, the famous capital of the Ikshvaku kings as stated in their inscriptions. It seems to be a historical fact that the monument of Vijayapuri stood intact and the place enjoyed wide celebrity. The leader of the caravan was one Vaisramanadatta. There follows (lines 27 f.) a description of the attack on the Sartha and its plunder by wild Bhillas. Page 150.17 f. & 151.1-5: There is described an educational institution (mahamtam madham) which included students from Lata, Karnataka, Malava, Kannujja, Godavari (Nasik), Maharastra, Saurastra, Srikantha (Thanesvar) and Sindha. The courses of study comprised Vyakarana, Buddhism, Samkhya, Nyaya, Anekanta or Jaina and Lokayata or Carvaka philosophies. At another place (151.6-11) the prince came across persons who cultivated the seventytwo arts and sixtyfour sciences, such as, Nimitta, Mantra, Yoga, Anjana, Black magic, Dhatuvada, Yaksinisiddhi, Military Science, Yogamala, Yantramala, Jyotisa, Rasabandha, Rasayana, Metre, Vrtti-nirukta, Patraccheda etc. Further (12 f.) there is a caricature of the fattened Vedic students (dalivatta catta) committing to memory the Vedic texts, who were of robust, sturdy body with developed muscles, living by rough exercises a care-free life and were of violent dispositions. And they were a set of fools (vija-vinnana-nana-vinaya-virahiya) and bereft of upright morals (para-juvai-darsana-mana). Page 152.24 ff.: Here we have a specimen of eighteen Desi dialects spoken in: 1) Region of Godavari (Nasik), 2) Madhyadesa, 3) Magadha, 4) Antarvedi (region between Ganges and Jumna), 5) Kira (Kullu Kangra), 6) Dacca, 7) Sindhu, 8) Maru, 9) Gujarat, 10) Lata, 11) Malava, 12) Karnataka, 13) Tapti, 14) Kosala, 15) Maharastra, 16) Andhra, 17) Khasa, and 18) Parasa. These different idioms of speech were spoken by the shop-keepers in the market

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A CULTURAL NOTE 125 place of Vijayapuri which was thus a big cosmopolitan town where merchants from all over the country displayed their goods. This reminds us of Ujjaini where the citizens knew the languages and scripts of many countries as stated by Bana in the Kadambari (sarva-desa-bhasa-lipijna). Page 157.2: The situation of Vijayapuri is given as south sea coast (dahinasamudda-vela). Vijayapuri was actually situated on the bank of Krishna [?] a few miles above the sea coast upto a point the river was navigable to big ships which landed on docks. The distance from Ayodhya to Vijayapuri was mapped out in successive stages and covered in one month and three days (ekkam masam tinni vasarattassa) (157.11). Page 160.13: There is a reference to stencil cutting in which a figure of Rajahamsi and the name of prince Kuvalayacandra were reproduced. It was one of the seventytwo arts. The price Kuvalayacandra himself cut a stencil design of a water pond with hamsa, sarasa, cakravaka, nalini, satapatra, bhramara and also cut a Gatha verse on it (169.8). Page 170.21 f.: Twentyfour items are mentioned in connection with the marriage of Kuvalayamala, for instance, pounding of grain, arranging the palace, building high pavillion, colouring of the fire altar (vedi), decorating the floor of the interior of the palace, white-washing the wall, making ornaments of gold, sowing of barley off-shoots in wide mouthed pots for decorating the Vedi (as mentioned in the Harsacarita on the occasion of Rajyasri's marriage), sewing of Kurpasaka garments (as sleeveless or half-sleeved for female body), hanging of buntings and flags, making of beautiful fly-whisks and bundles of peacock feathers. Page 171.1 f.: There is a beutiful description of marriage festivities; and the author has chosen for it a new metre of the Amstadhvani type carrying the last part of the foregoing stanza into the first part of the succeeding stanza II.18 f.). Page 173.31 f.: We have here a conventionalised description of sea as it was visible from the top of the Vijayapuri palace. Page 175.10: Here is a reference to Jaina Sasana in which the word Jaina has been used for the teaching of religion of the Tirthakaras. During the 7th century, in the writings of Bana, the terms Jina, Jinendra, Jinanatha and Jaina were used with reference to Buddha and Buddhism, and the same is the case in the Amarakosa and the Lalitavistara, etc. It is an open question as to when for the first time the word Jaina was used in its present meaning. Page 185.21 f.: Here follows a description of two printed scrolls, one illustrating the Jaina conception of Samsaracakra and the other of Bhavantaras. The Samsaracakra was also painted by Buddhists on a ceiling at Ajanta. It is stated in Divyavadana that Bhavacakra was painted in the dvara-prakostha or the entrance of the royal palace. It is little surprising that the different parts of the painting were explained by being pointed out with a long stick. The Samsaracakra illustrated the three worlds of hell, human world and the world of gods. In the portion about the various hells, the beings undergoing sufferings were also painted: The figure of a king riding on a horse and going for hunting; then the various animals trembling for fear of impending death; then

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126 KUVALAYAMALA a crowd of people making noise to bring the animals together, i.e., engaged in what is now known as hanka; then a way-farer captured by the robbers and subjected to various tortures, torments, splitting, hanging, scorching etc. Then, in another portion, were painted the agriculturists engaged in ploughing their field with plough, bullocks with pierced nostrils and with ropes tied round their necks, having ploughs on their necks, and bleeding owing to their having been pricked with sharp pointed whips (totta); farmers engaged in tearing the walls of earth and becoming sinful thereby; other house-holders engaged in field operations and undergoing much suffering for their sons and wives; farmers harvesting ripe crops and collecting heaps of pulse and paddy and crushing them with bullocks tied to the middle of the post: people suffering from many kinds of diseases like fever, pain and burning, and lying on their cots and meeting their deaths, to gather their mourning servants, wives and friends; coffins (sava-sayana) being borne by their relatives and the body being cremated on the funeral pyres of wood and grass; bemoaning relatives seated round and setting fire to it; the devoted wife crying and weeping for her departed lover, the old father sitting nearby with tears flowing from eyes and his mother becoming unconscious in a swoon; visit of dear ones in condolences; all the dear ones and relatives going to the water tank and performing the obsequies; a young couple engaged in atrandom talk and the young women scratching the earth with the toe and smiling; a young man embracing with deep affection his young wife; a number of congruous poses between the male and the female; birth ceremony attended by auspicious rites and music; parties of dancing and singing men and women taking part in birth celebrations; wrestlers with stout bodies giving demonstration of their art; persons proud of their beauties bearing perfumed ornaments; persons puffed with pride of their high families; persons in the grip of greed; persons although ignorant feigning knowledge and holding scriptures in their hands; persons shooting animals with bow and arrow; a person holding a naked sword and showing feats of swordsmanship; parrots and magpies put in cages for amusement; a pregnant woman thinking of the birth of a son or daughter and experiencing dohada and labour pains; birth of a son accompanied by female festivities; a young boy amusing himself with the fight of cocks, male parrots, rams; a young man enjoying the company of young girls and maidens; an old man surrounded by his family; a beggar asking for food; a mendicant clothed in tattered garments; a recluse sitting on a palankeen and invited by the king; a soldier fighting with weapons on the battle-field; a king seated on his throne and surrounded by his feudatories and feeding on five mouthfuls of food offered in a leafy cup by a woman; a man entering the sea to save some drowning relation; a man stealing others' money; a fisherman catching a haul of fish with his net; traders engaged in false dealings and not realising the sinful nature of their actions; persons renouncing the world in a state of detachment: these were some of the topics depicting scenes of human life which were painted on the scroll. Then follows a description in 19 verses of scenes of bird and animal life depicted in the painting, e.g., fight between lion and elephant (as depicted in the Kailasa temple at Ellora); fight between a tiger and a wild bull, and killing of a

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A CULTURAL NOTE 127 tiger with bull horns; fight between wild buffaloes; fighting antelopes; a serpent being swallowed by a large monster; large fish swallowing smaller fish; crocodiles swallowing their own species; wounded beasts attacking the other wounded ones; peacock swallowing a serpent; a number of animals making a composite form, one upon another: spider caught in the web of another spider, the latter catching an insect pursued by a lizard and the latter caught by a black bird (sama) which flying in the sky with its feed was caught by a bird of prey, and the latter falling to the ground was caught by a wild cat which in turn was attacked by a wild boar, the latter was being attacked by leopard, and the leopard was attacked by a tiger, the latter instantaneously by a lion and the lion by a wild Sarabha (stronger than a lion and said to have eight feet). The animals, reptiles, insects and birds described as locked in mutual engagements create a very strange atmosphere of their buoyant life and activities; and Uddyotanasuri deserves credit for creating such a motif in a painted scroll in the 8th century A.D. Then follows a description of the various hells depicted in the painting on cloth (p. 189.18-9). There is given also a description of the Svargaloka or the heavenly abode of Devi, Devakumara and Indra seated in the Asthana or Saudharmasabha (p. 189.32-3, p. 190.1-19). Pages 190 ff.: Here we have a description of the second Citrapata. It was a painting depicting the city of Campa with its people, houses, citizens, beautified with bejewelled ornaments, market places, its rich merchant and his wife and detailed account of one's bhavantara or past life. Page 191.28-32; Here is a reference to various Siddhis practised in medieval times, for example, Dhatuvada, Anjana-siddhi, Bila-pravesa, Mantrasiddhi, Devata Aradhana. The Anjanasiddhi conferred the occult power of seeing treasures (mahanidhana). We get some details about Dhatuvada (p. 195), i.e., the art of making artificial gold, being practised in a secluded part of the Vindhya foiest. It is said that the red colour of flames of the fire indicated the making of copper, yellow of gold, white of silver, black of iron and colourless of bronze. Others thought that its true technique was an unknown secret. If the fire is of lower heat, lead was produced, but if the heat became excessive, then granular gold (phuttanam kanayam) was manufactured. If the fire was of moderate heat, the metallic contents of the crucible (musa) just drained in liquid form. If the flame was greasy, the contents would turn black. After putting the requisite content in the crucible, some kind of herbal powder (cunna-joga) was added. It is said that the assembled Dhatuvadins or alchemists (kemiyagara) were failing in their attempt. Prince Kuvalayacandra tried his own knowledge and succeeded in the making of gold. It appears that one of the epithets of the Dhatuvadins was Narendra, meaning a master of charms or antidotes. The word is also used in this sense in classical Sanskrit literature. Dhatuvada is also called Narendra-kala (narimda-kala, 197.16). Page 199: Here is described Yuvaraja-abhiseka-mahotsava when the city of Ayodhya put on gala appearance by means of beautifying streets, sprinkling of scented waters on its roads, hanging of flower-garlands, putting up golden gates, adorning the palace, decorating the floor in front of the entrances, making paintings on the walls of the public audience (cittijjamti raya-sabhao), making

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128 KUVALAYAMALA offerings on the cross roads, beginning dramatic performances, hoisting of the lion banners (simghavadae), installing canopies (camdoyave), cloth pieces were being torn in proper pieces pali for being wrapped round the post, pendants like the Katisutra ornaments were hung from the ceilings of doorways and walls of the houses, the great jewels were being taken out and put on show in the treasury, the pearls-strings were hung as festoons, so also were hung the flowerpendants. In the Asthanamandapa was placed a big royal throne which was occupied by prince regent Kuvalayacandra and decked with golden pitchers studded with many kinds of jewels and covered with golden lotuses (kanayapaima-ppihanaim). Page 201.26: There is a reference to Kanakasila engraved with the docrines of a Dharma which was offered to the king by the Kuladevata of the Iksvakus. Page 203.20 f.: There is a detailed description of about 60 doctrines of different religious sects and schools of philosophy that had developed before the time of Uddyotanasuri, for example, Agnihotra, Gomedha, Bhrgupatana, Guggula-jvalana, a Pasupata sect, Pamdara Bhikkhu, an Ajivaka sect (also mentioned in the Pancatantra), abstaining from all kinds of dairy products like milk, curds and clarified butter, Samkhya who believed in the twentyfive categories including Isvara known as Pancavimsati Samkya in the Lingapurana and Matsyapurana, Lesyadharma (blue, yellow and white), living on wild fruits and putting on bark garments like the Rsis of old. This list of different sects of Uddyotanasuri's may be compared with the lists given by Bana in the Harsacarita (Books 5, 8). Page 217.11: Here is a reference to the city of Kakandi which was a pair word with Makandi. Page 233,7: There is a mention of a young painter bringin painting on which was depicted the portrait of the daughter of the king of Ujjayini (patte lihiya citta-puttaliya). The painting was marked with the purity of lines, richness of colours, according to different compositions, beautiful stripling or seedling to show the effect of surroundings or high and low surfaces and right measurements and representation of different lines of painting like sadrs'ya. In the Citrasutra, rekha, varna, vartana and bhusana are mentioned as four qualities of a good painting (rekham prasamsanty acarya vartanam ca vicaksanah/striyo bhusanam icchanti varnadhyam itare janah//). A motif of a princess of a Citrapata was popular in inedieval literature and also found in the Tilakamanjari. Page 247.27 f.: Uddyotanasuri has introduced the Mahamamsa motif and created an atmosphere of the Kapalika Dharma. That was an age in was predominant from Bengal to Rajasthan as also painted in the works of Bhavabhuti. Uddyotanasuri gives his comments from the Jaina point of view that the Vetala and Pisaca as Vyantara classes of Devas did not eat flesh and blood but enjoyed it like playful children. This can hardly be said to be satisfactory, and it would liave been better if the author had refrained from depicting such hedious picture in his story at all. Page 249.19: There is a reference to mineral colours used in painting and made from the powder of stones of different colours. Such mineral colours 1.

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A CULTURAL NOTE 129 were used in the wall paintings of Ajanta and also at Ellora during the 8th century. Perhaps Uddyotanasuri was working on facts as had reached his ears. There actually was in the erstwhile state of Shakti in Madhyapradesh a place named Rsabhapura which is mentioned in the Aranyakaparvan as a place of pilgrimage and visited by many persons to which the Pandavas also went with their teacher. It is pobable that the place was notorious for its Kapalika practices. Page 251.24: Here is a motif of a magical sword being exposed from inside the earth as in the case of Puspabhuti in the Harsacarita. Page 256.31-2 ff.: Here is a mixed list of 25 gods and godlings of all religions. These were worshipped and propitiated to obtain favours. The list includes Govimda (Narayana), Khamda (Skanda), Rudra, Vyantaradevas, Ganadhipa (Ganesa), Durga, Yaksa, Raksasa, Kimpurusa, Gandharva, Mahoraga, Candra (moon), Taraka (stars). Udu, Graha, Aditya (sun), Naga, Udadhi, Suparna, Agni, Vidyut and Indra. Page 261.7-8: Here is a reference of various processes of heating and firing of base gold to convert it into gold of the highest purity called jaccasuvanna, the same as sodasa suvarna of Hindu period.

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TABLE OF TOPICS [First set of figures refers to the pages and lines of the Prakrit Text of Kuvalayamala, and the second set with asterisks to those of the Sanskrit Digest.] i) Introductory Mangala; Human Life and its Objectives Earlier Authors; Types of Kathas An Outline of the Story Discourse on Durjana and Sajjana ii) King Drdhavarman and Queen Priyangusyama of Vinita The Malava Prince Mahendra Brought As a Captive Author's Introduction The Queen Pining for an Issue The King Propitiates and Gets a Boon from Kula-Devata All-Round Satisfaction and Queen's Dream Interpreted A Prince Born and Duly Named Kuvalayacandra Prince Kuvalayacandra: his Horse Flies : : 1.1-3.15; 1.2-*2.15. 3.18-5.13; *2.16-*2.26. 5.14-5.24; 2.26-34. 5.25-7.3; *2.36-39. 1: The Parable of Kaumbari Fruits Repentance and Renunciation--Panacea against Sins Purandaradatta became a Sravaka : 7.4-9.17; *3.1-32. : 9.18--11.14; *3.33-*5.3 1. 11.15-14.3; *5.4-*6.14. : 15.15-17.7; *6.39 *7.25. Prince's Education : : 17.8-21.6; *7.25-*8.28. 21.7-23.3; *8.29-*9.6. 23.4-27.1; *9.7-31. Prince on the Horse-back, Charming to All: Prince (Who attracted the Eyes of many), Flown by the Horse, Meets a Significant Trio, the Saint from which Promises to Explain the Mystery of the Horse as well as their Career : 14.4-15.14; *6.15-38. iii) Minister Vasava Takes King Purandaradatta to the Park, full of Vernal Glory; they pay respects to Dharmanandana who Discourses on Samsara etc. Anger-Biography of Candasoma Vanity-Biography of Manabhata Deceit Biography of Mayaditya Greed-Biography of Lobhadeva Infatuation-Biography of Mohadatta A Discourse on five Passions Purandaradatta's Experiences on the Royal Road and his Curiosity about Monks' Routine at Night Dharmanandana: Biographies of Five Souls 27.2-31.2; *9.31-*11.6. 31.3-45.5; 11.6-*13.4. 45.6-49.21; *13.5-*15.2. 49.22-56.10; *15.4-*18-3. 56.10-64.13; 18.5-*21.15. 64.14-72.17; *21.17-*24.30. 72.17--80.32; *24.32-*29.40. : : 81.1-82.7; *30.1-3. 1: 82.8 88.29; *30.7-33. : 88.30-90.20; *30.34-*31.39. : 90.21-91.8; *39.4-9. : 91.8-30; *39.9-20.

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TABLE OF TOPICS 131 : 91.30--92.9 ; *39.21 --27. : 92.9-96.3; *39.27-30. : 96.3-10; *39.30-36. : 96.10-99.13; *39.37-*41.40. : 99.14-102.12; *41.40--*44.24. 102.13-103.2; *44.25--*45.5. : 103.3-107.15; *45.5_ *47.11. Mutual agreement between the Five Lobhadeva's career in Saudharmakalpa Four Others too reach Saudharmakalpa Dharmanatha's Samavasarana The Biography of the Wild Mouse Five Confer and Set up Memory-clue Sagaradatta and his Adventure The girl in Despair Introduces herself to Sagaradatta Sagaradatta rebuked, Reminded of his duty and reaches Home Saint Sagaradatta reviews the Career of the Rest; Kuvalayacandra Enlightened, and the Lion born as God : 107.16--108.14; *47.12-38. : 108.15-109.28; *47.38 - *48.19. * 109.29--112.1; *48.19_*50.12. iv) Kuvalayacandra's Journey to the South Kuvalayacandra worships Jina in the Vindhya forest : 112.2-115.15 ; *50.12-40. Kuvalayacandra meets Kanakaprabha in the Temple : 115.16-116.33; *50.41 -- *51.18. Ratna - or Jina-Sekhara's Biography and Kanakaprabha's Gift of Medical Coil to Kuvalayacandra : 117.1-120.31; *51.19-*52.35. Kuvalayacandra meets Enika and Royal Parrot in the Hermitage : 120.31 - 122.30; *52.38-*53.18. The Royal Parrot Introduces itself : 122.31 - 124.26; *53.19--*54.9. Enika's Biography : 124.27 - 127.26; *54.10-_ *55.14. Happy Time in the Hermitage and Meeting with Vidyadharas : 127.27 -133.28; *55.14-*57.9. Kuvalayacandra Discloses his Object and Antecedents : 133.28-134.23; *57.9-15. Kuvalayacandra Joins a Caravan and his Encounter with the Pious Bhilla chief : 134.25-138.9; *57.17 -- *58.12. Kuvalayacandra, the Guest of Bhilla-pati : 138.10--139.33; *58.13--31. Darpaparigha's Autobiography and Kinship with Kuvalayacandra : 140.1 - 149.3; *58.32 -- *61.1. v) Kuvalayacandra in Vijayapuri Kuvalayacandra Reaches Vijayapuri and Learns about Kuvalayamala's Resolve: 149.4-154.6; *61.1-31. Kuvalayacandra wins Kuvalayamala's Heart and Meets Mahendrakumara : 154.7-155.13; *61.31 -- *62.24. Mahendrakumara Narrates what Happened at Vinita 155.14-158.2; *62.27- *63.30. Delay for Marriage and Kuvalayacandra's Passionate Anxiety : 158:3--160.8; *63.30- *64.3. Kuvalayamala Sends a Love Present to Kuvalayacandra : 160.9.-- 32; *64.34 --38. Bhogavati Introduces Kuvalayamala and Arranges a Meeting of Kuvalayacandra with her : 161.1-170.4; *64.9- *65.35.

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132 KUVALAYAMALA Wedding ceremony; Pleasure Sports and Diversions; and Kuvalayamala Duly Enlightened 170.4-180.12; *65.36- *66.31. vi) Kuvalayacandra Starts Back for Ayodhya Kuvalayacandra etc. for Ayodhya with Auspicious Omens and Meet a Monk : 180.13-185.6; *66.36 - *67.34 Saint Bhanu's Autobiography and Enlight enment Through the Paintings of Samsara-cakra : 185.7-194.33; *67.35-*69.4. Kuvalayacandra Obliges Alchemists : 195.1 -- 198.5; *69.4-26. vii) Kuvalayacandra in Ayodhya Kuvalayacandra Jubilantly welcomed in Ayodhya and Drdhavarman's Selection of True Religion : 198.6-203.21 ; *69.26--*70.42 Dsdhavarman Hears Various Religious Teachers, Adopts True Religion and Accepts Pravrajya 203.22-209.14; *71.1-31. Teacher's Religious Discourse and Drahavarman's Spiritual Progress : 209.15-211.31; *71.31-*72.4 God Padmakesara duly reborn as Prince Prthvisara and soon made the King : 212.1 - 214.33; *72.4- *73.9 Kuvalayacandra, Mahendra and Kuvalaya mala take to Pravrajy, after Meeting Darpaparigha, so also Psthvisara in due Course, and in a Subsequent birth the five met in Heaven and Recollected their Agreement : 215.1-217.7; *73.9-40. viii) Mahavira's Samavasarana and the Five Souls Maoiratha. an Asanna-Bhavya, and the Occasion for his Samvega : 217.8-224.15; *73.41*74.36. Earlier Lives of Maniratha and the Deer, and Former's Diksa : 224,16-232.5; *74.36.-*76.20. Mahavira in Sravasti and Kamagajendra's Dream : 232.5-22; *76.20-29. Passionate Kamagajendra Duped, and his Presence in the Aparavideha and Subsequent Diksa 232.23-244.28; *76.29-*79.40 Vajragupta and his Renunciation 244.28-256.20 ; *79.40 -*84.8. Mahavira's Discourse on Gods; Svayambhudeva's career and Diksa : 256.21-268.8; *84.8-*85.41., Maharatha's Dream and Diksa : 268.9-269.18; *85.41-*86.30. The Five adopt Samlekhana and Attain Liberation : 269.18-280.17; *86.31-*87.31 ix) Author's conclusion Uddyotana's Personal Observations and Mangala : 280.18-284.9.

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PREFACE To the Edition of the Sanskrit Text The text of the Kuvalayamala-katha of Ratnaprabha-suri is based on the following material: C-This stands for the printed edition of the Kuvalayamala-katha edited by Srimac Chaturavijayamuni, published by Sri Jaina Atmananda Sabha, Bhavanagar, Sri Atmananda Granthamala, No. 54, and printed at the Nirnayasagar Press, Bombay 1916, Crown pp. 10-250. It is carefully edited; prose and verses are neatly separated and presented; proper nouns are put in black types; and additional punctuation-marks like the comma, dash, sign of interrogation and interjection etc., which are quite helpful in understanding the text, are introduced. Verses are numbered group to group wherever they come. In places where the readings are obviously obscure, fresh ones are proposed in brackets, round or square; and in doing so, the editor claims, the original Prakrit text is consulted in different contexts. The editor would prefer the name Drdhavarma, though the Mss. indiscriminately write Drdhavarma or Drdhadharma. He suggests that the opening expressions, 'namah sri-Hri-devatayai etc. to Om Arham' belong to Ratnaprabhasuri himself, and that is highly probable. In preparing this Bhavanagar edition, it is stated that the following three Mss. were used; and now and then important readings from them are noted in the foot-notes. Their readings are also adopted in this edition, and they are indicated as below, their description being taken over from the Preface of C, p. 9. Ck: It belongs to Pamnyasa Srimat Siddhivijaya; it contains 29 leaves; and it is written in Samvat 1466 [-57-] 1409 A.D. Ckh: It belongs to Srimat Kantivijaya; it contains 73 leaves; and it is written in Samvat 1961 [-57-] 1904 A.D. Cg: This was secured through Pamnyasa Srimat Anandasagara from the Bhandara at Stambhanapuri or Cambay; it contains 42 leaves; and it is written in Samvat 1487 [-57-] 1430 A.D. The concluding passage runs thus: evaM zloka 3894 paraM mayA kimapi kimapi stokaM kutracidvarNanAdikaM muktamastIti jJeyaM sarvaiH / saMvat 1487 varSe bhAdrapadamAse kRSNapakSe ekAdazyAM tithI budhavAre mAlavakadeze'dyeha zrIgorIkhAnarAjye sI - urAgrAme pUjya-prabhubhaTTArakapurandarasomasundarasUrisstacchiSyapaNDita harSa mUrtigaNiyogyavAcanArthaM kuvalayamAlAcaritraM zrAddhapadyena likhitamidam / It is clear that this shows abridgement in descriptions here and there. P-This is a paper Ms., so kindly lent to me by Muni Sri Punyavijayaji (camp Ahmedabad). It is well preserved: only in some corners and in the middle of some folios, it is bored by white ants. It measures

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134 KUVALAYAMALA 12.5 by 4.25 inches and contains 54 folios written on both sides, the first page being blank. Each page has 16 lines and each line about 78 letters. The Devanagari hand is neat, and padmatras are used. There is a square black spot at the centre and black margin on all the four sides of a page with border lines on the right and left. Here and there red chalk is used to spot the numbers of verses and beginning of sentences etc. In many places it leaves blank space showing its agreement with C which makes additions in square brackets. Though neatly written there are scribal errors arising out of auditory and visual reception, while writing the Ms. The only punctuation-mark used is a single or double danda. Letters to be scored off are dotted on the head. Visarga is often misunderstood as a danda. Often visarga, instead of s, is used before k, p and ph. In a conjunct group with r as the first member, the other consonant is written as double almost uniformly. As the Ms. does not use commas or inverted commas, it has samdhi wherever possible, though it is not rigorously adopted always. Generally, anusvara is used and not para-savarna, and it stands even at the end of a pada. Often st and sth are not distinguished; s and s are mutually confused; and $ and kh are interchanged. The opening and concluding portions are already re produced in the foot-notes on pp. *1 and *87. The Ms. is more than 525 years old, being written in Samvat 1489 [-57] i.e., 1432 A.D. B-This is a paper Ms. belonging to the Govt. Collection now deposited in the Bhandarkar Oriental Reseach Institute, Poona. It is numbered 1327 of 1891-95. The colour of the folios has turned brown, and some portions of the edges have marks of dampness. Total number of folios is 65 of which the first four are missing; the opening words are: trnam apy acalayate, coming on p. *61.5 of this edition; and the pages are renumbered in pencil from 1-124/33. The folios measure 14.5 by 4.5 inches. There is a square blank spot in the centre, and margin is left on all the four sides. Most of the border-lines are filled with red chalk with which are also spotted nos. of verses and beginnings of sentences etc. Each page has 17 lines and each line some 56 letters. The Ms. is written in Devanagari with padimatras. The letters are squarish and the hand is uniform. Additions and glosses are noted on the margin: some of the latter are given in the foot-notes of this edition. Some spots are left unwritten whenever the ink from the other side has percolated. There are scribal errors now and then. The use of samdhi and the position of dandas are rather loose. Very often s and s are confused; visarga is put for s before k or p; and s and kh are interchanged. Often, when r is the first member of the conjunct group, the other consonant is double (rvv, rmm, rpp, but nirbhara). Generally anusvara is used and not para-savarna. In many places words which are separated in this text by commas, dandas and inverted commas are joined in samdhi. The concluding portion is reproduced in the foot-notes on p. *87 of this edition.

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PREFACE 135 The Ms. is about 570 years old, being written in Samvat 1445 [-57=), i.e., 1388 A.D. It is interesting to compare C, P and B mutually. In many places P and B agree between themselves as against C in their readings, but in having or not having samdhi and in putting the dandas they do not agree. Now and then B gives some independent readings; marginal glosses are its speciality; and in one place at least it is B alone that supplies a line which is not found in any other Ms. Pshows blank space in some places where C makes additions in square brackets. May be that P preserves some older readings than those of B, but B has its independence in many crucial contexts; and as such, it has proved useful in building the critical text. The text is presented here according to some uniform standards of editorial discipline. The main features of the excellent edition of Muni Sri Chaturavijaya, called C here, are basically adopted. In the Mss. there is no uniformity in the numbering of verses; and their being numbered in groups does not serve any useful purpose for reference. So, in this edition, the verses are continuously numbered in each chapter; besides, lines are numbered on every page and paragraphs are marked out for practical convenience. All this will be useful for referential purpose. One can refer to the Prastava and paragraph or verse as required, or the page and line. Most of the gaps in C are filled after collating the two new Mss. Only one line is left blank on p. *61; and even there I am wondering whether the author did have three lines in an anustubh unit. It will be seen that a better and more authentic text is presented in this edition by collating the Mss. P and B, the latter genuinely of an independent tradition. The various readings are selective; and if their number is more, it is only to help the critical reader to judge for himself the basic readings from which the deviations might have originated. With the publication of the Kuvalayamala of Uddyotanasuri (Singhi Jaina Series, No. 45), greater interest is sure to be taken by scholars in this important religious romance in Prakrit. The stylistic digest of it in Sanskrit by Ratnaprabhasuri obviously serves as a companion volume for its thorough study. The excellent edition of this digest by the late lamented Muni Shri Chaturavijayaji, however, is long out of print. Muni Jinavijayaji suggested, therefore, that it might be republished along with the text of the Kuvalayamala. So a critical edition of this Sanskrit text is presented here after collating some new and independent Mss. It is hoped that this Sanskrit text, presented along with its source, would prove helpful in studying the Prakrit Campu of Uddyotanasuri. Some of the problems connected with this Sanskrit digest, namely, how far it is a summary of the original work, whether it has got any additional

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136 KUVALAYAMALA matter, and on which of the two Mss. J and P, it is directly based, will be discussed in details in the Introduction to the Kuvalayamala, Part II, which is to be published soon. This work is also included in that volume, but some copies are separately issued for the benefit of those who are interested only in the Sanskrit Text. My sincere thanks are due to Muni Shri Punyavijayaji who kindly lent to me the Ms. P and to Muni Shri Jinavijayaji who generously published this work in the famous Shinghi Jaina Series. karmanyevadhikaras te / Kolhapur 15-9-1961. A. N. UPADHYE

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ratnaprabhasUriviracitA kuvala ya mA lA ka thA [atha prathamaH prastAvaH] ||oN arh|| 61) AdityavarNa tamasaH parastAdastAnyatejaHpracayaprabhAvam / yamekamAhuH puruSaM purANaM parAtmadevAya namo'stu tasmai // 1 lokAlokalasadvicAravidurA vispaSTaniHzreyasadvAraH sphaargunnaalystribhuvnstutyaaNhipngkeruhH| zazvadvizvajanInadharmavibhavo vistIrNakalyANabhA Adyo'nye 'pi mudaM janasya dadatAM zrItIrtharAjazciram // 2 gobhirvitanvan kumudaM vimudraM tamaHsamUhaM paritaH kSipaMzca / dadAtu netradvitayapramodaM zrIzAntitIrthAdhipatirmUgAGkaH // 3 zivAya bhUyAdapunarbhavAya zivAGgajanmA sa zivAlayo vH| janmaprabhRtyeva na yasya kasya brahmavrataM vizrutametadatra // 4 / aSTamUrtiriva bhAti yo vibhunmrnaagmnniraajibimbitH| darpakopacitivicyutikSamaH kSemameSa tanutAM jinaH sa vH|| 5 / yannAmamantravazato'pi zarIrabhAjAM nazyanti sAmajaghaTA iva dusskRtaughaaH| pAdAnalAJchanamRgendrabhuvA bhiyeva devaH sa vaH zivasukhAni tanotu viirH||6 sA bhAratI yacchatu vAJchitAni yasyAH prasAdAtkavayo vayanti / pravandhavAsaH suguNAbhirAmaM na yasya mUlyaM na ca jIrNatA ca // 7 bhAsvantamatyantamudA dvidhA taM guruM tamastomaharaM praNausi / gosaMgato yasya bhavatyavaMzyaM vikakharaM jJAnasarojametat // 8 kuvalayamAleva kathA kuvalayamAlAhvayA kuvalaye 'smin / arthaprapaJcaparimalaparimilitAbhijJarolambA // 9 dAkSiNyacihnamunipena vinirmitA yA prAk prAkRtA vibudhmaansraajhNsii| tAM saMskRtena vacasA racayAmi campU sadyaH prasadya sudhiyaH pravilokayantu // 10 The references 1,2), etc. are to the numbers of the lines of the text, put on both the margins. 1) After the symbol of bhale, which looks like Devanagari 60, P opens thus : aha / zrIgautamAya namaH // namaH zrIhrIdevatAyai // namaH zrIbRhatkuvalayamAlAkathAvidhAyine zrIdAkSiNyacihnasU ripravarAya / / oM ahaM / / AdityavarNa etc.; B has its opening folios missing; c is made to open thus: // arha / nyAyAmbhonidhizrImadvijayAnandasUrIzvarapAdapaJamyo namaH // zrImadratnaprabhasUriviracitA kuvalayamAlAkathA / AdityavarNaM etc. 12) P vibhurnAmra (namna ?). 13) P vidyutikSamaH. 15) P te vaH for devaH. 18)P dvidhAtuM guruM 19) P nAma for jJAna. 22) P prAg prAkRtA.

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* 2 ratnaprabhasUriviracitA [I. 2 : Verse 11162) gaticatuSTayasaMbhUtaprabhUtaduSkRtamayApArasaMsArasAgare paribhramatA jantunA mahatA kaSTena manuSya. 1 bhavaH praapyte| tatrApi durlabhaprAptapuruSatvena satpuruSeNa puruSArtheSvAdaraH krtvyH| te punstriruupaaH| dharmo 'rthaH 3 kAmaH / keSAMcinmokSazceti / etairvirahitasya puruSasya mahadarzanAbhirAmasyApi kevalaM niSphalaM jnmeti| 3 yatasteSu ca vizeSata eva dharmaH shreystrH| sa punastAvadbahuvidho lokaprasiddhazca / sarveSAM maNInAmiva kaustubhaH, kuJjarANAmiva suragajaH, sAgarANAmiva kSIrasAgaraH, nRNAmiva cakravartI, zAkhinAmiva 6 kalpazAkhI, zailAnAmiva sumeruH, surANAmiva devendraH, teSAM dharmANAmupari virAjate jinendrapraNIto 6 dhrmH| sa ca caturvidho daanshiiltpobhaavnaabhedaiH| tatra prathamameva prathamatIrthapena prathitapRthumahinA dhanasArthavAhabhave vratibhyaH prAjyamAjyaM dadatA ropito dAnadharmaH / tataH siddhagandharvAdInAM pratyakSaM 9 pratijJAM samAzrayatA bhagavatA sarva mama pApamakaraNIyamiti prakaTIkRtaH shiildhrmH| varSopavAsasthitena 9 prakAzito loke tpodhrmH| tathaikAntAzaraNatvakarmavargaNAbandhamokSanArakatiryaggatinarAmaragamanAgamana duHkhasukhadharmazukladhyAnAdibhAvanAM bhAvayatA bhagavatA nivedito bhaavnaadhrmH| tato'smAdRzastAdRzairdA12 nAdibhistribhirata eva prityktaaH| yataH sttvsNhnnvrjitaaH| tasmAdeSa saMvegakArako bhAvanAdharma: 12 sukhakaraNIya iti / yataH sadA satpuruSAlIkadoSapravRttiparAH pramAdaparavazacetaso durjanapArzvavartinaH paramarmamArgAnusAriNastiSThAmaH, tataH zrImajinendrazramaNapuGgavasatpuruSaguNagrAmAbhirAmotkIrtanena saphalI15 kriyate janmeti / anyacca, ye ca pUrva pAdalipta-zAtavAhana-SaTkarNaka-vimalAGka-devagupta bandika-prabhaJjana-15 zrIharibhadrasUri-prabhRtayo mahAkavayo babhUvuH / yeSAmekaiko 'pi prabandho 'dyApi sahRdayAnAM cetAMsya nuharati / tataH kathaM teSAM mahAkavInAM kavitvatattvapadavImanubhavAmaH / yacUrNanAbhalAlAbhirmadonmattAH 18 kariNo badhyante, yadi vA tucchaguJjAphalairanupamAnAM vidrumANAM zobhA prApyate, yadi vA kAcazaka- 18 lairvaryavaiDUryamaNiprabhA prakAzyate, yadi vA bhujAbhyAmubhAbhyAmambhodhistIryate, yadi vA kAzcanagiri stulayA tolyate, tatazcaturacetasAM camatkAriNI kathA mAdRzairapi samudbhIryate / paramiyaM tu na kavi21 tvamadena, na ca zabdazAstraprAvINyena, na ca sAhityasauhityena, na ca karkazatarkakauzalena, kiMtvAtmano 21 vinodaay| sA ca paJcadhA sakala-khaNDa-ullApa-parihAsa-carAkhyAdibhiH kathAbhiH / etAH kathAH sarvA api prasiddhAH / etAsAM lakSaNadharA saMkIrNakathA jJAtavyA / atha saMkIrNakathaivocyate / sApi 24 trividhA dharmArthakAmakathAbhiH / tato dharmakathaiva bhaNyate / sA ca dharmakathA caturvidhA, AkSepiNI 1 24 vikSepiNI 2 saMvegajananI 3 nirvedajananI 4 ceti / tatrAkSepiNI mano 'nukUlA 1, vikSepiNI mana:pratikUlA 2, saMvegajananI jJAnotpattikAraNam 3, nirvedajananI vairAgyajanakA 4 / tataH prastutakathA27 zarIramucyate / tacca kIdRzam / samyaktvalAbhagurutaraM parasparaniyUMDha suhRtkArya nirvANagamanasArametad 27 dAkSiNyacihnena sUriNA nirmitam / yathA sa kathAsvAmI kuvalayacandro jaatH| yathA ca prAksaMgatena devena hRtH| yathA ca tena siMho devaH sAdhuzca dRSTAH zUnye kAnane / yathA sa pUrvajanma paJcAnAmapi 30 janAnAM munimukhAcchuzrAva / yathA sa siMhazca samyaktvaM pratipannau / yathA svargAcyutAH pare 'pi sa 30 kumArazca dustapaM tapo vidhAya svargamArgamagaman / tatra vividhAn bhogAn bhuktvA yathA punarbharatakSetre samutpadyAnyonyamajAnantaH santaH sarve 'pi kevalinA bodhitaaH| zrAmaNyaM ca nirantaraM prapAlya saMvi33 nAstapastIvaM nirmAya karma vinirmathya yathA moksslkssmiimiiyivaaNsH| tatsarvamapi prasannAyA hiyo deva-33 tAyA mukhataH zrutvA kuvalayamAlAyAM kathAyAM pUrvakavinA nibaddham / tathAtrApyasAravacasApi mayA bhaNyamAnaM mahAtmabhiH zrotavyam / yataH, 36 nistejaso 'pi mAhAtmyaM mahAnarpayati shritH| bhargasaMsargataH pazya pAvitryaM bhasmano 'pi // 11 36 sarvathaiva parityAjyaH sa dUrAdurjanaH satAm / dvidhA svenArpitenApi yaH paraM kurute dvidhA // 12 tadvihAya tayozcarcA svsvkaaryvihstyoH| asyAH kathAyAH saMkSepaH kriyate svArthasiddhaye // 13 2) Pom. satpuruSeNa, C punastrirUpA dharmArthakAmAH / . 3) P rAmasyApi syeva kevalaM. 7) P tapobhAvabhedaiH. 8) P dhanasArthabhave, P prAjyamAdya. 13) P paravazacetase pArzvadurjadapAzvavartinaH. 15) P SaTkaSarNaka. 18) P yadi tuccha. 20) P camariNI kathA. 28) P prAg saMgatena. 34) P tathA atrApi asAravacasApi. 36) c explains bhargasaMsargataH as zivasaMsargAdityarthaH in a footnote.

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* 3 -I. $5 : Verse 2011 kuvalayamAlAkathA 1 163) tathAhi / jambUdvIpe dvIpe dharmavAraNasadharmaNi SaTkhaNDabharatakSetrasya dakSiNArdhe madhyamadezA- 1 vanImaulimaNDanamaNirvinItA nAma nagarI / yA mahApuruSanAbhijanmano jinezvarasya sametavAsavakRta3 rAjyAbhiSekAnantaraM saMprAptanalinIdalanikSiptavArivyApRtakaramithunakaparyastacaraNayugalAbhiSekadarzanasa- 3 harSahariprajalpitasAdhavinItaparuSAGkitA vinIteti prasiddhA tadAbhavata / yatra ca zakraH svayaM pramAditacetA bhaktibharanibhRto vAsanAvAsitAntaHkaraNo 'nantamahimAmeyagAGgeyacchAyakAyazrInAbheyasya samucchritama6 panItahRdayAvasAdaM prAsAdaM kaaryaaNckaar| yA cAnantapravarasurabhuvananivahAmradhvajAJcalaiH karairiva matsadRzI 6 purI nAparAsti [iti] nivedayatIva / yatra zubhrazaradadmavibhramadhAriNi sphuTasphATikamayAnyabhraMlihAgrANi hANi surapathapathasaMcariSNoruSNAMzorapi viracayanti syandanaskhalanam / yatra dvimukho mRdaGgaH, tIkSNo 9 maNDalAyaH, bhramaNazIlo madhukaraH, sakalaGkazcandraH, pravAsI rAjahaMsaH, citralo mayUraH, avinayI bAlaH, 9 capalaH plavagaH, paropatApI jvalana eva na punarjanaH / yatra ca sparza eva prastaraH, pIyUSameva jalam , chAyAdruma eva drumH| varNyate sA kathaM devaiH kila zakranidezataH / yA zrImannAbhiputrasya nivAsArtha vinirmame // 14 12 yAM vIkSya pathikA naikakautukAnAM niketanam / pravAsAlApavaidhurya svapriyANAM visasmaruH // 15 tadasta nAsti yattatra prApyate prANibhiH skhm| yatkathAsvapivateta tatsarvamapi vIkSyate // 16 15 yatra vakrAGgatA haMse matsye ca svkulkssyH| ariSTaM sUtikAgehe jane naiva kadAcana // 17 15 rAjante yatra kAsArA narAzca kmlaashritaaH| sadvRttazAlinaH svacchAH sacchAyA dvijbhuussitaaH||18 / yanmRgAkSImukhAmbhojalAvaNyena vinirjitA / tapasyatIva trapayA sarojAliH sarojale // 19 18 anantavaibhavopetaniketonnatakaitanaiH / channAyAM yatra mArtaNDamaNDalaM na dRzAM pathi // 20 18 4) tatra dRDhavarmA nAma raajaa| yaH saralo dAkSiNyanidhirdAnazauNDo dayAluH zaraNAgatavatsalaH priyaMvadaH [ca] / yastu daurgatyazItasaMtApitAnAM dahanaH, na punardahanaH; sujanavadanakamalAkarANAM tapanaH, 21 na punastapanaH; ghanasamayaH svajanakadambAnAm , zaradAgamaH praNayijanakumudavanasya, hemantaH pratipakSalakSa-21 kAminIkamalinInAm,zizirakAlaH saudhayuvatIjanakundalatAnAm, surabhirmitrakAnanAnAm , grISma zatru jalAzayAnAm , kRtayugAvatAro nijakSitimaNDale, kalikAlo cairinarendrarAjyeSu, saMtuSTaH svakalatreSu, na 24 punaH kIrtiSuH lubdho guNagrAmeSu, na punarartheSuH gRddhaH subhASiteSu, na punarakAryeSu; suzikSitaH kalAsu, na 24 punaralIkakapaTacATuvacaneSu / tasya karAlakaravAladhArAvidAritavairivAraNakumbhasthalIgalitamuktAphalavi bhaSitAkhilakSititalasya sarvatrAskhalitaprasRtanissImapratApatapanazoSitAzeSavipakSalakSakIrtisarasIvi27 sarasya zaraccandracandrikAvadAtaguNasaMghAtasya niravadhisaubhAgyalakSmIkaTAkSalaharIlakSitasAbhilASavapurvai-27 bhavasya namrAnekanarezvaraziraHzreNimaNimukuTataTodbhavaprabhAjAlapiJjaritapAdAravindasya pratApAkAntadikca kravAlaprAntavizrAntazAsanasya madhumathanasyeva kamalA, kumudavandhoriva kaumudI, nirupamarUpatiraskRtasura30 sundarIsArthA ananyasAmAnyapuNyalAvaNyopacitA avikala kalAkalApakalitA sadA saddharmadhyAnadattA-30 vadhAnA sarvAntaHpurapradhAnA samagraguNagrAmAbhirAmA priyaGguzyAmA svayaMvarapariNItA kAntA kAntA babhUva / atha tasya tayA sAkaM nAkezvarasyeva zacyA viSayasukhamanubhavataH ko 'pi kAlo vytickraam| 33_ 5) anyadA cAbhyantarasabhAsInasya tasya bhUpasya katipayamantrijanaparivRtasya snehavazapriyAprati- 33 SThitavAmapArzvasya bAhulatAvalambitavetralatA pratIhArI samAyayau / tayA vinatayA bhUpateH pa yugmabhaktyA vijJaptam / 'deva, eSa zabarasaMjJasenApatiputraH suSeNAkhyastadA devasyaivAjJayA mAlavanarendra36 vijayArtha yayau sa sAMprataM dvAri svAminazcaraNAmbujadarzanamabhilaSannasti' / rAjJoktaM 'pravizatu' iti / 'yadA-36 jJApayati devastatpramANam' [iti vadantyA tayA pravezitaH senAnIH / sa ca nRpaM vilokya kiMcidbhUbhAgamupasarpya nanAma / rAjJApi 'AsanamAsanam' iti jalpatA dakSiNakaratalenottamAGga parispRzya sNmaanitH| 39 tato viracitadevIpraNAmaH sa sakalasAmavAyakanAyakagaNAnatidUre yathocitaviSTare niSasAda / atha 39 pRthvIbhRtA tamAsanAsInaM suSeNaM nirIkSya hRdayAbhyantarapravartitapramodAmRtapUritanisyandabindusaMdohamiva 12) P nirdezataH 13) pathikAneka. 16) P svacchAyA 19) P C dRDhadharmA. 20) P dahano na, P tapano na. 23) P kalikAle. 24) P labdho for lubdho. 28) P taTodbhaTaprAbhA. 30) P avikalAkalaMkakalApa. 31) c inter. svayaMvarapariNItA & priyaGguzyAmA. 33) og vRtasya sapriyasya bAhu. 34) 0 pratihArI. 35) P zabarasaMjJaH- 36) P dvArigau svAmina'. 39) P praNAmasakala. 40) Pom. pUrita, ogntare pramodAmRtapUritena harSAzrUNi vimuJcatA suSeNa.

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* 4 ratnaprabhasUriviracitA [I.85 : Verse 211muJcatA snigdhadhavalapakSmalacalannayanayugalena 'suSeNa, kuzalaM tava' ityapracchi / tenoktaM 'devacaraNayugala- 1 darzanenApi sAMprataM mama kSemam' iti / nRpeNoktaM 'mAlavanarezvareNa saha bhavatAM ko vRttAntaH samabhUt' / 3 tataH suSeNaH provAca / 'devapAdAnAmAdezena tadA caturaGgabalena mAlavapatinA samaM saMgrAmaH smjni| 3 tAvaddevapratApena prasarpatA matsainyena ripubalaM bhagnam / sainikaistadIyaM sarvasvamapi svIcakre / tasyAntaHsthito 'bAlacarito bAla ekaH paJcavarSadezIyastanRpatisutaH svazaktyA yudhyamAno 'smaabhirgRhiitH| sa eSa 6 sAMprataM dvAradeze 'vtisstthte|' tato bhUpaterAdezalezena mAlavanarendranandano mahendranAmA sphuratsaubhAgya- 6 vaNyAvayavazrIzcampakakusumatanuratanuguNagrAmamandiraM bhaviSyanmahAgandhagaja ivAdInadRSTipAtairvilokayannAsthAnamupanRpamAjagAma / tato rAjJA vilasatsnehanirbharahRdA dIrghatarabhujAdaNDAbhyAM gRhItvA 9 nijotsaGge nivezitaH / bhUpatistaM nirIkSya pramuditamanAH samudra iva candramasaM svayaM parirabhya bbhaasse| 9 'aho, vajrakaThinamAnaso 'sya janako yo 'dyApyasya viyoge jIvati' / devyapi kumAraM devakumAramiva pazyantI putramiva snehaM bibhratI jalpitavatIti / 'dhanyA sA yuvatiryasyAH kukSau rohaNagirAviva guNairasa12 patnaM putraratnam / dAruNA sA yA sutavirahe AtmAnaM bibharti / ' sacivezvarairuktam / 'kiM karotveSaH, IdRza 12 eva vidhipariNAmaH tava sukRtavilasitaM caitt|' api c| bhaveyurna bhaveyurvA kasya kasyApi bhuuspRshH| atIva syuH punaH puNyavazataH sarvataH zriyaH // 21 1586) atrAntare sa cAbhyantaraguruduHkhajvalanajvAlAvalItaptacitto vASpAzrubhI rodituM pravRttaH / 15 tatastasya mahIbhRtaH sasaMbhramajalataraGgAsphAlitazatapatramiva samuditodayAcalacUlAvalambimArtaNDamaNDa lakiraNagaNAhatadivasadhUsarazazadharabimbamiva dIprapradIpaprabhAparAbhUtamAlatiprasUnamiva bAlasyAsyaM 18 pazyataH kiMciJcitte 'mahaduHkham' iti vadataH prasRtabASpajalAI nayanayugamabhUt / prakRtikaruNahRdayAyA 18 devyA api kSaNamazrubindusaMdohena nipatatA kucakalazotsaGge hAralIlAyitamalaMcakre, mantrijanasyApi ptitshcaashruprsrH| 'aho atucchaguNavatsala vatsa svacchacitta, mA viSAdasyAvakAzI bhava' iti jalpatA 21 bhUbhRtA svadukUlAJcalena bAlasya vimalIkRtaM vadanakamalam / tataH parijanopanItazItala jalena kumArasya 21 svasya ca nayanAni prakSAlitAni devyA mantrigaNena ca / rAjJA bhaNitam / 'bho bhoH suragurupramukhAH saci vezvarAH, bhaNata kiM kumAreNa mamotsaGgasaMginA ruditam / ' tata ekenoktam / 'kimatra jJeyam / yata eSa 24 khalu bAlaH pitRmAtRviyukto viSaNNacittaH, ata etena ruditam / ' apareNoktam / 'deva, tvAM vilokya 24 nijapitarau hRdi sthitAvityanena ruditam / ' anyena ca bhaNitam / 'deva, tathA asmin samaye samyara na zAyate yadasya bAlasya pitarau kimavasthAntaramanubhavataH, ato 'nena duHkhena ruditam / ' rAjApi jjlp| a'kimatra vicAreNa, imameva pRcchaamH|' bhaNitazca bhuuptinaa| 'putra mahendrakumAra, kathaya kathaM tvayAzrupAtaH A kRtH| tataH kumAreNa kiMcitsagadgadaM gambhIramadhurAkSaraM bhaNitam / 'pazyata vidhivilasitam, yattAdRza syApi tAtasya purandarasamavikramasya rAjyabhraMzaH samabhavat, tathAhaM ca zatrujanasyotsaGgasaMgataH zocanIya30 tAmagamam , tato mayAnena manyunA bASpaprasaro roDhuM na zakyate / ' atho bhUbhRtA tadvanirgatavAkyavisma-30 yAbaddharasAkSipyamANamanasA bhaNitam / aho bAlasyAmAno 'bhimAnaH, aho sAvaSTambhatvam , aho vacanavinyAsaH, aho sphuTAkSarAlApatvam, aho kAryAkAryavicAraNaM ceti sarvathA vismayanIyametat / yadeta33 sthApmayavasthAyAmIdRza eva buddhivibhavaH' iti jalpatA bhUbhRtA vIkSitAni sacivezAnanAni / mantribhi-33 ruktam / 'deva, ko'tra vismayaH / yathA guJjAphalapramANo 'pi jvalano dahanasvabhAvaH, siddhArthamAtro 'pi ratnavizeSogurureva, tathaite mahAvaMzaprasUtArAjaputrAH sattvapauruSamAnaprabhavairguNavibhavaiH saha saMvardhitadehA eva 36 bhavanti / anyat, deva, naite prakRtipuruSAH, kiMtu devatvacyutAH sAvazeSazubhakamANo 'tra jAyante / tato 36 mahIbhRtA jalpitam / evamevaitat , nAtra saMdehaH' iti / bhaNitazca sAnunayaM kumaarH| 'vatsa, mA cintAcAntamanA bhava / yathAhaM bhavatAM ripustatsatyam , na punaH sAMpratam / yadA tvamasmanmandire samAgatastadA. 39 prabhRtyeva tvadarzanamAtreNApi sa tvatpitA nRpatirmitraM jaatH| bhavAn mama putra eva / evaM parijJAyAdhRti 39 mA kArSIH / muJca pratipakSabuddhim / abhiramasva vatsa, svecchayAtmano niketane yathA, sarvameva bhavyaM bhAvi' iti bhaNitvA nRdevena kumArasya vakSaHsthale svakaNThakandalAduttArya nirmalamuktAphalahAro nikSiptaH, 42 dattAni ca kramukaphalaphAlIkalitanAgavallIdalAni / tena 'mahAprasAdaH' iti bhaNitvA tatsarva 42 11) P bibhratI talpita. 13) P sukRtaM vilasitaM. 17) P mAlatIprasUna. 20) 0g svasthacitta. 22) P bho bho. 26) P manubhavato'nena. 28) P gadgadagambhIra. 35) P ratnavizeSo'pi guru', og guNavizeSaiH saha savartita. 40) P vatsecchayAtmano nikete yathA. 41) kramukIphala.

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3 -I. $ 8 : Verse 22] kuvalayamAlAkathA 1 *5 1 svIcakre / arpitazca devaguroH sacivAdhIzasya bhaNitazca / 'tathA tvayaiSa upacaritavyo yathA kadAcana 1 sauvapitrorna smarati, sarvathA tathA kartavyaM yathA mamApatrasyaiSa patro bhavati' iti / tataH kiMcitkAlaM 3 sthitvA rAjA bhadrAsanAtsamuttasthau / kRtadivasavyApArasya tasyAtikAnto vaasrH|| 7) athAnyadivase bAhyAsthAnamaNDapamupagatasya dRptanarendramaNDalIparigatasya tasya bhUpateH suragireriva kulazailamadhyagatasyAgatA dhautadhavala dukUlayugalanivasanA maGgalagrIvAsUtramAtrAbharaNazobhamAnA 6 sumaGgalA nAmAntaHpuramahattarA, dRSTA ca rAjJA prauDharAjahaMsIva lalitagatimArgA / sA ca kaJcukinI 6 nRpaterdakSiNakarNe kiMcinnivedya nirgatavatI / tato bhUdhavaH svayamanalpavikalpasaMkalpadolAyamAnahRdayaH kSaNamAsthAne sthitvA visarjitAzeSasevakalokaH kaNThIravapIThAdutthitavAn / priyaGguzyAmAbhavanaM prati praca9 latAcalApatinA cintitam / 'aho, sumaGgalayA kathitaM yadadya devyA bahudhA vividhabhaGgIbhirbhaNitayApi 9 parijanenAlaGkAro'pi na kalayAMcake AhAro'pi na, kevalamamAno mAna evAvalambitaH / kiM punardevyAH kopakAraNam / athavA svayameva cintayAmi, yataH strINAM svabhAvata eva paJcabhiH kAraNaiH kopaH smutpdyte| 12 tadyathA praNayaskhalanena 1, gotraskhalanena 2, avinItaparijanena 3, pratipakSakalahena 4, zvazrUsaMtarjanena 5 / 12 tatra tAvat praNayaskhalanaM na, yena mama jIvitasyApyeSaiva svAminI tiSThatvanyasyeti / atha gotraskhalanamapi na, yenAsyAzcaivAhvayA sakalAntaHpurapurandhrIjanamapi vyAharAmi / atha parijano'pi kadAcana mamAjJAlopI 15 bhavati na punrdevyaaH| pratipakSaskhalanamapi na, yena sarvo 'pyantaHpurajano devatAmiva devIM manyate / zeSa 15 zvazrUbhaNDanaM dUrata eva na, yenAsmAkaM mAtA mahAmahIpateragre 'gnimAvizya devI bhUteti / tataH kiM punaretadbhavet / ' iti cintayan bhUpatirdevyA vAsavezma praviveza / na punastasya sA locanagocaratAM 18 jagAma / nRdevena pRSTA ceTikA kApi 'kutra devI' iti / tayA niveditam / 'deva, devI kopaukasi praviSTA / ' 18 tatra bhUmIvibhuryayau / dRSTAnena devI hastinonmUliteva kamalinI, bhagneva vanalatA, protkSipteva kusumamaJjarI / tatastAM prekSamANaH kSitipatistasyAH savidhavartI babhUva / tata AsanAtsavinayamalasAyamAnA cArulocanA 21 samuttasthau, nijamAsanamadAcca / upaviSTo rAjA devI ca / tataH pRthvIpatiruvAca / 'priye kopane, kime-21 tadakAraNe caiva zaratsamayavAridhArAhatasarojamivodvahasi vadanAmbujam / nAhaM kiMcidaparAdhaM svasyAnyasya vA smarAmIti / tato manaH prasannatAmAnIya nivedaya / kiM mayA na tava saMmAnito bandhujanA, kiM vA na 24 pUjito gurujanaH, kiM vA na saMtoSitaH praNayivargaH, athavA na vinItaH parijanaH, atha pratikUlaH sapatnI-24 sArthaH, yena kopamavalambya sthitAsi / ' tatastadvacaH zrutvA kiMcitsahAsyamAsyaM nirmAya devI sudhAmucaM vAcamuvAca / 'deva, tava padapadmayugmaprasAdavazataH kiMcidapi na nyUnamasti, kiMtvanekabhUminAyakamauli27 mukuTamANikyakoTinighRSTacaraNayugasyApi tava praNAyanI bhUtvAtra vIkSApannA jAtAsa raladRzaH puNyavatyAstanUdbhavaH snehabhAjanaM mahendrakumArastAdRzo mama mandabhAgyAyAstvayi nAthe satyapi nAstItyetadbhAvayantyAH svasyopari nirvedaH, tavopari ca mama kopaH samajAyata' iti / tato vismayasmera30 cetasA nItipracetasA vizAmIzena cintitam / 'pazyatAvivekitvaM mahilAjanasya yadalIkAsaMvaddhaprala-30 pitairIdRzairhiyante kAminIbhiH kAmukajanasya cetaaNsi|' dhyAtvetyuktam / 'devi, yadetattava kopakAraNamatra ka upAyaH / daivAyattametat , nAtra puruSakArasyAvasaro nAnyasya ceti / yataH, 33 anudyamAya krudhyanti svajanAya kubuddhayaH / daivAyattAH punaH sarvAH siddhayo neti jAnate // 22 33 8) tAvadevaMvidhe vyavasthite kathamakAraNe kopmvlmbse|' devyA vijJaptam / 'nAtha, nAhamakArye kupitA, kiMtu kArya eva / kiM yadi mahIpatirudyamaM vidhAya devatAmArAdhya saMtatiM yAcate tataH kathaM 36 manorathAH pramANakoTiM nATIkante, ataH prasIdatu mama mandabhAginyAH svAmI devatArAdhanena' ityuktvA 36 caraNakamalayugale nipatantI rAjJA bhujAbhyAM dhRtvA proktaa| 'kAnte, yattvaM vadasi tadavazyaM vidhAsye sarvathaivAdharti maJca / parityaja saMtApam / kuru bhojanam / bhaja paJcagocarasaMbhavaM sukham / priye, nizi39 tAsidhArayA trinayanasya puro hutvA svamAMsaM, kAtyAyanyA agrataH zirasA bali dattvA vA, mahAzmazAne 39 bhUtapretapizAcAdikaM kamapi sAdhayitvA, vidyayA vA purandaramapi samArAdhya mayA tanujo yAcanIya eva / ' iti bhUpavacanaM samAkarNya harSaprakarSapravRttasarvAGgaromogamA protphullavadanAmbujA devI samajani / tato 42 nRpatirutthAya kRtamajanabhojanavidhirvidhizaM mantrigaNaM samAdideza / 'bho bhoH suragurupramukhAH sacivAH, 42 1) P yadA kadAcana. 3) P vyApArasyAtikrAnto. 13) P athA gotra. 16) PmAtA mahIpate'. 22) P dhArAhatamiva sarojamudrahasi, Cg svasyAparasya. 23) P sanmAnito. 33) P kruSyaMti. 35) P kArya eva ca / . 39) cg trinetrasya puro. 40) P pizAcAdikaM kimapi, P inter. sAdhayitvA & vidyayA, P manujo for tanujo. 42) P vidhividhitaM, P bho bho.

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* 6 ratnaprabhasUriviracitA [I. $ 8 : Verse 23 1 adyedazo vRttAntaH samabhUt' / devyAH kopakAraNamAtmanaH pratijJArohaNaM ca kathayAmAsa / mantribhi- 1 ruktm| 'deva, yataH 3 aGgaNavedI vasudhA kulyA jaladhiH sthalI ca pAtAlam / valmIkazca sumeruH kRtapratizasya dhIrasya // 23 3 tathA, parAkramavatAM nRNAM parvato 'pi tRNAyate / ojovivarjitAnAM tu tRNamapyacalAyate // 24 6 tato deva, yattvayA cintitaM tattathaiva / sundarazcaiSa IdRzo devasyAdhyavasAyaH / yato bhaNitaM pUrvamuni - 6 bhirlokazAstreSu / yathA, aputrasya gatirnAsti svargo naiva ca naiva ca / tasmAt putramukhaM dRSTvA pazcAddharma samAcaret // 25 9 anyacca, deva sarvANyapi kAryANi piNDapAnIyapradAnAdIni putraM vinA na saMpadyante puruSANAm / bhaNyate ca / 9 vidyAvato 'pi no yasya sUnuranyUnavikramaH / vRthA tajjanma zAkhIva puSpairADhyo 'pi niSphalaH // 26 tena pradhAna eSa svAminaH parAkramaH / deva tiSThantu sarve 'pyete zazizekharopAstimahA mAMsavikraya12 kAtyAyanyArAdhanapramukhAH prANasaMzayakAriNaH sutaprAtyupAyAH / samasti svastikAriNI mahArAjavaMza - 12 prasUtapUrva puruSasAMnidhyAdhyAsinI rAjyalakSmIrbhagavatI kuladevatA / tAmArAdhyAmArAdhya putravaraM prArthayasva' iti / tato rAjJA jalpitam / 'sAdhu mantripuGgavAH' iti procya bhUpatirAsanAduttasthau mantrigaNazca / 15 19 ) anyedyuH sa pArthivaH svayaM puSyanakSatrayutAyAM bhUteSTAyAmazeSatrikacatuSkAdiSu rudrAdIn 15 devAnabhyarcya yakSarAkSasAdibhyo devebhyo baliM dattvA duHsthitAndhakakArpaTikAdInanukampya nirmitasnAnakriyaH prAvRtadhautadhavaladukUlayugalaH zrIkhaNDadravacarcitAGgaH kaNThakandalanyastasumano manoramamAlaH 18 parijana dhRtakusumabalipaTalikopacArasAraH kamalAdevyAlayaM pravizya saparyA viracayya darbha saMdarbhitasrastare 18 niSaNNaH kRtAJjaliH stutiM papATha / padmanAbhavibhorvakSaH padmabhramaravallabhe / vidhehi putrapadmAM me padma padmAsanasthite // 27 21 tato narezvaro bhaktibhara nirbharahRdayastrirAtraM jitendriyaH kuzamaye srastare sthitavAn / turIya dine ca nRpo 21 SjAtadevatAdarza nAmarSavazaH zyAmalakuTilalalATapaTTa ghaTita bhrukuTIbhaGgabhISaNAnano vAmena bhujAdaNDena gRhItvA kuntalApaM dakSiNabAhughRtakhadgaratnena kandharAyAM yAvatprahAraM dAtumArabdhavAn tAvaddevatayA 24 hAhAravavAkya puraHsaraM tasya stambhito bhujAdaNDaH / rAjApi yAvadunnamitAsyaH pazyati tAvadvadanavidhu - 24 saMnidhAne 'pi vizeSavikaca karakamalaparimalamilada likulajhaGkAra mukharitadikcakravAlA kamalAlayA devI rAjakamalA pratyakSIbabhUva / 10 ) taddarzanasamutpanna romAJcakatraco vismitavadanAravindaH kRtapraNatiH kSitipatirAsIt 1 27 rAjalakSmyA bhaNitam / 'bho narezvara, vilakSI kRtapratipakSalakSavanitAvaidhavya sthUlalakSaM kRpANaratnaM grIvAyAM kimityAyAsyate / nRpeNoktam / 'devi, yattvayA trirAtrAbhyantare mama nirAhArasyApi na nijadarzana30 madAyi / ' tato rAjyazriyA kiMcidvihasya proktam / 'vatsa, vada mayA kiM kArya tava' iti / atho 30 nigaditaM medinIzena / 'devi, prasAdaM vidhAya sarvakalAkalApanilayaH prAjyarAjyadhurAdharaNadhaureyaH kula mandirAvaSTambhastambhanibhaH putraH pavitraguNazAlI dIyatAm / ' tataH smitvA rAjyakamalA samuvAca / 33 'mahArAja, kiM ko'pi kadAcana mayi putro bhavatA nyAsIkRto 'sti, yena mAM prArthayase / ' rAjJoktam | 33 'yadyapi mayA tanujo na samarpitastadavitatham / paraM kalpalatAsaMnidhAne kimu ko 'pi bubhukSayA vilakSIkriyate / svargApagApulinAvasthAne 'pi kiM tRSNayA bAdhyate / asapatnacintAratnaprA36 tAvapi kiM dausthyena dUyate / tvayi dRSTAyAM kiM ko 'pyAdhibAdhAmanubhavati / ' devyA Uce / 'mahArAja, 36 mayA parihAsaH kRtaH / sarvaguNasaMpUrNaH pUrNimAcandra iva kalAkalApanilayastavaikaH putro bhAvI' iti bhaNitvA rAjyalakSmI stirodadhe / 27 39 $ 11 ) tato nRpatirlabdharAjyazrIprasAda H zrIdevIgRhAnnirgatya nirmitasnAnabhojanaH sabhAyAmupavizya 39 mantrimaNDalamAkArya ca yathAvRttaM nivedayAmAsa / mantribhirjalpitam / 'devaguruprasAdAdetadbhavatu / ' tataH 1 ) P devyAzca kopa. 5 ) 0 nRNAM, P sarvato'pi for parvato'pi . 6 ) P suMdarazca eSa M suMdarazca / eSa. svargo naiva etc. to samAcaret. 9 ) 0 saMpadyate. 11 ) B zazizeSaro 15 ) P svayaM manuSya nakSatra. 17 ) prAvRttadhauta, P 8) P B om. carcita gakaMTha. tataH smitA. 18 ) Pom. kusuma, P prastare for srastare. 30 ) P rAjazriyA. 35 ) cg vilakSmIkriyate. 37 ) PB stavaikaputro 39 ) PB 32 ) og kulamandirastambhAvaSTambhaH putraH pradIyatAm / zrIdevigRhA. 40 ) 0 prasAdAdbhavatetat / .

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-I. SS 13 : Verse 36 ] kuvalayamAlAkathA 1 * 7 1 kSamAparivRDho dRDhavarmA dRDhapratijJa AsthAnAdutthAya devyai vRttAntamacIkathat / devyapi hRSTamAnasA samaja - 1 niSTa / rAjJA samagre 'pi nagare vardhApanamahotsavazcakre / itazca dharmAzurapi kara nikara prasareNa tamaHsamUhaM 3 nirAkRtyAstasamasta kiraNadaNDo 'stAcalacUlAvalambI babhUva / 6 sati prabhApatAva na prabhA tanayasya me / iti dhyAtvAstadambhena ravigrastaH sarasvatA // 28 vinA jIvitanAthaM taM kimanyairavalokitaiH / itIva nalinI jajJe nidrANanalinekSaNA // 29 tadandhakAraM samabhUdbhairavAdapi bhairavam / yatra varNazriyAM lopo jJAyate svaH parazca na // 30 tataH zayyAgRhAntardhautadhavalapadapracchAdite mandAkinI pulinata line talinodarI priyaGguiyAmA samArAdhitadevagurucaraNakamalA pramIlAmIlitacArulocanA pAzcAtyayAminIyAme svapne jyotsnApravAhasaMbhRtadi1 kvakramamandakumudAnandapradaM kalaGkavikalaM bahala parimalAkarSitAlikulakalitayA kuvalayamAlayA parivRtaM 9 kalAbhRtamadrAkSIt / tAvatprAbhAtikaprahatamaGgalamRdaGgasaMgata saMrAveNa prabuddhA / tataH svabhAvAnusadRzasvapnadarzanarasavaza praharSa samucchaladromAJcakavacitayA devyA vinayAvanatottamAGgayA yathAdRSTaH spaSTaH svapnaH 12 kSabhirtuH puro nyavedi / rAjA tadvAkyamAkarNya vismayasmeramanAH sudhAsAgarAntasthamivAtmAnaM manya - 12 mAnaH provAca / 'priye, yo rAjyalakSmyA putravaraH pradattaH sa sAMprataM phaliSyati / ' tato devI 'devatAnA - manugraheNa rAjyazriyo varaprabhAvena guNagurUNAM gurUNAmAzIrvAdena ca vAJchitaM bhavatu' iti jalpantI 15 kavInAmapyagocaraM pramodaM pratipede | 36 12 ) atho mahInetA kRtAvazyakaH samastasacivAdhIzairalaMkRtAM svapnapAThakairanvitAM rAjahaMsa iva sarasI sabhAmalaMkRtya devyA dRSTaM svapnaM nivedyeti papraccha 'ko 'muSya phalavipAkaH' / tataH 18 svapnapAThakairuktam / 'yathA kila mahArAja, mahApuruSajananyaH zazisUryavRSabhaharigajaprabhRtIn svapnAn 18 pazyanti / tena tasyedRzasya sakalakalAbhRddarzanasya pradhAnapuruSajanma sUcyate / ' rAjJA bhaNitam / 'devyAH putrajanmaphalaM rAjyazriyA vareNaiva niveditam / yaH punaH zazI kuvalayamAlayA kalitastadvayaM pRcchAmaH / ' 21 tato gaditaM svapnakovidaiH / 'deva, nUnameSA tava duhitA bhaviSyati' iti / atha devaguruNA mantriNA 21 bhaNitam | 'deva, yujyata etat / yadi kuvalayamAlaiva candrato vibhinnA bhavati tataH saMbhAvyata etat / eSA punastameva mRgAGkamavagRhya sthitA / tenaiSA kApyetasya rAjaputrasya pUrvajanmasnehapratibaddhA kuvalayamAleva 24 sarvajanamanoharA priyatamA bhAvinI' iti / bhaNitaM bhUpena 'saMgatametat' / tataH kiMcitkAlaM vidvagoTyA - 24 supavizya vizAMpatirdivasakRtyakRte kRtyavedI samudatiSThat / atha devI taddinamArabhya lAvaNyapuNyAvayavA parijanasya bahumatA sAdhujanasyAnukUlA sarvaprANigaNe sAnukampA saMpUritadohada sauhRdA sAmodA garbha 27 dyauravodvahantI virarAja / 27 1 ) B also dRDhadharmA. 2 ) B mahotsavazca cakre. 4) B prabhAvatAvatra na. 6 ) B has a marginal note (on bhairavAdapi ) thus : IzvarAdapi / IzvarapakSe varNA brAhmaNAdayasteSAM zriyastAsAM lopaH / aMdhakArapakSe varNA nIlapItAdayaH / . 7 ) P paTTapracchAdite, P pulinavadata line, Cadds devI after priyaGguzyAmA 9 ) B bahula 14 ) P guNagurUNAM AzI 16 ) 0 kRtAvazyakaH prabhAte sacivaiH samaM sabhAmupavizya svapnapAThakAnAhUya tebhyaH svapnaphalaM papraccha ko'muSya. 19) og tato'nena svapnena pradhAna for tena etc. 21 ) B devagurumantraNA. 22 ) P kuvalayamAlA caiva caMdrato, B adds on the margin kadAcit between kuvalayamAlA and candrato. 23) P mRgAMgakamavagadA sthitA. 25 ) B has a marginal gloss kAryasthAnaM on kRtyavedI. 26 ) P saMpUritadehasohadA, Bhas a gloss medyaM garbha on garbha. 34 ) cg vardhyate, B ityuktvA nRpati 35 ) PB C dRDhadharmA or dRDhadharmmA, but the spelling dRDhavarmA is uniformly adopted here. (36) P bhavedvarSa: prakarSa bhAk 3 $ 13 ) atha kiyati kAle vyatIte tithikaraNanakSatrasundare vAsare zubhe lagne horAyAmUrdhvamukhyAmuccasthAnasthite grahaca vRddhAGganAbhiranekAbhiH satataM rakSAbhirupacaryamANA, tAmraparNIva mauktikam, rohaNa30 bhUriva ratnam, vaiDUryabhUmiriva vaiDUryam, prAcIva citrabhAnum, malayAcalAcaleva candanapAdapam, vAri- 30 dhiveleva vidhuma, rAjahaMsIva vizadacchadam, prabhApahatapradIpaprabham, vikasvaravadanakamalam, kuvalayadalalocanayugalam, sA pavitraM putramasUta / 33 tato devyanujIvinyo harSotphulladRzo bhRzam / ahaMpUrvikayA zrImadRDhavarmAntikaM yayuH // 31 33 vardhya se sutaratnasya janmanA deva saMprati / ityuktvA bhUpatistAsAmabhUt pramodameduraH // 32 varmA mahIpAlastadA dAnamadAnmudA / tathA tAbhyo yathA tAsAM dAridrye 'bhUddaridratA // 33 yathA prApya nidhi ko 'pi bhavedvarSaprakarSabhAk / tathA tadA tanUjanmajanma bhUpatirapyabhUt // 34 bhUpaH pravartayAmAsa niHsAmAnyaM mahotsavam / mahArhA marhatA maha kArayAmAsa ca svayam // 35 tanmAtrA yuvatI jAtistathotkarSamanIyata / yathA dUrvA narezo 'pi zirasA tRNamapyadhAt // 36 6 15 36

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1 * 8 ratnaprabhasUriviracitA [I. $ 18 : Verse 37paNDitAn pUjayAmAsa bAlakAMzca narAdhipaH / pAThakolAhalottAlAn vahataH sUtimAtRkAH // 37 1 prINayannarthinAM sArthamathairbhujabalArjitaiH / sUnorjanmotsavaM cAru cakAra puri bhUpatiH // 38 3814) tato rAjA samAkArya varya mauhartikaM saMmAnya papraccha / 'haMho sAMvatsarika, kathaya kumArasya 3 janmanakSatragrahANAM phalam / ' daivajJena niveditam / 'deva shRnnu| AnandaH sNvtsrH| RtuH zaratsamayaH / mAsaH kArtikaH / tithirvijyaa| vAro budhH| nakSatraM hstH| rAziH kanyA / yogaH sukarmA / 6 saumyagrahanirIkSataM lgnm| saMpUrNabalAH sarve 'pi grahAH saumyAH, ekAdazasthAnasthitAH paapgrhaaH| 6 api c| ____vIkSite 'tra grahaiH saumyairmuhUrte sphUrtizAlini / cakrI vA cakritulyazca suto jAto bhavedasau // ' 39 9 nRpeNoktam / 'gaNaka, kati rAzayaH, ke vA raashigunnaaH|' niveditaM nimittvidaa| 'deva, avadhAraya / 9 tadyathA, . 15 meSo vRSAkhyo mithunazca karkaTaH siMhazca kanyA ca tulA ca vRzcikaH / 12 dhanuHpravINairmakarazca kIrtitaH kumbhazca mInaH kathitAzca rAzayaH // 40 12 __ sAMpratameteSu rAziSu jAtasya puruSasya mahilAyA vA guNagaNa AkarNyatAm / zUraH kRtajJo dIrghoruzcaNDakarmA punarmuduH / lolacakSuH priyaH strINAM meSajAto bhavennaraH // 41 satyavAdI zucirdakSo bhogI tyAgI manoramaH / sumitrazcArugamano vRSe jAto bhavennaraH // 42 15 calacakSuzca miSTAnno maithunAsaktamAnasaH / karNarogI dhanenADhyo jAyate mithune naraH // 43 zUraH kRtajJo dravyADhyaH kRzAGgo guruvatsalaH / kopano 'tyantaduHkhArtaH karke jAto bhavennaraH // 44 abhimAnI kSamAzIlo jananIjanakapriyaH / madyamAMsarato nityaM siMhajAto bhavennaraH // 45 18 vRddhabhAve ca dharmArthI sarvalokamato dhanI / kAminIhRdayAnandI kanyAjAto bhavennaraH // 46 irSyAlumitravAtsalyaparo duHkhaniketanam / sphuTavAkyo virAgI ca tulAjAto bhavennaraH // 47 21 krUraH zUraH piGgalAkSo darpiSTho niSThurAzayaH / dhanI viyogI pitRbhyAM vRzcike syAnnaraH sadA // 48 21 medhAvI satyabhASI ca sarvalokamanoharaH / varyabhAryaH sutejasvI dhanurjAto bhavennaraH // 49 darzanIyaH sudhIrvidvAn putravAn diirghjiivitH| paradAraparastyAgI makare jAyate nrH|| 50 24 loladRSTigajAzvAdyAsano mAnI vicakSaNaH / parAkramI ca tandrAlurjAtaH kumbhe bhavet pumAn // 51 24 zUraH samudragambhIraH spaSTavAkyastu kopanaH / yuddhapradhAno garviSTho mIne jAto bhavennaraH // 52 rAjApyetadAkarNya nimittavido rUpakAnAM sahasraM pradAya samuttasthau / tataH pramuditamanA bhUpatirvAdaza27 dine samagramapi janaM saMmAnya vAsobhiH svapnadRSTakuvalayamAlAvRtacandradarzanAnusAreNa tanujasya dvidhApi 27 kuvalayacandra ityAkhyAM vitIrNavAn , aparamabhidheyaM zrIdatta iti / evaM dhAtrIbhiH paJcabhiH paripAlyamAnaH samitibhiryatidharma iva kalAkalApena pratipaccandra iva, piturmanoratha iva pravardhamAnaH, sahasrakara 30 iva digvadhUtsaMgasaMgataH, sarvairapi karatalAtkaratalaM saMcAryamANo 'tiSitairivAzeSajanalocanaiH pIyamAnaH 30 sudhAmaya iva nirmitaH prajApatinASTavarSadezIyaH / samudrAdapa iva kumbhabhUH, dinakaranizAkarakaranikarAspRSTe parijanenApyadRzyamAne 'militagurujane vidyAgRhe yatiriva jitendriyaH, bhojanAsvAde'pyakRtAdaraH, 33 anukUladukUlayugalaparidhAne 'pyadattAvadhAnaH, tiraskRtamurAsuragurudhiyA kuzAgrasabrahmacAriNyA medhayA 33 dvAdazavarSANi yAvat kalAcAryapAnyiAsIkRtA iva kalAzAlikalAvimalAH sakalA api kalA helayA kalayAmAsivAn / 36 615) anyadA ca sa kumAraH sphArAkAraH parilasadvikramAdhAraH kRtamajanabhojanopacArazcanda-36 nAnuliptaH prAvRtaikakSaumayugmaH kaNThanikSiptasumanaHsak svasadRzaprasAdhanaprasAdhitopAdhyAyapRSThalagnaH pituH padapadmayugmaM namaskartumupAgamat / rAjApi taM vilokya sakalalocanarocanAkAraM bhAsvantamiva kamala39 khaNDo rAkAzazAGkamiva ratnAkaraH smeramanAH samabhUt / kumAreNa savinayaM praNataH kSitipastamutsaMge 39 nivezya procivAn / 'upAdhyAya, kumAreNa tatrabhavato bhavataH sakalo 'pi kalAkalApaH svIcake / ' tataH kalAcAryeNoktam / 'deva, kumAreNa matsakAzAtkAzcidapi kalA na gRhiitaaH| kiMtu kumAro medhAnidhiH 3) o trans. samAkArya after mauhUrtikaM, P spells sanmAnya. 13) " mahelAyA, B guNagaNamAkaNyatAm. 14) dIrghAyuzca'. 15) P vRSajAto. 17) C bhvetpumaan| 18) og bhvetpumaan| 25) 0 mInajAto. 28) 0 evaM paJcabhirdhAtrImiH. 31) P samudrAdApa. 36) Pca sukumAraH. 37) PdegnAnuliptaprAvRte. 40) P B add sa after nivezya, P kalAlApaH.

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* 9 -I. $ 18 : Verse 60] kuvalayamAlAkathA 1 1 sakalAbhiH kalAbhizvirAdutkaNThitacetobhirvadhUbhiriva vallabhaH prAvRSi nadIbhirivAdInAbhinaMdInaH svayaM 1 sviikRtH| atha nRpegopAdhyAyaM vidhinA saMbhUSya proktam / 'vatsa, tavAtucchaduHsahavirahadahanasamuttha3cintAdhUmadhyAmA yathArthAbhidhAnA priyaGguzyAmA samajani jananI te, tattAM praNama / ' evaM samAdiSTaH 3 putraH 'devo yathA samAdizati' iti vadana bhUpaterutsaMgAtsamutthAya jananIM tadAtvavilokanAmandAnandabASpabharaplutalocanAM samIpIbhUya savinayamAnanAma / niHzeSamaGgalopacAraM kRtvA sutaM zirasi cumbitvA 6 snehena devagurUNAM satInAM mAtRRNAM prabhAvena pitaramanuharasva' iti jalpitavatI yAvadevI tAvatvarita- 6 mAgatya praNipatya ca janayitrIM pratIhArI provAca / 'devi, svAmI svayamadya vAhakeliM kartetyataHpreSyatAM kumaarH|' tato mAtrA sa visarjitaH kSitipasamIpamupAjagAma / vasudhAdhavenoktam / 'bho mahAsAdhanika, 9 garuDavAhanaM turaGgamamupanaya mahendrakumArasya / tathA yathArhamuttamA~sturagAnapareSAM rAjaputrANAM niyojaya / 9 mamApi pavanAvarta turaGgamamarpayeti / api ca / ratnanirmitaparyANaM sauvarNamukhayantraNam / arpayodadhikallolaM hayaM kuvalayendave // ' 53 12816) tAvadAdezAnantaraM tena kuvalayacandrasya puratasturaGgamaH samupasthApitaH / yazca kiidRshH| 12 vAyuriva gamanakadattacittaH, manobhAva iva kSaNaprAptadUradezAntaraH, yuvatikhabhAva iva capalA, vipaNizreNiriva mAnayutaH, paNyAGganApremaprakarSa ivAnavasthitacaraNacatuSkaH / taM vilokya nRpeNoktam / 'kumAra, 15 kiMcitturaGgalakSaNa vickssnno'pysi|' kumAreNa vijJaptam / 'gurucaraNakamalArAdhanena kiNcitprijnyaatmsti|' 15 bhaNitaM bhUpena / 'vAjinAM kati jAtayaH, kiM pramANam, kiM lakSaNamapalakSaNaM ca' iti / kumAreNAbhyadhAyi / 'nAtha, avadhAryatAm / yadazvAnAmaSTAdaza jAtayaH, bollAha-serAha-kiyAhAdayaH / te varNalAJchanavizeSeNa 18 bhaNyante / azvasyotkRSTavayasaH pramANam / 18 narAmulAni dvAtriMzanmukhaM bhAlaM trayodaza / aSTAGgulaM ziraH karNo SaDaGgulamitau matau // 54 caturviMzatyaGgulAni hayasya hRdayaM tathA / azItizca samucchrAye paridhistriguNo bhavet // 55 21 etatpramANasaMyuktA ye bhavanti turaGgamAH / rAjyavRddhiM mahIpasya kurvantyanyasya vAJchitam // 56 21 ekaH prapANe bhAle ca dvau dvau randhrAparandhrayoH / dvau dvau vakSasi zIrSe ca dhruvAvartA haye daza // 57 ata Urca guNainyUnAnanyUnAn vA hayAniha / duHkhAtiduHkhadAn procurazvalakSaNadakSiNAH // ' 58 24 yAvadetat kumAro nivedayati tAvadbhUpena nigaditam / 'vatsa, punaH prastAvAntare zroSyAmaH' iti vadannA- 24 rUDhaH kSamAparivRDhaH pavanAvate turaGge, kumAro 'pyudadhikallole, mahendro 'pi garuDavAhane, aparA a rAjaputrA apareSu turaGgeSu / api ca / / 27 gajaisturaGgairuttuGgairanekaiH padikaistathA / vistIrNamapi saMkIrNa rAjadvAraM tadAbhavat // 59 27 17) tato dhRtasitAtapatrazcalaJcArucAmarayugalopavIjyamAnazcaturaGacamUcakraparivRtaH jyamAnazcaturaGgacamUcakraparivRtaH kSitipatiH zrIpathamavatIrya ca varyadhairyaguNazAlI kautukAyAtalokalocanapramodamAdadhAnaH kSaNena purIparisaramavApya 30 sakalamapi balaM dUrato vidhAya vAhakeliM kartuM pravRttaH / kumAro'pi dhauritakAdipaJcagatikramanirIkSaNAya 30 svamazvaM vAhakelau mumoca / yAvajjayajayAravaM janaH karoti tAvatsarveSAM rAjaputrANAM pazyatAmeva tatkSaNaM bahalatamAladalazyAmalaM gaganatalamudadhikallolaH samutpapAta / tatastasya vAjino javena dakSiNAM dizaM 33 prati dhAvato 'nudhAvantIva zAkhinaH / yadane nikaTIbhUtAH padArthAste 'pynikttiibhuutaaH| tata evaM 33 hriyamANena kumAreNa cintitam / 'aho, yadi tAvatturagastataH kathaM nabhastalamutpatitaH / atha yadi devaH ko 'pi tataH kathaM turaGgatvaM na muJcati / evaM cintayatA kumAreNa parIkSAkRte yamajihvAkarAlayA kSurikayA 36 nirdayaM tArthyaH kukSipradeze htH| tataH patacchoNitanivaho vAhaH zithilasarvAGgasaMdhimUrchAnimIlitAkSaH 36 kSitau patitamAtraH 'kumArApahArAt pApI' iti bhaNitvA tatkAlameva jIvitavyena tatyaje / tatastaM gatAsuM nirIkSya kumAreNa cintitam / 'aho, vismApanIyametat / 39 yadyazvastatkathaM devamArgagAmI na caiSa cet / turagastayaM kiM vA prahAreNa hato mRtH||' 60. 39 patha tapAtyayasamayasajalajaladagarjigambhIradhIraH kasyApizabdaH samabhata / "bho nirmalazazivaMzavibhUSaNa kuvalayacandrakumAra, samAkarNaya mama vacanam / 'gantavyamasti tavAdyApi gavyatimAtra 42 dakSiNadigvibhAge, draSTavyaM cAdRSTapUrvamiva kimpi|" idaM ca zrutvA cintitaM kumAreNa / 'aho, kathaM 42 3) PR inter. jananI & samajani, Pom. te. 4) B tadAsyaviloka. 6) 0 iti yAvadAzIrvAdaM datte devI tAva. 7) c pratihArI. 13) Pmanobhava iva. 15) 0g guruprasAdena kiM. 19) P lAbha for bhAlaM. 23) P dakSaNaH, B dakSaNAH. 28) PdegpatrAvaraccAru, B om. camUcakra. 30) P dhauritAdi. 35) P inter. na & turaGgavaM. 36) ckh tAkSaH 'pApI' iti bhaNan kSitI patitamAtro mRtaH / tatastaM. 40) c gambhIraH kasyApi. 41) B vaMzabhUSaNa, 0 gavyUtamati'.

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* 10 ratnaprabhasUriviracitA [I. $ 18 : Verse 611 punaretat, ko'pi mama gotraM nAma ca jAnAti / athavA ko'pyeSa divyo mama zubhAyataye dakSiNAzAmi- 1 mukhaM mAM prerayati niSkAraNakaruNAparatvena / atIndriyajJAnagocaratayA cAlaGghanIyavacanAH kila devA 3 munayazca bhavanti / ' iti dhyAtvA dakSiNAbhimukhaM gacchan gavyUtimatikramya kumAro'zeSAn digvibhAgAna 3 yAvadvilokayati tAvadagrato 'nekaparvatapAdapazvApadalatAgulmagahanAM mahAvindhyATavIM ddrsh| yA ca pANDavasenevArjunAlaMkRtA, zrIriva mahAgajendrasanAthA, mahApurIva tuGgazAlakalitA / cintitaM kumAreNa / 6 'avazyaM vazIkRtendriyagrAmaH ko 'pyatra maharSirmahAtmA divyajJAnAvalokitAkhilapadArthasArthaH pariva. 6 sati / yattasya bhagavata upazamavataH prabhAvena viruddhAnAmapi jantUnAM parasparamakRtrimaM prema saMjAtam / ' etaccetasi cintayan kumAraH kuvalayacandro yAvatkiMcidbhUbhAgamupasarpati tAvadanatidUre 'tisnigdhabaha virAjamAna bahadvijakRtakolAhalamasaMkhyazAkhAsaMkulaM vaTapAdapamapazyat / taM vIkSya tAmeva 9 dizaM prati calito'calApatiputraH, krameNa ca sa vaTavRkSatalamalaMcakAra / tato yAvattatra kumAro'sti tAvattasya taponiyamazoSitAGgastejasA jvalanniva, mUrtimAniva dharmaH, upazamarasarAjadhAnIva, nivAsa 12 iva cAritralakSmyAH , kelivanamiva saumyatAyAH, muniH ko'pi mahAtmA divyapuruSamRgendrayormadhya-12 sthitshckssusspthmaayaatH| tatastena kumAreNa cintitam / 'yadimaM sAdhuM sakalatrailokyavandanIyacaraNAravindayugalaM praNipatya svasyAzvApahAraM pRcchaami| kena hetunAhamapahRtaH, ko vaiSa turnggH|' iti cintayan 15 saMprAptaH pRthulazilApaTTasthitasya maharSeH saMnikarSam / muninA proktam / 'bho zazivaMzavibhUSaNa kuvalaya-15 candrakumAra, svAgataM tava / vatsa, Agaccha' iti / atha tena svanAmagotrakIrtanavismitamAnasena mahatA vinayena praNataM munipateH kramakamalayugalam / bhagavatA sakalabhavabhayahAriNA siddhisukhakAriNA dharma18 lAbhAzIrvAda lambhitaH kumaarH| tato munisamIpasthadivyapuruSeNa prasAritaH sasaMbhramaM surapAdapaki. 18 salayakomalo mANikyakaTakAbharaNabhUSito vAmetaraH krH| tato nRpatanujena karadvayena tasya pANitalaM gRhItveSadvinatottamAGgena kRtA prnntiH| mRgendreNa ca bahalazithilakesaradhAriNA udvelladIrdhataralA. 21 lena prazAntazravaNadvayena stokamukulitAzeNAnumAnito rAjatanayaH / kumAreNa harSavazavikasanmuditAnta-21 __ rasnehayA snigdhadhavalayA dRzA haridadRze / upaviSTazca nAtidUre munipasya / bhagavatA nigaditam / __'kumAra, tvayeti cintitam / pRcchAmyahaM sAdhumamuM kRto me kenApahAraH ka ivAtra hetuH| 24 ko vAyamazvastadidaM nivedyamAna mayA vistarataH zRNu tvam // ' 61 iti zrIparamAnandasUriziSyazrIratnaprabhasUriviracite kuvalayamAlAkathAsaMkSepe zrIpradyumnasUrizodhite 27 kuvalayacandrotpattituragApahArasAdhudarzanakIrtano nAma prathamaH prastAvaH // 1 // [atha dvitIyaH prastAvaH] 61) tatazca dantadyutibhirmunIndrastamAsamUhaM vidadhaddaviSTham / 30 uvAca tatsaMzayabhedadambhAt tadbodhanArtha vacanaM sudhAbham // 1 30 jIvitaM yauvanaM lakSmIlAvaNyaM priyasaMgamaH / sarva calAcalaM loke kuzAgrajalabinduvat // 2 duhRdaH suhRdo 'pi syuH suhRdo 'pysuhRttmaaH| manISI teSu sarveSu mamatAM kaH karoti ta eka eva bhavejIvaH sukhI duHkhI ca jAyate / eka evAnute mRtyu zivaM yAtyeka eva hi // 4 33 aya'te karmaNA rAjyaM hAryate 'pi ca karmaNA / vidvAn vinA na ko 'pyasti karmaNo hanti marma yH||5 abhAgyAdarjitApi zrIH kSayaM yAti kSaNAdapi / ghanAghanA ghanAlIva durdAntamarutA htaa||6 aviSahyANi sahyante narake 'tra zarIribhiH / duHkhAnyuddhaSitaM dehaM yeSAM zravaNato bhavet // 7 kazApAzAGkuzAdInAmAbAdhAH svasvakarmaNA / sahante nityazo hanta tiryaktve 'pi hi dehinaH // 8 viyogarogasaMtApabhUpakopAdivedanAH / bhave bhavanti bhavinAM mAnave 'pi navA navAH // 9 1) 0 upazamaprabhAvena. 9) PB kizalaya. 10) P inter. sa & ca. ll) og cAritralakSmInivAsabhiva for nivAsa iva cAritralakSmyAH . 12) P kevalIvanamiva B kelIvana. 14) P svasyA'pahAraM, cg iti vicintya saMprAptaH pRthulazilAtalasthasya maharSeH samIpam / . 16) P atha tena nAmagotraH kI. 18) B kumAraH / tena divyapuruSeNa. 27) PB kIrtananAma. 29) PB add oM ahaM / / before tatazca etc., B 05 degrmunIndustamaH . 30) PB tacchaMzaya. 32) P suhRdo for duhRdaH. 33) cg. bhave jIvaH. 34) B cg siddhAn for vidvAn. 36

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-II. SS 4 : Verse 20] kuvalayamAlAkathA 2 1 mAyAsUyAbhayodvegaviSAdAkulacetasAm / tridazatve 'pi sattvAnAmabhimAnabhavaM sukham // 10 itthaM caturgatAvatrAsumatA bhramatA bhave / karmanirmathanopAyaH prApi dharmaH kadApi na // 11 3 kalpaduM durlabhaM prApya prArthayetsa varATikAm / svAyatte mokSasaukhye 'pi yo bhavedviSayI naraH // 12 saMsAramarukAntArasamuttAraM yadIhase / samyaktvaM salilaM cittadRtisthaM tatsadohyatAm // 13 tataH kumArakuvalayacandra etasminnIdRze 'sAre saMsAre krodhamAnamAyAlobhamohamUDhamAna sairAtmabhiryadanu6 bhUtaM tattvayA turagApaharaNaparyantamekamanasA kathyamAnaM nizamyatAmiti / tathA hi, 39 12) asti samastavizaGkaTayajJavATa hutAzasamutthabahaladhUmadhyAmalitAtulavipulanabhastalaH sarvadezlakSmIvakSaHsthalAlaMkAratArahAro nikhiladezAntarasamAgacchadanekavastusaGketabhUbhAga iva vatsAkhyo 9 viSayaH / yatra kampAGkakampita puNDrekSupatranicayazabda vitrastamiva pravizati kAnanabhuvaM kuraGgayUtham 1 9 tadIyapUrNa taralAkSinirIkSaNena svakIyakAntA karNAntavizrAntalocanasaMsmRtiparo lepyamaya iva dRSannirmitastambha iva nizcalaH pathi pathikajanazciraM tiSThati / tatra prottuGgazTaGgasaMgatasura mandiropazobhamAnA gambhIra12 nIraparikhAlaMkRtaprAkArA lavaNAmbudhivajravedikAkalitA jambUdvIpalakSmIvi, surapurIva sadvRSAzrayA, 12 alava puNyajanAnvitA, laGkeva kalyANamayI, kauzAmbI nAma nagarI samasti / tasyA ekatra vilasajagatrayaramAjuSaH / kiM brUmo varNane yasyA na gISpatirapi kSamaH // 14 15 tAM priyapraNayinImiva bhute purandaraparAkramaH purandaradattAbhidho vasudhAdhIzaH / yastu prAleyAcala iva 15 kIrtimandAkinyAH, vizrAma viTapIva guNazakunAnAm, kalpapAdapa iva yathA cintitadattavittaH / atyavadAtena jitA haMsAH kaMsArimecakA harayaH / savituH sitA babhUvuryadyazasA prasaratA gagane // 15 18 tatraika eva doSo 'sti samRddhe 'pi guNazriyA / yajjainavacane saukhyavRkSamUle na vAsanA // 16 18 13 ) tasya bhUvAsavasya vAsavasyeva suraguruzcaturvidhabuddhinidhAnaM vAsavAbhidhaH sacivezvaraH / sa nRpatiH sahodaramiva sahacaramiva pitaramiva devatAmiva taM mantriNaM manute / sa mantrI kaustubhamaNimiva 21 puruSottamo durvAravairivAraNa nivAraNavAraNAritulyaM zrIjinezvarapraNItaM samyaktvaM hRdi dhArayati / tasya 21 mantriNo vAsavasyAnyadA kRtaprAbhAtikAvazyakasya bhagavatAmarhatAM mahArhANAmarhaNAnimittaM jinAyatanaM pravizato dvAradeze 'nekavidhaprabhUtaparimalaparimilitamadhukara ninAdamanohareNa puSpakaraNDakena samaM bAhyodyAna24 pAlakaH sthAvarAkhyaH samAyayau / tena taccaraNayugaM praNamya 'deva, vardhyase / sakalakAmijanalocanapramodapradaH 24 prAptastAvadvasantAvatAraH' iti jalpatA puSpANyupadIkRtya mahAmantriNaH karatale sahakAramaJjarI tataH samarpitA / anyacca 'tatrodyAne candra iva tArakAnikareNa ziSyagaNena parivRtaH kSamArAmAlalAmazcAritraratnaratnAkaraH 27 sarvamuniziroratnaM nihatadurjeyakapAyasaMcayaH saddharmanandanaH zrIdharmanandano nAma yatIzvaraH samavAtarat' 127 14 ) tadAkarNya mantriNA bhrukuTIbhaGgabhImAnanena 'hA anArya' iti vadatA sahakAramaJjarIM nijasahacarahaste samaya sAkSepamiti jalpitam / 're re durAcAra vivekavikala sthAvaraka, prathamaM pradhAnaM sAdaraM 30 vasantaM kathayasi pazcAd dharmanandanAcAryam / 30 kva valmIkaH kva vA meruH kvAlasaH kva ca naagraatt| kva vasantaH kva bhagavAn sUriH zrIdharmanandanaH // 17 RturAT tanute cittaM kAmArtaM sa ca sAdhurAT / tadeva viparItaM tu vIkSyatAmantaraM dvayoH // 18 33 tadgacchatasyAtmano durbuddhivilasitasya phalaM bhuGkSva' iti / 're pratIhAra,' amuSya vanarakSakasya kedArANAM 33 lakSA svaritaM dApaya, yena tatkarSaNAyAsavivazaH punarapIdRzaM nirvivekaM na vadati' ityuktvA mantrI vihitadevatArcanaH prApya rAjasaudhaM tAmeva maJjarIM nRpatikaratalasaMginIM cakre / rAjJA bhaNitam / 'kiM 36 bahirudyAne puSpakAlo 'vatatAra / ' tato mantriNA jalpitam / 'vasantalakSmIvIkSAyai devapAdamavadhAra- 36 yasveti / ' iti zrutvA surezvara iva caturdantaM nRpatiruttuGgaM mataGgajamAruhya caturaGgabalena vanAvanImIyivAn / mantrI nRpaM provAca / 'deva, avadhAryatAm / 4 ) B samyaktvasalilaM. 7) B visaMkaTa parimilita 25 ) P adds hAra and B 33) B durbuddhe buddhivilasitasya. 35 ) P rAjJasaudhaM 17 ) P hArayaH for harayaH. 22 ) P mahArhANAnimittaM. adds hAri ( but later scored ) before majharI 37 ) P ruttaMgaM mataGga * 11 39 amandAnandasaMdohasphuranmadhukarasvaraiH / sthalAmbhojAni te sauvAgatikatvaM vadanti hi // 19 amI vRkSA nirIkSyante namrAH phalakadambakaiH / tvayyAgacchati bhUnAthe kaH kuryAna natiM kSitau // 20 1 39 ) P amaMda maMdasaMdoha B amaMdAmodasaMdoha 3 23 ) P parimalita B milita for 29 ) PB maJjarI for 'maarI. 6 .

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* 12 ratnaprabhasUriviracitA [II. $ 4 : Verse 211 bhramarairgItamekAntamadhuraistANDavaM dalaiH / tUryatrikaM vitanvanti drumA deva tavAgrataH // 21 kurvantIva drumA deva bhavatazcaraNArcanam / kusumairasamai garaNitaizca guNastutim // ' 22 5) evaM nivedayan mahAmantrI parito bane dRSTiM vyApArayan dhyAyati sma / 'tAvadatrodyAne dharma- 3 nandano vibhurna vIkSyate, tameva hRdi dhRtvA mayAtra vibhurAnIto vinApyarthameva, tanmanye 'nyatra kutra vA vanaspatikunthupipIlikAprabhRtibAhulyAtprAsukatvaM vibhAvya sindUrakuTTimatale saziSyaH sthito bhagavAn 6 bhaviSyati' iti cintayitvA rAjAnamavAdIt / 'deva, yattvayA kumAratve sindUrakuTTimAsanne 'zokatarurA-6 ropitaH sa kusumito na vA, iti na jJAyate / ' rAjJoktam / 'cArUditaM bhavatA' iti vadan mantriNaH karaM kareNa gRhItvA gatena tena tatra munayo dRSTAH / keciddharmadhyAnadattAvadhAnAH, kecitpratimApAlana9 lAlasamAnasAH, kecicchuddhasiddhAntapaThanapravINAntaHkaraNAH, kecidvividhAsanAdhyAsInAzca / teSAM ca 9 madhyagataM tArANAmiva tArAdhipam, sAgarANAmiva kSIrasAgarama, surANAmiva surezvarama, catarjAninaM taM mahAmuniM vIkSya manAk pramuditaH kSitIzaH sacivamuvAca / 'ka ete puruSAH, kazcaiSa nRpa ivaiSAM 12 madhyagataH' ityukte vAsavasacivaH provAca / 'deva, tAvadayaM munipatirbhavATavyAM kutIrthikakathitakApatha-12 patitAnAM jantUnAM muktipurImArgopadezako bhagavAn zrIdharmanandanAcAryoM devAnAmapi vandyapAdAravindaH, tathAsyaiva ziSyA mahAtmAno 'mI munayaH, tadupasRtyAcAryasya samIpe dharmAdharma praSTumucitam / ' 'atha 15 bhavatvevam' iti vadan mantrikaratale lagna eva bhUpatirgurusamIpamupeyivAn / atha mantrI stutipUrva pradatta-15 pradakSiNAtrayaH sugurucaraNAmbhojaM nanAma tathA vasudhAdhipo 'pi| bhagavA~zca dharmalAmaM dattvA 'svAgataM bhavatAm , upAvizata' ityuvAca / tato 'yadAdizati bhagavAn' iti vadanRpastatraiva kuTTimatale nyavikSata, 18 mantrI ca gurujanamanujJApya, tadA cAnye 'pi nRpamArgamanuvartamAnAH pAnthakArpaTikAdayo natvA bhagavanta-18 mupvissttaaH| bhagavatA sukhaduHkhe jAnatApi lokAcAra iti zarIrakuzalatAvRttAntaM te pRSTAH / tairuktam / 'samamadya tatrabhavadbhavadarzanena' iti / tatazca cintitamavanIpena / 'bhagavato'muSyAsAmAnya rUpam , agaNyaM 21 lAvaNyam, ameyA kAntiH, apUrvakaruNArasA prazastaH, tathA cAyaM setubandhaH saMsArasindhoH,21 parazustRSNAlatAvanasya, azanirmAnaziloccayasya, mUlaM kSamApAdapasya, AkaraH sarvavidyAnAm , kulamandiramAcArANAm , mahAmantraH krodhAdikaSAyacatuSTayabhujaGgamasya, divasakaro mohAndhakArasya, dAvAnalaH 24 sphUrjadAgazAkhinaH, argalAbandho narakadvArANAm, kathakaH satpathAnAm, nidhiH sAtizayajJA- 24 namaNInAm / sarvathA sarvaguNAliGgitasaphalasaMprAptamanuSyajanmano 'sya kiM cairAgyakAraNaM babhUva, yena bhagavatA yauvanalakSmIbhAjApi sarvadA sarvaduHkhasamuccayazayyA pravrajyAGgIcakre ttpRcchaami|' iti 27 cintayan mahIpatirmuninA jJAninA svayameva proktH| 'caturgatike 'pi bhave sulabhaM vairAgyakAraNam / 27 yadanye 'pi viSayasukhAsvAdamohitA jIvAH pApaM kurvate tadeva jJAninAM vairaagyhetuH| tatra narakagato tAvatrividhA vibAdhA, kSetrajA 'nyonyamudIritA paramAdhArmikasurakRtA ca / tatastaduHkhAni varSakoTyA30 pyAkhyAtuM na zakyante, evaM tiryamanuSyadevagatiSvapi / iha loka etadeva jinanAthavacanaM kriyamANaM 30 dhrmaarthkaamdm| paratra ca mokSapuruSArthasAdhakam / tataHprathamaM zrAvakadharma samAzritya pazcAcchramaNadharmapAlane mano niyojaya' iti / 3366) atrAntare prastAvaM parijJAya kRtAJjalinA vAsavamahAmantriNA bhagavantaM dharmanandanaM munipaM 33 natvA savinayamUce / 'nAtha, ya eSa tvayAzeSaduHkhanilayazcaturgatilakSaNaH saMsAraH praNItaH, etasya pUrva kiM nimittam , yena jIvA bhave paribhramanti / ' zrIdharmanandanaguruNA bhaNitam / 'bho mantrIza, narendra 36 purandaradatta' tacchRNu saMsAraparibhramaNe jIvasya yatkAraNaM jinezvarairuktam / tathA ca / krodho mAnazca mAyA ca lobhazcApyaniyantritAH / amI kaSAyAH saMsAraduHkhasAgarahetavaH // 23 antardahan guNagrAmamiddhaH krodhadhanaJjayaH / bahirvastupariploSakRtaH pAvakato 'dhikaH // 24 39 kadAcana sudhIrdatte sthAnaM na svAntavezmani / krodhasya dandazUkasya niHzUkasya janakSaye // 25 39 __ kevalaM sarpadaSTasya pratIkAro'tra vidyate / durdAntakrodhasarpaNa daSTasya tu na sarvathA // 26 36 1) bhramaraigItakaMThAdya zAkhAmistAMDavaM dalaiH. 3) B paritastatra dRSTiM. 4) AdhyAtvA for dhRtvA, B mayA'tra viharaNIyaM vinApyarthameva. 5) B kuMthupapIlikA. 6) suggests yastvayA for yattvayA. 10) P tArAgaNamiva, P sAgarANAmiva surezvaram. 12) P kutIrthikakathitamuvAca / ka ete puruSAH etc. repeated (as above) ending with kutIrthikakathita. 18) mantrIzvaro'pi guru. 20) PM tatazcitita. 29) P varSakoTyo'pyAtuM. 33) P bhagavaM dharma. 37) cg kaSAyAH saMsAre catvAro duHkhahetavaH / . 39) P daMzazUkasya.

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-II. $ 8 : Verse 37] kuvalayamAlAkathA 2 * 13 1 mAtaGgasparzane zuddhiH suvarNapayasA nRNAm / na punaH kopacANDAlasAMgatye syAtkathaMcana // 27 1 nitAntaM stimitaM yasya svAntaM zAntarasANasA / na kadApi sphurettasya kopATopahutAzanaH // 28 3 jinAmbudasamudbhUtaprazamAmRtayogataH / yaH krodhAgniM zamayati tasya dharmavanaM sthiram // 29 3 yadi krodho bhavennaiSa kadAcana zarIriNAm / tadavazyaM karAmbhojavAsinyaH syuH zivazriyaH // 30 atyantakopamahAtamaHprasarAndhIkRtasvAnto bhrAtaraM bhaginImapi hanti, yathAyaM puro niviSTaH purussH|' 6 nRpeNoktam / 'prabho, vayaM na jAnImaH ko 'pyeSa puruSaH, kIdRkSaH, kiM caitena kRtam' iti / tato guruNA- 6 bhANi / 'ya eSa tava vAmo mama dakSiNapArzve sthitastrinayanagalagavalakajalAbho gulAphalaraktanayano bhrakuTImaGgabhISaNAsyo roSasphuradadharoSTapuTo dRDhakaThinaniSThurAGgo mUrtimAn kopa iva saMprAptaH / etena 9 kopavazavacasA yannirmitaM tadAkarNyatAmiti / 67) asti vasudhAvAmAkSyA eka kaNDalamivottaptakanakamayaprAkAragambhIraparikhAparikhatA kAzrI nagarI / tasyAH pUrvadakSiNadigvibhAge trigavyUtimAtre ragaDAnAma saMnivezo 'sti / tatra suzarmadevo 12 dvijaH parivasati / patnI suzarmA / tasya ca rudrasomAbhidho jyeSThaputraH / tasya laghubhrAtA somdevH| 12 tayoH svasA zrIsomA ca / sa tu rudrasomo bAlyAdeva caNDazcapalo 'sahano garvodbhurakandharaH stabdho'tikarkazavacAH sarvadA sarvaDimbhAnnirAgaso 'pi rathyAsu paritADayati / tasya tAdRzasya svabhAvaM bhaireva caNDasoma iti nAma guNyaM kRtam, tAvannareza, sa eSaH / sa kiyadbhivAsare-15 ratikrAntaiH pitrA brAhmaNakulabAlikayA nandinyA saha pANaM graahitH| tatra pitarau kuTumbabhAramAropya mandAkinItIrthayAtrAkRte nirgtau| caNDasomaH krameNa yauvanazriyamalaMcakre / tataH sA nandinI ca 18 yadyapyakhaNDitazIlavatA tathApi tAM tAruNyapuNyAvayavaramaNIyAM vIkSamANazcaNDasomaH svamanasi na 18 vizvasiti / tato naranAtha, tasyA upari kiMcidrAgamudvahatastasya ko'pi kAlo vyaticakrAma / athAnyadA tatra zarallakSmIravatatAra / abhavan sarvato yasyAM dizaH sarvA viksvraaH| kumudinyaH pramodinyaH sadAkAzA vikAsinaH // 3121 atucchasvacchatApAtramAdriyeta janairjanaH / yasyAmitIva jAtAni nirmalAni jalAnyapi // 32 yatra svAgatamapracchi marAlAnAmupeyuSAm / sarobhinalinIgandhalubdhAlikulaniHsvanaiH // 33 24 __ saptacchadeSu cikrIDurvimucya kariNAM kaTAn / madhupA yatra naikatra sthAyino malinA ytH|| 34 yatra caJcalakallolabhujAbhirabhivAdanam / ghanAtyayazriyaH prItyA tanvantIva jlaashyaaH|| 35 / / niSpuNyAnAmiva dhanaM saritAM nIramatruTat / yatra dhAnyAnyavardhanta kAryANIvAryacetasAm // 36 2768) anyadA tatra grAme naTapeTakamekaM grAmAnugrAmaM paribhramat samAjagAma / tena sarvo'pi grAmaH 27 prekssaaviikssaarthmbhyrthitH| tataste ca grAmyA rajanyAH prathame yAme vyatIte prazAnte kalakale mRdaGgadhvanimAkarNya gantuM prvRttaaH| eSa caNDasomaH 'svakalatraparitrANaM kathaM karomi' iti vyacintayat / 'yadi 30 tAvannaTaM draSTuM gacchAmi tataH kathaM jAyAyAH paritrANam , yadi vallabhAyA rakSaNaM tadA mama na prekSaNa- 30 kSaNanirIkSaNam, 'itastaTI ito vyAghraH' iti nyAyAdanalpavikalpamAlAkulitamanAH kiM racayAmi, bhAryAtmanA saha netuM na yujyate, tasmin raGge yuvazatasaMkulo grAmaH / so 'pi mama bhrAtA tatra gato 33 bhaviSyati / tAvad yadbhavati tadbhavatu / etasyAH zrIsomAyA bhaginyA etAM samarpya vrajAmi / ' iti 33 vicArya samaya' ca koTipraharaNadharazcaNDasomaH pryyau| ciraM tasminnirgate bhaginyA bhaNitam / 'hale nandini, tAvannaTanATyavIkSAyai gcchaavH|' nAndinyA bhaNitam / 'hale zrIsome, kiM na jAnAsi 36 nijasodaraceSTitaM yenaivaM bhaNasi, na svajIvitasya nirviNNAsmi, tvaM punaryayuktaM tatkuru' iti jalpantI 36 sthitA / zrIsomA punastatra nATyaM draSTuM gtaa| tasya caNDasomasya tatra raGge prekSamANasya pRSThataH kiMcinmithunaM mantrayituM pravRttam / iti jalpitaM taruNena / 'bhadre, hRdaye svapne 'pi ca tvaM dRzyase / adya manorathazatena 39 pratyakSaM dRssttaasi| 39 tvadviyogAnalajvAlAmAlAjvalitavigraham / sAMprataM sauvasaMyogasudhAsAreNa sizca mAm // 37 21 2) PB stImitaM. 6)0ka eSa for ko'pyeSa. ll) gavyUta. 12) Pom. patnI suzarmA, P B om. ca after tasya, BP lavudghatA. 15) PB saiSaH, Bom. sa before kiyadbhi. 19) 0 kiyAnapi for ko'pi. 21) PF vikAzinaH. 24) P saptacchedeSu. 29) B eSa somacaMDaH svakalatra. 30) PB inter na & mama. 36) B nijasahodara. 40) P mAlya for mAlA.

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* 14 ratnaprabhasUriviracitA [II.89 : Verse 381 69) etatsaMlapattadAkarNitaM caNDasomena / atrAntare sa pratibhaNitastayA taruNyA / 'parijJAtaM mayA 1 yattvaM dakSo dAkSiNyaziromaNistyAgI bhogI priyaMvadaH kRtajJaH, paraM prakRtyaiva mama ptishcnnddH| etacca 3 zrutvA caNDazabdAkarNanajAtAzaGkena cintitaM caNDasomena / 'nUnaM saiSA durAcArA mama bhAryA mAmihAgataM parizAyaitena saMketitaviTena samaM mantrayantI mAM na pazyati / / yuvA prAha patiste 'stu caNDaH somo 'thavA yamaH / indro vAdya mayA sArdha tvayA saMgamyameva ca // 38 6bhaNitaM trunnyaa| 'yadyevaM tava nizcayastadyAvanmama patiriha sthitaH kasminnapi pradeze prekSAM vIkSate tAvadahaM 6 nijagRhaM brajAmi / punastvayA mama mArgalagnena samAgantavyam' iti bhaNitvA sA taruNI raGgato nirgtaa| cintitaM caNDasomena / 'aye, saivaiSA duSTaprakRtiryena bhaNitametayA mama ptishcnnddH|' yAvadetacaNDa9 somazcintayati tAvadidaM naTyA gItam / iSTaM yanmAnuSaM yasya tadanyena rameta cet / sa jAnanevamIAlurAdatte tasya jIvitam // 39 evaM ca nizamyeAlunA caNDasomena parisphuradadhareNa cintitam / 'kasmin sa durAcAraH sA ca 12 duHzIlA vrajati / avazyaM tacchiro lunAmi / ' iti cintayan sa samutthAya krodhAmAtahRdayaH svavezma 12 pravizya bahalatamasAcchAdita bhUbhAge gRhaphalahakasya pAzcAtyapakSe koTipraharaNasajA sthitH|| 610) itazca prekSaNe nivRtte gRhaphalahakadvAre laghubhrAtA svasA ca pravizantau caNDasomo vIkSAMcake / 15 tena ca kopAndhatamasAcchAditavivekacakSuSAvicArya paralokamavagaNayya lokApavAdaM parityajya nIti 15 koTizastreNa laghusodaraH svasA ca nihtau| dvAvapi dharAtale patitau / saiSA mama priyApriyakAriNI saiSa puruSo duHzIla iti yAvattasya ziracchinIti cintayan koTipraharaNamudgIrya caNDasomaH pradhAvitastA18 vatkoTiphalahake raNantI lagnA, tacchabdAkarNanamAtreNAsya pratibuddhA bhAryA nndinii| bhaNitaM sasaMbhramayA 18 tyaa| 'hA nirdharma, kimetatvayAdhyavasitamiti / hataH kanIyAn bhrAtA bhaginI c|' etannizamya sasaMbhrama yAvadvilokayati tAvadvandhubhaginI ca mRti praaptuH| tataH saMjAtagurupazcAttApena tena cintitam / 'hA hA, 21 mayA akAryaM kRtaM kopvshtH|' iti ciraM vilapya mUrchAnimIlitAkSaH pRthvIpIThe luloTha / nandinyapi 21 'devaraM nanAndaraM ca' iti bhaNitvAstokazokazaGkhavyathitahRdayA bahudhA ruroda / tataH kSaNamAtralabdha caitanyazcaNDasomaH 'hA bandhuraguNagrAmAbhirAma sadAcAra, hA zrIsome bhagini, yuvAM vinA sadAdhAramapi 24 nirAdhAraM jagatsamabhUt' iti ciraM villaap| 24 asAvakRtyakArItyadraSTavyavadano dvijH| hiyeva dvijarAjo 'staaclaatptitumudytH||40 tattadAkandamAkarNya striitvaanmRdulmaansaa| rajanI tArakavyAjAdivAzrUNi vimuJcati // 41 7 tataH krodhAdivAtAmrastamaHzatru kSayaM nayan / prapAtayan karA~zcaNDAna sUryo nRpa ivoditaH // 42 611) atha sa jalpito janena bhocaNDasoma, evaM vilApaM mA kaarssiiH'| tataH sa vilapanneva hA bAndhava, hA bhagini', iti niHsRtya zmazAnabhUmau citAjvalanajvAlAvalIM kRtvA praveSTuM yAvaccaNDasomaH prAreme 30 tAvadrAmajane 'gRhIta gRhNIta dvijaM patantam' iti vadati caNDasomo blibhirnraikRtH| atha dvijairuktaH kiM 30 prANAn vRthA tyajasi, prAyazcittaM viracaya' / caNDasoma uvAca / viprAH, taddIyatAM me|' prAhaiko 'ghamakAmena kRtaM tenaiva zuddhyati / paraH prAha jighAMsantaM nighnanna brahmahA bhavet // 43 33 Uce 'nyaH kutkRte pApe krodha evAparAdhyati / paro 'vadadbhavecchuddho brAhmaNAnAM nivedite // 44 33 kazcidUce kRtaM pApamajJAnAnna hi doSakRt / prAhAnyo dehi sarvasvaM dvijAnAM svasya zuddhaye // 45 muNDayitvA tato muNDatuNDe bhikSAM bhraman sadA / karapAtrI kare bibhrad gaccha tridazadIrghikAm // 46 itthaM mitho viruddhAni zrutvA teSAM vacAMsyayam / mAM caturjAninaM matvA tAn vihAya samAgamat // 47 36 tato'tra cintyatAM tIrthasnAnaH zuddhiH kathaM bhavet / jalenAGgamalo yAti na lagnaM pApamAtmani / / 48 yadi snAnAtsmRtervApi gaGgA harati kalmaSam / jAyate jalajantUnAM tatkadApi na kalmaSam // 49 yadi smaraNamAtreNa jagatpUtaM bhavedidam / aho tanmoha evAyaM yajalenAtmazodhanam // 50 39 idaM vAkyaM vicAraM na sahate hi mahAtmanAm / paraM janena mUDhena prasiddhiM gamitaM param // 51 rAgadveSavihInena yaduktaM sarvavedinA / manaHzuddhyA kRtaM taddhi pApaprakSAlanakSamam // 52 42 zrutveti caNDasomaH svaM vRttAntaM prAJjaliH prabhum / praNamya prAha satyaM tad yadAkhyAtaM vibho tvayA // 53 42 2) 0 paraM mama patiH prakRtyaiva caNDaH. 17) PB praharaNamudrya. 28) PC bhozcaNDasoma, B tataH sa vilApAvalipta cetAgRhamatha sanniHsRtya. 29) P smazAna. 30) B balibhinI. 40) P om. 2nd param,

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1 3 6 9 -II. SS 13 : Verse 66] 18 kuvalayamAlAkathA 2 sarvajJavAkyasya vizuddhidasya yogyo 'smyahaM yadyadhabhAjano 'pi / dIkSAM tato dehi mameti tena prokte vrataM tasya dadau munInduH // 54 / iti kope caNDasomakathA / 12) guruNA zrI dharmanandanena punarapyuktam / 'durdamo mAnamAtaGgo dharmArAmaM bhanakti yaH / svazaktivyaktito yatnaH kriyatAM tasya rakSaNe // 55 parityajannapi krodhaM mAnavo mAnavarjitaH / bhavedbhave yadi zreyaH zriyA saMzriyate tataH // 56 hitAbhilASI yaH svasya tena mAnamahIdharaH / bhedanIyaH sadApyudyanmRdutAbhidhadhArayA // 57 ahaMkAro nadIpUra iva puMsaH kuladvayam / bhinatti kUladvayavat padmocchedanalAlasaH // 58 daSTo darpabhujaGgena narazcaitanyazUnyadhIH / namasyati gurUn kApi purato na sthitAnapi // 59 mAnAndhalocano dehI cArumArga na pazyati / ataH saMsArakUpAntarnipatatyucitaM hi tat // 60 mAtaraM pitaraM bhAryAmapi mriyamANAmupekSate mAnamahAgajendraparavazaH, yathaiSa puruSaH / ' rAjJA 12 parijalpitam / 'bhagavan, asyAM sabhAyAmanekalokAkulAyAM saiSa puruSa iti kathaM jJAyate / ' bhaNitaM 12 zrIbhagavatA / ' ya eSa mama vAmastavadakSiNapArzve sthitaH pronnAmitabhrUyugaH pRthulavakSaHsthalo garvabharamukulitadRSTiruttaptakanakavarNatanurAtAmralocana etena rUpeNa mUrtI mAna iva samAgataH / yadetenAmAnamAnamUDhacetasA 15 kRtaM tadAkarNyatAm / tathA hi, astyavantIjanapade nagarI zrIgarIyasI / vizAlA sumanaHzAlA vizAlA zAlazAlitA // 61 suprApaM yatra siprAyAH payaH pIyUSasodaram / nipIya loko na sudhApAyino 'pi prazaMsati // 62 yatrAbhraMlihaharmyAgracandrazAlAsu yoSitaH / rAjante vIkSituM lakSmIM svargavadhva ivAgatAH // 63 dhaninAM yatra harmyeSu sadaneSu manISiNAm / vardhate zrI sarasvatyormithaH prItirgatAgataiH // 64 nagaryAH pUrvottaradigvibhAge yojanamAtrapradeze kUpapadrAbhidhAno grAmaH / tatraikaH pUrvaM tasyA 21 rAjavaMzaprasUto bhAgadheyaparihInaH kSatrabhaTo nAma jIrNaThakkuraH parivasati / tasya caika eva vIrabhaTAkhyaH 21 putro nijajIvitAdavyadhikavallabho 'sti / anyadA sa taM tanujaM parigRhyojayinyAM pradyotananRpasya sevAvAkaparo babhUva / dattaH kSitipatinA tasya sa eva kUpapadro grAmaH / kAlena ca sa kSatrabhaTo 'nekasamIpa24 saMparkavairivIravAra vidAritAvayavo jarAjIrNatayA caraNacaGkramaNAkSamastameva putraM vIrabhUTaM bhUpasyApayitvA 24 gRha eva sthitaH / tasyApi zAntibhaTAbhidhaH sUnurasti / sa ca kramataH kSitipasya sevAM kartuM pravRttaH / tasya svabhAvataH stabdhasyAtyantamAnino yauvana garvitasya pradyotanarAzA rAjaputravargeNa ca zAntibhaTa iti 27 nAmadheyasya mAnabhaTa iti nAma vidadhe / narezvara, sa eSa mAnabhaTaH / ' 27 * 15 1 3 2 ) P munIMdra : 7 ) PB mRdutAbhidudhArayA - 16 ) P sumanasaH zAlA. 21 ) P ekavIra bhaTAkhyaH. 27 )P nAbhAvatasya B nAmAnamya for nAmadheyasya, P B saiSa mAna 31 ) Padd : & te before tataH 23 ) P ujjhate. 35 ) B adds pUrvaM dravyaM paraM mAnaM before krodhAdhmAta. 37 ) 0 mAgatya 40 ) B adds on the margin the following (to come after vAhanam / ) yena tadAzritya revAtIre gamyate / tena ca mAnabhaTena mAnAdhmAta manasApi kimapi dAkSiNyaM dadhatA vAhanaM sajjIkRtam / 6 9 15 (13) anyadA sadasi sarveSu svasvasthAnaniviSTeSu mAnabhaTaH samAgamat / tataH svasvAminaH sacivapuGgavavargasya kRtanamaskAro nijasthAne rAjaputraM pulindAkhyamupaviSTaM dRSTvA procivAn / 'bhoH pulinda, 30 madIyamidamAsanasthAnaM samuttiSTha tvam' iti / pulindena bhaNitam / 'ahamajAnannevehopaviSTastAvat 30 kSamasva mamAgaH, na punarupavikSye / tataH 'tava mAnabhaTasya sthAne pulindo niviSTaH' iti vadadbhiraparaiH sa uttejitaH / tadyathA / 33 18 'tyajanti mAninaH sarve tRNavajjIvitaM dhanam / ujjhanti mAnaM na kvApi mAna eva mahaddhanam // 65 33 ladhvarkamUlavaddravyaM mAnaM mandaravaharu / tyajanti mAninaH pUrva paraM ca na kathaMcana // 66 etajjanavacanamAkarNya krodhAdhmAtahRdayo mAnabhaTo nirdayaH kAryAkAryamavicAryAnArya iva svamRti36 mavagaNayya kRpANyA vakSaHsthale pulindaM jaghAna / taM nipAtya sa ca sadaso niHsRtya pulindapAkSikarAjaputreSu 36 pRSThilagneSvapi vegavattarayA gatyA svagrAmamAgamya kRtAparAdho bhujaGgama iva svavezma pravizya pituH purato purato yathAvRttaM kathayAmAsa / tannizamya pitRpitrA jalpitam / 'putra, yatkRtaM tatkRtameva / atra punaH 39 sAMprataM sAMprataM videzagamanam, tadanupravezo vA / tatra tadanupravezo na ghaTate, tAvadvideza eva gamyam | 39 anyathA jIvitavyaM na / tatastvaritameva vatsa, sajjIkuru vAhanam / tatrAropya sakalamapi gRhasAraM

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* 16 ratnaprabhasUriviracitA [ II. SS 13 : Verse 67 - 1 revAtIraM prati preSitau kSatrabhaTavIrabhaTau / paraM svayaM vyAghuTya mAnabhaTaH katibhirapi svapuruSaiH parivRtaH 1 pitrA vAryamANo 'pi pauruSAbhimAnitayA sthitaH / 3 'dvidhApi lAbhaH saMgrAme zUro mRtimavaiti cet / svargazarmAthavA jIvettataH zreyaH zriyaH padam // 67 3 iti yAvaccintayannasti tAvattatra pulindasya balaM prAptameva / tatastatra tayoryuddhaM pravRttaM, mAnabhaTena mAnavAhArUDhena karSitakhaGgaratnena tadvalaM sakalamapyabhaJji / tataH sa guruprahArArto nirvyUDhaparAkramaH svapuruSaiH 6 saha pituH pathi gacchato militaH / atha tau krameNa yAntau narmadopakaNThe paryantagrAmamekamAzritya durgamaM 6 tasthatuH / so 'pi mAnabhaTaH kiyadbhirdinai rUDhavraNaH saMjajJe / $ 14 ) tatra tayostasthuSoH kiyAnapi kAlo vyaticakrAma / 9 12 15 15) atha sa mAnabhaTo grAmataruNanaraiH saha dolAyAmadhirUDhavAn / grAmajanenoditaM 'yo yasya 15 hRdayaMgamastasya tena nAma geyameva / ' pratipannaM grAmyapuruSaiH / evaM bhaNite nijanijapriyANAM purastaruNa puruSavargoM gItaM gAtuM prArebhe / tataH ko 'pi gaurAGgIM ko'pi zyAmalAGga ko 'pi tanvaGgIM ko 'pi nIlotpalAkSIM 18 gAyati / tato dolAdhirUDhena mAnabhaTena nijA jAyA gaurAjyapi zyAmAGgInAmoccAreNa gItA / evaM ca zyAmAyA 18 nAma gIyamAnaM zrutvA tasya priyA gaurAGgI samadhikaM cukopa / tato 'parAbhiryuvatibhiH sA hasiteti / 'sakhi, tava rUpamapramANaM saubhAgyabhaGgI ca yattava patiranyAyAH zyAmAjhyA manovallabhAyA nAmotkIrtanamAtanoti / ' 21 tataH sA saubhAgyavatI gaurAGgI nikSiptahRdayazalyeva kSaNaM cintayAmAsa / 'aho, mama priyeNa sakhIjana-21 syApi purato mAno 'pi na rakSitaH / aho, asya nirdAkSiNyam / aho, nirlajjatA / aho, niHsnehatA | yena pratipakSagotragrahaNaM kurvatA mahadduHkhaM prApitAsmi tato mamApamAnitasaubhAgyalakSmyA na samIcInaM 24 prANitam' iti vicintya sA gaurAGgI mahilAvRndasya madhyAnnirgamanopAyamicchati, paraM na taddRSTivaJca - 24 nAvasaraM prApnoti / itazca, 27 tatrAnyadA vasantIrvanAvanyAmavAtarat / sapallavazriyo 'bhUvan yasyAH saMgAnmahIruhaH // 68 azokA api kurvanti sazokA virahistriyaH / smaranta iva cittAntastattatpAdatalAhatIH // 69 aGga .su hi yatsaMgAddhanta hanti viyoginaH / puSpazriyaiva sarvatra tatra mitrabalaM mahat // 70 kila mAdhvIkagaNDUSokSitena bhRzaroSitaH / straiNaM virahitaM hanti kezaraH kezarazriyA // 71 palAzAstu palAzADhyAH palAzA iva rejire / viyogAkrAntanArINAmarINAH prANitacchide // 72 kaGkellizAkhinAM zAkhA navapallavavellanaiH / aJcalottAraNAnIva puSpakAlasya tanvate // 73 30 svapriyAdgotraskhalanazrutisaMtaptacetasaH / tasyA duHkhamiva prekSya dvIpamanyaM raviryayau // 74 kamalAni parityajya madhupAH kumudAvalim / bhejuH prAyeNa naikatra madhupAnAM ratirbhavet // 75 astaM gate dinasyAntAt khage vizvaprakAzake / krozanti sma khagAnAmasauhRdAdiva duHkhitA // 76 paryapUri tathA vizvamapi vizvaM tamobharaiH / yathA na lakSyate lokaistadA pANirnijo 'pi hi // 77 sarvA api kSaNAdeva grasyante tamasA dizaH / inAdvinA sapatnena ko nAma na hi dUyate // 78 abhUtamomayaM bhUmitalaM nikhilamapyatha / rAjyaM tamasi kurvANe yathA rAjA tathA prajA // 79 jalaM na sthalaM noccaM na nIcaM nayanAdhvani / na samaM nAsamaM sarva tamasaikIkRtaM jagat // 80 33 tata IdRkSe samaye sA yuvatiH sArthamadhyataH kathaMcinnirgatya maraNopAyaM cintayantI gRhamAjagAma / tatra 33 sAzvazvA pRSTA 'vatse, kutra te patiH / bhaNitaM tayA / eSa Agata eva mama pRSThe lagnaH' iti vadantI sAvazA vAsavezma praviveza / tato 'sAvatiguruduHsahapratipakSa gotravajraprahAradaliteva jajalpedam / 'AkarNayata bho lokapAlakA nItipAlakAH / vinA priyaM nijaM nAnyo mayA citte vicintitaH // 8136 paraM na kRtametena varaM prANapriyeNa yat / yadasmyantarvayasyAnAmapamAnapadaM kRtA // 82 ityudIrya tayAtyantakopayA kaNThakandale / akSepi pAzakaH prANAn vidhRtya tRNavaddrutam // 83 39 16 ) itazca sa mAnabhaTastAM ramaNIgaNamadhyasthAmaprekSamANo jAtAzaGkaH svabhavanamAjagmivAn / 39 na mAtuH pArzve pRSTaM yadbhavadvadhUH samAgatA kiM vA neti' / mAtrA jalpitam / 'yadatra samAgatya vAsabhavane praviSTA' iti samAkarNya mAnabhaTastatrAgamya tvaritameva pAzaM tasyAzciccheda / atho sA jalena saMsicyamAnA 42 kSaNena svasthacittA samabhavat / bhaNitamanena / 'priye, kiM kenAparAddhaM kathaM kupitA, kimidaM tvayA nirni - 42 36 9 12 6 ) com.] paryanta 12 ) P mAdhvIgaNDU 26 ) P c omit line svapriyA etc. to cetasaH, Pom. tasyA, B asyA for tasyA. 31) PB prajAH- 33 > c IdRze. 36 ) P ciMte'ticiMtita : B cittepi ciMtita : 39 ) P B svabhuvana 40 ) PB vAsabhuvane. 41 ) 0 'statrAgatya, P jalajena. 27 30

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vicintya tena tadeva -II. 817 : Verse 901 kuvalayamAlAkathA 2 * 17 1mittaM svakIyaM jIvitaM mamApi ca saMzayadolAmAropitam' ityAkarNya gaurAGgI priyaM prati vAkyamAha sma 1 'yatra sA saubhAgyavatI kamaladaladIrghalocanA zyAmAGgI nivasati tatra tvamapi gaccha' iti / mAnabhaTe3 noktam / 'priye, sarvathaivAsya vRttaantsyaanbhijnyH| kA zthAmAGgI, kena kadA dRSTA, kena tava puro niveditam, 3 iti kathaya / ' etannizamya sA roSAnaladahyamAnamAnasA babhANa / 'adhunA tvamanabhijJo'si yadA tvayA dolAdhirUDhena sakhIjanapuratastasyAH zyAmAjhyA gItamudgItametatkathaM vismRtam / evamuktvA tayA 6 mahApuNyAraNyasthamunineva maunamavalambya sthitam / mAnabhaTena cintitam / 'yadasAvakAraNe 'pi kopa- 6 parvatamAruroha' / tatastena prasAdyamAnApi sA punaH punarna kiMcijalpitavatI / kevalamamAnaM mAnamevAzritya sthitvtii| mAnabhaTena cintitam / 'yadetasyA roSapoSitacittAyA anunaye pAdapatanameva hitam' iti tya tena tadeva kRtam / paraM tena kRtenApi prAjyAjyasaMsiktajvalanajvAleva sAdhikataraM krodhadurdharA 9 babhUva, na punazcetasi zamarasaM pupoSa / tataH sa mAnabhaTazcintayati sma / 'yuktameSA mRgAkSI prasAdyamAnApi nAma na prasIdati sma / yata IdRzya eva striyo bhavanti / 12 pratyAsannA bhavenmokSalakSmIrmokSAbhilASiNAm / na jAyate 'ntarA nAma dustarA strInadI yadi // 84 12 sevante kAmukAH kAmatApacchedAya kaaminiiH| paraM pratyuta jAyante mahAsaMtApabhAjanam // 85 saudAminIva saMdhyeca nimnageva nitambinI / caJcalaprakRtidRSTanaSTarAgAtinIcagA // 86 15 vivekapaGkajaM hanti mAnase mahatAmapi / kAminIyaM himAnIva kastAmicchati ttsudhiiH|| 87 15 vivekaparvatArUDhAn guNaprauDhAnapi drutam / helayApi mahelAsau vIkSitenApi pAtayet // 88 navInA kApi dRzyeta zastrIva strI zarIriNAm / AdIyante yayA prANA bAhyA AbhyantarA api // 18 17) iti ciraM vicintya vAsabhavanAnniHsRto mAnabhaTo janayitryApracchi 'putra, kathaya kimetat' / 18 tataH sa tasyA adattatvaprativacano bhirnirgtH| kAntayA cintitam / 'aho, vajrakaThinahRdayAsmi yena bhartuH svayaM pAdapatitasyApi na prasannAbhavaM tato na varaM kRtam, punaH punaH padapatanAprasAdavIkSApanno 21 mama prANezaH kutra jagAma, iti na samyag jAnAmi, tasmAdamuSya pRSThalagnA bajAmi' iti cintayitvA 21 vAsavezmato nirgtaa| 'putri, va calitAsi' iti zvazrUpRSTA 'mAtaH, tava putraH kvApi prasthitaH' iti vadantI sA tvaritapadaM pradhAvitA sasaMbhramaM, pRSThe zvazrarapi / cintitaM ca tatpitrA vIrabhaTena / 'sarvameva 24 kuTumba kvApi prasthitam' iti cintayan so 'pi teSAM mArge lagnaH / tataH sa mAnabhaTo ghanatimirAcchAdite 24 kUpanigame vajan tayA kthmpyuplkssitH| sa ca bahupAdapazAkhAsahasrasaMjAtAndhatamasasya kUpasya taTamAjagAma / tatra ca tenopalakSitA pRSThataH samAyAntI nijajAyeti / tAmavalokya 'etasyAH parIkSA 27 karomi' iti vicintya tena kUpAntaH zilA nikSiptA / tacchilApatanasaMjAtazabdamAkarNya 'mama patiH 27 patitaH' iti matvA tadbhAryA duHkhArtAvaTe tvaritamAtmAnaM mumoc| tataH zvazrUrapi taduHkhaduHkhitA svaM muktavatI, tatastasyA duHkhena mahatA pRSThalagnaH zvazuro'pi / tatastritayamapi vinaSTaM dRSTvA sa cetasi cintitavAn / 30'mayAtra kiM kartavyam, etena duHkhenAtmAnaM kiM kUpe kSipAmi, athavA na' iti vicArya tena prAptakAlameteSAM 30 mRtAnAM nivApakriyAmAtanya paramavairAgyamAgatena viSayAntaraM paribhramya paribhramya lokena niveditAni naprabhRtIni samAcaratAbhAryAmAtRpitRvadhaprabhUtasaMbhatadarantaritajAtopazAntaye kauzAmbI 33 nagarI bheje / bho nareza, tadayaM varAko 'nabhijJo mUDhamanA lokotyA tIrthAni karoti / yadi tAvaJcitta- 33 zuddhistadA puruSo gRhe 'pi tiSThan pApaM kSiNoti / tataH sarvathaiva manaHzuddhireva vidheyaa| cittazuddhiM vinA dattaM vittaM pAtre 'pi sarvathA / tathA kriyAkalApazca bhasmanIva hutaM vRthA // ' 90 36 evaM nizamya gurUditaM mAnabhaTo mAnamapanIya bhagavato dharmanandanasya caraNamUlamAzritaH / tataH pratibuddhena 36 mAnabhaTena pravajyA yaacitaa| sUriNA samAdiSTam / 'vatsa, atucchasvacchatAnidhe, sarvadaiva niraticAraM cAritrapratipAlanaM dRSkarameva / yatra kartavyaM keshotpaattnm| nityameva prANAtipAtaviratyAdIni vratAni 39 niraticArANi dhAraNIyAni / voDhavyo 'ssttaadshshsrshiilaanggbhaarH| bhoktavyamarasavirasaM rUkSaM bhaikSam / 39 pAtavyaM prAsukaiSaNIyaM niHsvAdu jalam / zayitavyaM bhUmau / dussahaparISahopasargavargasaMsarge 'pi na manA 1) B ityAkarNya karNazUcikSepAdiva / dUnovAca / tava mAnase kamaladaladIrghalocanA. 2) P saubhAgyabhA for saubhAgyavatI. 4) B tvamajJosi. 18) PB vAsabhuvanA. 19) B adattaprativacano. 20) P svayaM paTa (da?) pati. 22) 0 mAtustava, 0 kva for kvApi. 26) B nijA jAyeti. 32) B inter. prabhUta & saMbhUta. 37) B vaccha svacchaguNAtuccha sarvadaiva. 39) BSTAdazazIlAMgasahazrabhAraH, B virasarakSaM.

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3 18 * 18 ratnaprabhasUriviracitA [II. $ 18 : Verse 911gapi zaithilyamAdheyam / yanmadanadantaiohacaNakabhakSaNaM sukaraM na punarjinapraNItavratapratipAlanam / ' tataH 1 zrIdharmanandanagurorupadezavacampIyUSaM mAnamahAviSamaviSadarpanirdalanasamarthamAkaNThamutkaNThayA nipIya 3mAnabhaTaH pravrajyAM jagrAha / / iti mAne mAnabhaTakathAnakam / 618) punarapi gururaah| 'Ihadhve yadi kalyANamAtmano bhavyajantavaH / tadArjavakRpANena cchedyA mAyA pratAninI // 91 mAyAnadImahApUraM yadyamUrkha titIrSasi / RjutvAkhyatarI tUrNa tataH sajaya yatnataH // 92 mAyA rAtricarI jJeyA jagajantubhayaMkarI / avakracittasadbhAvasphUrjanmantraprabhAvataH // 93 mAyAnRtakhaniyana kRtA syAttasya durgtiH| na kRtA yena tasyeha zreya zrIvaMzavartinI // 94 mAyA durnayabhUpAlakelibhUmiriyaM varA / jananI vizvaduHkhAnAM kAnanaM pApabhUruhAm // 95 mAyA kriyamANA yazo dhana mitravarga ca nAzayati / jIvitavyaM ca saMzayatulAmAropayati / bho narezvara, 12 yathaiSa purussH|' bhUbhRtA proktam / 'bhagavan , na jAnImo vayaM kaH sa puruSaH, kimetena kRtm| zrIdharmanandanaH 12 proce / ya eSa tava saMmukhaH pAzcAtyabhUbhAge mama sthitaH saMkucitadehabhAgaH kRSNakAyakAntiH pApIyAn dRzyate sa mAyAvI / anena mAyAvinA yatpUrva kRtaM tadAkarNyatAm / tathA hi, 15 jambUdvIpAbhidhe dvIpe kSetre bharatanAmani / kAzyadeze 'sti vikhyAtA purI vArANasI varA // 96 15 sphuTaM sphATikayadbhittau yatrekSante mRgiidRshH| carantyo'pi niketAntaH sva Adarza ivAnizam // 97 duHkhaM tu tyAginAmeva sarvaizvaryavirAjinAm / kadAcanApi prApyante yAcanAya na yAcakAH // 98 yatra kAmAnalo yunAmadIpiSTa kutUhalam / saMdhyAsamIraNaiH siddhsindhusiikrhaaribhiH|| 99 __ yA caturdazasvapnajanmamahimnaH amUrtamUrtiramaNIyatAtiraskRtAnalpakandarpasya utpannavimalakevalajJAnAva lokitAzeSapadArthasArthasya saMsArodaravivarasaMcariSNusakalajanatAtrANadAnoddhatavizuddhasaddharmadezanAsiMha21 nAdavidhuritasakalakumatakarivarasya surAsuranarezvarasaMsevyamAnacaraNAravindayugalasya tIrthakRto bhagavata-21 trijagadAnandanasya zrIvAmAnandanasya jnmbhuumiH| tasyA nagaryAH pazcimottaradigvibhAge zAligrAmo nAma graamH| 24 andhubhirbandhuro 'gAdhaiH saMkaTo vikaTairvaTaiH / maJjalo vakSulazreNyA cittaprItyai na kasya yaH // 100 24 19) tatra caiko vaizyajAtirgaGgAdityAkhyaH parivasati / tatra grAme dhanadhAnyasamRddhe 'pi sa evaiko daaridrymudraavidrtH| kusumazarasamAnarUpe'pi jane sa evaiko vairuupydhaarii| kiMbahunA, sa 7 evaiko durvacanaparo nikhilajanodvejanIyadarzanaH kRtaghnaH karNejapaH sarvAguNagaNamandiraM ca / tasya grAmajanena 27 ___ mAyAzIlasya pUrvanAma gaGgAditya ityavamatya mAyAditya ityabhidhA vidadhe / bho narendra, sa cAyaM maayaadityH| tatra grAme vaNikputra ekaH pUrvasukRtasaMcayakSayaparikSINadraviNaH sthANurityAkhyaH / tasya 30 tena mAyAdityena samaM priitirutpnnaa| sa ca svabhAvena saralaH kRtajJaH priyavAdI dayAluravaJcanaparaH sadA 30 dInavatsalo'nAdInavazceti / tena sthANunA grAmavRddhajanena pratiSidhyamAnenApi sauvacittapravizuddhatayA mAyAdityasya samIpaM [sAmipyaM] na kadApi mucyte| 33 jAnAti sAdhurvakrANi durjanAnAM manAMsi na / ArjavenArpayatyeva svakIya mAnasaM param // 101 33 tatastayoH sajanadarjanayoH prAjJamandayoriva marAlabakayoriva bhadragajabarbarakalagajayoriva svabhAvena sthANoH kaitavena mAyAdityasya tu mithaH prItiravardhata / anyadA vizvastacetasAvanyonyaM vividhAn 36 dhanopArjAnopAyAn parikalpya svajanavarga paripRcchaya kRtamaGgalopacArau gRhItapAtheyau dakSiNadizAbhimukhaM 36 jgmtuH| tatra tAbhyAmanekagirisaricchAkhizvApadasaMkulaM vanaM durlaGghayamullaGghaya svargapurapratiSThaM pratiSThAnapuramavApya vividhavANijyAdi karma kurvANAbhyAM kathaMcitpratyekaM paJca kAzcanasahanI samupArjitA / tatastau 39 'dravyametaccaurabhillajanebhyaH paritrAtuM duSkaram' iti vicintya svadezaM prati gamanasamutsukamanasau daza 39 suvarNasahakhyA daza ratnI svIkRtya jaraJcIrAJcale baddhA muNDitamastako prAvRtadhAturaktavAsasau viracitadUratIrthayAtrikalokaveSau bhikSAM yAcamAnau kApi mUlyena kApi satrAgAreSvaznatau kamapi sNniveshmiiytuH| 1) PB degmAdheyaM / yallohacaNakakSakSaNaM na punarjina. 4) Bc om. iti. 12) P vayaM kopi puruSaH B vayaM kopi sa puruSaH. 13) PB pAzcAtyabhAge. 14) PB degvinA pUrva yatkRtaM. 15) PB kAzadezo. 19) P B omit yA, B tiraskRtA'nalpakaMdaparNadarpasya. 25) PgaMgAdevyAkhyaH . 34) B durjanayoH caMdanatarupicumaMdayoriva. 37) Badds nadI after giri, P om. purapratiSThaM etc. ending with dravya.

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'apa -II. $ 21 : Verse 104] kuvalayamAlAkathA 2 * 19 1 tatroktaM sthaannunaa| 'bho mitra, mArgazramakhinnadeho bhikSAyai gantuM na zaknomIti tadadya niravadyA maNDakA 1 eva bhakSyante / ' tacchutvA mAyAdityaH proce / 'tvameva pattanAntaHpravizya maNDakAn kAraya, nAsminnarthe 3 nipuNo 'smi, paraM tvaritamAgantavyam / ' sthANunA bhaNitam / 'bhavatvevaM kathamayaM ratnagranthiH kriyatAm / ' 3 mAyAdityo jagAda / 'kastAvajAnAti nagaravyavahAraM tasmAtko 'pyapAyo bhaviSyati tava praviSTasyeti mamaiva pArzve ratnagranthistiSThatu / ' sthANustasya kare ratnagranthimarpayitvA puraM praviveza / cintitaM ca 6 mAyAdityena / 'yadi kenApyupAyena ratnagranthirasau mamaiva bhavati tatkRtArthaparizramaH syAm' iti vicintya 6 pratyutpannapApamatinA tena mAyinA satyaratnagranthipratirUpo dvitIyaH pASANazakalagranthiH kRtH| tadA ca 'kAndavikApaNeSvanuddhATaH' ityakAritamaNDaka eva sthANurAyAtaH / bhaNitaM sthaannunaa| 'mitra, kathamadya bhaya9 bhrAntavilocana iva bhavAn lakSyate / ' mAyAdityena niveditam / 'mayA tvaM samyak samAgacchannatra nAvagataH 9 kiMtu caura iti jJAtamato bibhyadasmi, na kAryamamunA ratnagranthinA / ' evaM vadatA tena mAyAvinA gamanAkulitacetasA punarviracitaM satyaratnagranthi tasya samarpya svayamasatyaratnagranthi svIkRtya 'ahaM bhikSAyai 12 gacchAmi' iti kapaTena bhaNitvAhorAtreNa dvAdaza yojanAnyatikramya yAvadratnagranthirvilokitastAvatkevalaM 12 pASANakhaNDAnyeva dRSTAni / tannirIkSaNe vaJcita iva muSita iva sa babhUva / tatastasya pArzvataH satyaratna granthigrahaNAya punarapi kUTakapaTadhArI ciraM sarvatra babhrAma / sa sthANurmitramArgAnveSaNaM ciraM cakAra, paraM sa 15 na militH| tato 'nekadhA vilapya mitraguNaM saMsmRtya tena dinaH smtikrmitH| rAtrau punaH kutrApi 15 devakulAntaH suptH| 20) pAzcAtyayAme kenApi gUrjarapathikena gItam / 18 'dhavala iva yo'tra vidhure svajano nobhArakarSaNe prvnnH| sa ca goSThAGgaNabhUtalavibhUSaNaM kevalaM bhvti||' 102 18 iti sUktaM zrutvA sthANorapi zloka ekaH smRtimAyAtavAn / ta:saTe vigre 'pic| ye 'tyantadhIratAbhAjaste narA itare striyH|| 103 21 tAM rAtrimatikramya tena cintitam / 'yadi mRtaM mama mitraM bhavati tadAsya mAnuSANAM ratnAni paJca 21 samarpayAmi' iti punaH kRtamatiH sthANuH svanagaraM prati cacAla / vrajatastasya sthANoH krameNa narmadAtIre sa mAyAdityo vilakSyAsyo niHzrIkazarIro locanagocaramupAjagAma / tatastena sthANuM mitraM vIkSya 24 gADhamavagRhya ca kapaTenAlIkavRttAnto niveditumArebhe / 'mitra, tadA tava sakAzAdahaM nirgatya gehaM gehaM 24 paribhramamANo dhaninaH kasyApi vezmani praviSTaH, tatra mayAlabdhAyAM bhikSAyAM kiMcitkAlaM yAvatsthita tAvattatpadAtibhiH krodhAndhaiH sAkSAd yamadUtairiva caura iti bhaNadbhirvividhaiH prahArairmAryamANo 'haM 27 gRhasvAminaH sakAze niitH| tena samAdiSTam / 'bhavyaM kRtameSa dhRto yadanenAsmAkaM kuNDalamapahRtam / 27 __ tAvatsarvathAyaM yatnena dhriyatAM yAvadrAjakule nivedye|' tato mayA cintitam / 'bhujaGgagativaddhakracittena vidhinA nRNAm / anyathA cintitaM kAryamanyathaiva vidhiiyte||' 104 30 621) tato 'kRtAparAdho vilapana vezmanaH koNe tainikssiptH| tatra sthitasya duHkhArtasya me divaso 30 vytiitH| saMprAptA raatriH| sA tu svapnasaMjAtabhavatsamAgamasaMbhUtasukhaparamparAsu sthitasya mama tvaritameva niSpuNyakasya lakSmIriva kSaNadA kSayamApa / saMprApto 'paro divsH| tatra madhyAhnasamaye kApi nAyikA 33 anukampayA mama yogyamAhAramAninAya / sApi mAM ramaNIyarUpaM vilokyAnurAgavatI sNjaataa| 33 vijanIbhUte ca tatra sA mayA pRSTA bhadre, tvAM pRcchAmi yadi sphuTaM sarvamapi nivedayasi / tayoktaM 'vareNya, nikhilamapi nivedayiSye' / mayoce 'kimahaM nirmantuH padAtibhirgRhItaH' / tayA jalpitam / 'subhaga, etasyAM 36 navamyAM madbhartA devatArAdhananimittaM malimluco'yamiti cchadmanA svIkRtaM tvAM devyai baliM dAsyati / ' 36 tato mayAdhikajAtajIvitAntabhayena punaH pRSTA 'kathaya mama ko'pi jIvanopAyo'sti / ' tayA kathitam / 'nAsti tava jIvanopAyaH, na punaH svasvAmino drohaM karomi, paraM tathApi tvayi mama mahAn snehaH, tato 39 vacaH shRnnu| atha navamyAM sakalo 'pi paricchado matsvAminA saha tIrthabhuvi snAtuM yAsyati tadA tava 39 rakSapAlo'pyeko dvau vA bhaavinau|' ityAkarNya prastAvaM parilabhya gRhAdahaM niHsRtya kenApyavIkSyamANaH sthAne sthAne tvAM vilokayan saralabahalavAnIre revAtIre yAvadAyAtastAvattvaM dRssttH| mitra, tava 42 dussahaviyoge etanmayAnubhUtam / ' etadRttAntaM nizamya samyagbASpajalaplutalocanaH sthANuH samajani / 42 8) R'NeSu taddhoTa ityakArita. 10) B caura iti jJAtaH / ato. 11) Bom. satyaratnagranthi tasya samarpya svaya,maM P sviikRtyaah||bhikssaayai. 12) Pom. "vilokitastAvatke etc. ending with satyaratnagranthi. 22) B vrajatastana sthANoH- 23) P niHzrIkazarIralocana. 28) P dhRyatAM. 30) Pom. "sya duHkhArtasya etc. ending with divasaH / tatra. 33) B om. mama. 37) Ginter. punaH & pRSTA. 38) P paraM taM pi. 41) PB dRSTaH / etad duHsaha viraha viyoge mitra mayAnubhUtaM / tad vRttAMtaM (twice in P) nizamya.

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* 20 ratnaprabhasUriviracitA [II. $ 21 : Verse 1051 tato dvAvapi dhautavadanau kRtAhArakriyau prclitau| tato mArgabhraSTau diDyohitacittau bhayabhrAntadRzau ca 1 saMsAra iva dustare kAntAre vivishtuH| 'kutrAgato, kutra gamiSyAvaH' iti tau na jaaniitH| sthANunA 3bhaNitam / 'kSudhAdhikaM mAM bAdhate tattvaM ratnagranthi gRhANa, kadAcinmama pArdhAtpatiSyatIti samarpito 'nena 3 rtngrnthiH|' cintitaM ca maayaadityen| 'aho, yanmama kartavyamasti tadamunA svayameva kRtam / tato madhyAhne lalATaMtapatapane 'tIvatRSNAtaralito pAnIyaM sarvatra pazyantau vaTapAdapAdhastAdavaTaM dadRzatuH / 6 tatazcintitaM tena duSTabuddhinA 'sAMpratamasyaiva kUpapAtanamevAnapAya upAyaH' / bhaNitaM mAyAdityena / 'sthANo, 6 kUpe kiyatpramANaM payaH, vilokya kathyatAm , yathA tadanumAnena dRDhAM vallItantubhidRDhAM raju kromi|' sa tu mahAnubhAvo 'vakahRdayaH payaHpramANavIkSAkRte prvRttH| tatastena mohamohitacetanena mAyAvinAnapekSya 9 lajAmavamatya prItimanAlocya dAkSiNyamavicArya paralokamavicintya sajanamArga sthANurnIraM nirIkSamANaH 9 kUpe nyakSepi / sa ca kUpe dalatRNacayacite jambAlAntaH patito 'pi tathAvidhAM bAdhAM dehe na sehe| tatastena vizvastacetasA cintitam / 'aho, pUrva dAridyam, tataH kAntArAntaH paribhramaNam, tatrApi 12 priyamitraviyogaH, etatritayamapi pApinA vidhinA viracitameva / ahamatra kena nirdayahRdayena kssiptH| 12 atra mAyAditya eva samIpavartI naanyH| kathametenAsmi paatitH| athavA naitat saMvAdi, duSTaM mayA khalu cintitam / 15 kadAcidvAyunA svarNazailacUlApi kampate / udetyaMzuH pratIcyAM ca na mitraM tanute tvidam // 105 15 dhigaho, mamApi hRdysyaanlpviklpsNklpH| tataH kenApi rAkSasena vA pizAcena vA pUrvavairiNA kSipto'smi / ' sthANurevaM vicintya svasthacittastasyAmapyavasthAyAM tasthau / prakRtirevedazI sajjanAnAm / 18cintitaM mAyAdityena / 'aho. yatkartavyaM tatkRtameva / sAMprataM dazAnAM ratnAnAM phalaM gRhNAmi' iti 18 cintayan mAyAdityo vanAntaH paribhraman caurasenApatinA vIkSito dhRtazca ratnAni ca gRhItAni / 22) atha caurapatiH kathaMcidbhavitavyatayAnanyayodanyayA bAdhitastameva vishngkttaavtttttmvaap| 21 samAdiSTaM pallIsvAminA 'bho bhoH, kUpAtpayaH karSata' / ityAkarNya taiH kUpe payaHkarSaNAya vallIvaratrayA 21 grAvagarbhaH palAzadalapuTakaH kssiptH| kUpAntaHsthena sthANunA taM vIkSya mahatA zabdena gaditam / 'kenApi daivaduryogataH kUpe'tra kSiptaH, tato mAmapyuttArayata / ' taiH senAnAyakasya puro vijJaptam / 'yatkenApyatra 24 jIrNakUpe pumAnekaH pAtito 'sti|' senApatinA jgde|' 'bho bhoH, alamalaM jalAkarSeNa, prathamaM tameva 24 varAkaM karSata / ' tatastadAdezavazaMvadaistvaritameva sthANuH kUpataH krssitH| senApatistaM babhASe 'bhadra kutratyastvaM, kutaH samAyAtaH, kimabhidhAnaH, kathaM jIrNAvaTe nipaatitH|' bhaNitaM cAnena / 'deva, pUrvadezata 27 AvAM dvau janau dakSiNAzAmAzritya kiyatA kAlena paJca ratnAnyupAyaM muditamAnasau svagRhaM pratigacchantI 27 mArgaparibhraSTau tRSAtaralitacittAvetasyAmaTavyAM prvissttau| tata AvAbhyAM tRSAturAbhyAM jIrNakUpo dRSTaH / ataH paraM deva, na kimapi samyaga jAne, yadami kenApi pAtita ityavaimi / paraM yadbhavatA kRpAvatA kUpAtsaMsArA30 diva guruNA prANI sddhrmvcnopdeshenaakrssitH| etadAkarNya senApatinoktam / 'kevalaM tena durAcAreNa 30 bhvaannikssiptH|' sthANunA bhaNitam / 'nahi nahi zAntaM pApam / sa kathaM mayi jIvitAdapyadhikaH priyo vayasyaH zvapaca iva duzcaritamAcarati / ' senApatinA jalpitaM 'sa tAvatkutrAste' / sthANunA jagade 'sAMprataM 33 naavgcchaami'| atha sarvairapi parimoSibhiH parasparaM sahAsyamAsyaM nirmAya bhaNitam / 'yadayaM varAkaH 33 sarvadaivAvakracittaH sadbhAvaH kimapi na jAnAti svasya shuddhcitttyaa| tataH pallIpatiruvAca / 'sAMpratamidaM sa evAsya vayasyo bhaviSyati, yasyAmUni ratnAnyasmAbhirgRhItAni / ' caurairuktaM 'deva, saMbhAvyata etat' / 36 atha sa pRSTaH 'kathaya sa kIdRzastava vysyH'| sthANunA bhaNitam / 'deva, kRSNavarNaH piGgalalocana: 36 kRzAGgo mama vysyH|' senAdhipenoktam / 'bhadra, tvayA lakSaNasaMpUrNaH suhRllabdho yena kUpe bhavAn pAtitaH / tvaM pratyabhijAnAsi svAni ratnAni dRSTAni / ' tenoktaM 'upalakSayAmi' / tatastena tasya 39 ratnAni darzitAni / tena tAnyAtmIyAni parijJAya jlpitm| 'kutra kadA vA ratnAni prAptAni, kathaM 39 manmitraM vyApAdhAGgIkRtAni / ' tairuktam / bhavanmitraM na vinAzitam, kevalaM ratnAni svIkRtya niyantraya ca 1) Pom. ca. 5) P B sarvatraiva. 7) P B yathAsmi tadanumAnena. 12) P etatritayapApinA. 13) P athavA na tametadattA saMvAdi daSTuM mayA, B athavA nUnameta dRttA'saMvAdi. 16)0 saMkalpam. 20) Mom. taTa. 29) Pom, na, P om. kRpAvatA. 31) PB priye vayasye zvapaca. 36) B om. sa after kathaya. 37) P senAdhipatyenoktam.

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-II. SS 24 : Verse 116] kuvalayamAlAkathA 2 1 sa muktaH / tena senApatinA sadayena sthANoH paJca ratnAnyarpayAMcakre / tena mitraM vilokamAnenaikasmin 1 vanagahane dRDhavallIdAnitabAhulato niyamitacaraNayugaH poTTala iva nibaddho 'dhomukho vIkSitaH / taM 3 vigatabandhaM vidhAya hAhAravaM kurvANaH sthANuH sAnukampaH provAca / 'mayA ratnani paJca vyAvRtya labdhAni / 3 tava sArdhaM ratnadvayaM mamApi ca / tvaM punarmanasi viSAdaM mA vidadhIthAH / ' iti bhaNitvA sthANunA kAntAraparyantagrAmasImAM sa samAninye / tatra tAvadupacAravRttyA sa mAyAdityaH kriyadbhirapi dinairnirvyUDhavraNaH6 samajani / cintitaM ca mAyAdityena / 'yadayaM mameddazaceSTitasyApi paropakArIti / tato mayA kiM 6 kartavyam, yanmayA mAyAvinA prathamaM ratnasvIkAreNa tataH kUpAntarnikSepeNAlIkavacobhizca vayasyo vipratAritaH, tato mama narake 'pi na nivAsaH, tasmAd jvalanaM pravizyAtmAnaM kAJcanamivAzuzukSaNau vimalI9 kariSye / ' tato 'tIvamitravaJcanAlakSaNacintA saMtApa parAyaNazcitAnalaM praveSTuM sthANunA grAmajanena ca 9 nivAryamANo 'pi mAyAdityaH samIhivAn / tato grAmamahattarairanekairvAkyaiH pratibodhitaH / tataH svamitravaJcanasamudbhUtapApanirAkaraNAya sthANunA mitreNAnugamyamAnaH sarvANi tIrthAni lokaprasicyA samArAdhayan 12 sa mAyAdityaH samAgatyeha samupaviSTo'sti / tato mAyAdityaH zrIdharmanandanagurormukhataH svaM vRttAnta- 12 mavagamya bANa | ' yanmayA mAyAmohitacetasA svamitradrohitA kRtA tadapagamanAya prasAdaM vidhAya prabho, prabho dayAvAsa, siddhinivAsabhuvaM pravrajyAM mahyaM dehi / ' tato bhagavatA dharmanandanena jJAnAtizayena 15 vilokyopazAntamAyAkaSAyapracAraH sa mAyAdityaH zrItIrthanAthapraNItapratItayathoktavidhinA pratrAjitaH / 15 / iti mAyAyAM mAyAdityakathA | 21 (23) cArucAritramalayAcalacandanena guruNA zrIdharmanandanena punarUce / 18 na varjayati lobhaM yaH krodhAdirahito 'pi hi / nimajjati bhavAmbhodhau sa kAlAyasagolavat // 106 18 jIvAH saMsArakAntAre vivekaprANahAriNA / spaSTaM lobhAhinA daSTA jAnate na hitAhitam // 107 salo mAnave sadyo nirmalApi guNAvalI / vilIyate 'gnisaMta lohe toyacchaTA yathA // 108 pracurairnIradhinarairindhanairdhUmaketanaH / na tuSyati yathA janturghanairapi dhanaistathA // 109 lobhaparavazaH prANI dravyaM nAzayati, mitraM ca hanti, duHkhAmbudhau nipatati ca / pArthiva, yathaiSa rAjJA vijJaptaM 'bhagavan sa kaH puruSaH, kimetena kRtam' / samAdiSTaM bhagavatA / 'yastava pRSThibhAge vAme 24 vAsa basyopaviSTo'tikRzazarIraH kevalamasthipaJjara iva rUpeNa mUrtI lobha iva / narezvara, amunA lobhA- 24 bhibhUtena yatkRtaM tadekacittatayA zrUyatAm / tathA hi / ihaiva jambUdvIpe dvIpe bharatakSetre madhyamakhaNDe ' puruSaH samasta nagarI sauvarAmaNIyakasaMpadA / svaH purastanvatI takSazilA manasi lAghavam // 110 kapizIrSAvalI mravapravyAjena bhogirAT / sahasrazIrSaH saundarya yasyA draSTumupAgataH // 111 prAkAraH sphATiko yatra parikhAmbuni bimbitaH / bhogAvatInirIkSAyai vizatIva rasAtalam // 112 sujAtiramyAH suzivAH sadArambhA vRSAzrayAH / svabhayAH svazanA yatrodyAnA iva janA babhuH // 113 prAsAdA yatra rAjante mahArAjatanirmitAH / krIDAnimittamAyAtA merovi kumArakAH // 114 asaMkhyAta harikhyAtAM sadA jayavirAjitAm / yAM purIM svaHpurI vIkSya hiyevAdRzyatAmagAt // 115 zrInAmeyapadasthAne dharmacakraM maNImayam / zrIbAhubalinA yatra sahasrAraM vinirmame // 116 33 yatra zobhante paramasnehalAla sacetaso janA anagArAzca sadA paramadAraM sadArAgaparaM sadAhArasAraM 33 vibhavivRndaM munimaNDalaM ceti / tasyAH puryAH pazcimadakSiNayorantarAle digvibhAge samucca dhAnyakUTAbhirAma uccalAkhyo grAmaH / tasmin zuddhavaMzabhavo dhanadevAbhidhaH sArthapatiputraH parivasati / paraiH sArtha36 patiputraiH saha tasya krIDAM kurvataH kiyAnapi kAlo vyaticakrAma | 36 24 ) sa dhanadevaH svabhAvata eva lobhadattacittaH satatameva vaJcakaziromaNiralIkavacanabhASI paradravyApahArI / tatastasyedRzasya taiH sArthanAthatanujairdhanadeva iti nAma nirAkRtya lobhadeva ityabhidhA vidadhe / 27 30 * 21 10 ) PB om. tataH. 11 ) P B gamyamAnastIrthA sarvvANi loka 17 ) PB omit guruNA zrI. 26 ) B takSasilA 28 ) B has (on bhogAvatI) a marginal gloss, nAgapurI 29 ) On. sujAti etc. B has a marginal gloss: jAtigatraM mAlatI ca / suSThu zivaM kalyANaM yeSAM dvi0 zobhanAH zivAH puNDarIkA vRkSAH sahakArA yatra / satpradhAna AraMbho yeSAM te tathA / sadAraMbhAH kadalyo yeSu // suSThu nirbhayAH zobhanA harItakyo yatra / zobhanaM azanaM bhojanaM dvi0 'zanA vRkSavizeSA yatra // 31 ) B has a marginal gloss on asaMkhyAta etc. asaMkhyAtairharibhirazvaiH prasiddhAM = jaya iMdraputraH sakasacihnavati kadApinetyarthaH [ ? ]. 33 ) PB om. yatra B has a gloss ( on paraM ): paraM kevalaM aranehamunayaH 38 ) Prepeats ( after gurujanamanujJApya ) lobhadeva ityabhidhA etc. ending with gurujanamanujJApya. 21 27 30

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21 * 22 ratnaprabhasUriviracitA [II. $ 25 : Verse 1171 tatastasya tAruNyapuNyAvayavasya mAnasamatIva lobhAbhibhUtamabhUt / anyadA dravyopArjanapraguNitacitto 1 gurujanamanujJApya lobhadevasturaGgAnuttuGgAn sajIkRtya vAhanAni ca svIkRtya pAtheyaM saMgRhya mitravargamA3 pRcchaya tithikaraNanakSatrapavitre muhUrte candrabale varalagne svAminA vIkSite snAnaM vidhAya devatArcanaM nirmAya 3 ca vahannADikAdattapadaH svajanenAnugamyamAnaH pramuditavadano dakSiNAzAM prati pracalitaH / janakenoktam / *'vatsa, tavAdhItasarvazAstrasya mANikyasya ghaTanamiva bhAratyAH pAThanamiva mauktikAnAmuttejanamiva sarvathA 6 zikSAvacaH kIdRra, tathApi snehamohitacetasA mayA tvAM prati kiMciducyate / 'putra, davIyo dezAntaraM, 6 viSamA mArgAH, kuTilahRdayA lokAH, vaJcanapraguNAH kAminyaH, ghanatarA durjanAH, viralAH sajanAH, duSparipAlya RyANakam, dudhara yAvanam, viSamA kAyaMgatiH, tAvattvayA sarvathaiva vacana paNDitena, vacana 9 mUrkheNa, vacana dayAlunA, vacana niSkRpeNa, kvacana sUreNa, kacana kAtareNa mArgoM nirgamanIyaH / ' iti 9 zikSAvacobhiH sutamamandAnandasaMdohamugdhadugdhAbdhimadhyasthaM parigalannayanayugalajalaM pitA vidadhe / lobhadevaH katipayairapyanavarataprayANakairdakSiNApathamAzritya kiyatApi kAlena sopArakapattanaM prAptavAn / 12 yatrotpAtaH pataGgeSu vakratA bhrUSu yoSitAm / prakampazca patAkAnAM janAnAM na kadAcana // 117 12 prAmANikeSu saMvAdaH kanyAsu karapIDanam / mathanaM ca dadhiSveva bhaGgaH pUgIphaleSu ca // 118 samyagbhavocchittividhau nitAntaM saddharmakarmAhitacetaso 'pi / 15 zivArthino yatra janA yatante kurmaH stuti kA nagarasya tasya // 119 __15 __ yatra vizvollAsiyazodayAparigato janArdana iva janaH sarvamaGgalopacAracArazca, pArvatIpatiriva vimohayati saMgato gaNikAgaNo dhArmikalokazca / tatra jIrNazreSThino rudrAbhidhAnasya guNazreNinidhAnasya vezmani vasatA 18 kiyatApi kAlena turaGgAn vikrIyAdhikaM dhanamupAyaM lobhadevena svagRhAgamanotsukamanasA babhUve / tatrA-18 yamAcAraH / 'ye kecidvaNijastatratyA dezAntarAgatA vA sAyaM te sarve milityA parasparaprItipUrvakaM krayavikrayAdikena kimupArjitam , kiM kiM paNyamadya dezAntarAdAgatam' iti vArtA vitanvate / gandhatAmbUla21 mAlyAdi parasparaM prayacchanti / 625) anyadA sa lobhadevastatraivopaviSTastadA kenApi 'kApi dezAntare kimapyalpamUlyena vastunAnalpamUlyaM vastu prApyate' ityAcacakSe / atha kenacidvaNijA goSThayantaHsthena proktam / 'yadahaM dustaraM vAridhimu24 llalya ratnadvIpamagamam / tatra mayA picumandapatrANi dattvA ratnAni svIcakrire / evaM vikrayakrayaM viracayya 24 vyAvRtya kssemtyaatraahmaagtH|' imAM vArtA zrutvA lobhatattvAhitamanasA lobhadevena svavezmagamanAbhiprAya vimucya punarnavInadraviNArjanahetave cetazcakre / tato nijavezmAgatya nirmitasnAnabhojano yathAzrutaM lobhadevaH 27 zreSThirudrasya puraH kathayAmAsa / 'tAta rudra, tatra ratnadvIpe gatAnAM mahA~llAbha utpadyate, yatra nimbapatrai ratnAnye-27 tAni prApyante / tataH kiM mayA na tatra samudyamaH kriyte|' rudraveSThinAdiSTam 'vatsa, yAvanmAtro manoratho 'rthakAmayorvidhIyate tAvanmAtra eva prasarati, 'lAbhAllobho hi vardhate' iti nyAyAt / agretanamarthasaMcayaM 30 svIkRtya svadezaM gaccha / kiM ca bahulApAya jaladherullaGghanam / tato 'dhikalome mano mA vidhehi / etadeva 30 draviNaM yathecchaM bhulla / dInAdInAM dAnaM dadasva / durgataM jAtisaMbaddhaM ca samuddhara / sarvathaiva dhanasya phalaM gRhANa / nigRhANa ca samadhikadravyArjanalakSaNaM lobharAkSasam / ' etadAkarNya lobhadevena jalpitam / 33 'yaH kArye durgame dhIraH kAryArambhaM na muJcati / vakSo 'bhisArikeva zrIstasya saMzrayate mudA // 120 33 tathA tAta, prArabdhakAryanirvAhimanasA puMsA bhavitavyam / tvamapi mayA saha ratnadvIpamAgaccha / ' zreSThinA bhaNitaM 'mamAgamanaM na bhAvi kevalaM tvameva vrj'| lobhadevenoktam 'kathaM bhavatastatra gamanaM na saMpadyate 36 tnnivedy|' rudra zreSThI provAca / 'yadahaM saptakRtvaH samudrAntaryAnapAtreNa praviSTaH, paraM saptakRtvo'pi mama vAhanaM 36 bhagnam , tAvadahaM nArthasyaitasya bhAjanam / ' lobhadevena jlpitm| 'dharmAzorapi pratidinamudayAdhirohapratApapatanAni kiM punarnAnyasya iti paribhAbya sarvathaiva kamalAyAH samupArjane sAvadhAnamanasA bhAvyam / tvayA 39 ratnadvIpe mayA saha samAgantavyameva / ' zreSThI jagAda punH| 'vatsa, tvAM prati sAMprataM kiMcidvadAmi, atra 39 ___ yAnapAtre tvameva krayANakanetA, ahaM punarmandabhAgyaH' iti / tatastena tadevAGgIkRtam / 4)P dizi for prati. 8) 0 G atastvayA for tAvattvayA. 9) PB mUrSeNa for mUrkhaNa. 15) B has a marginal gloss on zivArthino ete. thus: virodhoyaM zivArthina IzvarabhaktAste bhavasyezvarasyocchedavidhau kathaM yatnaM kurvati virodha (jaMga) zcetthaM zivArthino mokSArthinaH / saMsArocchedavidhau. 17) B bas a amarginal gloss (on vimohayati) thus : mohamUDhaM kArayati pakSe vigatamohaM karoti / saMgamAt pakSe saMgato militH|. 18) P svagRhagamano'.. 19) P tatrAdhamAcA, P dezAMtarAnAgatA, B dezAMtarAdAgatA, P B om. sarve, parasparaM. 23) P yadasi dustaravAridhi / yadasmi duttaravAridhi, PenaM vikraya kayaM. 25) PB svavezmagamanaM vimucya, C tato vijottArake samAgatya nirmita. 28) Padds na before samudyamaH.34) PsamaM for saha.

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-II. $ 27 : Verse 127] kuvalayamAlAkathA 2 * 23 1 926) atha sajIkRtaM yAnapAtram / gRhyante krayANakAni / upacaryante niryaamkaaH| nirNIyate 1 nimittvidbhiryaatraadivsH| sthApyate lagnam / nirUpyante nimittAni / vilokyante upshrutyH| saMmAnyante 3 vishissttjnaaH|arghynte devtaaH| sajIkriyate sitpttH| UrddhaH kriyate kuupstmbhH| saMgRhyate kaasstthsNcyH| 3 sthApyate parigrahaH / Aropyate bhaktam / bhriyante jalabhAjanAni / evaM kurvatastasya samAgato yaatraadinH| tatra ca tau kRtamajanau muditacetasau sumanomAlAvilepanavAso 'laGkArAlaMkRtau dvAvapi saparijanau yAna6 paatrmaaruruhtuH| calitaM yAnapAtram / vAditAni tUryANi / cAlitAnyaritrANi / tataH prAvartata gantuM 6 jaladhau yAnapAtram / anukUlo vaayurvvau| kiyatApi kAlena vahanaM ratnadvIpaM yayau / tasmAttAvuttIryAtIva ramyatamaM prAbhRtaM gRhItvA bhUpacaraNayugalamabhigamya labdhaprasAdavizadamAnasau krayavikrayaM viracayya vyAvRtya 9 nijakUlAbhimukhamutsuko prceltuH| anukUlavAyunA vahanaM preryamANaM samudrAntaH parivIkSya lobhadevena 9 vyacinti / 'aho, prApto manorathAdadhikataro lAbhaH / saMbhRtaM ca ratnairyAnapAtram / tAvattaTaM prAptasya vahana syaiSa mama bhAgI bhAvIti na sundarametat / ' iti ciMtayan lobhadevo 'vagaNayya dAkSiNyaM samavalambya 12 niSkaruNatvaM zarIracintAyAM samupaviSTaM rudrazreSThinaM jaladhau pAtayAmAsa / tasmin yAnapAtre yojanatrayamati-12 krAnte lobhadevena mahatA zabdena pUccake 'aye, dhAvata dhAvata, mama vayasyo duruttAre pracuramakaraghore sAgare ppaateti|' ityAkarNya niryAmakalokaH parijanazca vIkSituM pravRttaH / tairuktaM 'kutra ppaat'| tena nigaditam / 15 'atraiva patito manye makareNa gilitazca / mayA jIvatApi kim / ahamapi tadviyoga dussahamasahamAna: 15 prANatyAgaM vidhaasye|' etannizamya satyaM vimarthya karNadhArakaiH parijanena ca prabodhya sthaapitH| yAnapAtramapi pracalitam / sa rudrazreSThI akAmanirjarayA jaladhau mahAmakaravadanakuharadaMSTrAkrakacagocarIbhUto'vasAnaM prApya 18 ratnaprabhApRthyAHprathame yojanasahane vyantarabhavane 'lpaizvaryaparorAkSasa utpede / tatra tena vibhaGgajJAnavazato 18 makareNa gilitamAtmakAyaM gacchadyAnapAtraM ca vilokya cintitam / 'are, etena pApinA lobhadevenAhamatra prakSipta / aho, durAcArasyAsya sAhasam / na gaNitaH snehsNbndhH| na dhRtazcitte propkaarH| na kRtaM 21 saujanyam / ' iti cintayatastasyAnalpaH kopAnalo jajvAla / eteneti cintitam / 'yadamuM vyApAdya sadyaH 21 sarvasyArthasya bhAjanaM bhvissyaami| tattathA kariSye yathaitasyApi nAnyasya vA bhvti|' iti cintayitvA rAkSaso madhye samudramAyayau / tatra bahinaM vilokya koNapaH pratikUlamupasarga kartumArabdhavAn / 24. 27) athAbhUcchayAmalaM meghamaNDalaM marudadhvani / rudrAbhidhAnaM vIkSyeva zreSThinaM gatajIvitam // 121 24 bhrAmyanti parito'pyabhraM ghanA vidyudvilocnaaH| pazyantaHzreSThinamiva sArdrAH snehisvbhaavtH|| 122 varSantyamoghadhArAbhiH svairaM dhArAbhRto 'mbudhau / nizAtazararAjIbhiriva vIrA raNAGgaNe // 123 27 vizvamandhIkRtaM vizvamuditai--mayonibhiH / putrA anuharante hi pitaraM nitarAmiha // 124 27 lolakallolamAlAbhiH preryamANaM muhurmuhuH| pracaNDapavanodbhUtaM prANiprANabhayAvaham // 125 tadroSavazataH pArAvArAntarvahanaM vahat / agaNyapaNyasaMkIrNa tvaritaM sphuTamasphuTat // yugmam // 126 / 30 lobhadevo 'mbudhau dvIpamiva nIraM marAviva / bhavitavyatayA prApa phalakaM tatra cAlagat // 127 30 saptabhirahorAtraistArAdvIpamAyAtavAn / sa tatra samudravelAvanapavanena zItalena pratyujIvita iva kSaNam / tatastattIravAsibhiH kRSNakAyakAntibhiH zoNalocanairyamadUtairiva puruSairjagRhe / tato lobhadevo jagAda bhava33 dbhirahaM kathaM gRhye|' taiH kaitavenoktam / 'bhadra dhIro bhava, mA viSAdaM bhaja, yadasmAkameSa niyogaH potavaNijo 33 'vasthAM patitasya svAgataM vidhIyate' iti / evaMvidhaM jalpadbhistairlobhadevo gRhamAnIya vinayavAmanairviSTare nivezya saMvanasnAnaM bhojanAcchAdanavidhi vidhAya jlpitH| 'bhadra, cetasi vizvAsaM samAzraya, mA bhayasya 36 bhAjanaM bhava / ' tata ityAkarNya cintitamanena / 'aho, ayaM kIDagakAraNavatsalo lokH| sa yAvaditi 36 cintayannasti tAvattairniSkRpaistaM baddhA bADhaM zastreNa mAMsalapradezaM vidArya mAMsamutkartitaM zoNitaM ca jgRhe| sa punarauSadhayogena viliptAGgo'kSatazarIro jajJe / punarapi SaDbhirmAsairatItaistasya tadeva kRtam / punarapisa 39 paTutarazarIraH kRtH| evamanayArItyA tasyAsthipaJjarAvazeSasya samudrAntaHsthasya dvAdaza 2) PB nimittavadbhiryA. 3) On sitapaTa B has a marginal gloss thus: siDha iti prasiddhaH. 5) P B degvAsolaMkAraparivRtau dvAvapi. 6) On aritrANi B has a marginal gloss AulAM. 8) 0degbhigamya namazcakratuH / (tataH) labdha', ratnAnyupAyaM for vyAvRttya, nijakulA. 12) P jaladhau dhAtayAmAsa. 13) PB inter. pracuramakaraghore & sAgare. 14) P parajanazca- 16) PB etannizamya samyakarNadhArakaiH. 19) PB etena lobhadevena pApinA ahamatra. 29) B agaNyapuNya. 34) Pom. iti. 35) " savinayasnAnabhojanA', PB vizvAsamAzrayaH 37) PB mAMsamutkIrtitaM.

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12 * 24 ratnaprabhasUriviracitA [II. $ 28 : Verse 1281 628) anyadA lobhadevastatkSaNotkartitamAMsakhaNDaH pravahacchoNitaliptatanu rnnddpkssinnotkssiptH| 1 tasya vyomni gacchataH samudropari pareNa bhAraNDapakSiNA saha yudhyamAnasya bhavitavyatayA ca puTasthito 3 lobhadevaH sAgarAntaH papAta / tajjalena nirmitavedanaH sajana iva durjanavacasA bahalatarakallolamAlApreryamANaH 3 samudreNApi mitravinAzamahApApakaluSitahRdaya iva niSkAsitaH / kimapi kUlaM saMprApya tatra kSaNamAtraM zItalamarutA samAzvAsitaH kAnanAntaH saMcaran vaTapAdapatalaM ddrsh| tatra marakatamaNikuTTimaM sugandhanAnA6 vidhakusumasaMcayacitaM nirIkSya lobhadevo vyacintayat / 'aho, kila zAstreSu zrUyate, yathA devAH svarge 6 vasanti tanna te ramyA ramyavizeSajJAH / anyathA kathaM lokatrayAhlAdakaramimaM pradezaM parityajya tridazAstridazAlayamAzrayante / ' dhyAtveti sa tatra nyagrodhapAdapAdhastAdupavizyAtIvatIvavedanAtazciraM dadhyau / 'sa ko dharmaH, yena devA divyabhogadhAriNo devaloke sukhamanubhavanti / tatkiM pApamasti, yena narake nairayikA 9 maduHkhato 'pyadhika duHkhamudvahanti / tato mayA kiM punaH pApamAcaritaM yadevaMvidhaM duHkhaniketanamabhavam / ' iti cintayato lobhadevasya cetasi sahasaiva tIkSNazarazalyamiva rudrazreSThI sthitH| tataH sa 12 cintyaamaaseti| 629) 'aho, asmAdRzAM kiM jIvitena / hato vayasyaH sarvasya priyakArI klaanidhiH| zreSThI rudro mayA yena pApinA dravyalobhataH // 128 15 tAvatsAMpratamapi tatkimapi tAdRzamAcarAmi yena priyamitravadhakaluSitamAtmAnaM tIrthabhuvi vyApAdya sarva-15 pApavimukto bhavAmi / ' iti cintayan lobhadevaH kSaNaM suptaH, prabuddhazca ekasyAM dizi kasyApi madhurAkSarAM giramAkarNya cintitamanena / 'aye na saMskRtaM prAkRtamapabhraMzaM ca / iyaM tAvazcaturthI paizAcikI bhASA, 18 taavdaakrnnyaami|' tatasteSAM pizAcAnAmiti parasparamullApaH pravartate, tAvadekenoktam / 'yadidaM pApA-18 panodAya tapasyatAM pavanAbhogasthAnaM ramaNIyam / ' apareNoktam / 'ito'pi caarushcaamiikraaclH|' anyena bhaNitam / 'asmAdapi tuhinazizirazilAtalastuhinagirireva rmnniiyH|' itareNoktam / 'evaM mA mA 21 vadata, sarvapApApahAriNI suranirjharaNI prdhaanaa|' iti nizamya tAM prati pracalito lobhadevaH parityakta-21 lobhasaMgaH samapAgatAbhaGgavairAgyaraGgaH / krameNa ca narezvara, samAgatyAtraiva nivissttH|' enaM vRttAntaM bhagavatA kathitamAkarNya vIDApramodaviSAdaparavazaH zrIdharmanandanagurucaraNamUlamavApya lobhadevaH provAca / 24 'yadvandhacaraNAravindairAveditaM tadavitathameva / kimatra mayA kartavyam / ' tataH zrIdharmanandanamunipena proktam / 24 'vatsa, sarvathA mitravadhasaMbhUtapApajAtakSayAya lobhamahAnizAcaramanIhAhetyA paJcatvamAnIya vinayavAmano bhUyasA tapasA purAkRtakarmamarmanirmathanAya jainatapasyAsarasyAM rAjahaMsalIlAmalaMkuru / kSAntikA 27 hevAkitAmAzraya / kaayotsrgmugrmaacr| pApamahArAjaprAkRtIrvikRtIH parihara / yatra na jarA na mRtyuna 27 vyAdhina cAdhina ca duHkhaM tacchAzvataM mahodayapadaM vizadaM tataH prApsyasi / ' tadAkarNya lobhadevenoktam / __ 'bhagavan , yadi tAvadetasya cAritrasya yogyo 'smi tato mama pravrajyAdAnaprasAdaM vidhehi / ' bhagavatA 30 zrIdharmanandanena guruNA pAdapatitasya tasya bASpajalaplutalocanasya prazAntalobhasya lobhadevasya vratamadAyi / 30 / iti lobhe lobhdevkthaa| 630) punarapi gururuvAca / 33 'hanti hanta mahAmohastuhinaudha ivoditaH / paGkeruhaM vivekAkhyaM yaza parimalorjitam // 129 33 sarvaduHkhamayo bhUpa bhava eSa jinairmtH| tasya svabhAvaM jAnanti mahAmohahatA nahi // 130 bhuvo 'vataMsaH saMjajJe sa evAgaNyapuNyabhAk / sadadhvanau na yaH kvApi hiyate mohavAjinA // 131 36 anena moharAjena durdhareNa jagatrayI / jigye jinamunIn muktvA tIvravratadhuraMdharAn // 132 36 sarvadAyamaho moho mahAsAgarasaMnibhaH / na yasya prApyate stAgho mahAvaMzairapi kvacit // 133 __ mahAmohamohitamanAH pumAn gamyAgamyamapi na vicArayati / svasAramapyabhisarati / janakamapi 39 mArayati / nareza, yathaiSa purussH|' vijJaptaM nRpatinA / 'svAmin , anekalokasaMkulAyAM sabhAyAM kaH puruSaH, 39 ___ iti nAvaimi / ' tadadvagamya guruNA bhaNitam / 'ya eSa tava dUre dakSiNadeze vAsavasya lepyamaya iva kAryA kAryavicAravimukho dRzyamAnasundarAvayavaH sthANuriva sthitH|' etena mahAmohamohitacetanena yatkRtaM 42 tacchrayatAmiti / 42 10) PB duHkhaniketanamiti. 12) Pom. kiM. 18) PB pravartate / ekenoktaM. 29) o inter. bhagavan & yadi. 31) PB om. iti. 36) P anyena for anena. 41) 0 vAsavasya vAmo lepyamaya, P B om. mahA.

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-II.SS 33 : Verse 149 ] kuvalayamAlAkathA 2 1 (31) asti samasta kuzala janAvRtagrAmAbhirAmaH kozalAbhidho janapadaH / tatra paracakradurlaGghayA 1 kAminImukhacandracandrikAtyantadhautadhavalagRhA kozalAkhyA nagarI / 3 svarnadIsaMgatairyatra marullolairdhvajAJcalaiH / mArjayantIva zazinaH kalaGkamamarAlayAH // 134 ramArAmAbhirakhilaiH subhagaMbhAvukairguNaiH / mAtrAdhikatayA yatra parAbhUyanta bhUrizaH // 135 vAtAvadhUtaprAsAda dhavaladhvajavelanaiH / yatra tripathagA vyomni sahasrapathagAbhavat // 136 tatra kSatraziroratnaM pavitramatibhAjanam / kozalaH kuzalaH kSoNIpAlaH pratyarthikozalaH // 137 vAhinI prasaravisphuradrajomaNDalena ravirastadIdhitiH / yasya vikramaguNakavarNane na kSamaH phaNabhRtAmapIzvaraH // 138 yadazvIkSuNNakSitivitatareNvA ravirapi kSatajyotiryatsindhuranikaradAnodakabharaiH / prasasrurvAhinyaH pratipathamamandaiH pratiravairaho niHzvAsanAmajani kila garjirjalabhRtAm // 139 yasya prayANe pRthivIzvarasya niHzvAsanAdAH kila ye prasasruH / 12 taeva vidveSa mahIpatInAM palAyanotsAhakarA babhUvuH // 140 yadyatrAsvapi durgalaGghanalasanniHzvAsanAdaiH sphuratsainyoddhUtarajo bharairavirataM pratyarthipRthvIbhRtAm / aft vaSvathAndhyamabhavannetreSu tasya stutiM kartuM na kSamate sahasrarasano 'pyurvIbhRto vikrame // 141 932) atha tasya mahIzakrasya mUrtyA jayanta iva paraM nAkulInaH siMha iva vikramI na nakharAyudhaH, 15 saviteva prakAzakaro na kaThoraH, candra iva sarvAhlAdakaro na kalaGkitaH, tosalAkhyaH saMkhyAvatAM mukhyastanUbhavaH samabhavat / evaMvidhavividhaguNasaMpUrNena tenAnivAritaprasareNa nijanagaryAM paribhramatA kadAci18 tkasyApi mahato nagarazreSThino harmyaramyagavAkSavivaravinirgataM dhArAdharapaTalaprakaTIbhUtapUrNimAkumudabA- 18 ndhavamiva bAlikAyA vadanakamalaM kuvalayadaladIrghalocanayugalaM dadRze / sApi tamAlokya sAkSAdiva manobhavamuddAmAnurAgasAgarAntarnimagnamAnasA tadAtvameva samajAyata / taddarzanena tasyApi cetaH paJcazareNa 21 paradArAvalokanena janitakopeneva titauriva paJcabhiH zaraiH zatacchidraM vyadhAyi / tatastena nirdayaviSama- 21 zaraprahAra prasUtivedanAvivazeneva dakSiNakareNa vakSaHsthalaM paspRze, vAmena nAbhipArzve tarjanyaGgulI coGkhakRtA, tayA ca tannirIkSaNaparavazayA vAmetarapANinA kRpANapratikRtiH prakaTitA / tataH kumArastacceSTita24 mAlokya svAvAsaM prati pracalito vyacintayaditi / 6 9 15 27 * 25 36 yataH, 3 'yasya mukhena lAvaNya puNyena dvijanAyakaH / nyakkRto 'GkacchalAttunde cikSepa kSurikAM nije // 142 dAdUdayAlulAsa lAvaNyavAridhiH / yatrAmRtAyitaM vAcA dRSTibhyAM zapharIyitam // 143 pravAlAyita moThAbhyAM muktApaGkIyitaM dvijaiH / kUrmAyitaM kucAbhyAM ca dorbhyAM vetralatAyitam // 144 27 iyaM zRGgArasarvasvaM rAjadhAnI manobhuvaH / uddAmayauvanaprAgraharA lAvaNyadIrghikA // 145 aho asyA vAlikAyAH sarvarUpAtizAyirUpaM, aho adbhutA kApi saubhAgyabhaGgI, aho vidagdhatvam, 30 aho nirupamA lAvaNyalakSmIH' iti vyAyanneva nijAvAsamAsadat / sAtha krameNa nayanapathAtIte 'pi 30 tasminnarAdhIzvaranandane ibhyatanayA viSamabANabANaprahAra prasarjarjarazarIrasarvAvayavA muktadIrghoSNaniHzvAsadhUmadhyAmalIkRtazayyAgRhavicitracittabhittiH zayanIye luloTha / 12) P palAyinotsAha. 15 ) B has a marginal gloss ( on nakharAyudha:) thus : nakharA nakhA evAyudhaM syAdasya sa nakharAyudhaH kumAraH punarna nakharAyudhaH ko'rthaH kharAyudha tIkSNAyudhaH / tena prakRtyarthavAcakau / . 16 ) Badds karaH after kaThoraH. 20 ) P sAgarAMtara nirmana. 21 ) P lokanajanita. 26 ) P yadAsyehRdayAdu . 38) PB dahanatapta. 6 9 33 iSTaM mantramiva svAnte smarantI taM nRpAtmajam / sA tasthau sukumArAGgI kuraGgInayanA ciram // 14633 na zayyAyAM na ca jyAyAM na jane na vane ratiH / tasyA na candre no candre viyoginyAH kadApyabhUt // 147 zItAMzurapi dharmAzuzcandanaM ca hutAzanaH / nizApi vAsarastasyA vaiparItyaM tadAbhavat // 148 12 24 'yoginAM candanAdyairyaiH zItaiH prItiH prajAyate / tanujrjvalati taireva satataM viprayogiNAm // 149 933 ) sa kumAro yAvadanyadA tasyA hRdayahAriNyAH saMgamopAyatoyena dussahavirahadahanottaptadeha39 nirvApaNamabhilaSannasti tAvatparyastakiraNadaNDazcaNDa kiraNaH pazcimAcalacUlikAvalambI babhUva / tadA - 39 'tiprasRte saMtamase kusumazarazaraprasaravyathito 'duHkhena vinA saukhyaM nAsti' ityavagamya kumAraH samudtiSThat / tatastosalo nijaM vasanaM gADhaM niyanya kuvalayadalazyAmalAM yamajihvAkarAlAM kSurikAM kaTItaTe 36

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* 26 ratnaprabhasUriviracitA [II. $ 33 : Verse 1491 baddhA dakSiNakare vairivIravAranizumbhanaM kRpANaratnamaMsAvalambitaM vasunandakaM ca kRtvA racitanIlapaTa- 1 prAvaraNastatsadanAntikamAgatya viyatkSiptakaraNaM dattvA vAtAyanamAsasAda / nirmalaprajvaladyaSTipradIpa3 pradyotitAvayavAM parAGmukhIM zayanatale viniviSTAM tAmeNalocanAmAlokata / kumAreNa pRthivyAM vasunanda-3 kopari kRpANaM muktvA nibhRtapadasaMcAramupagamya tasyAH sudRzo locane pANibhyAM pihite / tatastayA sarvAGgaromAJcakacakamudvahantyA cintitam / yadadya sarvato mamAGgaM pulakitaM bAlamRNAlinIdalakomalaM kara6 kizalayaM tajJAne saiSa mtsvaantsrvsvtskrH|' iti vimRzya tayAbhANi 'aho saubhAgyanidhe, mAM munyc'| 6 kumAreNa hasatA tannayanadvayI zithilIcakre / tayA tasya gRhAgatasya vinayavRttyAbhyutthAnaM vidadhe / tayA datte pradhAne [viSTare ] kumAraH samupAvizat / kumAreNoktaM 'tava saMgamamicchAmi' / tayoditam / 'deva yukta9 metatparaM kulAGganAnAM kevalaM zIlapAlanameva hitam / ' ityAkarNya kumAreNa jalpitaM 'yadyevaM bhavatI zIla-9 vatI tato vrajAmi' / ityuktvA khagaratnaM vasunandakaM ca svIkRtya sasaMbhramamuttasthau / tayA taM vastrAJcale dhRtvA proktam / 'bhadra pAripanthika iva mama hRdayaM muSitvA kutra vrajasi / yatastvAM bAhulatApAzaniyamita 12 krissye|' ityAkarNya kumAraH sthitaH / tayoktam / rAjaputra, yadatra paramArthastaM tAvadAkarNaya pazcA- 12 dyadyuktaM ttkuryaaH| 34) astyetasyAmeva kozalAyAM zreSThI nandanAbhidhaH / tasya patnI ratnarekhAkhyA / tatkukSisaMbhavA 15 suvarNadevAbhidhAnA pitroratIkvallabhA kanyakAsmi / tataH pitRbhyAmahaM viSNudattaputrasya haridattasya pANi-15 pIDanAya pradattA / sa ca mAmupayamya vANijyAya yAnapAtramAruhya laGkApurImabhijagmivAn / tasya proSitasyAdya dvAdazo vatsaraH sAtirekaH / vipanno jIvati veti na jhAyate / etaM yauvanamahAsAgaramapAraM kAma18 mahAvartagartadustaraM viSayamatsyakacchapotkaTamatigahanaM nirapavAdamullaJcanyantyA mameyanti dinAni jAtAni / 18 durjeyatayA viSayANAM caJcalatayA cendriyagrAmasyaikadA mama mAnase iti vikalpasaMkalpamAlA babhUva 'aho jarAmRtyurogazokaklezapracure saMsAre priyasaMgamAdaparaM na kiMciccharmAsti, tacca na vidyate / tato 'jAga21 lastana ivAraNyamAlatIkusumamiva badhirakarNajApa iva nirarthakaM me jIvitam / iti vicintya ciraM maraNa-21 kRtAdhyavasAyA 'sudRSTaM jIvalokamadya karomi' iti yAvadgavAkSamArUDhA tAvattatra bhavitavyatayA bhavAnmama locanagocaraM gataH / tvAM dRSTvA rAgaparavazA tatkAlameva jAtAsmi / tvayA ca parAmRSTaM hRdayam , ekAGguli24 rUkRtA / mayA tadavagataM yadetena rAjaputreNa mama saMjJA kRtA / hRdayaparisparzaneneti kathitam / 'yattvaM mama 24 hRdayasyAbhISTatamA' / aGgulyA UrkIkRtayA ceti kathitaM yadekadA saMgamaM dadasva' iti / tato mayA tava khagAnukArI nijakara iti pradarzitaH, 'yadA kila tvaM khaDgabalenaiva samAgacchasi tadA tava saMgamo nAnyathA' 7 iti / tadAprabhRti rAjaputra, tava saMgamAzAbaddhamAnasA 'ko 'pi mA jJAsIt' iti vepamAnA kRtamaraNa-27 nizcayA yAvadasmi tAvadbhavAn samAyAtavAn / tataH sAMprataM vinaSTaM vijJAnam , galito gurujanavinayaH, parimuSitaM vivekaratnam, vismRto dharmopadezo bhavatsaMgamena / kiMca yadi tAvatvayA saha saMgatiM karomi 30 tato mama kulamandire duHzIletyeSA parAbhavaH svajanAnAM gurutaro 'pavAdazceti / yadi lokApavAdaH sahyate 30 tadA tava mamApIpsitaM, anyathA mRtyuvaram iti jalpantI sudatI nizAkareNava nizA gADhatara kumAraNa samAliGgitA saphalIkRtayauvanA ca / prItyA ca divase bhAvisvavirahavinodacihnaM nijanAmAGko mudrikA33 mekAM tasyai sa tadA dadau / tato'laGkatadigvibhAge saMdhyArAge kumAraH sahasA tanmandirAttenaiva prayogeNa 33 tadyathAgataM gataH / evaM ca tasyAnudinaM prativasatastatra tayA sahASTamo mAso vyatIyAya / tatra ca tathAvidha karmasaMyogena bhavitavyatayA niyogena sA garbhavatI babhUva / tatsakhIjananiveditavRttAntAyA ratnarekhAyA 36 mukhAt nandazreSThinA samavagatya saMjAtakopena kozalanarezvarasya puro nyavedi / rAkSAdiSTam / 'gaccha 36 gRhe 'nveSayAmi lagnaH' / tato rAjAdezamavApya mantriNA sarvatra vilokamAnena tosalakumAraH prAptaH, vijJaptaM ca rAze / tato gurutarakopasphuradadhareNa dharAdhareNAdiSTam / saciva, nAhamanyAyinaM putramapi sehe, tadenaM 39 drutameva nigRhANa / sacivo' yadAjJApayati svAmI' iti bhaNitvA kumAra kenApi vyAjena zmazAnabhUmi-39 mAninAya / tatra kAryAkAryadakSiNena mantriNoktam / 'kumAra, tava durvRttena tavopari kupitaste pitA, bhavAn vadhya AjJapto'sti, svAmisutatvena tvamapi mama prabhuH kathaM tvAM vyApAdayAmi / sadaivAsmi tava vaMzasevakaH, 42 tatastvaM tathA vraja yathA tava pravRttirapi na zrUyate / tvayA kvApi na kathyaM yadasmi toslH|' iti bhaNitvA 42 2) PB prajvalayaSTi. 8) PB om. viSTare. 14) B kosalAyA. 26) B inter. kilaM & tvaM. 30) P matkulamaMdire. 31) B nizAkareNeva. 37) PB gRhamanveSayAmi. 40) P B kupitaH pitA. 41) PB AjJaptosi, P repeats (after yadasmi) tava vaMzasevakaH etc. to na kathyaM yadami.

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-II. $ 37 : Verse 154] kuvalayamAlAkathA 2 * 27 1 mantriNA kumAro visarjitaH / kumAro'pi tadaiva nirgatya pracurANi purANyullaGghaya krameNa pATalIputramaga-1 cchat / tadA tatra ca rAjA jayavarmA rAjyaM pAlayati sma / sa kumArastatra tasya sevAparo'bhavat / 3 35) itazca tasyAM kozalAyAM sA suvarNa devA jJAtaduHzIlatvena bandhujanena nindyamAnA janena 3 ca kumAravirahodvignamAnasA gabhebhavaduHkhabharavAdhitA vyacintayaditi |'s kutra rAjaputro yo mAM parityajya yayau' iti cintayantI sA kasyAzcitsakhImukhAt 'tava doSeNa rAjAdezataH sacivena kumAro 6 hataH' iti zrutvA sagarbhatvenAkRtatadanumaraNA nizIthe kenApi cchadmanA gehato nirgatya bhavitavyatAyogena 6 pATalIputrapuraM prati pracalatA kenacitsArthena saha cacAla / sA sudatI mandaM mandaM gacchantI garbhavedanArtA caraNacakramaNApravINA pazcAtsArthAtparibhraSTA tAlahintAlatamAlakadambajambUjambIrAdiphaladalazatasaMkule 9 mahAkAnane mUDhadigvibhAgA aparijJAtanigamA tRSNAtaralitacetovRttiH kSudhA zyAmavadanA pathazrAntA 9 siMhaninAdavidrutA vyAghradarzanavepamAnahRdayA duradhvapatitA vilApAnakArSAditi / 'hA tAta, ahamabhISTatamApi tvayA paritrANaM na kRtam / hA mAtaH, mamApi tvayA rakSaNaM na kRtam / hA priyatama, yasya tava kRte kulaM yazastrapA sakhIjanazca paTaprAntalagnatRNavad vezmapramAjenoddhatAvaskaravat sarvamapi 12 tatyaje, sa tvamapi maamupekssse|' iti vilapantI mUJchitA dharAyAM papAta / atrAntare kumudinIvibhustAM mRtAmivAvagatya duHkhArtI vizrastakaraH pratIcIjalanidherantaH parimamaja / tato mahAgajendrayUthamaline 15 vindhyagirizikharamAlAnIle samantataH prasRte saMtamasasamUhe zItalena vAyunA jAtAnukampeneva samAzvA-15 sitA sA / tatastasminmahAbhIme vane ekAkinI azaraNA suvarNadevA prasUtA ekaM dArakaM dvitIyAM dArikA c| tatazca / 18 sutajanmamudAraNye vAsArtyA tanmanaH kSaNam / janase 'harmukhamiva bhAsA bhUcchAyayApi ca // 150 18 sA ca prlpitumaarebhe| pitrA mAtrA ca bhA ca svajanena ca varjitA / vatsa tvameva zaraNaM tvaM gatistvaM matirmama // 151 21 pitA pAti ca kaumAre yauvane rakSati priyaH / sthaviratve tanUjastu ni thA strI kadApi na // 152 21 itazcAharpatiH prApa pUrvaparvatamastakam / tasyA duSTamahAkaSTatiraskArakRtAviva // 153 uditastejasAmIzaH kopATopAdivAruNaH / varNalopakRto dhvAntasaMghAtasya vighAtane // 154 36) evaMvidhe pratyUSaprastAve cintitmnyaa| 'kimadhunA mayA kArya tAvanmaraNaM na varam , yato 24 bAlayugalaM mayi mRtAyAM mRtameva, tadasya pAlanameva saMprati zreyaH' / iti dhyAtvA gatA kasyApi grAmasya parisaram / tatastosalarAjaputranAmAGko mudrAM bAlasya kaNThe nikSipya nijanAmAGkitamudrAM bAlikAyAzca 27 nijottarIyaprAntadvayena dAraka dArikAM ca pRthaggranthau babandha / tadvAlayugalaM tatra muktvA svayaM suvarNadevA 27 zarIravaivarNyanirAkaraNAya vindhyAcalopatyakAnirjharaNamupAjagAma / atrAntare navaprasUtA vyAghrI svazi zorbhakSyArtha bhramantI navazoNitagandhahRtacittA cIvarobhayaprAntabaddhaM bAlayugalaM jagrAha / tasyA vajantyA 30 vasanAntabaddhAdArikA pathi papAta, na ca tayA galitApi daarikaajnyaayi| tadA ca pATalIputrezazrIjayavarmanRpa- 30 sthAgataH sabhAryastatra duutH| sa tAM dArikAM dRSTvA gRhItvA ca nirapatyAyAH svabhAryAyAH samarpayAmAsa / to ca dampatI krameNa tAM putrImaGgIkRtya pATalIputramAyAtau / tAbhyAM tasyA bAlikAyA vanadatteti nAma vidadhe / 33 637) itazca vyAghrI stokaM bhUbhAgamupetA kuto'pi kAryAntarAttatrAyAtena rAjJaHzrIjayavarmaNo rAja-33 putrazabarazIlena vyAghra itikRtvA gurutarazalyaprahAreNa hatA mRtA ca / taM ca bAlakaM komalamRNAladehaM raktotpalasamakramayugalaM vikasvarendIvaranayanaM pArvaNacandrAnanaM sa dadarza / tatastaM zabarazIlaH pramuditacetA nija36 priyatamAyai 'tava putraH' iti vitIrNavAn / tatkAntayA 'prasAdaH' iti bhaNitam / vardhApanakamahotsavaM 36 vidhAya dvAdaze divase pitrA tasya putrasya vyAghradatta iti nAmadheyaM guNyaM dade / sarvatra ca nagarAntastadAsya pracchannagarbhA patnI prasUteti viditamabhavat / zabarazIlastena bAlakena sAkaM pATalIputramavApa / tatra ca 39 samAnazIlarAjaputraiH sArdhaM krIDAM kurvatastasya mahAmohamohitacetaso lokena mohadatta iti saMjJA kRtA / 39 evaM mohadattaH saha kalAkalApena vayasA gaNagaNena ca vrdhitumaarebhe| itazca suvarNadevA gAtrapAvitryaM nirmAya samAgatA bAlakayugmamaprekSamANA mUrchitA / punarapi vAyunA labdhacaitanyA ciraM vilalApa / tataH 42 svayameva sA svaM saMbodhya tataH sthAnAt prclitaa| purato vyAghrIpadAni dRSTvA vyAghyA bAlakayugalaM 42 7) B praticalatA. 10) BhA tAtAhamabhISTatamApi tvayA parityaktA / hA. 11) Pom. hA mAtaH etc. kRtam / , B paritrANaM for rakSaNaM. 12) 0 inter. zIla & kulaM. 14) PB degvaavgmy.| 15) P giriziSaraziSarimAlA. 25) B tadatra for tadasya. 27) B dArakaM ca dArikA, B suvarNadevI. 30) P jayavarmAnRpasyA". 32) P B ckkh tayA for tAbhyAM. 37) P om. putrasya. 40) PB sakala for saha, B suvarNadevI. 42) P Bom. sA.

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15 * 28 ratnaprabhasUriviracitA __ [II. F38 : Verse 1551bhakSitamiti cintayantI tadanumArgamanusarantI kasminnapi goSThe kasyAzcidAbhIryA vezmani samAgatA / tayA 1 'duhitA' iti sthApitA / tatra kiyanti dinAni sthitvA prAmAnugrAmaM paribhramantI pATalIputraM sANyA3yAtA / tatra karmasaMyogena tasminneva dUtagRhe sA praviSTA / tatra ca dUtakAntayA tahuhitA tasyA eva prati- 3 pAlanArthamarpitA / suvarNadevA tAmAtmIyAM sutAmajAnantI kevalaM tatsutAmeva hRdi bhAvayantI tAM vardhayi tumArabhata / sA sutA krameNodagrayauvanaprAgraharA lAvaNyAtizAyinI saubhAgyabhUmikA cAturyadhuryA jaataa| 6 638) itazca janamanaHpramodabharadAyini madhuramadhukaranikaradhvanitAkule vasantakAle madanatrayodazyAM 6 bAhyodyAne kAmadevasya yAtrAM vIkSituM mAtRsakhIparivRtA gatA vanadattA / svairaM paribhramantI ca tatrAgatena mohadattena vilokitA, tayA ca saH / tayoH parasparaM vilokanena prItiH samabhUt / tatrAnyonyadarzananIra9 saMsiktasnehamahIruhaM mithunaM mahatI velAM yAvattasthau, tAvatsuvarNadevayA svaduhitari gADhataraM mohadattAnurAga 9 vibhAvya jlpitm| 'vatse, tavehAgatAyA gurvI velA jAtA, tava pitApi duHkhAkulitamAnaso bhaviSyatIti tAvatpravartasva gRhaM vrajAmaH / yadi tAvattava kautukaM tato vatse, madanotsave nivRtte nirjane kAnane samAgatya 12 punarnijecchayA bhagavantamanaGgaM vilokayeH' iti jalpantI tayA samaM vnaannirgtaa| cintitaM ca mohadattena / 12 'aho, etasyA mamoparisamasti snehaH' iti suvarNadevAvaco 'vazyaM saMketajanakaM paribhAvayanmohadattaH kAnanAnniHsasAra / sA vanadattA kAmamahApizAcagrastena dehena niketanamAyAtA na punazcetasA / tatrA 15 guruvirahajvalanajvAlAvalIkarAladehA kaGkellipallavAkIrNazayanIyatalasthitA / vitIrNAsthAnahuMkArA kAmajvarabharAturA // 155 mRNAlavalayA rambhAdalAvaraNasaMvRtA / candanadravasaMsargasarvAGgalatikA tadA // 156 ___18 nirgacchaduSNaniHzvAsazuSyamANAdharAvanI / parityaktakalAbhyAsapuSpatAmbUlabhUSaNA // 157 18 vicchAyavadanAmbhojA divA candrakaleva yA / na palyake na vA bhUmitale prAptasukhAbhavat // 158 caturbhiH kalApakam // 21 639) vanadattAnyadA madanotsave vyatIte tasminnevodyAne gantukAmA jananIsakhIjanAnvitA rAja-21 mArge tosalarAjaputreNa vIkSitA / dezAntaraparAvartitarUpayauvanalAvaNyavarNastosalastayA suvarNadevayA na pratyabhijJAtaH / tena sApi dUradezAntarAsaMbhAvanIyasamAgamA nAvagatA / kevalaM tasya tosala24 rAjaputrasya vanadattAyA upari mahatI prItirutpannA / cintitaM ca tena / etAM cArulocanAM dravyadAnena 24 vikrameNa vApareNa vApyupAyena pariNeSyAmi / sundaramabhavadyoSA bAhyodyAnabhuvaM prAptA / tato'hamapi tadanumArgalagno yAsyAmi' iti vicintayan gantuM pravRttaH / sA ca vanadattA kariNIva sulalitagamanA 27 krameNa vanAntarvicacAra / itazca gurutarAnurAgadattahRdayena tosalena lokApavAdamanapekSya dUrato brIDAMA vimucya jIvitAzAmapi parityajya bhayamavagaNayya cintitam 'ayamatrAvasara iti / tataH karSitakarAla karavAlo mahAmohamUDhamAnasastosalo babhANa / 'bhadre, yadi jIvitena te kArya tadA mayaiva samaM ramakheti / 30 anyathA kRpANalatayAnayA bhavatIM kathAzeSAM kariSye / ' tattAdRzaM vRttaM vIkSya hAhAravamukhare sakhIjane 30 suvarNadevayA ca pUJcake / 'bho bho janAH, tvaritaM pradhAvata pradhAvata, anena mama putrI niraparAdhaiva kAnane vyAdhena hariNIva vinaashyte|' 33 640) itazca sahasA mohadattaH kadalIgehataH karSitanistriMzo niHsRtya provAca / 're re puruSAdhama 33 agrAhyanAmadheya nistrapa, strISu praharasi / ahamasyA rakSakastanmama saMmukho bhv|' iti zrutvA tosalastadabhimukhaM pratyadhAvata / tosalena mohadattasya kRpANaprahAraH pradattaH / tena ca mohadattena karaNakauzalena 36 tasya prahAraM vaJcayitvA pratiprahAreNa tosalarAjaputraH kRtAntadantakrakacagocarIkRtaH / tato mohadatto vana-36 dattAbhimukhaM calitaH / tayA sa jIvitadAteti priyaH pratipannaH / sutA jIviteti hRSTamAnasA suvarNadevA samabhavat / mohadattena bhaNitam / 'bhadre, vizvastA bhava, kampaM muJca, bhayaM mA kaarssiiH|' tatastena mohitena 39 mohadattenAliGgaya yAvattayA saha raMsyate tAvadakasmAdeva dIrghamadhuraH svarastasya karNAtithitvaM bheje| 39 'janaka mArayitvApi jananyAH purato'pi ca / are riraMsase mUDha svasAramapi saMprati // ' 159 tato mohadattena vilokito 'pi kvApi ko 'pi na dRSTaH / evaM vAratrayAkarNanajAtazaGkaH kopakautUhalA42 baddhacittaH khaDgaratnavyagrapANirmohadattaH sarvataH kAnanAntarvilokituMprAreme / tAvadbhagavAn sAkSAdiva dharma 42 ___4) B suvarNadevI, PB om. tA. 7) PB paribhRtA. 8) P B om. tayA ca saH / . 11) nirvRtte. 13) B samastasneha. 26) Pom. ca. 30)0degmukhareNa sakhIjanena. 41) P B om. vilokito'pi, P jAtAzaMkaH.

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* 29 12 -II. $ 42 : Verse 177] kuvalayamAlAkathA 2 1eko 'nagAracUDAmaNistasya dRggocaramAgataH / 'amunA munipatinA jalpitam' iti cintayanmohadattaH 1 zramaNakramaNayugalamabhinamya nAtidUre niviSTaH suvarNadevA vanadattA skhiijnshc| tato mohadattena vijnyptm| 3 'bhagavan , yattvaM kathayasi mAtuH purataH pitaraM vyApAdya svasAramabhiramase tatkathaM mamAyaM pitA, kathamiyaM 3 mAtA, kathaM ceyaM svasA, iti / tataH sa munipatiH kozalAyA Arabhya vRttaM tosalamRtiM yAvattatpuraH spaSTamAcaSTe / ekaM tAvadakRtyaM kRtaM yattvayA pUrva janakastosalo vyApAditaH, idaM tAvadvitIyaM yattvaM bhaginI6 mabhivAJchasi / tataH sarvathA dhira mahAmohavilasitam / ' etannizamya suvarNadevA vanadattApyadhomukhI 6 bbhuuv| 41) mohadatto'pi nirviSNakAmabhogo mahAzucisamaM mAnuSatvaM manyamAnaH pracurataravairAgyamArga9 manulagno jjlpedm| 'anantaduHkhavRkSANAM mUlamajJAnameva ca / ajJAnameva vRjinaM bhayamajJAnameva ca // 160 tato munIza, mama kathaya mayA sarvathaivAdhanyena kimAcaraNIyam , yena sakalamapi pApaM mUlAdeva 12 vinazyati / ' bhagavatA samAkhyAtam / 'kalatraputramitrAdi sarvamutsRjya sarvathA / dIkSA bhaja bhavAmbhodhimaGginImaGginImiva // 161 mohadatteneti jalpitaM 'bhagavan , mAM pravrajyAsaMgataM tarhi tanu' / muninAdiSTam / 'yadahaM cAraNazramaNo na / 15 gacchapratibaddhastena tava vrataM daatumniishH|' tathA 15 dazASTa yasya paJcAzada yojanAni yathAkramam / vistAre zikhare mUle procuH siddhAntavedinaH // 162 zrInAbhinandano yatra pvitritjgtryH| avasthiti svayaM cakre sa zaileSu ziromaNiH // 163 ___18 karmANyapi vijRmbhante yatra tAvadvapuSmatAm / zrInAbhisUnurnAbhyeti yAvallocanagocaram // 164 18 karmabhapuNDarIkazrIH punnddriikmhaamuniH| yatrAvRtaH zivaM prApa paJcabhirmunikoTibhiH // 165 yasminnamivinamyAkhyau vidyAdharapatI tathA / munikoTidvayIyuktau paramaM padamIyatuH // 166 / / zrIrAmabharatau vAlikhilyAnAM dazakoTayaH / pradyumnAdikumArANAM sArdhAstisrazca koTayaH // 167 21 nAradaH pANDavAH paJca pare 'pi munipuGgavAH / yatrApuH kSINakarmANaH sarvaduHkhakSayaM padam // yugmam // yatraikasyApi siddhiH syAt tattIrthe jagaduttamam / asya kiM procyate yatra nirvRtA munikoTayaH // 169 24 yatra bhUmIruhazreNIramaNIyasamucchalAt / jinAdhisparzarahitAn hasatyanyamahIdharAn // 170 24 sphurannijharajhAtkArairya evamiva jalpati / janAH kimanyatIrtheSu bhramante hA vihAya mAm // 171 atIvaguptA yatrAsti zake vazyArthamoSadhI / tadvaNoti svayaM siddhiHprakAmaM kAmavarjitA // 172 27 42) tatra zrIzatruaye mahAtIrthe mayA gacchatA gaganatalenAvadhijJAnataH parikSAtaM tvayA nihataM 27 janakaM, cintitam 'ekamakArya kRtamanena yAvadvitIyaM nAcarati tAvatsaMbodhayAmyenam' / 'ayaM tAvadbhavyaH paramanena mohamohitacetasA vihitamahitam / 30 lakSayojanamAnena kalitaM kAJcanAcalam / nivezayanti daNDasya pade ye caikahelayA // 173 30 svayaMbhUramaNAbhikhyaM sAgaraM ye jinezvarAH / taranti dustaraM bAhudaNDAbhyAmapi lIlayA // 174 ekena bhujadaNDena dharAmapi sabhUdharAm / Atapatramiva kSipraM lIlayaiva dharanti ye // 175 33 trilokItilakAste 'pi krmaadeshvshNvdaaH| kimucyate varAkasya bhavato mohadatta hI // 176 33 anomayA saMprati viyataH samattIrya tvaM prtibodhitH| vijJaptaM mohadattena bhagavana. kathaM pana: kathaM punaH pravrajyA prApyA' iti / muninA bhaNitam / 'vraja tvaM kauzAmbyAM dakSiNe pArce bhUpateH purandaradattasyodyAne 36 samavasRtaM zrIdharmanandanaM munipradhAnaM gaNAdhipaM drakSyasi / tatra sa gaNabhRttamaH svayameva tava vRttAntamavagatya 36 dIkSAM dAsyati / ' iti vadan kuvalayadalazyAmalaM ggntlmutptitH| bhoH purandaradattamahArAja, saiSa tadvacanaM zrutvA gRhavAsaM parityajya mAmanveSayanihAgata iti / evaM ca tadAkaNye mohadattaMna bhANatam / 39 'bhagavan , idamitthameva kimapi nAlIkaM tAvanmAM pravrajyAbhAjanaM vidhehi / ' zrIdharmanandanagururgurugauravArho mohvypohvishdiikRtcittvRttau| dIkSAM jinezagaditAmatha mohadatte datte sma sarvasukhasiddhipadasya bIjam // 177 21 39 2) PB om. tato. 3) P B om. kathayasi. 4) PB kosalAyA. 8) 0degsamAnaM for samaM. 10) B om. ca / ajhAnameva etc. ending with ca. 23) B syAttattIrtha. 26) B mauSadhI. 27) B parijJAya tvayA, P B nihitaM. 29) Prepeats cetasA vihitaM. 30) P om. lakSayojanamAne. 33) P adds lakSayojanamAnena kalitaM kAM before trilokIti'. 34) PmahA for mayA. 37) B bho. 41)P B siddhapadasya.

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* 30 ratnaprabhasUriviracitA [ II. SS 42 : Verse 177 - 1 punarapi zrIdharmanandanena bhaNitam / 'bho vAsava mantrivAsava, yattvayA pRSTaM yathaitasya caturgatilakSaNasya 1 saMsArasya kiM prathamaM kAraNam / tatrAmI mahAmalAH paJca krodhamAnamAyAlobhamohAH pravRttA jIvaM 3 daurgatyapathamupanayanti / ' ityAcAryazrIparamAnandasUriziSya zrIrataprabha sUriviracite kuvalayamAlAkathAsaMkSepe zrIpradyumna sUrizodhite krodhamAnAdikaSAya catuSTayatathA mohasvarUpavarNano nAma prastAvo dvitIyaH // 2 // 6 [ atha tRtIyaH prastAvaH ] ( 1 ) tataH sa nRpatiH pramuditacetAH sadAmandAnandakanda kandalanAmbudasya zrIdharmanandanasya mukhataH kaSAyAdivipAka phalalakSaNadezanAvacanAmRtaM tRSNAtaralita iva nipIya sadasaH samutthAya nijaM dhAma samA9 jagAma / itazca divasAcIzvare 'stagirizikharamupAgate sAyantanavidhiM vidhivadvidhAya vasudhAdhipatiraci - 9 ntayat / ' asmin madanamitre mahotsave IdRze pradoSe te sAdhavaH kiM kurvanti, kiM yathAvAdinastathAvidhAyinaH, 'kiM vAnyathA, vilokayAsi' iti vicintyAlakSitaH sarvatra prasRte tamobhare kaTItaTanibaddharikaH kRpANa 12 pANire kAkI bhUpatiH saudhAnnirgatya nagarAntararathyAsu mithunAnAM dUtInAmabhisArikANAM ca prabhUtAnparaspa- 12 rAlApAnAkarNayan kasmi~zciccatvare sAndhakAre stambhamiva vRSabheNoddhRSyamANamUrddhadamaM kamapi muniM pratimAsthaM kRzAGgaM davadagdhasthANusadRzaM mandArAcalavannizcalaM vIkSya divA stambho 'tra nAbhUt 'kiM ko 'pi dharmananda15 na saMbandhI vratI, athavAnyaH ko'pi duSTaH pumAn, anena rUpeNa tAvatparIkSAmasya racayAmi' iti dhyAtvAkRSTa- 15 riSTita hateti vadannAsannamAgataH / tamakSubdhaM muniM vIkSya nizcitya stutiM kurvan pradakSiNAtrayaM pUrvaM dattvA praNipatya purato 'gacchadvidyudutkSipta karaNena / tato 'sau durlaGghayaM prAkAra mullaGghayodyAnAsannasindUrakuTTimatalamAja18 gAma / tatra ca tena bhUbhujA zrIdharmanandanAcAryasya ke citsAdhavo madhurasvareNa svAdhyAyaM viracayantaH keciddharma- 18 zAstrANi paThantaH kecitpadastha piNDastharUpastha rUpAtIta dhyAnadattAvadhAnAH kecidurucaraNazuzrUSAparAyaNAH kecidvicArAcAraparA vilokitAH / tato nRpatirdadhyAviti / 'aho yathAbhidhAyI tathAvidhAyI' | 'bhagavAn 21 kva punaH, sa svayaM kiM karoti / ' iti vimRzaMstaddinadIkSitAnAM teSAM paJcAnAmapi munInAM puro dharmamupadi - 21 zantaM nizamya kiM kathayatyeSAmaye / ' iti vicintya narezvarastamAlatarumUle niSaNNa ityazrauSIt / 'bho bho devAnAMpriyAH, kathamapi jIvA ime pRthivyaptejo vAyuvanaspatiSvanantakAlaM bhrAntvA dvIndriyatrIndriyacaturindri24 yatAmavApya tiryakpaJcendriyatvaM ca tatazcAtIvadurlabhaM manuSyajanma labhante / tatrApyAryadezaprazasyajAtisukula- 24 sarvendriyapaTutvanIrogatAjIvitavyamanovAsanAsaharusamAyogatadvacaH zravaNAni duSprApANi / iyatyAM sAmagryAM saMpannAyAmapi jinapraNItabodhiratnamatIva durlabham / tacca labdhvA dharma prati saMzayena anyAnyadharmAbhilA27 SeNa phalaM prati saMdehena kutIrthikaprazaMsayA tatparicayena caturbhiH kaSAyaiH paJcabhirviSayairvyAmUDhA vRthA 27 nirgamayanti samyaktvam / eke ca 'jJAnameva pradhAnam' iti vadantaH kriyAhInAH paDuvat / apare ca 'kriyaiva prazasyA' iti manyamAnA andhavadbhavadavAntarvinazyanti mohamohitAH / ' iti kathayati bhagavati 30 nRpatirdhyAtavAn / 'tAvatsarvamapi satyametat / kiM punaridaM durlabhaM rAjyaM mahilAprabhavaM zarma parijanasukhaM 30 cAnupAlaya pazcAddharmamAcariSyAmi, iti cintayatastasya mahIbhRtaH zrIdharmanandanaguruNA jJAnena bhAvamupalakSya teSAmeva paJcAnAM puraH prove / 'yadetadrAjya saukhyaM striyazca loke sarvametadanityaM tucchaM ceti / punaH siddhi33 bhavaM sukhamanantamakSayamavyAbAdhaM ceti / ' 12) asti samasta puravaraM pATalIputraM puram / tatra dhano dhanena dhanada iva vaNiguttamaH / so 'nyadA yAnapAtreNa ratnadvIpaM prati pracalitaH / tasya saMcarataH samudrAntaH pracaNDena vAyunA samullasatAbhraMliha36 kallolamAlAbhiH preryamANaM yAnapAtraM pusphoTa / sa dhanastadA kSudhAkSAmakukSirAhAramiva, himArto vaizvAnara- 36 miva, tRSAkAntastoyasiva phalakamekaM prApya saptabhirvAsaraiH kaTukaphalasamAkulapAdapazatasaMkulaM saMsAramivAlabdhapAraM viSamiva mahAviSamaM kuDaGgadvIpamAzizrAya / tatra tena svairaM paribhramatA sahasAparaH puruSo 39 daddaze / dhanastaM nirIkSya harSitavadano bhavyajIva iva jainadharmaM svacchamanAH papraccha / 'kutratyaH kena hetunAtra 39 7) B adds on the margin guro befor mukhata: 8 ) B puts No. 1 on phala and No. 2 on vipAka, Badds on the margin cetA after taralita. 10 ) B mitramahotsave. 14 ) PB om. ko'pi after kiM. 15 ) P rUpe tAvat. 16 ) PB om. dattvA 19 ) o inter. padastha and piNDastha. 21 ) Pom. teSAM B trans. teSAM after munInAM. 25 ) PB * tadvacanazravaNAni 33 ) P naMtakSayama 37 ) B adds marupAMdha: zAkhinamiva after vaizvAnaramiva, B tRSTA for tRSA 3 6 33

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-III. SS 4 : Verse 16] kuvalayamAlAkathA 3 * 31 3 1 dvIpaM samAyAtaH / ' tena tadavagamya bhaNitam / 'suvarNadvIpaM prati pracalato mama bhISaNe jaladhAvagAdhe pUrva- 1 bhavArjitaduSkRteneva vAyunA preritaM tvaritamevAgaNyapaNyasaMbhRtaM potamasphuTat / tato 'haM phalakamekaM prApya kuDaGgadvIpamAzritaH / tato dhaneneti bhaNitaM 'samamevAtra paribhramAvaH' / atha tatraiva tAbhyAM paribhramayAM 3 kadAcitRtIyaM puruSaM militaM vilokya pRSTam / 'bhadra, kutaH purAdatra dvIpe samAyAtavAn / ' teneti jalpitam / mama vrajato laGkApurIM vAhanaM bhagnaM phalakaprAtyAtra saMprAptaH / ' tAbhyAM nigaditam / 'atIva ramyatarama6 bhUt, yadasmAkaM trayANAmapi samaduHkhAnAM mahatI maitrI samajani / tAvadatra kasminnapi samunnate pAdape bhinna- 6 yA pAtracihnamUrvIkriyate / tatheti pratipadya tairvalkalamekaM taruzikhare nibaddham / tatastRSNAkSudhAklAntAH sarvatra paribhramantastaM kamapi tAdRzaM zAkhinaM na pazyanti / evaM kila bhakSyataruphalodgamaH / evaM taiH sarvatra 9 dvIpe svairaM vicaradbhirduHkhazatasamAkulaiH kathamapi vezmAkArANi trINi kuDaGgAni dRSTAni / te ekaikaM 9 kuGgamAzritya sthitAH / teSu ca kAkodumbarikAmekaikAM nirIkSya cAtIvocchu sitahRdayairbhaNitam / 'aho, sAMprataM prAptavyaM prAptam, vayaM nirvRtacetasaH saMjAtA etaddarzanamAtreNApi / ' taiH kuDaGgeSu pravizya 12 kAkodumbarikA phalAni vilokitAni, paramekamapi phalaM na dadRze / tatastrayo 'pyatIva durmanaso babhUvuH / 12 kaizcidapi divasaisteSAM manorathazataiH kAkodumbarikAH phalAkulAstatra jajJire / te kAkAdyupadravebhyo rakSantastiSThanti / itazca kenApi sAMyAtrikeNa karuNAvatA bhinnavahanacihnamAlokya karNadhAradvayaM praiSi / 15 tatastAbhyAM sarvatrAnveSayadbhyAM puruSatrayaM kuDaGgasthaM kAkodumbarikAphalabaddhajIvitAzayaM nirIkSya bhaNitam 115 AvAM potavaNijA preSitau bhavatAmAnayanAya / atra dvIpe duHkhazatapracure kiM tiSThatha / tatraikena nareNetyuktam / 'kimatra dvIpe kaSTam etat kuDaGgaM gRhatulyam eSA ca kAkodumbarikA phalitA 18 bhUyo 'pi phaliSyati, ahaM mahatA sukhenAtra tiSThAmi kathamapi parataTaM nAgacchAmi' / iti bhaNitvA tatrai-18 vaikaH puruSaH sthitaH / tatastAbhyAM niryAmakAbhyAM dvitIyo bhaNitaH / tvamapi parataTamAgaccha / ' tadAkarNya tena bhaNitam / 'ahaM kAkodumbarikApakkaphalamekamupabhujya yaH ko'pi pazcAnnAvikaH sameSyati tena 21 sahAgamiSyAmi' / iti bhaNitvA dvitIyo 'pi tatra tasthivAn / tatastAbhyAM tRtIyo bhaNitaH / 'bho bhadra, 21 kimatra karoSi sAMprataM paratIramAgaccha / ' 'bhavatAM svAgatam' iti bhaNitvA tRtIyaH pumAn tAbhyAM samaM gatvAsamaprItyA taraNyAmAruroha / kiyadbhirapi dinairvahanaM taTaM prApa / tatra putramitrakalatradhanadhAnyAdi24 bhirvastubhirmilitaH satatameva sa sukhamanubhavannAste / (3) athAsyopanayaH zrUyatAm / 27 yaya jaladhirghoraH saMsAraH sa duruttaraH / yaH kuDaGgo mahAdvIpaH sa mAnuSyabhavaH smRtaH // 1 ye 'kuDaGgA 'nivAsAste ye tatra puruSAstrayaH / triHprakArA bhaveyuste jIvAH saMsAravartinaH // 2 kAkodumbarikA yAstu kAntAstAstAralocanAH / phalAni yAni tatra syustAnyapatyAni bhUrizaH // 3 vRthAkRtAzApAzAste yA evAtyantakovidAH / dAridryaduHkha rogaughazakunebhyo nirantaram // 4 yatparatra hitaM svasya tadevAyAti vismRtim / vaidheyAnAM gRhAnekakAryavyApRtacetasAm // 5 yaH potezaH sa ca gururniryAmau dharmayoryugam / yA tarI tatra dIkSA sA yattIraM sA ca nirvRtiH // 6 saMsAraduHkhasaMtaptAn jIvAnuttArayanti ye / sarvadaiva mahAsattvAH sarvatattvAvalokinaH // 7 nindyaM manuSyajanmedaM zocanIyamanekadhA / mokSasaukhyaM bhajasveti te vadanti yatIzvarAH // 8 abhavyajIvastatraiko dvIpe 'tra nRbhave vadet / yatsaukhyaM sa ca me mokSastattena mama kiM punaH // 9 bUte dvitIyaH saMsArI dUrabhavyo munIzvara / putramitrakalatrAdimamatvaM tyaktumakSamaH // 10 bhavyastRtIyo vadati zrutvA saddharmadezanAm / manuSyaloke kastiSThedriSThe duHkhabAdhayA // 11 saptAGgarAji yadrAjyaM prAjyaM ramyA ca saMtatiH / bhave bhave bhavatyeva jainadIkSA kadApi na // 12 tato mamAlametena janmanA duHkhajanmanA / samudyamaM karomyeSa mahodayapadazriye // 13 bhUyo'pyUce kathAmetAmuktvA zrI dharmanandanaH / bho vatsA vratadRSTAntamAkarNayata saMprati // 14 (4) tathAhi jambUdvIpe 'tra kSetre bharatanAmani / dezo 'sti magadhAbhikhyo vasudhAmukhamaNDanam // 15 anekadezavikhyAtaM zriyAmekaH samAzrayaH / asti rAjagRhaM tatra nagaraM nagarAjitam // 16 39 27 30 33 36 39 24 30 33 1) B dvIpe samAyAtastena, B pracalito. 2 ) P bhavArjitavigataduH kRte B bhavArjitAbhitaduH kRte", PB omit preritaM. 3) P Bom. tato. 8 ) B sarvataH for sarvatra, c om. evaM kila... phalodgama: / . (12) P tato'jIvatrayapi durmanaso B tatotIva trayopi durmanaso. 14) PB sAMyAtrikena. 17 ) PB etaM or enaM for etat, P ekA ca 21) P B inter. bhaNitvA or dvitIyo'pi 24 ) Pom. sa. 26) c * ghorasaMsAra : 27 ) Pom. second ye, 0 triprakArA. 32 ) P jIvAnuttIrayaMti B jIvAnuttarayati. 33 ) After vadanti ya P repeats sarvadeva mahAsattvAH etc. to te vadanti 34 ) Pleaves some space after dvIpetra nRbha and then continues with ma mokSastattena. (41) P 'dezatikhyAtI zreyAmeka: 36

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* 32 ratnaprabhasUriviracitA [III.84 : Verse 171 tasmin paraMtapo nAmnA karmaNA ca mahIpatiH / vikhyAtakIrtivisphUrtirdizAsu catasRSvapi // 17 1 zazvadvivasvatastulyo yaH kailAsaukasaH smH| vAcaspateH samAnazca pratApena zriyA dhiyA // 18 3 vItarAgapadAmbhojabhRGgaH smyktvdhaarkH|prtaapshossitaashessaaraatibhuumiiruho'bhvt // vizeSakam // 3 vazIkRtanatAnekabhUpamaulivilAsibhiH / maNInAM kiraNairyasya pAdapIThaM samarcitam // 20 / yastu kaNThIrava iva pradarairnakharaiH kharaiH / vipakSAn gajalakSANi kSaNute sma kSamApatiH // 21 6 tasyAnekapurandhrINAM zreSThA jyeSThA guNazriyA / samasti zazikAntAsyA zazikAntAbhidhA priyaa||22 6 tatra cAsti mahAdakSaH shuddhbuddhirdhnaabhidhH| zreSThI gariSThaH suguNaiH puNyasaMbhArabhAjanam // 23 dhAriNIti zubhArambhA rambhArUpasarUparuk / prabhuteva sadAcArasyAsya lokaMpRNA priyA // 24 dhanapAlo dhanadevo dhanagopastathA paraH / dhanarakSitanAmAtha catvArastanayAstayoH // 25 sarve 'pi pAThitAH putrAH pitropAdhyAyasaMnidhau / alpairapi dinairvidyAsvanavadyAzca te 'bhavan // 26 manobhavanRpodyAnaM zRGgAradrumajIvanam / tatastena [:straiNa] janAnandadAyi yauvanamAyayuH // 27 12 tatraiva sa dhanaH putrAn mahebhyAnAM samazriyAm / kanyakAbhiH surUpAbhiH kramazaH paryaNAyayat // 28 12 prathamasyojjhikA jAyA bhakSikAkhyA parasya ca / rakSikAtha tRtIyasya caturthasya tu rohiNI // 29 sukhaM viSayajaM tAbhiH sevamAnAH sutAgatamA bhayiSThamapite kAlaM devA iva na jAnate 15 sa kadAciddhanaH zreSThI jajAgAra nizAJcale / dharmAnudhyAnamAdhAya gRhacintAM cakAra ca // 31 15 striyA gRhasya nirvAho nari yantari satyapi / dhurayeva zatAGgasya bhRtsyaanekvstubhiH|| 32 putrapautravadhUbhRtyairAkIrNamapi mandiram / bhAryAhInaM gRhasthasya zUnyameva vibhAvyate // 33 / / 18 bhukte priyatame bhule supte ca svApiti svayam / tasya pUrva ca jAgarti sA zrIreva na gehinI // 34 18 karoti sArAM sarvasmin dvipade ca catuSpade / sarvasyaucityamAdhatte sA lakSmIhiNImiSAt // 35 etAsAM tu vadhUTInAM madhyAnmama niketane / gRhabhArasamuddhArakAriNI kA bhaviSyati // 36 21 tataH sa prAtarutthAya prAtaHkRtyaM vidhAya ca / sUpakAraiH kalAsArairdhAnyapAkamakArayat // 37 21 pitRvarga catasRNAM vadhUTInAM nimanya saH / aparaM pauralokaM ca bhojayAmAsa sAdaram // 38 bhojanAnte tataH zreSThI bAndhavAn sa nyavezayat / saccakAra ca taambuulsrgdukuulvilepnaiH|| 39 2465) samakSamatha sarveSAM vadhUmAkArya cojjhikAm / paJca zAlikaNAstasyAH samArpayadakhaNDitAn // 40 24 gatvaikAnte tayA citte cintitaM mandamedhasA / abhUdRddhatvasaMbandhAt zvazuro viparItadhIH // 41 mahAntamutsavaM kRtvA janAnAhUya srvtH| paJca zAlikaNAneSa pANau mama yadArpayat // 42 27 tyajAsi kiM kaNairetairyadA yAciSyate 'sakau / tadAnyAnarpayiSyAmi dhyAtvetyujjhAMcakAra tAn // 43 27 atha vaJca dvitIyasyai paJca zAlikaNAn dadau / dhanaH zreSThI gRhItvA sA vijane 'cintayazciram // 44 hetunA zvazuraH kena bhrAnto buddhiyuto'pyasau / yaH kAryeNa vinA gehe tanute draviNavyayam // 45 30 prayacchati kaNAn paJca lokasya purataH kare / tyajAmi tAn kathaM dattA ye tAtena mama svayam // 46 30 sA suSA nistuSAnetAn kRtvA kSipramabhakSayat / AkArayadatha zreSThI tRtIyAM rakSikAM vadhUm // 47 vyazrANayatkaNAn paJca tasyAH sA ca vyacintayat / manye kiMcinmahatkArya kaNairetairbhaviSyati // 48 33 sarvAnetAn prayatnena rakSAmi mahatA yadA / yAciSyate gurustUrNamarpayiSye tadA kaNAn // 49 33 hRdaye cintayitveti svAlaGkArakaraNDake / zuddhavastre niyanyeti kSitvA rakSikayA tayA // 50 vIkSAmAsa trisaMdhyaM sA devatAmiva tAn kaNAn / AkAritA tatastena caturthI rohiNI vadhUH // 51 36 tena prajalpitA dattvA paJca zAlikaNAn kare / tvatto vatse yadA yAce deyA ete tadA tvayA // 52 36 vijane rohiNI gtvaacintydvaaddhshaalinii| matyA meM zvazuro vAcaspatipratikRti kRtI // 53 mahAjanapradhAno 'sau nAnAzAstravizAradaH / vardhayAmi tadetena pradattaM kaNapazcakam // yugmam // 54 39 tayaivaM hRdyanudhyAya preSitAste piturgrahe / bhrAtRNAmiti cAdiSTaM nijA iva kaNA amii|| 55 39 varSe varSe ca varSAlu vApaM vApaM svhaalikaiH| tathA kathaMcanAdheyaM yAnti vRddhiM yathA parAm // yugmam // 56 tatastairbandhubhistasyA girA prApte ghanAgame / uttAH zAlikaNAH paJca te vapre vArihAriNi / / 57 42 stambIbhUya gatA vRddhiM zAlayaH knnshaalinH| prasthasteSAmabhUdekaH prathame vatsare ttH|| 58 18) B svapte for supte. 25) PB svasuro. 34) P kSiptA. 36) P paJca zAkhAkaNAn. 41) P vapre 11) PB tatastena. kArihAriNi.

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-III. $ 6 : Verse 96 ] kuvalayamAlAkathA 3 * 33 __ 1 dvitIye tvADhako 'neke droNA varSe tRtIyake / khArIzatAni turye tu palyalakSANi paJcame // 59 1 athAnyasmin dine zreSThI nimantrya svajanAn bahUn / mahAntamutsavaM cakre pUrvarItyA niketane // 60 samAyojjhikA jyeSThAM vadhamarthayati sma sH| vatse samarpaya mama tacchAlikaNapaJcakam // 61 3 tadAkarNya gRhasyAntaH sahasApi pravizya sA / paJca zAlInathAnIya tasya haste samArpayat // 62 tenApi jalpitA sarvapratyakSaM shpthairnijaiH| ta eva zAlayo vatse na vA satyaM vadAdhunA // 63 / / tayAtha jalpitaM tAta projjhitAste mayA kaNAH / zrutveti lokapurataH zreSThI ruSTaH sa jalpati // 64 6 ayuktaM kRtametena yUyametadbhaNiSyatha / anyathA pApayA tyaktAH zAlayaste madarpitAH // 65 tasmAdasyAH kariSyAmi phalaM tatyAgasaMbhavam / chagaNAdiparityAgakAriNI bhavatUjjhikA // 66 dvitIyAM tAmathAhUya zreSThayUce putri tAn kaNAn / samarpaya mamedAnIM sAbravIdbhakSitA mayA // 67 1 sa zreSThipuGgavo 'vocat svajanAnAM purastataH / pacanAdiSu kAryeSu bhavatAdbhakSikA vadhUH // 68 tRtIyA zvazureNoktA sA zAlikaNarakSaNam / nijaM nyavedayattuSTaH zreSThizreSThastato 'pradat // 69 madIyamandire lokAH koze sarvAdhikAriNI / vadhUTI rakSikAnAmnI bhavatveSA mamAzayA // 70 12 AkArya jalpitAnena caturthI rohiNI tataH / samAnaya kaNAn paJca vatse tvamapi sAMpratam // 71 / prajalpitaM tayA tAta zakaTAni bahUni me / arghyantAM vRSabhAH prAjyAH zAlirAnIyate yathA // 72 abhANi zreSThinA tena vatse paJca kaNAH katham / jajJire yAnavAhyAste sa hetuH kathyatAM mama // 73 15 yatkRtaM mUlato vadhvA kathitaM tatpurastathA / muditastattadAkarNya sa zreSThI samajAyata // 74 snuSAyAH so 'rpayAmAsa zakaTAn vRSabhAMstathA / athAnItastayA vadhvA zAliH sarvaH piturgrahAt // 75 prAhAtha svajano dhanyo dhano yasyedazI vadhUH / ninyire kIdRzIM vRddhiM paJca zAlikaNA yayA // 76 18 Uce tayA tatastAta gRhyantAM paJca te kaNAH / iti zrutvA tadA zreSThI janapratyakSamabravIt // 77 sarvasvasvAminI gehe vadhUrmama bhavatvasau / asyA eva samAdezaH kartavyaH sarvamAnuSaiH // 78 21 asyA yaH khaNDayatyAjJAM sthAtavyaM tena no gRhe / sarvairapi janaiH zIrSe tadvacaH zekharIkRtam // udyadAnandasaMdohameduraH sa dhanaH kramAt / nizcintacittaH saddharmAlaGkarmINastato 'bhavat // 80 etadAkhyAnaka zaikSAH kathitaM bhavatAM mayA / siddhAntoditametasya bhAvArtha zRNutAdhunA // 81 yathA rAjagRhaM loke mAnuSatvamidaM tathA / yathA dhanastathAcAryoM vicAracaturAnanaH // 82 24 yathA vadhvastathA jJeyA vineyAzca caturvidhAH / paJca zAlikaNA ye sA jJeyA paJcamahAvratI // 83 yathA svajanavargo 'sau tathA sNghshcturvidhH| dAnaM zAlikaNAnAM yattanmahAvataropaNam // 84 / / ujhikeva zAlikaNAnujjhetpaJcamahAvratIm / yaH syAdatra paratrApi sa duHkhaughasya bhAjanam // 85 27 nizzaGkamupabhuktAste yathA bhakSikayA tayA / vratamAjIvikAhetona vidheyaM tathA budhaiH // 86 rarakSa rakSikA yadvat tacchAlikaNapaJcakam / tadratijanai rakSyaM tanmahAvratapaJcakam // 87 30 mahAvratAni saMprApya vRddhiM neyAni dhImatA / rohiNyA guruNA dattAH paJca zAlikaNA yathA // 88 30 / iti vrtdRssttaantH| 16) vinayaH zAsane mUlaM vinItaH saMyato bhavet / vinayAdvipramuktasya kuto dharmaH kutastapaH // 89 33 vinItaH zriyamApnoti vinItastUjvalaM yazaH / kadApi durvinItena naiva svArthaH prasAdhyate // 90 33 yataH, guNavAnapi nApnoti nUnaM stabdhaH parAM zriyam / kiMcinnamraH pibannambhaH kumbhaH prApnoti pUrNatAm // 91 36 aparAdhatamaHstomanirmUlanadinezvaraH / svargApavargasaMsargakAraNaM vinayaH sadA // 92 36 vinayaH sarvathA kAryaH kulInena vapuSmatA / gurUNAM guNavRddhAnAM tathA bAlatapasvinAm // 93 guNeSu vinayaH zlAghyastejasviSu yathA raviH / yena karmagrahAH sarve pracchAdyante nijodayAt // 94 39 vinayAtsaMpadaH sarvA meghAdiva jlddhyH| kevalajJAnalAbhazca vinItasyeva jAyate // 95 39 tathA hi| ___ jambUdvIpAbhidhe dvIpe kSetre bharatanAmani / kSamApurI kSamAramyA samasti svastikAriNI // 96 1) B vADhakAneke. 5) B no vA for na vA. 16) P tatpurastayA. 18) P prAhAtha sa jano. 27) PdegkaNAnujjheva paMca'. 31) PB iti vratadRSTAMtaH // 1427 // cha / cha / (Phas the symbol of bhale instead of cha // ch||) namaH zrI sarvajJAya // . 35) P kiMcinimnagaH, P om. kumbhaH. 36) P nirmUlanaM di. bha

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* 34 1 3 6 9 121 15 18 21 24 27 30 33 36 39 ratnaprabhasUriviracitA 3 [III. $ 6: Verse 97 - yasyA unnata[ramya] rAjasadanazreNyAH puro menakAprANezo 'pi babhUva hInamahimA vanyazriyAmagrataH / 1 niHsvAnandana kAnanasya suSamA kSIrAzayAnAM puraH paMpAdIni sarAMsi hanta nitarAM muJcantyahaM kAritAm // 97 tatra kSamApatirabhUt kSamApatikRtastutiH / nabhastale bhAnuriva zrImAn harSAbhidhaH sudhIH // 98 vidyamAne lobho yasyAdhiko 'bhavat / abhirAmaM guNagrAmaM grahItuM guNazAlinAm // 99 samudrakandarpaghanAghanAnAM sAraM samAdAya vidhiryadhAdyam / na cedidaM tatkathamanyathAbhUdasau gabhIraH subhagaH pradAtA // 100 yazcAnUnaguNa prasUna paTalapratyullasatsaurabhavyAptAzeSa mahItalaH zubhakalaH zreyaH zriyAmAzrayaH / sphUrjatkIrtilatA vitAna vilasatkandaH sadAnandabhUH pronmIlatsukRtonmukho na vimukho yAcyAkRtAM kutracit // 101 mAdyacchAtra vakoTikoTikara TiprasphoTa kaNThIravastAmyannI tilatAvalI kizalanaproddAmadhArAdharaH / yatkIrtyA ca zucIkRte tribhuvane zrAntaM sphurantyAbhitaH sarvajJo 'pi vasana vetti niyataM kailAsazailaM nijam // 102 kalpadrumAdyA dadatIpsitaM yat sA zAstravArtA kila tena dRzyA / pratyakSametaM vasudhAdhinAthaM tattanmayaM nirmitavAn vidhAtA // 103 tatra zreSThapadabhraSTaH zreSThI daurmukhyadoSataH / viSavAkya iti khyAto vidyate kRSijIvanaH // 104 anyadA bhaktamAdAya svayaM karmakRtAM kRte / gacchan zUnye dadarzeSa rudantaM bAlamekakam // 105 prodyatkRpAbharabhrAjihRdayaH zizumAzu tam / lAtvA svapANinAropya kaTItaTamabhojayam // 106 tyaktaH kenApyayaM pAko varAkastadvipatsyate / svIkRtenaiva teneti zreSThI kSetra yayau nijam // 107 sa svavezma samAgatyApatyAbhAvArditastataH / dInAsyAyai kuTumbinyai taM mudA DimbhamArpayat // 108 21 lAlyamAnastayA nityamAtmanAtmeva bAlakaH / kalAbhiH kalitaH prApa kalAbhRdiva yauvanam // 109 dagdhaM pitRgirA lokaM svavAkyairamRtairiva / nirvApayannabhUtkhyAtaH saMkhyAvAn sarvato 'pi saH // 110 vinIta iti nAmnAtha sarvatra prathito 'bhavat / zreSThitvaM nRpatistuSTo 'dAttasmai tatpituH padam // 111 24 jinazAsana mAhAtmyasamullAsanavAsanaH / abhirAmaguNagrAmadrumArAmo 'vanItale // 112 yo 'bhavannayanAnandadAyI yAyI sadadhvani / avadAtayazojAtasaM pUritadigantaraH // 113 zramaNakramaNAmbhoja sevA hevAparaH sadA / artha saMprINitAtyarthAvanItalavanIpakaH // 114 paitRkaM ca padaM prApya prasannamanaso nRpAt / sa vinItaH zriyAM pAtraM bhAgyasaubhAgyabhUrabhUt // 115 97) atha tatraiva durbhikSaM bhISaNaM samupasthitam / yatra dharmakriyAlopo bhavyAnAmapi saMbhavet // 116 kuto'pi sthAnato 'bhyetya nityadurbhikSaduHkhitAH / vRddho vRddhA yuvA caiko 'bhavaMstadanujIvinaH // 11730 atha vairidattakampA campA nAma mahApurI / tatrAsti pRthivInAtho jitAririti saMzayA // 118 pratApI kamalolAsI nRpastapanasaMnibhaH / na karkazakarazcitraM na gomaNDalatApakRt // 119 20 > 1) P uttararAja B unnatarAja 3 ) P kSamApatiH kRta. ' 4 ) B ko bhavet / 5 ) P ghanAghanInAM 15 ) P B dRzyA: P dvipazyati 25 ) B drumArAmevanItala: 26 ) P yazoyAtaH 28 ) P vinItazriyaH pAtraM B vinItaH zriyaH pAtraM. 30 ) P vRddho vRddhImuvAcaiko 33 ) P prabhustvarthine 39 ) P deghitAMgAcchochalat zoNita.. 6 9 12 15 zyAmAsyo hi ghano varSan tamoghnastapanastapan / yaH prabhustvarthino 'tyarthamathaiH prINanna tAdRzaH // 120 33 zrIdaH kRta harSazrIrjighRkSustamadhIzvaram / pracacAla vinItena sArdhaM preSyayutena saH // 121 tadAgamaM parijJAya campezaH saMmukho 'calat / tataH parasparaM yuddhaM sainyayorubhayorabhUt // 122 arutsAdinaM sAdI niSAdI ca niSAdinam / rathiko rathikaM pattiH pattiM ca sphUrtimUrtibhRt // 123 36 nizAtazaradhoraNyA bhaTairdarpasamudbhavaiH / akAlavRSTivihitA kAlarAtririvAparA // 124 raNe nipeturmAtaGgAstIvraM pradarajarjarAH / zatakoTikSatAH sAkSAt parvatA iva sarvataH // 125 zitakuntAhatAGgAccocchalacchoNitadambhataH / kausumbhavasanevAbhUdambhodhivasanA yudhi // 126 nija svAmiprasAdasyAbhUma bhUnA 'nRNA vayam / iti vIrakabandhAste nRtyantastatra rejire // 127 ullalallohitAmbhobhirbhImA saGgrAmabhUmikA / kabandhAni vahatyAzu kASThAnIva taraGgiNI // 128 18 27 39

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-III. $ 9 : Verse 168] kuvalayamAlAkathA 3 * 35 1 daivAccampezasainyasya subhaTaiH karaTairiva / divAndhasainyavaddharSasainyaM dainyamanIyata // 129 patAkinyapi niHzeSA tasya hrssmhiipteH| nanAza kAkanAzaM sA jIvamAdAya satvaram // 130 3 nazyadbhiH padikaistyakto vinIto 'pi gate vibhau / paraM preSyairna tairmuktazcetanaH sukRtairiva // 131 3 palAyamAnaH praikSiSTa sa vinItaH sarasvatIm / tatra snAtvA payaH pItvA tIravRkSamazizrayat // 132 $8) atrAntare kAndizIkamekamAyudhapANinA / kenacitsAdinA hanyamAnaM mRgamavaikSata // 133 kRpAsaMpUritasvAntaH sa tayorantarA sthitaH / yataH prANiparitrANaM svaprANaiH ke 'pi kurvate // 134 6 tasmina sarale sArale gate daraM nirIkSya sH| jagAda sAdinaM roSapoSiNaM magarakSaNAta // 135 sarvaprANizaraNyAnAmunnatAnAM mahAtmanAm / tvAdRzAM na samIcInaM dInajantuvinAzanam // 136 9 manye tvaM lakSaNairebhiH ko'pyasi kSatriyottamaH / zastradhAto gRhItAsne kSatriyANAM prazasyate // 137 9 ityAdivAkyaiH pIyUSapezalaistasya tanvataH / sa bhUpaH pRthivIcandraH prabuddhaH kopamatyajat // 138 dharmopadezadAtAsau mamAbhUditi taM samam / upakAracikIH kSamApaH pure kSmAtilake 'nayat // 139 12 taM vinItaM mahInAthaH svapure sacivaM vyadhAt / sarvAdhikAriNaM yasmAhuNaiH kasko na rajyate // 140 12 etasyAnupadaM te 'tha trayo'pi prAcyakiMkarAH / tAmeva nagarI prApya sevAhevAkino 'bhavan // 141 rakSatA satataM tena nyAyena nagarIjanam / UrjitopArjitA kIrtirAtmIyo 'rthastu sAdhitaH // 142 tenetyuktAH karmakRtaH snehAkimapi yAcata / te 'vadanniti nirlobhA bhAgyairlabhyA hi kiNkraaH|| 143 15 69) atha kSamApurI bhagnA kSaNAdeva jitAriNA / campApurImahIpena sarvasainyajuSA ruSA // 144 svapurIsvapurIsvAmibhaGgato vittahAnitaH / viSavAkyo vinItAtmA pravavrAja virAgavAn // 145 tapyamAnastapastIvaM sahamAnaH parISahAn / AdhIyAnaH sa siddhAntaM tanvannArAdhanAM gurau // 146 18 pApakarmasu tandrAluH zraddhAlurdharmakarmasu / dayAluH sarvabhUteSu spRhayAluH zivAdhvani // 147 sAsahizvopasargANAM zIlAGgAnAM ca vaavhiH| cAcaliH zramaNAcAre siddhAntAdhvani paaptiH||148 AjagAma samaM svena guruNA karuNAnidhiH / tatra kSmAtilakapure viSavAkyamuniH kramAt // 149 21 caturbhiH kalApakam / / anuzApya gurUn so 'tha mAsakSapaNapAraNe / praviveza paribhrAmyan vinItasacivaukasi // 150 kathamevaMvidho bhUtvAsmAkInasvAminaH pitA / uJcanIcAdigeheSu paryaTatyeSa durbalaH // 151 24 tatastamaghasaMghAtaghAtinaM vratinaM mudA / karmamarmacchidaM karmakRtaH sarve vavandire // 152 tahattamannapAnAdyamakalpyamiti cetasi / vicintya nAgrahItsAdhuAvRtyopAzrayaM gataH // 153 27 Agatasya nRpAvAsAdvinItasya ca tasya te / pramodamedurAH karmakarAstacca nyavedayan // 154 / 27 tathaiva suvinItAtmA vinIto mantripuGgavaH / tapaHpAtrasya zizrAya muneH piturupAzrayam // 155 nirIkSya viSavAkyasya munerAsyasitadyutim / vinItasacivAdhIzacittAmbhodhiravardhata // 156 zuzoca ca khaM yayaM mama vezmAgato'pi hi / agRhItAnnapAnIyo munirvyAvRtya jagmivAn // 157 30 sa vinItastataH shuddhshrddhaasNbhaarsNbhRtH| avandata gurUn pUrva tathA ca janakaM nijam // 158 tato gururabhASiSTa spaSTavAgmantrinAyaka / zRNu dharmavatrazcAru kSipa kSipramaghavrajam // 159 / mA muhastvaM mudhA nehe 'muSmin saMsArakAriNi / AdaraM kuru saddharme dhruvaM saMsArahAriNi // 160 33 dharmaH piteva mAteva hitaM yadvidadhAtyayam / kriyate tanna kenApi zizUnAsiva dehinAm // 161 sa ca dharmastitikSAdirbhikSUNAM dazadhA mataH / samyaktvamUlo gRhiNAM jJeyo dvAdazadhA punH|| 162 deve 'haMti gurau sAdhau dharme ca jinabhASite / yA sthirA vAsanA samyak samyaktvamidamAzraya // 163 36 sthUlAhiMsAdIni pazcANuvratAni guNatrikam / zikSAvatacatuSkaM ca svIkuruSva zivazriye // 164 vidhehi vidhinA mantrin trisaMdhyaM devatArcanam / ciraM cAruyazaH kundadhavalaM prAmuhi sphuTam // 165 39 dInAdInAM zriyaM dehi vidhehi vizadaM mnH| nyAyAdhvani bhavAdhvanyo bhinddhi krodhAdizAtravam // 166 39 jinendramukhasaMbhUtaM siddhAntaM sAdaraM zRNu / siddhisImantinI zarmadAyinI tatkSaNAdRNu // 167 sarvasaukhyamayaM sthAnaM kvApi mokSaM vinA na yat / vidyate dehibhirbhAvyaM tattadartha samutsukaiH // 168 12) P sarvAdhikAraNaM. 15) P tevadannatinirlobhA B tevadanneti', 25) P saMyAta. 26) B taddattamannapAnIyamakalpamiti. 33) P dhruvasaMsAra. 41) samutsakaiH.

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* 36 ratnaprabhasUriviracitA [III. $ 10 : Verse 1681 610) tathA ca / jIvAjIvapuNyapApAzravasaMvaranirjarAbandhamokSAni nava tattvAni / dAnazIlatapo-1 bhAvanAmayazcaturvidho dharmaH / AzravapaJcakAdviratiH paJcendriyANAM nigrahaH krodhamAnamAyAlobhalakSaNadurjeya3 kaSAyajayaH manodaNDavacanadaNDakAyadaNDatrayaviramaNaM ceti saptadazadhA saMyamaH / narakagati-tiryaggati-3 manuSya gati-devagatilakSaNAzcatasro gtyH| matijJAnaM zrutajJAnamavadhijJAnaM manaHparyavajJAnaM kevalajJAnamiti paJca [jJAnAni] / anityatA 1 azaraNa 2 bhava 3 ekatva 4 anyatA 5 azauca 6 Asrava 7 saMvara 8 6 nirjarA 9 dharmasvAkhyAtatA 10 loka 11 bodhi 12 pramukhA bhAvanA dvAdaza / namaskArasahita 1 pauruSI 6 2 purimArdha 3 ekAsanaka 4 ekasthAnaka 5 AcAmAmla 6 upavAsa 7 carima 8 abhigraha 9 vikRti 10 prabhRtidazavidhaM pratyAkhyAnam / athavA-'anAgatamatikAntaM, koTIsahitaM niyantritaM caiva / sAkAramanAkAraM 9 parimANakRtaM niravazeSam // saMketamaddhA' caitadapi dazavidham / kSudhA 1 pipAsA 2 zIta 3 uSNa 4 9 daMza 5 acela 6 arati 7 strI 8 caryA 9 niSIdhikA 10 zayyA 11 Akroza 12 vadha 13 yAcanA 14 alAbha 15 roga 16 tanusparza 17 mala 18 satkArapuraskAra 19 prajJA 20 ajJAna 21 samyaktva 12 22 [ lakSaNAH] dvAviMzati parISahAH / sparzana-rasana-ghrANa-cakSuH-zrotrANIndriyapaJcakam / autpattikI 12 1 vainayikI 2 kArmajA 3 pAriNAmikI 4 ceti catasro buddhayaH / ArtadhyAnaM raudradhyAnaM dharmadhyAnaM zukladhyAnaM ceti caturvidhaM dhyAnam / padasthaM piNDasthaM rUpasthaM rUpAtItametadapi caturdhA / jJAnaM darzanaM cAritraM 15 ceti ratnatrayam / kRSNalezyA 1 nIlalezyA 2 kApotalezyA 3 tejolezyA 4 pAlezyA 5 zuklalezyA 6 15 ceti [ lezyA ] SaTkam / sAmAyikaM 1 caturviMzatistavo 2 vandanakaM 3 pratikramaNaM 4 kAyotsargaH 5 pratyAkhyAnaM 6 [ceti SaDvidhamAvazyakam / pRthvIkAyo 'pkAyastejaskAyo vAyukAyo vanaspatikAyastrasakAya18 zceti SaD jIvanikAyAH / manoyogo vacanayogaH kAyayogazceti yogtryii| IryAsamiti-bhASAsamiti- 18 __ eSaNAsamiti-AdAnanikSepasamiti-utsargasamiti [ lakSaNAH ] paJca smityH| indriyapaJcakaM mano balaM vacanabalaM kAyabalaM ceti balatrayam ucchAso niHzvAsa Ayuzceti dazavidhAH prANAH / madyaM viSayAH 21 kaSAyA nidrA vikathAzceti pramAdapaJcakam / anazanamUnodaratA vRttisaMkSepo rasatyAgastanuklezaH saMlInatA 21 ceti SaDvidhaM bAhya tapaH / prAyazcittaM vaiyAvRtya svAdhyAyo vinayo vyutsargaH zubhadhyAnaM cetyAbhyantaraM SaDvidhaM tpH| AhArasaMjJA 1 bhayasaMjJA 2 maithunasaMjJA 3 parigrahasaMjJA 4 [ rUpAH] catasraH saMjJAH / jJAnAvaraNIyaM 1 24 darzanAvaraNIya 2 vedanIyaM 3 mohanIyam 4 AyuSkaM 5 nAma gotram 7 antarAyaM 8 cetyaSTadhA krm| mano- 24 guptirvacanaguptiH kAyaguptiriti guptitrayam / apAyApagamAtizayaH jJAnAtizayaH pUjAtizayo vacanAti zayazceti catvAro 'tishyaaH| 27611) tathA ca zrIjinezvarANAM catutriMzadatizayA yathA / deho'dbhutarUpagandho nirAmayaH khedamala- 27 vivarjita iti prathamaH / ucchAsaniHzvAsau kamalaparimalopamAviti dvitIyaH / rudhirAmiSe tu gokSIra dhArAdhavale anAmagandhike ceti tRtiiyH| AhAranIhAravidhI adRzyau ceti cturthH| adRzye iti 30 mAMsacakSuSAM na punaravadhyAdilocanena puMsA / yadAhuH, ____ 'pacchanne AhAre adisse msckkhunno|' eSa cturthH| ete catvAro'pi jagato'pyatizerate tIrthakarA ebhirityatizayAH, sahotthAH shjnmaanH|ath karmakSayajA 33 atishyaaH|yojnprmaanne'pi kSetre samavasaraNabhuvi nRNAM devAnAM tirazcAMca koTikoTisaMkhyamavasthAnamiti 33 prathamaH krmkssyjo'tishyH| vANI ardhamAgadhI naratiryaksuralokabhASayA saMvadati tadbhAvAbhAvena pari NamatItyevaMzIlA, yojanamekaM gacchativyApnotyevaMzIlA yojanagAmI ceti dvitiiyH|bhaanaaN prabhANAM maNDalaM 36 bhAmaNDalaM maulipRSThe ziraHpazcimabhAge taca viDambitadinakarabimbalakSmImanoharamiti tRtiiyH| sAne 38 paJcaviMzatiyojanAdhike gavyUtiHkrozadvaye gavyUtInAM zatadvaye yojanazata ityarthaH, rogo jvarAdina syAditi caturthaH / tathA vairaM parasparavirodho na syAditi paJcamaH / tathA ItirdhAnyopadravakArI pracuro muSikAdi39 prANigaNo na syAditi sssstthH|tthaa mArirautpAtikaM sarvagataM maraNaM na syAditi saptamaH / tathA ativRSTirnira- 39 ntaraM varSaNaM na syaadityssttmH| tathA avRSTiH sarvathA vRSTyabhAvo na syAditi navamaH / durbhikSaM bhikSAyAma 30 4) PmanaHparyAya B manaHparyaya. 5) PB put serial nos. for anityatA etc. 6) PB put serial nos. in. some of these lists, and here and there they are separately written with terminations, cis not quite particular in putting these nos. 7) varisa for carima. 11) com. ajJAna. 17) P2 teukAya 3 vAukAya 4 vanaspati. 24) PmohanIyaM ca 3 AyucatuSkaM. 25) Pguptiriti trayam. 27) o adds ca after zrI jinezvarANAM. 33) B koTikoTisaMkhyAnAmavasthAnamiti. 35) P yojanagAmino B yojanagAminAM. 37) PB kozadvayaM.

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-III. $ 13 : Verse 168] kuvalayamAlAkathA 3 * 37 1bhAvo na syAditi dshmH| tathA svarASTrAtpararASTrAcca bhayaM na syaadityekaadshH| evamekAdazAtizayAH karmaNAM 1 jJAnAvaraNIyAdInAM caturNA ghAtAt kSayAjAyante iti / tathA devakRtA atishyaaH| khe AkAze dharma3 prakAzakaM cakraM bhavatIti devakRtaH prthmo'tishyH| tathA khe camarA iti dvitiiyH| tathA khe pAdapIThena saha 3 mRgendrAsanaM siMhAsanamujvalaM nirmalamAkAzasphaTikamayatvAditi tRtiiyH| tathA khe chatratrayamiti cturthH| tathA khe ratnamayo dhvaja iti paJcamaH / tathA pAdanyAsanimittaM suvarNakamalAni nava bhavantIti SaSThaH / tathA 6 samavasaraNe ratnasuvarNarUpyamayaM prAkAratrayaM manojJa bhavatIti sptmH|tthaa catvAri mukhAnyaGgAni gAtrANi 6 ca yasya sa tathA tadbhAvazcaturmukhAGgatA bhvtiityssttmH| tathA caityAbhidhAno drumo'zokavRkSaH syAditi nvmH| tathA adhomukhAH kaNTakA bhavantIti dazamaH / drumANAM namratA syAdityekAdazaH / tathA uccairbhuvanavyApI 9 dundubhidhvAnaH syAditi dvaadshH| tathA vAtaH sukhatvAdanukUlo bhavatIti trayodazaH / tathA pakSiNaH prada-9 kSiNagatayaH syuriti cturdshH| tathA gandhodakavRSTiriti pnycdshH| bahuvarNAnAM paJcavarNAnAM jAnUtsedha pramANAnAM maNIcakAnAM vRSTiH syAditi ssoddshH| tathA kacAnAmupalakSaNatvAllomnAM ca kUrcasya nakhAnAM 12 pANipAdajAnAmavasthitatvasvabhAvatvamiti sptdshH| tathA bhuvanapatyAdicaturvidhadevanikAyAnAM jaghanya- 12 to'pi samIpe kottirbhvtiityssttaadshH| tathA RtUnAM vasantAdInAM sarvadA puSpAdisAmagrIbhirindriyArthAnAM rasagandharUpazabdAnAmamanojJAnAmapakarSeNa manojJAnAM ca prAdurbhAvenAnukalatvaM bhvtiityekonviNshH| 15 iti devaiH kRtA ekonviNshtistiirthkRtaamtishyaaH| ete ca yadanyathApi dRzyante tnmtaantrmvgmymiti| 15 te ca sahajaizca caturbhiH karmakSayarekAdazabhiH saha mIlitAzcatustriMzadbhavantIti / 12) atha vcnaatishyaaH|sNskaarvttvN-sNskRtlkssnnyukttvm 1,audAttyam-uccairvRttitA 2, upa myatvama3.meghagambhIraghoSatvaM-meghasyeva gambhIrazabdatvama4, pratinAdavidhAyitA-prati- 18 ravopetatvam 5, dakSiNatvaM saralatvam 6, upanItarAgatvaM-mAlavakaizikyAdigrAmarAgayuktatA 7, ete ca sapta shbdaapekssyaatishyaaH| anye tvaatishyaaH| tatra mahArthatA-bRhadabhidheyatA 8, avyAhatatvaM-pUrvAparavAkyA21 virodhaH 9, ziSTatvam-abhimatasiddhAntoktArthatA vaktuH ziSTatAsUcakatvaM vA 10, saMzayAnAmasaMbhava:- 21 asaMdigdhatvam 11, nirAkRtAnyottaratvaM-paradUSaNAviSayatA 12, hRdayaMgamatA-hRdayagrAhyatvam 13, mithaH sAkAGkSatA-paraspareNa padAnAM vAkyAnAM vA sApekSatA 14, prastAvaucityaM-dezakAlAvyatItatvam 15, tattva24 niSThatA-vivakSitavastusvarUpAnusAritA 16, aprakIrNaprasRtatvaM-susaMbaddhasya sataHprasaraNam ,athavAasaMbaddhA- 24 dhikAritvAtivistaraNAbhAvaH 17, asvazlAghAnyaninditA-AtmotkarSaparanindAviprayuktatvam 18, Abhi jAtyaM-vaktuH pratipAdyasya vA bhUmikAnusAritA 19, atisnigdhamadhuratvaM-ghRtaguDAdivatsukhakAritvam 20, 27 prazasyatA-uktaguNayogAtprAptazlAghatA 21, amarmavedhitA-paramAnuddhaTTanasvarUpatvam 22, audAryam-ami-27 gheyArthasyAtucchatvam 23, dharmArthapratibaddhatA-dharmArthAbhyAmupetatvam 24, kArakAdyaviparyAsaH-kArakakAlavacanaliGgAdivyatyayavacanadoSApetatA 25, vibhramAdiviyuktatA-vibhramo vaktRmanasobhrAntatAsa AdiryeSAM 30 vikSepAdInAMsa vibhramAdirmanodoSastena viyuktatvam 26,citrakRttvam-utpAditAvicchinnakutUhalatvam 27, 30 adbhutatvaM-pratItatvam 28, tathAnativilambitA-pratItA 29, anekajAtivaicitryaM-jAtayo varNanIyavastusvarUpavarNanAni tatsaMzrayAdvicitratvam 30, AropitavizeSatA-vacanAntarApekSayAhitavizeSaNatvam 31, 33 sattvapradhAnatA-sAhasopetatA 32, varNapadavAkyaviviktatA-varNAdInAM vicchinnatvam 33, avyucchittiH- 33 vivakSitArthasamyasiddhiM yAvavyavacchinnavacanaprameyatA 34, akheditvam-anAyAsasaMbhavaH 35, ityevamarhatAM paJcatriMzadvAcAM guNAtizayA bhavantIti / 36 : 13) dAnagato'ntarAya ityeko doSaH, lAbhagato'ntarAya iti dvitIyaH, vIryagato'ntarAya iti 36 tRtIyaH, bhujyata [iti ] bhogaH sragAdistagato 'ntarAya iti caturthaH, upabhujyata [iti ] upabhogo 'GganAdi tadgato'ntarAya iti paJcamaH, hAsaH-hAsyamiti SaSThaH, ratiH-padArthAnAmupari prItiriti saptamaH, 39 aratiH rateraviSaya ityaSTamaH, bhItiH-bhayamiti navamaH, jugupsA-ghRNeti dazamaH, zokaH-cittavaidhuryami- 39 tyaMkAdazaH, kAmaH-manmatha iti dvAdazaH, mithyAtvaM-darzanamoha iti trayodazaH, ajJAna-mauDhayamiti 8) B tathA kaMTakA adhomukhA bhavaMtIti dazamaH tathA drumA vRkSA namaMtIti ekAdazaH khe duMdubhinAda uccairatizayeneti dvaadshH| 9) P read trayodaza etc. without. 10) om. paJcavarNAnAM. 12) BP mavasthitasvabhA, B saptadaza is made saptadazamaH with the addition of maH on the line. 14) B sparzarasagaMdha, PdegmapAkarSaNa. 25) P abhijAtyaM. 28) P BdegbhyAmanapetatvam. 30) 0 'doSatvena kiyuktatvaM. The printed text puts hyphens which are not found in the Mss. In the Mss, the words stand separate or joined in Sandhi,

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* 38 ratnaprabhasUriviracitA [ III. SS$ 13 : Verse 1691 caturdazaH, nidrA - svApa iti paJcadazaH, aviratiH - apratyAkhyAnamiti SoDazaH, rAgaH- sukhAbhizasya sukhAnu- 1 smRtipUrvaduHkhe tatsAdhane 'pyabhimate viSaye gardhata iti saptadazaH, dveSaH - duHkhAbhijJasya duHkhAnusmRti3 pUrvaduHkhe tatsAdhane vA krodha ityaSTAdazaH, ityaSTAdazadoSAsteSAmRSabhAdInAmarhatAM na bhavantIti / atItA- 3 nAgatavartamAnalakSaNaM kAlatrayam / dharmAstikAyo 'dharmAstikAyaH pudgalAstikAyo jIvAstikAya AkAzAstikAya te paJcAstikAyAH / etatsarvamapi zrIjainazAsanarahasyaM vivekinA parijJeyam / (14) vinIto dezanAmenAM zrutvA tattvAnugAminIm / 6 9 12 15 18 21 24 27 30 33 36 39 namaskRtya gurUn gehaM guNagrAmagurUnagAt // 169 evaM sa nityamabhyeti hitvA vyApAramAtmanaH / dharmAmRtaM pibatyeSa tRSAkAnta iva svayam // 170 so 'nyadA calitAn jJAtvA prabhUn vinayato 'vadat / janako 'stvatra me yena prItirutpadyate 'mutaH // 171 0 tataste sUrayo 'vocan jJAtvA jJAnena tattvataH / nAyaM te janako mantrin kiMtu te poSakaH pitA // 172 vinItaH prAha nirmAya nirmAyaH svaM zironatam / kastarhi te tataH procuH sUrayastatvakovidAH // 173 pitA karmakaro vRddho mAtA karmakarI ca te / yuvA ca karmakRddhAtetyavagaccha kuTumbakam // 174 anyathA bhASiNo nAmI nizcityeti praNamya tAn / sa jagAma nijaM dhAma bAppAvilavilocanaH // 175 mI nivastrAyA dhUmadhyAmalacakSuSaH / kautukAtpazyati jane sa kiGkaryAH pade 'patat // 176 tvamatrasthApi na jJAtA hatakena mayA hahA / mAtaH siddhirivedAnIM gurubhiH kathitAsi me // 177 tvayAhaM putravannityamajAnatyApi lAlitaH / kRtaghnena mayA karmakRtve hAsi niyojitA // 178 durbhikSe poSitaM hA dhik pikyeva tvAmazaktayA / pApayAsi mayA mArge tyakto dhigmAM kumAtaram // 179 labdhapakSaH svabhAgyena vacobhiramRtopamaiH / pikavatprINayan lokaM parAM zriyamazizriyaH // 180 piturbhrAtuzca calanau namasyan vinayAdayam / vinIto vakSasA tAbhyAmAzliSTaH prApa saMmadam // 181 vakretaramatizcakre saJcakre prathamastataH / sarvatrAdhikRtAnetAn vinItaH svaniketane // 182 18 6 yathocitAM vitanvAno 'nyeSAmapyeSa mAnanAm / suvacobhiH kriyAbhizca sarvatra prathito 'bhavat // 183 21 zrImajjainapadAmbhoje bhajatazcaJcarIkatAm | kadAcanAsya na svAnte krUratvaM labhate sthitim // 184 praveSTuM mAna se yasya zamasarpArirAjite / na kSamAH prANabhItyeva kaSAyAH pannagA iva // 185 2 ) B sukhe for duHkhe 5 ) P dharmAstikAyAH / etatsarvamapi etc. 11 ) P nirmAya nimeyi svaM 0 nirmAya (yaH) nirmAya svaM, P mata: for tataH 15 ) 0 siddhirevedAnIM 16 ) B has an additional verse ( after niyojitA ) like this - iti sAzraM [sAsra ] vadatAsmin saMjAtaprazna [ = sna] vAtha sA [ 1 ] cirAt jJAtAsi vatsatvamityuktvA dattavakSasA // 34 ) B sAzralocanaH. 36 ) B bhavanAzana 12 sarvadA prAjyarAjyazrI cintAcAntamanA api / gArhasthye vartamAno 'pi sadAcAraM tatAna yaH // 186 kadApi zramaNasthAne vandanArtha sa yAtavAn / munimekamatiglAnaM vIkSya zraddhoddhuro 'bravIt // 187 auSadhaM magRhe samyagasti roganivartakam / prAsukaM ceti sAdhubhyAmAnAyayata satvaram // 188 ityuktvA sa yayau gehe sAdhubhyAM saha dhIsakhaH / tasthatustau vahiH sAdhU sa tu vezmAntarAvizat // 189 27 atha ca / 15 zreSThakanyAmunA kApi vRtAsti guNazAlinI / datto mauhUrttikaiH saiva divasastadvivAhane // 190 tadvihastatayA mantrI visasmAra tadauSadham / kiMcittatra munI sthitvA jagmaturnijamAzrayam // 191 30 pANigrahaNasAmagrI samagrAmapyakArayat / lagnakSaNasya prAptau sa sasmAra ca tadauSadham // 192 savidhAyottaraM tatra kiM cinmitreNa saMgataH / pazcAttApakRdAdAyauSadhaM vasatimAgamat // 193 rogAta Spi muglino vidadhe nAnyadauSadham / tataH kaSTamupAruDho babhUvAtIva nissahaH // 194 33 taM tathAvidhamAlokya vinItaH sAzrulocanaH / AtmAnamAtmanA nindan patitastasya pAdayoH // 195 tridhA kSamayatastasya vinItasya ca taM munim / samalaGkRtavIvAhocitamaNDanazAlinaH // 196 dhyAyato bhAvanAM tasya bhavinAM bhavanAzinIm / kevalajJAnamutpede ghAtikarmakSayAt kSaNAt // 197 36 jJAnena tena viditena samujavalena saMpazyatastrijagatIjanatAmanantAm / cAritracihnamatha tasya munIzvarasya kSipraM samarpitavatI nanu jainadevI // 198 nArI nitamba jaghanastanabhUribhArAM hitvA bhavodadhinimajjanahetumetAm / tatraiva lagnasamaye pravare varAGgIM vyUhe tapasviSu varaH sa caritralakSmIm // 199 24 39

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-III. SS 16: Verse 200] 1 kuvalayamAlAkathA 3 enAM kathAmavitathAM vinayapradhAnAM samyag nidhAya hRdi mantramunIzvarasya / yUyaM yatadhvamadhunA vinaye nikAmaM yasmAdayaM dizati nirvRtizarmalakSmIm // 200 / iti vinaye vinItasya kathA / 3 3 (15) atrAntare caNDasomapramukhaiH paJcabhirmunibhirvijJaptam / 'yadbhagavAnAjJApayati tatsarvamapi prapatsyAmahe / yat punarduzcaritraM tacchalyamiva hRdaye pratibhAti / ' tato bhagavatA zrIdharmanandanena samAdiSTam / 6 'etat kadApi cetasi na cintanIyaM yatkilAsmAbhiH pApakarma samAcaritam / sa kevalaM pApakarmA yaH 6 pazcAttApaparo na bhavet / ' iti zrutvA bhUpatirmanasaiva zrIdharmanandanAcArya praNipatyodyAnAnnirgatya vidyudutkSiptakaraNena prAkAra mullaGghaya vAsavezma praviveza, nirviNNaH zayane suSvApa ca / sAdhavo 'pi svAdhyAya9 dattAvadhAnAH kRtAvazyakAH kSaNaM nidrAmupalabhya prAbhAtikakAlagrahaNapravaNA babhUvuH / atrAvasare 'ruNapra- 9 bhApATalite gaganatale krameNa virocane pUrvAcalacUlAvalambini prAbhAtikatUryAravADambaraM bandijanamukhavarNitaM prabhAtAvasaraM ca samAkarNya nidrAghUrNitatAmranayanayugalaH pRthvIpAlaH zayanIyAduttasthau / tataH sa 12 kRtAvazyakakarmA bhUmivAsavaH prabhAtakRtyaM vidhAya ca sacivavAsavasametazcaturaGgabalakalitaH zakra iva 12 caturdantaM kuJjaramAruhyodyAnaM samAgamya bhagavantaM zrIdharmanandanavibhuM sAdhUMzca praNanAma / tato bhUpatinA jalpitam / 'bhagavan sarvathaiva putramitrakalatrAdimamatvaM tyaktuM na kSamaH paraM gRhasthAvasthasyaiva mama kiM ci - 15 tsaMsArasAgarataraNDakaM dehi / ' bhagavatA niveditam / 'yadyevaM tAvadetAni paJcANuvratAni trINi guNavatAni 15 catvAri zikSAvatAnIti samyaktvamUlaM dvAdazavidhaM zrAvakadharma pratipAlaya' iti / tena narezvareNa 'yadAjJApayati prabhuH' iti vadatA samyaktvamUlAni dvAdazavratAnyaGgIkRtAni / tataH sacivavAsavaH samuvAca / 18 'bhagavan, kimapi bhavatAM pUrvavRttAntaM vayaM na jAnImaH / ' bhagavatA jalpitam / 'ayameva kathayiSyati / 18 asmAkaM sUtrapauruSIvyatikramo bhavati / adya tAvadasmAbhirvihAraH kArya eva / etadAkarNya bhUpatirvAsavasacivAnvito bhagavaccaraNAravindayugalamabhinamya nijadhavaladhAma samupAjagAma / bhagavAn sUtrapauruSa 21 nirmAya pradhAneSu kSetreSu vihArAya pracacAla / te 'pi caNDasomapramukhAH stokenApi kAlenAdhItazAstrArthA 21 dvividha zikSAvicakSaNA jajJire / teSAM caikadivasasamava sRtipravrajitAnAM mahAn dharmAnurAgo mithaH samajani / anyadA teSAM paJcAnAmapi parasparaM saMlApaH samabhUt / 'bho, durlabho jinapraNIto dharmaH kathaM 24 punaranyabhave prApyata iti tAvatsarvathA kimatrAcaraNIyam / iti bhaNitvA parasparaM taiH paJcabhirapyagreta- 24 nabhavopari pratibodhasaMketazcakre / evaM ca teSAM munInAM siddhAntAbhyAsalAlasAnAM kAlo vyatikramati / kiMtu caNDasomaH svabhAvena kopano mAyAdityo 'pi manAg mAyAvI vartate / apare punaH saMyaminaH 27 pratibhagnadurjayakaSAyaprasarAH pravrajyAmanupAlayantaH santi / kAlena ca sa lobha devo nijamAyuH prapAlya 27 kRta saMlekhanAdividhijJAnadarzanacAritra tapovihitArAdhanaH pUrvabaddhadevAyurvipadya sadyo 'navadyalakSmIH 9 dharmadeva padmavimAne samayenaikena devatvamazizriyat / sa ca padmaprabhanAmA tatra tridazaH svairaM * 39 30 cikrIDa | evaM mAnabhaTo 'pi svAyuSi yamIyuSi saMsAralatAlavitrIM sukhasaMpadAM dharitrIM paJcaparameSThi- 30 namaskRtiM smaraMstenaiva krameNa tasminneva vimAne 'nekayojanavistRte padmasAranAmeti devaH samudapadyata / evaM mAyAdityacaNDasomamohadattAtrayo 'pi kRtacaturvidhAhAraparIhArAH paJcaparameSTinamaskAraparAyaNA 33 ArAdhanavidhAnAbaddha cetasazcatuH zaraNazaraNAH parihRtASTAdazapApasthAnA yathAsaMyamavidhinA prANitAnte 33 yathAkrameNa padmavara-padmacandra - padmakesarAbhidhAnAstasminneva vimAne sumanasaH samabhavan / tata evaM teSAM padmavimAne samutpannAnAM samavibhavaparivArabalaprabhAvapauruSAyuSAmanyonyasnehalAlitamanasAM mithaH 36 kRtasaMketAnAM kAlo vyatikrAmati / 1 ) B samyag vidhAya 3 ) P Bom iti. (15) o taraNDaM P taraDavaM 20 ) PB caraNayugala 1 (16) atrAntare surasenApatitADitaghaNTAninAde samucchalite sahasaiva tairvRndArakaiH 'kimiti ghaNTAnAdaH / ' iti parijano 'pracchi / tataH pratIhAro vyajijJapat / 'deva, jambUdvIpe bharatakSetre madhyamakhaNDe 39 zrImato dharmatIrthakRtaH samutpannavimalakevalajJAnasya samavasRtau tridazavRndasahitena surezvareNa gantavya - 39 masti / tadA tadAkarNya taiH suraistatrasyaireva bhaktibharAvanatottamAGgaH zrIdharmanAthasya bhagavataH praNatizcakre / 10 ) P pATaligaganatale. 13 ) PB hyodyAnamAgamya 14 ) P kalatrA dimitra. 21 ) P dhItazAstrA. 24 ) 0 prApayiSyate iti. 36

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* 40 ratnaprabhasUriviracitA [III. 16 : Verse 2011 atha te surAH padmasArapramukhAstridazAdhipena sArdhaM bhAvanAbhAvitAntaHkaraNAzcampApuryA zrIdharmajinezvarasya 1 samavasaraNamavApuH / padmasAreNa sumanasA sumanaHpatirabhANi / 'yadi yUyaM mamAjJAM dadata tato'dyAhameka 3 eva gosvAminaH zrIdharmajinendrasya samavasRti racayAmi' iti / vajriNA tathA' iti pratipede / tathA hi , 3 yojanonmAnamedinyAM padmasAraH zubhAzayaH / pramArjayan rajo bAhya svasyAntastadapAharat // 201 tataH sa eva gIrvANaH sugandhodakavRSTibhiH / siSice puNyabIjasya vApAyeva mahItalam // 202 suvarNamaNimANikyazreNibhirbhaktibhAsuraH / harSataH paritaH padmasAraH pRthvIM babandha sH||203 6 jAnudannaradhovRntaiH pnycvrnnairmnniickaiH| bhAvidharmAnisaMsparzI pRthivImArcayan sa ca // 204 dvidhA sumanasA tena kASThAsu catasRSvapi / akAri sumanohAri toraNAnAM catuSTayam // 205 tasyApratimazobhasya vIkSaNArthamivAgatAH / sAkSAdiva babhurdevyo vividhA zAlabhaJjikAH // 206 9 reje dhvajavajo yatra caJcalastoraNopari / AkArayan bhavyalokamiva dharmajinAntike // 207 adhastale toraNAnAM bhUmipITheSu teSu sH| pratyekaM racayAMcake maGgalAnyaSTa nirjaraH // 208 / / cale vaimAnikasuraH padmasAraH pramodabhAk / vapraM rAtnaM paJcavarNamaNyADhyakapizIrSakaiH // 209 12 reje ratnamayo vapraH patAkArAjirAjitaH / vaM saMkSipya vapurbhaktyA rohaNAdirivAgataH // 210 jAtarUpamayaM vapraM dvitIyaM tadvahiH suraH / svajyotiSeva vidadhe bhaktisaMbhArabhAjanam // 211 kapizIrSatatI reje tatra rAtnI vinirmitaa| rAjIvabandhurAjIva bahadvIpebhya AgatA // 21 15 tRtIyaH padmasAreNa prAkArastadvahiH kRtH|raajtH zrIz2inaM nantuM vaitADhyAdririvAgamat // 213 tatroccairjAtyarajatakapizIrSAvalirdadhau / svargApagAmbhasi svarNamayanIrajavibhramam // 214 / / reje vapratrayI pRthyAsnipaTTavalayAkRtiH / prAkArAgrAvalI nAnAvidhivicchittisaMgatA // 215 18 toraNAstatra bhAnti sma nIlAzmadalanirmitAH / prativapraM caturdAre caturdAre zivazriyaH // 216 zAradAbhramahAzubhrAstoraNeSu dhvajavajAH / rejuH puNyazriyaH zastA hastA vistAritA iva // 217 dahyamAnAgurukSodadhUpadhUmasamAkulAH / dhUpaghaTyaH pratidvAraM rAjante tatpurassarAH // 218 21 rejurvApyaH pratidvAraM svarNAmbujamanoharAH / krIDanArthamiva sphUrjamuhidharmavatazriyAm // 219 prAradvAre maNivaprasya svarNavarNavirAjitau / pratIhArau sphuradvakSastArahArau sa nirmame // 220 yatizrAvakayodharmAviva mUrtitvamAgatau / yAmyadvAre dvArapatI sitAGgau sa cakAra ca // 221 24 cittoddhRtena srvjnyraagennevaarunndyutii| nirmitAvaparadvAre dvArapAlo suparvaNA // 222 udagdvAre 'tra doSaghnanIlikAsthAsakAvivA / kRtau kRSNAGgako tena dvArapau dAnavAriNA // 223 sa nirmame 'praticchandaM devacchandaM jinezituH / vizrAmAya suraH svrnnvpraantrmnniraashibhiH||224 27 antarmANikyavaprasya tridazazcaityapAdapam / cakAra catvAriMzAgradhanuSpaJcazatImitam // 225 padmasAraH sa tasyAdho maNipIThopari vyadhAt / sAGgripIThaM ratnamayaM siMhAsanamanuttaram // 226 navahemAmbujanyastapadalidazakoTiyuk / vibhuH samavasaraNaM prAcyadvAre viveza saH / / 227 tataH pradakSiNIkRtya caityadvaM prAmukhaH prabhuH / namastIrthAyeti vadanniviSTaH siMhaviSTare // 228 aparAsvapi kASThAsu tridazastisRSu vyadhAt / rUpatrayaM prabhostulyaM sa tasyaiva prabhAvataH // 229 caturgatigatAn jantUnuddhartuM nikhilAnapi / catuSkakummukhasthAyi hartu mohamahAbalam // 230 catuSTayaM kaSAyANAM nirAkartuM virodhinAm / kartuM caturvidhaM saMghamaghasaMghAtaghAtinam // 231 dAnazIlatapobhAvabhedairdharma caturvidham / vyaktaM nivedituM tacca dhyAnamArgacatuSTayam // 232 prapaJcitacaturgAtraH pvitritjgtryH| vyAkhyAkSaNe prabhuH zrImAn dharmanAthastadAzubhat // 233 36 caturbhiH kalApakam // jagatItritayaizvaryasUcakaM bhuvanaprabhoH / chatratrayaM surazcake vakretaramatiH svayam // 234 39 17 ) etasyAM samavasRtau vibhAvasudizi kramAt / / pravizya pUrvadvAreNa dattvA tisraH pradakSiNAH // 235 30 9) B zAlibhalikAH. 12) BkapizIrSakaM. 16) B rAjatazrIjinaM. 21) B dahyamAnAgaru. 24) B yAmyadvAri. 25) BP cittovRttena, 0degvaparadvAri. 26) On doSaghna B has a marginal gloss like this : dRSTyAdidoSanivArako nIlikAhastakAviva !. 28) PpaMcAzatImitaM. 29) sAMhipIThaM. 37) P caturbhiH ku0. 38) P jagatI vinayaizvarya.

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-III. SS 18 : Verse 264] kuvalayamAlAkathA 3 1 niviSTAH sAdhavaH sAdhyo jinaM natvA tadantare / pramodamedurAstasthururddhA vaimAnikAH striyaH // 236 yugmam // 6 3 pravizya yAmyadvAreNa nairRte vidhinA kramAt / jyotiSka bhuvanAdhIzavyantarANAM striyaH sthitAH // 237 3 Agatya pazcimadvArA vAyavyAM bhuvanezvarAH / jyotiSkA vyantarAJcaivamAdadhurvidhinA sthitim // 238 pravizyAthottaradvArA praNamyAnuttaraM jinam / vaimAnikanarA nArya IzAnyAM kramataH sthitAH // 239 na bhIstatra na mAtsarya na bAdhA na ca duSkathA / nAsInniyantraNA nAhaMkRtiH svAmiprabhAvataH // 240 tatra dvitIyavaprAntaH kaNThIravagajAdayaH / vairiNo 'pi mithaH premalAlasAH sthitimAdadhuH // 241 tasthustRtIyavaprAntarvAhanAni kSamAbhRtAm / surANAmasurANAM ca vimAnAni yathAkramam // 242 kSetre yojanamAtre 'tra prANinaH koTikoTizaH / saMmAnti yadanAbAdhaM prabhAvaH prAbhavo hi saH // 243 dharmanAthaM jagannAthamathAnamya jinezvaram / stutiM kartuM samArebhe padmasAraH sudhAzanaH // 243 adyamadya sadyo 'pi kSINaM me kSINakalmaSa / tvadAnanavilokena vAyuneva ghanAghanaH // 245 12 deva tvadaGgikalpadrusevAhevA kino 'tra ye / bhajante te na dAridryamudrAmudritamAzrayam // 246 nIrAgaM tava yaccittaM tanmithyA nAtha kathyate / muktinArIparIrambhalolubhaM kathamanyathA // 247 guNaistavAtinIrandhairdharmanAtha mano mama / tathA baddhaM yathA gantuM notsahatyanyadaivate // 248 zrIdharmanAtha bhagavan bhavitA sa kSaNaH kadA / bhavitAskho yadA tvaM cAhaM caikatrAvyaye pade // 249 tanoti na tathotkaNThAM mAnasaM me zivazriye / yathA tava padAmbhojavarivasyAvidhau vibho // 250 tvamanalpamatiH svAmin dhrubamalpamatistvaham / ato nahi mayA kartuM zakyastava guNastavaH // 251 jihAmekAM zrutI netre dve dve nAtha vidhirvyadhAt / kSamaH kIrti guNAn rUpaM vaktuM zrotuM kimIkSitum // 252 18 etamevArthaye'tyarthamarthamarthItra tIrthapa / vItarAga paraM vItarAgaM mama manaH kuru // 253 RbhuprabhupratIkSyaM taM stutvA tattvAvalokaTak / niSasAda yathAsthAnaM padmasAraH pramodataH // 254 atho sudhArasamucaM samAcArapracArikAm / vidhAtuM dezanAM dharmacakravartI pracakrame // 255 asAra eva saMsAraH sarvadA duHkhamandiram / dharma eva prazasyaH syAt tatra svargApavargadaH // 256 saMsArasAgare pAre bhramadbhiH prANibhizcirAt / nRjanma labhyate puNyairvasudhAntarnidhAnavat // 257 24 nRbhavaM durlabhaM prApya yaH prANI tanute tanu / na hitaM prAntakAle hi zocatyAtmAnameva saH // 258 karAlajvalanajvAlAvalIDhe mandire yathA / sthAtuM na yujyate puMsastathA duHkhAkule bhave // 259 mAnuSyaM durlabhaM prApya cintAratnasahodaram / vivekibhirvidhAtavyaH pramAdo na kadAcana // 260 gRhNAti kA kirNI ko spi mUDhaH koTiM yathojjhati / tathA pumAn viSayajaM zarma dharma jinoditam // 261 27 sAgarAntarakallolamAlA lolAH zriyo nRNAm / kuzAgrastha stuSArAmbu bindukampaM hi jIvitam // 262 rUpalakSmIstaDiddaNDasAdRzyaM bhajate 'nizam / svAmyaM svanopamaM saMdhyA meghalekhAsakhaM sukham // 263 30 dezanAvirate zrImaddharmanAtha jinezvare / kRtAJjalistato vAcamuvAca gaNabhRttamaH // 264 30 'bhagavan, etasyAM surAsuranaratiryakkoTinibhRtAyAM parSadi kaH prathamaM mahodayapadaM gAmI' iti / tato bhagavatA niveditam / 'bho devAnupriya, yastava savidhe vRSalocanaH smRtapUrvabhavaH saMvignamAnaso 33 nirbhayapracAro maddarzanasaMtuSTaH pramodabharapravigaladazrulocanayugalastANDavita karNayAmalaH samAgacchannasti 33 sarveSAmapIhasthajantUnAM pUrvamevaiSa pApavinirmuktaH siddhipadaM gamiSyati' iti / evaM bhagavato bhaNitAnantarameva samakAlaM sakalanarendravRndatridazendralocanAni kautukarabhasavikAzavanti mUSakopari nipatitAni / 36 sa cAgatya bhaktibhara nirbharAGgo bhagavataH zrIdharmanAthasya pAdapIThe luloTha / mahItalanamitottamAGgaH sarvAGga- 36 romoma saMgama AkhuH svabhASayA bhaSituM pravRttaH / tato bhaNitaM tridazapatinA / 'bhagavan, mama manasi mahakautukamidaM yadeSa mUSakaH sarvAdhamastucchajAtiH kAnanAntarasaMcArI sarveSAmevAsmAkaM madhye prathamaM 39 39 nirvRtizriyamAzrayiSyati / ' tataH zrImadbhagavAn svayamavAdIt / 9 18 ) asti vindhyo nAma mahIdharaH / tasyopatyakAyAM vindhyAvAsAbhidhAno mahAn saMnivezaH, sa cAtIva viSamaH / tatra mahendraH pRthivIpatiH / tasya tArAbhidhAnA mahAdevI / tatkukSisaMbhavaH suta42 stArAcandro 'STavarSadezIyaH / atrAvasare chidrAnveSiNA baddhavairAtizayena kozalena bhUmipatinAvaskandaM 42 9 15 18 21 27 8 ) P ca vaimAnAni 20 ) P pratIkSaM taM. 31 ) PB om. parSadi. 37 ) Bom. tato. 39 ) PB nivRtti 41 ) Before mahAdevI Padds locanA and B adds sulocanA (su being added later ). 6 * 41 1 6 9 12 15 21 24

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*42 ratnaprabhasUriviracitA [III. 8 18 : Verse 2651 dattvA sakalo 'pi saMnivezo 'bhAji / mahendro yudhyamAnastena vairiNA vinaashitH| tato hataM sainyamanA- 1 yakamiti sakalamapi balaM palAyituM pravRttam / tatra tArAmahAdevI taM putraM tArAcandramaGgulyAM vilagya janena 3 saha naSTA / sApi nazyantI krameNa zivamiva durgAnvitaM, kAminIkucataTamiva vihArAlaMkRtaM, sarovara- 3 miva kamalAlayaM, gAndhikApaNamiva sacandra, svargamaNDalamiva [ vivudhAlaGkRtam ], vATikAsthAnamiva vRSAspadaM sadArambhaM sazivaM ca lATadezalakSmIlalATalalAmadhIbhRgukacchamiyAya / 6 AsyAnyAsyopamAmeva labhante yatra subhruvAm / rAkAzazAGkapadmAni teSAM dAsyaM tu vibhrati // 265 6 prAkAro 'bhraMliho yatra saMkrAntaH parikhAmbuni / pAtAlanagarIzAlamalaM jetumanA iva // 266 / - ratnAnyAdadire 'nena maddehAditi matsarAt / ambudhiH parikhAvyAjAd yatra zAlamaveSTata // 267 9 nameti lakSaNe lokairyatra peThe 'kSaradvayam / yAcake tu samAyAte svabhyastamapi vismRtam // 268 619) tatra ca sA kiMkartavyamUDhacittA 'kathaM vA bhavitavyam' iti cintayantI yUthabhraSTA hariNIva caccaramahezvaramaNDapaM praviveza / tadaiva tayA gocaracaryA nirgataM sAdhvIyugalamadarzi / tadRSTvA 'mahAnubhAve 12 pradhAne kriyAkalApanirate ete sAdhvyau' iti cintayantyA tayA samutthAya vandite / tAbhyAM dharmalAbhaM 12 dattvA 'kutastvam' iti pRSTA / tayA 'vindhyapurAdAgatA' iti vijJaptam / tatastasyA rUpalAvaNyalakSaNAni nirIkSya tacca tAdRzagadgadasvarabhASitaM ca zrutvA sAdhvyoranukampA mahatI jAtA / yataH, 15 "mahatAmApadaM vIkSya modante niiccetsH| mahAzayA viSIdanti paraM pratyuta sarvadA // 269 // " 15 tAbhyAM bhaNitam / 'yadi bhadre, tava purAbhyantare ko 'pyupalakSito nAsti tata AvAbhyAM saha samA gcch|' tato mahAnanagrahaH' iti tayA vadantyA tAbhyAM sahAgatya mahatyA bhaktyA pravartinI prnntaa|taaN dRSTA 18 18cintitaM prvrtinyaa| 'aho, etasyA atikamanIyAkRtiH punarIdRzyavasthA, tanmanye kApIyaM rAjavaMzyA rAjakalatraM vA, asAvatyantasundaraH sallakSaNazAlI pArzve sutazca / ' tataH pravartinI tAM tArAM sutasahitAM savAtsalyamUce / 'vatse, samAgaccha mahyA sahetyAdi / ' tayA pravartinyA sA zayyAtaragRhe sthApitA / zayyA21 tareNa ca sA duhiteva pratipannA / sa rAjasUnurnityaM vividhAnnavastrapAnAdibhirupacaryate / anyadA kiyadbhi- 21 dinairgataistArA vigatazramA sukhopaviSTA pravartinyA bhaNitA / 'vatse, sAMprataM tvayA kiM kartavyam' iti / tArayA jalpitam / 'bhagavati, yo mama priyatamaH sa samarAGgaNe vipannaH / vindhyAvAsapuraM kozalarAjena 24 bhagnam / samagro 'pi parijana: sarvAsu dikSa kAkanAzaM nanAza / sAMprataM kozalanarezvaro mama patyurverI 24 prabalabalakalito mama putrastu balarahitaH, ato mama nAsti kApi svarAjyalakSmIpratyAzA / ahamatra punaH prAptakAlaM tatkariSye yena bhUyo'pi na mamekSA ApadaH saMpadyante / yadbhagavatI mama samAdezaM dAsyati AtadevAvazyaM kariSye / ' pravartinyoktam / 'vatse, yadyevaM tava nizcayastatastArAcandraM sutaM pravrajyArthamasmadA- 27 cAryANAM samIpe samarpaya / tvaM punarasmAkamantike dIkSAM gRhANa / nigRhANa ca nijaM duSkarma / evaM kRte sarvasyApi janasya namasyA bhAvinI / saMsAravAsaduHkhasyApi paryanto bhaviSyati' iti tadAkarNya tayApi 30 'tathA' iti pratipannam / tayA tArayA nirmAyayA tArAcandrastanujaH zrIanantajinanAthatIrthe vicarato 30 dharmanandanAcAryasya vratAyArpitaH / tenApi yathAvidhinA sa pravAjitaH / tataH kiyati kAle vyatIte yauvanamAzrito rAjasUnumuniH karmavazato'dhyayanAlaso nityameva kRpANadhanurgandharvanRtyatUryakRtacittapravR33 ttireva samabhavat / tataH sa svayamevAcAryaiH pezalavacobhiH siddhAntAnuyAyibhistathopAdhyAyena sAdhujane- 33 nAparaiH zrAvakaizca zikSito 'pi zaikSo vilakSamanA babhUva na punastataH pratyAvRttaH / yataH, ___ svabhAvo nopadezena zakyate krtumnythaa| suzikSito 'pi kApeyaM kapistyajati no yataH // 270 36620) atrAntare dharmanandanasUrayo baahybhuumikaamupaajgmuH| sa ca tArAcandro'ntevAsI gurumArgA- 36 nugAmI vanasthalyAM khairaM mUSakAn krIDAM kuveto vilokya vyacintayaditi / 'krIDanti khecchayA kasyApi hi kurvanti no natim / 39 na durjanavacaH zRNvantyaho dhanyatamA amI // 271 // ' 39 2) B vilagayya. 4) B has a marginal gloss on sacandra etc. like this : saha candreNa karpUreNa vartate sacandram / nagarapakSe saha suvarNena vartate / vRSo devendraH puNyaM vRSabhazca / sadArambhA'psarA yatra pakSe sadA kadalIsahitam, pradhAnA ArambhA yatra / ziva IzvaraH, zivo vRkSavizeSaH zivaM kalyANam / ; P B omit [vibudhAlaMkRtam ]; P B vATikAsthAnakamiva; P sadvRSAzrayaM B sadA vRSAzrayaM sadAraMbha; BdeglalAmaM zrI. 13) PB viMdhyAvAsapurA. 17) B om. tAM dRSTvA. 19) P sutasahitAM zayyAtaragRhe sthApitA, com. pravartinI etc. to tayA and adds tArA sasutA between sA and zayyataragRhe; B however adds on the margin savAtsalya etc. to sA. 28) PB inter. nijaM daHkarma and nigrahANa ca. 30) P tayA tatheti. 33) c inter. siddhAntAnuyAyibhiH & pezalavacobhiH. 35) P nodyataH.

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-III. $ 22 : Verse 277] kuvalayamAlAkathA 3 * 43 1 asmAkaM punaH parAyattAnAM sadaiva nibiDanigaDavarjito bandhanavidhiH / aparvatapAdapaM patanam / sajIvaM 1 maraNam / ekastAvaditi vadati 'yadidaM vidhehi' / anyo jalpati 'yadidaM samAcareH' / paraH 'caraNau 3 kSAlaya' / anyo 'vArAbhUmi pramArjaya' / itaro 'vizrAmaNAM kuru' / eko 'vandanakaM dadasva, pratikramaNaM 3 viracaya' / ityAdivividhavacanairanArataM prAjanairiva preryamANasya mama nAsti nimeSamAtramapi nArakasyeva sukhAvakAzaH / tadete 'smattaH pradhAnAH' iti cintayan gurubhiH saha vasatimAyAtavAn / sa ca kiyanta6 mapi kAlaM zrAmaNyamanupAlya tad duzcintitazalyaM gurUNAM purato 'nAlocyAkAlamRtyunA jyotiSkeSu 6 kiMcidUnapalyAyuH suparvA babhUva / tatra bhogAn bhuktvA cyutvAsyA eva nagaryAH pUrvottaradigvibhAge sa kAnanAntarasthalyAmundaratvaM prApya yauvanamito 'nekamUSikAbhiH samaM kIDan kadAcidvivarAdvahirupetaH sura9 bhigandhodakakusumavRSTigandhamAghrAya tadanumArgAnusAreNAtra samavasRtau samAgatya dharma zrotuM prAvartata / athA- 9 muSya madvacaH zRNvato jAtismRtirudapadyata / 'yadahaM pUrvabhave sazalyaM vratamApAlya jyotipkeSu devatvamavApya kAntArAntaracArI mUSakaH sNjaatH| etatsmRtvA 'aho, kIdRzaH karmapariNAmaH, dhigvilasitaM saMsArasya 12 yaddevatvamupalabhya tiryagajAtau mUSakaH samutpannaH / adhunA tadAsannaM zrIbhagavataH pAdamUlamupAgatya praNipatya 12 ca pRcchAmi kimahaM mUSakabhavAdanantaraM prApsyAmi' iti cintayan mama samIpamupasasarpa / bhaktibharanibhR tasvAntaH sucetasA stotumaareme| 15 'tavAnAlopino ye 'tra lokatrayaziromaNe / jAyante jantavo dUraM durgato te bhramanti hi // ' 272 15 21) tato jAnatA gaNabhRtA lokabodhArtha prabhuH pRSTaH / 'bhagavan , kimanena nirmame, yadanubhAvenedRza eSa jAto 'sti' iti / prabhuH prAha / 'prAgbhave 'nena vatinA satA gacchavAsaniyantraNAnirviNNacetasA 18 bahirbhUmiM gatena khairaMvihAriNo mUSakAn dRSTveti cintitaM yathA 'araNyamUSakA dhanyatamAH / iti duzcinta-18 nazalyayutavratapAlanAnubhAvena devatvamUSakatvayogyamAyurnibaddham / ' atha bhUyo 'pi pRSTaM bhagavataH pArzve gaNadharaNa / 'nAtha, kiM samyagdRSTijIvo 'pi tiyaMgAyurbadhnAti na vA' iti / svAminoktam / 'samyagda21STijIvastiryagAyuranubhavati, na punarbadhnAti / yataH, bhavadvaimAniko 'vazyaM jantuH samyaktvavAsitaH / yadi nodvAntasamyaktvo baddhAyurna purAthavA // 273 tAvadetena devatve samyaktvaM vAntvAyustiryaktve nibaddham' iti / tatastridazezena jalpitam / 'bhagavan , 24 ayaM saMprati zIghraM kathaM siddhigAmI' iti / niveditaM ca bhagavatA / 'itazcaiSa svavanasthalyAM vrajan cintayi-24 Syati / 'aho darantaH saMsAraH, kuzAgrabindavaccaJcalaM jIvitavyaM, capalA viSayatAAH , na vareNyaM nidA nAdizalyam , adhamA mUSakajAtiH, duSprApaH zrIjinapraNItaH panthAH, tatovaramatra namaskAraparAyaNo mriye, 27 yathA viratipradhAnaM janma labheyam / iti cintayan tasminneva sthAne bhaktaM pratyAkhyAyaitadeva madraco'tIva 27 duSTaM bhavasvarUpaM ca nirUpayanamaskAraparo bhAvI / tatraitasya tiSThato mUSikAstandulakodravAdikaM tatpuro mokSyanti / tatastannirIkSya muusskshcintyissyti| 30 'meroradhikamAhAraM payodheradhikaM payaH / anArataM bhavaM bhrAmyaneSa janturupAdade // 274 tattena cenna tRpto 'yaM bhakSitaistadimaiH kaNaiH / kA nAma prApsyate tRptiH sthAsyatIti vicintayan // 275 622) tatastadabhimukhamISadapi mUSako na vilokayiSyate, tacca tAdRzaM vIkSya tA mUSikAzcinta33 yiSyanti / 'kuto hetorayamasmatpatiH kupitastadenaM prasAdayAmaH' iti cintayantya etatsamIpamupeSyanti / 33 tataH kAzciduttamAnaM kaNDUyanti, aparA aGgaM parispRzanti / evamupacaryamANastAbhirabhita eSa cintayitA 'sadaiva narakanigamA imA rAmAH saMsAraduHkhamUlam / ' tatastAbhiretanmano na kathamapi samAdhitaH svarNAdri36 zRGgavatsazabdavAtotkalikAbhiH kSobhayiSyate, tatkRtaM sarvathaiva vRthA bhAvi etasmin vajra nakhavilekhanamiva / 36 tatastRtIyadina eSa kSudhAkSAmakukSivipadya mithilAnagaryAM mithilasya rAzacitrAbhidhAyA mahAdevyA udarasarasi rAjahaMsalIlAmalaMkariSyati / tena ca garbhasthena jananyAH sarvasattvAnAmupari maitrIvAsanAvAsitama39 ntaHkaraNaM bhavitA / sa ca bhUpastasya jAtasya 'mitrakumAraH' iti nAma dAsyati / tasya kautUhalinaH kumArasya 39 tAmracUDakapipazusambarahariNamUSakAdibhirniyantritaireva krIDAM kurvato 'STavarSANi yAsyanti / anyadA meghamAlAbhiH pihitavyomamaNDalaH / vipralambhabhRtAM kAlaH prAvRTkAlaH samAgamat // 276 42 saritaH prApya yatrApaH pAtayanti taTadumAn / pIDayanti na ke nIcAH zriyaM prApya mahIbhRtAm // 277 42 21 30 3) B vizrAmaNaM kuru. 14) 0 B svacetasA. 15) 0 te for hi. 21) com. na punarbadhnAti. 29) PB mUSakazcitayati. 31) B tRpti- 32) PB degbhimukhamISanmUSako vilokayiSyate. 37) B bhidhAnAyA.

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ratnaprabhasUriviracitA [ III. 8 22 : Verse 278 yathA yathAvanI pIThe muJcanti sma ghanA vanam / aicchattathA tathA kAntA manmathavyathitA vanam // 278 dyotante divi khadyotAstamasvinyAM nirantaram / saMjAtayuva tijAtavirahAgnikaNA iva // 279 atItkampate yatra yoginAmapi mAnasam / kiM punardUrasaMsthAnAmadhvagAnAM nigadyate // 280 sarveSAmapi parjanyaH samabhUdativallabhaH / proSitapreyasIvargamanargalazucaM vinA // 281 zuklApAGgAH pranRtyanti garjanti ca ghanAghanAH / antarikSe caturdikSu kSaNikA lakSyate kSaNam // 282 6 prapA mayi samAyA kathamadyApi maNDitAH / varSate 'tidhanenAzu sarvAstAzcakrire vRthA // 283 * 44 1 3 6 $ 23 ) IdRze samaye sa mitrakumAraH purabAhyoddezaM nirgatastaiH zakunazvApadagaNairbandhanabaddhaiH krIDayiSyati / tena ca pradezenAvadhijJAnI munirgamiSyati / sa ca vyAvRttastatkumArakrIDAM nirIkSyopayogaM dAsyati / 'aho, 'asya kIdRzI prakRtistat kimatra kAraNam' ityupayuktAvadhijJAnena karatala kalitakuvalaya spaSTadRSTAntavat 1 pUrvabhave tasya tArAcandrasya sAdhutvaM jyotiSkadevatvaM mUSakatvaM rAjasutatvaM ca drakSyate / 'ayaM bodhayogyaH" iti cintayan sa bhaNiSyati / 12 1 'zramaNatvaM supatvamAkhutvaM smRtimeti te / svajanAtuSTaH kiM jIvAn kadarthayasi bho vada' // 284 12 tadAkarNya kumArazcintayiSyati / aho, kiM punaretena sAdhunA bhaNito'smi / 'sAdhujyatiSkadevo vRSalocanaH' iti / tAvat zrutapUrvamiva me / evamUhApoha mAtramupAgatasya tasya tathAvidhakarmaNaH prazAntyA 15 jAtismRtirutpatsyate / tataH saMsAraM duHkhasAgaraM parijJAya tasyaiva muneH pArzve pravrajya nAnAvidhAbhigraha - 15 sAgrahaH samAdhinA vividhaM tapo vidhAya kSapakazreNyAntakRtkevalI bhaviSyati' iti / tena bhaNAmo yadeSa sarveSAmapyasmAkaM pUrva mahodayapadaM gamiSyati / asmAkaM punardazavarSasahasrazeSamadyApyAyuH / etadRSa18 locanAkhyAnakaM nizamya tridazendrAdInAM manujAnAM ca manasi mahatkautukamutpede / atho bhaktibharanibhRta- 18 cetasA maghavatA taM mUSakaM svapANikroDamAropyAbhANi / 3 'aho dhanyastvamevaiko vandyastvamasi nAkinAm / siddhigAmI purAsmAkaM yastvamuktaH svayaMbhuvA // 285 21 surAH pazyata kIdRkSaH svabhAvaH zrIjinAdhvanaH / labhante nirvRtiM yena tiryaJco 'pi bhavAntare // 286 21 evaM vAsava ivAnyairapi tridazezvarairdanujanAthairnRpazataiH karAtkaratalaM saMcAryamANaH kSitipatikumAravadAliGgayamAnaH snehaparavazayA dRzA 'ayamasmAkamapyadhiko yo 'nantarajanmani niHzreyasabhAjanaM na vRthA zrI jina24 praNItaM vacaH' iti sa zlAghitaH / 8) Bom. kumArakrIDAM etc. to prakRtistat. 14 ) 8 mAtrAmAgatasya 15 ) B vidhAbhigrahaH samA ghinA. 20) B purosmAkaM - 22 ) B kSitipakumAra 26) 0 bodhayaH (zca), B bhagavan for punaH 30 ) B has a marginal correction 'nAtha samuttasthA. 40 ) P B kSipyate for nikSipyante. 24 9 24 ) tato viracitAJjalinA padmaprabhadevena pRSTam / 'bhagavan vayaM bhavyAH kimabhavyAH' iti / _bhgvaanbhydhaat| bhavanto bhavyAH sulabhabodhayaH / padmaprabheNa vijJaptaM punaH / 'vayaM paJcApi janAH kati27 payabhavasiddhigAH / ' nigaditaM zrImatA dharmatIrthakRtA / 'itazcaturthe janmani yUyaM paJcApi sarvaduHkhakSaya- 27 gAmino bhaviSyatha / ' padmaprabhaH samuvAca / 'svAmin, ito mRtAnAmasmAkaM kutrotpattirbhAvinI / svAminA jagade | 'iyutvA tvaM vaNikputraH padmavarastu rAjasutA, padmasArastu nRpatitanayaH padmacandraH, punarvindhya30 girau nakharAyudhaH, padmakesaraH punA rAjaputraH / ' iti nivedya svayaM bhagavAn zrIdharmanAthastasthau / devA api 30 samavasaraNaM saMhRtya svargamArgamagaman / bhagavAnapi pIyUSarociriva bhavyajanakumudapramodasaMpAdanAya vihartu pravRttaH / tataste paJcApi saMlApaM kartuM prAvartanta / ekenaikasya saMmukhaM bhaNitam / 'yat svayaM bhagavatA gaditaM 33 tadAkarNitam, tato 'trAtmabhiH kiM karaNIyaM samyaktvalAbhArtham / ' pareNa mantrayitvA proce / 'yadidaM 33 viSamaM kAryamupasthitam / eko vaNigajanmA / anyo rAjatanujA / aparaH pArIndraH / aparau rAjaputrAviti / tato na jJAyate kathaM punarasmAkaM bodhilAbhaH / ka punaH saMgamo bhAvI / tadaho padmakesara, iti bhaga36 vatAdiSTaM yattava pazcAccayutirbhAvinI / tvayA tvavadhinA jJAtvAsmAkaM yatra tatrotpannAnAM samyaktvaM dAtavyamiti / na punaH svargasundarIvakSoja sparzasukhalAla sena vismRtasakalapUrvajalpitena bhavitavyam / ' tenoktam / 'ahaM samyaktvaM dAsyAmi, paraM mohopahatacetasAM bhavatAM madvacaHpratyayo na bhaviSyati tataH ka upAyaH 39 kartavyaH / taizcaturbhiruktam / 'bhavyaM niveditam / tata etadadhunaiva kriyate, yadAtmIyAtmIyAni ratnamayAni 39 prAgbhavamanuSyarUpANi kRtvaikasmin sthAne nikSipyante tAni kAlena darzanIyAni yathA parasparaM dRSTvA kadA .36

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-III. SS 26 : Verse 297 ] kuvalayamAlAkathA 3 * 45 1 citpUrvajanmasmaraNasAbhijJAnena dharmapratipattirasmAkaM bhavet / ' iti bhaNadbhistairbhuvamAgatya tAni tatra nikSi- 1 yatra vane tasya kaNThIravasyotpattiH / vivaradvAre ca mahatI zilA pradatteti / tataste sarve 'pi svavimAnalakSmI malaMcakuH / tatra te divyasukhamanubhavantastiSThanti / 6 pratyarthipArthivaprattakampA campAbhidhA purI / campakairddazyate yatra daivatodyAnasaurabham // 287 dhanadattAbhidhastatra pavitramatizekharaH / zreSThI yastu zriyA zrIdalIlAmAlambate kila // 288 tasya zrIpateriva lakSmIrlakSmIrnAmnA priyatamA / sa padmaprabhajIvastatkukSisaMbhavaH sAgaradattAbhidha9 sUnurjAtaH / paJcabhirdhAtrIbhiH pratipAlyamAnaH sa kAntyA guNaiH kalAkalApena ca pravardhamAnaH kramato 9 yauvanazriyamAzritaH / pitrA samAnasamAcArazIlasya kasyacidvANijasya kanyakAM sa zrIsaMjJAM pariNAyitaH / sukhaM vaiSayikaM sAkaM zreSThisUnostayAnizam / tasyAnubhavataH svairaM zaralakSmIravAtarat // 289 phalaprAgbhAramAsAdya sadyaH kalamazAlayaH / bhajantyeva natiM yatra nayavanta iva zriyam // 290 bhejurjalAni nairmalyaM hRdayAni satAmiva / ayugacchadasaugandhyavAsitA harito 'bhavan // 299 yatra tIvra karastIyaiH karaizca samatApayat / kubhUpatiriva svairamakhilaM bhUmimaNDalam // 292 abhUjanaH surAzIva yatra sanmArgajAGghikaH / sarovataMsAH krIDanti rAjahaMsAzca sazriyaH / / 293 evaMvidhAyAM zaradi sa sAgaradattaH snigdhamugdhabandhujanAnvitaH purIbAhyodezamupAgataH / kaumudImahotsavaM dRSTvA kasmiMzciccaccare naTapeTa kAntaH kenApi paThyamAnaM kasyApi kaveH kAvyamazRNot / 'yo dhImAn kulajaH kSamI vinayavAn vIraH kRtajJaH kRtI rUpaizvaryayuto dayAlurazaTho dAtA zuciH sUtrapaH / sadbhogI dRDhasauhRdo 'tisaralaH satyavato nItimAn bandhUnAM nilayo nRjanma saphalaM tasyeha cAmutra ca // ' 294 18 12 9 25) tataH kumArakuvalayacandra, teSu padmaprabhadevo vigalaccharIra kAntiH parimlAnavadanaH sudInamanAH pavanAhatapradIpa iva jhaTiti vidhyAtaH / tato jambUdvIpe dvIpe bharatakSetre 15 21 3 12) P bhajate vanati. 18 ) P shows blank space for nayavAn. 20) B sauhRdojjalamanAH satyavato. 24 ) B vinmahAsatvazveti 32 ) B tayA for tatastayA 35 ) Binter. kAMtAM & zriyaM. 36 ) B dvitIyaM ca . 41 ) B saMkIrNaH tuMga. 6 12 15 26) tatastena subhASitarasapUritacetasA bhaNitam / 'bho bho bharataputrAH idaM likhata yatsAgaradattenAmuSya subhASitasya lakSaM deyam / ' tataH kaizcinnAgarairupazlokitaH / 'yadayaM sAgaradatto mahArasiko 24 vidagdha dAtA prastAvavidaho sattvazca' iti / aparaizca jalpitam / 'amuSya kiM stUyate yaH pUrvopArjitaM 24 vittajAtamarthibhyo dadAti sa kathaM prazasyaH / yaH punarnijabhujasamarjitamartha vyayati sa eva prazaMsAbhAjanam / ' aho, 'etairmamopahAsaH kRtaH' iti cintayatastasya tadvacazcetasi zalyamiva lagnam / tato 'patrapAparo 27 vIkSApana iva gRhamAgatya sa zayyAyAM niviSTaH / yataH, vijJAnAmadhya vijJAnAM mude mithyApi hi stutiH / nindA satyApi vijJAnAmapi duHkhAya jAyate // 295 tataH zriyA ceSTitAkAra parijJAna kuzalayA cintitam / 'adya kathaM mama patirudvigna iva lakSyate / yataH, jAnanti jalpitAdapi niHzvasitAdapi vilokitAdapi ca / 30 te paramanAMsi yeSAM manastu vaidagdhyamadhivasati // 296 18 21 tatastayA bhaNitam / 'adya nAtha, kathaM bhavAn vilakSa iva / ' tena cAkArasaMvaraNaM kurvatAbhyadhAyi / 'priyatame nahi nahi, kiMtu zaratpUrNimAyAM kaumudImahotsavaM prekSyamANasya mama mahAn parizramaH samajanyata 33 IdRzaH, na punaranyo hetuH' ityuktvA sa sthitaH / tato rajanyAM zayyAgRhe 'lIkaM prasuptaH kSaNaM kimapi dadhyau ca / tataH sAgaradattastAM zriyaM kAntAM prasuptAM parijJAya mandaM mandamutthAya vasanakhaNDaM paridhAya 36 dvitIyakhaNDaM ca skandhe kSitvA khaTikAkhaNDena vAsabhuvanAntare svenaiva viracitaM zlokametaM bhArapaTTe lilekha | 36 'varSAntare na yadyasma saptakoTIH samarjaye / vizAmi jvalane 'vazyaM jvAlAmAlAkule tataH // 297 idaM likhitvA vAsavezmato niHsRtya nagaranIranirgamadvAreNa dakSiNAzAM prati cacAla / sa ca kramataH 39 sarvatra janapadasvarUpaM nirUpayan dakSiNAmbudhitIra virAjinIM jayazrInagarImavApa / sa tatpurIbAhyoddeze 39 ekasmin jIrNodyAne 'zokAnokahatale dUramArgazramavyapagamAya niSaNNazcintayAmAseti / 'kimatucchaPrerna pakIrNita tuGgataraGgasaMgate sAgare yAnapAtramAruhya paratIraM vrajAmi, kiM vA cAmuNDAyAH 42 purastIkSNakSurikA vidAritoruyugalasamucchalallohitapaGkilabhUtalaM mAMsakhaNDairbaliM dadAmi kiM vA rAtriMdivaM 42 27 30

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* 46 ratnaprabhasUriviracitA [III. $ 26 : Verse 2981 apahastitAzeSavyApAro rohaNaparvatabhuvaM khanAmi, kiM vA vyapagatabhayapracAraH satpuruSasaMgato dhAtuvAdaM 1 vitanomi / ' ityanalpavikalpasaMkalpamAlAkulitasvAnta ekasmin sthAne sAgaradattaH zrIphalapAdapasya 3 prasRtaM prarohamekaM dadarza / taM ca vilokya saMsmRtAbhinavazikSitakhanyavAdena tena 'namo dharaNendrAya namo 3 dhanAya namo dhanapAlAya' iti mantraM paThatA bhUmitalaM khanitvA nidhilocngocrmaaniitH| yAvatA sa taM nidhi gRhItuM cintayati sma tAvatA byoni iti vANI prasasAra / 'vatsa, yadyapi tvayA sakalo 'pi 6nidhirvIkSitaH paraM stokamaJjalimAtraM mUladravyakRte gRhANa' ityevaM zrutvA tena zreSThisUnunA eka evAJjalI 6 rUpakANAM jagRhe / nidhirapi tadaivAdRzyatAmagamacca / taddhanaM nibaddhaM cAnena skandhanikSiptadvitIya vAsasaH praante| 9 27) tato vaNiguttamena cintitam / 'aho, cApalyaM daivasya / pUrva datto nidhidaiva kathaM pazcAddhRtaH katham / tava vRttyA parikSAtaM sarvathA te gatizcalA // 298 tathApyetAvatApi vittena draviNasya saptakoTIrajayitvAtmIyaM pratijJAtamavitathaM kariSye yadi daivaM svayaM 12 maadhysthyvRttimnggiikrissyte|' iti cintayan parituSTamanAstasyAmeva nagaryAM vipaNimArge kamapi vaNija 12 pariNatavayasaM mArdavAdiguNopetaM svabhAvato 'pi suzIlamadrAkSIt / taM ca nirIkSya cintitamanena / 'aho, ramaNIyatamAkRtiAyAn vaNikapuGgavo 'yaM dRzyate, tato 'muSya pAdapatanaM nyAyyam' iti dhyAtvA taM 15 natvA ca sAgaradattaH purato niviSTaH / tena zreSThinA mahatA saMbhrameNa 'svAgataM bhadrAya' iti bhASitaH sH| 15 tadA ca tasminnagare kasminnapi mahotsave pravRtte tasya zreTino hade pratyAsannagrAmINajano 'tIvasamatsaka cetAH samastapaNyagrahaNArthamabhyeti, taM ca zreSThinaM jarAjarjaritatarnu paNyAni dAtumakSamamavagamya sAgaradattaH 18 provAca 'tAta, tvaM vipaNimadhyataH RyANakAnyAnIya mama samarpaya yathaitAni tolayitvA yuktyAsmai janAya 18 dadAmi' ityuktvA dAtuM prvRttH| tata eSaH 'kSipraM dadAti' ityavagatya sarvo'pi janastadApaNamAyAtavAn / tena tatkSaNamAtreNApi paNyAnyarpayitvA samagro'pi jnHpressitH| RyANakairvikrItairmahatyarthalAme zreSThinA 21 cintitam / yadayaM ko 'pi mahAkulasaMbhavaH puNyavAn dArako yadyayaM mama nilayamalaGkaroti tadatIva sundaraM 21 bhavati' iti cintayatA jalpitam / 'bho vatsa, tvaM kutaH sthAnAdAgato 'si / ' tenoktam / 'tAta, cmpaapuriitH|' zreSThinA jagade / 'vatsa, tvayA mama gRhamalaGkaraNIyam / ' sa sAgaradattaH zreSThinA samaM niket24mupaagtH| prItyA svaputravadauzIrakazipukriyayA sNmaanitH| kiyadinAnantaraM tena pravayasA tadrUpaguNa-24 grAmaraJjitacetasAbhinavodbhinnayauvanA nirmalamukhamRgAGkakAntikalApakalitA vikasvarakuvalayadaladIrghalocanA kusumabANapraNayinInibhA kanI sAgaradattAya pradattA, paraM tena tatpariNayanaM na mAnitam / bhatenoktam / 'tAta, kiMcidvaktavyamasti / kenApi hetunA svavezmato niHsRto'smi, yadi tatkArya pramANa-27 koTimadhyArUDhaM tato yad yUyaM bhaNiSyatha tadavazyaM kariSye / yadi tanna niSpannaM tato mama kevalaM jvalana eva zaraNamato'sminnartha sAMprataM tAta, pratibandhaM mA kaarssiiH|' zreSThinA nigaditam / 'evaM vyavasthite mayA 30bhavataH kiM kartavyam / ' tenoditam / 'yadi tvaM mama satya eva tAtastadA maddhanena krayANakaM paratIrayogyaM 30 gRhANa bhATakena yAnapAtraM ca / mayA paratIraM gantavyam / ' zreSThinA jalpitam / 'evaM bhavatu' iti taddinAdeva zreSThinA purobhUya pratipAditam / sAgaro'gaNyapaNyaM saMgRhya nimittavihatte muhUrte samudradevatAmabhyarthya 33 tapazcaraNaguruM guruM praNipatyArhatAmarhaNAM kRtvA taM vaNijamabhivAdyApRcchaya ca smRtapaJcaparameSThinamaskAraH 33 pravahaNamArUDhaH, pUritaH sitapaTaH, labdho 'nukUlaH pavanaH, tato nadIzamullaGghaya krameNa yAnapAtraM yavana dvIpamavApa / tatra krayavikrayeNa samarjitasaptakoTiH sAgaradattastuSTamanA vyAvRtya svadezaM prati prclitH| 36 28) atho tadbohitthaM sAgarAntaH karmapariNatyA saMjAtAkAlakajalazyAmalasajalajaladAndhakAra- 36 cchAditavyomatalAdRzyamAnanakSatratayA niryAmakairutpathapreritaM kasyApi girerdAntake AsphAlya kAminIniveditarahasyamiva tvaritaM prapusphoTa / tatra ca nikhile 'pi jane vipanne kevalaM sAgaradattaHprAptaphalakaH 39 kathamapi tuGgataraGgamAlAbhiH preryamANaH paJcabhirahorAtraizcandradvIpamavApya mUrchAnimIlitalocanastIra- 3 pAdapAdhobhAge kSaNamekaM pavanasparzalabdhacetanastRSAtaralitacetovRttiH kSudhAtaH sarvatra paribhramya vacana pradeze nAlikeranAraGgamAtuliGgapanasadADimIpramukhadrumaphalaiH kRtaprANAdhArazcandanalavalIlavaGgalatAgRhaM 1) P pracAraH puruSa. 3) On khanyavAda B has a marginal gloss like this : bhUmigatanidhAnakhananavidhiH . 7) P B rUpakAnAM. 10) D tatva for tava. 12) B madhyasthavRtti. 13) tena ciMtitaM for cintitamanena. 21) 0 dArako'pi yadyayaM. 24) B has a marginal gloss: kuzIraM zayanAsane kasipurbhojanAcchAdo. 27) 0 tAta yatkiJcidvaktavyamasti [yadahaM]. 29) B has a marginal gloss pratibaMdha AgrahaM / / 32) P gaNya paNyaM. 37) B gireHtake. 38) B tvarita pusphoTa. 40) B ratRSNAtaralita. 41) B has a marginal gloss on lavalI thus: latAvizeSaH

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-III. SS 31 : Verse 307] kuvalayamAlAkathA 3 * 47 1 vIkSya saMjAtacitta kautukastamuddezaM yAvadAjagAma tAvatsahasA kasyApi svara iva zravaNAtithitvaM bheje / 1 tamAkarNya cintitamanena / 'atra tAvatpUrva manuSya pracAro 'pi na kathaM bAlAyA iva zabdaH / aho, ahamapi kutra prApto 'smi yanna kathAsvapi zrUyate yat svapne 'pi na dRzyate tadaiva devena ghaTyate' iti cintayatA 3 yAvannirUpitaM tAvatkadalItarunikurumbAntare raktAzokatarutale 'sAmAnyarUpAtizayA guNagrAmAbhirAmA kAcitpratyakSA vanadevateva vanitA dattakaNThapAzA dRSTA / tatastayA prajalpitam / 'zrUyatAM vanadevyaH, parasmi6napi janmAntare mamedRzaM mA bhUyAt' iti bhaNantyA tayAtmodvabandhe / atrAntare tena karuNAzaraNena sahasAgatya tasyAH pAzazcicchide, patitA sA dharAyAM vAyunAzvAsitA ca / candanakizalayarasena viliptaM vakSaHsthalam / tayA labdhasaMjJayA sAgaradatto dadRze / taM vIkSya sasAdhvasahRdayA svavAsaH saMvarI tumArebhe / 1 tena bhaNitA / 9 'puSpabANapriyA kiM tvaM vanalakSmIH kimatra vA / kimAtmAropito duHkhe nivedaya kRzodari // 299 uvAca sA 'ratirnaiva nAsmi lakSmIrvanasya ca / samAkarNaya madvRttaM tvamekAgramanAH punaH // 300 29) asti dakSiNa makarAkara tIre jayatuGgA nAma nagarI / tatrottuGga zriyA vaizramaNa iva vaibhramaNaH 12 zreSThI / tasyAhaM duhitAtyantaprANapriyA / anyadAdivase svabhavanakuTTimatale zayyAyAM prasuptAnekazakunizvApadakalakalaraveNa vibuddhA yAvaccintayAmi tAvadanantapAdapazatadalAvali niruddhataraNikiraNajAlaM kAntAra15 meva pazyAmi / tacca vIkSya bhayAvezakampitatanulatA vilapituM pravRttA / bhaviSyAmi kathaM tAta nirAzA hA tvayojjhitA / idAnIM kAnane bhIme zaraNaM bhAvi kutra me // 301 atrAntare 'tava zaraNama smi' iti jalpan divyarUpadhArI ko 'pi pumAn latAniketanataH samuttasthau / 18 tamAlokya dviguNataraM samupajAtakSobhA roditumArebhe, sa ca matsamIpamupAgatya vaktuM prAvartata / 18 12 21 6 'muJca mAzrUNi tanvaGgi na karomi tavAvamam / tvadrUpAkSiptacittenApahRtAsi mayAdhunA // 302 bAlA jagAda sA 'kastvaM kena te kathitAsmi ca / ' tannizamya tato 'vocannaraH zRNu zubhAnane // 303 9 30 ) asti vaitADhya parvataH / tacchikharanivAsinA mayA vidyAdhareNa mahAbalavatA tridazavanitA- 21 nAmapi mAna se kSobhakAriNA nikhilamapi kSoNItalaM kalayatoparitanakuTTimatale taline prasuptA talinodarI tribhuvanAdhikazAlinI itikRtvA bhavatI mama manasi pravezaM cakre 24 24 premollasati kasyApi kApi daivavazAttathA / vinetuM zakyate yanna vilagnaM vajralepavat // 304 tato 'nAparo 'tropAyo 'sti' iti vicintyAhaM suptAM tvAmapahRtya nijaguruzaGkito nijanagaraM na gataH kintvatra dvIpe vijane samAgato 'smi, ato mayA saha bhogAn bhuGkSva, duHkhaM mA dhehi / ' ato mayA 27 cintitam / 'tAvadahaM kanyA na kasyApi dattA, anyenApi vaNijA pariNatavyA, tato varamayaM sundarAkRti- 27 vidyAdharaH trijagatIyuvatijanavallabhaH snehamohitamanA yadi matkaragrahaM karoti tadA mayA kiM na labdham' iti cintayantyA mayoktam / 'ahaM tvayAtra kAnane AnItA yantubhyaM rocate tatsamAcareH / tataH saharSa30 saMbhRtacetAH samajAyata / atrAntare karSitakarAlakaravAlabhairavo vidyAdhara ekaH 're re anArya, kutra brajasi ' 30 iti jalpan prahartumAyAtavAn / tato me dayitaH samAkRSTariSTI 're re duSTa, matkalatrApahAraM kartA' iti vadan tena samaM yoddhumArebhe / tatastau yudhyamAnau nizitA sighAtaiH parasparaM lUnazIrSau kSitau nipatitau 33 vilokya mahaduHkhAkSiptacittA vilapituM pravRttA / 'hA saubhAgyanidhe nAtha rUpazrIjitamanmatha / mAmekakAM parityajya vane kutra gato bhavAn // 305 gRhAdAnIya muktvAtra mAmekAM kAnanAntare / jIveza mA vraja kApyathavA naya niketane // 306 36 31) tata evaM vilapya maraNakRtAdhyavasAyayA mayA 'yathA bhUyo bhavaduHkhAnAM padaM na bhavAsi' 36 iti cintayantyA latAvezmani latApAzaM viracayya khaM ca zocantI strIjanma garhamANA kuladevIM saMsmarya mAtApitarau praNamya cAtmA babandhe / ato na jAne kiM vRttam, kevalaM bhavAn vIjyamAno dRSTaH / kutastvaM 30 kutratyaH, kathamatra durgame dvIpe / ' tataH sAgaradattaH svavRttAntaM pratijJArohaNAdyaM yAnapAtra vighaTanAntaM nive- 39 dayAmAsa / tatastayoktam / evaMvidhe viSame kArye saMprati tvayA kiM karaNIyam / ' sAgaradattenoktam / 'satpuruSAH prANAnte 'pi na pratijJAbhaGgaM vidadhati / ' tayA jalpitam / 'daivAyatte pratijJAnirvAhe na kimapi 42 bhadra, tava dUSaNam, tatkiM tvayA saMprati vidheyam / ' sa bhUyo 'pyuvAca 'mamaivaM samudrAntabhraMmata ekAdaza 3 ) B tadeva for tadaiva. 5 ) PB om. vanitA 6 ) P bhaNatyA 7 ) P valiptaM for vilipta. 12 ) PB karapratIre, B nagarI uttuMgazriyA. 13) B prasuptA / aneka. 17 ) Pom. iti, B divyadhArI, P B om. pumAn. 22 ) P prasuptA / malinodarI prasuptAmalinodarI 26 ) PB dvIpe nirvijane 40 ) Bom. tvayA. 15 33 42

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* 48 ratnaprabhasUriviracitA [III. $ 31 : Verse 3071mAsAH saMjAtAH / saMpratyeSa dvAdazo mAsaH pravRttaH / anenaikena mAsena kathamahaM saptakoTIH samupArjayAmi / 1 atho samupArjitA api saptakoTIH kathaM gRhaM neSyAmi / tenAhaM sundari, bhraSTapratijJo 'bhavam / na mama bhraSTa3 pratizasya jIvituM yuktam / tato jvalanaM prvishaami|' [tyoce|] 'yadyevaM pratijJAbhane bhavAn hutAzane 3 pravizati tatrAhamapi bhartRviyuktA tvamiva kRzAnuM sAdhayiSye, ato 'nveSyatAM kuto'pi pAvakaH / tena bhaNitam / 'bhadre, na yuktmetttv'|[ttstyaapi bhnnitm| mayA kimatra vane kartavyam' iti / tatastena 6 cityAM viracayyAraNikASThAnnirmAya jvalanaH prjvaalitH| tatastenoktam / 'bho lokapAlAH zrUyatAM, mama 6 pratikSA saMvatsareNApi na pUrNA, iti bhraSTapratijJasya mama jvalanaH zaraNamiti jvalanaM vizAmi' iti yAvazcityAM gaveSayati tAvaJcitA zatapatratAM prApa / tato [sAgara-] dattaH kautukAkSiptahRdayo vyacintayaditi / 9 'kimanyajananaM kiM vA svapnaH kiM manaso bhramaH / kimindrajAlaM yaJcityA jagAma zatapatratAm // ' 307 9 atrAntare padmarAgaghaTitaM vyomamaNDale / muktAvacUlaprAlamba vimAnaM samupasthitam // 308 cArukAJcanakoTIradharastatra suraH sphuran / tejasA bhUyasA cazcadakhaNDazrutikuNDalaH // 309 12 ISadAsyahAsyavikasvarAdharatayA dazanasphuratkiraNadhoraNisamuddIpitadigaGganAnanena tenoktam / 'aho12 sAgaradatta, kiM tvayA pAmarajananiSevito vibudhaninditaH svvdhHpraarbdhH| yataH, prANeza duHkhasaMtaptA vanitA sAhasAJcitA / tanoti tadvaraM bhadra sAMprataM sAMprataM na te // 310 15 etacca kathaM vismRtam, yattvaM saudharmavimAne 'smAbhiH smmutpnnH| tatra tAvattvayA karketanendranIla-15 padmarAgarAzayaH pramuktAH, ataH kimetAbhiH sptdhnkottiibhiH| tattvaM gRhANa samyaktvaM nizAmuktinivartanam / mahAvratAni paJcaiva tA etAH sapta koTayaH // 311 1832) atha dravyAbhilASI bhavAMstadA triguNAH saptakoTIH svIkuru / mama vimAnamAroha yathA 18 tvAmahnAya nilayaM nayAmi / ' etadAkarNya devar3i vIkSamANasya tasya samyagRhApohaM kurvataH pUrvajAtismRti rutpede| jJAtaM ca yathA 'ahaM sa padmaprabhazzyutvAtra samutpannaH / eSa punaH padmakesarAbhidhAno 'nimessH| 21 tatra mayA pUrvajanmani bhaNita AsIt , yathA tvayAsmi zrImato jinezvarasya zAsane saMbodhyaH' tatsmaratA- 21 nenAmuto mRtyuto rakSito 'smi / aho dRDhapratijJaH, aho paropakArI, aho snehaparaH, aho mitravAtsalyam / yataH, 24 mAnuSye jIvitaM sAraM tato 'pi prema sundaram / upakAraH paraM premNi tatraivAvasaro vrH||' 312 24 iti cintayatAnena suraH praNataH / tena bhaNitam / 'suSTha smRtastvayA puurvbhvH|' sAgaradattenoktam / 'aho, tvayA paritrAtaH saMsArapatanAt / tAvattvayA vareNyaM kRtam / samAdiza kiM kartavyam' iti / sureNa 27 jalpitam / 'adyApi te cAritrAvaraNIyaM karma samasti, tadbhogAn bhuktvA saptadazabhedabhinnaH saMyamoza vidheyaH' iti / tatastenAsmi vimAne samAropitaH / gRhItA ca mayA sA samaM bAlA / kSaNenaiva jayazrInagarI prAptaH / tatra jIrNazreSThivezmani samavatIrNena mayA sA kanyA zreSThisutA ca pariNinye / tato vimAnArUDha30zcampApuryAmagamam / vandito mahAbhaktyA gurujnH| tato devenoktam / 'bhadra, tava dazavarSasahasrANyAyuH, 30 tatastrINi gatAni, paJca sahasrANi bhogAn bhuveti, sahasradvayaM zrAmaNyaM pAlanIyam' ityuktvaikaviMzati dhanakoTIstahAGgaNe 'bhivRSTya gataH sa suraH / so 'tha ciravirahakhinnAM pUrvapriyAM saMbhAvya tAbhirambhoja33 dRgbhiH saha krIDAM racayan praNayijanaM mAnayan krameNa nirviNakAmabhogo 'vagataparamArthaH smRtapUrvabhava- 33 devavAkyaH kSINabhogaphalakarmA vairAgyamArgamupagataH / tatazcaityeSvaSTAhikAM nirmAya kRtakRtyaH puNyavatAM sthavirANAmantike 'ntevAsI jAtaH / bhoH kuvalayacandra, so'haM saagrdttH| tatra cAdhItasarvazAstrasya 36 gRhItadvividhazikSasyAGgIkRtaikAkitvavihArapratimasya mamAvadhijJAnaM prAdurabhUt / 'adho yAvadratnaprabhAyAH 36 sarvaprastarAn Urddha yAvatsaudharmavimAnacUlikAM tiryaga mAnuSottarazikharam etatpramANe [avadhau] jAte mayA 'lobhadevapadmaprabhadevau' iti nijaM prAcya bhavadvayaM dadRze / etadvilokya cintitaM myaa| 'aho, ye 39 punastatra catvAraste kathaM saMprati' iti cintayan yAvadupayukto'smi tAvattAn dRSTavAn tathA yshcnnddsomH| 39 2) P athopArjitasaptakoTI: B athopArjitA api 0 atho samupArjitA'pi. 3) P B om. [tayoce]. 4) P bhartRprayuktA. 5) P Bom.[tatastayApi bhaNitam / ]. 6) PcityA B cittAM, P kASThAnyAnirmAya B kASThAnyAnIyya, praDavAlitaH / tenoktaM, Pom. tatastenoktam. 7) PsaMvatsareNApi na pUrNAdattaH / kautukAkSipta etc.: obviously P has missed some portion between pUrNA and dattaH. Originally B also read like P, but by an additional line it is made to read thus: saMvatsareNApi na pUrNA iti bhraSTapratijJasya mama jvalanaH zaraNamiti jvalanaM vizAmIti yAvacciyAM gaveSayati tAvaccitA zatapatratAM prApa tato dattaH kautukAkSipta etc.o reads thus saMvatsareNApi na pUrNA tena samprati svapratijJApUmaiM prANAn tyajannasmi' iti yAvatprANAnmuJcati [tAvatsA citA paGkajAyamAnA jaataa| tAM dRSTvA sAgara] dattaH kautukAkSipta etc. 15) BetatkathaM. 16) B om. ataH, P koTibhiH. 18) PB vimAnamAruha.20)P BdhAnonimeSaH. 21)P tataH smaratAH. 22) B dRDhapratijJA. 36) B sarvazAstragRhIta. 37) Cadds [avadhau] before jAte.

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15 -III. $ 34 : Verse 316] kuvalayamAlAkathA 3 1sa svarge padmacandrastatazcayutvA vindhyATavyAM kaNThIravaH / punarmAnabhaTo 'pi vipadya padmasAraH svargI, tato 1 'yodhyApuryAM bhUpateDhavarmaNaH sUnuH kuvalayacandra iti / tathA mAyAdityacyutvA tridive padmavarAbhisyo 3'nimeSo bhUtvA dakSiNasyAM dizi vijayAbhidhAyAM puryA bhUdhanazrImahA(vijaya)senasya duhitA kuvlymaalaa| 3 etatparijJAya mayA cintitam / 'tadA tapasvibhave mama saMmukhametairbhaNitamAsIt yathA 'yatra tatrotpannAnAmasmAkaM bhavatA samyaktvaM dAtavyam' iti sA yAvanmama prArthanA smRtipathamAgatA tAvadeSa pajhakesara6 stridazaH samAgatya mAM prati stutimaattaan| 'samutpannAvadhijJAna zAtajantubhavAntara / jaya tvaM zramaNAdhIza dharmAcAryastvameva me // ' 313 633) tadAkarNya taM nirIkSya ca mayA jalpitam / 'bhadra, kathaya kiM kriyatAm / ' tato jalpitaM nAkinA / 'bhagavan , pUrva mayA pratipannamiti, yathA samyaktvadAnena padmasArapadmavarapadmacandrajIvA anu- 9 graahyaaH| ete zuddhau mithyASTikulalabdhajanmAnau, ekaH siMhazca / tadete 'tidurlabhe zrIjinendranigame pratibodhanIyAH / tataH samAgaccha yathA gacchAvastasyAmayodhyApuryAM kumAraM kuvalayacandraM prtibodhyaavH|' 12 mayAdiSTam / 'na tvayopAyaH sundaraH smupdissttH|| 12 yataH sukhanimagnAnAM ratidharme na jAyate / nIrujAmauSadhe na syAdAdarasya laSo 'pi hi // 314 tattasya kumArasya rAjyadigdhAvitasya pitRmAtRbhrAtRbhaginIsvajanavayasyAdibhyo 'natidUrIkRtasya ca / 15 kuto bodhAvasaraH / yaduktam / "jananIjanakabhrAtRviyogenAtiduHkhitAH / yAvanna dehinastAvaddharmakarma na tanvate // " 315 kumArAnayanAya tvaM bhadra gacchAdhunA tvaham / caNDasomo hariyaMtra tatra gacchAmi kAnane // 316 18 634 ) tatraikAnte kumAraH pitRbAndhavaviyogakalitaH sukhaM samyaktvaM grahISyate' taduktvAhamihA-18 gtH| padmakesaraH saMprApto 'yodhyAyAm / tatra ca tatkSaNanirgatastvamazvArUDho vAhakeligato dRSTaH padmakesareNa / sa turaGgaM praviSTaH / tvAM gRhItvA turaga utpatitaH / tvayA ca turagaH prahataH / padmakesareNa ca 2I mAyayA mRto darzito na puna tazca, kevalaM tavAzAbhaGgaH kRtH| tataH kumAra, samyaktvalAbhArthamanenA-21 zvenAkSipya tvamAnAyitaH / etAni tAni ratnarUpANi vilokayeti / tataH kuvalayacandraH svaM prAcyarUpaM tathA kuvalayamAlAyAzcApareSAmapi pUrvajanmasmRtinimittAni taanypshyt| utpannaM ca tahazenena kumA 24rasya siMhasya ca jAtismaraNam / muninA samAdiSTam / 'kumAra, tatastvaM vicAraya / 'asAraH saMsAraH,24 tIkSNA narakavyathA, durlabhaH zrIjinapraNIto dharmaH, duSpratipAlyaH saMyamabhAraH, bandhanasadRzaH sadananivAsaH, nibiDanigaDaprAyA dArAH, mahAbhayamajJAnam, na sulabhA dharmAcAryAH, mahAbhAgyalabhyaM manuSya. ajanma' ityevaM ca vijJAya 'samyaktvaM gRhANa, dvAdazavratAnyaGgIkuru, parihara pApasthAnAni / ' idamAtmanAkSa pUrvajanmavRttamathAzvApadvati ca nizamya bhaktibharapraNatottamAGgaH kavalayacandro vaktaM prvttH| 'aho. ana gRhIto bhagavatA samyaktvadAnaprasAdeneti tAvanmama dadasva jinarAjadIkSAnugraham / ' muninA proktam / 30 'tvamutsukamanA mA bhava, tavAdyApi bhogaphalaM karma samasti, ataH pravrajyA na grAhyA / sAMprataM punardvAdazavidhaM 30 zrAvakadharma pratipAlaya / ' etadAkarNya kumAreNoktam / 'bhagavan zrUyatAm, ataH paraM zrIjinAn sAdhUMzca nAnyaM namAmi, zrAddhadharma ca paalyissye|' bhagavatA bhaNitaM bhavatu' iti / tato muninA punrpyuktm| 33 'bho mRgarAja, tvayA pUrvajanmavRttaM zrutam / vayamapi tadvacaH saMsmarya smaagtaaH| tAvadaGgIkuru samyaktvam / 33 gRhANa dezaviratim / muzca nistriMzatvam / parihara prANivadham / tyaja sarvathA krodham / anena durAtmanA krodhenaavsthaamimaamupniito'si|' idaM vaco nizamya mRgAdhipaHsarvAGgaromAJcitazcaladdIrghalAGgalaH samutthAya 36 muniM praNamya pratyAkhyAnaM yayAce / bhagavatA jJAnenAdiSTam / 'kumAra, eSa kesarIdaM jalpati, yathA mamAnazanaM 36 dehi, yadasmAkamapuNyavatAM nAsti praasukaahaarH| sadaiva vayaM mAMsAzinaH, ato mama na zreSThaM jIvitam / ' tato muninA tasya prapanna pratibodhasya niraagaarmshnmdaayi| sa ca tadaGgIkRtya trasasthAvarajantujAtavirahite 39 sthaNDile saMsArAsAratAM cintayan paJcanamaskAraparAyaNaH parityajan svajAtiduHzIlatvamupAvizat / ' 39 2) B mAyAdityo iti cyutvA, BdegbhikhyonimiSo. 3) P B dizi jayAbhidhAyAM, PR zrImahAsenasya. 11) B 'mayodhyAyAM puryA. 14) B rAjyodayazriyA lAlitasya (this is a correction on the original reading something like the one adopted in the text), B'bhyo dUrIkRtasya. 17) B tatrAgacchAmi. 18) B taduktvAhamihAgataH padmakesaraH stvAmAnetuM gataH tatra. 19) P om. saMprApto'yodhyAyAm , shown by blank space; PB vAhakeligato darzito na punarmRtazca kevalaM tavAzayAzAbhaMgaH. 26) B nivaDa B for nibiDa. 27) B idamAtmanaH. 36) B yathA mama mAMsAhAra eva tatosAkamapuNyavatAM. .7

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* 50 ratnaprabhasUriviracitA [ III. SS 34 : Verse 3171 kumAreNoktam / 'bhagavan, sA kuvalayamAlA kathaM bodhyA / ' bhagavatAdiSTam | 'sApi tatra vijayapuryA 1 cAraNazramaNakathAnakena smRtapUrva janmavRttAntA gAthAcaturthapAdaM rAjadvAre sarvajanadRSTaM kariSyati / tatra gatvA 3 gAthA pUraNatastvameva tAM pariNeSyasi / sA punastava mahAdevI bhaviSyati / tatastatkukSibhUreba padmakesara- 3 stridazaH prathamaH putro bhAvIti / tattvamapAcImabhigamya kuvalayamAlAM prabodhaya' iti nivedya sadyaH zramaNezvaraH sasAra / suparvApi 'ahaM saMbodhyastvayA' ityuktvA gagane samutpapAta / kumAraH 'bhagavatAdiSTaM kartavyam' " iti cintayan dakSiNAbhimukhaM calitaH paJcAsyaM vilokya cintayAmAseti / 'yadayaM sAdharmiko 'thavA pUrvasaMgataH snigdhabandhurekagurudIkSitazcAnazanI ca, ato mayAyamupacaryaH / yadyasya kAyaparitrANaM na kariSye tadAyaM kenApi vyAdhena zarairnihato raudradhyAnavazamAnasaH zvabhratiryagduHkhabhAjanaM bhAvI' iti vicArya 9 bhavyarItyA tena pratijAgarito bhaNitazceti / 6 'janau janau mRgendra tvamabodhirbahudhA mRtaH / tathA mriyasveti yathA bhUyaH syAnna mRtistava // 317 35) evaM dharmakathAM zrutvA tRtIya dine haryakSaH kSudhAkSAma kukSirnamaskAraparAyaNaH samAdhinA mRtvA 12 saudharme dvisAgaropamAyuH sthitiH sumanAH samudapadyata / tataH kesarizarIrasaMskAramAdhAya kumAraH kuva- 12 layacandro dakSiNAbhimukhamacAlIt / tatazca girinirjharajhAtkArairvAcAlitadigantaram / tripatraM saptapatrADhyaM navabANaDubandhuram // 318 zAkhisUna sphuradgandhalasamaravibhramam / sthAne sthAne zrUyamANake kijhaMkAra niHsvanam // 319 dAruNazvApadavrAtasaMkulaM ketanaM vanam / kumAraH kramayan prApa vindhyaparvatakAnanam // 320 tribhirvizeSakam // zuSyamANa 18 tadA tatra nakhaMpacavAlukAnivahe jladbahaladAvAnalanirgacchadbhUmadhyAmalitaka kummaNDale sarvataH zAkhini vAtyAviyadvivartitarajaH saMcaye ca pracaNDamArtaNDakiraNadaNDa saMzoSitakSititale bhISma grISma bhare * udagratRSAsaMzuSyadgalatAlukaH kumAraH salilAvalokanAya kaMcidbhUbhAgaM babhrAma | 21 tatastadantarvasudhAyoSiddhAle vizeSakaH / nRtyatridaza sundaryA bhuvi srastaM tu kuNDalam // 321 21 muktAvadAtasadvAri hArivArijarAjitam / vAtAvadhUta kiJjalkaliptakASTAGganAmukham // 322 krIDatsvargAGganA pInavakSojakSobhitormikam / pAlidrumAlisaMlInakiMnarIgItasaMgatam // 323 24 Avartamiva gaGgAyAH zrIrAmbhodherivAnujam / sudhAkuNDamivoddhUtaM kAsAraM sa vyalokata // 324 24 caturbhiH kalApakam // tamAlokyocchu timiva hRdayena, pratyAgatamiva buddhyA sarvathA prAptamanoratha iva kumAra: samabhUt / 27 tattIrasthitena kumAreNa cintitam | 'AyurvedazAstramadhye mayA zrutamAsIt, yatkila dussahakSuttRSApari- 27 zramabhAginApi dehinA tatkSaNaM payo na peyamiti / yasmAdete saptApi dhAtavaH prakupyanti, vAtapittazleSmAdayo doSA utpadyante, ato mama zrAntasya sadyaH zarIraprakSAlanapAnAdikaM naivocitam' iti vicintya tattI30 ratarorekasya tale kSaNamekaM vizramya tataH kumAraH saraHsalilAvagAhanaM payaHpAnaM ca vidadhe / tataH puSpa- 30 phalaspRhayAluH sarvataH paribhraman kasminnapi pradeze latAniketane 'pratimAM yakSapratimAM yAvannirUpayati tAvattatra yakSazirodeze sakalatrailokyabandhorbhagavato 'rhato mUrtirmuktAmayI tallocanagocaramAgatA / 33 kumArastAmAlokya harSavaza vikasallocanaH stutimAtatAna / 33 jaya tribhuvanAdhIza jaya nirmAya nirmama / jaya kAruNyapAthodhe jaya zreyaH zriyonidhe // 325 9 36 ) tataH kumArastAM pratimAM jalena prakSAlyA himarucimarI civI ciparicayapezalaiH kamalairabhyarcya 36 bhaktibhRtasvAntaH paryaSTauditi / 15 39 saMsArAmbudhipApanIralaharImadhye bhRzaM majjata strAtA tvaM bhuvanaikabhUSaNamaNe tvaM nAyakastvaM guruH / kiMcAnyajjanakastvameva jananI dInatvabhAjo mama 14) patrapta 15 ) C kAka for keki 18 ) B kakubmaMDale. 21 ) B zeSakaM for vizeSakaH and B has a marginal gloss tasya vanasya madhye | bhUtrI bhAlatilakaM / 27 ) PB duHsahatRSAkSudhA parizramabhAjinApi 29 ) P pAmArikaM for pAnAdikaM 30 ) P paya: pAnaM ca baMdhAya blank space spRhayAluH, B ca vidhAya bhojanaviSaye spRhayAluH. 9 15 18 tvaM bandhustvamiha tvameva zaraNaM tvaM jIvitaM tvaM gatiH // 326 atrAntare nirmitAtulajalakSobhA sarovarodarataH kApi kAminI divyarUpadhAriNI niHsasAra / tAM 42 ca dRSTvA cintitaM kumAreNa / 42 36 39

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18 -III. $ 38 : Verse 337] kuvalayamAlAkathA 3 *51 1 'samudranandinI kiMvA kiMvA vidyAdharI vraa| kiM vA siddhAGganA kiMvA devyasau vyantarI kimu||327 1 tAM cAnu karakamalakRtajalabhRtakanakakalazA divyasarojAdipUjopakaraNapUrNapaTalikAvihastahastA kulikA 3 ca nirgatA / te ca vilokya kumArazcintayAmAsa / 'nanu divye ime, na jJAyate kena hetunaatraagte|' tato 3 yadyatra pradeze sthAsyAmi tadetayormanasi mahAn kSobho bhaviSyati, ato 'syaiva yakSasya pRSThibhAge tiSTAmi kSaNamekam 'yathaite kiM nimittamAgate, kimatra kurvAte' iti parijJAnAya tadyakSapRSThAvatiSThat / tataH sA 6mRdvaGgI bhagavatpratimAM sarojairarcitAM vilokya jalpitavatI / 'he kulike, yadiyamanyenApi bhagavataH 6 zrImadAdinAthasya pratimA kenApyarcitA, paramiti na jJAyate yaddevena mAnuSeNa vaa|' kubjikayoktam / 'atra vane zabarairabhyarcitA bhaviSyati / ' tayoktam / 'nahi nahi vilokaya padapaddhatim, yadasyAM vAlukAprati9 bimbitAyAM padmazaGkhAGkuzAdIni lakSaNAni lakSyante, tato manye ko'pyuttamaH pumAn' iti vadantI 9 sudatI pUrvapUjAkamalAnyutsArya bhagavanmUrti kanakakalazagandhodakena saMsmapya vikacairambhojairabhyarcya stutimAtanya tato yakSa saMpUjya gItaM gAtuM prvRttaa| tasyA geyaM laya-tAla-tAna-zruti-svara-mUrchanA12 grAmasundaramameyaguNamAkarNya kulamanAH kumAraH 'aho gItam , aho gItam' iti vadannAtmAnaM prkttiicke| 12 sA ca mRgalocanA rUpaguNakalAkalApakalitAya kumArAyAbhyutthAnaM vidadhe / kumAreNApi 'sAdharmikavatsalatvam' iti cintayatA prathamameva sAbhivanditA / tayA sAdhvasatrapAbharotkampakampamAnastanabharayA 15 savinayaM bhaNi bhaNitam / 'deva kastvam, vidyAdharazcakravartI suro vA, kutaH samAgataH, kayAsyasi' iti / atha 15 bhaNitaM kumAreNa / 'manuSyo 'haM kAryArthI dakSiNApathaM pratyayodhyAtazcalitaH / eSa mama prmaarthH| ___etasmin [hi] mahAraNye kA tvaM yakSaH ka eSa vai / etasya hetunA kena zIrSe mUrtirjinezituH // 328 18 etaccitraM mahaJcitte mama saMprati vartate / kuraGganayane tAvadetadAzu nivedaya // ' 329 37)'he kumAra, zrUyatAm / / samastIha bhuvi khyAtA purI svargapurInibhA / mAkandI bhUrimAkandA sdaadiinjnsthitiH|| 330 21 ariSTazabdo nimbe syAt kaliyaMtra bibhItake / palaMkaSo guggulau ca jane naiva kadAcana // 331 21 tatrAsti yazadattAbhidhaH sUtrakaNThaH shrotriyH| sa ca kRSNAGgaH kRzazarIraH kharasparzaH pradRzyaddhamanijAla: sadA daaridymudraavidrutH| tasya sAvitrI prANapriyA / tatkukSibhavAnyapatyAni tryodsh| teSu caramaH 24 somanAmA tnuujH| tasmin jAtamAtra eva saMvatsarANAmadhamA vizikA praviSTA / tadanubhAvena dvAdaza-24 vtsriimvRssttirjaayt| yatrauSadhyo na jAyante na phalanti mahIruhaH / niSpadyate na vA sasyaM tRNyA naiva prarohati // 332 27 ato devArcanaM naiva naivAtithiSu sakriyA / vitaranti na vA dAnaM nArcayanti janA gurUn // 333 evaMvidhe mahAdurbhikSe yajJadattakuTumbaM samastamapi kSayamiyAya / kevalaM sa baTuH somaH kaniSThaputraH / / kathamapi karmavazataH kSudhAbhAroparatasamagrabandhuvargaH kadAcidrAjamArge vipaNizreNipatitairdhAnyakaNaiH 30 kadAcidbhojanakSaNadattabalipiNDena mahatA kaSTena mahaduSkAlakAntAraM vyatIyAya / tadanantaraM grahagatyA 30 prajAnAM bhAgyavazataH prabhUtaM toyaM nipatitaM, sarvatra pramuditAni janamanAMsi, sarvatraivotsavaH prvRttH| tasminnIhaze subhikSe pravRtte somabaToH SoDazavarSadezIyasya daridra iti pade pade janena hasyamAnasya 33 cetasIdRzI cintA sNjaataa| 33 'ke 'pi martyasahasrANAmudaraMbharayo nraaH| prAkRtAhuSkRtAdAtmabharayo 'pi na mAdRzAH // 334 tatkRtaM sukRtaM kiMcinnaiva pUrvabhave mayA / yena me na bhavatyeva dusthAvasthA kadAcana // 335 36 sarvadApi sukhecchA syAllokasyAmuSya mAnase / na karoti paraM kiMcit zreyo yena sukhI bhavet // 336 36 638) tatsarvathaiva dharmArthakAmapuruSArthatrayazUnyasyAsmAdRzajanasya jIvitatyajanameva zreyastaram , ___ athavA na yuktametat, yata Atmano vadha ucito na / 39 ye tyaktA dravyamAnAbhyAM bhaveyubhavino bhuvi / zreyAMsteSAM vane vAso'thavAnyaviSayAntare // 337 39 3) B yAmAsa / atha mayA kiM kartavyamiti yad atra pradeze P has blank space for nanu divye etc.to tato. 4) B pRSTivibhAge. 5) P ati for iti. 13) B kalitasya kumArasyAbhyutthAnaM. 15) P has a gap shown by blank space for savinaya etc. to etasmin [hi], B bharayAmANi bho kumAra bhavAn kutaH kutra kimarthaM yAti / kumAro'pyazvApahAramArabhya kuvalayamAlAbodhaM yAvannivedyatAM jagau bhadre mahAraNye. 17) B vA for vai. 21) B has a marginal gloss: 'riSTazabdo liMbe vAcakaH / na loke'riSTazabdaprayogaH / kaliH kalahaH / bibhItakavRkSazca / palaMkaSo gugguluH| palaM mAMsaM kaSati vinAzayati palaMkaSaH / . 22) B bhidaH kaThaH zrotriyaH, B pradRzyamAnadhamanijAlaH (mAna added on the margin). 26) tRNAnyeva prarohati but suggests an emendation thus: rohanti tRNAnyapi'.

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* 52 ratnaprabhasUriviracitA [ III. SS 38 : Verse 338 1 tato videzagamanameva samIcInam' iti dhyAyan somabaTurmAkandIpurIto nirgatya dakSiNAM dizamA- 1 zritya calitaH / krameNAnavarataprayANena kRtabhikSAvRttirvindhyagirermahATavImATivAn / tatra tadAtimahAnidAghe tRSAkSudhArtaH prabhraSTamArgaH siMhavyAghradarzana vepamAnamAnasaH kasmiMzcitsarasi payaH pItvA vanaphalAnya- 3 bhakSayat / tatra tena paribhramatA candanailAlavaGgalatAgRhe bhagavataH prathamatIrthanAthasya pratimAM nirIkSya cintitam / 'aho, purApi mAkandIpuryA mayedRzI mUrtirdRSTA' iti vimRzya tIrthakRtaH saparyA viracayya puro 6 ba Turjajalpa | 'bhagavan, tava nAmagotraguNakalAdikaM na jAne, kiMtu bhaktyA tvaddarzanena bhavaccaraNArcanena ca 6 yatkiMcidbhavati tadbhavatu' iti prArthya ramyo 'yaM vanAbhogaH, pradhAnaH sarovaroddezaH, kamanIyaM latAgRham, phalitAH pAdapAH, saumya eSa devaH, mayA ca tahussahadAridrayApamAnakalaGkitAtmanA videzamapi gatvA 'parapreSyeNaiva bhAvyam / kA 'nyA gatirasmAdRzAmakRtapUrvatapazcaraNAnAm / yataH, dUraM gato'pi no martyastyajyate pUrvakarmabhiH / rohaNAdrau vrajeyadvA dAridryaM tattathaiva ca // 338 sarvathApi nAsti pUrvavihitasya nAzaH / tato varamihaiva jale snAnaM kurvanetAnyeva jalakamalAni gRhItvA 12 kamapyamuM devatAvizeSamarcayan sukhena vanatapakhIva kiM na tiSThAmi' iti dhyAtvA tatraiva somastasthivAn / 12 931 ) evaM kAlAntareNa kRtabhUriphalAhArasya tasya visUcikayA bhagavanmUrti hRdi cintayataH samAdhinA mRtirbabhUva / tato ratnaprabhAyAH prathame yojanazate vyantarANAmaSTau nikAyA ye 'lparddhayaH santi, 15 teSAM yakSa 1 rAkSasa 2 bhUta 3 pizAca 4 kiMnara 5 kiMpuruSa 6 mahoraga 7 gandharvANAM 8 madhye prathama- 15 frer mahaizvaryayuto yakSarAjo ratnazekharAkhyaH sa samutpede / tatrasthena tena cintitam / 'kasya sukRtasya vazataH prabhUtavaibhavabhAjanamabhavam' ityanudhyAya prayuktAvadhijJAnena yakSarAjena tasminneva latAgRhe jagatpateH 18 puraH svaM zarIraM nirIkSya zrIyugAdijinapratimAmabhyarcya proce / 'yadahaM sarvapuruSArtha bahiSkRto 'pi sarvatra 18 loke hasyamAno 'pyevaMvidhaizvaryabhAjanaM yakSarAjaH samabhavaM sa kevalaM tava prasAda eva / ato yuktA mama zIrSe jinezvarasthApanA / ekaM tAvadayaM surAsuranarezvarANAmapyabhyarcyaH, dvitIyaM yadupakArakAri me, tRtIyaM 21 yatsiddhisukhanidAnaM ca' iti parivArapurassaramuktvA tena yakSeNa tatra vane svasya mUrtiM mahatIM muktAmayIM 21 nirmAya tasyA mukuTopari zrImadAdinAthasya pratimA vidadhe / tadAprabhRti tatra yakSalokena ratnazekhara ityabhidhAnamavagaNayya tasya jinazekhara ityAkhyA paprathe / tenAhaM ceti bhaNitA / 'yatkanakaprabhe, tvayA 24 pratidinaM bhagavAn divyamaNIca kairabhyarcanIyaH / mayA punaraSTamyAM caturdazyAM ca paribarheNa samaM saparyA - 24 nimittaM bhagavataH samAgantavyam / ' ityuditvA yakSaH svasthAnamagAt / tato bhadra, yattvayA pRSTaM ka eSa yakSaH, kiM cAmuSya mukuTe jinapratimA, tvamapi kAsi, saiSa yakSarAjaH seyaM jinapratimA tasya cAhaM karma27 karI / iha pratidinaM mayA samAgantavyameva / ' iti bhaNite bhaNitaM kumAreNa / 'aho, mahadAzcarya, mahatpra- 27 bhAvo bhagavAn, bhaktibharanibhRto yakSarAjaH, vinItA bhavatI, ramyaH pradezaH, sarvathA paryAptaM mama dazAM zrutInAM ca phalam / ' tatastayA bhUyo 'pi jagade / 'bho bhadra, saphalaM devadarzanam, ataH kimapi prArthaya, 30 yathA tava hRdayepsitaM dadAmi' iti / kumAreNoktam / 'na kimapi mama prArthanIyamasti / ' tayA jagade | 30 kasyApi kimapIpsitaM syAdato yAcasva kimapi / ' kumAreNa jalpitam / 'bhadre, eSa bhagavAn jinabhakti yakSarAjo bhavatI ceti sarvamapyetadavalokitaM yataH paramapi kiM prArthanIyam' ityuditvA 33 kumAraH samuttasthau / tatastayoktam / 'bho bhadra, bhavatA dUre gantavyaM yadaraNyamArgo viSamo 'nekapratyUhavyUha - 33 nidAnam' iti bhaNitvA tayA svakarAduttArya varyavIryanilayamauSadhIvalayamekamarpayAmAse | kumArastadaGgIkRtyApAcIM prati cacAla / 36 9 40 ) tataH krameNa kumAreNa pracaNDapavanahatakallolamAlApreryamANatIra pakSigaNA karikarAghAtasamu- 36 cchalatkallolA kupitamattavana mahiSazTaGgocchalajalacchaTA sicyamAna tIratarunikarA mInapRSThollasadatucchaphenapaTalAlaMkRtA pramattadurdAntamajjanmAtaGgamaNDalI gaNDasthala galitamadajalabindusaMdoha surabhitajalA 39 narmadA samuttIrNA / tattIre kumAraH paribhraman tamAlatarurAjI virAjitaM prAGgaNakusumitakesarazikhariNaM 39 pratyAsannavikasatpuSpajAtimakarandamadhu [ lubdha ] mugdhamadhupadhvanimanoharamuTajaM pravizya rudrAkSamAlAvalayaM 3> B kasmiMzca sarasi 5 ) B adds tasya before tIrthakRta:. 6 ) Bom. na before jAne. 8) mayA tAvadduHsaha 9 ) B parapreSyeNa (P prekSeNa) bhAvyaM. 10 ) va dAridraM. 14) maSTanikAyA 16 ) Bom. tena. 18 ) Bom. zrI P B yadasmi for yadahaM. 24 ) B parivAreNa samaM. 26 ) P kiM vA'muSya. 31 ) P kimIpsitaM, B yadato for syAdato, B om. kimapi. 39> The passage tattIre kumAraH etc....garIyaH payodharA is adopted from B in which too it is written in a different style 9

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* 53 kumAro'pyacinta -III. $ 42 : Verse 338] kuvalayamAlAkathA 3 1 kamaNDaluM cAlokya 'mahAmuniratra ko'pi nivasati' iti cintayaMstadane pAMsule bhUmipradeze padapratikRti 1 dadarza / tAM ca dRSTvA cintitaM tena 'nUnamayaM kasyAzcinmahelAyAzcaraNapratibimbo, na punaranyasya' / tato 3 gacchatA tena valkalapihitagarIya payodharA jarattApasIpRSThagAminI trailokyAtizAyirUpA navayauvanA 3 kAminI dRSTA / tayoH purassara eko rAjakIrazca / tasyAnupadInaH zukasArikAnikarazca / etadvilokya kumAreNa cintitam / 'aho, asyA mahAnupazamaH, yadaraNyanivAsinaH pakSiNo'pi pArzvamasyA nojamanti' 6 iti cintAparastayA taruNyA kumAro 'bhyUttiSThata / tatastaM vIkSya nirmAnuSavanajanmata tAM palAyamAnAM cAruvadanAM nirIkSya rAjakIro bbhaasse| 'svAminyeNike, kiM palAyanaM bhavatI kRtavatI / ' tayoktam / 'ayaM punaH ka etasmin mamoTaje vnshvaapdH| tenoktam / 'eNike, mA bhayabhrAntaM manaH kuru, yadayaM pathikaH pathabhrAntaH samAgataH / tataH samAgatyAmuSya puruSottamasya svAgataM pRccha' iti nigadite 9 nRpazukena sA savIDaM kampamAnavakSoruhA pathikasya svAgatamuktavatI / tathA 'kutastavAgamaH, kutra vA pracalitaH, kiM kAryam' iti zikSitaM proce / sa prAha / 'ayodhyAtaH samAgato 'smi, kAryArthI dakSiNAM diza12 maashritH| zukaH provAca / 'svAgataM mahAnubhAvasya, kSaNamekamatra pallavanastare samupaviza' iti nizamya 12 kumAraH samupAvizat / eNikA vividhatarupakkasusvAdusurabhINi phalAni kumArasya puro muktvA nisssaad| mAro 'pyacintayaditi / 'na jJAyate kApyeSA kenApi kAraNena vairAgyeNa vA kutra vAgateha tapasyati, 15 tatpRcchAmi' iti dhyAtvA prAha / 'bhadre, kathaya kA tvaM, kathaM vAtra vane sthitA, kiM vairAgyakAraNaM tapase' 15 iti bhaNitA tena sA nyagmukhI tasthau / kumArastu tasyAH prativacanamupekSamANaH kSaNaM vilakSAsyaH sama bhUditi / tadRSTvA rAjakIreNa jalpitam / 'bho bho mahAnubhAva, manAgeSA lajate / bhavataH prArthanA mA vRthA 18bhavatu' ityahaM kthyissye| 41) 'atraiva narmadAyA nadyA dakSiNakUle devATavI nAma mahATavI / tadantarmahAn patralaH sacchAyo vaTapAdapaH / tasmin sadaiva kIrakulaM nivasati / tatra caiko maNimayAkhyaH sarvazukavRndarAjo rAjakIro 21'sti / tasya rAjakIrikAsaMbhavaH krameNa sphuradindranIlamaNisaMnibhapakSAvalIvirAjamAno manoharakAntiH 21 zukaH smjaayt|s cAnyadA bhISmagrISmakharakiraNakiraNadhoraNItApitatanustRSAzuSyadgalatAlukastamAlatarutale kSaNamekamupAvizat / tatrasthasya tasya vyAdha ekaH samAgamat / sa ca rAjakIrasutaM taM bhayena palAya24mAnaM balAtkAreNa gRhItvA pallIpateH prAbhRte 'rpayAmAsa / tena rAjakIra iti paJjare nyakSepi / tatra sthita-24 stena sa vRddhimAnItaH, mahApuruSa, so'haM zukaH / anyadA zriyaH kacche zrIbhRgukacche bhRgubhUpateH pallI. patinAhamupadIkRtaH / tena narendreNa saMtuSTacetasA madanamA sutAyai krIDArthamarpito 'smi / tayAlpadi27 nairapyahaM sthAvarajaGgamaviSacikitsAgajatAmracUDaturaGgapuruSastrIlakSaNaprabhRtisamastazAstrapAradRzvA kRtaH 27 jinapraNItavacananizcitamatizca / tatrAnyedhuratidAruNe nidAghe kasyacinmuneranityatAdibhAvanAmAjinaH kevalajJAnamullalAsa / tadA tatratyalokena kevalamahimAyai devAnAM gatAgataM vIkSya bhRgubhUpasya puro nyavedi / 30 'deva, yattava pitA ghAtikarmacatuSTayakSaye kevalazAlI babhUva' ityavagamya bhRgubhUpaH sa paricchadaH kevaline 30 janakAya namaskaraNArthamAyAtaH / madanamaaryAhamapi ttraaniitH| 642) atrAntare nIlapItavAsasau visphUrjanmaNikanakabhAsurAlaGkArasArau dvau vidyAdharau kevalina 18 on a pasted slip of paper, possibly a correction on the basis of some older codex. The corresponding passage in P runs thus : tattIre kumAraH paribhraman tamAlatarumadhupadhvanimanoharamuTajaM pravizya rudrAkSamAlAvalayaM kamaMDalu cAlokya rAjIvarAjitaM prAMgaNakusumitakesarazipariNaM pratyAsannavikasatapuSpajAtimakaraMdamadhulubdhamugdhaciMtitaM tena / nUnamayaM kasyAzcinmahelAyAzcaraNapratibiMbo na punaranyasya / mahAmuniratra kopi nivasatIti ciMtayaMstadane pAMzulabhUmipradeze pratikRti dadarza tAM ca dRSTvA yU pihitagarIyaH payodharA. This obviously represents disturbed version of the text adopted above.c reads thus: tattIre paribhraman kumAro [bahalasnigdhataruvaranikarasaMkule ekasmin pradeze eka bhavyamuTajaM dRSTvA'tra 'kopi maharSerAzramo bhaviSyati' iti manyamAnasta dizAbhimukhaM yAvaccalitastAvattaruNatamAlapAdapapatiparamparAparikalitaM samantataH kusumitabahujAtijAtikusumakarandalubdhabhramaranikararaNaraNazabdasaGgItamanoharaM rAjIvarAjitamuTajAGgaNaM dadarza / tatra ca rudrAkSamAlAvalayaM kamaNDalu cAvalokya cintitamanena rAjatanayena nUnamatra kazcinmaharSiH prativasati' iti / tatastadane pAMsule bhUmipradeze pratibimbitAM sulakSaNalakSitAM padapaddhatiM vilokya cintitamanena-'nUnamayaM kasyazcidvilAsinyAzcaraNapratibimbo na punaH puruSasya' iti / tatastadanu yAvadagre gamyate] tAvattenottarIyapihitagarIyaHpayodharA. As portion of this is put in square brackets, the ms.-basis is not clear. ____3) P navayauvanakAminI. 6) B kumArobhyattiSThan dadarza (dadarza added on the margin) tatastaM. 11) Pom. kiM kAryam etc. to dizamAzritaH 13) cadds [upadIkRtya] before puro, P om. muktvA , B has a marginal gloss: dauki for muktvA . 16) BdegvacanamapekSamANaH- 25) B zrIbhRgukatse. 28) 0 adds (mahimne) before devAnAM. 30) B ghAticatuSTayakarmakSaye.

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* 54 ratnaprabhasUriviracitA [III. SS 42 : Verse 3391 praNipatya procatuH 'bhagavan, nivedaya sA kA / ' ityAkarNya bhRgubhUpena janaizca vijJaptam / 'bho vidyAdharau, sA 1 punaH kA / ' tatastAbhyAmuktam / 'kadAcidvaitADhya parvatAt sammetazailazikharopari tIrthakRtaH praNipatya zrIzatruJja parvatamahAtIrtha prati gacchyAmAvAbhyAM vindhyagirivinirgata narmadAdakSiNe taTe mRgayUthamArgAnu- 3 gAminImekAM kAminImAlokya cintitam / 'aho, mahadAzcarya mRgayUthena saha kAminI bhramati / tatra kautukenAvAmavatIrNau, AvAbhyAmAbhASitA ca sA / 'he bAlike, bhIme 'raNye nirmAnuSe kathamekAkinI " bhavatI, kuto vA samAgatA / ' sA kiMcinna jalpati, pratyutAdhikataramapasasAra / tata AvayoH pazyatoreva 6 tanmRgayUthaM sA cArulocanA ca darzanAdarzanatva miyAya / AvAbhyAM tadAzcarya mAlokya ko 'pyatizayazAlI muniH praSTavyaH' iti dhyAyasyAM bhavAnevAtra dRSTaH / tataH pRSTam / 'munIzvara, kA punaH sA / ' tataH sa svayaM 9 kevalajJAnazAlI jalpitumArebhe / 'astyavantIpurI ramyA sadA nAkavirAjitA / purI garIyasI lakSmyA sadAnA kavirAjitA // 339 babhUva bhUpatistatra prajApAlanalAlasaH / zrImAn vatsAbhidhaH kAntyA prajApAlana lopamaH // 340 12 yasya pratApavato 'rinarezvarANAM dantIndragaNDa vigalanmadavArizoSaH / kAmaM tadIyayanitAnayanAmbupUrapoSaH samaM samabhavacca tadatra citram // 341 abhUttanUbhavastasyAnUna saMvittivaibhavaH / puraMdarasamasthAmA nAmnA zrIvardhanAbhidhaH // 342 15 tathA zrImatIti tatsutA ca / tAM vijayapurasvAmino vijayanarAdhipasya tanujaH siMhaH paryaNaiSIt / 15 sa ca yauvanaprAptaH 'sarvadaivAnayAdhvanIno 'sAyI' iti parijJAya rAjJA nirviSayIcakre / tataH siMhaH svAM priyAM gRhItvaikasmin paryantagrAme 'tiSThat / 18 3) P has blank space between vindhyagiri and narmadA 5 ) PB om. AvAbhyAmAbhASitA ca sA. 10) PnAkavirAjinI B has a marginal gloss thus : saha dAnena varttate sadAnA / tathA kavibhiH paMDitaiH rAjitA / punaH kiMviziSTA / sadA sarvadA svargavat zobhitA / 'thavA sadAna akavirAjitA duHkhavirAjitA kiMtu sadAsukhitA ityartha: 17 ) P B gRhItvA kasmin 24 ) B adds sA before priyApi, P om. bhinna. 25) B narakavAse. 36 ) B garbhabhAra 40 ) B vinayaM sAraGga. 9 9 43 ) itazca kAlAntareNa sa zrIvardhanarAjaputro dharmarucimunerantike 'ntevAsI bhUtvA kiyatApi 18 kAlenAdhigatazrutaH svIkRtaikA kivihAripratimastatra vihAramakarodyatra sa bhAvuko bhaginI ca / anyadA sa bhagavAn mAsakSapaNa pAraNAyAM kSAmatanuratanutaponidhistasyA eva svasurvezmani bhikSArtha praviveza / tayA 21 dUrataeva bhrAtaramupalakSya cintitam / 'yadayaM kenApi pASaNDinA vipratArya pravrAjitaH / tatastayA snehabhara - 21 nirbhara hRdayayA cirabhrAtRdarzanotkaNThayA munirAliliGge / tatastatpatinA tadAtvaM bAhyAgatena taceSTitamAlokya kopaparavazamanasA munirnihataH / tayA tatpazyA 'bhrAtA mama hato 'nena pApinA' iti dhyAtvA 24 patirapi kAlakhaNDena vinAzitaH / tena mriyamANena tenaiva kASThakhaNDena priyApi bhinnazIrSA vyadhAyi | 24 sa ca siMhaH svabhAvata eva krodhano mahAmunighAtasaMjAtAghasaMghAtena ratnaprabhAyAM raurave narakAvA sAgaropamasthitirnairayikaH samutpede / sApi tasya muneH svasA bhrAtRsnehamUcchitA tatkSaNotpannakrodhA 27 nihatapatijAtaprabhUtapApA tatraiva narakaprastare samajaniSTa / sa punaryatirnirdayaM kRpANaprahAravyathito 'pi 27 samAdhinA vipadya sadyaH sAgaropamasthitiH saudharme tridazaH samabhavat / tatazcyutvAtra bhRgukacche nRpatijataH so 'haM dRzca bhavatyAmutpanna kevalaH / sa ca siMho narakAduddhRtya nandipure pure brAhmaNatvamupalabhya 30 vairAgyAdekadaNDIbhUyAzramAnurUpaM tapaH prapAtyAyuSaH kSaye jyotiSkeSu devatvaM prApa / tena ca ko 'pi 30 kevalI pRSTaH svapUrvabhavam / tena ca tasya jyotiSka devasya prAgbhava uktaH / taM zrutvA samutpannAtucchamatsaragrastamatiriti vyacintayaditi / 'ahaM tayA nijapriyatamayA mAritaH / sA ca durAcArA kutra' iti 33 cintayatA tena sA tato narakAduddhRtya padmapure padmasya bhUpateH kanyakA jAtamAtrA dRSTA / tadAlokanatasta- 33 dAtvaparisphurada marSakampamAnAdhareNa tena tatrAgatya vindhyagirivanA ntarAle sA bAlikA jAtamAtrA samujjhitA / sAca karmavazataH komalakisalayavyAptapradeze patitA pavanenAzvAsitA ca / tadAnIM ca 36 bhavitavyatayA tatraiva garbhabharavedanAta vanamRgI samAgatA prasUtA ca / prasavavedanAvirAme tayA mRgyA 36 nirUpitaM cintitaM ca / kiM mamAdhunA yugalakamabhavat / tata ArjavatayA svApatyamiti tasyA mukhe stanyaM sravantI tAmavardhayat / ' tatazca sA bAlA mRgayUthena ramamANA nirmAnuSe 'raNye krameNa yauvanamAsasAda | 39 tatra ca tasyAstiSThantyA vananikuJjani gRhANi, pakSiNo bAndhavAH, vAnarazizavo mitrANi, azanaM 39 vanaphalAni, salilaM nirjharajalaM, zayanaM vizAlazilAtalAni, vinayaH sAraGgakulasya pRSThizIrSa kaNDUyanamiti / tataH sA mRgayUthasaMgatA mAnuSaM nirIkSya mRgIva protphullalocanA palAyate / yadbhavadbhyAM pRSTaM yathA 12

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-III. 44 : Verse 348] kuvalayamAlAkathA 3 * 55 1'kA punareSA vane paribhramati' seyaM mama pUrvabhavIyasvasurjIvaH / yadetayA kadAcinmAnuSo 'pi na vIkSita 1 iti yuvAM dRSTvA palAyitA / ' tAbhyAM vidyAdharAbhyAM vijJaptam / 'kiM sA bhavyA, kimabhavyA' iti / 3 bhagavatAdiSTam / 'bhavyA' / tAbhyAmuktam / 'kathaM tasyAH smyktvpraaptiH| bhagavatoktam / 'asminneva 3 bhave 'syAH samyaktvalAbha:' / tAbhyAmuktam / 'kastasyA dharmAcAryo bhAvI' / bhagavatA bhaNitaM mAmuddizya / 'eSa rAjakIraH' / tato 'haM bhagavadbhaNitena madanamaaryAH 'pitAmahavAkyamalacanIyam' iti cintayantyA 6 tasyAH prabodhakRte visarjito 'mbaratalamutpatyAtra vanAntaH samAgataH / mayA ca paribhramatA seyaM bAlikA 6 dRSTA / tataH kiyadbhirapi dinairbhakSyAbhakSye kAryAkArya tathA jinapraNIte dharme samagre 'pi manuSyavyavahAre ca vicakSaNA kRtA / kathitazcAsyai kevalipraNItaH pUrvabhavaH / yathA 'bhavatI padmabhUpasya duhitA vairiNAtra 9 samAnItA na vane jAtA, tadaraNyaM parityajya mayA samaM vasantI bhuvaM samAgaccha / tatra bhogAn bhuva 9 prlokkRtymaacreH| etayA bhaNitam / 'yadidaM vanaM mamAvanamiti / yena durlakSyo lokAcAraH / viSamAzcapalAH paJcApi vissytaayaaH| bahavaH khlaaH| ato'traiva manmanasi samAdhina punaranyatra lokaacaare|' 12 tadanantaraM sA tatraiva vane patitaprAsukakusumakandaphalamUlapatrAzanA duzcaraM ciraM tapazcarantI sthitavatI / 12 tato yattvayA pRSTam 'kA tvaM, kuta AgatA, 'kiM vanavAse pairAgyahetuH' ityAdikamiyaM pRSTA tattava bhoH kumAra, mayoditam / ' tataH kumAreNa savinayamutthAya 'rAjakIra, tvAM sAdharmikamabhivAdaye' ityuktam / 15 eNikayA jalpitam / 'phalitaM mamAdya vanavAsena, dRSTo yadbhavAn samyaktvadhArakA zrAvakaH' iti / 15 atikrAnto madhyAhnasamayaH, tattvaritamuttiSTha yathA snAnArtha gacchAvaH / tataH sA tasyAzramasya pratyAsannajalAzayoddhRtagalitajalaiH kRtAGgaprakSAlanA prAvRtadhautakomaladhavalavalkalA kasmiMzcigirikandarAbhoge 18 pUrva jalena saMkhapya bhagavataH prathamatIrthapateH pratimA jalasthalajakusumairabhyarcya ca praNati cakAra / kumAreNa 18 ca snAtvA kRtapUjAvidhAnena stutiH kartuM smaarebhe| 'guNairameya nAbheya bhavacchedavidhAyaka / ato bhava bhavabhrAntibhItisaMhRtaye mama // 343 21 zrIvRSAGka jagannAtha devadeva manobhavaH / mama prahartA saMhartA tasya tvaM tattvavRttitaH // 344 21 44) atho kumAra eNikayA zukena ca sAkaM tatraivoTaje samAgatya susvAdusurabhisupakkAni / phalAnyadhasat / tatrasthasya kumArasya vividhazAstrakalAkalApadezabhASAkhyAyikAkhyAnakabhASaNapramodi24 taiNikArAjakIrasya ekadA zyAmalakAyacchAyaM zikhipicchavinirmitakarNAvataMsaM nAnAvidhatarurAjIprasUnA-24 pUrNadhammillaM zabaramithunamekaM samAjagAma / taccAnato bhUtvA rAjaputrasya bAlikAyA rAjakIrasya ca praNAma nirmAya dUrazilAtale 'dhyuvAsa / eNikayA tasya nirapAyakAyakiMvadantI pRSTA / tena ca praNatottamAGgatayaiva 27 sarvamapi pratyuktaM na punarvacanena / zabareNa ca mukaM dhanurdharaNyAm / kumAreNa tadrUpazobhAviruddhazabarAcAra-27 kautukAkSiptacetasA cintitam / 'aho, dhig rUpaM na kArya lakSaNaiH, apramANAni zAstrANi, asArAH sarve guNAH, akAraNaM veSAcArI, sarvamapi pratIpam / anyathA kathametadrUpaM lakSaNavyaJjanavibhUSitam / kutra 30 vA idam / prAkRtapuruSasaMvAdi zabaraveSatvam' iti cintayatA kumAreNa bhaNitam / 'eNike, kiM punare- 30 tat / ' tayoktam / 'kumAra, sarvadaivAtra vane paribhramadidaM pazyAmi, paramArthavRttyA na jaane|' kumAreNa bhaNitam / 'eNike, idaM na zabarayugalam , kiMtu kRtazayaraveSametanmithunaM na sAmAnyam / ' eNikayA 33 bhaNitam / 'kathaM lakSyate' / kumAreNa jalpitam / 'sAmudrikalakSaNaiH' / tayoktam 'kiM sAmudrikazAstraM 33 kumArasya paricitam / etatprAptazabaraveSaM yugalaM tAvattiSThatu, prathama puruSalakSaNaM nivedaya / ' kumAreNa jalpitam / 'kiM vistarataH kathayAmi, kiM vA saMkSepataH / ' tayA bhaNitam / 'kvApi vistarataH kApi 36 saMkSepatazca / ' kumAreNoktam / 'vistarato lakSapramANaM saMkSepataH parikSIyamANaM yAvatsahasraM zataM zlokAnAM 36 c| tatastvaM pUrva kiMcidvistarataH shRnnu| yathA / __ 'padmavajrAGkuzacchatrazaGkhamatsyAdayastale / pANipAdeSu dRzyante yasyAsau zrIpatiH pumAn // 345 39 unnatAH pRthulAstAmrAH snigdhA darpaNasaMnibhAnakhA bhavanti dhanyAnAM dhanahetusukhapradAH // 346 39 sitaiH zramaNatA jJeyA rUpyapuSpitikaiH punaH / jAyate kila duHzIlo nkhailoke 'tra mAnavaH // 347 zuddhAH samAH zikhariNo dantAH snigdhA ghanAH shubhaaH| viparItAH puna yA narANAM duHkhahetavaH // 348 ___2) P om. vidyAdharAbhyAM. 8) B trans. ca after kRtA (written on the margin). 9) B bhuktvA for bhukSva. 10) B kRtyamAcara, viSamA [viSayA]zcapalAH paJcApi viSaya (indriya) tA... 20) P manaH / namaH for mama. 21) P manobhava B manobhavaM. 24) P B om. ekadA, P B zyAmalacchAkAyaM. 25) PB mithuna kamekamAjagAma. 27) B dhanurddhariNyAM, B zabaraveSakautukA. 30) B om. kiM punaretat eto.......bhaNitam eNike. 31) P kumAreNoktaM for kumAreNa bhaNitam. 39) PB dhanahetuH 40) P rUkSa" B rUSya for rUpya on which B has a marginal gloss thus: kapardikAkArapuSpakasahitaiH / , o has a marginal note: rUpyazabdasya suvarNavAcakatvAdatra pItavarNatvaM grAhyam /

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* 56 ratnaprabhasUriviracitA [ III. SS 44 : Verse 349 1 dvAtriMzadazano rAjA bhogI syAdekahInataH / triMzatA madhyamo jJeyastato 'dhastAnna sundaraH // 349 stokadantA atidantA ye narA garbhadantajAH / mUSakaiH samadantAzca te ca pApAH prakIrtitAH // 350 3 aGguSThayavairADhyAH sutavanto 'GguSThamUlajaizca yavaiH / UrddhAkArA rekhA pANitale bhavati dhanahetuH // 351 Taran bhavedyasya vAmAyAM dizi mastake / nirlakSaNaH kSudhAkSAmo bhikSAmaTati rukSikAm // 352 dakSiNo dakSiNe bhAge yasyAvartastu mastake / tasya nityaM prajAyeta kamalA karavartinI // 353 6 yadi syAddakSiNe vAmo dakSiNo vAmapArzvake / pazcAtkAle bhavettasya bhogo nAstyatra saMzayaH // 354 saMkSepatastu zlokenaikenA karNitavyam / gaterdhanyataro varNo varNAddhanyataraH svaraH / svarAddhanyataraM sattvaM sarve sattve pratiSThitam // 355 9 45) iti zrutvA tayA bhaNitam / ramyametat paraM kiM tvayAmuSya zabarasya sulakSaNaM jJAtam / ' 9 tenoktam / 'eNike, yAni mayoktAni tAni sarvANyapyasya puruSasya tanau zubhAni lakSaNAni dRzyante tajjAne ko 'pyeSa mahAsattvaH kenApi hetunAyaM kRtazavaraveSaH pracchAditasvAbhAvikarUpo vindhyagiri - 12 vanAntaH sthitaH / etadAkarNya zavareNa cintitam / 'aho, puruSalakSaNaparijJAnadakSiNaH pumAnayam | 12 tAvanna yuktamatra sthAtuM kintvapasaraNameva zreSTham, yAvadasmAneSa na jAnAti' [ iti ] / tato 'bhyutthAya zavaraH zabarI va svasthAnaM jagmatuH / eNikayA bhaNitam / 'kumAra, tava mahatI dakSatA yadeSa prAptazabara15 veSo 'pyupalakSitaH / tenoktam / 'prathamameva parijJAtaH / punarvizeSato jJAtumicchAmi sphuTaM prakaTaya / ' 15 bhaNitamekiyA / 'kumAra, vidyAdharAvetau / ' tenoktam 'tarhi kathametadveSadhAriNau / ' tayoktam / 'etayorvidyAdharayorbhavAnapi parijJAtA / bhagavataH prathamatIrthanAthasya sevAhevAkinornamivinasyordharaNendreNa vahnayo vidyA 18 dattAH / kiyatyo vidyAH kayApi rItyA sAdhyante / sarvAsAmapi pRthak pRthak sAdhanopAyaH / kAzvitpAnIyamadhye 'bhUH kAzcit parvatamastake | kAzcit zmazAna medinyAM vidyAH sAdhyA jitendriyaiH // 356 1 4 ) B rUkSikAM. 6) P syAdakSiNo vAmapArzvake, B originally syAdakSiNe vAmo dakSiNo vAmapArzvake, but it is improved thus (with some marginal addition : syAdakSiNe vA mastake vA vAmapArzvake / 8 ) B inter. sarva & save. 19 ) P aMba for amU:, Poom. kAzcit parvatamastake. 21 ) PB om. vanyena 23 ) P Bom. [ kiMtu ], PB pauSadhA bhagavato. 24 ) B adds gatA before phalapatra', Bom. na gatA, Bom. sa ca. 26 ) PB om. te 32 ) B kevalimahimAyai. 35 ) Pom. ime. 36 ) naravarA for narA. 40 ) B zAbaravidyAyA. 6 21 tataH kumAra, etAvanena vanyena veSeNa zAbarI vidyAM sAdhayantau tiSThataH / tathaiSa vidyAdharaH sapatnIko 21 vanAntaH svecchayA paribhramannasti / ' kumAreNoktam / kathaM tvaM punarjAnAsi yathaiSa vidyAdharaH / ' tayA bhaNitam / 'na jAnAmi' [ kiMtu ] mayaikadA kIramukhataH zrutametat / ekasmin dine svIkRtaduritauSadhapauSa24 dhAhaM bhagavato nAbhibhavasya pUjArthe phalapatrakusumAnAM grahaNAya vanAntaraM na gatA, kIraH punargataH / sa ca 24 madhyAhnasamaye vyatikrAnte samAyAtaH san mayA pRSTaH 'adya kathametAvatIM velAmatikramya bhavAn samAyAtaH / tena nigaditam / 'adya tvaM vaJcitAsi, yallocanAnAmAzcaryabhUtaM na kimapi dRSTipathamavatIrNe te, 27 yato draSTavyaphalAni hi locanAni / ' tato mayoktam / 'rAjakIra, tvaM kathaya kiM tadAzcaryam / ' 27 646 ) tatastena mamA nigaditam / 'yathAdyAhaM vanAntargataH / tatra ca sahasA zaGkhatUryabherImRdaGgabhavo mahAnninadaH zrutaH / tato mayA saharSoddhAntacetasA karNaH pradattaH / katarasyAM dizi dhvanivizeSaH / 30 tatastadanusAreNa yAvadgacchAmi tAvadbhagavato nAbhisUnoH pratimAyAH puro divyaM naranArIjanaM praNAma - 30 mAdadhAnaM, tathAhArya vAcikamAGgikaM sAttvikaM ceti caturvidhamabhinayaM vitanvantaM vilokya mayA cintitam / 'pate na tAvadevA avazyam, yato mayaikadA bhagavataH kevalinaH kevalamahimAyai sametAnAM devAnAM 33 caraNA bhUmitale na laganti, locanAnyanimiSANi caitaddRSTamAsIt / eteSAM punazcaraNA mahIpRSThe lagnA a lakSyante, sanimiSANi nayanAni ca / tena jAne naite tridazAH, atisazrIkatayA na mAnuSA api, kiMtu gaganAGgacAriNo vidyAdharA ime / 'tAvatpRcchAmi kimetaiH prArabdham' iti cintayaMzcatapAdapAdhaH kSaNaM 36 niSaNNaH / atrAntare yathAsthAnamAsInA vidyAdharanarA vidyAdharyazca / tatasteSAmantaH sthitenaikena vidyAdhara- 36 taruNenAnekaratnanirmito vimaladivyajalapUrNakalazo jagRhe, tAdRza eva dvitIyo vidyAdharINAM madhye 'tyantarUpazobhayA vidyAdharyaikayA ca / tAbhyAM pramuditacittAbhyAM bhagavataH zrIyugAdibhartuH snAtraM vidhAya 39 sumanobhiH paJcavarNairjalasthalabhavairarcA racayAMcakre / tatastau stutvA bhagavantaM dharaNendrasya nAgabhUpaterA- 39 rAdhanAvidhau kAyotsargamekaM dvitIyaM tadgramahiSyAstRtIyaM zAbaravidyayA viracayya zarIrAdvibhUSaNAnyuttArya 18

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-III. SS 48 : Verse 361] kuvalayamAlAkathA 3 * 57 1 ca zabaraveSamaGgIcakratuH / tayormahAdhirAjena zabareNa mahAzAbarI vidyA nyavedi / tAbhyAM maunavrataM pratipadya 1 sadyaH zrIbhagavAnnAbhibhavo guruvargaH sAdharmika lokazca vavande / vidyAdharANAM madhye kRtAJjalinaikena vidyAghareNokam / 'bho lokapAlA vidyAdharAzca zrUyatAm / pUrva zabarazIlo vidyAdharazekharaH sarvasiddha zAbara 3 vidyAkozaH saprabhAvazciraM rAjyaM paripAlya samutpannavairAgyaraGgitaH pratipannazrIjinadharmaH sarvasaMgaM parityajyAtraiva girikuhare sthitaH / tasya putreNa zabara senApatinA pitRbhaktyAtraiva sphATikamayI bhagavatpratimA 6 nivezitA, tadAprabhRtyetadvidyAsiddhakSetram / tato 'muSya prAptazavaraveSasya bhagavannAbhibhavaprabhAvato dharaNe- 6 ndrasyAbhidhAnena caiSA niSpratyUhaM siddhimetu / tataH sarve 'pi vidyAdharA 'asya zIghraM vidyA sidhyatu' iti procya tamAdalazyAmalaM gaganatalamutpetuH / tatastau dvAvapyaGgIkRta zabara veSau tatraiva tiSThataH / tataH kumAra 9 etena kIrakathanena jAne kRtazabaraveSau vidyAdharAvimau / ' ityAkarNya kumAreNoktam / 'eNike, tanmamaikaM 9 vacaH karNakaTukaM zrUyatAm ' tayoktam / 'mamAdezaM dehi / ' kumAreNa jalpitam / 'atrAgatasya mama kAlakSepaH samajani, svasti bhavatu bhavatyai, mayA punaravazyaM dakSiNApathe gantavyam / ' paNikayA bhaNitam / 'kumAra, 12 satyametadyatkadApi prAghUrNa kairgrAmA na vasanti / punarnija vRttAntanivedanaprasAdena mama manaHpramodo vidhIya- 12 tAm / tataH kumAreNa mUlAdArabhya vanapradezaM yAvaccaritaM nijaM nigaditam / eNikayoktam / 'kumAra, tvadvayogena janakajananyau vividhAbAdhAbhAjanaM bhaviSyataH, ato yadi bhavate rocate tadA tava kAyakauzala15 kathanArtha kIraM preSayAmi / ' 'etadbhavatu' iti procya samutthAya kumArazcacAla / tatastatsaMgativirahajAta- 15 manyubharasaMbhUtabASpajalalavapratiruddhanayanAlokapracArA eNikA kIreNa samaM kiyatIM bhuvamanugamya kumAramApRcchaya vyAvartata / kumAro 'pi krameNa krAman vindhyATavIM sahyagiriM nikaSA kasyacitsarasastIre 18 sArtha me kamAvAsitaM samIkSya puruSamekaM papraccha / 'bhadra, nivedaya kutaH sArthaH samAgataH kutra vA gamI / ' 18 tenoktam | 'vindhyapurAdAyAtaH kAJcIpurIM gamiSyati / ' kumAreNa bhaNitam / 'vijayApurI kiyaddUre, iti sam / tenoktam / 'deva, dUre vijayApurI paraM dakSiNamakarAkaratIrasthA bhavatIti zrUyate / ' 21 kumAreNa cintitam / 'sAthainaitena samaM mama gamanaM kamanIyam / ' tataH kumAraH sArthapatiM vaizravaNadattA- 21 bhimupagamya babhASe / 'he sArthapate, tvayA saha sameSyAmi / ' tenoktam / 'bhavatviti mahAnanugrahaH kRtaH / ' tataH sArthapatinA prayANakaM cakre / 24 9 47 ) atrAntare sahasrakaraH pazcimAcalacUlAmA lalambe / sarvatra tamaHprasaraH prasasAra / tataH 24 kasmiMzcitpradeze sa sArtha AvAsaM racayAMcakre / tato bhavitavyatayA saMnadvairbhilaiH samAkRSTaniSkRpa kRpANairAropitatrApadaNDaiH 'gRhANa gRhANa' iti vadadbhiH sArthaH sakalo 'pi luNTitaH / tadasamaJjasamAlokya lokaH 27 palAyanaM cakAra / itazca sArthapatiduhitA dhanavatI pranaSTe parijane vyApAdite pAdAtikajane palAyite 27 sArthapatI kirAtairgRhyamANA bhayabhrAntalocanA niHzvAsadhoraNIM muJcamAnA vepamAnapInapayodharAzaraNA 'zaraNaM zaraNam' iti prArthayamAnA kumArakuvalayacandramupasasarpa / tatastayoce 'zauryeNa dRzyase siMhasaMnibhaH / rakSa bhillujanatrastAmastAzaGka tvamadya mAm // ' 357 30 tenoditaM 'bhayabhrAntalocane cArulocane / mA tanu svatanutyAgAdapi trAtAsmi te 'dhunA // 358 iti procya 33 30 kuto'pi bhillAdAcchidya sazaraM sa zarAsanam / zaraivarSitumArebhe dhArAbhiriva vAridaH // 359 jarjaraM tatprahAraughairbalaM naSTaM dizodizi / vIkSya pallIpatiryoddhumuddhataH samupasthitaH // 360 nizAtazaradhoraNyA tadA tAbhyAM parasparam / akAlavRSTirvihitA kAlarAtririvAparA // 361 36 9 48 ) tataH kumAreNa roSAruNekSaNena stambhanamantraH prayuktaH / bhilezenApi kumAre sa eva mantraH 36 prayuktaH, paraM tena kumArasya na kimapi jAtam / tato bhillapatinA cintitam / 'aho, ko 'pyeSa mahAsattvaH sarvakalAsu kuzalo mayA hantuM na zakyate, kiMtu pratyutAmuSya hastato mayA mRtyuH prApyaH, tadalaM 39 saMprahAreNa, sarvasaMgaparityAga eva mama zreyAn saMprati' iti cintayan bhillasvAmI raNadharaNyA hastazatama- 39 pasRtya karAlaM karavAlamutsRjya pralambamAnabhujaparighaH parityaktaduSpraNidhAnaH svIkRta sAkAraniyamaH paJcanamaskAraM samuccaran samazatrumitraH kAyotsargamaGgIcakAra / tAdRzavRttaM vIkSya paJcanamaskAravacaH zrutvA 1) B mahAzAbaravidyA. 8 ) B kRtazAbaraveSau om. mama. 22) Bom. he. 8 33 12 ) B prAghUrNikai. 13 ) Pom. vana, Bom. nirja. 16 ) B kithaMtIM. 21) c 31 ) B dhunu for tanu. 32 ) Bom. iti procya 41 ) B paMcanamaskAramuccaran

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* 58 ratnaprabhasUriviracitA [III. SS 48 : Verse-3621 | sahasA saMbhrAntaH kuvalayacandraH 'sAdharmiko 'yam' iti tatsamIpamupAgatya provAca / 'kiM tvayA sahasA 1 sAhasamanIdRzaM prArabdham, muJca kAyotsargam / mamApi pUrvakRtapApasyAparAdhaM sahasva / ' tataH pallIpatinA 3 cintitam | yadasAvapi sAdharmikastato mama mithyAduSkRtaM dAtumucitam / ' iti cintayan kAyotsarga 3 projjhya kumArAya vandanakaM vidadhe, kumAreNApi tasya ca / evaM tau parasparaM darzitadharmarAgau prItisyUtaadit dvApa bindudRSTI babhUvatuH / kumAreNoktam / 'yadyetatkathametat, athaitatkimapareNa / ' etadAkarNya 'bhillapatirUce | sarvamapi jAne paraM duSTaiH karmavairibhirlobhaparavazaH kRtaH paraM tvatsaMgatyA saMprati taponiya- 6 madhyAnayogairAtmAnaM sAdhayiSye / ' kumAreNoktam / 'na sAmAnyaM tava caritram / tataH kathaya ko'si / ' sa pallIpatirjagAda | 'nAsmi bhillAdhipaH, etattava vistareNa kathayiSye / sAMprataM punaH sArtha bhillajanai'luNThyamAnaM nivArayAmi / ' tataH pallIpatinA sArthaH sarvo 'pi bhillebhyo rakSitaH / bhillAH sarve pallIpati- 9 bhayato dUraM nezuH / yadyasya saMbandhi vastugatamAsIt tattasya pallIpatirarpayAmAsa / bhillaiH sArthapatirnazyan dhRtvA senApataye 'rpitaH / tenoktaM ca / 'sArthapate, mA bhayaM bhaja, nijaM paNyaM gRhANa' iti vadan senA12 patirutthAya kumAreNa samaM sahyazikharizikharasaMzrayAM mahApallImATivAn / 12 $ 41 ) kumAreNa ca pallIM nagarIsamAnazriyaM tathA tanmadhyasthaprAsAdaM vizadaM vilokya pRSTam / 'yadamuSya saMnivezasya kimabhidhAnam / ' tenoktam / etasyAH pallyAzcintAmaNirityAkhyA / ' evamanyAnya15 praznaparaH kumArastena samaM rAjamandiramAsasAda / tato dvAvapi maNimayeSu bhadrAsaneSu saMniviSTau / tatazca 15 snAnapIThamalaMkRtya vikasanmAlatIgandhasanAthaM lakSapAkaM tailamuttamAGge prakSipya saMvAhakaiH kamalakomalakarataH sukhena saMvAhitau / tatastau koSNairjalairaGgaM prakSAlya zucibhUya candrAMzunicayavyate iva zvetavAsasI 18 paridhAya tatastadantarvartini devatAyatane kanakamaya kapATa saMpuTamuddhATya zivaniyo dvAramiva bhagavatAM 18 jinAnAM kanakaratna nirmitAH pratimAH samabhyarcya jinastuticaturviMzikAM parAmRzya praNipatya ca bhojanamaNDapamupAjagmatuH / tatazca yathAsukhaM bhojanaM nirmAya svairaM parasparaM yAvadvArtAM kurvantau tiSThatastAvada kasmAt 21 prAvRta sitadhauta nivasano lohadaNDavyApRtakara ekaH puruSaH samAgatya senApateH purobhUya idaM papATha / 'jAnAsya pArasaMsAramasAraM sAgaropamam / vacazca vetsi zrIjainaM zivazamaikadezakam // 362 etadadhyavasAyAttu viratiM na kariSyasi / atastvAM lohadaNDena tADayiSyAmi niSkRpam // ' 363 24 iti vadatA tena senApatiruttamAGge manAk tADitaH / tato mahAgAruDamantrAbhimantrita siddhArthaprahato bhujaMgama 24 ivAdhomukhaH sthitaH senApatirityacintayat / 'aho, kautukaM yadanena nirdayamanasA supuruSasyedRzasya pazyato 'haM prahataH karkazaM bhaNitazca / athavA mama pramAdina etena ramyameva viracitam / 27 27 jarAmRtyu mahArogaduHkhataptA bhramanti hi / saMsAragho rakAntAra prAntarAntastanubhRtaH // 364 tadantaH ko'pi yo bhavyaH karmagranthi vibhidya saH / samyaktvaratnaM duSprApamamUlyaM svIkaroti ca // 365 tadeva phalakaM prApya bhavAmbhodhau pramAdyati / yaH zarIrI sa sadyaH svaM tanute 'tanuduHkhabhUH // ' 366 30 iti cintAcAntamanasaM senApatiM bASpajalalavalutanayanayugalaM pramuktadIrghaniHzvAsaM dInAsyaM nirIkSya 30 kumAraH provAca / 'bhadra, kathaya ka eSa vRttAntaH / ' tato dIrgha niHzvasya senApatirjajalpa / 'kumAra, zrUyatAm / 950 ) lokaMpUNaguNagrAmAbhirAmAsti gatAvamA / dharArAmAla lAmazrIH purI ratnapurI varA // 367 svaHpurIvodhanvADhyA vyomazrIvatsamaGgalA / alakAvatsadhanadA yA laGkeva sadA varA // 368 vanAvanIva sannetrA kalitA lalitAzanA / sapunnAgA sanAraGgA zrIphalaiH sumanoramA // 369 tatra ratnamukuTAH pravizvamahIpatiH / samasti pRthivIpAlaH pAlitAkhilabhUtalaH // 370 36 tadaGgajau darpaphaliko bhujaphalikazca / evaM ca tasya rAjyaM pAlayata ekasminnamAvAsyA dine pradoSe vAsavezma 36 praviSTasya kimapi cintayataH pradIpe pataGga ekaH samAgataH / rAjJA prakRtyanukampitahRdA cintitam 'ayaM varAko martukAmastasmAdamuSya paritrANaM karomi / iti cintayatA tena kareNa gRhItvA vAratrayaM 39 kapATavivareNa bahiH prakSiptaH / sa punarapi dIpAntikamAyAtaH / rAjJA cintitam / 'upAyarakSito jantuH 39 33 21 5 ) B tadAkarNya for etadAkarNya 7 ) PC sAmyaM tava 8 ) P bhillAbhidhaH 9 ) B sarvepi for sarve. 11 ) Bom. ca. 16 ) B samAnaM for sanArtha. 21 ) 0 degnivasino. 22 ) P jAnAmyapAraM B jAnAsyapAraM. 33 ) B has some marginal glosses on these verses: iMdrAstrena ADhyA, pakSe ugrANi dhanUMSi yeSAM te ugradhanvAno dhanurdharAstairADhyA // dhanadA dAnezvarAstaiH sahitAH // dAvaM saMtApaM rAMti yacchaMti dAvarA rAkSasAstaiH sahitA purI sadAvarA pradhAnA // netrairvRkSavizeSairAkalitA saMbaddhA, purI pakSe satAM netrA svAminA sahitA // lalitA manoharA asanA priyaM[ gu] vRkSA yatra, purI pakSe lalitAni AsanAni yasyAM // nAraMgavRkSasahitA purI saha nAraMgairjanibhirvarttate sa nAraMgA // bilvaphalaiH 1. 33

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12 -III. 853 : Verse 389 ] kuvalayamAlAkathA 3 * 59 suciraM kAlaM jIvati' / iti dhyAtvA prAgudghATite samudke rAkSA pataGgaM prakSipya pidhAnaM ca dattvA sa upadhAne 1 mumuce / atha bhUpatinidrAsukhamavApya prage samudgakaM yAvannirUpayati tAvattatra gRholikAmadrAkSIt / tena 3 samudkaM ca pataGgazUnyaM nirIkSya cintitam / 'yadasau nizcitaM kuDyamatsyena bhkssitH| nAsti kutrApi mokSo 3 vihitasya krmnnH| pUrvajanmArjitaM karma yAvanmAnaM zarIriNA / zubhaM vApyazubhaM vApi tAvanmAtramavApyate // 371 6 iti mahIpateH sahasA vairAgyamArgajAbikasya jAtismRtyA pUrvabhavaH prakaTIbabhUva / yathA pAlitacAritraH svargalokaM gataH purA / sukhaM bhuktvA tatazcayutvAtraiva bhUpo bhavaM bhuvi // 372 651) atha tasya tatrAvasare saMnihitayA kayAcidevatayA rajoharaNavadanavastrikApAtrAdinavavidho9padhisamarpaNaM cake / tataH sa rAjarSiryAvatkacAMlluzcituM pravRttastAvadvibhAtA vibhAvarI / petthurmngglpaatthkaaH| 'pUrvameSa munerdharme jAgarAM pratyapadyata / tato dinamukhe citraM vayaM sUryaparAyaNAt // 373 udayAcalacUlAyAmAruroha divAkaraH / padmAlayeSu padmAnyavApan bhuvi vinidratAm // 374 _12 prasasAra ca sarvatra patrikolAhalo 'tulaH / vavau vAyU ratodbhUtazramabindutati haran // 375 andhakAraM karoti sma klIbavatprapalAyanam / andhakAraripurakarAghAtabhayAdiva // 376 indIvaraM parityajya SaDaMhibhajate 'mbujam / kusevaka ivAzrIkaM sazrIkaM svAminaM navam // 377 15 svarairnivedayantIva pakSiNo jgto'pyho| zriyaH prayAnti cAyAnti citrabhAnunidarzanam // 378 15 nabholakSmIrudayine sUryAya dadate mudA / tArApuSpacchalAdayaM pAdyaM cendukarAmbhasA // 379 evaMvidhe prabhAte 'tra bhUpa mohaM parityaja / kevalaM paralokasya hitamartha samAcara // 380 18 taca tAdRzaM stutivAtaM paThitaM zrutvA bhagavAn maharSiH kapATasaMpuTamuddhATya vAsavezmato girivarakandarA-18 kaNThIrava iva nirgtH| kRtakezaluzcanaH pAtrarajohRtimukhavastrikopazobhitakaratalaH pUrvameva shyyaapaalikaabhirddRshe| pUccakre ceti / 'bho bhoH parijanAH, etaita tvaritamasmAkaM svAmI kAmapi viDambanA prAptaH 21prayAti / tadevamAkarNya sasaMbhramazaskhalanapurarasanAravamukharastvaritamevAntaHpurapurandhrIjano vArAGganA-21 lokaH parijanazca tadA tatrAgataH provAceti / 'nAtha, kathamassAnniraparAdhAMstyaktvAtmAnaM viDambya pracalitaH / anAthAstvAM vinA vayam / ' evamantaHpuryAdijanasya ca vilapato'pyadattasaMlApo bhagavAn . 24 gntumaareme| zrutvA vilapanaM tasya procivAn mntripunggvH| 'kimetaddeva te vRttaM muniveSasadharmaNaH // ' 381 652) evaM sacivAntaHpurIparijanena pRSThalagnena samaM bhagavAn rAjarSiH purIbAhyodyAnaM saMprApa / tatra 27ca sasthAvarajantuvirahite sthAne prabodhAya pratyekabuddhaH samupAvizat / tato mantrivargo 'ntaHpurIjanazca 27 niviSTaH / tau ca dvAvapi darpaphalikabhujaphalikAvatratyau pituH smiipmupvissttau| . tato bodhavidhAnAya bhagavAn munisattamaH / pApAhijAGgulividyA prAreme dharmadezanAm // 382 30 bhayAvahabhavApArAkUpArAntaH paribhraman / cirAnnadvIpamApnoti bahibabhraSTavadbhavI // 383 30 sadadhvani sadAdhvanyabhAvaM bhajata dehinaH / vidhyanti caraNaM yena na tIkSNA duHkhakaNTakAH // 384 ekaikasmin sapta lakSA bhUjalAnalavAyuSu / pratyekAnantabhede ca vane daza caturdaza // 385 [de de lakSe samAkhyAte pratyekaM vikalendriye / devatAsu caturlakSI nArakeSu tathaiva ca // 386 33 tiryapaJcendriyeSvevaM manuSyeSu caturdaza / ] lakSAzcaturazItiH syurjIvAnAmiti yonayaH // 387 etadutpattito jIvA bahuzo duHkhabhAjinaH / bhavanti yAvat samyaktvaM nAmuvanti zivapradam // 388 / pratyekabuddho bhagavAn dezanAM klezanAzinIm / amAyaH sa vinirmAya vicacAra dharAtale // 389 36 653) tasya rAjJa [AvA ] mubhau putrau / ahaM jyeSTho darpaphalikanAmA, aparo bhujphlikH| tataH prabhRtyAvAM samyaktvamAtrazrAvako jAtau / tatra mantribhirayodhyAyAmasmatpitRvyasya DaDhavarmaNo bhUpaterdUtapreSaNa39 pUrva tadvizApitam / tenetyAdiSTam / 'yathA prathamasUnurdarpaphaliko rAjye nivezya iti' tathaiva rAjalokena 39 5) zarIriNAM. 8) P has some blank space between vastrikA & dhopa, B pAtravidhopadhi, vastrikA [pAtrAdinava vi] dhopa. 10) B sUryaparAyaNAH. 11) PO padmAlayAni. P has blank space between padyAnya and bhuvinidratA, pamAnya[nubabhuvu] vinidratAm. 14) Pom. sazrIkaM. 15) Bdegnidarzanam. 18) P stutivratapaThitaM, saMpuTaM samuddhATya. 20) Pdeg viDaMbanaM. 21) PdegkhamukharitamaMtaHpurapuraMdhI. 22) B parijanasya, P B tadAgataH for tadA tatrAgataH. 27) P inter. sthAne & prabodhAya. 28) B dvAvapi bhujaphalikadarpaphaliko tatra pituH. 33) P B om. dve dve eto. to caturdaza put in square brackets. 37) B adds, after the line ending with dharAtale, a line like this: tataH sopi lokosau svasvasthAnakamAyayau, PB om. tasya rAjJa [AvA] mubhau putrau| ahaM. 38) P B write generally dRDhadharma, but now and then a reads dRDhavarma as well, P dUtaH pUrva.

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18 patiH kutrApi gata iti * 60 ratnaprabhasUriviracitA [III. $ 53 : Verse 3891 pratipannam, parameko mantrI tathaikazcikitsaka ekA bhujaphalikajananI tadvaco naamnynt| tatastribhireka- 1 matyAnapekSya paralokamavagaNayya vimAnaM mama kimapi tadauSadhamadAyi, yena tadaiva mama ahiltvmutpede| ahaM ca kadAcidigvAsAH kadAcitprAvRtAGgaH kadAciddhalIdhavalitadehaH kadAcidgRhItakarakaparakhaNDaH sarvatra 3 paribhramamANo'tra vindhyagirizikharikuharAntarAle kSudhAtRSAlAntaH parvatanadISu sallakIharItakItamAlAmalakadalaphalaprAgbhArakaSAyitaM toyaM vAratrayaM pItvA sarvatra doSavipramuktaH krameNa sAvadhAno 'bhavamiti / 6 tataH svasthacetasA mayA kSudhArtena puSpaphalebhyaH spRhayAlunAnekabhillajanAntasthaH pravararUpaH puruSa eko 6 ddRshe| tenAhamimAM plliimaaniitH| tato vAravanitAjanenAvAM snAnaM kaarito| atho devatAyatane mayA tena samaM bhagavAn jinaH praNataH / tathA bhojanamaNDape yathAruci AvAbhyAM bhojanaM vidadhe / tataH sukhAsInena tena jalpitam / 'bho bhadra, nivedaya kena hetunAmuSyAmaTavyAM nirmAnuSAyAM bhavatsamAgamaH, kuto jinavacana- 9 prAptiH' iti / mayoktam / 'ratnapuryA ratnamukuTanarendrasya sUnurdarpaphalikanAmAham / sa ca mama pitA pratyeka buddho 'bhvditi| tataH svIkRtajinadharmo 'hamapi karmavazata etasyAM palyAmAgataH / tenoktam / 'yadi 12 bhavAn somavaMzasaMbhavo ratnamukuTanarendraputrastataH sundaramajAyata, yata Avayoreka eva ghNshH| tatastvaM 12 tastena pallIpatinA sarvapallIpatipratyakSaM siMhAsane 'haM niveshitH| sarve'pi palIpatayo bhaNitAH / 'yadbhavatAmayameva narezvaraH / ahaM punaryanmano 'bhimataM tatkariSyAmi' iti bhaNitvA pallIpatirni15 rgtH| tasyAnugamanaM vidhAya sevakAH pallIpatayo nivartitAH / ahaM punaH stokamapi bhUmibhAgamagrato 15 'gamam / vyAdhuTamAnasya me tena zikSA prdttaa| 'yad vatta, jIvavadho na vidheyH| bhavyarItyA prajAH pAlanIyAH / prANAnte 'pyakRtyaM nAcaraNIyam / zrIjinadharme kadAcana na pramAdaH kAryaH' ityuditvA pallI gata iti na jJAyate / ahamiti manye kasyaciTTharorantike pravrajyAmabhyupapannaH / tahinAdAra-18 bhyAtra kumAra, na ko 'pyasmadrAjye 'niitividhaataa| 654) ahamapi punaH kiyatA kAlena karmavazato mahAmohagrastacitto vismatatatsarvazikSaH sarvA21 nyAyaparaH samabhavamiti jarjaritakalazaprakSiptapayovajinavacanarahasyaM sarvamapi mama galitam / zikSA-21 zeSApi durjanaprItiriva vilayaM gatA / ato mayaiSa puruSo nidezitaH, yallobhenAhamIdRzImavasthAmAnItasta tvayA lohadaNDenAhaM smaraNArtha taaddniiyH| tato'yamapi pratidinaM mAM lohadaNDena tADayati / ' tataH 24 kumAreNoktam / 'amuM vRttAntamAkarNya kasya ceto na citrIyate / mahAsattvo ratnamukuTaH pratyekabuddho 24 'jani / durlabho jinapraNItaH pnthaaH| durjayo lobhpishaacH| tad bho mahAzaya, kiM khedamudvahasi, yanmayA tacchikSA vismRtA [iti] anuzayavatastava sAdyApi tathaivAste, tasmAttyajAvadyaM kiM tena / ' evaM kumAreNokte 27 tena jagade / 'evametanna saMdehaH, paraM bhavAn vijJAnarUpakalAkalApavinayadAkSyadAkSiNyamukhyairguNairzAyate 27 yathA mahAkulaprasUto mahAsAhasikaH / punaridaM na jAne yatkumArasya kIdRkulam, kimabhidhAnaM, tannivedaya / ' kumAreNoktam / 'ayodhyAnAyakasya dRr3havarmaNastava pitRvyasya putraH ko 'pyasti kiM vA na / tena dIrgha 30 niHzvasyoktam / 'kadAcinmayA pathikasyaikasya pArzve zrutaM, yathA dRDhavarmaNo mahIpaterlakSmIprasAdataH putra-30 prAptirabhUt / punarna jAne pazcAt kiM tatra vRttam / ' kumAreNa bhaNitam / ahaM sa eva dRDhavarmanarendrasya kamalAprasAdalabdhaH kuvlycndraabhidhstnuujH|' evaM nizamya tenoktam / aye, mama bhrAtA bhavAn' iti / 33 tato galannayanayugalajalabindurdarpaphalikaH papraccha / 'kathaya kathaM kumAra, evaMvidhe tapAtyaye jaladajala-33 dhArAmiparitadharAtale sarvajanAlhAdavidhAyini rAjahaMsapravAsadAyini viyuktayauvanamanovanAvara __ sakalakamalavanazamanazamane muditamattamayUrasamuccaritakekArave kalikAla iva saMcaradvirasanamaNDale kubhU. 36 patAviva pranaSTasanmArge jaMbAlajAlajaTilamArgalagnakaNTakakoTiduHsaMcare payaHpUravAheNa patitagartAzatasaMkule 36 pracaNDapavanocchAlitA_lihalahariduruttaragirisarinnikare svaM sthAnaM vimucya kva calito 'si / ' kumA. reNa sarvamapi niveditam / 'yatpunaH saMprati mayA vijayApuryAM kuvalayamAlA prabodhyA' iti| 39655) evaM dinatrayaM tatra prItyA sthitvA kumAreNoktam / 'yadi tavAdezo bhavati tadAhaM vrajAmi' 39 iti / nRpeNa bhaNitam / 'tvayAvazyameva gantavyaM yadyevaM tato 'haM tvatkAyakauzalahetave vijayApurI yAva svasainyakalitaH samAyAmi, yato bhavAnekAkI maargprishaanaanipunnH|' kumAreNoktam / 'yato 'nubaddhavairA 42 bhavantaH, stokaM balam , ato bhavatAmAgantuM nocitam' ityAkarNya tarhi 'bhavatu bhavate svasti' ityuditvA 42 2)[vimAnanAM] for vimAna. 5) B krameNa samabhavamati. 8) B yathArucyA. 10) Bom. iti. 16) P om. me, B adds mama for it on the margin. 18) BdegdArabhya kumAra. 26) PB om. [iti].34) B rAjahaMsapradAyini. 37) Pom. ka. 38) PB bodhyA for prabodhyA, B om. iti (this portion added on the margin).

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9 -III. $57 : Verse 396] kuvalayamAlAkathA 3 * 61 1 pallInRpatiH kumArasya dakSiNApathaM pracalato 'nugantuM pravRttaH / tataH kumAraM taruNataravanalatAgulmAntari- 1 tamavagamya bhUmipaH sadanamAgatya mAnanIyAn saMmAnyApRcchaya prakRtijanaM rAjyavyavasthAM ca kRtvA dInebhyo dAnaM vitIryAtyantadussahatadvirahadahanadandahyamAnatanunA vAravilAsinIjanena dInavadanaM vilokyamAno 3 vratAya niHsasAra / kumAro 'pi krameNAnekagirisarinmahATavImullaGghayannanekagrAmAkarapureSu kautukAni prekSamANo makarAkarataTasthitAM vijyaapuriimvaap| sujAtayaH kulInAzca snigdhamugdhAlisevitAH / sadArAmA bahizcAntaryatra santi virAjitAH // 390 6 ....................... / ] vApItaTamaNimayAgAravidyotitAmbhasi // 391 strINAM stanAdhareSu syAtkarapIDanakhaNDane / snehahAniH pradIpeSu yadantana punarjane // 392 uttuGgAH kumbhinaH sphUrjadbhadrajAtisamAzritAH / mAMzca yatra vidyante bhadrajAtimanoharAH // 393 9 narA virejire yatra dvidhA vikrmshaalinH| dvidhA suvarNasazrIkA kalAkelipriyA dvidhA // 394 / / yatra janyamajanyaM ca janAnAM na kadAcana / atastu mArgaNaH ko'pi na vAre na ca mandire // 395 1256) tataH kumArastaduttaradigvibhAge caraNacaDumaNAkSamaH kSaNaM vizramya vyacintayaditi / 'eSA 12 sA vijayApurI yA sAdhunA niveditA, paraM punaH kenopAyenAtra kuvalayamAlA draSTavyA' iti vicintya . kumAraH samutthAya nAnAvidhavarNaratnavinyAsoJcacArukAJcanaghaTitaprAkAravalayopazobhamAnavidrumamayago15 purakapATasaMpuTAM purI sa yAvatkiyadbhUbhAgaM vrajati sma tAvatpayohAriNInAmanekazo vArtAH zuzrAveti / 15 kayAciduktam / 'eSA kuvalayamAlA kumArikaiva kSayaM yAsyati na ca ko'pi pariNeSyati / ' anyayA bhaNitam / 'vidhinA vivAharAtristasyA na vihitA, yato nAma rUpayauvanavilAsasaubhAgyagarvitA kularUpa18 vibhavalAvaNyasaMpUrNAnapi naranAthaputrAnnecchati / ' tathAnekadezasamAyAtavyavasAyinAM vicitrA bhASA: 18 zRNvan vipaNizreNimArge vaNijAM vividhAnallApAnAkarNayan nAgaravanitAdhavalavimalalocanamAlAbhirabhya ya'mAnaH zikhaNDipatatranirmitAtapavAraNazatasaMkuladvArapradezam anekasevakalokAnavaratayAtAyAtapANidha21 manigama raGgattuGgaturaGganiSThurakhurakSuNNakSoNitalaM bandivRndapaThyamAnanRpaguNagrAmastutizatamukharitadigantaraM 21 vairivAranivAraNavAraNasaMcaraNakapolapAlivigaladdAnajalajambAlajaTilaM vijayasenanarezvarasya rAjAGgaNamAjagAma tatra ca rAjalokaM sarvamapicintAparaM karatalanyastamakhakamalaM vilokya kumAreNa ko'pirAjapuruSa24 zcintAkAraNaM pRssttH| tenoktam / 'bho mahAsattva, naiSA duHkhacintA, kintvatra bhUpatiputryA kuvalayamAlayA 24 puruSadveSiNyA rAjadvAre patre likhitvA gAthAyAH pAda eko 'valambito 'sti / yaH ko 'pyenAM gAthAM saMpUrNAM karoti sa mAM pariNayati na kshcidnyH| tatastAM sarvo'pi nRpatilokaH svasvamatyanusAreNa 27 cintayannasti / ' kumAreNoktam / 'kIdRzaH sa paadH|' tenoktam 'eSa IdRzaH' / yathA "paMca vi paumeza vimANammi / " kumAreNa bhaNitam / 'yadi tAvadenAM gAthAM ko'pi pUrayati tatastasyAH pUritAyAH kimbhijnyaanm|' tenoktam / 'sA caiva kuvalayamAlA tadabhizAnAbhijJA / yataH pUrvamevaitayA pAdatrayaM gAthAyAH 30 patrake likhitvA golake nikSipya tadupari rAjamudrAM dattvA kozavezmani nicikSipe / ' kumAreNa 30 cintitam / aho, prakaTIbhUtA mAyAdityasya maayaa| 657 ) atrAntare rAjadvAre janasya jaladhijalagambhIraH kalakalo 'bhavat / tatra sarvamapi lokaM 33 pralayakAlavakSubdhahRdayaM vIkSya kumAreNa cintitam / 'ka eSo 'kANDotpAtaH' tatsatyamabhUdyat 'zAnti 33 kurvatAM vetAlotthAnam' iti yAvatkumAro nirUpayati tAvajayavAraNavAraNaH pronmUlitAlAnastambhazchedi tanibiDanigaDaH prodyanmadadurdamaH sNmukhmaayaatH| 36 ziloccaya iva proccaiH sataH prAleyazailavat / kampAGkamapi vegena yo jigAya mataGgajaH // 396 36 4) B TavIrgamulaMgha. 6) P leaves blank space virAjitAH and nayAgAra', B viraajitaaH| vApItaTamaNi (Nau ?) mayAgAravidyotitAMbhasi, o leaves blank space between virAjitAH and nayAgAra (standing for mayAgAra of the text). On these veries B has some marginal glosses: yasyAM nagaryAM satpradhAnA ArAmA bahirbhAge tathA'tamadhye sadA rAmAH striyaH saMti / sumAlatIsahitA pakSe sugotrA ||'libhiH bhramaraiH sakhIbhiH sevitAH // zakunaH vizeSeNa rAjitAH shobhitaaH| maMdo bhadro mRgo mizrazcatasro gajajAtayaH // pradhAnaparAkrameNa zAlinaH / viziSTaH kramo vikramaH sadAcArastena zAlinaH // kAMcanavatsazrIkAH yazasA ca // kalAnAM gItanRtyAdInAM yA kelivilAsaH tayA vallabhAH athavA smrvnmnohraaH|| virodhabhaMga itthaM / janyaM saMgrAmaH / 'janyamutpAta [:]yatra nAstItyarthaH / tatkAraNAt mArgago bANo yAcako vA na kasyApi dvAre na kasyApi maMdire kaH parAmarSaH saMgrAmAbhAvAt bANo na / IterabhAvAt yAcako na / / . 20) P zatasaMkuladvAraM, B'navaratayApA. 22) PAnajaMbAla. 29) B om. tenoktam. 34) Bom. iti.

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* 62 ratnaprabhasUriviracitA [III. $ 57 : Verse 3971 tAdRzaM kupitaM sAkSAtkRtAntamivAyAntaM rAjA kuvalayamAlayA samaM vilokituM shirogRhmaaruroh| 1 kumArasya ca puro gajaM savidha eva vIkSya nRpatinA samAdezitam / 'bho bhadra, satvaramapasara yatastvaM 3 bAlaH / ' iti nRpavaco nizamya roSAruNalocanaH kumAraH sahasA bhUyasA tejasA jvalan jayakuJjaraM 3 vazIkRtya dazanayoH padadvayaM dattvA kumbhasthalamalaMcakAra / tatrasthena tena paThitam / 'kosaMbidhammanaMdaNamUle dikkhA tavaM ca kAUNa / kayasaMkeyA jAyA paMca vi paume vimANammi // ' 6 tadAkarNya pUriteyamamunA 'samasyA' iti vadantyA kuvalayamAlayA makarandagandhalubdhyAgatAlimAlArava- 6 mukharitAsitakusumavaramAlA kumArasya yogyA preSitA / tena ca kaNThakandale smaaropitaa| romAJcakavacitena nRpeNoktam / 'vatse kuvalayamAle, sAdhu sAdhu vRtm|' tAvattatra pUritAyAM samasyAyAM rAjalokena 9 jayajayArAvazcakre / aho, manujo 'pi ko 'pyeSa divyaprabhAvaH / tatazca, tadupari paritaH surairadRzyaiH surapathato mumuce prsuunvRssttiH|| asamaguNagaNapramodapUrNairbhavati hi bhAgyabhRtAM kimUnamatra // 397 12 $58) atha pUrvodito dRDhavarmarAjapratipannasUnurmAlavarAjaputro mahendrakumAraH sahasAgatya jayakuJjara- 12 kariNo 'ntike provAceti / 'zrIdRDhavarmanarendranandana zazivaMzamuktAphala kalAkulagRha dAnazauNDa praNatajanavatsala kumAra kuvalayacandra, jaya jaya' iti / tataH kumAraH samupalakSya mahendrakumAraM jyeSThaM 15 sahodaramiva manyamAnaH prItipramuditamanA jayakuJjaragajavaraskandhamAropya piturdevyAzca kuzalaM papraccha / 15 bhavAnapi kuzalazAlI / atha nRpastatrAgataHproce 'aho, kiyanti citrANi / / ekaM tAvadasau surUpasubhagaH kumbhI dvitIyaM vazIcakre divyasumaprakAmapatanaM vyomnastatIyaM tthaa| 18 turya yatpadapUraNaM svaduhituH prItiH punaH paJcamaM SaSThaM zrIdRDhavarmajo nikhilamapyetaJcamatkAri me // 398 18 yatprApyaM tatprAptameva vatsayA kuvalayamAlayA asya puruSasiMhasya praaptyaa| putri, tvayA kRtrimameva puruSa dveSitvaM prakaTIcake / 'iyaM pariNeSyati' iti jainavacanamapi tathyamAsIt / vatsa, tvaM kuJjaraM samarpaya 21 gajarAjArohakANAm / tvaM ca saudhmdhymaagcch|' ityAkarNya kumAro mahendrakumAreNa kumAreNa samaM madhye 21 gatvA siMhAsanasthaM nRpaM natvA yathocitAsane niSasAda / tataH piturAdezena kuvalayamAlA kumAraM sasnehayA dazA pazyantI zuddhAntamadhye gatavatI / rAzAdiSTam / 'vatsa, kathyatAM kathaM bhavAnekAkI kArpaTikaveSadhArI 24 duurdeshaantrmaayaatH|' kumAreNa proce / 'deva eva jAnAti / paramadyaiva karmavazataH paribhramannatra samA-24 yaatH|' rAzoktam / 'mahendrakumAra, saiSa dRDhavarmatanujo yasyAtrAgamanaM tvayAsmAkaM pArzve pRSTam / ' tataH savinayaM mahendreNa vijJaptam / 'deva, satyamevaitat / ' kuvalayacandreNa bbhaasse| 'bhavataH kutaH smaagmH| 'mahendreNoktam / 'deva, zrUyatAm / tadA bhavAn vAhakelipravRttaH samudra kllolvaajinaapjhe| 27 pazyato rAjalokasya samutpatya nabhastalam / turaGgamaH kSaNenaivAdRzyamArgamupAgataH // 399 659) tato nRpatinA sevakalokena sAkaM tvatpRSThato 'tidUraM gatenApi kApi bhavataH pravRttina .. 30 zrutA / tatrasthapurapradeze turaGgaH pavanAvartaH patito mRtazca / rAjApi tvadviyogena pavanAvartamRtyutaH / atyantaM duHkhitaH kSipraM mUrchitaH patitaH kSitau // 400 asmAbhiH kadalIpatravAtairAzvAsito nRpH| vipAkaM karmaNo jAnannapi vyalapadazavat // 401 / 33 'kumAra vikramAdhAra sphArAkAra guNAkara / anAthaM mAM parityajya gatastvaM kena karmaNA // ' 402 33 evaM bahudhA vilapan mantrijanena nRpatirbodhita iti / yathA 'pUrva sagaracakravartinaH SaSTisahasramitAH / putrA jvalanaprabhajAtakopavisarpadviSajvalanajvAlAvalIbhiH kSaNamAtreNApi bhasmasAtkRtAH paraM tenApi 36 'cetasi zokasya nAvakAzo 'dAyi / tannAtha, kumAraH kenApi devenApahRto 'sti, tasyAvazyaM pravRtti-36 reSyati / tato deva, kAtaratvamutsRjya sarvathA dhIramArgamavalambasva' iti / tato vyAvRtya tatpratibodhitaH kSitipatiH praasaadmaasdt| 39 pravAso yahinAdeva kumAra bhavato 'bhavat / tadaiva yogapadyena saukhyasyApi vapuSmatAm // 403 39 tvadviyoge mahAduHkhAjananyApi nirantaram / galanetrajalairbhUmirnirmame paGkilAkhilA // 404 tvadussahaviyogAgnijvalajvAlAbhayAdiva / prapalAyitumicchanti prANA devAnujIvinAm // 405 30 1) "mivAyAtaM. 2) com. ca. 7) Pom. kaNTha. 20) B pariNeSyate, B inter. kuJjara & samarpaya, B gajarAjamArohakAraNaM saudha. 21) PR om, kumAraNa, BdegmadhyaM. 28) 0 nabhaHsthalaM. 30) B tataH svapurapradeze. 40) P tvadviyoge mahAdukhAdarodInnagarIjana:- some lines are skipped over through haplographieal mistake, the copyist's eye being led astray by a similar word.

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-III. SS 61 : Verse 413] kuvalayamAlAkathA 3 anubhUtaM na kenApi duHkhaM deva tvayA saha / akRtajJAniva jJAtvA pratasthe zrIH zarIriNAm // 406 tathA kathaMcittvaduHkhAdarodInagarIjanaH / api stanandhayA yena stanyapAne nirAdarAH // 407 yaM vinA kSaNamAtraM na sthIyate bAlakairapi / AhArastatyaje taiH sa tvadviyogAtiduHkhitaiH // 408 sArikAzukaziSyAripakSibhirbhuktirujjhitA / tvaddussaha viyogArterapareSAM tu kA kathA // 409 sajIvamapi nirjIvaM sacaitanyamapi sphuTam / caitanyarahitaM cakre tvadviyogaH purIjanam // 410 sa pradezo na ko 'pyasti yatra tvaM na gaveSitaH / puruSaiH pauruSAdhInairna lebhe kiMvadantyapi // 411 rAjApi tvadviyogena jAtaH kAntyA bhRzaM kRzaH / bhISmagrISmaniyogena sAkAra iva vAriNA // 412 660 ) tataH kumAra, evaMvidhe kAle kiyatyapi vyatIte pratIhAryA vijJaptam / 'yaddeva, kIra eko 'bhavaddarzanAbhilASI / ' rAjJoktam / 'kathaM kIro 'pi tatpravRtyabhijJaH / tato rAjAdezena pratIhAryA samaM 9 zukaH kSamApatipadAntike samAgatya vijJApayAmAsa / 'deva avadhAraya, kumAraH kuvalayacandraH kuzalazAlI / ' tato nRpatiH kIraM nijatanUjamiva kroDamAropya jagAda / 'vatsa, kumAranirvizeSadarzano bhavAn / kutra kiyatkAlAntaraM kumArasya dRSTasya samajaniSTa / ' tataH kIreNa tena spaSTAkSaraM saMdezahAra keNeva 12 ' hayApahArAdArabhya kuvalayamAlAlaMkRta vijayApurIgamanAntastava vRttAnto bhUpasya puro nyavedi / ' ityAkarNya mahIpatiH parilasadromAJcavarmAJcitaH prollAsapramadAndhimadhyapatitaM svaM manyamAnastataH / 12 tvayA dRSTaH, proce hAstikarAjakAzvanivahaiH prItastathA no yathA kIrodgIrNatanUja kAya kuzalazrutyA tayA saMprati // 413 18 tato labdhasvAdu sahakArAdiphalAhAraprasAdaH zuko gato nijameva nivAsavanaM rAjJA samAdiSTaH, mAM prati 18 ca proce / 'mahendra, vijayApurIM prati saMprati gantumicchAmi / ' tato mayA vizaptam / 'deva, mamaivAdezaM dadava, na punastatra mArgavaiSamyatastatrabhavatAM bhavatAM gamanaM sAMpratam / ' tato devena tava pravRttinimittama parai 21 rAjaputraiH samaM preSitasya mamAtra grISmakAlasyaiko mAsastrayo varSAkAlasya ca samabhavan / ekadA vibhuM 21 vijaya senameva praNamya mayA vijJatam / 'deva, narendradRDhavarmaputraH kuvalayacandro bhavatsamIpamupAgataH kiM na / ' tato 'nena svAminAdiSTam / 'samyag na jAnImaH paraM mahendra, tavAtraiva tiSThataH kiyadbhirdinairyadi 24 punaH kuvalayacandro milati / ' tato bhUpavaco 'GgIkRtya trikacatuSkacatvara devakulamaThaprapArAma vihAreSu 24 bhavataH zuddhiM gaveSayannahaM yAvatsthitastAvadadya dakSiNalocanena sphuratA vAmetarabhujena ca bhavadarzanaM sarvendriyaprItikAri samajAyata / ' rAjJoktam / 'sundarametajAtaM yadatra prAptaH kumArakuvalaya candro bhavatA / 27 sarvathA dhanyAnAmupari vayameva sthitAH / adhunA yUyamAvAsaM vrajata, yathA daivazamAkArya kuvalayamAlAyAH 27 pANipIDanalagnaM nirNIya bhavadanti ke preSayAmi' iti vadannarAdhipatiruttasthau / tataH kumAro mahendreNa samaM bhUpatisamarpita niketanamupAjagAma / tatastau vihitasnAnabhojanau yAvatsukhAsInau tiSThatastAvanmahArAja - 30 preSitA rAjapratihArikA samAgatya jagAda | 'yaddevaH svayaM bhavantamityAdizati, adya kuvalayamAlAyAH 30 pANigrahaNakRte gaNakena lagnazuddhirvilokitA, paraM sarvagrahabalopetAdyApi na vartate, ataH kumAreNAtyantotsukamanasA na bhAvyam, sAMprataM svamandira ivAtraiva krIDAsukhamanubhavatu kumAra:' iti nivedya sA niryayau / 33 mahendreNoktam / 'adyApi lagnaM dUrataram, tataH zrIdRDhavarma mahIpateH purastavAtrAgamapravRttirvijJaptikayA OM zApyate' iti bhaNitvA niSkrAnto mahendraH / 1 3 6 15 * 63 13 ) Pom. purI. 18 ) PB prasAde gate ( B mate) nijameva, B samAdiSTa, B om. mAM prati ca proce. 19 ) B gaMtumicchAmaH. 24 ) 0 miliSyati. 25 ) P has blank space between zuddhiM and yAva N, 0 vitanvanniyatkAlaM for gaveSayannahaM, PB om. ca. (26) B kumAraH kuvalaya 33 ) P purastatrAgama purastavAgama 39 ) B atha for athavA. 1 3 661 ) tatazca kumAro vyacintayaditi / 'yadi viSamaM mArgamullavayAtrAyAtena mayA muniniveditaM 36 gAthApUraNaM cakre, paraM tathApi vidhivazastasyAH saMgamaH / iyanti bhAgyAni na me santi, yairimAM pariNe- 36 yAmi / bhUyo'pi kenopAyena taddarzanaM bhaviSyati / yadi striyA veSaM viracayya kanyAntaHpure kayAcidveyayA saha yAmi, tataH satpuruSacaritavimukhaM rAjaviruddhaM ca / yasyoddaNDabhujaprakANDe 'tizAyinI 39 zaktivyaktiH sa kathaM lokanindyaM mahilAveSamAtanoti / athavA tasyAH sakhIjanasya saGketaM vitIrya tAmapa- 39 hRtya gacchAmi, tadapi kulInasyAnucitam' iti cintayatastasya bahirAgato mahendro vabhANa / 'adya mayA tvadAvasthAnAdantaH sarvo 'pi tAtasya vijJApito 'sti / kumAra, tatkimasvasthacitta iva lakSyate 42 bhavAn / ' kumAreNoktam / 'sundarataramAcaritametadbhavatA / vayametAvatIM bhuvamAgatAH paraM bhUpatirnijAM 42 6 15

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N *64 ratnaprabhasUriviracitA [III. $61 : Verse 4141 tanujAM dAsyati na vA, ityato me manasi vissaadH|' mahendreNoktam / 'tvayA yadanudhyAtaM tanmithyA, kula- 1 zauryalAvaNyanirupamarUpayauvanavijJAnakalAkalApena na yataH ko'pi tava samaH pumAn yasyemAM dAsyati / 3 ato 'muSyAstvameva pariNetA / ' yAvadityanalpavikalpormimAlAkulahRdambudhi kumAraM sa dhIrayati 3 tAvadAgatya ceTikayA vijJaptam / 'yadadya kumAra, matsvAminyA kuvalayamAlayA svakaratalagumphitA kusumamAlA preSitAsti, eSa kRtrimsukrnnpuurH| tataH kumAro 'pi sukhasaMdohamahodadhimanthanodgataM pIyUSamiva 6 tazca jagrAha / tataH kumAreNa karNapUrAnAle priyotkaNThitAmiva rAjamarAlikAmekAM vilokya tasyA vijJAna- 6 prazaMsanena suciraM sthitvA sA bhnnitaa| 'bhadre, idAnIM dharmAzurayamastAcalacUlAvalambI jAtastadvayaM sAMdhyaM vidhi vidadhmaH / tvamapi gatvA tatpuraH sarvamapi sundaraM nivedayeH, yatastvamucitabhASaNe svayamapi nipu9 nnaasi|' tadaGgIkRtya sA niHsRtA / kumArastu kRtasAMdhyasavanaH prAvRtadhautasitavasanaH samuccaritajina- 9 namaskAracaturvizikaH samavasaraNasthaM jagajIvabAndhavaM zrInAbhisaMbhavamavandata / atha mahendreNa samaM nidrAsukhamanubhUya zayanIyAduttasthe / tatazca pUrvaparvatamastakamaharpatirAruroha / atho ekA mahilA madhyama12 vayA bhogavatyabhidheyayA vRddhayAnucaryayA samaM tatrAgamat / sA vRddhA kiMcidagrato bhUtvA taM vyajijJapat / 12 'kumAra kuvalayacandra, kuvalayamAlAyA eSA jananI / tataH kumAreNa sasaMbhramamAsanadAnapratipattyAbhi nanditA / tataH sA vRddhA yoSittayA pratipattyA rajitAbhyadhAditi 'vatsa kumAra, tava parapIDAbhijJasya 15 puraH kiMcinnivedyate, AkarNyatAm / 15 662) astyamuSyAmeva vijayApuryA vijayaseno nAmAyaM narezvaraH / iyameva tasya sahacarI rUpeNopahasitatridazayuvatI bhAnumatI mahAdevI / na cAsyAH sNttiH| tato 'syA nirapatyAyAH saMjAtamahA18 duHkhAyA anekairdaivatArAdhanairanantaimanorathazataiH svapnadRSTakuvalayamAlAnusAreNa kuvalayamAlAbhidhAnAsAmA-18 nyaguNakalAvanI kanI samajani / sA ca mayA pratipazcandralekheva vRddhimAnItA yauvanazriyamAzizrAya / pitraitadarthamanekarUpalAvaNyaguNazAlino nRpaputrA vilokitAH parameSA puruSadveSiNI na kamapyabhilaSati / 21 mayA punarbahudhA zikSitApyasau manAgapi puruSeSu prIti na dadhAti / ataH pitarau vyathi mantrijano rAjalokazca / anyadA pratIhAreNa niveditam / 'deva, bAhyodyAne ko'pi divyajJAnI vidyAdharaH zramaNaH samAyAtaH' ityAkarNya narezvaraH kuvalayamAlayA samaM saparicchadaH samAgatya tasmai munaye nmshckre| 24 sa ca pradattadharmalAbhAzIrvAdaH sakalamapi saMsArasvarUpamanityatAdikaM dezanAdvAreNa prakaTIcakAra / tanizamya 24 praNipatya ca bhUpatiH pprcch| bhagavan , mama duhitA kuvalayamAlA kathameSA pariNetavyA, kena vA, kasmin vA kAlAntare, yadiyaM puruSadveSiNI / ' tataH sa bhagavAn zAnAtizayena kauzAmbyAM pUrvabhavakRtamAyAdityamAyA27 bodhasaGketakuvalayamAlAjanmarAjadvArAvalambitagAthApUraNAbhijJAnajayakuJjaravazIkaraNakuvalayacandrapANi- 27 grahaNaprabhRti sarvamapi nivedya nabhastalamutpapAta / tato bhUpatiH pramodamAsasAda / tvayApi jayakuJjarAdhipaM vazIkRtya gAthAM prapUryAtmA prkttiikRtH| taddinAdArabhya kumAra, kuvalayamAlayA bhavaduHsaha virahataptayA 30 kusumazarajarjaritAjhyA vacanAgocarAM navamImavasthAmanubhavantyA bhavadantike dedhyA samaM preSitAsmi / ' 30 kumaarennoktm| 'samAdiza kiM kRtyam' iti / tayoktam / 'yadi kumAra, mAM pRcchasi tadatikrAntaH sarvo'pi vAcAmavasaraH / yadi punarpUyaM nRpabhuvanodhAnamAgacchatha tadA kenavopAyena bhavadarzanapAthasA bAlikAyAH 33 kuvalayamAlAyAH kSaNamekaM virhtaapopshaantirjaayet|' mhendrennoktm| 'ko'tra doSo,bhavatvevam' evamabhi- 33 dhAya bhogavatI bhAnumatyA samaM nirgtvtii| tataH kumAro mahendreNa samaM nRpAkIDakoDaM vicacAra / mahendreNo. ktam / 'yathA mAmaJjIraravaH zrUyate tathA manye 'bhinavamadanamahAjvaravinAzamUlikA kuvalayamAlA samA36 gataiva manyate / kumAreNa bhaNitam / 'na santIyanti bhAgyAni / ' mahendreNa nigaditam / 'kumAra, dhIro 36 bhava / ' tataH kSaNAntareNa kumAreNa bahalalatAntaritena sakhInAM madhyagatAM haMsInAmiva rAjamarAlikAM tArakANAmiva mRgAkarekhAmapsarasAsiva rambhAM kuvalayamAlAmAyAntImAlokya bhaNitam / 'sarvathaiva dhanyo 39 vidhiryenaiSA tribhuvanajanAzcaryadAyinI vidhe' tathoktam / 39 'vidhe yadi tvaM tuSTo 'si tadadhaiva tathA kuru / taM navaM yena pazyAmi sa ca pazyatu mAmiha // 414 663) iti nizamya kumAreNoktam / 'mahendra, agrato bhUtvA ceSTitamasyA nirIkSe' ityabhidhAya 42 kumAro latAgRhaM praviveza / mahendrastu krIDArthamitastato 'bhramat / [itaH] bhogavatyoditam / 'vatse,42 5) P mathanodgatapIyUSa. 6) B karNapUranAle, P has blank space for nA. 20) P parameSA puruSadveSiNI / tataH sa bhagavAn- thus between gous fauft and as it loses a few lines because the copyist's eye has wandered a few lines ahead where the same word occurs. 26) B kAlAMtareNa. 37) B kSaNAMtare. 40) P tvaM puSTo. 42) P B om. [ itaH].

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-III. $65 : Verse 415] kuvalayamAlAkathA 3 * 65 1 viSAdaparavazaM mAnasaM mA kuru / sa yuvAtra samAgata eva vibhAvyate yathA zaGkhacakrAGkitA crnnprtikRtiH| 1 tatastadAdezavacanAnte sarvA api ceTikAstadvIkSAyai prasasnuH, paraM kutrApi tAbhirna dRssttH| bhogavatyA bhaNi3 tam / 'svayaM gatvAhaM vilokayiSye, tvayA punaratra sthAtavyam' iti vadantI bhogavatI gtaa| kuvalayamAlayA 3 cintitam / etatsarvamapi kapaTaM manye yattena yUnAtrodyAne saGketaH pradattaH / anyasya kasyacidayaM caraNapratibimbaH / sa yuvA devAnAmapi durlabho mayA kathaM prApyaH / yAvatA kAlena tAto mAM pariNAyiSyati 6 tAvantaM ko jIviSyati, sAMprataM tatkaromi yathA duHkhAnAM bhAjanaM na bhavAmi' iti vicintya kuvalayamAlA 6 pAzaracanAyaikaM lavalIlatAgRhaM prati calitA yatra kumAraH svayamevAste / tena ca sA samAgacchantI vIkSitA / tataH kSaNaM kumAro lajita iva bhIta iva vilakSa iva jIvita iva sarvathaivAnAkhyeyamavasthAntaramavApa / sA ca taM samIkSya 'ekAkinI' iti bhItA, 'sa evAyam' iti pramuditA, 'svayamAgatA' 9 iti lajitA, 'mayA pUrvameSa vRtaH' iti vizvastA caturdikSu preSitataralataratArakadRSTiH sasAdhvasA sastambhA savismayA sasvedA saromAJcA samabhavat / tadA tayoH parasparaM nirIkSaNenApi tatsukhamajAyata yatkavi12 vAcAmapyagocaram , divyajJAnibhirapyanupalakSyam / tataH kumAreNa sAhasamavalambya dhIratvamaGgIkRtya 12 kAmazAstropadezaM smRtvA samutsRjya lajjA parityajya sAdhvasaM 'sundari, bhavatyai svAgatam' iti vadatA prasAritobhayabhujAdaNDenAMsasthalayoH kuvalayamAlA jagRhe / tataH sA provAca / 'kumAra, mAM muJca muJca 15 sarvathA na kAryamanena janena / ' kumAraH provAca / 'sutanu, prasIda mA kupyasva tvadarthamevAhametAvatIM 15 bhuvamAyAtaH, parametadapi tvaM na jAnAsi / ' tayoktam / 'jAnAmi yadbhavAn pRthiviimnnddldrshnkautukii|' kumAreNa proce / 'evaM mA vAdIH, kiM tatsmarasi na sutano, mAyAdityasya janmani bhavatyokaM yanmama bhavatA 18dAtavyaM bodhiratnam' [iti smRtvA tanmunivacasA prApto 'haM lobhadevajIvastvAm / mugdhe, buddhyasva tato18 mama vAcA mohamutsRjya' kumAro yAvadidaM jalpannasti tAvadbhogavatI samAgatya proce / 'vatse, vakSulAkhyaH kanyAmtaHpurarakSaka iti vadannasti yad rAjA kathayati yadadya kuvalayamAlA dRDhamasvastha zarIrA kAna21nAntaHparibhramantI tvayA tvaritamevaiSA smaaneyaa|' tataH sA sakalakakummaNDaladasataralalocanA kathamapi 21 calitumAreme / kumAraH provAca / 'uktena bahunA kiM vA kiM kRtaiH zapathairdhanaiH / vadAmi satyamevaitattvameva mama jIvitam // ' 415 4 664) kuvalayamAlApi 'mahAprasAdaH' iti vadantI lavalIlatAgRhato nimmRtA / kadhukI jagAda / 24 __ 'vatse, bhavatIyatImatra velAM kathaM sthitA, kenAtrAkAritA, atra tava vanAntazciraM sthAtuM no yuktaM satvaraM tvamaprato bhava' iti / tataH sA tadvacaH karkazamAkarNya tena kathukinA saha pathi gacchantI cintayati sma / 'aho, asya kumArasya pratipannavatsalatA, aho, asya satyapratijJatA, aho, upakAritA, yadeSa zirISa-27 kusumagAtro 'pi caraNacAryeva pathi kSuSAdhavagaNayya prItyA dUrasthAmapi mAM praSTuM bodhyitumihaagtH| bhUyo 'pi kadA saMgasyate' iti dhyAyantI kanyA kanyAntaHpuramAyayau / kumArastu tasyAH premakopapizunaM 30 vacanaM smarannekasmin pAdape kusumAvacayaM viracayantaM mahendra nirIkSya jagAda / 'vayasya, samehi yathAvAsaM 30 vjaavH| yad draSTavyaM tadRSTameva / tato dvAvapi niketanamAjagmatuH / tatra ca mahArAjapreSitena vAravanitAjanena snAnaM kaarito| tataH kRtabhojanau yAvadAsanasthau tiSThatastAvadekayA kAsinyA samAgatya kumArasya kare 33 tAmbUlamadAyi / kumAreNoktam / 'kenedaM preSitam' / tayoditam / 'kenApi janena' iti / evaM sA 33 kadAcidbhojyaM kadAcittAmbUlaM kadAcitpatracchedyaM kadAcidAlekhyaM paramapi sneharasavizeSapoSakaM kumArasya yogyaM pratidinaM preSayati / evaMca tayornijarAjya iva sukhena tiSThatoH kiyantaH puNyabhAlurAvAsarA vytiiyuH| 36 665) atha hemante bhUmibhRtA nimittamidamAkArya putryAH pANigrahaNalagnaM pRSTam / tena sarvANyapi 36 jyotizAstrANyavalokya proce / 'phAlgunasitapaJcamyAM budhe svAtinakSatre yAminyAH prathame yAme vyatIte pradhAnaM gatadoSamupayAmalagnamastItyavadhAryatAM devena / ' rAjJApi 'tathA' ityaGgIkRtya kumArasyAne jnyaapitm| 39 'kumAra vatsa, bhavadvijJAnasattvasAhasaprAgbhavasnehavazyAyAH kuvalayamAlAyA viyogazcirAya bhavato 30 'smAbhiH kRtaH / ataH sAMpratamamuSyAM paJcamyAM kumAro'muSyA vedikAmadhyamadhyAsInAyAH pANigrahaNaM karotu / ' kumAreNoktam / 'yadAdizati devastattathA' iti / tataH kuvalayamAlA pANigrahaNAkarNanasmera42 vadanAmbujA pramodabharabhAsurA sarvAGgaromodgamasaMgamA cirasaMcitapUryamANamanorathapathA na dehe na gehe na 42 2) B'dAdezavacanena sarvA. 5) B pariNAyayiSyati. 10) B om. tara before tAraka. 18) P B om. [iti], B mAnabhaTa for lobhadeva. 19) B vaMjulAkhyakanyAMtaHpurarakSa iti. 20) B om. yad rAjA kathayati. 27) B om. asya before satyapratijJatA. 31) Bniketa for niketana. 33) Bom. sA after evaM. 39) 0 vazIkRtAyAH for vazyAyAH. 9

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* 66 ratnaprabhasUriviracitA [III. $65 : Verse 416tribhuvane 'pi mAti sma / tatra rAjakule vivAhabhojanArthe dhAnyAnyAnIyante / kriyante vividhAni 1 pakvAnnAni / viracyante sarvatra maNDapamazvaprapaJcAH / racyante vedikAH / preSyante lekhavAhAH sarveSAM svajanarAjanyAnAm / nimanyate sarvatra bandhuvargaH / bhUSyante bhavanAni / ghaTyante nAnAvidhAnyAbharaNAni / 3 zodhyante ngriirthyaaH| 6) evaM vivAhArambhakRtyapravRttasya janasya nidhilAbhakSaNa iva saubhAgyanirmita ivopayamadivasaH 6 samAgamat / tasmin dine 'viddhamauktikacArucatuSkasthApitaprAmukhAsane nivezya kumAraM kulavRddhA maGgala- 6 smAnamakArayat / tataH sa gozIrSacandanaviliptAGgaHprAvRtakArakazvetasadRzavasanaH siddhArthagorocanAtilakaH kaNThAvalambitasurabhikusumadAmA mahendreNa rAjalokena cAnugamyamAno jayakuJjarakuJjarAdhirUDhaH prauDhajanAnvito dakSiNakarakamalAbaddhakautukamadanaphalaH stutivrAtastUyamAnaguNagrAmaH pracuramRdaGgazaGkhapaNavaveNu- 9 vINAsvaramukharitadikacakravAlo dhRtasitAtapatraH puraH pravartamAnaprekSaNakSaNaH kSaNenodvAhamaNDapamalaMcakAra / tatazca sa prAvRtasitacIvarAyA mAGgalyAbharaNabhUSitAyAH kuvalayamAlAyA lagnavelAyAM dvijavareNopaDhaukitaM 12 karaM kareNa jagrAha / tato 'vidhavA gItaM gAtuM pravRttAH / vAditAni tUryANi / niHsvAnasvanAH prsvH|12 pUritAH zaGkhAH / AhatA jhlryH| vedoccAraparAyaNA dvijanmAno maGgalapAThakAH paThanti / jayajayAravaparo lokazca / tataH pravartitaM maGgalacatuSTayam / tato nirvRtte pANigrahaNamahotsave pUjite gurujane kRte samasta15karaNIye svasthAne sametya vividharatnavidrumanirmitataline gaGgApulina iva rAjahaMsayugalaM kRtamaGgalopacAraM 15 tanmithunamupaviSTaM dRSTvA parivAraH sakhIjanazca mandaM mandaM nisssaar| tatrasthasya tasya nidrAsukhamanubhavataH kSaNadA kSaNamiva kSayamiyAya / tataH prAbhAtikatUryaravapratibodhitaH kumAraH kRtadevAdhidevanamaskRtinitya18 kRtyamakarot / tatrAnyadA kumAro himagirizikharasamAnaM svasaudhamAruhya dakSiNapakSaprAkArapratyAsannaM ratnA-18 kara nirIkSya kSaNaM vyAvarNayan mAtrAkSarabinducyutakapraznottarakriyAguptakakAvyakathAvinodaizca kuvalayamAlayA samaM prItiparastasthau / atrAntare kuvalayamAlayA vijnyptm| 'deva, tvayA mavRttAntaH kathaM prijnyaatH|' 21 tataH kumAreNa savistaramayodhyAto hayApahArAcaM muniniveditacaNDasomamAnabhaTamAyAdityalobhadevamoha-21 dattapaJcajanapUrvabhavagAthApUraNapariNayanaparyantaM sarvamapi proce| priye, aihikasukhamUlaM vivAhakarma vRttam / __ saMprati pAratrikasaukhyapradaM samyaktvamAdriyasva / yataH, 24 cintAmaNiH zritaH prANisvAntacintitamAtradaH / samyaktvaM sarvajantUnAM cintAtItArthadaM punH||416 24 tAvadeva tamastomaH samasto 'pi vijRmbhate / yAvatsamyaktvatigmAMzurudeti na hRdambare // 417 sadRSTidRSTihIno 'pi yaH smyktvvilocnH| zrutivizrAntanetro'pi so 'ndho yastadvivarjitaH // 418 yadi te smRtimeti sAMprataM dayite pUrvabhavaH svacetasi / tadavazyamidaM jineziturvacanaM nirvRtizarmadaM zraya // 419 zrutveti tasya vacanaM kila sA jagAda nAtha tvameva zaraNaM sugurustvameva / deva tvayAkhilapurAtanajanmajalpAt samyaktvabhAjanamahaM vihitA yadadya // 420 ___ ityAcAryazrIparamAnandasUriziSyazrIratnaprabhasUriviracite zrIkuvalayamAlAkathAsaMkSepe zrIpradyumnasUrizodhite / kuvalayacandrakumAravanaparibhramaNavijayApurIgamanajayakuJjarahastivazIkaraNasamasyApUraNa- 33 kuvalayamAlApariNayanasamyaktvopadezaprabhRtivarNanastRtIyaH prastAvaH // 3 // 33 [atha caturthaH prastAvaH ] 3661) atha zrIdRDhavarmaNo nRpaterlekhavAhaH pratIhAraniveditaH pravizya kumAraM praNipatya lekhaM puro36 vimucya vijJapayAmAseti / 'deva, zrItAtapAdA bhavantamAkArayanti / ' tataH kumAraH pUrva lekhaM praNamyonmunya ca svayaM vAcayAmAsa / 'svastyayodhyApurIto mahArAjAdhirAjazrIdRDhavarmadevo vijayApuryAM putraM dIrghAyuSaM 39 kuvalayacandrakumAraM mahendrasamanvitaM sAJjasaM gADhamAliGgaya samAdizati, yathA 'atra tAvattava duHsahavira- 39 2) P racyate vedikA. 7) P tataH sa viliptAMgaH. 9) B stutivrata. 11) BbhUSitAyA vedikAmadhyamadhyAsInAyAH kuvalaya. 14) P nivRtte. 15) P v om. svasthAne sametya. 16) P B om. nidrAsukhamanubhavataH. 17) B inter. kSaNadA & kSaNamiva. 18) B dakSiNapakSe. .38) B om. putraM.

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-IV. SS 4 : Verse 15] kuvalayamAlAkathA 4 * 67 1 heNa mama jalaba hiH kSiptamatsyasyeva kSaNamAtramapi na sukhAvakAzaH, tathA tava mAtuH purIjanasya ca / atastvayA 1 tvaritamAgatya nijadarzanapAthasA pAthodeneva pAdapo viyogatapto 'haM nirvApyaH' iti / kumAreNa jagade / 'priye, asmAkameSa guruniyogastat kiM kartavyam / ' tathoktam / 'yattubhyaM rocate tadAcaraNIyameva / tataH kumAraH samutthAya mahendreNa sAkaM zrIvijaya senamiti vijJapayAmAsa / 'deva, mamAyAtasya bahavo divasA abhavan, utkaNThitau ca pitarau, ataH prasAdaM vidhAya mAM praiSayata / ' tato nRpatinA visRSTaH sAMvatsareNa nivedite " muhUrte kumAraH kRtamAGgalya vidhirvahannAsikAdattAgrapAdo nirmitajinanamaskRtirjayakuJjaraM gajamAruhyAne kase- 6 vakalokaparikalito mahendreNa saha pramuditacittaH purIto nirgatya bAhyabhuvi prasthAna maGgalaM vidadhe / 12 9 12 SS sApyatho mAtaraM natvA tattvAlokanabaddhadhIH / pUrNA harSaviSAdAbhyAM provAca nRpateH sutA // 1 // dehacchAyeva dehena patyA yAsyAmyahaM saha / mAtastvadaMhisevAyA viyogastu suduHsahaH // 2 // madroSitA latA mAtarvinA jalaniSecanam / pANDimAnamupeSyanti yathA proSitayoSitaH // 3 // mAtarmadIyavirahe kalApakalitaH kila / kalApI tAlasubhagaM kenAyaM nartayiSyate // 4 // jananyuvAca kiM vatse dhatse khedaM svacetasi / narezvarasutA yattvaM dRDhavarmasutapriyA // 5 // tatputri mA kRthAH khedaM harSasthAne 'sya kaH kSaNaH / svardhunIsnAnasaMprAptau ko hi paGke nimajjati // 6 // ityuktvA tanujAM koDaM svamAropya savASpaDhak / cumbitvA ca zirodeze jananyevamazikSayat // 7 // vatse cetvaM guNazreNimIha se svasya sarvadA / tadbhartRmandiraprAptA brUyAH priyamasaMzayam // 8 // kAryazvaprabhRtiSu gauravArheSu gauravam / tvayAnukUlayA bhAvyaM sapatnISvapi saMtatam // 9 // tadapatyAni dRzyAni nijAnIvAzriteSu ca / kRpA kAryA na tu kvApi garvaH sarvapratIpakaH // 10 // bhukte bhartari bhoktavyaM svapyaM ca zayite sati / nIcairlocanayA stheyaM nIraGgIsthagitAsyayA // 11 // 1 duHkhite duHkhitA patyau sukhite sukhitA bhaveH / kopavatyapi mA kopaM vidadhIthAH kadAcana // 12 // kadApi patipAdAravindadvaya vilokanam / na heyaM sarvadA sarvasatImArge 'yamadbhutaH // 13 // 15 18 15 18 21 13 ) iti zikSAM zirasi cAropya pitarau praNasya parijanamabhipRcchaya kuvalayamAlA tataH kumArAnti- 21 kamAgatA / tato 'nyadine kumAraH kuvalayamAlayA samaM pracalitaH san jAtAnukUlapavanaH zrutavAmakharasvaraH savyasamuttIrNaikavarNazunakaH sarvatra samuccAritacAruvacano vyacintayaditi / 'bhagavati pravacanadevate, yadi 24 tAtaM nirAmayaM pazyAmi rAjyaM ca prApnomi parivardhate samyaktvaM [tadA] kuvalayamAlayA samaM pravrajyAmA - 24 zrayAmi, taddivyajJAnena parijJAya tAdRzamuttamaM zakunaM dehi, yena me nirvRtiH syAt / ' iti yAvaccintayanasti tAvatpurastasya maNikanakanirmitaM pralambitamuktAvacUlamAtapatraM kenApyupanIya vijJaptam / 'deva, asya 27 bhUpasya jayantIpurIpatirjyeSTho bhrAtA jayantAbhidho vasudhAdhavaH / tena tvaddhetave devatAkRtAdhiSThAnaM chatraratnaM 27 preSitam' iti / kumAreNa cintitam / 'aho, pravacana devyAH prabhAvaH, yena prathamameva pradhAnaM zakunam' iti dhyAtvA tacca svIkRtya kumAro rAjJA paurajanena cAnugamyamAno mahatA sainyena parivRtaH kiyatIM bhuvaM pari30 gataH provAca / 'mahArAja, vyAvRtya dhavalagRhamalaMkriyatAm / paurajanAzca nivartadhvam, yato dure bhavati 30 vijayApurI / ' tatasteSu vyAvRtteSu kumAraH saparIvAro gacchan katipayairapi prayANakaiH sahyazailasamIpaM saMprApa / atrAntare kenApyAgatya vijJaptam / 'nAtha, atra sarastIre devAyatane mahAmunireko 'sti' / ityAkayaM kumAraH 33 kuvalayamAlayA samaM tatra gatvA muniM natvA savinayaM jagAda / 'bhagavan, bhavantaH svIkRtanavatratA iva vibhAva- 33 yAmastatra ko hetuH / tato munimatallikA niveditumArebhe / samasti lATa dezAntaH pArApuryAM narezvaraH / siMhaH prAjyatamasthAmA bhAnunAmAsti tatsutaH // 14 // citrakarmapriyaH prAyaH so'haM krIDanakautukI / anyadA tatpurI bAhyodyAnabhUmimupAgataH // 15 // 36 36 2 ) Bom. iti. 5 ) P zrutaprasAda for ataH rasAda. 15 ) B maMdiraM prAptA. P nivRtti: 29 ) B kiyaMtIM 33 ) B adds iti (on the margin) after iva. 3 4) tatra ca vicaratA mayA kalAcArya eko dRSTaH / tenoktam / 'kumAra, citrapaTamamuM mallikhitaM nirIkSya nivedyatAM yadayaM ramyo na vA' iti / tatastadAlokanena mayA cintitam / 'tatkimapi pRthivyAM nAsti yadatra 39 na likhitamasti' iti vismayasmeramAnasaM mAM nirIkSya tenoktam / 'kumAra, mayAtra sakalamapi saMsAra - 39 vistArasvarUpaM citritamasti, yanmanuSyajanmani yattiryagbhave yannarake yatridive vividhaM duHkhaM sukhaM cAnubhUtaM tatsarvamapyasti, atra tAvanmokSo 'pi, yatra na jarA na mRtyurna vyAdhirna cAdhiH / ' evaM kumAra, tena nivedite 9 24 ) Pom. ca, P Bom [ tadA ]. 25 >

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* 68 ratnaprabhasUriviracitA [IV. $ 4 : Verse 161 tasmiMstAdRze saMsAracakracitrapaTe pratyakSIkRte mayA cintitam / 'aho, kaSTaM sNsaarvaasH| durgamo mokSa- 1 maargH| atyantaduHkhitAH prANinaH / viSamA krmgtiH| snehanibiDanigaDasaMdAnito mUDhajanaH / azucimayaH 3 kAyaH / viSamiva viSayasukham / sAkSAdevaiSa jIvasArtho mahAsAgaranimagnaH / ' iti cintayatA mayA 3 bhaNitam / 'aho, tvayAyaM yadi citrapaTo likhitastato na manuSyastvam , anena divyacitrapaTaprakAreNa kimapi kAraNAntaraM cintayan tvaM devo devalokataH smaagtH|' iti ca vadatA mayA tasyaikasmin pArzve 6 'paraM citrapaTaM dRSTvA proktm| 'aho upAdhyAya, punareva tataH saMsAracakrato vyatiriktazcitrapaTo 'yam, tato 6 mamAyamapi pratyakSIkriyatAm / ' idamAkarNya kalAcAryeNa bhaNitam / 'kumAra, mayaiva likhitametadvayorvaNijozcaritaM vibhaktasvarUpaM pazyatu bhavAn / eSA campApurIti likhitaa| atraiSa mahArAjo mahArathaH / atra 9ca dhanI dhanamitro nAma vnniy| tasya bhAryA devIti / tayostanujau dvau dhana mitrakulamitrau / tajjanmAnantaraM 9 tadAtvameva pitA pnyctvmupaagtH| sarvo 'pyartho nidhanamiyAya / tatasto mAtrA kaSTena vRddhimAnItau yauvanamavApatuH / jananyA nigaditam / 'bhavantau vyavasAyaM kurutAm / ' tatastau vANijyakRSiparamandirakarmakara12 vRttipratigRhaprArthanAratnAkarasamullaGghanarohaNaparvatArohaNAnavaratakhAnikhananadhAtuvAdadyUtakrIDanasvAmise- 13 vApravRttivivarayakSiNIsamArAdhanagurUpadiSTamantrasAdhanaprabhRtibhiHprakAraidhanopArjanAtha tAmyataH,paraMvarATi kAyA api notpttiH|| 15 $5) tato 'tIvaduHkhitau tAviti saMkalpaparau babhUvatuH / 'dhira ghira jIvitamasmAkam / yaH ko 15 'pyupAyaH prArabhyate sa sarvo 'pi pUrvakRtaduSkRtavazena vAlukApiNDakalanamiva khalaprItiprAgbhAra ivAJjalikRtajalasaMghAta iva samIrapreritajImUtapaddhatiriva vilayamAyAti / kathamanena devenAvAmevAbhAgyabhAjanaM 18vihito sarveSAmapyanyeSAmanavamama, paramAvayoravamameva / tAvatsarvathaivAlamamanA jIvitena 18 sarvathA duHkhanikaramandireNa / atha kasmiMzciduJcaziloccayazikharamAruhyAtmAnaM muzcAvaH' ityAlocya tau tacchikharamAruhAvaM proctuH| 'bhoH parvata, tava zikharapatanasAhasenAvAmanetanabhave dArinyaduHkhabhAjanaM na bhavAvaH / ' ityuditvA tau yugapadeva yAvadAtmAnaM muzcatastAvattayoH 'mA sAhasaM mA sAhasaM' iti dhvani: 21 zravaNAdhvani papAta / taM nizamya tAbhyAM sarvato dizaH pazyayAM sAdhuM kAyotsargasthitaM nirIkSya bhaktyA praNipatya proce / 'paramezvara munIzvara, bhavatAvAM mRtyutaH kathaM nissedhitau|' muninApi tataH proktam / 24 'yuvayoH kiM vairAgyakAraNam / ' tAbhyAmuktam / 'bhagavan , Avayordaridrataiva vairAgyaheturnAnyat / ' sAdhunA-24 pyabhyadhAyi / 'bho paNyAjIvau, bhavantau nirvedaM kRtvA mA prANatyAgaM tanutAm / ' tAbhyAmuditam / 'bho yatIza, kathaya kathaM janmAntare 'pi na dAriyaM punraavyoH|' bhagavatA bhaNitam / 'yadi bhavantau dIkSAma27 GgIkRtya tapaH samAcaratastadevaMvidhaduHkhabhAjanaM bhUyo 'pi na bhvtH|' tAbhyAmuktam / evaM prasAdaH kriya-A tAm / tatastena muninA jaina vidhinA kumAra, tayoH pravajyA dattA / imau tau pravrajitau mayA citrapaTe likhitau| tatasto duzcaritaM tapastatvA samAdhinA mRtvA devabhavamupAjagmatuH / tayoH punareka AyuSi kSaya30 mIyuSi svargatazzyutvA pArApuryAM siMhabhUpateH suto bhAnunAmA saMjAtaH / sa cAtrodyAne tvam / yaH puna- 30 dvitIyo vaNigjIvaH sa cAham / imaM citrapaTaM samAlikhya bhavataH pratibodhArthamihAgataH / tAvadbho bhAnu kumAra, pratibuddhyasva mA muhaH, bhIma eSabhavAmbudhiH, taralA kamalA, hastaprApyA vipattayaH, duHsahaM dAridyam' 33 idamAkarNya UhApohaM kurvANaH sahasaiva mUcchito bhaanukumaarH| smRtA jaatiH| parijanena vayasyaizca zItala- 33 jalakadalIdalapavanAdibhiH samAzvAsitaH / tataH saMjAtasvasthacetasA bhAnunAnubhUtaM pUrvavRttaM vilokya bhaNitam / 36 'sarvathA tvaM gururnAtha tvameva zaraNaM mama / yena tvayAdhunA jainAdhvani prItyAsmi ropitaH // 16 // 36 6) evaM vadastaJcaraNazuzrUSAparAyaNaH kSaNamekaM yAvadabhavaM tAvadupAdhyAyaH patAkArAjirAjite vividhAsapatnaratnanirmite vimAne maNikuNDalagalasthalasamucchaladatuccha dehadIptyA daza dizaH prakAzayantaM 39 varamukuTa virAjamAnaM vimAnasaMsthitamAtmAnaM prakaTIkRtya jagAda / 'bho bhAnukumAra, dRSTastvayaiSa saMsAra-39 mhiickrvistaarH| tato mayA tanirIkSaNasaMjAtavairAgyeNa smRtapUrvabhavena devasya purastatkSaNamevAbharaNAni vimucya svayaM vinirmitottamAGgapaJcamuSTikalocastaddevArpitarajoharaNamukhavastrikApratigrahAdyupadhiru 6) B punaretatsaMsAra. 40) B saMsAramahAcakra 16) 0 piNDaka[va]lanamiva. 20) B degkharamArUDhA evaM. 38) P B om, deha, B om. daza.

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8kamA -IV. 88 : Verse 19] kuvalayamAlAkathA 4 * 69 1dyAnato niSkrAntaH / tato hAhAravamukharo vayasyavargaH parijanazca siMhanarezasakAzamupAgamat / tena devena 1 tataH pradezatopahatyAtra nirjane vane mukto'smi / sAMprataM punaH kamapyAcArya mRgayAmi, yantike tapasta3 nomi / ' idaM nizamya kumAreNoktam 'aho, mahAvismayakArI vRttaantH| tato mahendreNa samyaktvaM 3 gRhItam / kumAro 'pi mahendrakuvalayamAlAbhyAM samamAvAsamAgatya kRtakRtyaH zarvaryAmasvApsIt / tataH punarapi nirmale gaganAGgaNe tirohiteSu tArAnikareSu samudite dineze kumAraH pradattaprayANakA krameNa 6 vindhyagirikAntArAsannaM samAvAsitaH / tatra sa kumAraH kRtadivasarAtrikakRtyaH kuvalayamAlayA samaM 6 palyaGke prsuptH| 7) tato nizIthe yAvajAgarti tAvadvindhyagirizikharakandarAntare jvalanaM jvalantaM vilokya 9 vikalpamAlAkulaH samajani / 'aho kimetat , kiM tAvadeSa vanadavaH, kimutAmyat / atra ca pArtheSu 9 paribhramantaH ke 'pi puruSA dRzyante / kiM vA rAkSasAH, pizAcA vA / tato'grato bhUtvA samyara nibhAlayAmi kimetajvalati, ka ete purussaaH|' iti vicintya suciraM nibhRtapadaM samutthitaH kumAraH kuvalaya12 mAlAM taline suptAM vimucya vIkRtakhaGgaratnavasunandakaH kaTItaTanibaddhakSurikaH prAharikAna vaJcayitvA gantuM 12 prvRttH| tatastena jvalanAntike dhAtuvAdavA vitanvataH puruSAn vilokya cintitam / 'yadamI dhAtuvAdinaH kimeteSAmAtmAnaM prakaTIkaromi kiM vA na, kadAcidete varAkAH kAtarahRdo 'mI divya iti mAM 15 saMbhAvya bhayabhItA nakSyanti vipatsyante vA, tadiha sthita eva teSAM vAcaH zroSyAmi' iti / tadA tatra 15 tairapItyuktam / 'yadadya kalkaH sarvo 'pi vighaTitastAvadidAnI karaNIyaM kim iti / kimatrAparaH kAryaH' iti vadantazcalitAH / kumAreNa bhaNitAH 'bho bho narendrAH, kiM vrajata / ' tairityuktam / 'bhavato bhayena / ' tam / 'kathaM bhavatAM bhayam, ahamapi bhavanmadhyavartI narendraH, tataH sarvamapi nivedyatAma / ' 18 tatastairjalpitam / 'ahorAtraM yAvadasmAbhiH suvarNabhrAntyAdhmAtaM paraM sarvameva bhasmIbhUtam / ' tataH sAhasamavalambya kumAreNa devagurucaraNasmaraNapravINAntaHkaraNena teSAM purastenaivauSadhayogena suvarNa niramAyi / 21 sarvairapi taiH pramuditairvizaptam / 'deva, adyaprabhRti bhavAnevAsmAkaM guruH / vayaM tu tava ziSyA evAto vidyA-21 dAnaprasAdo vidheyH|' kumAreNa tatpraNItabhaktiparItacetasA yoniprAbhRtagranthaprayogAH katyapi kathitAsteSAm / kumAreNa proktam / 'bajAmyahaM svasti bhvdbhyH| yadA kadAciyUyamayodhyAyAM kuvalayacandrabhUparti 24 zRNuta tadA satvarameva samAgantavyam' iti vadana kumAraH kaTakasaMniveze kuvalayamAlAyA vibuddhAyAH 24 kumArAdarzanena mahaduHkhaM dadhatyAH puraH saMprApta eva / tatastayA pramuditayA proktam / 'deva, kutra gatA bhvntH| tataH kumAreNa dhAtuvAdivRttAntaM sarvamapi niveditam / tato niHzvAsaniHsvanapaTupaTaharavama tAdIni vibhAtavibhAvarIcihnAni matvA kumAreNa bhaNitam / 'aye priye. prabhAtaprAyA rajani / kSapApatirapi kSapitakiraNagaNaH / caraNAyudhasaMhatirapi mandaM mandaM rauti ca / sAMprataM devagurubAndhavakAryANi kriyante' iti vadan kumAro nirmalajalakSAlitavadanakamalaH zrImati gRhacaitye pravizya / 30 devAdhidevamevaM stotumaarebhe| 30 'suprabhAtaM jinendrANAM dharmabodhavidhAyinAm / suprabhAtaM ca siddhAnAM kaughaghanaghAtinAm // 17 // suprabhAtaM gurUNAM tu dharmavyAkhyAvidhAyinAm / suprabhAtaM punasteSAM jinastavapradarzinAm // 18 // 33 suprabhAtaM tu sarveSAM sAdhUnAM sAdhusaMmatam / suprabhAtaM punasteSAM yeSAM hRdi jinottamaH // 19 // 33 68) evaMvidhAM sturti vidhAya kumAraH karivarArUDhaH sukhAsanAdhirUDhayA kuvalayamAlayA samaM / vividhaturagakhurakhurAvidAritamahItalasamucchaladatucchareNunikaraparipUryamANasakala digmaNDalamukhaniruddha36 dinakaraprasarajAtadurdinazaGkAsaharSazikhaNDitANDavitakalApabhrAjamAnena vanAntareNa saMcacAra / tato 36 'navaratadattaprayANakaH kumaaro'yodhyaapuriiprisrmlNckaar| tamAyAntaM zrutvA tadAtvAdhikapramodavaza samalasadromAJcakavacitaHkSitipatiH saparijanaH sAntaHpuraH kumArasammukhamAjagAma / tataH svadarzana39 mAtreNaiva dRDhavarmamahIpatiH kamalabandhuriva kamalAkaraM kairavabandhuriva kairavasaMcayaM ghanAghana iva ghanasuhRtsaM-39 ghAtaM madhuriva pikanikaraM taM kumAraM bhRzaM pramuditamAnasamAtata / tato dvAvapi snehabharaparavazamAnasau bASpAvilalocanau babhUvatuH / tataH kumAreNa mahAvinayazAlinA pitRmAtRcaraNadvandvamadvandvabhaktyA 10) B ka ete for ke'pi. 12) B adds prAharikaH before prAharikAn. 32) Pom. the verse suprabhAtaM gurUNAM etc., B om. jinastava etc., to punasteSAM in the next line-obviously a haplographical skipping over by the copyist.

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* 70 ratnaprabhasUriviracitA [IV.88 : Verse 201 praNatam / tAbhyAmuktam / 'vatsa, atIva dRDhakaThinahRdayo bhavAn babhUva / AvAM punastvasnehanirbharaprasRtaduH- 1 sahavirahajvAlAvalIdukhitau sajIvamapyAtmAnaM mRtamiva manyamAnau sthitau / tato vatsa, ciraM jIvAsmAkaM 3jIvitena / ' rAjJA pRSTam / tadA turageNApahRtaH kutra gataH, kutra sthitaH, ityetatsarvamapi svarUpamAvedaya / 3 etadAkarNya kumAreNa yatra yatra bhrAntaM yatra yatra yadyadRSTamanubhUtaM ca tadakhilamapi vijJaptam / itazca madhyAhnAvasare mAgadhena nivedite tatraiva vihitamajanabhojanau dRDhavarmakuvalayacandrau sukhaM samAsInau kSaNaM 6 sthitau / tataH, dRDhavarmasutaH zaste muhUrte gaNakodite / gajapRSThapratiSThena bhUmibha grayAyinA // 20 // durvAraiAraNairazvavArairvAritavairibhiH / manoramaiH syandanaudhaiH saMnaddhaiH subhaTaiH samam // 21 // prvaadymaanniHsvaanusvaanddmbritaambrH| vidhIyamAnamAGgalyopacArazcaturAgrimaiH // 22 // AkarNayannubhAkarNibandivRndabhavAM stutim / vanIpakAnAM dInAnAM daddAnaM pade pade // 23 // jayakuJjaramArUDhaH pazyan maJcAn prapaJcitAn / muktAvacUlasazrIkavicitrollocarocitAn // 24 // 12 vRddhAGganAziSo gRhNan pratIcchannakSatAkSatAn / samAsasAda prAsAdaM vizadaM saptabhUmikam // 25 // 12 SaDbhiH kulakam // 69) tasminneva muhUrte zrIdaDhavarmaNA kanakamayAsane nivezya kumArasya jayajayazabdapUryamANanabhastalaM 15 cArucAmIkaraviracitaiH kalazaiH sattIrthasamAnItodakasaMbhataiH sarvalokapratyakSaM yavarAja lokapratyakSa yuvraajpdaabhissekshcke| 15 tatastena rAjalokena namaskRtaH kumAraH / rAjJA proktam / 'vatsa kumAra, puNyavAnasmi, yasya bhavAdRzasta nujaH / adyaiva cirasaMcito manoratharathaH praaNprmaannkottimdhiruuddhH| ataHprabhRti tvameva raajybhaardhaureyH| 18 tataHprItiprakarSeNa romaharSayuto nRpH| rAjyapradhAnapratyakSaM tanUja samazikSayat // 26 // 18 rAjyabhAradhurAdhurye varye vatsa guNaistvayi / adyApi na paraM lokaM sAdhaye tena me trapA // 27 // vizvambharAyAstvayyadyAvanaM kalitayauvane / mayi vatsa punaryuktaM vanaM galitayauvane // 28 // 21 paraM bhogaphalasyAsya karmaNaH zeSamasti me / yAvattAvattvayA rAjye bhUyatAM sahakAriNA' // 29 // 21 kumAro'pi pAdau praNamya provAca / 'yatkicittAtaH svayamAdizati tadavazyaM mayA vidheyam' iti / tataH kuvalayamAlayA gurujanasya praNatizcakre / gurujanenApyabhinanditAzIrvacobhiH / kumAro 'tha yauvarAjyapadaM 24 pAlayan svaguNaiH sarvasaMmato babhUva / api ca / 24 smitairnirIkSitaistasya caritairjalpiterayama / rAjalokaH samagro 'pi sarvadAnandabharabhUta // 30 // dhinotyakhaNDadhArAbhirdharAM dhArAdharo yathA / tathAyamarthasaMghAtairatyartha sArthamarthinAm // 31 // 10) tatazca kiyatyapi gate kAle sukhasaMdarbhamaye vyatIte rAkSA bhaNitam / 'vatsa kuvalayacandra, 7 eSa kAlo mama dharmasyArAdhane tatastaM karomi / ' kumAreNa proktam / 'mahArAja, yuktamuktam, paramekaM punavijJapaye dharmaH kulocita eva krtvyH|' rAjJoktam / 'bahavo dharmopAyAH, ko'yaM kulocitH|' kumAreNo30 ktam / 'ya ikSvAkuvaMzyaiH pUrvajaiH kRtaH sa evocitH| tadAkarNya rAjA dharmaparIkSArtha devatAgRhe kuladevatAM 30 zriyamArAdhayAmAsa / tatastasya rAzaH kusumasrastare sthitasya SaD yAmA vyatItAH / atha nizIthe gagana tale vANI samullalAsa / 'bho nareza, yadi bhavato dharmasAreNa kArya tata ikSvAkuvaMzyakuladharma gRhANa / ' 33 iti vadantyA kuladevatayA zriyA pratyakSIbhUya hemapaTTikAkhaNDaM brAhmIlipisanAthaM samAntardhAnaM vidadhe / 33 tannirIkSya narezvaraH pramuditaH prage kumAramAkArya sarvamapi nizAvRttaM nivedayAmAsa / tataH kumAraH pitrAdezena tatra lipi vAcayituM pravRtta iti / 36 'zAnadarzanacAritraratnatrayamanuttaram / sAdhanaM mokSamArgasya nidhAnaM zivazarmaNAm // 32 // 36 na hiMsA yatra nAsatyaM na steyaM brhmpaalnm| parigrahapramANaM ca raatribhojnnirvtiH||33|| sarvadoSavinirmukto yatra devo jineshvrH| mahAvratadharo dhIro gururdharmopadezakaH // 34 // 39 pUrvAparAviruddhazcAgamaH zrIzivasaMgamaH / muktaye dharma evAyaM pratIpastu bhavabhramau // 35 // ' 39 611) evaM vAcite dharmasvarUpe rAjJoktam / 'aho, anugRhItA vayaM bhagavatyA kuladevatayA / etatpu. narna jJAyate, ke te dharmapuruSAH, yeSAmeSa dhrmH|' kumAreNoktam / 'darzanAnyAkArya dharmapRcchA vidhIyate, 42 yasya kasyaciddharma etallipisaMvAdI bhavati sa eva saadhyte|' tato bhUpatirdarzanapradhAnapuruSAnAkArya yathA- 42 1) B vatsa tavAtIva (on the margin). 8) B durivAraNai.

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-IV. 18 : Verse 54] kuvalayamAlAkathA 4 *71 sthAnaM nivezya dharma papraccha / sadhairapi nijanijAgamAnusAreNa dharmo niveditaH paraM tasya cetasi sthiti na 1 babandha / tato rAzA jainamunayaH pRSTAH / 'yUyaM nijaM dharma nivedayata / tato guruNA 'yo dharmaH kuladevatayA 3 niveditaH sa eva dharmo dharmasAraH' iti prruupitH| tatobhUpaH kumAraM vilokya babhASe / 'samyagevaiSa mokSa- 3 mArgakSama iti / sarveSAmapi dharmANAmeSa eva mukhyaH / eSa eva kuladevatayA dttH| ikSvAkUNAmayameva kuldhrmH|' kumAreNa vijJaptam / 'yadAhaM turaGgamAviSTastadaitasyaiva dharmasya bodhArtha devenaaphRtH| mayAraNye 6 munisiMhadevA vilokitAH pUrvabhavasaMgatAH pUrvabhave 'pyamumeva dharmamArAdhya te svarga gtvntH| tairapyenaM 6 dharma nivedya kuvalayamAlAbodhArthamasmi pressitH| yena ca zukena taM dezaM gatAnAmasmAkaM pravRttirbhavatAM puro niveditA tenApyayameva sArvajJo dharmo dRssttH| rajohRtiH karAmbhoja bheje yasya narezvaraH / purandaro 'pi taM stauti sAdaraM vigatAdaram // 36 // svayaM svAmI jagannAtha pAthonAthaH kRpAmbunaH / sabhAyAmAdizaddharmamamumeva jineshvrH|| 37 // sAdhavo 'pi mayA dRSTA dharme 'tra sthitizAlinaH / utpAdya kevalajJAnaM mahodayapadaM yayuH // 38 // 12 tena vijJapyase tAta jainadharmaH suzarmadaH / sarveSAmeva dharmANAmayameva manoramaH // 39 // 12 durvAravAraNAkIrNa ragattuGgaturaGgamam / bhavedrAjyamapi prAjyaM na dharmastu jinoditaH // 40 // 612) tAvadeva bhavatA bhavatApahArI darlabho jinadharmaH prAptastato nipaNena tvayAyaM vidheyH|' rAjA 15 'tathA' iti pratipadya provAca / 'aho, satyametadyadeSa dharmamArgo durlabhaH / tathA vayaM palitakalitazirasa: 15 saMjAtAH paraM dharmANAmantaraM nAvagatam' / 'bhostapodhanAH, tatrabhavatAM bhavatAM sthAnaM na vayaM jaaniimH|' guru Noktam / 'rAjan, bAhyodyAne kusumagRhacaitye 'sti / ' rAjJoktam / 'vrajata yUyaM sthAnaM kuruta kartavyAni, 18 prabhAte sameSyAmi' iti vadan kumAramahendrAbhyAM samaM mApatiruttasthau sAdhavo'pi svaM sthaanmlNckruH|18 to dRDhavarmAvazeSamapi bhavasvarUpaM mAyAgolakamiva, indrajAlamiva, Adarzapratibimbamiva netrarogivibhAvarIvarayugalAvalokanamiva, marumarIcikAnicayAdhabhAsanamiva gandharvapuranirUpaNamiva, avicArita21 rAmaNIyakamivA kiMcitkaramanupAdeyaM vicintya saMjAtavairAgyaH kuvalayacandrAya saptAGgaM rAjyaM dadau, iti 21 ca zikSA taM prati jagAda / 'vatsa kuvalayacandra, zAtayuktAyuktasya paThitasarvazAstrasArthasya tava dhavalitadhavalanamiva piSTapeSaNamiva vibhUSitavibhUSaNamiva zikSApradAnaM, paraM putraprItirmA mukharayati / 24 durntduritopaayaashcplaacplaastthaa| striyaH zriyazca tat kvApi mA bhuuyaastdvshNvdH||41|| 24 uccastaraM padaM prApya tvayA kAryavidA sadA / guravo na laghutvena darzanIyAH kadAcana // 42 // tvayA baddhAnurAgeNa pAlanIyA nijAH prajAH / yataH prajAlatA nItinIrasiktAH phalantyamUH // 43 // antaraGgAriSaDvargajayAya bhavatAdaraH / zAstre zastre ca kartavyo bahiraGgArizAntaye // 44 // ArAdhyA sarvadA vidyAnavadhAH sthavirAstvayA / manjatAM dhyasanAmbhodhau vRddhasevA hi maGginI // 45 // rAjyazrIH kAmamAheyI nyAyagobhaktapoSitA / nikAmaM kAmadugdhAni prasUte vasudhAbhujAm // 46 // 30 613) iti zikSA dattvA dattadInajanadAnaH saMmAnitasvajanaH kRtacaityASTAhikAmahaH sutakAritAM 30 zibikAmAruhya nRpo gatvA kusumagRhacaitye tasyaiva gurorantike prAvAjIt / tadane karuNAvatA guruNA ___ manuSyabhavopari yugasamilAparamANudRSTAntau prarUpitau / tathA hi| 33 samagradvIpavArthInAM paryante 'sti mahodadhiH / svayaMbhUramaNo nAma valayAkAratAM gtH||47|| 33 devaH ko'pi yugaM prAcyAM pratIcyAM sa milAM punaH / sthApayedatha sA bhraSTA jale tatrAtalaspRzi // 48 // apAre cAnivAre ca parito'pi calAcalA / yuge calAcale yogaM labhate na kathaMcana // 49 // yugmam // 36 pracaNDavAtavIcIbhiH preritA sA kathaMcana / yuge na labhate yogaM janturna tu janurnRNAm // 50 // 36 [yugsmilaadRssttaantH|] tathAhi tridRzaH kazcidArAsanadRSanmayam / stambhaM mahAntamAcUrya dagnikSepani vyadhAt // 51 // 39 tacUrNa sa samAdAya tUrNa gatvA surAcale / cUlikAyAmavasthAya nalikAM svakare 'karot // 52 // 39 tatrasthitena phUtkRtya tayA te pracurojasA / te 'NavaH pAtitAH sarve dizAsu catasRSvapi // 53 // kalpAntakAlamonmIladuddAmamarutA htaaH| sarve 'pi pazyatastasyAdRzyAste jajJire kSaNAt // 54 // 27 27 5) PB turaMgamAvizya etasyaiva. 8) PsarvajJo dharmaH. 9) B narezvara, B vina (ne?) yAdaraM for vigatAdaraM. 10) B jagannAthaH. 19) B netrarogiNA (NA added above the line) vibhAvarI. 21) B saptAMgarAjyaM. 30) BdegcaiyASTAhikastatkAritA. 36) 0 adds here [yugasamilAdRSTAntaH] at the end of verse No, 50. 39) Pom. sa. 40) P pUtkRtya, B ti for te..

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ratnaprabhasUriviracitA [ IV. SS 13 : Verse 55 suparvaparvata bhraSTaistaireva paramANubhiH / sa suparvApi no kartuM samarthastaM punaryathA // 55 // duSkarmavazato bhraSTastathA mAnuSajanmani / nistuSaM mAnuSaM janma janmI na labhate punaH // 56 // 3 paramANudRSTAntaH / 3 tataH sa rAjarSirdvividhazikSA vicakSaNaH cArucAritraM samAcaran guruNA saha vijahAra / kuvalayacandrasyApi nikhila bhUpAlamaNDalImukuTa koTinighRSTacaraNAravindasya vipulAmAsamudramekhalAM pAlayataH prabhUtA vAsarA 6 vyatIyuH / 14) atrAntare padmakesarasuraH svAni cyavanacihnAni parijJAya durmanAzcintayAmAsa / 'khedaM mAvraja jIva tvaM dInatvaM hRdi mA vyadhAH / tAvadeva hi bhujyeta yAvadAyurupArjitam // 57 // 1 tataH saMprati kAlocitaM kriyata ityAgatyAyodhyAyAM suraH kuvalayacandra - kuvalayamAlayoH puraH katha- 9 yAmAseti / 'yathAmukamAse 'mukadivase yuvayoH sUnurbhaviSyAmi tAvadimAni padmakesaranAmAGkitAni kaTakakuNDalahArArdhahArAdIni bhUSaNAni svIkriyantAm / tAni ca prasRtabuddhivistarasya mama tanau 12 nivezyAni yenaitAni ciraparicitAni prekSamANasya mama jAtismRtirutpadyate' ityuditvArpayitvA ca 12 tridazaH svasthAnamAgataH / tataH kriyadbhirdinaiH surazrayutvA kuvalayamAlAyA garbhaM sutatvenodapadyata / tataH sApi samaye pavitraM putraM prAsUta / pitrA madhye puraM viracayya vardhApanakamahotsave saMjAte dvAdaze divase 15 tasya muninA pUrvamuditamabhidhAnaM 'pRthvIsAraH' iti vidadhe / sa kumAraH kalAkalApena yauvanena ca 15 svIca / tasya pitRbhyAM tAnyAbharaNAni samarpitAni / tAni pazyata eva tasya prAgapi kvApi dRSTAnyetAnItyUhApohavato mUrchAjani, jAtiM ca sasmAra / tataH zItena toyena vAyunA cAzvAsito labdhacaitanyo 18 dadhyAviti / 'aho, tatra tAni sukhAnyanubhUya punarIdRzAni tucchAni manujajanmajAtAni jIvo 'bhilaSati, 18 iti dhira mohaM dhik ca saMsArAvAsaM yatra nirantaramAdhivyAdhivyathito janaH, tadahaM saMsAraduHkha paraMparAparAbhavavidhAyinIM pravrajyAM gRhItvAtmAnaM sAdhayiSye' iti cintayan sa vayasyairbhaNitaH / 'kumAra, tava 21 svasthazarIrasya kimetadatyAhitam / ' tenoktam / 'mamAjIrNavikAreNaiSA bhramiratpannA, tena na punarAtma- 21 svabhAvo niveditaH / ' evaM vrajatsu dineSu kuvalayacandreNoktam / 'kumAra, rAjyaM gRhANa, ahaM pravrajyAM grahISye / kumAreNoktam / 'mahArAja, tvameva rAjyaM pratipAlaya, ahaM punardIkSAM svIkariSye / ' rAjJAdiSTam / 24 'adyApi bAlastvaM rAjyasukhamanubhava, vayaM punarbhuktabhogA dIkSAM grahISyAmaH' iti kumAraM pratibodhya 24 bhUpatirnirviNNakAmabhogaH pravrajyAgrahaNamanAH kasyApi gurorAgamanamabhilaSaMstasthau / anyadine dattamahAdAnaH saMmAnitA zeSaparijanaH kuvalayamAlayA samaM dharmavArtA vitanvAnaH kSamAdhanaH sutvA pAzcAtyayA27 minIyAme prathamameva prabuddhazcintayAmAseti / * 72 1 30 27 15) 'duSprApaM prApya mAnuSyaM dakSiNAvartazaGkhavat / vicAracaturaizcintyA heyopAdeyahetavaH // 58 // mAnuSatvamatizreSThaM kule janma vizeSataH / dharmaH kRpAmayo jainastrayametaddhi durlabham // 59 // dhanyAste puNyabhAjaste nistIrNastairbhavArNavaH / ye saMgamaparityAganigamAdhvagatAM yayuH // 60 // ta eva kRtino 'bhUvan bhuvanazrI vizeSakAH / jinendrajalpitA sarvaviratiyairalaMkRtA // 61 // dhanyAni tAni kSetrANi yatra jainamunIzvarAH / bhramanti vibhramatyaktA muktAhArAH zubhAzayAH // 62 // puNyatithistithiH sA kA sA vA vAro 'pi kaH sa ca / tanmuhUrta ca kiM bhAvi mamAmodapramodakRt // 63 // 33 yasmin pavitra cAritra citrabhAnuprabhodadyAt / manmanaH sara sIjanma smeratAmupayAsyati // 64 // yugmam // pradhAnadhAnyato yena dIkSAzikSAzilopari / kSAlayiSye manovAsaH kuvAsamalinaM kadA // 65 // 36 iti cintayatastasya bhUpateH prAbhAtikamaGgalapAThakaH papATha / 33 39 namaste lokanirmukta namaste dveSavarjita / namaste jitamohendra namaste jJAnabhAskara' // 67 // iti vadan bhUpatiH zayanIyAduttatsthau / tato 'namo jinendrebhyaH' iti vadantI saMbhramaparA tridazataTinI 1 36 'hata saMtamasAnIkaH pAtitanakSatra subhaTasaMghAtaH / prasRtapratApanikaraH zUraH pRthivIpatirudeti' // 66 // etadAkarNya rAjJA cintitam / 'aho, sundaropazrutiH sutarAjyAya | 6 30 2 ) B mAnuSajanmanaH (partly on the margin ) 5 ) c caraNAravRndasya, Badds samudraM before samudramekhalAM, P cAlayataH for pAlayataH. 13) B inter. pavitraM & putraM. 14 ) B mahotsavaM. 24 ) PB om. dIkSAM grahISyAmaH. 25 ) P mahAdAna - sanmAnitAzeSa, P vitanvata for vitanvAvaH, B adds suSvApa before suptavA, 33 ) Pc sa for sA vA. 39

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-IV. SS 17 : Verse 67] kuvalayamAlAkathA 4 * 73 1 pulinakalpAttatpAdutthAya kuvalayamAlA patiM prati provAca / 'etAvatIM velAM yAvadgosvAminA kiM cinti- 1 tam / ' rAjJA jalpitam / 'pRthvIsAraM kumAraM rAjye nivezya pravrajyAgrahaNenAtmAnaM sAdhayiSye' iti / tayA proktam | 'yadA vijayApuryA AvAM niHsRtau tadA priyeNa pravacanadevatA vijJaptA, yadi bhagavati jIvantaM tAtaM 3 paripazyAmi rAjyAbhiSekaM ca prApnomi tataH pazcAttanujaM rAjye nivezya vrataM gRhNAmi, tato devi zakunottamaM vidhehi' ityudite kenacinnareNAtapatramupaDhaukitam / tataH svAminA jalpitam / 'dayite, prakRSTametacchakunaM 6 sarvApi saMpattiH saMtatizcAsmAkaM bhAvinI' iti tatsatyaM jAtam / sAMprataM pravrajyApAlanasyAnudhyAnaM tato yuktameva / tatastayAbhyadhAyi / 'dharmasya tvaritA gatiH', ato deva, kathaM vilambaH, tvaritamevAtmahitaM vitanyate ' / rAjJoktam / 'devi, yadyevaM tataH kutracihnaravo vilokyA yena yathA cintitaM pramANapadavImadhyArohati / ' 9 18 9 16 ) tataH prAbhAtikaM kRtyaM vidhAya bhUnAyakastatraiva dine pRthvIsAraM kumAraM rAjye 'bhiSicya dvitIya- 9 divase zirogRhAsanasthau nabhomadhyamadhyAsIne nabhomaNau sAdhuyugalaM bhikSArtha bhramantaM rathyAmukhe vIkSya prAsAdAduttIrya sukhAsanAdhirUDhaH kiyajanAvRto gatvA praNipatya provAca / yuvayornirAmayaH kAyaH / ' 12 sAdhubhyAmukam | 'kuzalamAvayorgurUNAM caraNasmaraNapravINAntaHkaraNayoH' / rAjJoktam / 'gurUNAM kimabhi- 12 dhAnam / ' tAbhyAmuktam / 'ikSvAkuvaMzyaH prAptaguruvinayasa kalazAstrArthaH kandarpadarpasarpasarpArirdarpaphalikAkhyo guruH / ' rAjJoktam / 'bhagavAn, kimu sa asmatsaMbandhI ratnamukuTasya rAjarSeH putro darpaphalikaH, kiM 15 vApara:' iti / sAdhubhyAmuktam / 'sa eva' / rAjJA bhaNitam / 'kasmin sthAne tiSThanti' / tAbhyAmuktam 115 'rAjan, saMsAramarutaravaste guravaH pradhAne manoramodyAne samavasRtAH santi' ityuditvA muniyugalaM vicarya svasthAnamAjagAma / nRpatirapi prAsAdamAsAdya kuvalayamAlA mahendrasya ca puro vRttAntaM sarvamapi 18 nivedayAmAsa / adya sa caivAsmaddhAtA darpaphalikaH saMpannAcAryapadaH samavasRtaH / tataH kuvalaya candraH kuvalayamAlayA mahendreNa ca samaM manoramodyAne samAgatya bhagavantaM darpaphalikaM praNipatya papraccha / 'tadA bhagavan, bhavantazcintAmaNipallIto niHsRtya kasya gurorantike pravrajitAH / tato bhagavAnu21 vAca / 'mahArAja, tadA tato nirgatya mayA zrIbhRgukacchaM gatena munireko daddaze' / tena 21 muninA proktam / 'bho darpaphalika rAjaputra, mAmabhijAnAsi / ' mayoktam / 'bhavantaM samyag nopalakSaye / ' tenoktam / 'kena tava taccintAmaNipallIrAjyaM dattam / ' mayoktam / 'bhagavan kiM bhavAn saH / tenoktam 24 ' evameva ' / mayoktam / 'yathA tadA tvayA rAjyaM dattaM tathA saMprati saMyamarAjyadAnena prasAdaM tanu | 24 tenoktam / 'yadyevaM tataH kathaM vilambaH / tadA tena muninA vrataM dattam / tena saha vihAraM kurvANo 'yodhyAyAmAgatavAn / tatra ca tava pitA dRDhavarmA tadantike niSkrAntaH / sa ca mama gurustava janakazcotpanna27 kevalajJAnau sammetazailopari dvAvapi siddhipadamIyatuH / ahaM punarbhavatpratibodhAya samAgamam / ' tata evaM 27 pizunasaMgatimiva lIlAvatI locanaprAntamiva mahAbalAndolitakadalIdalamiva zaratsamayaghanAghana paTalamiva surezvarazarAsanamiva capalasvabhAvaM padArthajAtaM parijJAya tatpadAnte kuvalayacandraH kuvalayamAlayA 30 mahendreNa ca samaM vrataM jagrAha / kuvalayamAlApyAgamAnusAreNa tapastaptvA saudharme nAke sAgaropamadvaya - 30 sthityAyustridazaH samabhavat / kuvalayacandro 'pi samAdhinA viSadya tatraiva vimAne tatpramANAyuH samudapadyata / siMho'pyanazanakarmaNA tatraiva devo jAto 'sti / sa ca bhagavAnavadhijJAnI sAgaradattamuni33 mRtvA tasminneva sthAne suraH samajAyata / (17) atha pRthvIsAraH kiyatkAlAntaraM rAjyasukhamanubhUya viracitamanorathA dityanAmatanujarAjyAbhiSekaH saMsAramahArAkSasabhayabhrAntasvAntaH parijJAya bhogAn bhogibhogopamAn gurUNAM caraNamUle pravrajya 36 kRtazrAmaNyaH pradattamithyAduSkRtaH paJcatvamavApya tatraiva vimAne sudhAzano 'janiSTa / evaM te paJcApi tatraiva 36 vara vimAne kRtasukRtAH samutpannAH / parasparaM te vijJAtapUrvanirmita saGketA jalpituM pravRttAH / ' dustaraM saMsArasAgaramavagamya yathA pUrva tathAdhunApi sakalasurAsuranarasiddhisukhadAyini bhagavatpraNIte samyaktve yatna 39 va kAryaH / ito'pi cyutairAtmabhiH pUrvavatpratibodhaparaiH parasparameva bhAvyam / ' tatheti pratipanne taisteSAM 39 kAlo vyatikrAmati / 33 atho jambUdvIpe dakSiNabharate 'syAmevAvasarpiNyAM yugAdijinAditIrthanAtheSu mokSaM gateSu satsu 42 tataH samutpanne caramajine zrImahAvIre pUrva kuvalayacandradevaH svamAyuH paripAlya svargatayutvA kAkandI - 42 2 ) B pRthvIsArakumAraM 4 ) B pazyAmi for paripazyAmi P prApnoti for prApnomi 5 ) P yadi te for dayite. 18 ) PB jagAda for nivedayAmAsa 36 ) P mithyAduH kRtaH saMsAramahArAkSasabhayabhrAMtasvAMtaH parijJAya bhogopamAna / gurUNAM caraNamUle paMcatvamavApya tatraiva varavimAne kRtAH samutpannAH / 37 ) B duruttaraM dustaraM. 1 ) P Bom patiM prati 10

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* 74 [ IV. SS 17 : Verse 681 puryAM praNatajanakumudAmandapramoda kaumudIzasya zatrujanakuJjarakaNThIravasya satpathajAGghikasya kAJcanarathasya 1 pRthvIpaterindIvaralocanAbhidhAnapraNayinIkukSibhavo maNirathakumArastanayaH samabhavat / sa ca krameNa prAptayauvano gurujanaiH pratiSiddho 'pi vayasyairnivArito 'pi sadbhirnindyamAno 'pi karmodayena naktaMdivA 3 pApArddhaM kurvanna viramati / anyadA ca tasyAraNye praviSTasya zrIvardhamAna jinaH kevalajJAnazAlI jagatrayapatiH pavitritatribhuvanatalaH kAkandyAM samavasRtaH / tatazcaturvidhadevanikAyaiH samavasaraNaM cakre / tatra ca zrImahA'vIraH svayaM gautamAdInAM gaNabhRtAM saudharmAdhipateraparasya ca surAsuranikarasya saparijanasya kAJcanarathasya 6 narezituH puraH samyaktvamUlaM dharma dvividhaM niveditumArebhe / ratnaprabhasUriviracitA zaGkAdidoSarahitaM sthairyAdiguNabhUSitam / paJcabhirlakSaNairlakSyaM samyaktvaM zivazarmaNe // 68 ArjavaM mArdavaM kSAntiH satyaM zaucaM tapo yamaH / brahmAkiJcanatA muktiryatidharmaH prakIrtitaH // 69 9 ahiMsAdIni paJcANuvratAni ca guNatrayam / zikSApadAni catvAri gRhidharmaH kukarmahRt // 70 (18) itazcAvasaraM matvA tattvAnugAminA prabhUtajantuvadhajAtapAtakAzaGkinA kRtAJjalinA kAJcanarathena 12 rAjJA pRSTam / 'nAtha, maNirathakumAro bhavyaH kimabhavyazca' iti / bhagavatAdiSTam / 'ayaM bhavyazcaramazarIrazca' 12 iti / nRpeNa vijJaptam / 'bhagavan, yadyayamantimatanustataH kathamanekadhA niSidhyamAno 'vyAkheTakavyasanto nivartate, kadA punastasya jinadharme bodhiH / ' tIrthakRtoktam / 'bhadra, tvatsUnuH pravuddhaH prAptasaMvegaraGga ihaiva 15 prasthitaH' iti / nRpeNoktam / 'nAtha, kena vRttAntena tasya vairAgyamajAyata / ' jagannAthena samAdiSTam / 15 'ito'sti yojanapramANe bhUmibhAge kauzAmtraM nAma vanam / tatra ca bahavaH kuraGgazUkarazazaka saMghAtAH parivasantIti matvA kumAraH pAparddhinimittamAgataH / tatra ca tena bhramatA ekasmin pradeze sAraGgayUthamA18 lokya kodaNDamAropya yAvaccharaH sajjIkRtastAvatsarvamapi mRgakulaM kAkanAzaM nanAza | paraM tadaikAkinI 18 mRgI kumAraM ciramabhivIkSya dIrgha niHzvasya niSpandalocanA saMjAtahRdayavizrambhA niHzaGkA sthitA / tAM ca tathAvasthitAM dRSTvA kumAreNa cintitam / 'aho, mahatkautukam etasmin hariNayUthe pranaSTe'pi 21 paramiyaM mRgI madabhimukhaM pazyantI tathaiva tiSThati' iti cintayatastasyAbhyAsaM sA samupeyuSI / tataH 21 sAnekazvApadajIvAntakaramardhacandramAlokyApi snehanirbharahRdayeva sthitA / tataH kumAreNa zarAsanaM zarazcAbhAJji / 'yo 'parAdharahitAn jantUnnihanti sa mahApApI' ityevaM cintayatA prAdurbhUtajantujAta24 kAruNya maitrI pUritacetasA tena sA hariNI saharSa karatana paspRze / yathA yathA tadaGgaM sa saraGgaM spRzati sphuTam / tathA tathAsau jAyeta bASpAvilavilocanA // 71 Marati vilokanena kumArasya dRgbhyAM vikasitaM sarvAGgaM romAJcakaJcukaH prasasAra / cetasi paramaH pramodaH 27 pravRttaH / jJAtaM yathA kApyeSA mama pUrvasaMbandhinIti / 9 jJAnaM manye dRzoreva nAparasya ca kasyacit / pramodete priye dRSTe dRSTe saMkucato 'priye // 72 'janmAntare kA mamaivAsIt' iti dhyAyatastasya hRdi sthitam / adyaiva tAtaH kAkandIM campApuryA 30 AyAtaH / atra ca kila bhagavAn zrImahAvIraH samavasRtaH / 'tasya vandanAnimittaM tatrAhamapi gamiSyAmi, 30 yenaitadvRttAntaM pRcchAmi, kaiSA mRgavadhUH, asmAkaM janmAntare kIdRzi saMbandhe AsIt' iti dhyAyaMzcalitaH / 'samRgI ca sAMprataM samavasaraNa bAhyaprAkAra gopurAntare dvAvapi vartete' iti vadatastIrthakRtaH puro 33 maNirathakumAraH samAgatazca pradakSiNAtrayaM dattvA bhagavantaM natvA prapaccheti ca / 'bhagavAn, nivedaya kaiSA 33 kuraGgI mamopari paramapremadhAriNI / ' tato bhagavAn jJAtakulatilakaH sakalajantusaMghAtabodhAya pUrvabhavaM taM tayorAkhyAtumArebhe / 11 ) B tattvatattvAnugAminA 14 ) P sabuddha: for prabuddhaH the margin). 23 ) P B zarazvAbhAji 31 ) Pom, asmAkaM 24 36 919) atraiva bharate sAketa puram / tatra nAmnA kAntyA ca madano nRpaH / tatsUnuranaGgaH kumAraH / tatrADhyo 36 vaizramaNa iva vaibhramaNaH zreSThI / tadaGgajaH priyaMkarAkhyaH, sa ca saumyaH sujanaH kuzalastyAgI dayAluH zraddhAtuH / anyadA vaizramaNena prAtivezmikapriya mitraputryA sundaryA saha tanayasya pANigrahaNamakAryata / 39 dvayorapi prItirmahatI jAtA / parasparaM stoke 'pi virahe tanmithunaM sotsukacittaM bhavati / anyadA ca 39 bhavitavyatayA patarazarIre priyaMkare sA sundarI bahutarazokazaGkhavyathitA na bhunakti na snAti na jalpati na gRhakRtyaM karoti, kevalaM saMbhAvitadayitapaJcatAdhikAbhyantara tApalocanapravartamAnabASpajalalavA viSIdantI 42 sthitA / tatastathAvidhakarmasaMyogena kSINe prANite priyaMkaraH paralokamiyAya / tatastaM mRtaM vilokya 12 27 21 ) P tiSThata iti. 22 ) B snehabharanirbhara ( bhara added on 37 ) B inter. vaizramaNaH & zreSThI.

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-IV. SS 21 : Verse 74] 1 parijano 'tIvaviSaNNamanAH / pitA pralapitumArebhe / " 'hA vatsa hA guNAvAsa hA saubhAgyanidhe bhavAn / priyaMkara gataH kutra dehi prativaco mama // 73 svajanaistacchavaM saMskArArtha gRhAnniSkAsitumArebhe paraM sA sundarI snehamohitamAnasA tatsaMskAra 3 karte na dadAti / tataH sA pitrA mAtrA svajanena ca vayasyAbhirvividhAbhiH zikSAbhiH zikSitApi tatkuNapaM na muJcati / kevalaM vilapantI arAjakamiti vadantI sundarI tanmRtakalevaramAliGgya sthitA / 6 patiM pazyati nirjIvamapi jIvantameva sA / snehe naiva vicAraH syAnmohAndhitadRzAM yataH // 74 6 20) tato viSaNNamanasA svajanena mAntrikAstAvikAzca samAkAritAH / tairapi vizeSaH ko'pi na samaja / svajana 'iyamayogyA' iti vicintya muktAstathaiva taddinaM sthitA / dvitIyadivase taddehaM 'zvayathunA vyAptaM tato vigandhaH prasasAra / tathApi sA premaparavazA mRtakamAliGgantI parijanena nindyamAnApi sakhIbhirvAryamANApyevaM cintayAmAsa / 'ayaM svajana iti jalpati, 'yadayaM mRta iyaM ca grahilA', tatastatra gantavyaM yatra na ko'pi svajanaH' iti dhyAtvA tacchavaM zirasi samAropya mandirato niHsRtya sundarI 12 vismayakaruNAbIbhatsahAsyarasavazena janena dRzyamAnA zmazAnamupAjagAma / tatra prAvRtajaraccIvaragAtrA 12 reNudhUsaritazarIrAkRtorddhakezA mahAbhairavavratamivAcarantI bhikSAmAnIya yatkiMcitsundaraM tattadagre muktatvA, iti vadati / 'priyatama, yatkiMcidramyataraM tattvaM gRhANa pAzcAtyaM yatkiMcidvirUpataraM tanmama dehi' iti procya 15 bhuGkte / evaM sA dine dine kRtAhArA kApAlikabAlikeva rAkSasIva pizAcIva sthitA / tadA tatpitrA 15 priyamitreNa purasvAmI vijJaptaH / 'yaddeva, mama sutA grahagRhIteva vartate / tattAM yadi ko 'pi sakalIkaroti tasya yathAprArthitamahaM dadAmi' iti dApyatAM madhye puraM paTahaH / etattena vijJapyamAnaM kumAreNa zrutaM cintitaM 18 ca / 'aho, mUDhA varAkI grastA premapizAcena na punaranyena tadahaM buddhyA etAM pratibodhayAmi' iti 18 cintayatA tena vijJapto rAjA / 'tAta, tvaM yadi samAdizasi tadetAM vaNijaH sutAM saMbodhayAmi / ' evaM vijJate nRpeNa bhaNitam | 'vatsa, yadi svasthAM kartuM zaknoSi tato yuktametatkriyatAmasya vaNija upakAraH / ' 21 tato rAjaputraH kamapi nAryAH zavaM samAnIya tasyAH samIpe mumuce / na ca sA tena jalpitA na ca tayA 21 saH / yatkiMcitsA zavasya karoti tadayamapi karoti / anyadA tathA bhaNitam / ka eSa vRttAntaH / ' tenoktam / eSA mama priyatamA surUpA subhagA kiMcidasvasthazarIrA jAtA / ' tato loko vadati / 'yadiyaM 'mRtA saMskArAhI / ' mayA cintitam / 'yadayaM loke 'lIkabhASI tato mayA tataH samAnIyAsmin zmazAne 24 muktA / ' tayoktam / 'sundaraM kRtam, AvayoH samAnasvabhAvayomaitrI samabhavat / ' yataH " samAnazIlavyasaneSu sakhyam / " tena bhaNitam / 'tvaM mama svasA, eSa mama bhAvukaH / kimabhidhAnamamuSya / ' tayA 27 jalpitam / 'mama patiH priyaMkarAbhidhaH / tayoktam / 'tava priyAyAH kiM nAma' / tena niveditam / 'mama priyA mAyAdevIti nAma / ' evaM parasparasamutpannasaMbandhau tau vartete / yadA sAvazyakakRtyakRte prayAti tadA tadabhimukhaM vadati / yadayaM maddayito draSTavyaH / ' 24 kuvalayamAlAkathA 4 10) B sakhIbhirvAryamANApi jalpitumArabhata ayaM. 11 ) B 30 ) B prayAti for yAti 32 ) P he majjIveza. 33 ) B dine 36) B inter, tatra & tau. 37 ) P labdhacetanena, B tena nirdiSTaM. 30 21) yadA sa kutrApi yAti tadA tasyAstaM zavaM samarpya yAti / anyadA tenoktam / 'bhagini, tava 30 patyA mama priyA kiMcidbhaNitA tanmayA samyag nAvagatam / ' tayoktam / 'he jIveza, svatkRte mayA sarvamapi kulagRha pitRmAtRprabhRtikaM tRNavatparityaktaM tvaM punarIdRzaH, yadanyAmaGganAmabhilaSasi' ityuktvA 33 kiMcitkopaparA saMjAtA / punaranyadivase sA zavaM tasya samarpya nityakRte gatA / tatpunastena zavadvayamapi kUpe nikSiptam / tatastadanumArgamanusarannayaM tayA bhASitaH / 'kasya tvayA tanmAnuSadvayamarpitam / tenApi gaditam / 'mAyAdevI priyaMkarasya rakSAnimittamarpitA, priyaMkaro mAyAdevyAzca / tadAvAmapi tatraiva 36 vrajavaH' ityuditvA tatra tau samAgatau priyaMkaraM mAyAdevIM ca na dadRzatuH / tataH sA duHkhamupAgatA / 36 so'pi cchadmanA mUrcchitaH / tato labdhacaitanyena tenAdiSTam / 'bhagini, kiM kartavyam, yattava priyo mama mahelAmAdAya kutrApi gataH, tatsundaraM tena nAcaritam / madIyamidamAcaritam / ' tataH sundarI 39 mugdhasvabhAvA ciraM cintayati sma 'yatkila tena mama svAminAmuSya priyA hRtAnyatra nItA ca / tata 39 Feat SnAryo niSkRpo nirghRNaH kRtaghnazca, yenedRzamAcaritam / ' tatastena bhaNitam / 'bhadre, evaMvidhe vidheye kiM vidheyam / ' tayoktam / 'nAsmi jAnAmi, bhavAneva jAnAti kimatra kartavyam / ' tenoktam / 'bhadre, satyaM * 75 vadaMtI for dhyAtvA, P tatsarvazirasi 14 ) Bom procya bhujhe. for divase, B nityakRtyakRte . 35 ) B tenApi nigaditaM, P tatraivaM. 41 ) P evaM vidheye tayoktaM, P satyaM zRNu. 1

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* 76 ratnaprabhasUriviracitA [IV. 21 : Verse 751 tataH zRNu / sarvadaika eva jIvaH saMsAre paribhramannasti, kaH priyaH, kA priyA ca, sarvamapi saMsArasvarUpaM 1 saudAminIva kSaNadRSTanaSTam / sarvathaivAnityatAdibhAvanAH samAzraya / viyogAntAH sNyogaaH| patanAntAH smucchyaaH| mahArogA iva bhogaaH| eSa jIvaH saMsAre caturazItilakSasaMkhyayoniSu naTa iva vividharUpa- 3 bhAgbhavatIti jJAtvA samyaktvamaGgIkuru ' evaM ca bho maNirathakumAra, yA sundarI prabodhitA tena gRhamupAgatA ca / tatpitrA mahotsavo racayAMcake / sarvatra madhye puraM pravRttaH sAdhuvAdo yadiyaM sundarI 6 kumAreNa bodhitA / tAvaddho maNirathakumAra, yaH sundarIjIvaH sa tvaM tadA kRtasamyaktvaratnayatnaH paJcatva- 6 mavApya mAnabhaTaH sNjaatH| tataH pdmsaarnaamaa| tataH kuvlycndrH| tato vaiDUryanAmA devaH / tatastvaM maNirathakumAra iti| yaH punarvaNikUtanUjaH sa saMsAra paribhramyAsmin vane mRgI sasudapadyata / tvA 9 dRSTvohApohavatyA asyAH prAgbhavasmaraNena tvayi snehaH smulllaas|' evaM ca bhagavatA nivedite maNiratha- 9 kumAreNa vijJaptam / evaM mamAnena duHkhAvAsena saMsAravAsenAlaM, bhagavan , prasAdaM vidhAya mayi pravrajyAratnaM dehi' iti vadan kumAraH zrIbhagavatA diikssitH| 1222) atrAntare gautamena gaNabhRtA vijJaptam / 'bhagavan , asmin saMsAre jIvAnAM madhye ko jIvo12 duHkhitaH' iti / bhagavatA samAdiSTam / 'samyagdRSTiIvo 'virato nityaM duHkhita eva / ' gautamena bhaNitam / 'kena hetunA / ' bhagavatA niveditam / 'yaH samyagdRSTirbhavati sa narakatiryagmanuSyavedanAM 15 jAnAti / tataH purataH saMsArabhAvaM prekSate / na ca viratibhAvaM karoti / anubhavati vardhamAnasaMtApo naraka- 15 duHkhamiti / ata eva sa duHkhitAnAmapi duHkhii|' punargautamena pRSTam / 'svAmin , kaH sukhii| bhagavatAdiSTam / 'samyagdRSTirjIvo virataH sa eva sukhitaH / yataH, 18 devalokasama saukhyaM duHkhaM ca narakopamam / ratAnAmaratAnAM ca mahAnarakasaMnibham // 75 18 evamanekadhA bhagavAn vividhajanapRSTasaMdehasaMdohabhaGga vitatya samuttasthau / tatastridazavRndamapi svasvasthAnaM jagAma / bhagavAnapi zrAvastI purIM prati jagAma / suraiH samavasaraNe kRte trailokyAdhipatiH siMhAsana 21 malaMcakAra / gautamAdayo gaNabhRto yathAsthAnaM niviSTAH / tatratyo nRpatI ratnAGgado bhagavantaM praNipatya 21 niSasAda / bhagavatA saMsArAzarmanAzinI dezanA nirmame / atrAntare gautamasvAminA sarvamapi jAnatApyabodhajanabodhArtha tIrthanAthaH prapacche / 'nAtha, jIvasvarUpaM nivedaya / ' tato bhagavatA yathAvasthaM sarvamapi 24jIvasvarUpaM prarUpitam / atha tatra bAlamRNAlakomalabhujo bhujAntararAjamAnahArasAraH kapolapAlivila-24 sanmaNikuNDalaH ko'pi narastridazakumAra iva pravizya jaya jayeti vadan trijagadabhivandyamabhivandha bamANeti / 'nAtha, yanmayA dRSTaM zrutamanubhUtaM rajanImadhye tadadhunA nivedaya, kimindrajAlam , kiM svapnaH, satyaM 7 vA / ' bhagavatA bhaNitam / 'devAnupriya, yattvayA dRSTaM tadavitathameva / ' etadAkarNya tatkSaNameva tvaritapadaM 27 smvsrnnaaniHsRtH| tato gautamena pRSTam / 'svAmin , kimetat, asmAkamapi mhtkautukm|' tatastIrthakRtAdiSTam / 'ito 'sti nAtidUre 'ruNAbhaM nAma nagaram / tatra ratnagajendro nAma nRptiH| tattanujaH 30 kAmagajendraH / sa cAnyadA priyaGgumatyA priyayA saha mattavAraNe niviSTaH / tato nagaragatavibhavavilAsAn 30 prekSitaM prvRttH| tataH kasmiMzcidaNigmandiropari kaTriImatale kanyakAmekAM kandukakeliM kurvatImadrAkSIt / tasya tadupari mahAnurAgaH smutpnnH|| 33 surUpe 'pi kurUpe 'pi bhavati prema kutracit / rUpaM snehasya no heturvRthA rUpaM tato'GgiSu // 76 33 623) tena pArzvasthitAyAH kAntAyA bhayenAkArasaMvaraNameva cakre / tayA tu tatsarvamapi lakSitam / tasya rAjaputrasya tAmeva dhyAyato mahatyudvege jAte tayA cintitam / 'kiM punarasyodvegakAraNam, athavA 36 zAtaM saiva vaNikaputrI matpatyuzcetasi sthitaa|' tatastayA tAM yAcayitvA priyaH prinnaayitH| tatastuSTena 36 tenoktam / 'priye, sAdhu tvayA tadA mama manobhAva upalakSitaH / tatastvaM brUhi kAnte, kaM te varaM ddaami|' tyoktm| 39 'yatkiMcittvaM pazyasi zRNoSi yadvAnubhavasi yaddayita / tatsarvamapi nivedyaM mAM deyastvayaiSa varaH' / / 77 39 tenoktam / 'bhavatvevam / ' tato 'nyadA tatra citrakRtA tasmai kumArAya citrapaTaH samarpitaH / tatra ca cittAhAdavidhAyinI citritAM kanImekAM vilokya vismayasmeramanAH kumAraH papraccha / 'bhozcitrakara, 1.) P sarvadA vaika eva. 3) B om. saMsAre. 4) B om. yA. 10) PevaM mAnena B evamanena. 15) P B om. tataH purataH etc. to narakaduHkhamiti. 25) 0 trijagadabhivaMdya. 29) 0 nAma bhUpatiH 31) PB preSituM for prekSituM. 32) B mahAnanurAgaH 36) P tatastuSTenoktaM. 41) B bho citrakara.

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-IV. $ 25 : Verse 77] kuvalayamAlAkathA 4 * 77 1kumArIrUpaM pratikRtyAH kasyAzcittvayA likhitam, kimuta svamatyA / ' tena vijJaptam / 'deva, ujjayinyAM 1 mahApuryAmavantInRpateH sutAyAH prticchndH|' tataH kumAraH sAdaraM tAM nidrAmiva nayanamanohAriNI, 3 zaktimiva hRdayadAraNanipuNAM, zuddhapakSendukalAmiva bhRzaM vimalAM, mahArAjarAjyasthitimiva suvibhakta- 3 varNopazobhitAM, jinazrutimiva supratiSThitAGgopAGgasubhagAM vilokya kSaNaM stambhita iva, dhyAnagata iva, dRSanirmita iva, lepyamaya iva sthitaH / tataH kRtakRtya iva kumArastaM citrapaTa devyai pradarya jajalpeti / 6 'devi, sundaramutpadyate yadyeSA kanyA lbhyte|' tayA pratyuktam / 'devi, nijarUpaM citrapaTe lekhayitvAyameva 6 vyAvRtya preSyatAM, yathAvantIpatistadRSTvA svayameva duhitaraM ddaati|' kumAreNoktam / 'pramANametat / ' tatastena citrakRtA citrapaTaH kAmagajendrarUpasamanvito'vantIbhartuH puro darzitaH tenApi sutAyai drshitH| pAlokya jAtAnurAgAM tAM vijJAya rAjA jagAda / 'yaktametadyadiyaM puruSadveSiNI tato'nyaM kamAraM 9 nAbhyalaSat / sAMprataM tu vidhiprazAprakarSakazapaTTAyamAne 'smin kumArarUpe bhRzamanuraktA / tato 'syA ayameva varo yuktH|' iti dhyAtvA rAjJA tasmai kumArAya duhitA dttaa| 12 624) tataH pitrAdezena kumAro vallabhayA samaM skandhAvAreNa ca clitH| tato 'staparyasta- 12 kiraNadaNDe caNDarociSi nizAprathamayAmArdhaM priyayA samaM suSvApa / evaM dvitIye yAme kasyApyaparva komalakaratalasparzena vibuddhaH san kumAro vyacintayaditi / 'yadIdRzaH sparzo nAnubhUtapUrva iti / 15 sarvathAyaM manuSyasparzI na bhavati' iti cintayatA kumAreNa purastribhuvanAzcaryakAri rUpahAri kanyAdvayaM 15 nirIkSya bhaNitam / 'yadbhavatyau mAnuSyo, kiM vA devyau, mamAtra mahatkautukam / ' tAbhyAmuktam / 'AvAM vidyAdhayau~ bhavataH pArzve kenApi hetunA samAyAte svaH, paramAvayorbhavatA paropakAriNA prArthanA vRthA na 18kaaryaa|' kumAreNoktam / 'nivedyatAmahaM dussAdhyamapi bhavatkArya saadhyissye|' tAbhyAmuktam / 'deva, 18 zRNu / asti kuberadigbhAge vaitADhyaH prvtH| tatrottaradakSiNazreNyau vidyate / uttarazreNyAM sundaramAnanda mandiraM nAma nagaram / yatkIdRzaM, bahusauvarNamandiraM bahupuruSasevitaM bahujalAzayaparigataM bahukumudopa21 vanam / tatra pRthvIsundaraH kSamAnetA / tasya devI mekhalAbhidhA / tatkukSisaMbhavA bindumatI knyaa| sA21 ca sundarAvayavAbhaGgabhAgyasaubhAgyabhUmikA cArucAturyakaraNDikA purussdvessinnii| sA ca vayovibhavakalAkalApaparikalitebhyo 'pi vidyAdharakumArebhyaH kadApi na spRhayati / tataH sA yauvanasthA gurujanena 24 jalpiteti / 'vatse, svayaMvaraM varaM gRhANa / ' tadAkarNya tayAvAM bhaNite / 'yadi, sakhyau yuvA bhaNathastadaikadA 24 dakSiNazreNyAM bhavatIbhyAM saha paribhramAmi' iti / AvAbhyAmapyuktam / 'evaM bhavatu' ityuditvA gaganatalamutpatya girivarakAnanAntare vymvtaannaaH| tatra krIDantIbhirasmAbhiH kinarAmethunamaka kAma 37 kumArasya guNagrAmagAnaM kurvANaM samAkarNitam / priyasakhyoktam / 'sakhi, pavanavege, agrato bhUtvedaM pRccha,27 ka eSa kutratyo vA kAmagajendrakumAraH, yasyAdhunA gItamudgItam / ' tatastayA kiMnaryA niveditam / 'vidyAdharabAle, kAmagajendraH sa kadApi na dRSTaH zrutazca na / tarhi yadi tena kArya tadamuM kiMnaraM pRccha / ' 30 tena bhavavRttAntaH sarvo 'pi kthitH| tadidaM zrutvA tayA bindumatyAH puro gaditam / tadAkarNanena 30 tahinAdArabhya bindamatI tahinaviSThA kamalinIva priyaviyaktA rAjahaMsikeva mantrAhatA bhujaGgIva niHzrIkA nirvacanA niHprasarA tanotyAlekhyam, na zRNoti gItaM na vAdayati vINAM, kevalaM matteva grahagRhIteva 33 mRteva jaataa| sakhIbhirbhASitApi sA kimapi nottaraM dadAti / mayA jJAtaM yadetasyAH kAmagajendra eva 33 vyAdhinidAnam / ato 'muSyAstatsaMgama eva mahauSadham / yato'gnidagdhAnAmagnirevauSadhaM viSaklAntAnAM viSameva / iti vicintayantyA mayA bhaNitA mAnavegA / 'vayasye amuSyAH kAmagajendra eva cikitskH|' 36 tata AvAbhyAM bhaNitam / 'priyasakhi, vizvastA bhava' tathA kariSyAvaH, yathA taM kumAramAnIya tava 36 vyaadhimpnessyaavH|' tayoktam / ' 'tadAnayanAya yuvAM vrjthH|' 625) tayetyAvAM pratipadya tasminnapi girikuharazilAtale kamalakomaladalaviracite trastare tAM 39 bindumatIM viSAdaM kurvantIM nivezya pracalite, paraM na jAnIvaH kutra sA purI yatra tvaM bhavasi, kutra bhavAn 39 prApya iti / etadarthaparizAnAya bhagavatI prAptI samArAdhitA / tatastayA prarUpitam / 'yathaiSa kumAra ujayinyAM gacchan vanAntare racitazibirasaMnivezaH sAMprataM tiSThati / ' etanmatvAvAM bhavadantike samAna 42 yaate|' ataH paraM sAMprataM deva, tavAyattaM priyasakhyA jIvitamiti mA vilambasva tvaritamevottiSTha yadi 42 3) P suvibhaktivarNopa. 12) B has a marginal note on astaparyasta etc. : astasthAne paryastaH patitaH kiraNadaMDo yasya sa tathA 1. 13) Pom, caNDa, P priyAsa. 27) P sakhe pavana: 32) Badds na after niHprasarA. 34) PB auSadhaM for mahauSadhaM.

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* 78 ratnaprabhasUriviracitA [IV. 8 25 : Verse 781 jIvantI bindumatI kathaMcidRzyate / ' kumAreNoktam / 'yadyapyavazyaM gantavyaM tathApi devyAH puro niveda- 1 yiSye / ' tAbhyAmuktam / 'tvamIdRzaH svAmI sarvanItiparAyaNaH kathaM strINAM rahasyaM kathayasi, kiM na zruta3stvayA janaivekSyamANaH shlokH| 'nIyamAnaH suparNena nAgarAjo 'bravIdidam / yaH strINAM guhyamAkhyAti tadantaM tasya jIvitam // 78 tato na kathyaM nArINAM rahasyam / ' kumAreNoktam / 'kimapi kAraNamatrAste, ekadA mayA tasyA varo 6 'dAyi, yatkicicchrutaM dRSTamanubhUtaM tatsarvamapi nivedayiSye / ' tataH kumAraHprovAca / 'priye, saMprati 6 vjaami|' tayoditam / 'yatkiMciddevAya rocate devastattanotu / ' tato devyA vihitAJjalipuTayA vidyAdharyo vijJapte / 'ayaM patirmayA bhavatyoAsIkRta ityahAya ihAnIya moktvyH|' tataste taM kumAraM vimAna9 mAropya gaganatalamutpatite / tatastasya priyA 'mAyA kApyatra, kiM svano vA, hRta etAbhyAM mama patireSya- 9 tIti kiM vA na' iti dhyAyantI yAvadviSaNNA tiSThati tAvatstokAvazeSakSaNadAyAM vimAnaM prAptameva / tatastadRSTvA tadbhAryA nalinIvanavilokaneneva marAlikAbhinavajaladadarzaneneva zikhaNDinI pramuditA jaataa| 12 tatastayA dRSTe vidyAdharau kaamgjendro'pi| 12 26) atha vimAnAdavatIrya vIryazAlI zayanIye niviSTaH / procatuste / 'bhadre, svapatiAsIkRtastvayAvayoryaH sa cedAnIM samAnIya samarpito 'sti' ityuditvA te samutpatya gate / tato 'sau pAdapatana15 mAtatya papraccha / 'deva, bhavAn kva gataH, kuto vA prAptaH, kiM tvayA dRSTam , kimanubhUtam , kimavasthA sA15 vidyAdharI prAptA / etatprasadya sadyaH kathayasva / ' kumAraH samAkhyAtuM pravavRte / 'ito vimAnAdhirUDhena mayA vyoni vaitAThyaparvatakandarodare maNipradIpaprajvalanapradyotitadikcakraM navInaM bhuvanamekamadarzi tatra nalinI18 dalasrastare vidyAdharakumArI ca / tataste mRNAla komalavalayAM candanakarpUrareNudhavalAM kuraGgIdRzamimAM 18 kumArI jIvantImabhivIkSya pramudite uuctuH| 'priyasakhi, pramodaM bhaja, eSa tava mano 'bhirucito dayitaH prAptaH, yatkRtyaM tadAcara' iti vadantIbhyAM sakhIbhyAM tadaGgato nalinIdalAnyapanItAni / iti yAvana 21 samyakpazyatastAvattasyAGgopAGgAni zithilIbhUtAni / tato dayite, tAbhyAM tadRSTvA pUtkRtaM 'yadiyamAvayoH 21 svAminI mariSyati tato'hamapi / ' 'kimetat' iti dhyAyan vilokituM pravRtto yAvattAvatsA vinimIlitalocanA nizcalAGgopAGgA paJcatAmupAgatA / mayA bhaNitam / 'bhavato na deva racituM yuktamidaM gaganagAmitanujA yat / mama virahaduHsahAnalasaMtaptA mRtyumupanItA // ' 79 ___ iti jatpannahaM mohamupAgataH kSaNena vivuddhastayoH pralApAna zRNomi / priyasakhi kupitA kiM tvaM prativacanaM no dadAsi ko hetuH| kiM kRtamapriyametat yadayaM dayitaH smaaniitH|| 80 ma / 'yaTasyai kAlayogyaM tatkAryam / ' tatastAbhyAmudayAcalacUlAvalambini kiraNa30 mAlini candanadArUNyAnIya prapaJcitAyAM citAyAM tadaGgaM nikSiptam / taddatto hutAzanaH prasRtaH / etAM 30 vinAvayorjIvitena kim' iti gaditvA ciraM vilapya ca tatraiva te 'pi praviSTe / evaM tritaye 'pyasthizeSI bhUte kSaNamekamahamapi mudreNa prahata iva mahAzokakuntena prabhinna iva vyacintayamiti / 'pazya vidhi33 vilasitam , yadiyaM vindumatI madanurAgeNa vipannA taduHkhena ete ca / tataH kiM mamaitena strIvadhakalaGka- 33 kaluSitena jIvitena / tato 'mumeva citAnalaM pravizya svasya kalaGkamuttArayAmi' yAvaditi priye, cintayannasmi tAvadvidyAdharamithunamadhye vidyAdharyoktam / 'vilokaya yadayaM kIdRzo nirdayaH kumAraH, iyaM 36 varAkI mRtA, ayaM punaradyApi jIvati / ' vidyAdhareNoktam / 'maivaM vAdIH, yataH striyaH patyau mRte citAyAM 36 pravizanti punaH satpuruSeNa mahilAvinAze svavadho na vidheyH|' etadAkarNya mayA cintitam / 'yadanena yuktamuktam / tata etasyAM bindumatyanukAriNyAM vApyAM nIralAvaNyapUrNAyAM vikasitanIlendIvaralocanAyAM 39 caladdhavalamRNAlavalayakalitAyAM vikasitazatapatravaravAyAM taralajalataraGgaraNadbhaGgikaTAkSacchaTAyAM 39 vikaTakanakataTanitambaphalakAyAmahamavatI/tAsAM tisRNAM jalAJjaliM dadAmi' iti cintayitvAvatIrNo dayite, tAM vApI yAvanmajanonmajanaM kRtvA nirgatastAvattatra sarvamapyapUrva pazyAmi / vyomatalasparzinaH 42 shaakhinH| mahApramANA aussdhyH| ucchritaanggaasturnggaaH| paJcacApazatamAnA mAnuSAH / mahAdehAH pkssinnH| 42 __4) Bdeg bravIditi. 9) B eva tAbhyAM for etAbhyAM. 11) B nalinavana. 15) P pAdapatanamAtanya. 16) B om. sadyaH. 19) B om. kumArI, B vIkSya sapramuditamUcatu:. 21) B inter. tAbhyAM & taddaSTvA. 29) B kAlasya yogyaM. 31) te for te'pi. 36) Badds etatkRte before mRtA. 24 27

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-IV.8 28 : Verse 80] kuvalayamAlAkathA 4 * 79 1 $28) mayA cintitam / 'sarvathA nAsmAkInaM sthAnam , tatra saptahastavapuSaH puruSaH, sarvathAyamanyo 1 dvIpaH' iti yAvadvicintayAmi tAvaddayite, sA vApI vimAnatvamabhajat / tadahaM kamapi puruSaM pRcchAmi 3 ka eSa dvIpaH' iti cintayatA mayA dArakayugalaM vilokya pRSTam / 'ko 'yaM dvIpaH / tato mAM kRmimiva 3 kunthumiva pipIlikApotamiva vilokya tAbhyAM vismayasmeramanobhyAM niveditam / 'vayasya, tadidamapUrva videhamahAkSetram / ' mayA cintitam / 'aho, atizreSThaM saMjAtaM, idamapi draSTavyamabhUt / ' yAvaditi / 6cintayannasmi tAvattAbhyAmahaM kRmiriva kautukAtkaratalena saMgRhItaH / tataH zrIsImaMdharasvAmisamava- 6 srnnaantrmuktH| tato mayA bhagavAn siMhAsanasthaH prnntH| tatastatratyena kenacinRpeNa prastAvamAsAdya essH| tato bhagavatA niveditumArebhe / 'asti jambUdvIpe bharatakSetra madhyamakhaNDe 'ruNAbhaM 9 nAma nagaram / tatra ratnagajendro nAma raajaa| tadaGgajaH kAmagajendra eSa kumaarH| etAbhyAM devAbhyAM 9 'strIlampaTaH' iti matvA strIveSaM vidhAyApahRtya vaitaabykndraantraaniitH| tatrAlIkabhavane 'vidyAdhara vAlikA tava viyogena mRtA' iti te uktvA tAM citAmAropya tAmanu vilapantyo khenApi praviSTe tatraiva 12 dagdhe ca / sApi mAyA vidyaadhrmithuntaa| prabuddho vApyAM smaagtH| tato vApIvyAjena jalakAnta- 12 yAnenAtrAbhyAmAnIyaiSa madantike samyaktvalAbhArthamavasare muktH|' rAjJeti pRSTam / 'bhagavan , etayoretasthAnayane kiM kAraNam / ' bhagavatAdiSTam / 'paJcabhirjanaiH pUrvabhave saGketaH kRto yadekenaikasya parasparaM 15 samyaktvaM dAtavyamiti / pUrva mohadattaH 1 tataH svargI 2 tataH pRthvIsAraH 3 punaH svargI 4 punareSa 15 caramadehaH kAmagajendraH 5 smutpnnH| tattvaM budhyasva mA muhya, yathAzaktyA viratiM gRhANa' iti svAminoktam / tataH priye, rAjJA punaH pRSTam / prabho, ayaM laghuH kathaM vayamuccaistarAH / ' bhagavatA bhaNitam / 18 idamapUrvamahAvidehakSetra, atra tu suSamA kAlaH saiSa zAzvataH, mahAdehA dehinaH / tatra punarbharatakSetra, duHSamA 18 samayaH, sa azAzvataH, atastucchatanavo jnaaH| tato 'pi rAjJA pRSTam / kAvetau devau / ' jinenoce / 'yaiH paJcabhiH saGketaH kRtaH, teSAM madhye etau dvau devau / ' 21 629) evaM bhagavatA nivedite yAvanmayA mastakamunnAmitaM tAvadahaM svamihaiva kaTake pazyAmi, 21 etadeva zayanaM, eSA bhavatI devI' iti / tayA bhaNitam / 'devo yadAjJApayati tadavitathameva, paraM kimapi vijJapayAmi, etadvRttaM tvayA kathitam, atrodgato 'ruNo 'pi mahadvRttaM niveditaM parameSa kAlaH stokH|' 24 kumAreNa bhaNitam / 'yato manasA devAnAM vAcA pArthivAnAM, yo mayA bhagavAn zrIsImaMdharasvAmI dRSTaH 24 so 'dyApi mama hRdayAgrata evAvatiSThate / athavA kimatra vicAreNa, bhagavAn zrImahAvIra etasmin pradeze samavasRtaH zrUyate tameva gatvA pRcchAmi satyamasatyaM vaitat / yadi bhagavAn samAdeSyati tatsatyamanyathA 27 mAyA' iti iti vadana samatthAya kAmagajendaH prsthitH| priyayA paTama / 'yadidaM satyaM tadA kiM kartavyam / ' 27 tenoktam / 'satye jAte vrataM grAhyam / ' tayoktam / 'yadi devo dIkSA grahISyate tadAhamapi' / 'evaM bhavatu' iti vadan kumAra eSa prApto mama samavasaraNam / amunA praNamya pRSTo 'ham / 'kimindrajAlaM, kimu 30 satyam / ' mayoktam / 'satyametat / ' etannizamya samutpannavairAgyaH kaTakanivezaM gtH|' gautamasvAminA 30 pRSTam / bhagavan, ito gatena tena kiM kRtam, saMprati ca kiM tanoti, kutra vA vartate / ' bhagavatAdiSTam / 'ito gatvA devyAH puraH satyamidamiti nivedya pitarau diggajendrAkhyaM khaM sutaM cApRcchaya saMmAnitabandhujana 33 eSa saMprati samavasaraNabAhyaprAkAragopurasyAgramAgato vartate' iti bhagavati vadatyeva satvaraM samAgataH / 33 tato bhagavatA kAmagajendrakumAro vAlukAkavalanamiva nisvAdaM, kSudrabIjakozAbhakSaNamivAtRptijanakaM, kSAranIrapAnamiva tRSNAvardhaka, bandhanahetu:(?) mithyAtvamiva bhavavardhaka, upahAsapadaM, vidvajananindanIyaM, 36 viSayasukhasevanaM manyamAno vallabhayA tayA parijanena ca samaM prvaajitH| tenAnyadA bhagavAn pRssttH| 'kutra te 36 paJca janAH pravartante / ' bhagavatoditam / 'dvau devau staH, tAvapyalpAyuSau / zeSAH punarmanuSyaloke / tato darzito bhagavatA maNirathakumAramaharSiH / eSa mAnabhaTajIvaH / tatra bhave bhavAn mohadatta iti, tasya jIvo 39 bhagavAn kaamgjendrH| eko lobhadevajIvaH, so'pi martyabhave 'vatIrNo 'sti, tasya vairigupta iti nAma / 39 smin bhave siddhiH' ityAdizana bhagavAna zrImahAvIraH samutthitavAn / anyadine bhavyakumudamRgAGkastribhuvanabhavanapradIpaH zrIvardhamAnaH kAkandIpuryA bAhyodyAne smvsRtH| sadasi jIvAjIvapuNya 2) B iti viciMtayAmi. 10) Badds ca befor vaitADhya. 18) BidaM pUrvamahA, P B duHkhamA. 19) B bhUyopi for tato'pi. 27) B tataH for tadA. 31) B om. bhagavan .

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* 80 ratnaprabhasUriviracitA [IV. $ 29 : Verse 801 paapaanvrnirjraabndhmoksssvruupmaackhyau| tato gautamena pRSTam / 'bhagavan' kathaM jIvAH karma badhnanti / ' 1 bhagavatoktam / 'lezyAbhedairjIvAH zubhAzubhaM karmArjayanti / atra jambUphalabhakSaNadRSTAntaH / 3 30) ekadA kasmAdrAmAt SaT puruSAH parazuvihastahastAH samunnatatarucchedAya kAnanAntaH 3 prvissttaaH| tairekasmin zAkhini bhaktaM sthApitam / tatra bhaktapAdape samAruhya kecidvAnarAstatsarvamapi bhaktaM, bhakSayitvA tadbhAjanamapi bhaGktvA prtinivRttaaH| te vanacchedakA api madhyAhne bubhukSAkSAmakukSayastR6SAtaralitacetasastatra tadbhaktaM na pazyanti, bhAjanamapi bhagnamAlokayanti / tatastairiti parijJAtam / 'yatpla- 6 vagayUthena sarvamapi bhaktamAsvAditam , tAvadasmAkaM bubhukSitAnAM kA gatiH' iti dhyAtvA samutthAya phalAnveSaNAya pravRttAste ekaM jambUpAdapaM phalitaM dRSTvA parasparaM mantrayanti 'kathayata, kathaM jambUphalabhakSaNaM 9 krissyaamH|' tato jambUphalAni dRSTvA tatra teSAM mdhyaadekenoktm| 'sarveSAmapi paJcazAkhAH parazvadhAyudhavyagrA 9 vartante, tato mUlAdapyena chittvA phalabhakSaNaM kurmH|' tannizamya dvitIyenoktam / 'asmin pAdape mUlAdapi cchedite bhavatAM ko guNo bhaviSyati, kevalamasya zAkhA eva cchidyante / ' tRtIyena bhaNitam / 'na zAkhA 12 kevalaM phalitA eka pratizAkhA gRhynte|' caturthenoktam / 'na pratizAkhAH, kevalaM stabakA eva pAtyante / 12 paJcamenoktam / 'mamaiva buddhiriha vidhIyatAm , lakuTenAhatya pakvajambUphalAni pAtayata / ' tataH kiMcidvihasya SaSThenoktam / 'bho narAH, bhavatAM mahadajJAnam , mahAn pApArambhaH, stoko lAbhaH, kimatra 15 prArabdham , yadi jambUphalabhakSaNena kaH kArya tadaitAni pakkAni zukasArikAdibhiH pAtitAni svabhAvataH 15 patitAni jambUphalAni svairaM bhakSayata, no vAnyatra vrajata' iti te sarve 'pi tairdharApatitaireva phalaiH sauhityasukhitA jajJire / sarveSAmapi phalopabhogaH sadRza eva, paraM punastatra bahuvidhaM pApaM yenetyuktam / 18 'ayaM pAdapo mUlAdapi cchidyate sa mRtvA kRSNalezyayAvazyaM narakAtithireva / dvitIyenoktam / 'yacchAkhA 18 eva cchedyA' sa nIlalezyayA vipadya narakaM tiryaktvaM vA praapnoti| tRtIyenoktam / 'yatpratizAkhA eva grAhyAH' sa kApotalezyayA tiryagyonAvutpadyate / caturthenoktam / 'yatkevalaM stabakA eva saMgRhyante sa 21 tejolezyayA naro bhavati / ' paJcamenoktam / 'yatpakkAni pakkAni phalAni pAtyante sa padmalezyayA devatvaM 21 lbhte|' SaSThenoktam / 'yatkevalaM bhUmipatitAnyevAsvAdyante' sa zuklalezyayA siddhisukhabhAg / tato gautama pazya tvaM, yadekasmin bhakSaNakArya SaNNAmapi lezyAbhedaH pRthaga bhinnazca karmabandhaH / yazchinddhi bhinddhI24 tyAdikaM karkazaM vaco jalpati, yasya na dayA na satya sa kRSNalezyaH / yaH paJcakAryANyanAryANi samAcarati 24 SaSThaM punardhArtha sa niilleshyH| yazcatvAri kAryANi pApamayAni tanoti dvayaM dharmanimittaM sa kaapotleshyH| yastrINi kAryANi pApArtha trINi ca dharmahetave sa tejoleshyH| yaH kAryadvayaM pApArtha catvAri 27 dharmakAraNesa pdmleshyH| ya ekaM kArya pApahetave paJca dharmArtha ca sa shuklleshyH| tayA jinatvamApnoti / 27 tadbhagavato bhaNitaM sarvairapi surAsuranarezvaraistatheti prtipnnm|| 31) atrAntare rAjaputra ekaH pralambabhujadaNDaH suveSo vakSaHsthalavilasadvanamAlaH samavasaraNe 30 bhagavantaM praNipatya provAca / 'bhagavan , kiM tatsatyam , yadivyena bandinA tatra mama niveditaM tanmaGgalama-30 maGgalaM vA / ' bhagavatoktam / 'bhadra, satsarvamapi tathyameva / ' tadAkarNya 'bhagavadAdezaH pramANam' iti gaditvA samavasaraNatastasminnirgate gautmenaabhydhaayi| 'nAtha, ko 'yaM pumAn , kimetena pRSTam / ' 33 tato bhagavatAnekalokapratibodhAya samAcacakSe / 'samasti jambUdvIpe bharatakSetre madhyamakhaNDe 33 RSabhapuraM nAma nagaram / tatra candramaNDalakaranikaranirmalakIrtisphUrtizAlI candraguptaH kSitipatiH / tatsanarananavikramo vairigaptaH / tasyAnyadine medinIsvAminaH sabhAsInasya samAgatya praNipatya ca 36 pratIhArI vyajizapaditi / 'deva, dvAre nagarapradhAnanarA bhavaJcaraNadarzanamabhilaSanti / ' tadAkarNya 36 rAjJoktam / 'tvaritameva preSyantAm / ' tatastayA saha tainaraiH pravizya kimapyapUrva ca vastu prAbhRtIkRtya rAjAnaM praNamya vijJaptam / "durbalAnAM balaM rAjA" iti paribhAvayatu devaH / sarvamapi nagaraM kenApi muSitam / 39 yatkiMciccAru tadakhilamapi nizi hriyte|' rAjJoktam / "yUyaM vrajata sa parimoSI vilokyate lgnH| 39 tato rAjJA purArakSamAkArya samAdiSTam / 'aho, madhye puraM mahAMzcauropadravaH' iti / tenApi vijJaptam / 'na 12) Pom. na. 14) B adds (above the line) saMtu before kevalaM. 16) B repeats svairaM (below the line). 17) Badds tasya (above the line) after pApaM. 21) B apakvAni for second pakvAni, P B add vA before phalAni. 22) Badds bhavati after 'bhAg. 37) Bom. ca. 40) Badas deva before na dRzyante.

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-IV. SS 33 : Verse 85] kuvalayamAlAkathA 4 * 81 1 zyante hiyamANAH padArthAH, na cauro 'pi locanagocaraH / kevalametadeva sarvatrApi prAtaH parizrUyate yatpuraM 1 tam / ahaM devAdezena puraparitrANaM karomi, paraM kenApyupAyena na malimlucopalabdhiH / tataH svAmI 3 kasyApyanyasyAdezaM dadAtu / tasminnevamuktavati narezvareNa sakalamapyAsthAnamaNDalamAluloke / 932) tato vairiguptena viracitAJjalinA vijJaptam / 'yadi deva, saptarAtramadhye taM stenaM devAntikaM nAnayAmi tato 'haM jvAlAkulaM jvalanamA vizAmi' iti / tato rAjAdezamAsAdya vairiguptasya suguptavidhinA 6 prakoSTha nikSiptakheTakasya karatalakalitakarAlakaravAlasya catvararathyAmukha gopurArAma sarovaravApIdevakula- 6 pAnIyazAlAmaTheSu vicarataH SaD divasA vyaticakramuH, na punastena sa caurapumAnupalabdhaH / tataH saptame divase vairiguptena cintitam | 'sarvatra mayAnveSitaM puraM paraM na cauraH prAptaH, tadatra ko 'yamupAyo vidheyaH, 9 mama ca pratyUSe pratijJA paripUrNA tAvadAgatA mamApUrNa saMghasya paJcatA, tadadya kSaNadAyAM zmazAne mahAmAMsaM 9 vikraya kamapi vetAlaM sAdhayitvA cauravRttAntaM pRcchAmi' iti vicintya vairiguptaH zmazAnabhuvaM saMprAptaH / tatra ca tena mahAsAhasinA kSurikayA jaGghayormahAmAMsamutkRtya haste vidhAya vAratrayaM bhaNitam / 'bho bho 12 rAkSasAH pizAcA vA zrUyatAm, yadi bhavatAM mahAmAMsena kArya tadetadgRhItvA cauravRttAntaM nivedayata / ' 12 vetAlenoktam / 'mahAmAMsamahaM grahISye / ' kumAreNa bhaNitam / 'pramANametat paraM caurapracAraH parikathanIyaH / ' kumAreNArpite mahAmAMse tenoktam / 'bhadra, mAMsamidaM stokaM vistraM ca yadyagninA pakkaM bhavAn dadAti tadA 15 gRhNAmi / ' kumAreNa bhaNitam / 'citAsamIpamAgaccha yathA svecchayAgnipakaM svamAMsaM bhavate dadAmi / ' 15 vetAlaH provAca / 'bhavatvevam / ' tatastau citAsamIpamAjagmatuH / kumAreNAparaM svamahAmAMsaM pakkaM tasmai : pradattam / tena ca svecchayA bhuktaM ca / atrAntare gautamena pRSTam / 'bhagavan, kimu pizAcA rAkSasAzca kAvalika18 mahAraM kurvanti kiMvA na / ' bhagavatAzatam / 'gautama, na kurvanti / ' gautamenoktam / 'yadyamI nAznanti 18 tataH kathamanena mahAmAMsamazitam / ' bhagavatAdiSTam / 'prakRtyA vyantarA amI bAlA iva krIDAM kurvanti / 'mahAmAMsaM bhuktam' iti lokasya mAyAM darzayanti / ' vetAlena bhaNitam / 'etanmahAmAMsaM nirasthi mahyaM na 21 rocate, yadya sthitkaTakaTArAvakaraM paraM dadAsi tadehi / ' tadAkarNya kumAro dakSiNajaGghAmutkRtya citAnale 21 paktvA vetAlasyArpayAmAsa / ' punastenoktam / 'bho bhadra, amunAdhunA pUrNa, saMpratyatIva tRSito 'smi, tatastava zoNitaM pAtumicchAmi / ' 'piba' iti vadatA kumAreNa yAvadekA snasA vidAritA tAvat hAhAravamukhare24 STTahAse gaganAGgaNaM prasRte, 4 ) B rAtri for rAtra- 5 ) Bom iti 7 ) B cauraH pumA kSakSataM. 31 ) B pANirbilaM vilokituM 34 ) B maNimayaM bhuvanaM 11 27 'sAhasenAmunA tuSTo'smyananyasadRzena te / yatkiMcidyAcase vIra tadeva vitarAmyaham // 81 933) tataH kumAraH provAca tuSTastvaM yadi saMprati / matpuraM muSitaM yena tameva kathayasva me // 82 27 vetAlo 'pyabravIddeva tasya caurasya ko 'pi na / pratimallaH sa dRSTo 'pi na hi kenApi gRhyate // 83 tanizamya kumAreNAkSataM vIkSya kSataM dRzA / proce vetAla caurasya sthAnameva nivedaya // 84 jagAda sa ca vetAlo yadyevaM zRNu tattvataH / zmazAnAntaHsthanyayotre 'muSya stenasya saMzrayaH // 85 30 tatra vaTe chidrameva dvAram / tacchrutvA kumArastvaritaM vikaTaM pretavanavaTaM samAruhya zAkhAsu prati- 30 zAkhAsu mUle patra nikarAntare ca kRpANapANirvilokituM pravRttaH / tataH koTarasthacchidrasamIpe rAjaputro yAvadadhova karoti tAvattato dhUpagandhaH kasmIrajavanasAra mRgamadaparimalamAMsilo nissarati / veNu33 vINAvaM kAminIjanajanitagItasaMvalitaM zrutvA rAjasanunA cintitam / 'dRSTamamuSya parimoSiNo 33 mandiram / adhunA yo balavAMstasyaiva rAjyam' iti vicintya tatraiva vivare kiMcidbhUbhAgamupasarpya maNimayabhavanaM cArukAJcanatoraNaM varayuvatijanapracAraM vilokya vyacintayat / 'sa tAvaduSTAcAraH kutra bhAvI' iti 36 cintayatA tena kApi lolalocanA nistandracandravadanA tato niHsarantI dRSTA pRSTA ca / 'kasyAyamAvAsaH, kAsi tvam, kutra vAsa parAskandI, strIjanazca kiM gAyati / ' tayoktam / 'bhadra, kathametAvatIM bhuvamAgataH, tvamatIva sAhasikaH kutaH sthAnAdAgataH / tenoktam / 'RSabhapurAt / ' tayoktam / 'yadi tvaM RSabhapura39 vAstavyaH [ tat ] kiM jAnAsi candraguptanarezvaraM vairiguptaM putraM ca / ' tenoce / 'bhadre, tvaM kathaM jAnAsi 39 tayordvayorapyabhidhe / tayoktam / 'gatAste divasAH / ' tena bhaNitam / 'kathaya sphuTaM tayoH kiM bhavasi kathamabhijAnAsi tau, kena pathAtra prAptAsi / ' 36 3 11 ) B tena sAhasinA. 24 ) P pravRte for prasRte. 28 ) B 35 ) B varayuvatijAtapracAraM. 39 ) PB om. [ tat ]. 24

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ratnaprabhasUriviracitA [ IV. SS 34 : Verse 86 1 9 34 ) tathA bhaNitam / 'zrAvastIpuryA surendrasya bhUpaterduhitA bAlyAdeva tena pitrA tasya vairiguptasya 1 pariNetuM pradattAbhUvam / atrAntare vidyAsiddhenAmunApahRtAtra pAtAlatale prakSiptA ca / jAnAmi tena 3 tannAmnI / kevalaM nAhamekApahRtA atra bahutarA mahelA anyA api / ' tena cintitam / 'aho, mamaiSA 3 campakamAlA pradattAsIt, tataH pazcAdvidyAdhareNAmunA samAnItA / ' tenoktam / 'bhadre, kathaya sa kutra vidyAdharAdhamaH, kathaM hantavyaH sa mayA / ahaM sa eva vairiguptaH, yadi mamopari mahAn snehaH / tayoktam / 6 'yadi bhavAn vairiguptastadvareNyamajani / ' tathA niveditam / 'kumAra, rahasyaM zRNu yathA pApI mAryate / atra 6 devatAyatane 'sya kheTakaM siddhakRpANaratnaM cAsti tadgRhANa / ' rAjaputreNoktam / 'tAvadbhadre, kathaya kathaM kathaM vartate sa vidyAsiddhaH / ' tayoktam / 'ayamastamite dinapatau bahulAndhakArAyAM nizAyAM svecchayA pari'bhramati, mahilAdikaM yatkicitsAraM sAraM vastu prApnoti tatsarvaM samAnayati / divase tu mahelAvRnda- 9 parivRto 'traiva tiSThati / tathAsyAnena kRpANenAnena kheTakena ca sarvakArya siddhiH / ' kumAreNoktam / 'adhunA kutrAste sa niSkRpacakravartI / ' tayoktam / 'sarvadaiva sarvastrIjanamadhyagato bhavati, sAMprataM yadi sa bhavati 12 tato nAhaM na tvaM ca / ' tenoktam / 'yadi sa nAsti tata etAH kathaM gAyanti / ' tatastayA proce / 'bhadra, 12 etAstena vinA pramuditAH paThanti gAyanti ca / punaranyA rudanti ca / ' 935) kumAreNoktam / 'bhadre, mama tasya ca dvayormadhye etAsAM hRdayaMgamaH ko bhAvI' iti / 15 smitvA tayA proce / yataH 15 * 82 'tyajanti zUramapyetAH sasnehamapi yoSitaH / kAtaraM vigatasnehaM cApi gRhNanti kAzcana // 86 vAtoddhUtadhvajapaTa iva vidyudivAsthiram / mano manasvinInAM hi kaH paricchettumarhati // 87 18 tathApyetAvanmAtraM jAnAmi yadyetA bhavantaM vilokayiSyanti tato 'vazyamevaitAsAM tvayi sneho 18 bhAvIti / etAH sarvA api bhavatpurasaMbandhinya eva bhavantaM dRSTrA pratyabhijJAsyanti / tato darzanatAsAM deyameva / ' kumAreNoktam / 'tAvadasya vidyAsiddhasya siddhakRpANaM kheTakaM ca samAnaya, pazcAdapi 21 tAsAM darzanaM dAsyAmi / ' tayoce / 'atraiva kumAra, tAvat sthAtavyaM tvayA yAvadasmi siddhakheTakaM siddhakhaGgaM 21 ca samAnayAmi' ityuditvA sA gatA / tataH kumArazcintitavAn / 'kadAcidiyaM mama mRtyuhetave kamapyupAyamanyaM cintayati tato na yuktaM sthAtumatraiva' iti kumAraH pravicAryaM gRhItakheTakaH svIkRtakhaGgaratnaH 24 'pazcAdyAghuTya sthitaH / tataH sA svIkRtakhaGgapeTakA tatra pradeze kumAramapazyantI viSaNNamAnasA kumAreNa 24 bhaNitA / 'bhadre, tvaritaM samAgaccha atrAhamavatiSThAmi / ' iti samAkarNya tathA proktam / 'ataH sthAnAtkathamanyatra bhavAn saMprAptaH / ' tenoktam / 'yato dhImatAM 'strINAM kadApi na vizvasanIyam' iti zAstroktiH / 27 tataH pazcAdyATya sthitaH / ' 'kumAra, rAjyapadavIyogyastvamasi, yo mahelAnAM na vizvasiti' ityuditvA 27 sA tatpuro bhUmau kaukSeyakaM kheTakaM ca mumoca / rAjatanayaH sauvaM nistriMzaM kheTakaM ca tatkare 'rpayAmAsa / kumAreNa pradakSiNIkRtya tadvayamadvayarUpaM svIcakre / tayoktam / 'kumArasya vijayAya bhavatvidaM khaDgaratnam / 30 kumAreNoktam / 'bhadre, kathaya kutra saMprati sa duSTavidyAsiddhaH / ' tayoktam / 'kumAra, kena nigamenAtra 30 praviSTo bhavAn / ' tena proktam / 'vaTapAdapakoTara cchidreNa / ' tayoktam / 'nAhaM dvAraM jAnAmi, etatpunarjAne yena dvAreNa tvamAgataH so 'pi tenaiva samAgamiSyati tatastvayA sajjIbhUyAmunA divyakhanena zirazcheda33 nIyaM tasya / anyathA sa punastava duHsAdhyaH' ityavagamya kumAraH kRpANapANichidradvAri sthitaH / ' 636 ) atrAntare sa vidyAdharAdhamaH prabhAtakAlamAkalayya dhavalagRhopari zayanIyaprasuptAmekAkinIM tasyaiva rAjasUnoH patnImapahRtyAgataH / tatraiva bile taM pravizantaM nirIkSya rAjaputryA pUccake / 36 'hA vairigupta hA vIra tvatpriyAsmi hRtAmunA / campAvatyabhidhAnena tasmAttrAyasva mAmiha // ' 88 evaM tatpralapitamAkarNya vidyAsiddhenoktam / 'tena tava kiM kAryam, yadi taM dayitaM prApnomi tadA tamevAnAmi' iti zrutvA kumAreNa cintitam / 'aho, durAcAraH samAgata eva paraM mama prANapriyAM gRhItvA, 39 tadetatsundaraM jAtamiti yatsalontro 'yaM cauraH' iti cintayatA kumAreNa biladvAre vidyAsiddhasyottamAGgaM 39 5 ) B haMtavyo yadi mamopari. 21 27 ) B vizvasati 33 ) PB om. tasya "suMdara saMjAtaM. pravizaddRSTam / tataH kumAreNa cintitam / 'etasya zirazchinajhi, athavA nahi nahi kiM satpuruSAzchalAnveSiNaH, sarvathA na yuktametattAvadasya zaktimAlokayAmi' iti dhyAyataH kumArasya vidyAsiddhazchidreNa 42 praviSTaH / tato bhaNitaH kumAreNa / 'are, vidyAsiddho yadi bhavAn tannItipathe vraja, yadanyAyaM kuruSe 42 com. tAvat. 22 ) B kadAcidayaM. 26 ) Binter. dhImatAM strINAM & kadApi 34 ) P prabhAtamAkalayya. 38 ) B kumAreNoktaM for kumAreNa cintitam 39 ) B 33 36

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-IV. 8 39 : Verse 103] kuvalayamAlAkathA 4 * 83 1 tannocitam / yadi satyena cauro 'si tena nigrahayogyastvaM tatsajIbhava yuddhAya / ' taM rAjatanayaM prekSya 'aho, 1 kathameSa vairiguptaH saMprAptaH, tadvinaSTaM kAryam , tAvatkimanena bAlena' iti cintayatA vidyAsiddhena proce| 3 'kRtAntavadanaprAye kSiptaH kena bile bhavAn / kathaM vA rUpasaubhAgyazAlI nidhanamicchasi // 89 3 tataH 'kRpANaH kRpANaH' iti vadan sa devAyatane rAjatanayasaMbandhinaM khaGgaM kheTakaM ca gRhItvA ddhyo| 'aho, madIyaM na khagaratnaM na ca kheTakamapi' iti cintayan kumAramUlamAgatya bbhaann| 6 'madIyAntaHpure kena preSito mAtRzAsitaH / jJAtaM vA kupitaH pretapatireva tavopari // 90 6 idAnIM te na nissAro vidyate bilato'mutaH / sUpakArakarAyAtaH zazavatvaM vinaMkSyasi // 91 proce kumAraH 'kiM re re, svairacArI mama priyAm / hRtvAdha mAdyasi prApta evAsi tvaM yamAntikam // 92 9 37) iti vadatA kumAreNa tadabhimukhaM khagaprahAraH pradattaH / tenApi kalAkauzalazAlinA 9 vaJcayitvA taM prahAraM kumAraM prati prahAro muktH| kumAreNApi sa vaJcitaH / tatastayorvanamahiSayoriva nAhavaH pravRttaH, parametayormadhye na kasyApi jayo 'bhUta, tathApyayaM vidyAsiddhaH 'kaitavI' iti vicintya 12 campakamAlayA proce / 'kumAra, khagaratnamidaM smara' / 'ramyamuktamanayA' iti vicintya kumAro nijagAda / 12 'yadi sidyasi siddhAnAMcakriNAM vAsiratna bhoH| tattvaM mama karAgrasthaM lunIhAsya ziro'dhunA' // 93 atha vidyAsiddhena cintitam / 'aye, anayaiva vanitayA khaDgaratnamidamasyArpitam , AH pApe, kutra vrajasi' / 15 iti vadana tAmeva dizaM vidyAsiddhaH pratyadhAvata / / 15 ___ yAvannApnoti vanitAmimAmeSa narAdhamaH / tAvattvaritamevAsya zirazciccheda rAjasUH // 94 uktaM cmpkmaalyaa| 18 'kumAraitasya vakrAntaH samasti guTikA kila / vidAryAsya mukhaM tattvaM tAM gRhANa mahAzaya // 95 18 sa zrutveti mukhAttasya dAritAhuTikAM ttH| lAtvA prakSAlya cAtmIyamukhe cikSepa tatkSaNam // 96 kumAraH suguNAdhAraH paaraavaarstrornnsH| tayAdhikaM samuddIpya darpabhUH samabhUttadA // 97 21 638) tatastasya kumArasya tenaiva lalitavilAsinIjanena saha viSayasukhamanubhavato vismRtasakala-21 guruvacanasya nijazaktivijitasiddhalabdhArthAnekapraNayinIjanasanAthapAtAlabhuvanasya tatraiva vasata ekadinamiva dvAdaza vatsarANi vytiiyuH| dvAdazasaMvatsaraprAnte 'sya prasuptasya tasya nizAyAH pazcime yAme 24 'dRzyamAno maGgalapAThakaH ppaatth| 24 'prabhAtasamaye nidrAmohaM tyaja narezvara / avalambasva saddharma karmanirmUlanakSamam // 98 saMsArasAgaraM ghoramavagamya duruttaram / tyaktvA strIsaMgatiM dharmapotametamalaM kuru // 99 27 etadAkarNya rAjasU nunA cintitam / 'aho, kutraiSa bndidhvniH|' tAbhirbhaNitam / 'deva, na jAnImaH, 27 sa ca na dRzyate, kevalaM zabda eva shruuyte|' evaM bandinA sapta dinAni yAvajaya jayeti zabdapUrva saMsAra vairAgyajananAni vacAMsyuJcaratA tasya ceto vismayasmeramatanyata / tato rAjaputreNoktam / 'ayaM tAvada30 vazyameti tadenameva pRcchAmi' iti vadatastasya kumArasya sa divyabandI pratyakSIbhUya 'kumAra, jaya jaya' 30 ityuvAca / kumaarennoce| 'bho divya kathaya kSipramAyAtaH kena hetunA / pratyahaM kimu vairAgyavaco jalpasi matpuraH // 100 33 divyenoce 'tava svAnte, kiMcitkautukamasti cet / pRccha tadvatsa nirgatyAmutaH paataalveshmnH||101 33 sa proce 'kiMtu pAtAlamidaM kAlaH kiyAna gtH| vasato me'tra keneto nirgacchAmi pathA nanu' // 102 so'pyUce 'zvabhramevedaM, dvAdazAtra samAH sthitaH / tvaM tato vivaradvArAnayA nirgaccha satvaram // 103 36 39) evamAkarNya kumAraH samutthitaH / tirohito bandI / tAbhiH strIbhirnatvA tato vijJaptaH 36 kmaarH| ataH paraM devaH kiM krtkaamH|' kumaarennoktm| 'ahaM bhagavantaM divyajJAninaM kathamapi gatvA prakSyAmi yadeSa kiMcijalpati tatsatyaM tatkiyate na vA' iti / tatastAbhirbhaNitam / 'yaM mArga tvamaGgI39 kariSyasi vayamapi tamevAnusariSyAmaH / ' evaM pratipadya sadyaH kumAraH samutthAya tenaiva vivaradvAreNa 39 nirgatyeha sthitAnasmAn matvAgatya saMdehaM papraccha, nirgatazca so 'yaM candraguptaputro vairiguptA, prAgbhavasaMbandhisaGketitadevakRtabandiprayogeNa prtibuddhH|' tato gautamagaNadhAriNA vijJaptam / 'bhagavan , sAMprataM 2) B tAvat athavA kimanena. 4) Bom. tataH. 8) 0 kumAraH proce for proce kumAraH. 10) P pratihAro for prati prahAro. 12) BdegmanayA viciteti kumAro. 21) Pom. kumArasya, B adds ca before saha. 22) B om. tatraiva vasata, B eka dinamiva. 25) P karma nirmalakSamam , 0degnirmalana 30) P tadetameva pRcchAmi. 37) B kimapi for kathamapi. 38) B yaM tvaM mArgamaMgI.

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* 84 ratnaprabhasUriviracitA [IV. 8 39 : Verse 1041sa kutropagataH' iti / bhagavatA niveditam / 'taM kAminIjanaM pAtAlAdAkRSya saMprati samavasaraNatRtIya- 1 toraNAsanna eSa saMprAptaH' yAvadbhagavAniti kathayati tAvadAgatya kumAraH straiNena samaM bhagavantaM pradakSiNIkRtya 3 praNipatya ca sukhAsanasthaH papraccha / 'bhagavan , kena hetunA ka eSa divyaH stutivataH pratibodhayati, kutra 3 vA sa sAMpratam' iti / tato bhagavatA paJcAnAM janAnAM bhavaparaMparA vistAritA tAvadyAvanmaNirathakumAraH kAmagajendraH sa ca tRtIyo vairiguptaH svargatazcayutvA bhavAn lobhadevajIvo 'tra samutpannaH pramattazca / tato 6 mAyAdityacaNDasomAbhyAmanekaprAbhAtikamaGgalapaThanacchadmanA pratibodhitaH' iti / tannizamya kumA- 6 reNoktam / 'bhagavan , saMprati kiM vilambaM karoSi dIkSAdAnena prasadyatAm / ' tato bhagavatA yuvatIjanena saha vairiguptaH pravAjitaH / tataH sakalatrailokyasarovarAlaGkArapuNDarIkaH puNDarIkadhavalamahimA 9 zrIvardhamAno hastinApuramAgatya smvsRtH| bhagavatApi svayaM sarAganIrAgadevatAsvarUpaM vyAkhyAtam / 9 skandarudracaturmukhavyantaragaNAdhipaprabhRtayo devAH sarAgAH samArAdhyamAnA janAnAM janAdhipA iva saMtuSTA rAjyazriyaM yacchanti / ruSTAH santo 'paharanti ca / punastIrthakarAH siddhA nirdagdhakarmendhanAH kevalino 12 rajomadamohaparihRtA ete nIrAgAH svargApavargazriyaM dadati / 12 640)atrAntare brAhmaNadArakaH zyAmalavakSaHsthalavilasadbahmasUtrastriHpradakSiNIkRtya bhagavantaM praNamya papraccha / 'bhagavan , ka eSa pakSI manuSyabhASayA bhASate, yattenoktaM tadyuktamayuktaM vA / ' bhagavatAdiSTam / 15 'bhadra, sa pakSI vane divyo yattenoktaM tatsarvamapi yuktmev|' etadadvagamya samavasaraNataH sa niSkrAntaH / 15 tato jJAnavatApi zrIgautamena pRSTam / 'bhagavan , ka eSa sukhasaMbhavo dArakaH, kimetena pRSTam / ' evaM pRSTo bhgvaanivedyaamaas| 18 'asti nAtidUre saralapuraM brAhmaNAnAM sthAnam / tatra yajJadevo mahebhyaH sUtrakaNThaH / tatsUnuH svayaMbhu-18 devaH / sa ca yajJadevaH kAlakrameNa paralokamiyAya / tatrAstamite dvijapato sarvamapi vasujAlaM vililye| pUrvakarmapariNAmena dinayogyamapyasya nAstyazanam / tata evaM kSINe vibhave na bhavanti lokayAtrAH, visaM21 vadantyatithisatkArAH, babhUvuH zithilA bandhukriyAH, galahastitAni dAnAni / 21 gurUNAM bAndhavAnAM ca mahimAbhAjanaM janaH / tAvadeva prajAyeta mandire yAvadindirA // 104 puraH sthitAH samuttuGgA api lakSmIvatAM narAH / bhajanti na dRgAtithyaM dAriyAanabhAjinaH // 105 24 mAnavAnAM bhavedAndhyaM bAdhiryaM ca zriyA saha / ato dInaM na pazyanti na zRNvanti ca tdvcH|| 10624 etatparijJAya jananyA svayaMbhUdevo bhnnitH| 'sarvo 'pi zobhate lakSmyA vatsa vatsalamAnasa / tayA vinA bhavAnatra jIvannapi mRtAyate // 107 27641) sa pitA tava puNyavAnastamito 'taH kuTumbapoSaNaM tvadAyattameva' iti zrutvA svayaMbhudevo 27 mAtuzcaraNanamaskaraNapUrva racitAJjaliH provAca / 'janani, khedaparaM mano na vidheyam , ahaM bahubhirapi dinairanupArjitArtho gRhaM na vizAmi' ityuktvA mandirato niHsRtya viprasUnuAmAkaranagarakheTAkulAM 30 vipulAM vilokayan sarvairapyupAyairarthamanveSayan campApurImavApa / tatra cAstaMgate dinapatau svayaMbhudevaH 30 puryantaHpravezamalabhamAno jIrNodyAne pravizya kayA rItyA vibhAvarI nirgamanopAyaM karomIti vicintayan tamAlapAdapamAruhya vyacintayaditi 'dhiga janmedaM yena mamaitAvatAM dinAnAM madhye sarvatra paribhramataH kare 33 varATikApi na cttitaa| kathaM gRhaM pravizAmi' iti cintayannasti / tatastamAlapAdapasyAgho janadvayaM 33 samAgatam / ekenoktam / etatkAryamasya tamAlasyAdhaH kAryam / ' dvitIyenoktam / 'bhavatvevam / ' tato dvAvapi dazApi dizo vilokya sundaramiti sthAnaM procatuH / svayaMbhudevastayorvaco nizamya sthitH| 36 tatastAbhyAM khanitreNa bhuvaM khanitvAbhijJAnapUrvakaM karaNDakaM nikSipya proktam / 'atra yaH ko'pi bhUto vA pizAco vAparo'pi vaa| ayaM nyAsIkRtastena pAlanIyo nidhiH sadA // 108 ityuditvA tau yathAsthAnaM gatau vilokyAmunA cintitam / 39 'yatra yena yadA yacca yAvallabhyaM yato janAt / tatra tena tadA tacca tAvadasmAdavApyate // 109 39 iti dhyAtvA sa ca pAdapAdavatIrya karaNDakasthAni paJca ratnAni nirIkSya romAJcakavacitAGgazcinta__ yAmAseti / etAni svIkRtya saMprati svavezma prati vrajAmi' iti dhyAtvA gRhItvA ca svayaMbhudevaH pathi 42 gacchanmahATavImAptavAn / itazca dinakaro'pyastarocirajani / 4)P namo for tato. 5) P bhagavAn for bhavAn. 6) B degsomAbhyAM prAbhAtika. 7) P yauvanena B yauvatena for yuvatIjanena. 8) Pom. puNDarIkaH 19) B has a marginal gloss on dvijapatau and vasujAla in this way: arthAtaraM dvijapatau caMdre'stamite sati vasu-kiraNa jAlaM vilayaM gacchati / . 23) B samuttuMgApi. 26) B'mAnasaH 33) Pna ghaTitA. 42) B iti dinakaro. ___36 ___42

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21 -IV. 843 : Verse 110] kuvalayamAlAkathA 4 * 85 1 42) so 'pi bahulaviTapasaMkule kasminnapi pradeze 'nalpazyAmaladalanicitaM nyagrodhamAruhyeti 1 dhyAtavAn / 'aho, vidhinA pradattaM yaddAtavyam / tato'dhunA gRhaM gato ratnamekaM vikrIya sakalakuTumba skRtyaM tatkariSyAmi / ' tataH pravRtte 'vatamase sUcImedya tatra vividhavarNA bahavaH pakSiNaH 3 samucchritatanavaH svayaMbhudevAdhyAsitameva vttmaashritvntH| atha tatra samAgatyaikaH pakSI pakSisaMghAtamadhyasthaM jarAjIrNAGgaM pakSiNamekaM praNamya vyajizapaditi / 'tAta, tvayAhaM jAtastvayAhaM saMvardhitasta6 ruNIbhUto nayane mamAdya saphalIbhUte, karNAvapi kRtArthoM jAtI, etatpakSiyugalamapi sArtha jAtam / adyA- 6 tmAnaM garutmato 'pi gurutaraM manye / ' etadAkarNya jIrNa pakSiNA bhaNitam / 'saMprati bhavAnatIvAmandAnandasaMdohameduramanA iva lakSyate, [ato] vatsa, bhavatA bhramatA kimapi yadRSTaM zrutamanubhUtaM vA tatsarvamapi 9 nivedaya / tenoktam / 'tAta zRNu, adyAhaM bhavatsamIpataH samutpatya gaganatalaM kiMcidAhAramanveSayan 9 yAvadgaganatale bhramAmi tAvadahaM hastinApure prAkAratritayamadhyagataM manuSyalokaM vilokya 'aho, kiM punare tatpazyAmi' iti dhyAtvA dvitIyaprAkArAntare pakSigaNamadhye gatvAhamupaviSTaH san zoNAzokapAdapasyAdhaH 12siMhAsanAsInaM bhagavantaM kamapi divyajJAninaM jJAtvA vyacintayamiti / 'aho, dRSTaM yadraSTavyaM mayA tribhuva-12 naashcrykaari|ttstaat, tena bhagavatA sakalasaMsArasvarUpaM prruupitm| tathA hi, 'prdrshitHpraannignnvicaarH| vistAritaH karmaprakRtivizeSaH / vizeSito bandhanirjarAbhAvaH / bhAvitaH sNsaaraashrvviklpH| vikalpita sthitivipttivishessvistrH| prarUpito yathAsthito mokSamArgaH' iti / tato mayA bhagavAn pRssttH| 15 'he nAtha, asmAdRzaH pakSiNaH prAptavairAgyA api tiryagyonitvAtparAyattAH kiM kurvantu / ' tato bhagavatA mamAbhiprAyaM parijJAya samAkhyAtam / 'he devAnupriya, bhavAn saMjJI paJcendriyaH paryAptastiryagyonirapi 18 samyaktvaM labhate / ' gaNadhAriNoditam / ke prANino nrkgaaminH|' bhagavatA niveditam / 'ye paJcendriya-18 vadhakAriNo mAMsAhAriNazca te sarve 'pi dehinaH shvbhryaayinH| ye ca samyaktvaM bhajante te narakatiryaggati dvaarpidhaayinH|' mayoktam / 'deva, pakSiNaH pazcendriyavadhakAriNo mAMsAhAriNazca kathaM samyaktvadhAriNaH, 21asmAkaM jIvitaM pApaparameva / evaM vyavasthite mayA kiM kartavyam / ' tato bhagavAnnijagAda / 'kila yaH snehaM chittvA niyantrya sauvaM tathA ca karaNagaNam / vidhinA muJcati dehaM sa prANI sugatimupayAti // 110 24 pakSiNo'pi zuddhamanasaH samyaktvaM dadhati' iti nivedya samutthAya bhagavAnanyatra vijahAra / ahamapi 24 taM bhagavadupadezaM nizamya jAtavairAgyo 'kRtAhArastAta, tava samIpamupAgataH / aghunA prasAdaM vidhAya mAM preSaya / mamAparAdhaM sarvamapi kSamakheti yathA svArthaparo bhavAmi / ' tataH sa pakSI snehanigaDAn chittvA 27 sparzanendriyAdituragavRndamidaM niyanya ca mAtaraM jyeSThaM kaniSThaM ca bhrAtaraM tathA mahatIM ladhvI svasAraM 27 bhAryA zizUn mitrANi cApRcchaya gaganatalamutpapAta / 43) itazca vibhAtAyAM vibhAvoM sarvo 'pi pakSigaNo vaTapAdapataH prayayau / taM vihaGgagaNaM 30 samutpatitaM nirIkSya svayaMbhudevo 'pi vismayasmeramanAzcintituM pravRttaH / 'aho, mahadAzcarya yadatra vane 30 pakSiNo 'pi manuSyabhASAbhASiNaH saddharmaparAyaNAzceti / avazyamete divypkssinnH| sa ca pakSI! parityajyAtmano hitaM dharmamevAGgIcakAra / yadi pakSiNo'pi dharmamArgamanusaranti tadahaM parasya ratnAni 33 gRhItvA kuTumbapoSaNaM kathaM karomi / tataH sAMpratametadeva me karaNIyaM yasya samIpe 'munA dharmaH zrutastameva 33 gatvA pRcchAmi / 'yadbhagavan ke pakSiNaH, kiM vA tairmantritam' ityApRcchaya yatkRtyaM tatpazcAdAcariSyAmi / yadamunA pakSiNA kRtam' iti dhyAtvA vaTapAdapAdavatIrya hastinApuramidaM samAgataH / bho gautama, mama 36 samavasaraNe saiSa praviSTaH, pRSTazcAhametena, sa pakSI vane kaH, kathito mayA yathaiSa divyapakSI / idaM nizamya 36 samutpannavairAgyo nirgataH / tato nirviNNakAmabhogaH saMjAtaviveko vigalitacAritrAvaraNIyakarmA tayo ratnAni pratyarpA mamaiva sakAzamadhunA samAgacchannasti' iti / yAvadidaM sa bhagavAn mahAvIro nivedayati 39 gautamAdInAM purastAvatprAptaH svayaMbhudevaH pradakSiNIkRtya bhagavantaM provAca ca / 'deva, prabuddho 'haM vane pakSi-39 vacanamAkarNya tato mama dIkSAM dehi|' tato bhagavatA yathAvidhi svayaMbhudevo dIkSitaHcaNDasoma bhudevaH pUrvabhavasaGketitadevena pakSiprayogeNa prtibodhitH| tato bhagavAn sarvajJaH zrImahAvIradevo magadha42 dezamaNDale zriyogRhaM rAjagRhaM jagAma / tatra racite sarvadevaiH samavasaraNe zrIzreNikaH kSoNinAyakaH sapari- 42 1) B pAdapa for viTapa. 3) B has a marginal gloss on sUcImeye thus: lakSaNazabdoyaM mahAnivaDe. 8) PB om. [ato]. 19) Badds ca after ye. 24) adds bhagavatokta before pakSiNo'pi. 30) P madane B yadvane for yadatra vane. 41) PsaMketidevena.

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*86 ratnaprabhasUriviracitA [IV.$ 43 : Verse 1111vAraH parayA bhaktyA bhagavantaM natvA yathAsthAnasamAsInaH sAdaraM prapaccha / bhagavan , zrutakSAnaM kim / ' 1 44) tato bhagavatA zrutajJAnaM sAGgopAGgaM samAdiSTaM viziSTam / tathA ca / a-Da-ka-ca-Ta-ta-pa-ya-za-ete zobhanavarNA vijnyeyaaH| A-I-kha-cha-Tha-gha-pha-ra-Sa-azobhanAste punarbhaNitAH // 111 e-u-ga-ja-Da-da-ba-la-sa-subhagAH saMbhavanti sarvakAryeSu / ai-au-tha-jha-Dha-dha-va-ha-na sundarAH kvacana kAryeSu // 112 o au Ga-a-Na-na-ma-aM-aH mizrasvarUpA bhavanti kAryeSu / saMprati phalamapi vakSye varNAnAmIdRzAM sarvam // 113 zobhanamazobhanaM vA sukhaduHkhaM saMdhivigrahe caiva / eti ca naiti ca lAbhAlAbhau na jayastathA ca jayaH // 114 bhavati ca na bhavati kArya kSemaM na kSemamasti naivaasti| saMpattizca vipattivRSTizca jIvitaM mRtyuH|| 115 prathamavacane 'pi prathamAH zubhavarNAH saMbhaveyuratha bhvH| jAnIhi kAryasiddhiM sidhyati kArya na cApyazubhaH // 116 athavA pRcchAvacanaM prathamaM lAtvA ca tannirIkSeta / vidhivacane bhavati zubhaM na zubhaM pratiSedhavAkye ca // 117 athavA phalakusumAkSatapatraM rUpakamanyacca puruSarUpaM c| aSTavidhabhAgalabdhaM tena phalaM viddhi caitaddhi // 118 dhvaje tu saphalaM sarva dhUma udvegakArakaH / rAjyaM zrIvijayaM siMhe svalpalAbhazca maNDale // 119 vRSe tuSTizca puSTizca khare tu gamanaM kaliH / pUjA gaje bhavatyeva dhvAkSe nityaM paribhramaH // 120 21atrAntare zreNikabhUpasya tanayo 'STavarSadezIyo mahArathakumAraH svAminamAnamya vyajijJapat / 'adya 21 bhagavan , mayA svapnAntaH kAlAyasaM suvarNamizritaM dRSTam / tato jvalanajvAlAvalIparitaptaM tadvirisAraM parikSINaM, taJca suvarNameva kevalaM sthitam , tasya ko 'yaM phlvishessH|' bhagavatAzaptam / 'bhadra, zobhana: svapna 24 eSaH, samyaktvacAritrakevalajJAnasamRddhi prAnte zAzvatasukhasaMgamaM ca nivedayati / zilAsArasadRzaM krm| 24 jIvastu kanakasamAnaH / tatra dhyAnAnalena taddagdhvA tvayAtmA nirmalIkRtaH / anyacca caramadehaH saMjAtastvamasi bhadra, nRpagehe kuvalayamAlAjIvo devaH svargatazcyutvA / sarvamapi tasya kathitaM mAyAdityA27 didevaparyantam / te sarve pravajitAH, pazyaitAn sukRtinastvam / ' 645) tadetadAkarNya mahArathakumAreNa bhaNitam / 'bhagavan , yadyevaM tAvadviSamazcittaturaGgamaH, kiM vilambase, mama dIkSAM dadasva' iti bhaNite tena bhagavatA zrIvardhamAnena yathAvidhi mahArathakumAro 30 diikssitH|' iti te pazcApi janA militAH parasparaM jAnate, yathA 'kRtapUrvasaGketAH samyaktvalAme vayam' 30 iti / evaM teSAM bhagavatA zrIvardhamAnajinasvAminA sAkaM vicaratAM bahUni varSANi vyatIyuH / kathitaM ca zrIjinezvareNa maNirathakumArAdisAdhUnAm, yathA 'stokamAyurbhavatAm' iti parikSAya te paJcApi yatayo 33 'nazanaM prapadya rAgadveSabandhanadvayarahitAH zalyatrayadaNDatritayavivarjitAH kSINakaSAyacatuSkAH catuHsaMzA- 33 rahitAH vikathAcatuSTayaparityaktAH caturvidhadharmakarmaparAyaNAH paJcasu vrateSu samudyuktAH paJcasu viSayA. bhilASeSu dveSiNaH paJcaprakArasvAdhyAyaprasaktacetasaH paJcasamitIrbibhrANAH paJcendriyazatrUNAM jetAraH SaD36 jIvanikAyaparipAlakAH saptabhayasthAnapramuktAH aSTavidhamadasthAnavivarjitA navasu brahmaguptiSu ratAH daza-36 pratipAlanAMdyatA ekAdazAGgadhAriNo dvAdazavidha dustapa tapastapyamAnAHpratimAdvAdazakabaddharucayo dussahapariSahasahiSNavaH svadehe 'pi nirIhA AmUlato'pi zrAmaNyaM niSkalaGka pratipAlayantaH 39 paryantasamaye samAdhinArAdhanAM vyadhuriti / 39 646) tathA hi jJAnAcAro'STadhA kAlavinayAdikaH, darzanAcAro'STadhA niHzaGkitAdikastatra yaH ko 'pyaticAraH sarvathaiva taM tyajAmaH / ekendriyANAM bhUmyaptejovAyuvanaspatyAdInAM dvIndriyANAM kRmi 27 vidhasA 1)P parabhaktyA B paramabhakyA for parayA bhaktyA. 15) 0 lAyA ca. 25) P anyaccaramadehaH. 37) B dazavidhadharma', 38) PAmUratopi, P niHkalaM prati.

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-IV. $ 46 : Verse 121] kuvalayamAlAkathA 4 * 87 1 zaGkhazuktigaNDUpadjalaukaprabhRtInAM trIndriyANAM yUkAmatkuNamatkoTilikSAdInAM caturindriyANAM pataGga- 1 makSikAbhRGgadazAdInAM paJcendriyANAM jalacarasthalacarakhacaramAnavAdInAmasmAbhiryA hiMsA kRtA sUkSmA / bAdarA vA mohato lobhato vA tAM vyutsRjAmaH / hAsyena bhayena krodhena lobhena vA yatkimapi vRthA proktaM 3 tatsarvamapi nindAmaH prAyazcittaM ca craamH| yadalpaM dhanamapi kvApi parasya dravyamadattaM gRhItaM rAgato dveSato vA tatsarvamapi tyajAmaH / tairabhyaM mAnuSaM divyaM maithunaM yatpurAsmAbhiH kRtaM tatrividhaM trividhenApi parityajAmaH / yastu dhanadhAnyapazvAdInAM parigraho lobhataH kRtastaM pariharAmaH / putrakalatramitrabAndhavadhanadhAnya- 6 gRhAdiSvanyeSvapi yanmamatvaM kRtaM tatsarvamapi nindAmaH / indriyapakSe parAbhUtairasmAbhizcaturvidho 'pyAhAro rAtrau bhuktastaM tridhApi nindAmaH / krodhamAnamAyAlobharAgadveSakalahapaizUnyaparaparivAdAbhyAkhyAnAdibhizcAritraviSaye yahaSmAcaritaM tatrividhena vytsRjaamH| SaDidhabAdyAbhyantare tapasi yaH ko'pyati-9 cArastaM nindAmaH / vandanakapratikramaNakAyotsarganamaskAraparivartanAdiSu vIryAcAre yadvIrya gopitaM tatridhA nindaamH| yatkasyApi kiMcana vastvapahRtaM prahAraH pradatto vA karkazaM vaco jalpitaM cAparAdhazca kRto 12 bhavati so'khilo 'pyasmAkaM kSAmyatu / yacca mitramamitraM vA svajano'pyarijano 'pi ca sa sarvo'pya-12 smAkaMkSAmyatu teSu sarvaSvapisamA ev| tiyektve tiyeJco nArakatve nArakAH svAMgatve svAMgaMNo mAnuSatva mAnuSA ye 'smAbhiduHkhe sthApitAste sarve 'pi kSAmyantu vayamapi tAn kSAmayAmaH / teSu sarveSvasmAkaM 15 maitrI bhavatu / jIvitaM yauvanaM lakSmIrlAvaNyaM priyasaMgamA etatsarvamapi vAlyA nartitasamudrakallolavallolaM 15 vyAdhijanmajarAmRtyugrastAnAM dehinAM jinapraNItaM dharma vinA na ko 'pyaparaH zaraNam / ete sarve'pi jIvAH svajanAH parajanAzca jAtAsteSumanAgapi vayaM sudhiyaH kathaMpratibandhaM viddhmH| eka evajanturutpadyate, ekaeva 18 vipattimAmoti, eka eva sukhAnyanubhavati, eka eva duHkhAnyapi / anyaccharIramaparaM dhanadhAnyAdikamanye 18 bAndhavo 'nyo jIvasteSu kathaM vRthA muhyAmaH / rasAsRgmAMsamedo'sthimajAzukrayakRcchakRtAdibhiH pUrite 'zucinilaye vapuSi mUcha na kurmH| idaM dehaM nityazaH pAlitaM lAlitamapyavakrayagRhItagRhamivAsthirama21 cireNApi moktavyameveti / dhIrA api kAtarA api khalu dehino mRtyumAnuvanti / vayaM tathA mariSyAmo21 yathA na punarasmAkaM mRtyukadarthanA / sAMpratamahantaH siddhAH sAdhavaH kevalibhASito dharmaH zaraNamasmAkamiti / jinopadiSTaH kRpAmayo dharmo mAtA dharmAcAryastAtaH sodaraH sAdharmiko bandhuzca / anyatsarvama24 pIndrajAlamiva / bharatairAvatamahAvideheSu zrIvRSabhanAthAdIn jinAn siddhAnAcAryAnupAdhyAyAna sAdhUna 24 namAmaH / sAvadhayogamupadhi tathA bAhyamAbhyantaraM yAvajIvaM trividhaM trividhena vytsRjaamH| yAvajjIva caturvidhAhAramapyucchAse carame ca dehamapi tyajAmaH / duSkarmagarhaNA 1 jantujAtakSAmaNA 2 tathA bhAvanA 27 3 catuHzaraNaM 4 namaskAraH 5 tathAnazanaM ca 6 evamArAdhanA SoDhA vihitA / tataH dagdhvA dhyAnadhanaMjayena nikhilaM karmendhanaughaM kssnnaadunmiiltklkevlodyprijnyaattrilokiitlaaH|| te pazcApi munIzvarAH samabhavan vyutsRssttdehaasttH| zrImanmuktinitambinIstanataTAlaGkArahArazriyaH // 121 ityAcAryazrIparamAnandasUriziSyazrIratnaprabhasUriviracite zrIkuvalayamAlAkathAsaMkSepe zrIpradyumnasUrizodhite kuvalayacandrapitRsaMgamarAjyanivezapRthvIsArakumAra. samutpattivratagrahaNaprabhRtikazcaturthaH prastAvaH // 4 // // iti kuvalayamAlAkathA samAptA // 2) Pom. khacara. 7) B om. indriyapakSe etc. to nindAmaH. 8) PC dveSakAlopazUnya. 11) B ca / apakArazca. 19) P yakRtasakRtAdibhiH. 21) Pmuktavyamiti B moktavyamiti. 22) PB zaraNamiti. 24) P sAdhUnnanAma. 29) P unmIlatkevalodaya. 31) 'hAraH zriya. 33) P kuvalayacaMdrarAjyaniveza. 35) PB omit iti, PB zrImatkuvalaya', P B smaaptaaH|| cha / . P at the close evaM graMthasaMkhyA // 3994 // zubhaM bhavatu // cha / saMvat 1489 varSe ASADha zudi 14 caturdazyAM budhe kuvalayamAlA kathA likhitA // cha / ciraM naMdatAt / B at the close evaM graMthAgrasaMkhyA 3804 // saM0 1445 varSe mArgasira zudi 6 gurudine pustikA likhitA // cha / yAdRzaM pustake dRSTaM tAdRzaM likhitaM mayA / yadi zuddhamazuddhaM vA mama doSo na dIyate / 1 bhagnapRSTikaTigrIvA adhodRSTiradhomukhaM [1] kaSTena likhitaM zAstraM yatnena paripAlayet / 2 zubhaM bhavatu maMgalamaratu lekhakapAThakayoH // cha / udakAnalacorebhyo mUkhakebhyo [bhya] stathaiva ca / parahastagatAM rakSa evaM vadati pustikAH [kA] || cha // zrIH // zrIH / / zrIH // shriiH|| cha | c at the close // evaM granthasaGkhyA 3894 //

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zrIratnaprabhasUriviracitaH kuvalayamAlAkathAsaMkSepaH smaaptH|

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kuvalayamAlA-paja -sUI References are to pages and lines. a accheja bhamaMta cciya 209-33 aNusIsaM taM paliyA 161-25 aikakkasapINasuvaTTieNa 29-15 | acchejjA abbhejjA 280-13 aNNasamaeNa pacchA 279-27 aikasaNatArayANaM 130-23 acchoDiUNa to so 137-6 aNNaM imaM... aNNo 22/-5 aikouyarahasabharaMta 24-28 / ajja imai maha sIsaya 78-15 aNNaM ima... jANaI 228-6 ai khamasu asoya tumaM 180-31 ajja tume haM jAo 260-18 aNNaM ca esa dAso 186-21 ai Na pasaNNAsi tumaM 85 - 19 | ajjavamaddavajutto 231-3 aNNaM ca tuma eNriso 269-13 ai NiddhakasiNakuMciya 29.18 / ajja vi Na dIsai cciya 181-10 aNNaM ruirakalAvaM 181-18 aiNiddhabahalapattala 28-34 ajja vi taruNo puttaya 262 - 10 aNNAi ya gaNaharabhAsiyA 34 - 19 aitikkhakoDidhArA 42-16 ajja vi puttaya bAlo 266-20 aNNA gurUNa purao 25-2 aithorathaNatthala 128.21 ajaM cayAmi kallaM 137-2 aNNA Na jaMpai ciya 83-16 aidAriddasoyaciMtA 41-34 ajaM ciya jAo haM 60-11 | aNNANamahAtama 178-14 aidIhA ai-hassA 131 - 15 ajjekkaM ciya diyaha 83 - 19 / aNNANa vi esa gaI 121-26 aipINapihulakakkaDa 29-16 ajeya ahaM jAo 211 - 22 | aNNANa hoi saMkA 88-17 ai puttavacchalA sA 186-32 ajeva ahaM jAo 268-18 | aNNANaM aNNANaM 38-27 aibahuthovA sAmA 130 -13 ajjhAvayassa paNamaha 278-29 / aNNANaMdho jIo 44-16 aibahuyaM amha phalaM 159 -19 ajjhAvayANa tersi 278-28 aNNANI Na suNAso 131-14 ai bhaNasu taM alajja 176 -26 aTTha ya jAmA kamaso 184 -7 | aNNA dhAvaMti ciya 24-32 aibhArArohaNaNisuDhiyassa 39-28 aTThArasa paNuvIso cukko 19-15 aNNA bhayabhariyaMgI 83-26 aibhImakasiNadeho 36 - 19 aTThArasa paNuvIso jai 20 -10 | aNNA vAsayasajjA 83 -30 ai muddha kiM Na-yANasi 250-35 aTThimayapaMjaro iva 64-24 aNNA sahiyaNabhaNiyA 83-27 auttassa gaI Natthi 13 - 22 aTThisayapaMjarA iva 34-25 aNNe gaNaharadevA 98-31 akae vi kuNai dose 6-12 aTThIo puNa majjA 228 - 15 / aNNettha suTiyA 34-13 akayapasAyavilakkhao 54 - 8 aNayArayakappANaM 272-29 aNNe pAvaparaddhA 143-27 akayaM pi kayaM taM ciya 126 - 28 aNavasyabhamiramahuyari 1-14 | aNNe puNa paDivaNNA 219-26 akkhINamahANasie 283 -37 aNasaNamUNodarayA 144 -9 aNNe bhaNaMti purisA 219 - 19 akkhevaNaukkhevaNa 97-32 aNilANale sajIe 202 - 4 aNNe bhaNati purisA 219-23 akkhevaNi akkhittA 4-24 aNudiyahammi suNetA 38-29 aNNe bhaNaMti mUDhA 38-25 agaNijiyatte bahuso 274 - 27 aNudiyahavaDDamANo 21 - 12 aNNe bhaNaMti mUDhA 219-22 agaNiyakajjAkajjA 214-1 aNudiyahasurayasokkhahi~ 186 -30 aNNe bhavasayadulahaM 88.21 aguNo ya gavvio ciya 231-12 aNudiyahaM pi gaNetI 148.1 aNNe mohAvattaM duhasaya 98-33 agchati jammi kAle 169-13 aNumaggalaggabhaMgura 147 - 16 aNNe vi mahAkaiNo 4-3 accanbhuyANa accanbhuyaM 179 - 17 aNumANaheujutto 207-27 aNNe vi mahAraMbhA 35-33 acchau tA tIe samaM 158 . 12 aNuyattaNiyayadaiyaM 181-3 aNNesu pi bhavesu 271 -26 acchasu muMja jahicchaM 264 -9 aNurAo ceya pharo 83.22 aNNo gabbhagao ciya 41-6 acchasu saMjamajamio 202 17 / | aNuvIiyabhakkhaNa 221-2 aNNoNNavaNNaghaDie 95-8 acchaMti je vi ajja vi 277-14 / aNuvIibhAsaNaM 220-23 aNNoNNaviruddhAi~ vi 28-25 acchIsu Neya dIsai 114 -5 | aNusamayaruyaMtIe 148-2 | aNNoNNaviruddhAi~ vi 28-27 ku. mA. 12

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*90 aNNoSNaM vahabaMdhaNa aNo viesa jIvo attANaM mArate attA tuha pAvaDaNaM attA phulapha attA bhamarajuvANaM atthairiNihiyahattho atthara hoi aNatthara atthaparimaggaro atthamiyasUramaMDala atthassa puNa uvAyA atthagayammi sUra atthA ho atha atthAnAbhiNivesa atthANe rosamaMto phuDa atha raNAribahu atha daDhameruNAhiM atha paDA puraNaM atha yAsA atha ho atha siddhA atthi bahukaNayaghaDiyaM atha bahugAmakalio atha bhupayAso asthimahaM sammattaM atthi ya NijjaraNaM pi atha kAmo dhammo attho jattha caijjai attho vijjApurisattaNAi~ attho vidUrao ciya afts ciya di addhaM sasaMkadhavalaM anayA jaghanAbhoga appA vi taha visuddho appA sarIrametto aSphalakaDuyakuDaMgo aphAliyA vi DhakkA abbhuTThANaM aMjali abhiyogaparANattI amaraNa va sA sittA 227-31 190-11 205-1 266-18 266-26 77-26 82 - 12 2-28 259-19 52-30 57-24 82-24 179-15 46-3 20-5 50-1 7-4 124-28 140-1 185-8 282-4 45-15 56 - 21 72-30 137-28 97-28 262-14 202-2 12-24 118-8 231-27 84-9 152 - 25 . 245-10 203-33 89 - 1 203-14 269-28 254-30 164 - 6 kuvalayamAlA amayappavAhasarise amaraNara tiriyaNAraya ammo kIsa tara haM ammo ko kassa pio ammo mA bhaNa aliyaM ammo vayaNa imaM ammosacaM evaM amhANa tAva dhammo amhANa tumaM puriso ghara amhANaM savvANa vi amhArisANa ko amhArisaga~ kiM jIvieNa amhe uNa NIsattA amhe ghaNNAo ahiM soNa diTTho ayagolao vva kAo ato ci mUDho arahaMtaNamokkAro ja arahaMtaNamokkAro tamhA arahA jANai savvaM arahA tiloyapujjo arahA bhAsai dhammaM arahA loga dIva arihaMte miU aruNakaraNiyara bhariyaM aruNakarabhA suraMgo aruNAruNapI ui alayApuri vvarammA alasakimiyA duiMdI alie viramasu ramasu ya alio esa vippo aliyakayavAvaDattaNa aliyassa phalaM NarayaM aliyaM ayANamANo aliyaM jaMpasi jaiyA aliyaM jo bhaNai Naro aliyaM pi hasai loe alli yaha dhammasIlaM allINammi vasaMte 270-1 143-24 263-30 263 - 22 263-18 263 - 14 263-26 57-14 259-4 192 -6 99-8 91-27 70-28 213-31 183 - 3 207-18 270-24 250-4 277-24 277-25 217-33 218-2 218-1 218-3 283-8 141-7 239 - 22 16-4 138-14 202-5 43-27 264-33 172-4 233 - 12 202-25 37-3 220-10 221-11 44-1 51-30 allINaM pi mahuyariM avaruddhaM ti viyANai avarasamuddatIra puliNo avaraM uvekkhaNIyaM avare ciMtaMti imaM avare jANaMti zciya avare NANatthaddhA savvaM avare tavagAraviyA avare buddhivihUNA avare bhaNati evaM avare bhaNati kui avare bhaNati vihaNA avare vivvayarahiyA are vihiyaM ti imaM avare sAmaNNammi avaroppara ollaNa avaropparaloyaNa avaropparaveravivajjiyAI avaroha velAvAri ava saMpuNaMgo avasavasaehiM deho avahatthiUNa lajjaM avahatthiUNa lajjaM ahatthiyalajjo avi kAmiNiyaNamuhayaMda avi calai merucUlA avi calas merucUlA avi viDai aciMgAla avi dhA dhA dhAvaha avi dhA dhA dhAvaha avi dhAha vAha pAvaha aviyANiyadoguNA avirahiyaNANadaMsaNa avilaMbio avalo avvAvAraM dijjai avvo avehi Nillajja avvo keNai diTTho sarala anvo jai tA turao aoad jaNassa moho avvo NayANimo ciya 33-25 61 - 32 91-10 162-26 38-31 88-19 88 - 23 88 - 24 88-18 219-20 219-21 219 - 25 36-3 219-24 88-20 94-27 164-12 97-19 60-29 41-7 276-1 176-22 159-1 159-3 73 - 2 197-20 61-28 134 - 1 141 - 23 67-22 78-23 85-13 95-24 30-12 204-3 53 - 22 59-2 27-11 275 - 23 239-20

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vo duhA va lAho avvo bhavaNuvvAo avvo vaNamajjhagao avvo vimhayaNIyaM avvo saMpai eso avvo so maha mitto asaNaM pANaM vatthaM asamaMjase kArya asamAhI ThaNANaM asavAyakavaliyaM mi asicakkakoM tapaharaNa asicakkasa ttitomara asuimalamuttapaure asuimalaruhirakaddama asuimuttamalaruhira asuiyabhAyaNameyaM asuI i sarIraM aIo uppaNa asuI jaM asuiaM api suyaM bhaNiyaM asura bahu ahaM pisuhaM ma assaMjamammi virao assaMjamammi sattA aha icchisi kiMci dhaNaM aha icchasi maraNAI aha ee evaM aha ee paramAhammiya aha ekko ciya doso aha ekko ciya doso atha mo aha erisamma kAle aha erisA maNussA aha esa maha viNIyA aso do aha so vihu dIvI aha kammayateobhaya aha kaha vi kammavivareNa aha kaha va gehas ciya aha kaha vi hoi ekkA 51-19 259-23 260-7 27-20 42 - 19 58-30 220-4 202-13 272 - 26 220-9 93-26 37-29 41-4 254-31 4-31 228-10 187-11 228-17 176-7 269-31 254-22 221-19 272-14 272-25 109 - 14 277-3 192-1 pajjasUI aha kuNai kaha vi saddhaM 88-12 Fast akolA 221-15 142-27 aha khaNamette ciya aha kharamAruyapahayaM aha citi patto aha ciMtema jaso me aha chiMdi pattA aha jakkharakkha bhUyA aha jalaNatAvata viyaM aha yarIeNkala lo aha halaMghaNaturio aha NisuyaM hoi kaha aha tattha DajjhamANA aha tattha viNiviNA aha tamima jAyate aha tammi di aha tami bhaNipu ata imo aha tassa esa jIvo aha taM uvarimavatthaM aha tADe va bAlo aha tANa takkhaNaM ciya aha tANa doha faad aha tANa so vi tuTTo aha tihikaraNamma su atihikaraNamma su aha tIe Dohalo suMdarIeN 189-21 aha teNa tANa bhattaM 32-11 8-16 aha te taM caiUNaM 143-25 aha 245-20 aha vaNiraNukaMpA NarayapAlA 240-8 227-13 85-30 189 - 14 aha viNaraddhA aha tesuNikkhuDesuM aha tehiM ciya samilA aha tehiM viujjaMtassa aha tuMgakaNayatoraNa 92-32 211-3 aha tuMgagorAI 88-11 aha dalathavaNaM pi kayaM 131-21 aha diNaya raNaraNA 93 -1 37-31 141-1 118-10 245-14 143 - 15 37-27 24-26 27-6 210-24 38-20 191 - 24 17-23 37-20 36-15 164-31 186 -18 93-5 81-5 38-19 92-31 256-26 21-13 17-21 17-13 245 - 15 191-8 37-19 37-21 38-8 36-18 210 - 3 219-30 97-2 50 - 19 17-20 82-17 aha dhavalakA kusumo aha pariciMsi tumaM aha palayakAlajalahara aha paviNi bhagavaM aha paMcameNa bhaNiyaM aha pAvaNoti ima aha pucchasi puNehiM aha puNa te ci aha puNa saMgahi yi aNNA khela aha puvvapaoeNa aha pecchai taM savvaM aha pecchiuM payattA aha bahalaparimalA aha baMdhaghAvahamAra aha bArasamma varise aha bhagavaM pi ya sAhai aha bhaNasi kahaM asuI aha bhaNasi AgameNaM aha bhaNasi tumaM godama aha bhaNasi hoja taM pi aha bhANiuM payanto aha mauliyAo aha majjhimayA dIhA aha yattaM pattaM ahamaMta oha aha mArei vi bAlo ahamo cilI kammo aha rAgadAla aha rAgadovasao aha re NayANasi ciya aha lalikkhara mahuraM ahava pariciMtiyaM ciya ava puraMdarassa alayA ahavA pucchayavayaNaM ahavA bhAveNa viNA ahavA ramasu ma ciya ahavA vijayasabhAvo aha vimalo caMdamaNI aha veyaraNI pattA *91 46-5 81-26 38-4 97-13 245 - 28 49-2 257-5 191-29 189-27 142-31 280-10 93-19 209-23 16-9 141-32 21-16 245-7 228-9 55-29 257-19 49 - 3 97-21 82 - 14 129-22 210-12 186-17 81-6 223-32 210-6 210-4 53-26 21-10 49-1 31-31 268-33 279 - 23 78-21 218-16 98-21 37-25

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*92 kuvalayamAlA he aha suraNaratiriesu 97-23 / AraM tahA pasiddhaM 198-4 aha so eso ciya purao 25-17 / ArAhaNA ya aMte 281-5 / ikkhAguNaravarANaM 201 - 22 aha so NiyasAhasa 9-13 | ArAhiUNa deviM 201-16 ikkhAguvaMsajAo 215 - 18 aha so vi kaha vi laddho 88-10 Ariyakule vi jAyA 40-30 ikkhAguvaMsapabhavA 201 - 15 aha hoi kaha vi buddhI 88-9 / Ariyakhettammi jhaa| 242 - 13 iTTavioo garuo 276 - 25 aha hoi kiMci tattha vi 191-3 Ariyakhettammi puNo 88-5 iTTassa aNiTTharasa va 148 - 22 aha hoi vivajjAso 157-22 | Aruhai khavagaseTiM 144-13 iDDhIgAravarahio 272 - 16 aha hoja Na vA mokkhaM 270-8 | Aroggammi vi patte 88-7 ithikahabhattadese 272 - 18 ahiNavaNiruddhabaMdI 112-6 AlappAlapasatto 37-8 itthipasupaMDayavajiyAe 221-25 ahiNavadidaiyasuha 160-24 AlappAlapasaMgI 231 - 1 itthIliMge siddhA 277-30 ahiNavasirIsasAmA 1-10 AlappAlAraMbha mA kuNa 81-25 imiNA rUveNa imo 49-33 aMgammi tassa tAva ya 94-29 AlappAliya re re 252-22 iya aTThArasa desI 153 -12 aMgammi so paeso Nasthi 25-32 AliMgai bAhAhi~ 225 -16 iya avaropparasattA 189-17 aMgAI uvaMgAI 129 - 13 | AliMgayaMti sahiyaM bAlaM 26-26 iya asamaMjasaghaDaNA 64-19 aMgAI valaMti samUsasaMti 26-24 AliMgiya pi muMcai 66-19 iya asuIsaMbaMdhaM 82-6 aMDayapottayajarajA . 143 -11 AlekkhagIyavAiya 150-23 iya AraMbhavihUNaM 66-24 aMto asuisayabhaM 225-26 AlekkhaM gaDheM joisaM 22 - 1 iya ee rAgamaNA 257 -13 aMtoNihittasupurisa 17-16 aMtomuhuttamattaM Aloiyammi maraNa 276 - 20 iya ekkekkamasohA AloyaNAe arihA aMdhAriyadisiyakta 273 - 16 106-11 iya ettha aIyAro 270 -25 AvaliyadIhalaMgUla aMbAe tAya kahiye 29 - 21 266-7 iya edise pabhAe 141-10 AsaNNadaiyasaMgama 83-14 iya evaM ciya ai A Asasa muddhe...evaM 265 -9 iya erisammi kAle 253-23 AiTuM jai muNiNA 158-11 Asasa muddhe...caDulaM 265 -7 iya erisahalahalayaM 96-25 AI kaji matta gaya 152 -11 Asasa muddhe ...cavalaM 265-8 AucchiUNa guruNo 261-29 iya erisaM asAraM 81-15 Asasa muddhe...vihaDai 265 - 6 135 -17 AujjANaM turayANa iya erise paose 22 -3 Asasa muddhe...sarala 265 - 5 83-31 AuyakammaM ca puNo iya erise paose 280-9 Asassa puNa pamANaM 23 - 25 AgAsavappaNayare iya erise pabhAe 198-13 282-13 AsaMdhiUNa gharamA paNa gharamA- 234-25 ANeUNa gharAo raNNe 108-9 iya evamAiaNNANa 219-27 AsaM vasaha pasu vA 231-7 ApUramANagabbhA iya evaM paramatthe 202-9 AmosahiNo vaMde AsAviNaDiyataNhAluehi~ 30 - 18 283-15 181-13 iya evaM bhaNamANI AyaNNapUriyasaro 223-15 AsAsiyaNiyayabalaM 136 - 10 iya esa gaNijaMtI 284-8 AyariyaNamokkAro 278-21 Asi imo vi tavassI 81 - 11 iya esa samatta ciya 284-9 AyariyaNamokkAro 278-22 Asi imo vi viyaDDo 81 -9 iya kamalamuhI rammA 94-23 AyariyaNamokkAro 278-20 Asi tikammAbhirao 282 - 19 iya kiMcimettakAraNa 31- 61 Ayallayavutto 181-23 AsIvise ya vaMde 283 - 38 iya kiMcimattaghaDio 26-14 AyaMbadIharaccho AhAraTThA pecchasu 189 - 4 | iya kIrimorisAraMgi 181-24 AyaMbiradIharapamhalAI 163 -26 | AhArayadevahare 283 - 35 | iya kettiyaM va bhaNimo 31-25 AyANabhaMDamette 270 -20 AhArayadehadhare 284 - 2 iya kohamANamAyA 82-7 AyAradharANa Namo 278-9 / AhAraM piva jujjai 221-16 / iya goyama jo virao 230 -11 AraNaaJcuyabheehiM 143 - 19 | AheDayaM uvagao 185 - 28 | iya ciMtaMto ciya so 139-30

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pajasUI *93 iya ciMtiUNa pAvaM. 81-29 / iya te bhaNiyA savve 246-1 | iriyAmaNasamiIo 220 -1 iya ciMtetassa ya se 93 -34 / iya te muNiNo dhaNNA 213 -30 / iriyAvahaM payatto 270-17 Daya ciMti tahiM ciya 38-18 | iya davvavettakAlA 242-18 / iha paraloyavisaddhaM 256-4 256 iya cheyAo tAo 221-26 / iya dasavihaM tu dhamma 80-13 / iha loe ciya dosA 228 - 27 iya jaha sayale bhuvaNe 178 - 19 iya dukkhaparaMparadUsahae 38-22 / iha loyAjIvabhaeNa 220 - 27 iya jaM jaM kAmiyaNo 85 1 iya desabhattamahilA 87-28 | iha vijjAmaMtabalaM 218 - 27 iya jaM jaM kiMci vaNe 29-19 iya dhammArahasiddhe 95-31 iha suttagaMtha iha 221-5 iya jaM jaM ciya aMga 158-24 iya naravara saMsAre 254-44 iMdaggeI jammA 184-6 iya jaM tattha Na dIsaha 8-15 iya pavayaNassa sAraM 284-6 iMdattaNaM pi pAvai 143 -9 iya jANiuM aNiJca 142 - 8 iya pasaramANakharapharusa 147-24 iMdiyacorahiM imo 90-29 iya jANiuM vaNija 191 -5 iya puvvAvaralAbho iMdo vi tayaM vaMdai 208-7 iya jANiUNa Naravara 254-18 / iya pecchai NaraNAho 234-17 | iya jANiUNa Naravara 253 -33 iya pecchai so rAyA 34-31 IsAvaseNa ee 189-3 iya jA tUraMti daDhaM 25 -7 iya pecchai so sIhaM 29-24 IsAe~ maccharaNaM 201 - 11 iya jA mahilAloo 25 - 18 iya bahalapattalaM taM 249-6 IsANalapajjalio 125 -20 iya jAva vilavie cciya iya bahue jANaMtA 88-25 48-4 IsipasaraMtakouya 25-25 iya jAva so vibuddho 93 - 12 iya bahutaruvarajoNhA 238 - 10 / IsIpanbhArAe 280-11 iya jA vilAsiNiyaNo 18 - 1 iya bAlapaMDiyANaM 277 - 4 iya jA suMdariyajaNo 26 - 27 iya bujjhiUNa suMdari 265 - 10 ukkaDadappe piyamAhaNe iya bhaNamANehiM ciya 153 -7 iya jIva tuma bhaNNasi 276 - 2 37-16 ukkaMThadiNNahiyayA 236-6 iya bhaNiuM samakAlaM 191 - 13 iya jIvabaMdhamokkho 98 - 24 uggahaIhApUhA iya bhaNiyammi samaM ciya 97-22 iya jIviyaM pi vaccai 165 - 25 uggAi hasai gAyai 113 -5 iya bhattI arahate 218 -4 iya juvaicariyakuDilaM 121 - 29 uggAi hasai Naca 33 -13 iya bhAgirassa purao 27-5 iya je bAlattaNae 214 - 13 uggAi hasai NacA 121-21 iya bhIsaNaviMjha 114 -3 iya jo saMgamayAmara 1-16 uccaM bhAsai aNNA 26-19 iya majjiUNa to so 94-32 iya Naravai iha loe 44-5 uccAre pAsavaNe 270 -21 iya maMDalavAUlI 113 -20 iya NaravaiNA bhaNiyaM 13 - 11 ucchaggo AyANaM iya rAIravisaMjhA 222 -30 16-5 iya NaravaiNo eyaM 140 -29 iya riddhipariyaNabale 93-32 ucchaMgammi NivaNaM cuMbai 121-6 iya NaravaiNa 33 - 17 iya vijjuvilasiyaM piva 251-9 ucchaMgalAlio me iya Naravara kei jiyA 211 - 2 iya viyaliyaNava 214-5 ucchAhasattasAro 281-2 iya Naravara ko pAvai 211 - 14 iya vilavaMto ciya so 43-17 ucchiTTamasuMdarayaM 231-33 iya Naravara jiNadhammo 210 - 23 iya vIra pAvabhoe 254 -10 ujjamaha dhammakajje 199-17 iya Naravara paMcee 255-9 iya sattasArarahio 213-22 ujjuyapayagamaNillA 282 -1 iya Naravara saMsAre 254 - 25 iya sammattamahavvaya 223 -4 ujjuyamavaloeMto 130-30 iya Naravara saMsAro 255-2 iya sA bahubhaMgillA 209 - 32 ujjoNIe rAyA 233 -19 iya NavajalaharamAlA 148 -5 iya sAmalajalayasamA 147 - 19 ujjoyavo vva sUro 278-18 iya taM pecchAmi ahaM 240 - 20 iya suyaNu tujjha kajje 13 - 10 ujjoviyabhuvaNayalo 253 - 19 iya tANaM sahasa cciya 96-15 iya hasiyaM iya ramiya 221-28 ujjhiyaavasesakahA 117-24 iya tujjha cariyasarisaM 161 - 22 itha hiyaucchAharaso 104-20 ujjhiyarajje ahavA 277-20 iyate kiMkaradevA 42 - 28 iya ho devANupiyA 88 - 13 | uTummi bhaNasu kalahaM 157 - 20

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*94 uTThe vaccaturasu u pisuNANa ihaM uNamasu pAyapaDiyA upa uNayAsAvaMso unho ubvaNao dIhara uttattava NayamaiyA uttattaNayavaNNo uttAratArayAe viluliya uttuMga uttuMga ghoNe uttuMgathora cakkalaguru uttuMgadhavataraNa para udati hoMti maNue udayakkhakkha ova udayagirimatthayattho udukAlaruhirabiMdU uddhAi dhAi pasarai uddhAiyA sarahasaM uddhavI hallira uppahapaloTTasalilA uddhAhuNoddhA ubbhaDajaDAkaDappA ubbhaDa jalayADaMbara ubhiNNacU maMjari ubhaNa vi aiyArA uya mAhavIya kusume uya mittassa vioe uragabhuMyagamakukkuDa uramuhabhAlA pihulA uvajhAyaNamokkA uvajhAyaNa mokkA vajhAyaNamokkA uvajhAyANaM ca Namo uvamANaM dUre ciya uvaraMdhANaM uvariM uvasama saMvego ciya uvasaMtamuraya saddA uvasaMtasaMtasaM uvvaNaNhANa 198 - 27 281 - 20 180 - 6 1 - 11 93-7 123-28 45 - 16 49 - 32 16-1 129 - 24 152 - 28 115 - 24 125-1 82-4 242 - 16 242 - 1 253 - 22 228 - 18 135 - 16 266 - 2 115 - 17 111 - 6 130 - 7 122 - 11 6 - 17 1 - 9 273 - 17 33 - 21 82 - 19 39 - 18 131-7 278 - 32 278-31 278-30 278 - 24 201-5 24-8 218-10 156 - 9 215 - 4 228-20 kuvalayamAlA uvvasiyagAmaThANaM ubUDhA viMjheNaM uvvellijja bahuso bhAI sa usto ummaggo utto ummago U UrujuyalaM pi suMdari Usasai sasai veva UsasaNIsa sarahiye UsAsaiMdiyAI e e- U ga-ja-Da-da-ba-la-sA ahiM jiyA ee uNa uvavaNNA ee kareMti evaM ee kareMti ka ee kumAra mUDhA ee jisa puNo ee jayammi sArA eeNa imaM bhaNiyaM eeNa kAraNaM eeNa ciMtio eeNa niMdio haM tujha eeNa tujjha hariyaM ee riMda bhaNiyA eeoe eeNaM ceya ahaM ee NiuNA aha maMtiNo ete ci purisA ete ci lihiyA ete tehiM puNa ee te me lihiyA ete me lihiyA pariveyaMtA puNa bhijaMti pu muNiNo kahiyA ee vi ettha juttA 117-17 121 - 27 209-24 277-11 270 - 3 273 - 15 182 - 12 187 - 14 221-7 219 - 29 268-28 223-31 190-1 185-33 36-2 187 - 13 2-16 279-12 191-17 230-3 257-29 258-1 248-26 172-36 40-28 144 -11 105 -6 218-28 191-31 186-27 189 - 22 189 - 19 191-6 190-9 191-11 189 - 23 222-8 186-7 ee vi ettha vaNiyA ee vi kumAra e ee vivi purisA vivi purasa ee vi tANa thorA ee videti gaMtUNa vi puNo jIvA vipuccha vi puNo lihiyA vipuNa veyara ee vi peccha jIvA ee vi mae lihiyA ee vi bhae lihiyA ee vi mae lihiyA ee vi mayA lihiyA ee vi vaNiyauttA ee vi haliyauttA ee vi hu mittAI ee samari sahA pakkA e ehi sAgayaM te ehiM lakkhaNehiM eehiM samaM suMdari ekkattIsa ca guNe ekkammi aNeyAo ekkammi vi jammi pade ekkassa dehi vihavaM ekkasa hoNaM ekkaM paMDiyamaraNaM ekkaM pAvAraMbhaM ekkaM bhaNAmi vayaNaM ekkA komalakayalI ekkA jaMpara mahilA ekkA NAbhIveDhaM ekkA niyaMbagaruI ekkA NiyaMbagaruI gaMtuM ekkA tANaM mAyA ekkA piNNA ekkA mauMdamajjhA ekkA mAlUrathaNI 188-26 188-3 188 - 29 188 - 28 191-9 187-5 189 - 24 189 - 29 187 - 3 189 - 25 189 - 30 188 - 21 189 - 28 189 - 2 191-2 191 - 19 186 - 6 186 - 23 39.4 245 - 32 87-7 218 - 19 130 - 28 272 - 31 25 - 19 219-5 128-30 259-9 276-30 246-17 133-30 234-9 182-5 234-12 234-10 24-31 190-32 234-16 234-11 234 - 13

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*95 pajasUI ekkA miyaMkavayaNA 234 - 15 | ettha ya mahAmahappA 190 - 28 / eyaM kAUNa tuma 229-22 ekkA muNAlakomala 234 - 14 ettha vi ee bhikkhaM 191 - 12 eyaM kumAra lihiyaM 187-6 ekkA raNaMtaNeura 234-8 ettha vi cukkA mukkA 191 - 28 eyaM kumAra lihiyaM 188-30 ekkA lajjAe gharaM 25 -1 ettha vi tujjha adhammo 262-22 eya kumAra savvaM 190-13 ekkA vAyai vINaM avarA 26 - 17 ettha vi sAtANaM 191 - 32 eyaM ca erisaM bho 38-24 ekkakkayammi gavaraM 83 - 10 ettha vi sA ho devI 192 - 2 eyaM ca peccha goThaM 238-16 ekkakkaM khavayaMto 280 -5 ettha sujjhati kira 63-22 eyaM ca peccha suMdara 189-6 ekkakke paMca jahA 222 - 20 etthaM kira hohii 191 - 30 eyaM ciya pajjataM 41-3 ekkeNa tattha maNiya 245 - 22 etthaM ca ThiyA jIvA 273 -9 eyaM ceya bhaNaMtA 192 -10 ekke NayaNaMta ciya 88.16 etthaM ciya taM patto 77 - 4 eyaM jaM tujjha siraM 248-21 ekke bhaNaMti evaM 219 - 18 etyaMtarammi imiNA 250-17 / eyaM jo paDhai naro 283 -43 ekko ciya esa jio 228 - 1 etthaMtarammi kAlo 245 - 19 eyaM NAUNa ima 142 - 15 ekko ciya paramappA 203 - 35 etthaMtarammi jaMta 102 -1 eyaM NAUNa tuma 276-24 ekko cciya viNNatto 257 - 28 etthaMtarammi Naravara 191 - 16 eyaM NiyaTTiThANaM 280-1 ekko NahamuhapaharAsiya etthaMtarammi bhagavaM 97 - 12 84 - 30 eyaM taM dIvavaraM 191 . 22 etthaMtarammi savvaM ekko daiyaM cuMbai 84 - 33 93 -4 eyaM tiloyasAraM 218-6 ekko paraM uvAo etthaMtarammi sahasA 78 -24 236 - 27 eyaM tu kahAkaraNujjayassa 5-20 etthaMtarammi sahasA 73 - 11 ekko paraM uvAo 201 - 14 eyaM te bhaNamANA etthaMtarammi sUro 127 - 31 ekko piyayamamuhakamala 84 - 29 eyaM daMsaNarayaNaM 219-4 etthaMtarammi sUro 135 - 13 ekko piyayamasaMgama 84 - 32 eyaM duhasayajalayara 43 -24 etthaMtarammi sUro 75 - 26 ekko mahurapalAvira 84 - 28 eyaM pAyAlaghara 255 -20 etthaMtarammi sUro 82-8 ekko mahurapalAvI 168 - 17 etarammi saro eyaM pi galai timiraM 253-21 267-19 ekko muhuttametaM 42 - 2 eyaM pitaM kuravaM 186-15 etthaMtare viuddho 269-9 ekko raNaMtarasaNo 84 - 27 eyaM pi peccha NayaraM 238-15 etthaM pi atthi dhammo 218 - 26 ekko saMdaTThAharaviyaNA eyaM pi peccha NarayaM 84 - 31 189-18 etthAruhaMti ee 192 - 11 egaMtabaddhacitto 143 - 2 eyaM pi peccha patthiva 188-31 eyappamANajuttA 23 - 28 eNhiM khayaM pi vocchaM 242 -7 eyaM pi mae lihiyaM 187-18 eyammi mae bhaNie 220 - 24 ehi ca rammae ciya 229-6 eyaM pi mae lihiyaM 189-32 eyammi mahArapaNe kattha 116 - 30 eNhi jovvaNapattA eyaM pi mae lihiyaM 191 -1 190-24 eyassa NayaNajuyalaM . 182 - ettiyamettaM kAlaM 255 - 29 eyaM pi mae lihiyaM eyassa paMca kavalA 188-23 187 - 12 ettiyamettaM ciya se 176 -30 eyaM pi mA gaNejasu eyassa peccha NavaraM 186 - 28 90-24 ettiyamettaM bhUmi 168-2 eyassa majjhayAre eyaM pi mA gaNejasu 221-17 ettiyamette bhuyaNe 166 - 11 eyarasa sahai vayaNaM 182-8 eyaM bAlArAma 265 -30 ettha Na jarA Na jammaM 190 - 14 eyassa sahai sIse 182-7 eyaM maMsaM geNhasu 248-2 ettha Na jujjai bhaNiuM 267 - 2 eyaM abbhuruhullaM 279-18 eyaM mahaM mahaMtaM hiyayammi 116-31 ettha NaraNAha NavaraM 35-26 eya aliyaM vayaNaM 220.20 eyaM loyaviruddhaM 204-21 ettha NisuNesu godama 257 - 21 eyaM avamaNNatA 202-30 eyaM samuddamajjhe 191 - 18 ettha ya kahA samappai 280 - 17 evaM ArAhe 279-15 eyaM savvaM bhaNimo ettha ya kumAra ee 189 - 31 eyaM karei saMpai 97.33 eyaM soUNa ime 191 -21 ettha ya jAya ciya te 189-20 / eyaM kahaM kareuM 283 -5 eyaM hoi pavittaM 279-14

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*96 yAi~ jo NayANai eyAiM dukkhamUlaM eyAI pAvayAI maMgalA suhaM lo yAu yi tujhaM yAo puNa peccha yAo bhAvaNAo yAo bhAvaNAo yAo bhAvaNAo eyAo savvAo vi ettha eyANa kahA baMdhe taM Natthi eyANa niyaMbayaDa eyANa pUyaNaM aNaM ca yA vayA yAvat puNa yA puNamajjhe eyANaM savvANaM yANi ya aNNANi ya yA parivAto yA paMcapaNA yA puNa vilayAo eyAsuMca gaI erisanimitta pisuNiya erisamma vasaMtaeN erisaM ceya aliyA erisiyA surariddhiyA elA lavaMgapAyava evaM AsavabhAvaM evaM imAi~ etthaM evaM ee mUDhA evaM kamma jaM ciya 144-6 190.7 185-25 220-7 yAhi paMcasamii rAvaNo gayANaM 178-29 erisae saMsAraeN jalahisame 2-8 evaM kudhammama evaM gae vi jai tA evaM gaMdho riso evaM godama haI evaM caurAsII joNI 281-24 162-29 219-10 184-20 162-35 172-22 190-6 22029 221-30 221-8 4-6 8-8 254-14 257 2 222-7 190-8 4-14 184 -16 41-27 144-7 42-31 52-15 12 - 21 94 - 11 70 - 16 229 - 2 177-2 200-35 2012 - 17 210-14 137-3 183 - 28 257-27 227-30 kuvalayamAlA evaM ca ekkA evaM ca kIramANA evaM ca ciMtayaMtassa evaM ca jAva tAo evaM ca Nisa meuM evaM ca tassa NAso evaM ca te kameNaM evaM ca saMvareNaM evaM ci kuNamANa evaM ciMtassa ya evaM citasya evaM ciMteMtIe evaM ciMtetIe evaM citIe evaM jaM jaM ka evaM joyaNa me evaM taM poyavara evaM thoho saMkama evaM duhasayajalayara evaM palAvehiM duhaM jarNeto evaM bahU viyappA evaM bhaNamANa ci evaM bhaNiUNa ime evaM maha avarAhaM evaM viluppamANo evaM sammattAmayabhario evaM sAhemANo NaravaiNo evaM socci kumaro evaM hou khamejjasu esa aNAdI jIvo esa karemi paNAma esa karemi paNAmaM esa karemi ya maM esa kumAro rehai esa gahio ti kalamo esa devakumAro esa purisANa puriso esa bhagavaM jiniMdo esa mahaM kira bhAyA esa vivajjAma ahaM 247 - 32 36-31 227-23 238 - 19 245 - 24 193 - 27 191 - 13 144 -8 49 - 19 229-9 227-32 228-3 228-8 229-7 246 - 11 97-20 191 - 17 257 - 30 279 - 17 43 - 18 198 - 2 36-24 191 - 23 137 - 11 36 - 25 218-30 33 - 29 188 - 13 267 - 15 227-24 277-10 272- 7. 270 - 32 182 - 21 172 - 39 190 - 2 240 - 11 120 - 27 esA caMpatti purI esA mae paiNNA gahiyA esA mae vi lihiyA esA mahaimahalA esA vi ettha dharaNI esA vi ettha mahilA esA vi ettha lihiyA esA vi kA vi mahilA sA vi peccha sAmA esA viruyai daiyA esA vi vaha sariyA esesa esa ha eso akaMdato so aNAdijIvo eso uNa suraNAho eso kulamayamatto eso kuvalayacaMdo eso ko vijuvANo eso ko vijuvANo eso jo tuha pAseNa so ravara dhammo eso NANAyAro eso NArayalogo eso tavamayamatto eso tujha viyappo so tuha dito eso tuha dito eso ghAuvvAo eso papiharaMto eso pariNijjaMto eso paMDivAI eso puNa ArUDho gAyo so so puNo vi taruNo eso bhae suto soya tumha o eso vacca caMdo esoviettha lihio 227 - 14 so va koi puriso 85 - 28 eso vi ko vi jIviya 190 - 25 108 - 31 189-7 248-30 186-9 188-6 188-7 188 - 4 189-10 186 - 20 189 - 26 51 - 21 186 - 25 229-10 190 - 3 187 - 29 244 - 26 187-9 187-7 99-6 202 - 28 270-4 185 - 21 187 - 32 257 - 7 257-31 210-1 198-5 186-5 188-8 187-31 190-4 187-21 188-14 187-25 265 - 34 238-18 188- 25 187-33 186-25

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pajasUI *97 eso vi ko vi devo 190-5 / ehu ehauM dummaNassahu~ 63 -18 | katthai kumArabhAvaM 41 - 13 eso vi ko vi devo 190-10 / ehehi majjha sAmiya 225 -18 katthai kuMbhIpAe 274 - 19 eso vi ko vi devo 190 -12 o katthai khAseNa mao 274-5 eso vi ko vi puruso 185 -32 o e puraMdaro cciya 26-7 / / katthai gAhAraiyA 4-8 eso vi ko vi puruso 188-24 o me bhavaggavaggU 284-5 katthai gIyassa rakho 83 -3 eso vi ko vi bhogI 188-19 olaggaha savvaNNU 193.12 katthai coravilutto 274 - 14 eso vi ko vi lihio 188-18 ovAyao vi eso 189 - 11 katthai jaNaNIeN ahaM 274 - 2 eso vi ko vi lihio 188-20 osappiNi taha 277-12 katthai jalaNapaviTTho 274 - 12 eso vi caMDasomo 46 - 15 osarayai DahaNo via 113 -30 katthai jalayaragilio 274 - 20 eso vi jaNo lihio 187-20 osaraha deha paMthaM 24 -22 katthai jAyaMto ciya 41 - 12 eso vi jo musijjai 186-3 osahajoehiM samaM 142-14 katthai NaMgalajutto 39 - 30 eso vi takkhaNaM ciya 189-15 osovaNitAlugghaDa 22-9 katthai taNhAe mao 274 - 13 eso vi tattha rAyA 190-27 ohiNNaNI paNao 283-40 katthai daraNIhario 274 -1 eso vi dhaNummatto 187-28 katthai daMDayaraiyA eso vi dhAi puriso 187-24 katthai dhAvaMto ciya 40-2 kaiyA uvasaMtamaNo 213 - 15 eso vi paharai ciya 188-1 kaiyA kayakAyavyo katthai paMcAvayava 213 - 16 34 - 20 eso vi puhaiNAho 188-22 katthai pUyaNagahio 213 - 20 kaiyA kayasuttattho 274 -4 eso vipeccha pAyo 189-12 kaiyA khaNavIsaMto 213 - 19 katthai bhaeNa galio 273 - 28 eso vi peccha sIho 189-16 kaiyA khaNaM vibuddho 213 -14 katthai mahilattaNae 41 - 20 eso vi bhamai bhikkhaM 188-17 kaiyA Nu asaMbhaMto 213 - 17 katthai ya jAyametto 39-33 eso vimae lihio 186-11 kaiyA Nu kameNa puNo 213 - 21 katthai ya jAyametto eso vi mara lihio 187 -26 kaiyA vi hasijjaMto 213 - 18 katthai ya vaMtarIo 97 - 18 eso vi mae lihio 187 -30 kajjatthI jo sevA 131 - 2 katthaI ruhirapavAheNa 274-8 eso vi mae lihio 188-11 kajjalatamAlasAma 106-8 katthaI rUvayaraiyA eso vi ya koliyao 189-8 kajaM jaM rahasakayaM 51 - 14 katthai lUyAe hao 274 -9 eso vi ruyai puriso 187 -23 kajaMtaradiNNamaNaM 66 -20 katthai vajjAsaNiNA 39 - 15 eso vi rUvamaMto 187-27 kajjAkajjahiyAhiya 211 - 31 katthai vaNasarahikkA 147-15 eso vi sahai puriso 187-22 kajjAkaja bahuso 40 - 8 katthai vArIbaddho 39 - 27 eso veyavagirI 238 -21 kadidhaNataNaNivahehi~ 82 - 3 katthai viSphoDehiM 274 - 10 eso saMkhevaNaM kahio 131 - 23 kaDiyamuhalasilImuha 51 - 29 katthai vimANadevA 97-17 eso so ceya puNo 188-15 kaNayaghaDio vva eso 170 - 30 katthai visamAvaDio 39-29 eso so ceya mao 186-18 kaNayamayaghaDiyakhaliNaM 23 - 12 katthai sihIhiM khaio 39 - 23 eso so ciya ghettuM 186 -24 kaNayaM pi hoi sulahaM 90 - 18 katthai sIeNa mao 274 - 18 eso so ciya lihio 186 - 14 kaNNANaM amayarasaM 34 -1 katthai sUlArUDho 274 - 11 eso so ccheya thero 188-16 kaNNesu jassa dosu vi 24 - 5 kattha tuma ettha vaNe 122 - 29 eso so tehiM samaM 191 -15 katthai asigheNUe 274 - 17 | kattha vi cakkeNa hao 274 - 16 eso so dhi apuNNo 188 - 12 katthai ahi tti daTuM 39 - 22 kattha vi sattUhiM hao 274 - 21 eso so mANabhaDo 244-25 katthai ihavioe 274 - 15 katthettha so juvANo 167 - 6 eso hi mokkhadhammo / 207-34 katthai ullAhiM 4 - 10 kappatarukusumamaMjarI 93 - 10 ehii pio tti aNNA 83 - 18 / katthai kuTeNa ahaM 274 -6 / kappAIyA duvihA 143 - 20 ku. mA. 13 . . lavamatA

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*98 kuvalayamAlA kappUrapUracaMdaNa 141 20 / kaha kaha vi veyaNatto 36 - 21 / kAsakusumehiM puhaI 238 -3 kamalacaMdaNIluppala 5-3 kaha kaha vi samAsatthA 192 - 4 / kikkayakirAyahayamuha 40 - 26 kamalANa jattha jamma 175 - 18 kaha gamio te kAlo 199 - 12 kiNhA NIlA kAU 245-8 kamalAyarassa lacchI 115 - 25 kaha gose ciya paDhamaM 48-2 | kira jiNavarahi bhaNiya 274-25 kamaleNa diNayaro iva 199 - 4 kaha paMDiyao pariso 230-24 kira taM pi ya mayakuhio 225 -20 kamasajjo majjAro 56-20 kaha bhaMDaM saMvariyaM 153 - 18 kira taM si mahaM bhaiNI 226 - 31 kammamalavimukkANa 42-9 kaha vaNijjai jA kira8-27 kira bhAuNo vivAhe 47 - 30 kammassa gaI hassa 280 -30 kaha va tae pariNIyaM 199 - 14 kira vAheNa tao haM 264 - 27 kammarasa hoi udao 242 - 2 kaha va tuma saMpatto 199 - 13 kiriyA bahU viyappA 197-32 kammeNa sihI citto 206 - 21 kaha sA Na vaNNaNijjA 64-35 kiriyAvAi gariMdA 197 - 29 kayakesalaMcaNo so 141 - 13 kaMkhai bhoe ahavA 218 - 25 | kilakiMciyaM ca bahaso 265 -3 kayadArasaMgaho haM 41 - 14 kaMcaNakamalavihUsiya 94 - 19 kiM acchaha vIsatthA 199 - 22 kayapaMcamuTThiloo 141 - 2 / kaMThaM piTThI liMga 131-9 kiM ajja jogarajja 260-20 kayalIvaNesu jattha ya 70 - 18 | kaMtIeN sommadaMsitta 158 - 21 kiM ettha samADhattaM 245-31 kayasAmAiyakammo 272-9 kaMdappe kukkaie 222 - 28 kiM kaTTe aNNANa 245 -30 karaghAyakuDilakesA 151-14 kaMdaphalAI purao 113 - 16 kiM jaMpieNa bahuNA 168 - 13 karatADiyamuravaravu- 8-11 kAussaggaNa aho 273 - 18 kiM jIviyaM jiyANaM 175 - 12 karavattakuMbhirukkhA 275-8 kAUNa NamokkAra 272-8 kiM jujjai purisANaM 252 - 10 karavAlasihANijjiya kAUNa doNNi pAve 246 -16 | kiM Na suhao ya dANe 121 - 25 kalayalasaduddhAviya 134-28 kAUNa puDhavipurisaM 205 - 19 kiM taM paMDiyamaraNaM 276-17 kalalAvatthAsu mao 273 - 25, kAUNa samAraMbha 66 - 23 kiM taM vammahapiya 107 -7 kalahaM kareMti te cciya 30 -33 kAeNa kuNaha kiriyaM 202 - 14 kiM tu pavittaM sayaseviyaM 48-29 kallANaM te puttaya 266 - 14 kA ciMtijjai loe 139 - 1 kiM teNa jIvieNaM 192-7 kavile piMgalaNayaNe 152 - 27 kANAo vara aMdho 130 -27 kiM duttaraM tiloe 262-4 kasiNakamaladalaloyaNa 4-28 kAmagaiMda imA sA 239 - 15 kiM dhavala kaMdoha 158-22 kasiNapaDapAuyaMgI 86 - 23 kAmagaiMdo gaiMdo 238 - 12 kiM pakkhivemi samudde 126 - 6 kasiNapaDapAuyaMgI 83 - 25 kAmabhuyaMgamaDakkA 236 - 14 kiM pAyAlagharamiNa 255 - 18 kasiNaM rukkhavivaNNaM 253-6 kAmamahAgahagahio 221 -9 kiM purisA purisehiM 200 - 28 kasiNANa vijjupuMju- 148-9 / kAmI kAmagayamaNo . 232-26 kiM puhaIe gaiMdA 200 - 27 kasiNe giTTaravayaNe 152 - 24 kAmo vi dUrao ciya 118-9 kiM bahuNA vi sueNaM 219 -6 kasiNo dubbaladeho 117 - 8 | kAyabalivaisadevo 204 -7 kiM bhAyasi vaNamailIva 78-26 kasiNo piMgalaNayaNo 62 - 27 | kAyamaNavAyajogA 143 -6 kiM mayaNo cciya rUvI 116-32 kaha Agao kaha gao 199 - 15 kAyavvAiM jAI 273 - 11 kiM mayaramacchakacchava 104-15 kaha kaha vi Auyate 39 - 1 kAyaM vAyaM raMbhai 144 - 16 kiM marai Neya taruNo 262 - 12 kaha kaha vi Neti diyaha 113 - 17 kAlammi tammi ko vA 169 - 28 | kiM mANusIo tubbhe 234 - 21 kaha kaha vi tattha cukkA 38-6 kAlA jIhA duhiNo 130 - 14 kiM muMcaha ekkapae 255 -32 kaha kaha vi tattha mukkA 191 - 27 kAlAyasakamma 22 - 6 kiM vA karemi ahayaM 137 - 27 kaha kaha videsaNaM 77-23 kAlAyasaya kam 269-12 kiM vA girivarakuhare 104 - 19 kaha kaha vi mUDhahiyaeNa 30-15 kAlaNa aNateNa vi 210 -7 kiM vA Niddayaasipahara- 104 - 16 kaha kaha vi viNikkhaMto 41 - 8 / kAle dANaM dakkhiNNayA 22 - 10 / kiM vA payaMDabhuyasihara 104 - 17 36

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kiM vA piyasa hi kuviyA 239 - 6 kiMvA bahu 276 - 23 104-18 kiM vA rAIdiyahaM kiM vijjAharabAlA 126 - 11 kiM vijjAharabA 235-20 267 - 10 267-6 272 - 13 kiM savvasta viveo kiM savvo ciya pecchai kiM sAraM jiNadhammo kiM sumarasi tumaM kiMsulayAoccha kiM sokkhaM sammattaM kiM so rAyA NammaM kiM hojja aNNajammaM kiM hojja imaM suviNaM kiM hojja imo saggo kiM hojja tUlamauyaM kiM hojja mae diNaM kiM hojja masANamiNaM ho o kIDo vva saMcaraMto kIrai sakkhittaNayaM kI kahANibaMdho kIra bhogapasaMgo kIsa Na kIrai vayaNa kI tuma gahiyA kIsa paNa rAyA kukkuDa tittiralAve kucchIeNmae dhario kuDDANaM cukko vIsa rs disAparimANa kuNas pariggahasAraM dehajANavataM tavaM jeNa tu kusu tavaM suvisuddha kuNasudayaM jIvANa 168-6 113-14 216 - 26 281 - 14 109-4 237 - 16 240-22 95 - 1 93 - 33 117-25 234 - 19 241 - 10 244-1 6 - 13 254-2 267 - 17 225-8 281 - 13 232-2 263 - 28 20-7 222-9 221 - 31 192 - 33 80-7 202 15 80-6 192-25 kuNa maNaM AmaNayArathaM kuNasu ya tumaM pi dhammaM 81-24 kuNimAhArayat kuppAsa pAuyaMge kuvalayacaMdo reha kuvalayamAlAcaMdo doNi 21-5 261 - 12 153-8 182 - 2 pajjasUI kuvalayamAlArUvaM kusuma je thi jAi~ Na kusumarayapiMjaraMgI mahu kusumaM tANa milAyai kusumAi~ koTTimayalaM kusumAi~ caMdaNaM aMgANa kuMkumarAruNaMgo aha kuMkumarAyArattA kUti sArasAI kUro jo piMgalaccho kei paDhati uNNA keNa kathaM savvaNi bha ke keNa daro puriso keNa va NAsa attho keNa va suhao jAyai keNettha imaM bhaNiyaM keNettha tumaM chUDo haNANaM paNamAmi kevalaNANuppattI kevalaNANaM paNamAmi ke viNimittaM avare kesaNeheNa mallAi ittha ho deva ko isaro ti NAmaM kouyarahasabharijjata kohale katthai ko ettha kiM viyA ko esa diyAisuo ko esa divvapuriso ko esa hojja puriso kokasa hoi jaNao kokasa hoi saraNaM kokasa hoi saraNaM ko kira vacca tIraM kojAi sodhammo koNa vi icchA evaM koNAma ettha daio ko cchara kAyabaliM koNecchai saMjoga ko tArajjalA 280 - 25 31-29 32-33 42 - 30 113 - 26 162 - 25 15 - 26 194 - 33 141 - 8 20-8 87-20 175 - 22 245 - 6 230-27 230-25 230 - 23 191 - 15 252 - 16 283-21 281-6 283 - 31 151-7 131-11 98-29 206-29 182-4 227-18 204-9 253 - 28 260-22 kodhAI saMjala ko bAlo kiM maraNaM komala kadalI sarasaM komalakisalayahAraM komalatamA palava komaladaiyA liMgaNa komaladI haravalI koNAha komala muNAlabAhU komala muNAla liya komala muNAlavalayA ko maha dAhi vatthaM koya imo AvAso kola ulakAlaya kolo vi takkhaNaM ciya ko va Na icchai esA koveNa kiMci bhaNNai kovo uvveyaNao ko saMbidhammaNaMdaNa kosaMbidhammaNaMdaNa kosiyaNayaNAlo 4-12 201-10 258-25 246-30 232-20 262-32 252-7 262 -8 283-2 206-15 205 -17 | kharaNiGkurapharusAI ko so vaNammi pakkhI kohoya mANo ya koMgaccho vahabhAgI kha khaggapahAraNiraMtarasaMpatto khaNarattavirattAo khaNavalaNaM khaNadhAvaNa khaduyAmotthayapaharAhao khANi ya pIyANi ya khamagaM veyAvacaM kharakhAramUlaDaDDo kharajalaNagaliyaMta u kharaNarakarahapasUhi kharaNakara sahi kharadiNayara kara saMtAva kharavaNavepaviddha kharapavaNAiddhaM visamaM kharapavaNuddhuyatADiya *99 280-4 273-23 254 - 13 97-9 147-14 69-10 128-19 76-28 93-8 158-20 238-24 186-22 249 - 32 128-23 189 - 13 262-16 220-25 45-5 154-5 154-27 130-26 258-16 44-15 130-25 79 - 1 54 - 3 136 - 22 41 - 19 265 - 1 270 - 10 273 - 27 37-23 39-17 135- 3 264-29 39-19 39-13 30 - 27 117-19

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*100 kharapavaNuddhayadIviya khapuDhI khallaiyacammavayaNo tI desu cittaM khaMtI ya maddavajjava dANaM rudrANaM khANe kUvatalA khAme ahaM ma khAmi savjIve khAmami savvasatte khIrAsaviNo Namimo khujjA ya paMgulA vAmaNA kheta hiraNe gha khattANubaMdhikammaM khettAdikama sImA khemaMkarI ya suhayA khelati vagghavasa muie khoDaNa khaNaNavidAraNa khobhaMtA balavajjiratUraM ga gajjasi alajja kurAo kaNayaM gajjaMti ghaNA NacaMti gardhanyataro varNaH gamaNarayakhuDiyahArA gamAgamaviyapo gamAgammahiyAhiya gammAgammaM jANai gayaNasare tArAkumuya gayaNammi kati sarA gayayaNo seNavaI gaNagaNaM va ruMda gayasI paumapIyA o sihiNANa bharo galiyA vi macchapuccha gavvabhara mauliccho gaNaM ca te viTThA gaharA siguNammi suhe gahie hi~ taha~ supurisa gahiyadararuiralIvA 186 - 29 44-26 64-25 72-10 96-1 281 - 18 205-3 271-28 272-2 218-12 283-17 41 - 1 222-25 242-8 222-26 280 - 15 28-22 39-9 171-19 148-4 179-12 101-19 129-8 25-4 143 - 3 72 - 22 143-30 238-1 136-19 130-22 173 - 33 130-15 249 - 25 209-27 49 - 31 245-13 19-8 250 - 26 46 - 14 | kuvalayamAlA gahiyapalAlA gahiyasagAha dalammi gahiyaM pijaM pi bhattaM gaMgAjala hAo gaMtavvaM te ajja vi 27-24 gaMtavvaM ta ajja vi gAuya 29-28 gaMtUNa girivaresuM 204-35 39-16 43-6 31-21 gaMtUNamacAeMto gaMdhavvatAlataMtI gaMbhIraNI pharahA gaMbhIradakkhiNAvattA gaMbhIradhI garuo gAmaNagarakheDa kabbaDa gAmAo chappurisA gAme yare adiNNaM gAyaMti ke vimahuraM gijjaMta sumaMgalamaNaharae girikuharaviyaDha sAmala gIravabhaMgaNAsiya girirukkhasaNAhANaM gIlijjai mayareNaM guNarahie vahupe sAmasu guttahiM tIhiM gutto gurukamma selavajjaM gurugahi paMkakhutto guruDAhaDajjhamANA guruNiddhabhicabaMdhava guruthaNaNiyaM pabbhAra gurudiNNayiyaviyaNaM gurudeva dayAdIhiM gurudeva sAdhU gurubAlatavastIrNa guruMbhaDabhAragarUyaM guruyaNavacaNaturiyaM guruveNadukhato gUDhaca utthayapAyaM gUDhaM pavayaNasAraM gaNhasi adiNNayaM ciya gehasi pariggahaM re 169-19 9-12 220-6 205-7 130-4 174-16 261-14 245-12 144-3 93-14 171-18 128-20 96-14 238- 2 209-25 251-7 7-2 272-15 215-16 39-26 37-33 258-33 136-4 107-12 168-32 231-13 270-12 106-13 25-3 36-6 176-9 278-12 37-4 37-6 gaha daMsaNamaMDa hasu AgamalauDa hasusa mahiMsA ture ko vA haha haha re re hAmi imaM dikkha yassa diNNakaNNo gehUM jANa tarutalaM goDAma godama jaha ya rasiMdo godama jaM me pucchasi godama bahue purisA gobhUmighaNNadANaM gomahipa kara gomAse paDiseho goyama jaM me pucchasi gorUyassa va chIta govagraM bhiruddAma goviMdadaruddA gose ciya haliyavahU gose majjha vA gha ass miyaMko sAmali ghaNaddhakuMciya ghaNaghaNamukko ghayaloNiya puge gharabhoga jANavAhaNa gharavAsapAsabaddhA gharahAriyA vi esA ira guMjA viya ghAdi viddha ghAdiyayacitto para jalam maccho caiUNa gharAvAsaM caUNa savvasaMga cavIsa aMgulAI causaNNA vippajaDhe cakkaM chattaM rayaNaM cakkA tuma rANa 193 - 6 192 - 29 162 - 30 51 -10 48 - 12 270 - 7 40-1 126 - 22 228-30 258-7 256-29 245 - 4 205 - 35 231 - 32 206-13 230-31 184 -4 112 -8 256 - 31 176 - 16 276-10 26-5 158 - 23 169 - 18 153 - 4 222 - 13 90-16 189-9 96 -12 228-32 255-6 251 - 1 80-4 204-11 23-27 279-5 283-21 181-20

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pajasUI *101 cakkAyajuvalasuhayA 3-20 / coja Na hoi eyaM 281-19 / jai evaM kIsa imaM 137-24 cakkhusiNahe suhao 131 -10 codasa puvvINa Namo 278-8 jai evaM NiNNeho 265-19 cattAri doNNi tiNNi 175 - 11 coro tti jiMdaNijjo 136 -13 jai kaha vi ahaM Nihao 188-2 cattAri paramaMgANi 209-16 coro tti jiMdaNijjo 136-32 jai kaha vi vIsao so 19-24 cattAri viyaNakajje 246 -14 coro tti majjha vajjho 252 -23 | jai kAmamohamUDho 265-22 cattAri hoti jassa ya 131 - 20 jai kira jalassa cukkai 19-21 camarAi~ Ayavatta 184 - 19 chaumattho mohamaNo 273 - 4 jai kiMci liMgabhiNNaM 281-29 calacavalakoMDaladharA 42-13 chajjIvaNikAyANaM 276 -19 jai kuNaha tavaM viulaM 193 -29 calaNaMguliNimmala 158 - 14 chaNha vi jIvaNikAyANa 271-33 jai gAsi dhAsi dummaNa 212-9 calaNaMguliNimmalaNaha 29-12 chappaNNayANa kiM vA 3-25 jai ghaDiyaM vihaDijjai 66-31 / / caliyassa titthayattaM 47.26 chamachamachamassa aNNa 36-30 jai chubbhaha pAyAle 219 -3 caliyA mi tattha suMdara 86 - 28 chalaghAi ti ya coro 136 -14 jai jalaNammi maraMto 109-22 caMkamiehiM taha pulaiehi~ 21 - 11 chaMdaMvittiNiruttaM 151 -9 jai jANasi saMsAre 179-29 caMDAla bhillaDoMbA 40 - 29 / chArassa hoi puMjo 275-26 jai jANasi suMdara caMDo mANasthaddho 230-33 chijjaMti vaNassaiNo 39-10 jai jANiUNa icchasi 268-26 caMDo somo vva paI 46-31 chijaMtu imAoM paraM 245-25 jai jIvai paMcAso marai 19-27 caMdakulAvayaveNaM 283.4 chiNNakaracaraNajuyalA jai Na kao tumha kule 234 - 27 caMdaNaNaMdaNaelA 149-9 chiNNo paDihii eso 245-23 jai Na Nisuo kahaM 207-27 caMdaNalayAharesuM 70.17 chItaM savvaM pi Na suMdaraM 183 -32 jai Natthi koi jIvo 205 -33 caMdaNadaNamaMdAra 166-16 chubbhati kaDhayadaMte 39-11 jai Nava mahANihIo 81-23 caMdamaNibhavaNakiraNu chettUNa osahIo 186-12 jai NAma kaha vi eso 26-20 caMdA sUrA paDhamaM 143 - 16 chettUNa NehaNiyale 261 -27 jai gAsavacchakaMTho 131-8 caMpayaasogapuNNAga chattaNa demi tujhaM 248-23 166-17 jai Ne bhaNati guruNo 38-14 caMpayakaliyaM mayaraMda 33 - 23 chedeNa vi sujjhaMtI 273 -19 jai Ne bhaNaMti sAdhU 38-15 caMpAvaiNAmAI chayaNaphAlaNaDAhaNa 274 -29 jai taiyA...ArUDho 252-5 214-8 chayaNabheyaNatADaNa cAraNasamaNe paNamaha 276 -26 283-14 jai taiyA...tava 214 -9 cArittaNANadasaNa 215-9 jai taiyA...tava 214-12 cArittasIlakiraNo 278-16 | jai akkosai bAlo 81-4 jai taiyA...rajja 214-11 cArittaM pi Na vaTTai 279-16 | jai atthi koi Narao 267-4 jai taiyA.. vaya 214-10 cittAcitto mIso 271-5 jai atthi koi dhammo 200-31 jai taiyA viramaMto 42-18 cirajIviNIe ammo 263 - 10 jai appA pAvamaNo 48-27 jai taiyA....sammatta 214-6 ciMtAmINa va gehasu 178-23 jai ahiNavagajaMkura 107-14 jai taiyA....suya 214-7 ciMtijjai jo vi 113-18 jai aMgasaMgameNaM 48-32 jai tassa tArisaM ciya 257-6 ciMtemi muTTigejjho 158-18 jai AvaTai davvaM 195-15 jai taM usabhapure cciya 250-8 ciMtesu AsavAI 228-24 jai icchisi paralogo 254-8 jai taM jANasi muddhe 180 - 1 ciMtesu NijjaraM ciya 229-4 jai iTThadavvavirahe 220-32 jai taM paMthavimUDho 250-6 ciMtesu tAva taM ciya 137-1 jai uvariM so taNuo 104-30 jai taM majjha Na sAhasi 249-3 ciMtesu saMvaraM ciya 229 3 jai ekko cciya appA 204-1 / / jai taM vacasi Naraya 262-24 cukko cauppayAo 19-18 / jai ekko cciya jIvo 206 -25 jai taM vaccasi sAmiya 265-26 cUyakaliyAe bhamaro ..33 - 26 / jai ekko NaraNAho 200-33 / jai taM vijjAsiddho 252 -12

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*102 kuvalayamAlA jai taM si majjha 248-28 / jai vi paDAmi samudde 48-1 / jattha Na jarA Na maccU 72-12 jai taM si vairagutto 250-24 jai vi phuliMgajalaNa 78-13 jattha Na jarA Na maccU 80-14 jai tIrai kAuM je 82 -2 jai vi vaiesaveso 86-19 jattha Na jarA Na maccU 144-17 jai tumha imaM rajaM. 207-23 / jai vi siNiddhaM mauyaM 158-15 jattha Na jarA Na maccU 194 - 17 jai tumha govaroho 122-28 jai sagge pAyAle ahavA 14-23 jattha Na jarA Na maccU 207-31 jai thovakammayAe 92-1 jai saccaM ci ya turao 27 - 13 jattha Na jarA Na maccU 222-6 jai dakkhiNeNa caliyaM 129-30 jai sattarattamajjhe 247-16 jattha Na dIsai sUro 21-14 jai dAUNa sayaM ciya 173 - 15 jai sattarattamajjhe 247-26 jattha Na hammai jIvo 201-34 jai diTuM cittayaro 233 -18 jai savvaNNu mahAyasa 243-23 jattha pahiyANa sattho 118-22 jai dIhA tuMgA viya 129-23 jai sijjhasi cakkINa 253 -1 jattha ya puriso ekvekkamo 8-14 jai dei visiTANaM 141-31 jai sumarasi appANaM 179 - 33 jattha ya pharihAo vi 31-26 jai devo Neraio 95 - 19 jai sumarasi kosaMbiM 179 - 31 jattha ya luppai kiriyA 176-4 jai dhammieNa bhaNiyaM 176 - 14 jai sumarasi dukkhAI 179-30 jattha sileso vihaDai 176 -1 jai paisai pAyAlaM 166-9 jai sumarasi saMkeo 179 - 32 jammi bhavaNaggalaggaM 31-23 jai paisasi pAyAlaM 212-7 jai suMdara atthi kuUhalaM 116 - 33 jamme jamme mayavai 111-34 jai paDhamaM ciya vayaNaM 234-34 jai seNatAsio se 142-13 jaya araIraiNAsaNa 268-16 jai pAyAle vasimo jai seviyamhi kAmo 265 -24 jayai jayajIvajammaNa 180-8 jai pAvapheDaNaparo 48-31 jai hoi kalijjato merU 108-17 jayai jiNo jiyamoho 180-9 jai puNa puvvaM laddho 279-22 jai hoi kiMci davvaM 196-7 jayai ya so dhammadhaNo 180 10 jai puNa sahAmi eNhi 229-5 jai hoi NAma maraNaM 59-28 jaya kovANalapasariya 268.14 jai putta tume eyaM 262-34 jai hoi NirAraMbho vayaMsa 66 - 18 jaya khaggaggaNivAsiNi 14-15 jai bhuMjai kaha va muNI 204-29 jai hoi bahuM dhaNaM 186-13 jaya khIroyamahovahi 14-14 jai mauyaM tA vaMgaM. 195 - 18 jai hoi suddhabhAvo 205 -40 jaya jaya jayai kumAro 27-1 jai majjhimAe~ sariso 129 - 19 jai hoja aisao me 92-4 jaya jaya jiyANa baMdhava 224-11 jai maraNehi~ Na karja 277-2 jai hoMti tiNNi vasaNA 129-32 jaya jaya gaMdA jaya jaya 93 -16 jai maM maNNasi muddhe 179-28 jai hoMti doNNi savvA 130 -5 jaya jaya muNivara pavarA 110-12 jaiyA NiTTaradehA 214 -3 jai hoMti bhAlavaTTe 131 - 19 jaya Nijjiyasayala 124-7 jaiyA dhiIe valiyA 214 -2 jakkhattaNammi bahuso 254 -23 jaya tuMgamahAkamma? jaiyA mehAjuttA 214-4 jaccaMdho keNa Naro 230-26 jaya dujjaya NijjiyakAma 35-10 jajhyA re puDhavijio 274 -24 jaNaNIe puNa bhaNio 47-27 jaya dujjayamohamahA 268-13 jai ruyasi valasi 212-8 jaNayamiNaM mAreuM 80-22 jaya dhammajhANakaravAla 124-4 jAviNa gheppai jIvo 97-30 jaNalajjaNayaM pi tahA 82 -1 jaya paDhamapayApatthiva 128-9 jai vi Na vaMcesi tuma jaNio si putta dukkha 262 - 18 jaya paDhamapurisa jai vi Na suo Na diTTho 207-22 jatto jatto viyarai 45 -31 jaya purisasIha jaya 242-25 jai vi tae uvaladdhA 105-1 jatto pasarai diTThI 25-11 jaya bhaviyakumuyavaNa jaDa vi tisalaNivaDiya 13-6 jatto viyarai diTrI 26-22 jaya mahumahavacchatthala 14-13 jai vi tuma avahattho 86-18 jatto vilolapamhala 249-30 / jaya mAyArusiya 268-15 jai vi tumaM asahAo 86-17 jatthakkharAi~ kI raMti biMduNo 174 -26 / jaya mohamallamUraNa 246-23 jai vi tumaM susiyaMgo jattha Na jarA Na maccU 44-8 | jaya vijaya jayaMti jae 201-21 jai vi daradaDDhamANusa 13 -7 jattha Na jarA Na maccU . 64-11 / jaya sayalasurAsurasiddha 120-4.

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98-23 pajasUI *103 jaya savvajIvabaMdhava 242-24 / jassa vioe suMdara 30-14 / jaha Niddayavajja jaya sasurAsurakAmiNi 85-27 / jaha aggiMdhaNatatte 210-31 jaha tajjaNIeN so ciya 257-23 jaya sasurAsurakiMNara 95-18 / jaha aggI pajjalio 258-6 | jaha tA karesi dhamma 81-22 jaya sasurAsurakiMNara 116-14 jaha ayaDataDe puriso 211-4 jaha timiraruddhadiTTI 210 -27 jaya sasurAsurIkaNara 127-7 jaha AurANa vejjo 179-19 / jaha teNa puvvajamma 5-16 jaya sasurAsurakiMNara 161-3 jaha ANavesi bhagavaM 90-22 92-34 jaha telamajzapatto jaya saMsAramahoyahi jaha ettha koi puriso 178-7 jaha dIvo varabhavaNe 98-13 268-6 jaha eyANa viseso jaha dIsai aggisamA jaya saMsAramahovahi 200 - 29 195-20 91-4 jaha osahadavvaNa 242 -12 jaha dukkAle kAle 178-3 jaya siddhipurIgAmiya 242-26 jaha karisirammi 179-9 jaha dUraTaMkachiNNa 178-17 jaya siridhavalaNetta 84-23 jaha kaMTayarukkha 177 - 32 jaha dUsahatamabharie 178-13 jaya sommasommadaMsaNa 115 -12 jaha kAyamaNiyamajjhe 210-13 jaha dehammi siNiddhe 98-6 jayahi Na purisa Na 268 - 17 jaha kira gharammi dAreNa 98-16 / jaha doNNi ke vi devA 209-18 jarakhAsasosavAhi 254 -29 jaha kira tilesu tellaM 98-5 jaha dhAUpattharammi 98-19 jaramaraNarogarayamala 74-17 jaya kira bhavaNe bhittIya 36-16 jaha paDhama paDivaNNo 255-25 jaramaraNarogarayamala 124-10 jaha koi iyarapuriso 98-9 jaha pattharAo kaNayaM 179-10 jaramaraNarogarayamala 139-20 jaha koi corapuriso 211 - 12 / jaha pavvajjamuvagao 94-2 jaramaraNarogarayamala 144 -19 jaha koi mayasiliMbo 227 -21 jaha paMkalevarahio jaramaraNarogarayamala 216-23 jaha koi hIramANo 178-9 / jaha pAyavassa puttaya 262-6 jalajalaNataDIvaDaNaM 42-4 jaha ko vi Naro jANai 211-10 / jaha pittajarayasaMjAya 210 -25 jalajalaNANilabhUmI jaha kosiyapakkhigaNo 210 -29 jaha phalihapattharammi 245-9 jalajaMtajalaharotthaya 8-10 jaha kotasattisavvala 178 - 11 jaha phuTuM bohitthe 94-1 jalajaMtaNIrabhariyaM jaha khIrakhaMDabhario . 218 - 29 jaha bahutaruvaragahaNe 210 - 17 jalajAyaphalihabhitti 240 - 27 jaha gayaNayale pavaNo 98-15 jaha baMdhuyaNo purisaM 179-22 jalaNapahao vi rukkho 179 - 5 jaha giriNaiveya . 211-8 jaha bujjhai devagurU 97-24 jalaNammi Na sujjhAmo 137-13 jaha garulo sappANaM 179-1 jaha bhariyaM rayaNANaM 93-36 jaya cadiMdaNamaMsiya 120-5 jalaNammi sattahuttaM 55 - 6 jaha majjhimAe~ so ciya 257-24 jaha corAibhayANaM 179-20 jalaNaM jalaM ca 204 - 45 jaha majjhe maMtANaM 210-19 jaha jaNaNI kira bAlaM 179 - 23 jaha mama Na piyaM jalaNo Daiha sarIraM 72 - 7 219-14 jalaNo vva hojja sIo 279 - 20 jaha jalaNo kaTThANaM 178-33 jaha mAsapesiluddho 228-31 jaha jaha alliyai ravI 52-28 jalathalaubhayacarAviya 39 - 8 jaha muddhaDabAlayao 210-33 jaha jaha jhijjai rayaNI 237 - 18 jaha moro uDDINo 98-8 jalabubbuyasamaNayaNo 56 - 19 jaha jaha pUrai aMga 36-20 jaha ya aNAmAe puNo 257 -25 jalarehAsAricchA 44 - 28 jaha jaha laggai salila 70-12 jaha rayaNaM mayaNa 98-12 jalahijaloyarammi 31 - 30 jaha jaha se parimAsai 224 -2 jaha raviNA timiroho 258-9 jalahitaraMga vva calaM 23 - 19 jaha Dajjhai taNakaTuM 98-17 jaha ruMbhai vaccaMto 179-21 jalahI khAro kuggAha 121 - 28 jaha NaravaiNo kuviyA 257-4 / jaha lohANa suvaNNaM 178-25 jassa kira Natthi putto 13 - 26 / jaha NalavaNuvaNesuM 210 -15 | jaha vaccai ko vi garo 98-11 jassa ya titthArame 1-7 / jaha TaNavaNANaM 178-26 / jaha vaccate jIva 98-7 jassa ya maraNe ruvvai 30 - 21 / jaha NAma koi puriso 178-5 / jaha vaNNato vaNNe 257-22

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*104 jaha vaNNANa seo jaha vaMcio ti ahayaM jaha vAluyAe bAlA jaha vitthiNNammi sare jaha samilA pabbhaTThA jaha sayalajaNiyakANaNa jaha sayalajaliya huyavaha jaha sAmaNNe dharaNI jahaNao taha savve jaha sUramaNI jalaNaM jaha so jAo jattha va jaha hoi jalaM jaNassa jaha hoi marutthalI suM jaM asai sasai veyai jaM asuI duggaMdha jaM ekkeNaM gahiyaM jaM evaM gharasokkhaM jaM eyaM te kahiyaM jaM esa ettha rAyA jaM kaNayaM kaNayaM ciya jaM kaha vimukhaM bhaNiyaM jaM kaha vimohamUDheNa jaM kAyavvaM kIrau jaM kiMci ettha lo jaM kiMci ghare dhaNNaM jaM kiMci tumaM pecchasi jaM kiMpi kaha vi kassa jaM kiMpi tassa dukkhaM jaM khalapisuNo ahaM jaM caMDasomaAI jaM ci jiNehiM bhaNiyaM jaM cicchaMti muNI jaM caya kayaM taM ceya jaM jattha tavazcaraNaM jaM jassa kiM pi vihiyaM jaM jaM iTuM loe jaM jaM ettha NiruttaM jaM jaM ettha mahagghaM jaM jaM kare amhe jaM jaM kareMti ee 178-30 81-17 30-32 98-10 210-9 211-6 178 - 15 210 21 184-2 98-22 5-15 178-32 178-1 81 - 33 81-31 191-4 88-29 72-4 185-26 90-32 271-2 265-23 263-1 200-19 191-7 233-6 216-25 186-16 281-7 280-20 217 - 32 136-31 212-10 269-30 265-17 231-23 202-29 241-4 192-5 191-33 kuvalayamAlA jaM jaM kareti pAvaM jaM jaM kIrai tANaM jaM jaM gujjha jaM jaM jayammi jIvaM jaM jaM jayammi dukkhaM jaM jaM jayammi bhaNNai jaM jaM jayammi sAMra jaM jaM NarANa sokkhaM jaM jaM dAvei kalaM jaM jaM paramarahassaM jaM jaM pulAi jaNaM jaM jaM pecchasi eyaM jaM jaM pecchasi jIyaM jaM jaM bhaNaMti guruNo jaM jaM maha karaNijjaM jaM jaM se gujjhayaraM jaM jaM paramappA jaM jaM viraidu dhaNa jaM jaNavarehiM bhaNiya jaM jeNa jahiM jaiyA jaM jaMNa paNaINa dijjai kahAsu vi suvvai jaM Naratirikkhadivve jaM vadI vi godama jaMNa sumiNe vi jaM tattha kiMci ahamaM jaM taM titthammi jalaM jaM taM suvvai loe jaM tumehiM palatta jaM tuha kulassa sarisaM jaMtesu ke vi pIlaMti jaM davvaM avalaMbai dANaM taM di jaM dijjai taM sAraM japateNa ya taiyA je pAca puvvaka jaM puTuM taM dijjai jaM puNa eyaM kahiye puNa massa aMgaDiyA jaM puIeN suNijja 69-12 112-20 81-32 202-11 36-14 35-27 216-31 92-21 22-13 250-25 77-13 276-8 202-10 90-33 211-23 187-15 202-24 63-20 273-6 259-32 106-31 234-29 271-4 257-11 155 - 16 140-5 48-30 159-22 255-31 266-28 36-29 242-17 204 - 17 204-5 270-18 56-7 175-21 56 -2 49-5 8-7 jaMbuddI rahe jaM bhaNAi sAmI jaMbhAvasava liuvvella jaM majjha imaM dukkhaM jaM mukkaM taM aMgAriyaM jaM supurisANa hiyae jaM suhuma bAyaraM vA hoi adhiyapAvo jA Asi jAjarAmaraNAI jAijarAmaraNAvatta jAi ummattamaNo jAi visuddhA si tumaM suTu daiyA jAi samuddAbhimu jAI jAI jAo jAI tattha phalAI jAI bharAi~ maNNe jAI phalara raMjiya jA jA sa jAo jalammi Nihao jAo dharaNIeN tumaM jAo pacchAyAva jA kAi kayA mAyA jA jA muNAlapahayA hoi jANaya pucchaM pucchai jA jAhi tUra pasarasu jANai kAle dAuM jANai jANaMti jogamAlaM jANato khAi visaM jANato taha va ahaM jANAmi ajja sumiNe jANAmi kamalamaue jANAmi teNa te haM jANAmi mae dhamiyaM jANAmi jANiUNa eyaM ciya ettha jANU jassa bhagUDha jANU jassa dosuvi jA paDhamapayA patthiva jA pAvai mahilANaM 96-17 192-31 77-19 220 - 13 984-8 255-23 271-1 185-23 187-2 276-28 1-17 231-28 181-12 121-22 275-6 89 - 33 224-5 134-30 140-30 276- 11 276-12 280-21 271-18 94-30 34-16 24-23 22-16 151-8 207-1 139-28 269-7 254-12 250-18 269-8 137-26 5-6 129-29 24-4 64-29 253 -4

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jAvAmma tuma jAA276-13 41-9 pajasUI *105 jA puNa puNNehiM viNA 259 - 12 / jIesu kuNasu mettiM 202-12 je jattha kei khette 278- 19 jAyai AsaNakaMpo 212-4 jIyai kammeNa jio. 264 -23 / je jattha kei siddhA 278-3 jAyammi aDDarate 238-4 jIvattaNammi maNuo sAro 109 - 19 / je jammajarAmaraNoha 64-6 jAyassa keNa kajaM 148 - 18 jIvammi tuma jAo je jaha jIvAIyA 143 -29 jAyassa dhuvo maccU 82-15 jIvAjIvajahaTTie~ 207-25 je jaha bhaNie atthe 273 -14 jAyaMti kammabhUmIsu 40-23 jIvAjIvavihANaM 34-11 je DahaNaMkaNatADaNa 64-7 jAyaMteNa mae ciya jIvAjIvA Asava 142 -24 jeNa kao guruguruNA jAyAvahAraNIe 274 -3 jIvAjIvA Asava 217-31 jeNa kayA dhavala cciya 81-28 jArajjAyaho dujaNaho 6-11 jIvANa karei vahaM 185 -27 jeNa Na maNo Na rAgo 258-2 jArisao so mitto 63-2 jIvANaM aivAyaM 143 -32 jeNa tae attANaM 53 - 19 jArisayaM taM kamma 245-11 jIvANaM paNNavaNaM 34-18 jeNa ya maNorahehiM 186-31 jArisaya vimalaMko 3-27 jIvAdIe payatthe 218-24 jeNa ya sirIeN diNNo 21-6 jAva asicakkatomara 38-1 jIviyaha evaM kati 36-4 jeNa ya sueNa kahiyA 208-6 jAva imaM ciMtijjai 214-30 jIveNa yataM jAo 276-14 jeNa sihI cittalie 206-19 jAva Na duhAI pattA / 110.20 / jIve mAresi tuma 37-1 jeNaM ciya komalakarayalehiM 30-17 jAva tuha teNa paiNA 226-32 jIvo aNAiNihaNo 203-25 jeNaM ciya Nisuo so 256-1 jAva mae cciya eyaM 47-31 / jIvo aNAiNihaNo 219-28 | je NijjAmayapurisA 90-2 jAva ya abhaggamANaM jIvo aNAdiNihaNo 219 - 17 je tattha tiNNi purisA 89-31 jAva ya kuvalayacaMdo 29-10 jIvo uNa maNuyatte 42 - 27 je tattha mahiDDIyA 42-29 jAva ya Na deti hiyaya 13-20 jIvo khaNabhaMgillo 203-23 jettiyamettaM kamma 140-24 jAva ya Na deti hiyaya 15-21 / jugamattadiNNadiTrI 2202 jettiyametto uri 104-29 jAva ya dhAvaMti tahiM 37-30 jujjai mahilANa imaM 240-12 jettiyametto kIrai 66-14 jAva ya ramiuvvAo 154-25 jujai viNao dhammo 205-29 je dIhathUrajaMghA 129-27 jA samilA so jIvo 210-2 juttiviyAraNajoggaM 49-4 je dUsahagurudAridda vidyayA 64-3 jA supurisaguNavitthAra juSpaMti NaMgalAI 101-20 je dhaNiNo hati NarA 46 -1 jA harisapaNayasuravai 56-29 jayaIjaNamaNasaMkhoha 112-7 je paratattiNiyattA 40-18 jiNajammaNabhUmIo 283 -42 | juyasamilAdiluto 280-29 / je piyayamaguruviraha 64-2 jiNadhammo maha mAyA 272 - 12 | juvaIyaNaNimmalamuha je puNa kareMti evaM 143-28 jiNavayaNabAhiramaNo 139-25 / juviiynnmjjhgo| ___ 253 -13 je pecchasi dharaNihare 276-7 jiNavayaNabAhiraM so 32 - 13 | jurvaIyaNamaNamohaM 173 -29 / je bhAraharAmAyaNadaliya 3-24 jiNavayaNaM dippataM 278-11 | juvaIyaNamaNaharaNo 41-15 je vi NisaNNA siddhA 277-31 jiNavayaNAo UNaM 283-3 | je uNa kareMti kamma 40.20 je vi saliMge siddhA 277-29 jiNavayaNe vaTuMto 230-8 je uNa jANaMti tuhaM 120-9 je vellahalavilAsiNi 141-19 jiNavaravayaNaM amayaM va 133-27 je uNa saNiyANakaDA 42-6 je saMpai parisatthA 277-17 jiNavaMdaNaphalameyaM 280-22 je erisA NariMdA 197-24 / je haMsaAsavAraNa je haMsaAsavAraNa 129-28 jiNNo jarAe puttaya 157-10 je kammakhayaTTAe 278-27 jehi kae ramaNije 4-1 jiya daiya suhaya 141-18 je kei titthasiddhA 277-28 jehiM kayaM sarisehiM 212-15 jiyarAgadosamohA 257 -20 / je koMcahaMsasArasa 130 - 16 jehiM samaM aNudiyaha 186-33 jiyaloyaloyaloyaNa 115-13 je gurudevayamahimA 197-27 je hoti NADaillA 42-15 jIe~ maha devayAe 281-26 / je ciya jANaMti imaM 38-26 / je hoMti NiraNukaMpA 35-30 ku. mA. 14

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106* kuvalayamAlA jha jo alaso gehe cciya 254 -9 / jo caMdaNeNa bAhaM 80-5 | jo visamammi vi kaje 66-21 jo icchai bhavavirahaM 4.2 jo chiMdiUNa NehaM 261-24 | jovvaNasiddhA bAlA 278-1 jo IsareNa keNa vi 206-27 jo jattha hoi jaMtU 206 -5 jo sajjaNo viyaDDho 281 -25 jo uNa kuDaMgadIvo 89-30 jo jasu mANusu vallahau~ 47-6 jo satte viyaNatte 231-17 jo uNa guruyaNasevI 231 - 19 / jo jassa kuNai pAvaM 58-26 jo savvalakkhaNadharo .196-11 jo uNa cautthapuriso 246 -5 jo jassa hiyayadaio 52-5 | jo surabhikusumamayaraMda 32-26 jo uNa cAI viNaoNao 231 -29 jo jaM jANai thANaM 250-2 jo sUsamapaDhamaNariMda 50-2 jo uNa chaTo puriso 246- 8 jo jaM jANai dhamma 203-12 jo so jUyakaraggo 209-19 jo uNa Na calai Na valai 142-26 / jo jaMtadaMDakasarajju 231-16 jo so mUlaM chiMdai 246 -3 jo so suvvai moho 72-29 jo uNa paMcamapuriso 246-7 jo jaM maggai ajja 208-29 jo hatthi bhaNai kharaM 220-17 jo ettha ko vi rakkho 259-30 jo jANai desIo 281-23 jo harai tassa hijjA 231-24 jo esa tunjha dUre 72-26 jo jIvieNa Nicca 30 -16 jo hiMsao jiyANaM 219-11 jo esa tujjha vAme 45-12 jo NayavikkamabaddhaM 66-22 jo hoi jamo dhaNao 140-7 jo esa tujjha vAme 56-18 jo Na vi vihure vibhajaNau 59 -5 jo hoi dayAparamo 231-26 jo esa majjha vAme 49-30 joNhAcaMdaNapari 238-17 jo hoi dullahaM vallahaM 164 -26 jo esa masANavaDo 249-5 joNhAjalapaDihatthae 91 - 12 jo hoi dhammapuriso 206 -23 jo esa mahAjalahI 89-29 johAjaleNa paJcAliyAi~ 46-6 jo hoi sammadiTThI 230 -7 1 kAla sajjhAo 269-27 joNhApavAhaNIroru 16-8 jo hoi sammadiTTI 230 -1 jo kira bhuyaMgaDakko 236-3 jo tattha rasaviseso 228 -14 jo kira paharai sAhammiyassa 137 - 18 jo tANa kuNai thavaNaM 257-18 jhAUNa kiM pi hUM hUM 165 -24 jo kiMcipuNNakalio 185-24 jo tujjha paTThibhAe 64-23 jhANeNa hoi mokkho saca 205-25 jo kiMNarehi~ gIo 239-11 jo dINo paribhUo 271 -25 jhANeNa hoi mokkho so 205-23 jo kuNai joyajuttiM 197-30 jo dUsamasalilapavAha 282 - 15 jhosei NaqsattaM 280-2 jo kuNai tavaM ihaI 254 -7 jo dei dhaNaM duhasaya 103 - 22 jhosei mahAsatto 279-26 jo kuNai tiNNi pAve 246 -15 jo paDhai bhAvajutto 281-21 ThAvei iMdiyAI 93-2 jo kuNai paMcakajje 246 -13 jo paDhai suNai ciMtaha 231-15 jo kuNai muttachaddI 130 -1 jo pasabai iha bAlo 188-5 DajhaMtabahalaparimala 13-8 jo kuNai sAhasabalaM 204-31 jo paharai jIvANaM 223 -28 DahaNaMkaNabaMdhaNa 39-31 jo koi kao kovo 271-16 jo puNa eso logo 256- 27 DaMDAhayakuviyabhuyaMga 147-18 jo koi kao mANo 271-17 jo puNNaporusehiM 259-21 DoMbilayala usabokkasa 40-25 jo koi kao loho 271 - 19 jI mayagalagaMDatthala 110 -17 jo koi mae vihio 271-20 jo maha dhaNe mamatto 271-7 Na kayAi teNa ramiyA 176 - 18 jo kosiyarattacchA 131-16 jo maha paharai samuhaM 223 - 27 Na kaittaNAhimANo 283 -7 jo khalataruyarasiharammi 57 -10 jo mArao jiyANaM 230-32 NakkhattasUrarahiyA ghorA 36-8 jo khAi jAi muMjai 162 - 22 jo me dukkhAviyao 271-21 Na gaNei paraM Na gaNei 51-8 jo geNhiUNa dhAuM 197-31 joyaNabahulakkhille 209-20 Naccai NAyaraloo 18-31 jo dhaDai dujaNo 68-9 / joyaNasahassatuMga 93 -22 NaJcaMtataraMgasubhaMgurayaM 174 -14 jo calai valai vaggai 142 -25 | jo rAyadosarahio 207-14 NacaMtavilAsiNIsohaNaya 18-19 jo calaNapaNAmehiM bhattIe~ 30-20 jo vayaNavaNadavaggI 270 -23 NacaMti te vi tuTThA 188-10 jo cavalo saDhabhAvo 231-5 , jo vAhei NisaMso 231-30 / Najjai dhammAdharma 4-20

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*107 Najjai aNumANeNa 206-17 / Narae vi satta NarayA 143-23 / NANAjIuppattI suvaNNa 34.24 Najati jeNa bhAvA 127 - 18 Naraesu ya tiriesu ya 142 -30 NANANayaNamaNohariya 91.13 Na Namai selatthaMbho 44-30 NaraoyAraM tunbhe 101-13 NANAmaNimottiya 275 - 12 NaNu bhaNiyaM udayAI 257-8 NaraNAha ime purisA 40-22 NANAyAradharANaM 278 - 10 Natthi Na vAhaNabaMdhaNa 276 -27 NaraNAha purisabhAvaM 40-32 NANAladdhisamiddhe 95-27 Natthi puhaIe aNNo 275 -24 NaraNAha sabajIvA 43-23 NANAvaraNaM kamma 242 - 10 Natthi maraNassa NAso 277 - 1 NaratiriyadevaNAraya 227-25 NANAvaraNIyassa va 242-3 Namaha ya ujjumaINaM 283 -11 garapasudevadaicce 202-6 NANAvaraNudaeNaM 98-27 NamiUNa gaNahariMde 269-24 NarayagaiNAmakamma 38-30 NANAvihaM ca kamma 57-26 NamiUNa tiloyaguruM 270-31 NarayattaNammi NarayA 271-32 NANeNa kuNasu kajja 229-21 NamiUNa savvasiddhe 273 -21 Narayammi jIva tumae 275-7 NANaNa hoi kiriyA 219-8 Na ya asthi koi bhAvo 146-27 NarayAuyassa godama 261-10 NANe daMsaNacaraNe 269-25 Na ya aMbilo Na mahuro 98-2 Naravai Narayasaricche 41-32 NAmaM piNa-yANaMto 120-8 Na ya kassa vi ko vi 30 -29 Naravara erisadukkhayaM 42-1 NAyavidattadhaNeNaM 205-15 Na ya kuNai viraibhAvaM 230-2 NaravaiseNAvaiNo 35-31 NAyaM tu jahAkamma Na ya koi tassa saraNaM 227-26 Naravara NayANai cciya 55-25 NAyAdhammakahAo kaheMti 34-15 Na ya gheppaI adiNNaM 202-1 Narasuradaiccamahio 217-20 NArayatiriyaNarAmara 139 - 15 Na ya ciMtayaMti mUDhA 186-1 NavapaccamANasahayAra 147-21 NArayatiriyaNarAmara 141-29 Na ya jANae apuNNo 188-27 NavapAusammi patte 147-30 NArayatiriyaNarAmara 217-28 Na ya jANae varAo 187 - 10 NavabaMbhaguttigutto 272 - 22 NArayatuMburuvINA 96-24 Na ya jANae varAo 188-9 NavamaMdAragocchasaMtANaya 95-16 NAsai tArAyakkaM 253-20 Na ya jANaMti varAyA 187-19 Navi asthi koi jIvo 205 -31 NAsaMti dukkhabhIrU 202-7 Na ya gidieNa bahuso 255 -7 Navi Najjai kiM daiyA 121 - 10 NAsAe pAsalaggo 24-3 NayaNIisaMdhiviggaha 152-25 Navi taha Danjhai hiyayaM 59-25 NAseto timirayaM pi vi 198-11 NayaNe ajja kayatthe 260 -17 NahadaMtakaNNaNAsiya 228 - 16 | NAha tuma ciya saraNaM 115 - 14 NayaNesu desaNasuhaM 86-32 | Na hagavara laMdhio so 7-15 NAha tuma ciya saraNaM 116-16 Na ya dIsai hIraMtaM 247 -12 NaM bappo tassamhe 249-1 NAhaM gaheNa gahiyA 225-10 Na ya dIho Na ya taMso 97-35 NAUNa imaM savvaM 194-4 NAhaM ho homi raI 107-9 Na ya dhammo Na ya jIvo 232-3 NAUNa paMcavIsaya 206-35 NiuNo tumaM pi puttaya 259-5 Na ya parajaNesu roso 228-4 NAUNa bAlamaraNaM 273 -22 NikkaDDiyAsivisamo 159-5 payarapurakheDakavvaDa 259-18 NAUNaM jiNavayaNaM 90 -13 NiggathaM pAvayaNaM 273 -7 Na ya majA koi saraNaM 228-2 NAeNa jaM viDhattaM 222-14 NiccalaNayaNajuyaM ciya 31-9 Na ya vaMcayA Na luddhA NicaM pasAriyakaro 40-19 jAgaM gaMdhaM suvvaM 198-3 15-27 Na ya saMti ke vi devA 37-14 NAgA udahi suvaNNA NicaM jo rogabhAgI 257-1 19.13 Na ya sIyalo Na uNho 98-1 NAgANaM NAiMdo 178-27 NijiyagurupAva 214-16 Na ya so ghaDavaDarUvo 98-3 jAgo viMdo mammaDa 282 - 12 NijjiyasesamaUhA 95-4 Na ya so ciMtei imaM 257-32 | jANajalaMtapadIvaM 193 -18 NijjhINapAvapaMko 202-19 Na ya hiMsao jiyANa 40-13 jANatavaviriyadasaNa 95-28 NijjhINapuvvavihavA 259 -1 Na ya hoti tANa bhoyA 88-22 | jANamaNataM tANaM 280-12 NijjhINavihavasArA 190-31 Narae NeraiyANa 38-34 / NANaM kuNa kodAlaM 193 -2 / NiTurakaTTapahArA 125-24

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*108 NiGkurakarapaharAhaya nirakharaphasaM niDuracaMcupahArA NiGkuraDaMDasirAhaya giTTharakhagdhacaveDA NitthiNNabhavasamuddA fortreorakarAhaya NiddayasamatthadaDhabAhu NiddayasurayasamAgamarAI NiddAkha vibuddho NiddhUmajalaNajaliyA NiphaNNa savvasAsA NigbhacchaNa avamANaNa NimmalakaravAlakarA nimmalaphuraMta ruira nimmalamANikkasihA nimmalarayaNaviNimmiya nimmalamaNeNa guNa miha dhUvagaMdha Niyakammagahiyapoggala NiyakammadhammajAyA NiyajAima ommatto NiyajIyavIrieNaM yidukkhadukkhiyaM NiyayakulamANa pisuNaM Niyaya bahuruhira viccha Niyaya sahAvamamatto yiyANubhAvasarisaM pillajja tae eka nivaDatoca aNNa viDaMtarayaNaNivahaM nivaData ruhiraNiva ho viDiyamettaM ekaM NivvaNNei ya NaM so Ni sadiyo NisiyA sicheyadhArA NissaMkiya NikkaM khiya Nidijjai savvajaNe nIlamaNisura bhikuvalaya 121-31 271-23 70-9 65 - 19 39-24 80-25 114-31 39-12 25-21 93-11 108-28 46-8 41-29 124-14 161-17 8-9 92-13 3-19 249 - 13 98-4 265 -32 37-9 280-3. 165-22 22-15 13-9 271-14 30-30 79 - 15 36-26 69-3 27-16 36-27 29-61 277-32 13-5 270-5 219-12 94-20 kuvalayamAlA NIluppalai~ je Natthi jAi~ 31-28 nIluppaladIhacchI 249.22 luppalamA liyA hiM 25-30 fiers for kumA 24-27 hariyo duvvaNa addha NeuraravarasacaliyA haM dejja imIe hoyagyadehA miciNaM hA olittavilitte hA olittavilitto ta taio uNa jo puriso taio ciya maha kahiyaM taio va pAvapuriso taiyaciya me NAyaM taiyapuriseNa bhaNiyaM taiyaM aNadaMDa tajhyA amhANa tuma tayA bhaNati guruNo tao phuraMta khaggayaM takkhaNagaiMdaviddaviyakuMbha takkhaNaviNapiyama taDijala vArimaraNe taNaNivahocchaiyamuhaM taNamettaM piva kajjaM taNAyAsi viyaDDhA tanhA hA kilA M kohAmAyA yama hoi tho sAma mahade tattaNANaM NANAo tatto Nimiyarasa ya se tatta pasariyakiraNaM tatto vi AugaM te tatto vi phalihamaiyaM tatto vimANadevI 152-26 279-21 8-12 282-2 157-33 40-3 153-5 183-30 90-14 38-9 246-5 227-1 245 - 26 222-10 199-11 38-17 24-20 29-22 160-20 42-24 61-12 13-16 235-22 40-7 40-14 104-25 153-6 257 - 17 97-14 97-8 144-15 97-10 97-16 tattha Na jarANa ma 280-16 tattha ThieNaM aha codasIe 282 - 23 tattha tae kakkayaNa 109-12 tattha tasthAvara 39-5 tatthathi purI rammA kosaMbI 31-19 tattha ya rAyA sUro 247-1 tattha ya saMpatto ciya tattha vi uDayasaricchA tattha vikhaNaMti giri tattha vi yANimacciya tattha vi teNuvviggA tattha vi paulijjatA tattha vi palAyamANA tattha vi vaMtaradevA tattha vi virasaMto ciya tatthekko bhaNai imaM tattherisiyaM kamaM tasaM tassa bhave tamapa hatthA racchA tammi bahujaNavalahammi tammiya jammadaliddo tammi ya NayarI aituMga tammiya paramasaNA tammiya purI purANA tamhA asui sarIraM tamhA ekko bhagavaM tamhA Naravara savvA tamhA devattaNayaM tamhA mA kuNa mAyaM tayaromahadaMtA taraliyaNayaNabAha tariUNa mahAjala hiM taruyaratale suyaiva 92-33 89-32 185-9 228-23 258-4 mhAo vicuo haM 140-31 tamhA karemi savvAyareNa 278 - 23 tamhA karegi savvAyareNa 279-11 tanhA kare jattaM 219-7. tamhA kareha tubhe 97-34 tamhA kuNaviddhaM 55-31 tamhA jivara NAmakrAi~ 184 - 17 202-26 42-3 81 - 19 131-17 160-25 191-20 135-15 77-15 231-14 taruvarasAhAbAhA tavaNANaguNasamiddhaM 191-25 5-21 191-26 37-28 38-5 42-7 41-11 90-5. 257-9 284-7. 83-21 175-2. 45-21 56 - 26 92-27

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pajasUI *109 tavaNiyamasIlarukkhe . 220 -3 / taha teNa te paraddhA . 38-2 | taM NAho taM saraNaM / 194-7 tavaNiyamasosiyaMgaM . 29-6 | taha teNo vi hu puriso 220-30 / taM NAho taM saraNaM 229-14 tavaNiyamasosiyaMga taha dukkhasatthapaure 178-12 / taM NAho taM saraNaM 268-19 tavataviyapAvakaliNo taha dUraNarayapaDaNe 178-18 taM tehiM samADhattaM 85-33 tavabhaMgasIlabhaMgaM 39-2 taha dUsamAe kAle 178-4 | taM dIsasi sUrasamo 136-6 tavasaMjamajoehiM 193 -10 taha dhammakahA jalaNeNa 210-32 taM dharaNI sAvittI . 263-4 tavasaMjamadANarao 231-4 taha dhammadharaNiNihiye 210-22 taM paDhamapuhaipAlaM 1-8 tavasaMjamabhAra 215 - 14 / taha pAvacoriyAe 211-13 taM puNa AyariehiM 278-13 tasakAyatte bahuso 274-30 taha pAvatimiramUDho 210 -28 / taM puNa NayaNate ciya 48-26 tassa khamAsamaNaguNo 282 - 10 taha pAvapasaragiri 211-9 / taMbammi hoi rattA 195 -14 tassa gurU hariutto 282 -7 / taha pAvapasarasaMtAva 210-26 taMbehi divvabhogI 129-25 tassa ya uvari aNNa 92-30 / taha micchAdiTThijaNo 210-30 / taMbolaraiyarAo 152-13 tassa ya uvariM rehai 92 -29 taha muddho koi jio 211 -1 | taM rAgadosavasao 142-33 tassa ya putto eso 247-2 taha mohakammapAmA 221-21 / taM roviyA mae ciya 181-4 tassa ya purao attANayaM 184 - 18 taha rAgadosagiriNai 178-10 | taM vayaNaM tANi ya loyaNAI 168-26 tassa ya bahuyA suIsA 282 - 11 | taha lAliyassa taha 275-22 / taM vayaNaM bhaNamANo 168-7 tassa ya bAhiM sahasA 96-33 taha vAvaNisegehiM 198-1 taM eMto bhaNNai 280 -6 tassa vi putto saMpai .. 282-20 | taha vi tamaM reNiya 139-16 / taM sahao taM rUvI tassa vi sisso paya Do 282-8 | taha vi thuNaMto godama 258-3 tA amha ho Na kajaM 192-9 tassa vi sIso aNNo 282 - 14 taha vi na bhariyaM 247-45 | tA ihaloe heyA 162 -24 tassa suo haM payaDo 185 - 10 taha vi pio me puttaya 262-26 | tA ujjhiUNa lohaM 72-9 tassANumaggalaggo 135 - 14 taha vi bahUhi~ Na Najai 138-32 tA ettiyaM mae ciya 212-14 tasseya dAhiNaddhe 7-5 taha sattumittaghara 211-7 / tA ettha Navara Naravara...49-6 taha iMdiyacorehiM 211 -11 taha saMsAramarutthali . 178-2 tA eriseNa saMpai 275-28 taha esa jIvahariNo 227-22 taha saMsAramahoyahi 177-29 tA evaM majjha samappiyassa 47-28 taha kusamayatarugahaNe 210-18 taha so vivarau kiM kuNau 6-9 / tA esa esa dhammo 144 -18 taha kusamayamaMtasamUha 210.20 taM ekko paMDiyao 267-8 tA eha majjha samuhaM 136-11 taha kusamayaveNumahA. 210-16 taM kuviyakayateNa vi 13 - 18 tA kattha maNaM kuNimo . 201-6 taha kohamANamAyA 272 - 17 taM ca phalayaM samudde 139 - 22 tA kalimalasayala 44-7 taha godama jiNadasaNa 258 - 10 taM ciya jae kayattho 102-7 tA kIsa esa loo 140-28 taha ceya esa jIvo 178 - 6 taM ciya suvvasi NiuNo 188-32 tA kuNasu AyaraM bho 44-6 taha ceva mahAmohA 178 - 16 taM jiNavayaNarasAyaNa 218 -5 tA ko tIrai kAuM 255-24 taha jiNadasaNajalaNeNa 258-8 taM Nasthi kiM pi ThANaM 276-9 tA khamasu mAe~ ehi 263 -5 taha jIvakammayANaM 98-20 taM Natthi jaMNa dijai 18-30 tA khamaha kiMci bhaNiyaM 267 - 13 taha jIvassa vi suiraM 177-33 taM Natthi ja NayANasi 224-13 tA khalai valai jUrai 78-2 taha jIvo lakkhasamUsiya 98-14 taM garavara geNha tuma 202-3 tA geNha tumaMNANaM sammattaM 109-13 taha NarayakUvataDa 211-5 taM Navara khuDai hiyae 43-11 | tA godama peccha tumaM. 246-9 taha NarayatiriyaNara 178-20 taM NANadasaNAvaraNa 142 -32 tA jai kahaM pi pAvai. 214 -14 taha NArayAdidAridda 178-8 taM NArahaMti kajaM 148-16 tA jai maggaMti imA 234-32 taha taM veyAvaDiya 69-5 / taM NAho taM saraNaM. 180 -4 | tA jai suheNa karja 200-21

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*110 kuvalayamAlA tA jattha jattha jAo 276 -15 | tA peccha te vi Naravara 189-33 | titthapavattaNagaruyae~ 94-10 tA jammalakkhadulahaM 139-24 | tA bhagavaM de jaMpasu 72-5 / titthayaraNAmagottaM 277 -15 tA jaha eyaM jANasi 49-12 tA bhagavaM maha sAhasu 80-2 titthayarAI paNAme 276 -22 tA jaha eyaM tivihaM 162-27 tA majjhaM ciya vihave 212-16 titthayarANa paNAmo 277-22 tAjaM corosi tuma 252-13 tAmarasasarasakuvalaya 42-34 titthayarA bhagavaMtA 256-14 tA jAva esa jIvo 143-7 tA maha kuNasu pasAyaM 49-13 titthayarIo titthaMkare 277-19 tA jAva No samuhaM 27-12 tA mA kuNaha pamAyaM 124-11 titthayaro loyaguru 202 -22 tA jAva hoi joggo 90-12 tA mA ciMtesu imaM 90-20 tipurisacariyapasiddho 3-28 tA jo erisarUvo 227 -15 tA mAriUNa ekko 90-26 timirohasarisapasariya 134 . 27 tA jhAi hasai sUsai tA mA hoha hi muddhA 193 -28 tiyasiMdapoDhavilayA 96 -22 tA NaraNAha sayaNNo 38-33 tA mitta tume samaya 266-34 tiyasiMdavilAsiNi 43 -10 tA NavaraM maha juttaM 48-3 tA mitta phuDaM bhaNimo 57 -15 tirayaNaradaNuya 216-24 tA Natthi ettha saraNaM 140-27 tAya Na tujhaM daio 262 -28 tiriyattaNAu mukko 40-12 tANa vi mA jANa suhaM 42-14 / tAva tume haM jAo 260 - 16 tiriyaM valai sahelaM 209-31 tANaM ca doNha puttA 190.29 tAva piummi siNeho 76 - 10 tiriyA asaMkhabheyA 143 -22 tANaM jAyANaM ciya 190-30 / tAva ya kusuMbhaNiggaya 73 -16 tiriyA vijaM sauNNayA 128-13 tANaM vayaNAbhirae 257-15 tAva ya kovAyaMbo 48-6 tilatellANa paroppara 219 -31 tANaM ciya jo bhavvo 139-21 tAva ya ko vi imo so 191 - 14 tivalitaraMgaNiDAlA tA aiti kiM pi kAlaM 131 - 27 tAva ya maMdaragaruo 51-4 / tivalitaraMgaNiDAlo 45-13 tA tassa gottakhalaNullasaMta 53-9 / 2.9 tA valai khalai gajjai 154-24 tihikaraNammi pasatthe 105 -30 tA tassa samavasaraNe 96-18 96-18 tA valai khalai vevai 232 -31 tIya ya maggAlaggA 75 -28 tA taM pasiyasu muNivara 56-3 tA vijau kuNaha tavaM 275 -30 tIya vi pio tti kAuM 79-3 tA taM pikiMNa bujjhasi 109-11 tA viNNavemi saMpai 261 -31 tIrammi tIya payaDA 282 -6 tA tANa tAva dhammo 118-7. tA vIra phuDaM bhaNimo 255 - 10 tucchA ee bhoyA 90.4 tA tArisa kammudao 257-10 tAveNa pArayaraso Navi 179 -3 tujjha kaeNaM suMdari 227-6 tA tujjha jamo kuvio 252-20 tA sayalapAvakalimala 56-8 tujjha kae paricatto 227 -11 tA tuha daMsaNatuTTo 119-9 / tA saMjamaNijjaraNaM 144-12 tujjha Na jujjai eya 57 - 19 tA teNa kammaeNaM 143-8 | tA saMpai kattha gao 227-2 tujjha Na jujjai eyaM 239 -31 tA dAyavvaM maha daMsaNaM ti 14-17 tA saMpai chAyANaM 245-18 tujjha pio haM pujjo 262 -30 tA diTTho paramAhammiehiM 36-22 tA saMpai patto me 279 -24 / tujjha hiyayammi Naravara 255 - 16 tA de kuNasu pasAyaM .63-33 | tA saMpai sAha tuma 239-16 | tujjhANurAyahuyavaha 225-29 tA de pasiyasu majjhaM 137-15 / tA sAmiya viNNappasi 208 -11 | tumme uNa sappurisA 90 -27 tA deva kuNasu eyaM 247-17 | tA sAha kattha saMpai 250 -22 / tubbhe cciya bhaNaha phuDaM 53 -7 tA deva khamasu majjhaM 86-20 tA suMdarIo suMdara 256-5 | tumae puNa saMpattaM 211 -16 tA deva bahuviyappaM 247-13 tA hou maha imeNaM 90-19 / tumha pahAveNa puNo 137 -29 tA pattiyAsu eyaM Na tA ho dhiratthu majjhaM 118 -11 / turao vi esa varao 185-29 tA pasiya deva majjhaM 229-17 tiNNi ya guNavvayAI 222-15 turao vi NIsahaMgo 27 - 18 tA pasiyaha maha suyaNA tiNhAchuhAkilaMtA 35-28 / tuha aMjalI viraio 256 - 8 tA piyasahi amhANaM 239-33 | tittA tehiM ciya te 246-2 taha ciMtArayaNakaraMDayaM 172 -18 tA puNNehi mahaM ciya 90-17 / tittirakavoyasauNatta 275 -1 | tuha tAya pAyavaDaNaM 266 - 12

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tu phaMsavarasavasa tu sohaggaguNighaNa tuMgakulaselasihare jo tuMhAlayatoraNa tuMgataNeNa meruvva tuMgaNa meru gaNava tuMgamalaM jiNa tuMga mahAgayaselaM tuMgaM gayaNavilaggaM tuMgaM dhavalaM maNahAri tuMgaM samubbhaDayaraM tIya tuMgAi~ gayaulasAmalAi~ tUraravagahirasa tUrasu payaTTa vacasu devadU teNa NaraNAha evaM te pauMjaNa Ahiya suravarabho teNa vi te paDibhaNiyA teNaM ci ya beMti jiNA tettIsa sAgarAI tettIsAe AsAyaNa hiM purisapoMDarIyA te loka tuMgaciMtAdu tellokka maMthaNIe tellokkavaMdaNijje visurA asuriMdA tevIsaM sUyagaDe hiM puNo maha diNo tehiM vikhajaMtA tehiM vi so paDibhaNiyo to eyaM NAUNa toraNA tumaca to tammi hIramANA to tassa dAhiNaM to tassa pariyaNaM to pAvara pitte to saMbhiNNaM pAsai 138-19 154-11 73 - 30 46 - 25 | thaNajahaNamaNaharAo 31 - 33 | theraM muMcasi piyaraM 217 - 13 | therIi va diNalacchIya 94-25 282 - 21 24 - 19 275-9 272 - 32 42-12 43 - 3 238-5 87-26 208-9 pajasUI 87-12 282-22 17-18 112-4 171-22 135 - 17 275 - 13 211 - 15 | dahUNa kAidayaM 222 - 23 chAvi purisA 120-10 tamAlavaNaM 192 - 20 102-9 272-27 208-4 38-7 192-21 162 - 33 208 - 17 pi khuDai hiyae thovaMtareNa jaM ciya thovaMtareNa tassa ya thovaM bahuM ca katthaI thovabahu sAvajjaM tha da daieNa paricattA daie Na suMdaraM te daio ti imIeN iyaM piva ciradi daiyANurAyapasariya dakkhiNNadANaporisa riddhapU DhaNi raMgo daNa ya NaliNIo 9 daya sAhUNaM mahAlaMge vallIsaMdANiya daradaliya kuvalauppala daraluvvamANakalamA dariyAradA raNasa dariyArimaMDalaggA dariyArivAraNaghaDA darisaNametteNaM ciya dasa me e 37-26 97-15 96- 32 dasavAsa saharasAIM dasavihapAyacchitte dahikalasasaMkha 228 - 12 | dahiduddhagoraso vA daMDavAyAI Navari dIsaMti 144-14 221-27 264 - 25 75 - 27 103 - 29 27-17 97-1 271-3 144-5 108 - 33 87-4 227-12 223-23 25-22 153 - 1 83-29 245 - 21 113-15 275 -3 82 -18 40 -15 270-9 45 - 14 153 - 10 63-5 43-9 46-7 141 - 21 53 - 33 8-29 35 - 14 23-30 43-19 273 - 20 183 - 26 206 -11 8 - 23 daMtakathaM taMbakayaM leppaya dattaviNAeN katthai daMsaNaNANacarit samet ciya daMsaNaraNaM a vimalayA daMsaNaviddhi NANassa daMsaNa suyaM savvaM dasiya kalAkalAvA darseti NiyaMbayaDa dAUNa Na diNNaM ciya dAUNa Na diNNaM ciya dAUNa sire paharaM dANajalasittagato dAdayAdakkhiNNA dAyA diTThI lolo dAriddavA hiduisaya dAriddeNa vi gahiyA dAruyathaMbhasariccheNa dAhiNadisAe savva dAhiNapalaMgavasaNa dijja baMbhaNasamaNe dijjau desu paDicchasu diTTha adivvaM didruta he ujutta diTTha suyamaNubhUyaM diTThA ya mae risiNo diTTho yaNANaMdo diTTho raNammi muNI diNNaja hicchiyaphalao ditte takkhaNaM ci dippaMta ahiyaso ho diyahacarA hoMti diyA diyahassa paharamette dihiM puNo peccha dilidiliyANa puNo divvaM mANusa tiriyaM divvANaM saMlAvo divyAvahAra siddhA ccho rahio *111 22-4 274-7 276 - 21 243-26 87-23 278 - 17 201 - 33 183 - 27 282 - 3 26-25 105 -4 271-24 36-33 154 - 16 176-32 20-17 90-1 40 17 44-32 131 - 3 129-31 204-15 171 - 26 168 - 24 273 - 13 232-14 208-10 176-24 208-3 282 - 17 184 -9 253 - 9 184 - 13 281-27 192 -3 25-27 144-4 281 - 3 278-2 130 - 24

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*112 kuvalayamAlA dIsai NAyaraloo 190 -26 de putta sAha savvaM 260 -24 / dohaggabhaggabhaggA 109-9 dIsaMti kalAkosala 22 - 25 | demi tti Na dei puNo 231 - 22 dIsaMti ke vi pahiyA 169-21 / deva tuma iMdasamo balavIriya 93 -31 devattaNammi diTTho dIsaMti ke vi purisA 208-8 dhagadhagadhageMta ghoraM 37 -22 dhaNadhaNNasAlikalio dIsaMti doharAo 45 -20 27.9 devattaNammi devA / 271-31 dIsaMto amayamao 168 - 18 devattaNammi bahuso - 275 - 10 dhaNamaMtaM daTTaNaM dUra 40 -31 dIharathorasukomala 29-14 devattaM maNuyattaM 142 -29 dhaNamANavippamukkA 118 - 13 dIharapamhaladhavalaM 254 -17 devalogovamaM sokkhaM 230 -12 dhaNayANa doNha ko vA 182 -27 dIhakisakaMThabhAyA 130 -9 deva saraNaM tuma ciya 35-12 dhaNuoraMpasariccho 45 -2 dIharabhuo suNAso 246 -21 devANa NArayANa ya 242 - 15 dhaNuveo pharakheDDhe 150 -22 dIharamuNAlaNAlo 109-2 devANaM deviMdo 178-28 dhaNNA kuvalayamAlA 182 -31 dIhavayaNA ya NIyA 131-1 / devANaM devINaM 273 -1 dhaNNA kuvalayamAlA. 183-8 dIhAuyA ya appAuyA ya 40-33 devANupiyA eyaM 268-25 dhaNNA hu bAla...akaya 213-24 dIhAU goyama iMdabhUi 218 -22 devANupiyA eso diTuMto 89-28 ghaNNA hu bAla....agaNiya 213 -25 dIhA paesiNI jasma 129 -21 devANupiyA jaM puNa 72-8 ghaNNA hu bAla...ujjuya 213 -26 dIhAe hoi suhI 130 -18 devANupiyA jujjai 258-22 dhaNNA hu bAla...kuDuMba 213-27 dIhe uSNayasihara 163 -29 devANupiyA NisuNesu 142 -21 dhaNNA hu bAla....jANaM 213 - 28 dukkhasayaNIrapUriya 56 -1 devANupiyA duvihA 256 -30 dhaNNA hu bAlamuNiNo jAya 213 - 29 dukkhaM ca imaM jANasu 221-18 devANupiyA sacca 246 -27 dhaNNA hu bAla...bAla 213 - 23 dukkhaM jaM NArayANaM 40 -9 devANupiyA saNNI 261-6 dhaNgo ettha kumAro 182 -29 dakkhiyakIDapayaMgA 206-3 devANupiyA savvaM 232 -16 dhaNNo ko vi juvANo 77 -21 dukkhehi Thavei jie 220 - 11 / devANupiyA suvvau 258-18 dhaNNo jayammi puriso 182 -33 duTThANa mohapaMkaMkiyANa 218 - 15 / devA ya maMgalAI 257 - 12 dhaNNo vijayaNariMdo 183 -2 duttAradUratIre 177 -28 devi imo te daio 237 -23 dhamadhamadhameMtapavaNo 118-20 dubbhikkharakkhakhaie 41 - 17 devi NisuNesu vayaNaM 14 -16 dhammaTThiyassa dijjai 204-27 durbalAnAmanAthAnAM 247 -35 de virama virama viramasu 38-32 dhammatthakAmamokkhA 266 -22 dullahalaMbha mottUNa 164 - 11 deviMdarAyasAmaMta 221 -3 dhammatthakAmamokkhANa 2-15 duvayacauppayabheyA 39-7 de suyaNu pasiya pasiyasu 53 -31 dhammatthakAmarahiyA 151-15 duviho jiNavaradhammo 95 -32 de suhaya kuNa pasAyaM 1-15 dhammatthakAmarahiyA 48-14 duviho ttha hoi 205-5 desesu jo samatto , 271 - 15 dhammattho kAmo viya 57 -13 dussIlattaNAcaMdhaM 41 -23 | dehammi jo mamatto 271 - 13 dhammamahovahisa rise 34 -9 dUragao vi Na muccai 119-13 dehammi puNo pattA 228 -22 dhammammi kuNaha vasaNaM 44-4 dUsahagurubhAruvvaha 125 - 22 dehaM asuisaganbhaM 275 - 16 dhammammi hosu ratto 211 - 17 dUsahapiyavioyasaMtAva 41-33 deheNa kuNaha dhamma 275 -29 dhammassa phalaM eyaM 281 -10 dei Na NiyayaM saMtaM 231-10 deheNa kuNaha dhamma 275 -31 / dhammaM kareha turiyaM 200 -5 dei muravammi paharaM 26 -18 | deMti vaNammi davaggi 35-32 dhamma Na kuNai jIvo 254 -6 dei halaM jIyaharaM 206-1 dogaccapaMkasaMkA 64-4 dhammAdhammapayatthe ke vi 87 . 25 de tUra mahaM piyasakhi 83 -13 doNNi vi pharammi NiuNA 252-28 dhammAdhammavivago 206 -31 de dehi dehi royai 153 - 14 / doNNi vi te susamatthA 252 -26 dhammAdhammaviseso 206-33 de pattiya pattiya sAmiNi 53 -29 | doNNi vi rosAiTThA 252 - 27 | dhammAdhammAgAsA 142 -23 yo

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bhAveNa meNa ettha bhogA dho dhamma atyo kAmo dhamma attha kAmo imiNA dhammo NAma sahAva dhammo vi atthi loe dhavalabalAyAmAlA dhavalasurahINa vaMdra dhavalavAhaNadhavala dhavalaharaNimmalabbhA dhavala hatuMgatoraNa dhavalaharasiharakANaNa dhavalaM vimalaM suha dhavalAyaM birahira dhavalekkakusumase saM dhavala dhavalavisANo dhAuvvAo akkhAiyA ya dhAuvvAo maMta dhAvara uppaio iva dhAvara uppaio viya ghAva bha dhAva dhAvaha purisA ghAvaha dhAvaha musio feat aho aNa ghI dhI aho akajjaM dhI dhI aho akajjaM dhUyaM mattUNa maM dhUlIkayaM parimala na namaste bhoganirmukta nIyamAnaH suparNena 19-28 264 -11 275 - 28 118-6 29 - 26 205 - 13 232-4 121 -17 238-14 63 - 25 50-10 103 -4 31-20 141-4 dhAvaMtasya turiyaM 17-7 dhAvaMti tattha ghAvira 37-24 dhAvaMti valaMti samucchalaMti 26-33 dhikkaTThe aNNA 80-1 73 - 10 33 - 24 181 - 33 22-5 57 - 25 155 - 21 27-4 209-30 226 - 29 226-28 139-29 55-2 136-30 266 - 24 147-23 214 -17 237-1 pa upo vi khela 94-28 paumAsamma paumappabhAe 281-2 paumAsaNaM ca vaMde 283 - 33 ku. mA. 15 pajjasUI pakkaM dehi jahicchaM pakkhiviUNaM devA paccakkhaNumANaca ukkayassa paccakkhavilayadaMsaNa pacakkhaM jeNa imo paccakkhaM dhammaphalaM pacakheNa Na ghe paJcaggadhUyagaMdhA pacchAyAvaparaddhA pajjala puNo jalo pajja liyajalaNajAlA pajjaliyajhANahuyavaha paDaNapaDiyassa dhammo paDaNapaDiyassa patthiva paDaNammimA visUraha paDiko chA paDiyasa giriDAo paDivakkhagottakittaNa vijjai sammattaNaM paDavajjasu sammattaM siddhA jAI paDha kIri kiM ca bhaNiyA paDhamaTThArasa divase cukko paDhamavayaNammi paDhamA paDhamaM abhatthaNayaM paDhamaM kAle vi paDhamaM ciya AhAro paDhamaM ciya NayarI paDhamaM ciya dAridda paDhamaM ciya piyavasahI paDhamaM Namaha jiNANaM paDhamaM Namaha jiNiMda paDhane kasAyabhAve paDhameNa hoi ra paDhama mahIyala paNa hi kayaNa ya paNa maha tiguttigutte paNa divasa paNa maha pAvaNe maha ko buddhI 248-6 209-21 2013 15 - 29 140-26 201-4 55 - 28 |paNayatiyasiMdasuMdari 176 - 2 panhaM kAUNa tao pattala bahalavisAlo pattaviNigUhiyaM pahu 42 - 17 179-7 39-14 95 - 26 |payaidhavalAi~ pahio 55 - 30 payaDaM jiNavaramaggaM 55 - 27 payalaM ni paDhamaM 199 - 25 parauvvAho ittarapariggahe 272 - 21 55 - 26 52 - 25 56.6 229-20 273 - 12 181 - 22 20-13 268 - 32 134 -8 269 - 26 228-11 280 - 19 61 - 24 83-20 paNamAmi sahanAI paNamAmi gaNaharANaM paNamAmi titthaNAhaM paNamAmi dhammacakkaM paNamAmi viuvvINaM paNamAmi suddhale se 283-9 1 - 2 242-6 45-4 147 - 22 3 - 22 279-2 283 - 16 283 - 20 283 - 12 parajuvaIdaMsaNaNA paratatitaggayamaNo paratitthiyANamettI paradAragama paradAracoriyAisu paradAramohiyamaNo parabhaDabhiuDI maMgo paramahamma paroe pudukkhaM paraloyatattIraya Navara paravasaNaM mAniMdaha parahuyamahura saddakalakUviya parimusai karaya hiM parisaha balapa Dimale pariharai pAvaThANaM parihariyave rahiyayA parihAsa mUla saraM parihAseNa vi evaM pala uvvellirahallira palhatthei ya puhaI pavaNapahayabhIsaNuvvella pavaNapahallirapuMDucchu patta pavaNavasacaliya pavaNuTTuyadhuyadhayavaDa pavaNuddhuyarayasaMtAva *113 283 - 30 278-7 269 - 23 283 - 32 283 - 18 279-4 280 -18 175-17 123 -6 33- 22 38-3 176 -5 88-2 280-8 222 - 24 151 - 16 127-24 280-28 221 - 13 41-16 37-5 283 - 1 272-24 186 - 2 8-22 43 - 34 52 - 13 249 - 11 279-6 143-31 137-22 266-33 57 - 23 147-17 93-27 18 - 11 31-6 94 - 18 92-25 96-30

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*114 kuvalayamAlA pavaNuvvellirapallava 97 -6 / pAraddhieNa pahao 275 -2 | pINaM pakkalatuMga 254-15 pavaNo vva turiyagamaNo 26 -35 | pAlittayasAlAhaNachappaNNaya 3 - 18 pINuttuMgapaohara 93-24 pavvayarAisariccho 44-25 pAleUNa vayAI 72 -11 pINuttuMgapaoharapihula 208 -14 pavvayarAIsariso paDhamo 44 -24 pAlesu jiyaM jaM te 93 -15 pINoTo subhago so 130 -10 pasarai kusumAmoo 141 -9 pAvai pariggahAo 186 -4 pIyaM thaNayacchIraM jANaM . 30 - 19 pasariyagaIe galiyA 25-5 pAvaTANaNiyattI 207-5 pucchANaMtarapulaiya 269-4 pasiyasu mA kuppa mahaM 167 -31 pAvayaNI dhammakaho 270 -14 pucchAmi tAva gaMtuM 256 -6 pasiyaha pasiyaha sAmiya 36-32 pAvasuyapasaMgANaM 272-30 pucchijjau ko vi Naro 201 - 8 pasupakkhimaNUsANaM 231-25 pAvaM kAUNa puNo 254 -3 puDhavijalajalaNamAruya 143 -10 pasupaMDayamahilA 80-9 pAvaM Dajjhai maMtehi~ 205 -21 puNa pahao muTThIe 154 -23 pasumahisadAsapesA 39 -3 pAvANa vi pAvo haiM 137-12 puNNataralacchadasaNa paharaNavibhiNNajiyadeha 112 - 13 pAvA payaMDacaMDA 40-27 puNNarahiyANa amhaM 259-14 pahiyayaNadINapulayaNa 31 - 8 pAvAraMbhaNiyatta 37-13 puNNaM pAvaM ca duve 275-17 paMkAu jahA paumaM 179-11 pAvArisallagattaNa 273-8 puNNANa hoi puNNaM 179-16 paMcakkharauggiraNaM 280 -7 pAvei uravisAlo 131 -18 | puNNeNa hoi saggo 257-16 paMcaNha iMdiyANaM 222 - 4 pAsatthosaNNakusIla 221-6 puNNehiM hoi attho 259-8 paMcatthikAyamaiyaM pAsANakaTubhUtI 229-8 184 -12 puNNahi~ hoi lacchI 259-10 paMcamahavvayajuttaM pAsehi~ cAmarAo 215 -31 97 -11 putta imo te dhammo 263 -24 paMcamahavvayajutte 95 -30 piumAiguruyaNammi 205 -27 putta Na kIrai eso 262-2 paMcamahavvayajutto pijjaDa pANaM gijjai ya 222-5 51-34 putta Na vaTTai evaM 263-16 paMcamahavvayajutto piMDImatto katthai 272-20 273 -30 putta tahA vi Na jujai 263 -12 paMcamahavvayaphalabhAra 34 -10 pittassudao gimhe 242.4 putta tumaM gabbhagao 76-7 paMca samiIo samma 270 - 16 piyai khaNaM ruhirohaM 70 -5 putta tumaM maha NAho 76-8 paMcasu samiIsu jae 279 -3 piyaputtabhAibhaiNI 36 -5 putta dhaNasArarahio 259-3 paMcANuvvayajutto piyamahilAsaMgAme 153 -11 putta mae tumhANaM 266-5 paMcAyArarayANaM 42-10 piyamittavaMcaNAjAya 63 -12 puttapiidArabaMdhU 90-6 paMceMdiyANa pucchasi 143 - 13 piyayama eyaM bhuMjasu 225 -30 puttesu jo mamatto 271-9 paMceMdiyANa vahayA 261 - 11 piyayamavidiNNavAsaya 25 -23 putto vi tIyajoggo 90-11 pAiyabhAsAraiyA 4-11 piyayamavilIyadasaNa 41 - 22 putto vi ya hoi paI 30-23 pADiyacaMDayarakaro 82 -16 piyavirahe appiyadaMsaNe 59-7 puraovaTThiyakajaM Na 72-27 pANAivAyaviramaNa 220 -8 piyasahi atthi viseso 236 - 8 purao vi esa jIvo 185-30 pANivahAliyavayaNaM 162 -28 piyasahi uTTesu lahu~ 238 -26 purao vi esa varao 185-31 pANivahAliyavayaNaM 207-3 piyasahi kAmagaiMdo 239-10 purisakaradhariyakomala 1-3 pANivahAliyavayaNaM 219 -9 piyasahi Na kiMci NisuyaM 85 - 14 purisAilakkhaNehiM 281-15 pAmAkacchuparigao 221-20 pihudIhaNayaNavaMta 29 - 17 purisANa esa sAro 182-19 pAyacchittaM viNao 144 -10 pihupINalaliyasohaM 163 -28 purisA pipIliyA iva 27-8 pAyavaDiyassa suiraM 72-16 pihulaNiyaMbasamaMthara 14 - 28 puriso bhaNai cauttho 245-27 pAyavamaraNaM evaM 276 -18 pihulaMguTTe pahio 129 -20 pulaijjai hasai khaNaM 165-23 pAyAlayalAoM pihulaM tuMgaM taha uNNayaM 130 -5 | puvakayakammaraiyaM 129-12 pAyAloyarammi jai 78 - 14 / pihuvacchatthalalaMbira 93 -9 / puvakayapAvasaMcaya 193 -26

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panasUI *118 puvaThiIe eyaM 92 -2 | pharaso sahAvakaDhiNo 112-28 / bahurayaNAyarakalio 104-7 puvadisAe~ sahIya va 16-2 phalakusumakkhayapatte 269-1 bahusuraNiyarabhamaMtara 149-17 puvvapurisANucariyaM jaM 14-1 phalayaM va geNhasu imaM 178 - 22 bahulI va parigayAe 41-25 puvvammi taDe jUyaM 209-22 phalihamaNiNimmalayarA bahuvihakusumiyataruvara 60 - 17 puvvaMte hoja juyaM 210-10 phAliyamaNiNimmavie 43 -2 bahuvuttaMtapayattiya 60-24 puvvoyahitIrayAA 91-11 phAliharayaNamayaM 249-19 bahusAvayaseviyabhIsaNaya 28-19 puhaI jalaM ca vAuM 186-10 phuDamuttAhaladasaNA 174 -18 bahuso galeNa viddho 39-20 puhaIe~ ja Na dIsai 233 -11 phuriyaNiyaMbasuvajjira 18-4 bahuso joisavAse 254-24 puhaIjalajalaNAnila 205-5 bahuso pavutthavaiyA 41-5 puhaIsArakumAro 214-29 baulelAvaNasuhae 106-22 bahuso mayataNhA- 118-21 puhavIjalajalaNANila 88-3 baulelAvaNasuhao 134 -26 baMdhavahaghAyacheyaNa 220-31 pUyayaphaliNIkhajUri 166 - 19 baDiseNa macchabhAve 275 -4 baMdhavahacchavichedo 222-21 pUreja esa pAdaM 163 -31 battIsa aMgulAI muI 23-26 baMdhaha haNejja patthaNa 254-28 pUsarAyamaNipuMjasacchamo 156-11 battIsaMgharaesuM 175-3 baMdhummi jo siNeho 271-12 pecchai jatthuppaNNo 93 -35 battIsaM rAINaM 130 -12 baMdhuM piva ciraNa; 61-13 peccha imo gahagahio 225 - 19 baddhajaDApabbhAraM 29-1 bArasabhikkhUpaDimA 272 -23 pecchai ya turayamahise 28-23 baddhaMti tattha vi pUNo 30-31 bArasavidhammi vi tave peccha kumuehiM samayaM 238-13 balakesavANa juvaNe 283-41 bAlakumArayajovvaNa 228-19 peccha maNiNimmalaguNaM balakesavANa juyale 284-4 bAlaya jANAmi ahaM 46-27 pecchaha daiyavimukkA 77-6 / bahuasamaMjasaghaDaNA 187-1 bAlassa 179-24 pecchaha pecchaha loyA 225-4 | bahukariNIkarakomala 228-26 / bAlA vi tuMgadehA 241-6 pecchaha maha devveNaM bahukalAkusalo 282-8 bAlo taruNo vuDDo 266-16 pecchaha vihipariNAma 59-23 bahukAlasaMcio me 42-22 bAlo dasaNasuhavo 61-1 pecchaMtA paravasahaM 200-34 bahukohA bahulohA mAillA 36-1 | bAhUsu jassa dosu vi 24-9 pecchaMti Na taM bhattaM 245-17 bahujaNakayahalabolaM 246-33 | bAhogalaMtaNayaNA 169-22 pecchAmi paraM coraM 248-34 bahujammasahassaNIrae 2-7 biio vi kAlabhavio 90-9 peccheja va taM purisaM 167-5 bahujAisamAiNNo 7-13 / bidio sAlaM chiMdai 246-4 pemmamaummattamaNA 213-32 bahujuvaIyaNakuMkuma 52-27 - bIyaMkurANa va jahA 98-18 pemmamahAgahagahiyA 225 - 12 bahujoyaNavitthiNNe 177-30 bIhaMti paMDiyANa 251--4 peraMtarayaNakoTTima 94-16 bahuNijjUhayasuhayaM / 249-17 | bujhaMti jattha jIvA 1-18 pesuNNaM jassa kayaM 271-22 bahutaruvarasayakaliyA 123 -4 - bujhaMti jattha jIvA 283-29 poggalamaiyaM kamma 275-32 bahutaMtamaMtavijjA 34-27 buddhIe~ devamAyA 281-1 poTTammithaNA jIe poTTammi 117-10 bahudiyakayakolAhala 29-2 buddhIsiNehajuttA 278-15 poTTammi loyaNANa ya 24-1 / bahudiyahamaNoraha 168-30 buhayaNasahassadaiyaM 3-29 porusapugNavihUNA 259 - 13 bahu maNNai AyariyaM 231-21 buhayaNasahassapari 45-9 posahauvavAso viya 222 - 12 bahu maNNaha guNarayaNe 43-33 bahumayaraMdacaMdaNIsaMdira 52-14 bhaiNi pi kuNai bhajaM 72-23 pharisasuhAmayaluddhA 228-25 bahumuttAhalaruirA 128-25 bhaiNI taM mahadevI 264-19 pharisidiyammi luddho 255-4 / bahuraiyacIramAlo 41-18 bhaiNIsu jo mamatto 271-10 pharusaM NiMdiyamahamaM 220 -18 / bahurayaNaNiyarabhario 50-8 | bhaiNI suMdari eNhi 226-30 vArajanA ra

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*116 kuvalayamAlA bhakkhAbhakkhANa samaM 204-19 / bhAuya vivegarahio 264 -7 / bho bho ho pakkhigaNA 267 - 12 bhagavaM kiM taM saca 246 -25 bhAgIrahijala 205-9 bho sAhU devo vi ya 101-26 bhagavaM ke puNa sattA 261-8 mArasayaM aha koDI 153-16 bhagavaM gharammi mahilA 90-10 bhAvammi tammi NiyamA 242 -11 mauyaM mahuraM vAmo 184-3 bhagavaM jai taM sacca 258-20 bhAveNa aNudiNaM ciya 269-29 mauyA NiddhA suhayA 131-6 bhagavaM jai tA joggo 72-14 bhAvesu bhAvaNAo 211 - 19 majja vi mahANiddA 143-4 bhagavaM jaM tuha NAmaM 119-8 bhAsAbhAsaNajogge 93.3 majjha Na jujai eyaM 225-21 bhagavaM je tuha ANaM 100 - 26 . bhicco vi hoi sAmI 30-25 majjhaNhagimhatAviya 113 -19 bhagavaM NayANimo ciya 119-26 bhiNNA saMpuNNA vA 129-17 majjhaM puNa pecchasu vallaheNa 53 -8 bhagavaM NayANimo ciya 119 - 19 bhiNNo ya kammabaMdho 246-10 majjhe saMkhittapAyANa 129-26 magavaM taM ciya NAho 120. 6 / bhiMgAratAliyaMTe 93-17 / maDahehi~ ya thUlehi~ ya bhagavaM paDibuddho haM 268-7 / / bhIsaNakarAlasiyadaMta 29-23 maNaNaMgaleNa pUe 192-27 bhagavaM puNa taM ciya mayaNa- 32-27 bhIsaNajaNaNamaraNa 94-9 maNathoraM bhariUNaM 193-4 bhagavaM purisA bahue 245 -2 bhuMjau jaM vA taM vA pari- 45-29 maNavayaNakAyaguttA 34-28 bhaNiivilAsavaittaNa 3-21 bhuMjasi puNo vi bhuMjasu 156 -14 maNavayaNakAyajoge 222-29 bhaNie vilAsiNIhiM 8-13 bhuMjasu demi jahicchaM 248- 17 maNavegiNo ya paNamaha 283 - 18 bhaNiyaM ca teNa muNiNA- 192 - 19 bhuMjasu desu jahicchaM 66-16 maNaharavilAsiNIyaNa 256-20 bhaNiyaM ca teNa muNiNA 192-24 bhumayadhaNukAlavaTThA 233 -27 maNipomarAyaghaDiyaM 92-26 bhaNiyaM ca tehi~ bhagavaM 192 - 23 bhuyagassa va muhakuhare 251-23 maNipomarAyaghaDiyaM 109-5 maNiyA te jaNaNIe 190-33 bhuyaNayaNamajjhayAre 24-2 maNirayaNakaNagacittaM 183-14 bhaNNae samae bhaNiyA 281-17 bhogatisio vi jIvo 254-5 maNirayaNabhUsiyaMgI 199-33 bhattaM va sauNayANaM 275 -27 bhogI atthassa dAyA 19-16 maNirahakumAra eso 244-25 bhattAradevayANaM 266-30 bhottUNa tattha moe 5-17 maNisomANaviNimmiya 94-15 bhattibahumANajuttaNa 30-22 bho baula tumaM pi mae 180-32 maNuyattaNaNAhilaM 185-16 bhattIe~ je u tuTThA 257-3 bho bho alaM imeNaM 248 - 19 maNuyattaNammi evaM 274 -22 bhaddamuha esa sumiNo 269 - 11 | bho bho eyaM Ama 248-4 maNuyattaNAu cukko 210-5 bhama re bhama re aibhamira 33-28 bho bho eyaM mAsaM . 248 -15 maNuyattaNe vi raja 254-21 bhamiUNa sayalapuhaI 259-16 | bho bho kayaMba taM pi hu 181-9 maNuyattaNe viladdhe 88-4 bhayavaM jaM te kahiyaM 49-11 | bho bho girivarasiharA 192-12 / maNuyAugaM NibaddhaM 40-21 bhayasajjhasaseukkaMpa 122-17 bho bho NaravaravasabhA 201-25 maNuyANa Nasthi sokkhaM 190 - 16 bhayahAsakasAehi~ ya 144-2 bho bho tuma pi caMpaya 181 1 maNuyA vi aNeyavihA 143 -21 bharahe avaravidehe 277-13 bho divvo si tumaM 255-14 maNNai hu taNasamANa 15-6 bhavajalahijANavattaM 34-21 bho bho piyAlapAyava 181-5 maNNasu piya va bhAyaM 179-21 bhavaNammi jaha paIvo 179-14 | bho bho pecchaha devA 102-8 mattakarikAmiNidura 123 -2 bhavarukkhapAvakusuma 266-10 bho bho bhaNAmi savve 43-25 mattAbiMduviyappaM 269-3 bhavvANa bhavasamudde 277-21 | bho bho muNivara suvvau 192 - 18 mayakohamANalohA 143 -5 bhasalAlimuhalahala 14-30 bho bho rakkhapisAyA 247-31 mayagalagaMDayalagalaMta 128-2 maMjaMto sIlavarNa 270-22 bho bho vaNadevIo 107-1 mayaNamahAhavavelA 84-2 bhaMtUNa mayaNadehaM 233-24 | bho bho sahadhammayarA 203-17 | mayataNhAvelavie 113 -26 bhAuya taM si khamejasu 263 - 34 / bho bho suNeha tubme 53-6 / mayamANakohalohe 87-2

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mayamANalohamohA mayarakharaNaharadAviya mayaraMdabiMduNIsaMda mayalaMchaNakaragore mayalohamohamAyA mayavaivagghasaricchA mayavaMkattaNarahie mayahatthidehapavisaNa maragayakalasajuyaM maragayamaNiNimmaviyA maragayamaNimottiya maraNaMtammi pavajjai maraNaM pANaccAo maraNAI aNaMtAI mariUNa jAi NarayaM mariUNa ya paraloe malakhauriyaMgamaMgA malapaMkapUipauro malaruhiramuttavAho malliyajUhiya maha dasaNaparituTTho maha pattiyAsu eyaM . maha puNa telokke kalla maha maMgalamarahaMtA mahilANa esa dhammo mahilAyaNe vi suvvai mahughAyaaggidAho mahupiMgalesu attho mahayarariMcholimilaMta mahuramiumammaNu maMgalabhaNieNa imaM maMdaragirivaragaruyaM maMdArapAriyAyaya maMdArasurahikesara maMsa khAisi jaiyA maMsovaiyA pihulA mA acchasu vIsatthaM mA acchasu saMsAre mA aliyaM bhaNa savvaM mAe haM te jaNio pajasUI *117 161-4 mA kaDuyaM bhaNaha jaNe 44-2 | mAyAmohiyahiyaeNa 63 -31 39-21 mA kassa vi kuNa jiMdaM 43 -32 mAyArakkhasigahio 56-16 96-31 mA kuNasu pAgakiriyaM 202-18 mAyAvaMciyabuddhI 158-31 165 -21 mA kuNaha jAigavva 43-28 mAyA vi kIsa kIrai 81-16 98-28 mA kuNaha piyaM eyaM 172-34 mAyA vicauviyappA 44-33 130-20 mA kuppasu sasivayaNe 85-11 mAraNalaMpaNadukkha 220-12 29-9 mA kumara vaMcasu imaM 173 - 13 | mArijai duTThamaNo 223-29 228 -28 mA ciMtesu viyapa 258-5 mA rUsaha purisANaM 67-28 158-19 mA jANaNa jANai sajjaNo 61-31 mArei khAi luMpai 125-6 182.24 mA jANa NavabbhAI 148-3 mArei jo Na jIve 231-9 106-4 mA jUrasu putti ciraM 164-24 mArei NiddayamaNo 231-8 222-16 mANamahAgahagahio 49-28 mAreUNaM piyara 79-8 273 -28 mANammi hosu paNao 202-16 | mAreha khAha piyaha 231-18 276 16 mANaM NirubhiUNaM 98-30 mAreha pasuM dAreha 37 -15 222 - 1 mANaM pi mA karejjasu 81-8 mAreha leha chiMdaha 36-23 221-14 mANaMmANI sukhaMtI guru 19-25 mA vilava kiMci suMdari 265 -16 169-23 mANusajoNIsu mae 82-5 / mAsalapihulaM ruiraM 163 -30 89-2 mANussakhettajAI 88-15 | mA suyaNu kiMci rovasu 107-24 187 -16 mANo vicauviyappo 44 - 29 | mA suyaNu kuppasu tumaM 173 - 10 166 - 18 mANo saMtAvayaro 49-23 | mA hasasu paraM duhiyaM 43-29 99-7 mA tesu kuNa NiyANa 275 -15 mA hIraha rAyarasA 160 - 29 6-10 mA dose ciya geNhaha 3-16 mA ho jUraha purisA 200-20 139 -26 mA pattiyAha puttaya 266-9 mA ho jUraha purisA 212 - 11 272-10 mA putta bhaNasu eyaM 263-20 mA ho majaha purisA 212-12 240-10 mA bhAuya bhaNa evaM 264-3 mA hoha gavviyamaNA 223 -30 81-27 mA bhuMjasu aiNiddhaM 80-12 mA hoha NiraNukaMpA 43 -31 231-31 mA bhujeja paNIyaM 221 - 29 mA hoha re visaNNo 212 -6 130 - 21 mA maha uNhaM hohii 275 - 19 mA hoMtu viseNa va te 181-21 31-10 mA maha chuhA bhavIhii 275 -20 micchaaviraikasAyA 143 -1 256-3 mA maha sIyaM hohii 275-18 micchattakammamUDho 229-11 161-21 mA mA kAhisi supurisa 137 - 10 micchAmi dukkaDaM ti 137-14 17-17 mA mA kuNasu akaja 79 - 12 micchAviyappakuvio 45-10 43-1 mA mA jaMpasu aliyaM 38-11 micchovadesakaraNaM 222-22 , 93-29 mA mA mArasu jIe 43 -26 | miTaNNU cakkhulolo 19-19 37-2 mA mA muMcasu etthaM 172 - 6 mittaM ti NAma loe 266-32 . mA mihuNa ramamANaM 80-11 mittaM pi khamau majjhaM 271-27 244 - 22 mA me taNhA hohii 275 - 21 mittehi~ jAva Na suyaM 60-9 254 -4 mA ya NisIyasu samayaM 80-10 mitto hoi amitto 271-29 80-8 mAyA uvveyayarI 56-12 miliyajaNohasukalayala 171-20 263 -31 | mAyAmayariusUyaNa 63 -32 / mukko vi puNo bajjhai 179-6

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*118 kuvalayamAlA mucchAmohiyajIyA 157-8 / rayaNaviNimmiyaNeura 96-23 muddhe pijai se hiyayaM 173 - 4 rayaNaviNimmiyasohA 171 -29 lakkhijjai jeNa suhaM 129-14 muNiNA puNo vi bhaNiyaM 192-22 rayaNasuvaNNakaMThasiri 84-12 lakkheha amgiyamma 195-17 muttajalajalusalohiya 36 - 17 rayaNAyarammi lINA 121-24 lajjoNamaMtavayaNA 187-8 muttAhalatArayarA avare 95-10 raviturayagamaNasaMtAva laddhaM jaM lahiyavva 249-15 muddhe Na jIvasi ciya 181 -16 rasaNiMdiyammi luddho 255-5 laddhaM pi thiraM hohii 281-22 muddho Na muNai vaMkaM cheo 5-22 / rahasavalaMtuvvellira 25-26 laddhaNa puNo eyaM 139-23 muddho si vaccha bAlo 264-5 rahasuddAmavisaMtula 18-2 248-31 musumUrati ya aNNe 36-28 raMdhe uvaraMdhammi ya 23-29 layatAlasuddhageyaM 93-25 muhakuharaviNiggaumgiNNa 68-24 rAIe jaM bhuttaM asaNaM 271-6 laliuNNayaNimmala 29-13 muhapottiyA ya bIyA 141-5 / rAINa rAyadhammo / 205-11 laliuvvelliramattA 201-28 mUDho mahilAbhAva 180 - 11 rAI bahalaM ca tamaM 73 -21 laliyavayaNasthasAraM 34-26 mettIpamoyakAruNaM 218-11 rAIbhamaNaviulA 76 -19 lahai sukulammi jamma 2-26 meru vva NippayaMpa 270-13 rAga NidaMsiUNa ya 281-9 lahuyattaNassa mUlaM 49-27 mesavisadIhakhaMdho 130-8 rAgeNa tuma jAo 281-12 lahuhatyadAe~ dhutto 232-1 mottUNa khIrarukkhe 104-23 rAgo ettha Nibaddho 281-8 laMchaNalaMchiyavacchayalAe 128-11 mottUNa cUyasiharaM 113 -1 rAmeti virUvaM pi hu 251-3 / laMbiyakacchalalaMta 171-21 mottUNa tAya amhe 266-3 rAyA hoi satato 233-14 lADA kaNNADA vi ya 150-20 mottUNa piyaMgulayaM bhamarA 33-27 riukuMjarANa sIho 217-15 lAyaNNamahAgiri 168-28 mottUNa viMjhadaiyaM 121-23 ruddammi bhavasamudde tulagga 2-12 / lAyaNNavayaNasuhayA 3-26 mottUNa hariharAI 37-11 ruhirogalaMtadehA 186-8 liMgammi itthijogo 157-21 mohassa vi paDivakkhaM 81-30 rUeNa jo aNaMgo dANe 15-13 luddho tti esa loe 221-33 mohaMdhayAraraviNo 34-22 rUveNa jo aNaMgau 235-16 leppamaiu vva ghaDio 72-28 mohaMgheNaM suMdari 265-21 rUveNa Najjai kulaM 105 -22 | lehAyariyasahAo 21-15 moho kajjaviNAso 72-19 rUveNa puNo purisA 228-33 | loe pUyAheDaM 42 -23 re jIya jalajiyatte 274-26 logammi kei purisA 256-25 yadi kazcivipazci na jAtu 145-7 re jIva tumaM bhaNimo 274 -23 logammi hoMti aNNe 162-23 yo dhImAn kulajaH kSamI 103-17 re jIva tume diTTho 276 -29 lobhAbhibhUyacitto 221-32 re NAya tuma pi puNo 181-7 lobho vi ujjhiyavvo 81-20 raiUNa ithivesa 158-27 re re khelasi jaiyA 37-7 lomasahAre jibhidiyassa 204-25 rakkhAmi tti sayaNhaM 140-23 rehai imassa piyasahi 182 -10 loyakayauttimaMgo 184-29 racchAcaukkatiyacaccaresu 58-32 rehai kiMsuyagahaNaM loyagurUNaM tANaM 277-23 racchAmuhagoura 247-22 rehaMti vaNe kAsA 103 -13 loyammi asthi jIo 97-27 rajjasirIo bhogA 146-30 rehaMti haMsamaMDalimuttAhala 103 -12 loyammi ke vi sattA 98-26 rajjati atthavate 251-5 rehAThANayabhAvehi 185-12 loyammi doNi loyA 162-21 rajjaM bahuso pattaM 141-30 rehiravaravaraMgasohA 84-13 loyAlogapayAsaM dUraMtara 34-23 rajjAbhiseyamaMgala 200-7 rogI sIse subuddhI 19-22 loyAloyapayAseNa 161-18 raNaMtalohasaMkhalaM 154 -12 roddANubaddhacitto 37-10 lohaparAyattamaNo 64-20 rattaM siNiddhamauyaM 129-15 romaMcakaMpiyaM siNNaM 172-10 lohamahAgahagahio 220 - 26 ramasu jahicchaM Naravara 253 -27 / hasso paumasavaNNo 129-33 / loho karei bheyaM

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pajasUI *119 loho bya sarUveNaM 64-26 / varapaumasakhasotthiya 116-9 | vijAharIo amhe 234-23 loho vicauviyappo varapomarAyagattaM 95-21 vijAharIo tubbhe 237-8 varapomarAyaNimmala 92-24 | vijAharo bva rehai 251-27 vairaparaMparabhAvo 280-23 varapomarAyamaragaya 43 -5 vijukkhittAiddho 87-14 vairigaiMdapihulakuMbhatthala 84-22 varapomarAyavayaNA 127 -5 | vijughaNathaNiyaaggI 143 - 14 vakkhANaMti kayatthA varamaNivarAlavAraNa 97-3 / vijjhai rAhA vi phuDaM 279-19 vakkhittakovamANahi~ 221-4 vararayaNaNimmiyaM 275 -14 viNayaraiaMjaliuDo 49-8 vaggheNa esa vasaho 189-1 varavairaghaDiyapAya 92-28 | viNNappasi deva phuDaM 204-23 vaccasu siddhI riddhI 183 -29 varavejayaMtimAlA 194 -10 | viNNappasi deva phuDaM 208-2 vacasu suMdari vaccasu 172-16 varavejayaMtisohaM viNNANaNANaporusa 145 -1 vaccaha duve vi vaccaha 236-17 varahAramauDarAI 194-11 - viNNANarUvaporusa 106-19 vaJcatIya ya kIya vi 83 -28 valai valaMteNa samaM 163 -24 viNNANasattasAro 280-27 vaJcateNa ya Naravara 208-5 vasahamaUro siMho 130 -3 vittIe saMtuTTA 191 -10 baccAmo kassa gharaM 239-32 vasahikahAmahiliMdiya 221-24 vitthayaNiyaMbaguru 18-6 vaccha calio mi mariuM 264-17 vasahe gauravalAbho 269-3 vitthayaNiyaMbapuliNe 43 -4 vacchacchAocchaie 106-23 vasiuM ciraM kulahare 1-4 / vitthayaNiyaMbamaMthaNa 94-26 vacchatthalaM virAyai 182-16 vasiya visamAvatte 41-26 vitthariyasayalatihuyaNa 34-17 vacchamhANa tuma ciya 264-21 vasudevadhammilANa 281 -11 vitthiNNabhuvaNakoTTaya 60-26 vacchaMtaresu sauNe 82-30 vahasi muha cciya cAvaM 239-9 vitthiNNasilAghAucchalaMta 54 -17 vajjasiliMkApaDiya vaMke jaDe ya jaDDe 153 -3 viddamapavAlasarisaM 163 -27 vajiMdaNIlamaragaya 208-12 vaMcemi tti sayaNhaM 58-19 viddhammi ei rattaM 104-27 vajiMdaNIlamaragaya- 275 -11 vaMdAmi bIyabuddhiM 283 -39 | vibuhajaNaNidiesuM 42-26 vaTTe pAyaMguTe 129-18 vaMdAmi savvasiddhe 283-34 vibbhamakaDacchahasiro 221-10 vaNachiMdayA vi purisA 245-16 vaMdAmi savvasiddhe 284-1 viyaraMtakAmiNIyaNa 117-5 vaNamahisavayabhajaMta vaMde caudasapuvI viyalaMtakusumabAhoha 60-19 283 -36 / 181-2 vaNarAiparigaeNaM vaMde codasapubbI 161 -20 viyalaMtadehasoho 283-13 103 -1 vaNasarahasaMbhamabhamaMta viyaliyakaDisuttayacalaNa 25-6 vaMde savvohijiNe 60-21 283 -10 vaNasAvayassa lIvaM vaMsakuDaMgo aivaMka viyasaMtakuMvalauppala 118-30 241-15 vaNasIha mukkadIhara vANijaM mAlAittaNaM ca 60-20 114-20 22-7 viyasaMtakuvalayacchaM viyasaMtaNayaNavattaM vaNieNa vi paDivaNaM vAmadisAe vAmA 115.21 191-16 131-2 viyasaMtapaMkayamuho 17-22 vaNijjai mahilAhiM vAmAvatto jai dAhiNammi 131-4 83-24 vaNNeti poDhamahilA 83-23 vAruNisaMgapamatto 73 -17 | viyasiyakaNayakamalasiri 95 -15 vatthe pANe bhattesaNa 270-19 vAluyarehAsariso 44-27 1-12 | viyasiyatAmarasamuhI vatthesu jo mamatto viyasiyasayavattaNibhaM vAsasayaM pi jiyaMtA 254-16 88-8 271-8 vammahapaDibiMbasamo vAhibhavapAvakalimala 42-33 164 - 19 viyasiyasayavattasame vayaNamiyaMkohAmiya viulammi bhAlabaTTe 14-26 104-12 130 -33 viraiyarayaNAharaNA varaiMdaNIlaNimmala 165-20 vijjAviNNANaguNAhiyAi 32-12 94-21 virahaggihitthapatthiya 93 -23 varaiMdaNIlamaragaya vijjA viNNANaM vA 165-28 virahabhuyaMgamaDakkA 231 -20 vijjAharabAlAo varakaNayapaumarADhA 234-31 | virahabhuyaMgeNa hao 169-20 252-30 / visagaratata visagarataMtaM vAlaya 151-10 varakaNayamauDarAho 109-6 / vijAhara vva ee|

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*120 kuvalayamAlA visamabhuyaMgamaDakkA 209-28 / saccitte saMbaddho 223-1 / samuhamaisuMdaro ciya 5-26 visamasavattIsaMtA 41-24 | sa cciya saMjamakiriyA 42-25 sammaM bhAvo samma 217-30 visayAsAmohiya 42-21 saJcaya kahi vaccai 158-33 sayaNA khamaMtu majjhaM 271-30 vihaeNa hao vihao 189-5 sajjaNasaralasamAgama 56-15 sayaNAsaNavatthaM vA 231-11 viharDeto saMgamAI 198-12 sajjhAyasalilaNivahaM 278-26 sayaNa paribhUyAo .54-21 vihayagaiNAmakamma 242-5 satta gayA tiNNi thiyA 153 -15 sayavattapattaNikkhitta 118-31 viharati je muNiMdA 277-16 sattIe kuNai kavvaM 233 - 15 sayalakalAgamaNilayA 3-23 vihasijai loeNaM 221-12 sattUNa jo jasaharo 3-31 sayalajaNakammasakkhI . 60-27 vINAmuiMgahatthA 93-18 sattaNa hoi raja 234-30 sayalajaNakAmaNijja 118-23 vIvAhaM vacchAe kAreMto 47-29 satthajalANaM cukko 19-30 sayalajayajaMtujammaNa 78-31 vIsaivariso cukko sattari 20 - 16 satsaMgatamAryeSu 255-27 sayalajayajIvavitthara 98-32 vIsamiUNa NivaNNA 245-33 saddaddavvANayaNaM 222-27 sayalaNiruddhadisivaho 52-29 vIsaM paMca ya siddhA 272-28 saharasarUvagaMdhe 272 -19 sayalapurisatthahINo 120-13 vuNNamayalIvaloyaNa 78-28 saddavvakhettakAlAbhAvehi 97-29 sayalaM bhamiUNa imaM 260-1 vejjA kareMti kiriyaM 140-25 sadUlasIharicchA 206-7 sarakoMtasamAgamamIsaNae 38-21 vemANiyA ya duvihA / 143 - 17 sabbhAvapaDIseho 220 -15 sarakhevamettagAma 241-17 veyaddadAhiNaNaM gaMgA 7-6 sabbhAvapaDIseho AyA 220 -16 saraNaM maha arahaMtA 272-11 veyavihANaviutto 37-12 samaNe suyage sumaNe 279-7 saraNAgayANa rakkhA 280.24 veyasuIsu viruddho 204-33 samaNo sAhU taha maccha 183-31 saradahatalAyasosaNa 261-13 veragaM puNa NiyayaM 218-18 samamittasattu 215 - 12 saradittaM suivirasaM 184 -11 veruliyapaumarAya 81-21 samayammi samayajutto 193 -20 saralo piyaMvao dakkhiNNo 7-1 velaM uppaio cciya 51-23 samavasaraNammi patto 43-13 saralo mahuro piyaMvao 9-9 velahalalaliyabAhU 232-11 sammattaguttijutto 273 -10 saralo suhao dAyA 236 - 10 vehavvadUmiyAe dUsaha sammattajANavataM 207-7 sarasatAmarasaI je Natthi 31-27 vessaM pi siNeheNa vi 251-2 sammattaNANadaMsaNa 217 - 29 sarasattisellasavvala volINaloyamaggA 117 -23 sammattaNANadasaNa 218-13 sariyAjalataralacchaM . 31-18 sammattaNANaMdasaNa 232-5 sarisANa ya sammattaM 42-20 sakajavaNasabarababbara 40-24 sammattaNANavIriya 138-31 sarvamaMgalamAMgalyaM 175-10 sakhaliyaAsappasaraM 26-30 sammattaNicchayamaNo 193 -22 salaliyamiumaddavae 153 -2 sagakAle volINe 283 -6 samattabaddhamUlA 42-8 salaliyavaNakiMkirAyA 28-11 saggammi vi surabhavaNe 208-16 sammattammi u leddha 101-1 / savaNiMdiyammi lolA 229 -1 saggaM gaeNa garavara 254-20 sammattalaMbhagaruyaM savvakalAgamakusalo 123-26 saccaM ciya puNNAgo 181-6 sammattasaMjamAI 273 -5 savvakalAgamaNilao 15-8 sacca jiNANa vayaNaM 270 -6 sammattasArarahie 219-2 savvakalApatta? ekko 22-17 sacaM pitaM Na saca 220-19 sammattassa pasaMsA 280-26 savvakalApattaDhe mANI 153-9 saccaM harati hiyaya 253-31 sammattaM amayasama 216-29 savvakahAguNajuttA 4-13 saccaM haraMti hiyayaM 253-32 | sammattaM uDDagaI 216-28 savvagao aha jIvo 203-27 saccaM hIrai hiyayaM 253 -29 | sammattaM jayasAro 216-30 | savvagao iha appA 203 -31 saccaM hoja kumAro 26-13 sammattaM NANa tavo savvagao jai appA 203 -29 saccitte Nikkhevo 223-2 sammattaM saggasamaM 216-27 savvajaNaNiMdiyANaM

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. . . 2as pajasUI *121 savvajayajIvabaMdhava 115.6 / saMjhAvahUe~ Najai 82-13 / sANo dAhiNapAse 184 -1 sabajayajIvabaMdhava 230-29 / saMNihiyajiNavariMdA 3-30 / sA te bhavatu suprItA 152-8 savvajiyasokkhajaNo 33-2 saMtI kuMthU ya aro 284-3 sAdhukiriyAsu kAsu vi 270 -11 savvaNNuvayaNavitthara 207-29 saMtuTrA suviNIyA 231-6 sAmacchAyaM mauyaM 158-16 savvatthovaM kAlaM dasa 38-23 saMtosijjai jalaNo 134-3 sAmaNNaM cariUNaM savvaM imaM aNicca 227-19 saMpai taM kattha gayaM 38-16 / sAmalavacchatthala 258.14 savvaMgalakkhaNasuhaM 208-13 saMpai bAlattaNae 255-1 sAmAiyaM cautthaM 222-11 savvaM ca imaM dukkhaM 219-13 saMpuNNadohalA sA 17-14 sAmimmi jo mamatto 271-11 savvaM ca tassa kahiyaM 269-14 saMbujjhaha kiM Na bujmaha sAyAragahiyaNiyamo 137-7 savvaM jayaM aNicaM 218-17 saMbujjhaha kiM Na bujhaha 4-27 sArasaraDiyaM sambattha 184-5 savvaM bho harai maNaM 253-30 saMbhamapalANavaNamajha 73-5 / sArasi marasi saraMtI 181-17 savvaM sariyaM jammaM 194-8 saMbhamavilAsamIsaM 249-27 | sArIrabalummattA 213 -33 savvAI pi imAI 228-21 saMbhiNNaM so pecchA 202-20 | sArIre vi hu dukkhe 230-10 savvANa Asi mittaM 202-8 | saMmANesu pariyaNaM 43 -30 sAro jai NIsaMgo 204-13 savvANaM pi pasaMsA 270-15 | saMlehaNAe~ jIviya 223-3 sAlaMkArA suhayA laliya 4-18 savve jANati gaI 251-8 | saMvaccharametteNaM 104-4 sAlivaNaucchukalie 72-34 savve NADayajogA kahA 22-8 saMvaccharamettaNaM jai 108-19 sAvatthINaravaiNo 250-16 savvo jIvAhAro 206-9 saMvaccharametteNaM jai 108-30 sA valai khalai vevai 236 -1 sasamayaparasamayANaM 34 -12 saMvegaladdhabuddhI 49-10 sA sivapuri tti bhaNiyA 280-14 sasasaMbaramahisa 40-4 saMvelliUNa vatthaM 154 -21 | sAhammio tti kAuMNiddho 111-30 sasiyarapaMDaradehA kosiya 16-3 / saMvelliyaggahattho 154 -15 | sAhasu maha sabbhAvaM 266-36 sasisUravajjacakkaMkuse 129-16 saMsAragahirasAyara 95-25 | sAhati majjha guruNo 38-12 saharisaNaravaicira saMsAraNagarakayavara 38-28 | sAhati sAhuNo me 38-13 sahasa ciya kharapharuso 68-13 saMsAradukkhatavie 90-3 sAhAsu pasAhAsu ya 249-9 sahasa cciya dharaNiyale 96-29 saMsAradukkhatavie 218-14 sAhINadaiyasaMgama 25-24 sahasuddhAiyarahavara 96-21 saMsArabhAvamuNiNo 34-14 sAhINapiyayamANa 51-32 sahidaMsaNehi diyahaM 147-33 | saMsAramahAkaMtArakesarI 32-28 sAhUNa NamokkAraM 279-1 sahi sacaM ciya sUro 26-11 saMsAramahAjalahiM 230-9 / sAhUNa NamokAro 279-8 sahi saMpai majjha gharaM 83 -12 saMsArammi aNate 30-13 sAhUNa NamokkAro 279-9 sahi hoja phuDaM NArAyaNo tti 26-3 saMsArammi aNate 228-7 sAhUNa NamokAro 279-10 saMkAkakhAviigicchA 218-23 saMsArammi asAre sA hematArabhiNNA 197-33 saMkoDiyarattakaro 260-5 saMsArammi kaDitte 193-8 | sAtANa vi dhamma 90-7 saMkoDiyaMgamaMgo 254-32 saMsArasAyarammi 146 -11 | sAheti je vi dhamma 277 -18 saMkhaM jogo vArisaguNA 22-2 saMsArADaimajjhe 177-31 | sijhaMti je vi saMpai 277-27 saMghADaesu jai tiNNisu 24-7 saMsAre dUrapora jalahijalasame 44-9 siddhANa NamokkAra 278-6 saMcAriyAe~ aNNA 83-17 saMsAro aibhImo 139-27 siddhANa NamokkAro 277.26 saMjamakaccha aha 193-14 saMsAro kaha va thiro 230-28 | siddhANa NamokAro 278-4 saMjamadasaNajoyaM 193-16 sA caMDavAyavII 210-11 | siddhANa NamokkAro 278-5 saMjoyavippaogaM 41-2 sA Natthi kalA taM Natthi 16-27 | siddhANAyariyANaM 272-33 saMjhAe~ samAsattaM rattaM 15-28 / sANapphoDaNatoDaNa 41-30 / siddhipurisAhayANaM 42-11 ku. mA. 16

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*122 kuvalayamAlA siyakusumaloyaNodara 267-22 / suyasAriyasauNatte 40-6 / suMdari sAha phuDaM ciya 250-33 siraduhajaravAhi 41-28 | suyasuttaguNaNadhAraNa 95.29 suMdari sAhesu phuDaM 250 - 14 siraphurie kira raja 157 - 19 / suragaMdhavvasiddhavijjAhara 94-8 suMdari sumiNe dIsasi 46-24 sirisohAguNasaMghAya 149-26 surapatimukuTakoTi 116-18 suhayavilAsiNi 264.35 sisiraNariMdammi gae 60-30 surayaM Na suMdaraM ciya 187-17 suIsamANaNAso 130-19 sisireNa ko Na khavio 170-4 surayAmayarasabhariyaM 158-17 | NamettaM sutaM 278-14 sisumAragahiyamukkA 209-26 surayAvasANacuMbaNa 147-32 suraNariMdatthavaNe 82-20 siMgADayagouracaccaresu 203 - 10 surayAsattamaNeNaM 262-20 suratamANa viroho 179-2 siMgheNa puNo khaio 274-32 suraloyapavaNacAliya 94-22 sUrAhimuho sauNo 184-10 sIuNhakhalaNadukkhe 274 -28 surasaripuliNesu tae 265-2 sUraM jANai purisaM 251-6 sIuNhakhuppivAsAiehi~ 40-16 suraseNAkitAliya 96-11 sUroaggaNamaileNa 161-19 sIuNhakhuppivAsAya 42-5 suraselatuMgadeho 93-28 sUro gaMbhIraceTo aipaDu 20-20 sIuNhamIsajoNisu 143-12 suraselammi payAsaM 43-7 sUro jo buddhijutto 20.11 sIyAlU daMsaNIo 20-14 suvvai gAme gAme 51-33 sUlArovaNaDaMbhaNa 254-27 sIlaM salAhaNija 74-3 susamAkAlammi khao 242-9 se jANamajANaM vA 272-1 sIleNa viNA kiM 74-4 suseyachattasaMkulaM 24-21 sejjAsaMthAraM yA 220.5 sIsaccheyaNabhayaNa 41-31 surasamadusamAkAle 242-14 seyANa paraM seyaM 279-13 sIseNa tassa esA 282-16 sussUsaMti ya guruNo 87-22 selatthaMbhasariccheNa 44.31 sIhasamapaTThibhAyA 130-6 suhao visuddhaNAso 130.17 sellehi~ hao bahuso 274 -31 sIheNa hammai gao 188-33 suhadukkhajaramagaMdara 162 -32 se sAhai saccamiNaM 143 -26 suidiyacArUsohA 282-5 suhasaMpayasayabhariya 208-15 so appA paramappA 202-23 sukaikahAhayahiyayANa suhasaMbodhIsumiNa 281-4 so Asavo tti bhaNNai 142-28 sukulammi esa jAo 81-10 suhiyANaM so suhio 230-5 soiMdiyammi luddho 255-8 sukule vi ke vi jAyA 88.6 / suhumaM va bAyaraM vA 144-1 soUNa imaM te cciya 192-14 sukkodayataNukhaMjaNa 236 -12 / suhumo sarIrametto 202-27 soUNa ime vayaNe 245-29 sujjhau NAma malaM ciya 48-28 suMdara teNeya viNA 250-31 soUNa ruNNasaI 48.5 suNNammi majjha 252-19 suMdaramasuMdaraM vA Na hoi 107-29 so keNa tumha diTTo 207-16 suNNo bhamAmi eso 176-11 - suMdaramasuMdare vA guNa 108-24 so ko vi Natthi puriso 170 -28 suttatthANaM doNha vi 270-2 suMdarayarasurasayasaMkule 43-12 so ceya mae ramio 176-20 suttaviuddha vva jahA 130 -29 suMdari ahaM maNusso 116-29 so cukko vagghAo 20-19 suttassa hoi attho 278-25 suMdari esa pabhAyA 198-15 so ceya hoi bahiro 230-21 suddhA samA ya siharI 130-11 / suMdari kayAvarAho 85-16 so cciya ekko puriso 216-10 supurisapayAvaviyale 73-18 suMdari kahaM viyANasi 250-10 so ciya jIvai puriso 78-8 supurisasahAvavimuha 158-29 suMdari kiM kiM keNa va 53-18 so cciya jIvo puriso 230 -22 suprabhAtaM gurUNAM tu 198-19 | suMdari gaMtUNa gharaM 229-19 so cciya vaccai garayaM 230 -20 suprabhAtaM jinendrANAM 198-18 suMdari ghorA corA 86-30 so ciya sattU so ceya 142 -6 suprabhAtaM tu sarveSAM 198-20 suMdari ghorA rAI 86-26 so ciya suhao so ceya 107-30 suyaNu imaM te hiyayaM 173-6 suMdari NayANimo ciya 53-24 so ciya haMso Naha 257-26 suyaNo NayANai ciya 57.9 / suMdari payaTTa vaccasu 265-28 | so jaramaraNamahAbhaya 90-8 suyadevayAe~ jA vi ya 273 -2 | suMdari bhAvesu imaM 227-20 so jiNavaMdaNaheuM 282-9

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*123 so Nasthi koi jIvo 142 -1 | hariNa laNiJcalaTTiya 60-18 | hA mAe jIyAoM ki 75- 22 so gathi koi jIvo 276-4 / harikaNa majjha hiyayaM 74-7 - hA mAe hA bhAyA 75 - 24 sro Natthi koi jIvo 90-25 / harikharaNaharavidAsiya 39- 25 hA mitta mittavacchala 59- 1 so patthi koi jIvo harikhaMdaruddakusumAuhesu 281 - 16 hA mitta sarala sajjaNa 59 - 12 so Natthi koi jIvo 227-27 hariNattaNammi takkhaNa 39-32 hA vairaguttasAmiya 252 - 4 Nasthi koi jIvo 276-5 hariyaM va Na hariyaM vA 172 - 20 hA sIe sIoe so Natthi koi jIvo 276-6 / harisarahe kIlaMte 28-24 hA suraNariMdaNaMdaNa 43-14 so Nasthi koi jIvo 142 -3 halamolasaMbhamubhaMta 134-29 hAseNa vi mA bhaNNau 44-3 so Natthi koi jIvo 141-33 hasiya piNa hasiyaM piva 160 -3 hA ha tti vilavamANo 37-18 so Nasthi koi jIvo 142-4 haMtUNa vi icchaMto 111-7 hA haMsagabbhamaue 42-32 so Natthi koi jIvo 142-5 haMsiNi sarasasiNehe 181 - 19 hA hA aho akajaM 54-24 so Nasthi koi deso 135-29 hA uttaradevakurU .43 - 16 hA hA eso eso gilio 67-23 so Nasthi koi puriso 170 -27 hA kaha mitto hohii 62 -1 hA hA kattha NirAsA 107-21 so Nasthi jae jIvo 81 - 14 hA kIsa vaccha muMcasi 264 - 1 hA hA jIe appA 55-3 so Natthi jassa dijai 18-25 hA jo kaDiyalavUDho 47-24 hA hA tihuyaNakAmiNa 239-8 so Nasthi joNa kammeNa 142 -2 hA NAha viNA tumae 265 - 14 hA hA putta kimeyaM 263-8 so tavasaMjamasIle 207-30 hA tAya tujjha daiyA 75-21 hA hA bhaNio taiyA 38-10 so maha pasAyavimuho 54-20 | hA tAya puttavacchala 55-1 hA hA mae ahavAe~ 85-23 so ya Na sio Na kaNho 97-34 / hA daie hA maha 227-5 hA hA mAe dhAvaha 141-15 so vairaguttaNAmo 250-21 hA daiya kattha si tuma 75 - 23 hA ho mae akajja 47-18 so vi bahupAvavisao 37-17 hA daiya NAha sAmiya 265 -13 himasattuNihayasIsaM 169-25 so siddhateNa gurU 282-18 himasIyacaMdavimalo 63 -10 hA daiya suhaya sAmiya 108-8 so summao tti bhaNNai 276-32 hA diNayarakaraparimAsa 43-8 hiyaicchiyakajja 93-30 sohai maiMdaruMda 182-11 hA devva kattha saMpai 239-13 hiyae jiNANa ANA 136-33 sohaggapaDhamaIdhaM 22-14 hA devva Na e juttaM 239-7 hiyayadaiyarasa kassa 169-8 sohaggamaummattA hA devva tae hA hA hiyayabhaMtaratuhaviraha 52-8 238-31 165-19 sohaNamasohaNaM vA 268-30 hiyayassa majjha daio 179-27 hA piyasahi kIsa tuma 239-5 hiMtAla khamasu emhi 181-8 sohammIsANa 143-18 hA piyasahi hA bAle 239-30 hINakkhara accakkhara 273 -3 sohei vaccagharae 118-3 hA putta kattha vaccasi 155-26 hINabhumayAhiM purisA 130 -31 hA putta kattha si tuma 77-3 hA puttaya hA bAlaya 224-28 209-29 hIraMta cciya vevai haNa chiMda bhiMda mAre 246 -12 huMkArasavaNavimhiya 186-26 hA baMdhu NAha sAmiya 96-13 haNa haNa haNa tti mAre 112 -25 hA bAlaya hA vacchaya 47-23 hemaMtathINa 228-29 haNa haNa haNa tti mAre 135-27 hA bAle hA vacche 47-19 hemaMtasirI vi saroddha 1-13 hatthaMparihattheNaM 154 -22 hA bhAuya kattha tumaM 264 - 15 he he piyaMgulaie 181-11 hatthAhatthi gheppai pijjai 21-9 hA bhAuya maha vallaha 47-25 / hoi asIi adhammo 131-22 hammiyatalesu jammi ya 31-24 / hA bhAuya meM mottuM 264 - 31 / hoi kumArIeN piyA 76 -9 hayagayarahajohahi~ 24-14 hA maha daie hA hA 239 - 3 hoi khalAo muttaM 228 - 13 hayAtImaraseNNa 214 -16 | hA maha deyara vallaha 47-21 | hoi gaIe gaurava 131-12

Page #299
*124 hoijha savvaphalaM hoi Na hoi va kajjaM hoi dhuraM ca baheDo hoi parihAsasIlo hoi piyA puNa dAso hoi sirI rattacche hoi surU 269-2 268-31 153 - 17 220-28 30-24 131-13 232-33 kuvalayamAlA hoUNa amhaNa huyaM hoUNa itthabhAvo hoUNa ko vimAyA hoUNa ciraM kIDo hoUNa laliya- kuMDala hoUNa hoi kassa vi hojja aNaMgo jai paharai 212-13 227-29 227-28 81 - 13 81-12 50-24 26-1 hojja imassa paNaiNI 163 -32 hojja hareNa samANo 26-9 ho daDhavvayacitto 211-18 ho hoMti A o-Na-na-mA 268-29 hota jiyaNAhasaMgama 83-15 hoMti ime a-i-ka-ca hoMti suyaNa ci paraM 268-27 6-14

Page #300
NOTES Page 1--lines : 2- 18 ) To begin with Rsabha, the first Tirthakara is saluted. Then is saluted Mahavira with special reference to the attempts made by god Samgama to disturb his meditation. For more details about Samgama, see the Mahavira-cariya of Gunacandra ( Surat 1929), Prastava VII, pp. 226ff. The Jambucariya of Gunapala (c. 11th century of the Vikrama era) is influenced by the Kuvalayamala; and it refers to the episode of Samgama in the opening Mangala (Bombay 1959). Lastly, Tirtha or Dharma is saluted. Page 2 lines : 5 ) Compare Uttaradhyayana III. 7 - kammANaM tu pahANAe ANupuvvI kayAi u / jIvA sohimaNupattA AyayaMti maNussayaM // 8 ) Thinking that it is a Giti, I tried to adjust some vowel values. As Prof. H. D. VELANKAR points out to me, it is a Gitika with its 3rd and 7th caturmatras having in fact five matras. So we may read saMsArae, pAvaehiM jammayaM and puNNaehiM. 20 ) The reference to Kamasastrakara has perhaps no specific work in view. 22 ) aTThaTTha, a kind of silver necklace. 27 ) Note kAuM je. 28) The verse has an Apabhramsa ring; its structure is that of a gIti 12+18/12+18. But with a little adjustment, attho, aNatthao, virasao, sokkhao and payattaeNa it will be a gItikA like that in line 8 above. 29 ) Some deities (ruMda - rudda ?) and teachers ( kapila, kaNAda) are mentioned here. Page 3 lines: 8) The term TT is used in quite a wider sense than the one connoted by anuprekSA. Obviously, the study of a work like this comes under bhAvanA. 16 ) This verse is included in the vajjAlaggaM, 748, with the various readings: dosaM ciya, pasaMsaha (which agrees with that of P) and uvahI. 18) Here are referred to pAlittaya pAdalipta, sAlAhaNa - zAtavAhana, popularly known as hAla, and chappaNNaya, the exact Sanskrit equivalent of which is far from definite. 19-20) These two lines supply some details about af whom appears to put as a contemporary of Hala. Some words in the first line are to be construed both with pAlittaeNa and hAreNa. He is the author of the taraMgavaI, which is compared with ; and some words with double meaning are to be suitably construed with both. The original taraMgavaI is lost, but we possess a Prakrit digest taraMgalolA or saMkhitta-taraMgavaI - kahA by a pupil (Jasa by name) of Nemicandra ( zrInemivijJAnagranthamAlA 9 ), Surat 1944. pAdalipta and his have enjoyed great reputation, and are referred to by various authors: It is already referred to in the anuyogadvAra for mentioning its author: taraMgavaikkAre ( Sutra 130 ). Jinabhadra in his vizeSAvazyakabhASya mentions taraMgavaI thus : jaha vA niddivasA vAsavadattA -taraMgavaiyAI / taha niddesagavasao maNurakkhavAuti / / 1508 / / The taraMgavaI is likewise referred to in the nizIthacUrNI of jinadAsa (c. 598 Saka 676 A. D.). In his dazavaikAlikacUrNI, he refers to taraMgavaI thus : tattha loiesu jahA bhAraharAmAyaNAdisu vedisu jannakiriyAdIsu sAmaigesu taraMgavaigAisu dhammatthakAmasahitAo kahAo kahijjati // . dhanapAla (c. 10th century A. D.) speaks about taraGgavatI thus in his tilakamaJjarI (Bombay 1903) - prasannagambhIrapathA rathAGgamithunAzrayA / puNyA punAti gaGgeva gAM taraGgavatI kathA // ; some of the phrases remind us of the description by udyotana. lakSmaNagaNi (c. 1142 A.D.) in his supAsanAhacariya says: - ko na jaNo harisijjai taraMgavaIvaiyaraM suUNa / iyare pabaMdhasiMdhu vi pAviyA jIe mahurataM // Further Candraprabha in his Vasupujyacarita says thus : gaMga vva taraMgavaI tehi kahA nimmiyA pavittapayA / te siddhaseviyapae pAlittayasUriNo vaMde // 9 // . Then the prabhAvakacarita of prabhAcandra quotes an old gatha : sIsaM kaha vi na phuTaM jamassa pAlittayaM haraMtassa / jassa muhanijjharAo taraMgalolA naI bUDhA // . For the traditional biography of pAdalipta, the prabhAvakacaritra of prabhAcandra and prabaMdhakoza of rAjazekhara may be consulted. See also WINTERNITZ: HIL, II, p. 522. 21) Better vokkille, full of dance, for cokkille. Or are we to read bollikke ? Note the reference to fo. Bana also confirms that Hala's selection was based on the poetry of village folk. A poet Halika is quoted in Hala's Kosa (No. 116). 22 ) This line has to go with the previous one because of the pronoun jassa. The sequence ( pAdalipta, hAla and chappaNNaya) may suggest that this might be a reference to the koza of chappaNNaya; but further chappaNNaya is specifically mentioned below in line 25. 23 ) Here are referred to Gunadhya and his Vaddakaha ( = Brhatkatha). For details about them see M. Winternitz: HIL. III, 1922 (German), pp. 312-2u; A. B. KEITH: A Hist. of Sanskrit Lit. 1928, pp. 266-81; and A. N. UPADHYE, Paisaci Language and Literature, A.B.O. R.I. Vol. XXI, parts I-II, Poona 1940. According to ajada (asada), the commentator on the sarasvatIkaNThAbharaNa of bhoja, the Paisaci quotation given by hemacandra in his Prakrit grammar (iv. 326), panamatha etc., is the AdinamaskAra of the bRhatkathA. This information is interesting though it cannot be verified in the absence of the original Brhatkatha in Paisaci (bhAratIyavidyA III. i, pp. 228-30, Bombay

Page #301
*126 KUVALAYAMALA 1945). 24) Here 97 and try of oth and are ta are remembered, see M. WINTERNITZ: HIL, I. 25) The term qoupe occurs thrice in this work, here, in line 18 above and at p. 177, line 2. On this topic see my detailed paper 'Chhappannaya-gahao' in the Journal of the Oriental Institute, Baroda, Vol. XI, No. 4, pp. 385-402. 26) Here Bana and his Kadambari are mentioned. 27) Here is a reference to Vimala, the author of Thef (Bhavanagar 1914; Varanasi 1962) which is facin, and his a language is called sa-rasa like nectar. The metrical forms from it are analysed by Dr. C. SHARMA in his paper on the metres of the Ramakavyas published in the University of Rajasthan Studies (Sanskrit and Hindi), July 1967. 28) Here is a reference to the royal saint Devagupta, from the family of Guptas; possibly he is the same as the one mentioned at p. 282, line 8, and styled Mahakavi, possibly the author of 'Supurisacariya', not discovered so far. 29) In this verse J reads graf and P reads fra. Earlier scholars had no reading afrafe before them; so this was taken to be a reference to the fair of fans. I would not call this impossible, because either way the verse presents some difficulties of interpretation. But J, the older Ms., clearly gives the reading af af which cannot be ignored. The repetition of the term fa presents great difficulty; and the translation of this verse given by the late lamented Pt. PREMI (1H1fca att gare, 2nd ed., Bombay 1956, pp. 113-14) and followed by some others (Pt. A. M. BHOJAK, T agfaf, Ahmedabad 1961, FAGI, p. 46) is sufficiently elusive, if not defective. I had discussed this verse with Pt. PREMIJI, and in the light of an authentic reading of a genuinely old Ms., he was in a mood to reconsider his earlier interpretation. I would present the rendering of the constituted text thus: 'I greet respectfully Harivarsa, though indeed (well-) respected (rauf au), who is loved by thousands of wise men, who is the first author of the atastrofe and who is in fact of spotless expression'. Some of my friends who have discussed this verse lately with me have to suggest some improvement in readings also. They say that pihu = pRthu, great, or reading pahu ( = prabhu) for pihu might be an adjective of harivarSa. The second alternative involves the change of the available reading. In the Gujarati Translation of sft TTaf, afay=afica is taken as the name of an author. 30) Here is a reference to a H TT, MITT by name. The verse itself does not mention the name of the author, but has a pronoun to which, usually, should go with the author mentioned in the earlier verse. In that case fan will have to be taken as the author of g aat(FT), which so far, has not come to light. Jinasena completed his Harivamsa in 783 A.D. and he says therein thus: AETETT HETT TISTOSTdhAriNI / kathA na varNitA kena vaniteva sulocanA / / 1. 33. Further Dhavala, in his harivaMza (circa lith century A.D.) composed in the 395 dialect, specifically refers to the stuur of HET thus: qfor HET TYT 9349173 for favor FGFUTATUT fray a ofses futur atrafell (HIRALAL: Catalogue of Sk. and Pk. Mss. in C.P. and Berar, p. 764). Whether both ac and so are referring to the same work is not beyond doubt. We should wait for more facts in this context. 31) Here are referred to prabhajana, a royal saint, and his yazodhara-carita. Among the yazodhara-carita texts, so far listed, this seems to be the earliest (P. L. VAIDYA: T afa, Karanja 1931, Intro. pp. 24 f.). As noted by Dr. VAIDYA, ITH (earlier than 1308 A.D.), the author of the TTTcarita in Sanskrit, also refers to prabhaJjana. Page 4-lines: 1) Here are referred to the alata (which styles itself as 87%) and padmacarita of jaDiya ( mA jaDila), i.e., jaTila and raviSeNa respectively. For details about them, see the agafa, Bombay 1938 and 9afa (c. 776 A.D.), 1-3, Bombay 1928, both published in the AT. f. a THT Nos. 40 and 29-31. A Hindi translation of the former has appeared from Varanasi, and a new ed. of the latter, 1-2, along with Hindi translation is published lately by the HOT TO, Varanasi 1958-59. 2) #fYST FET = falaf ) is only a synonym of #2152 El. On this equation see my paper in the Proc. and Trans. of the A.-I.O.C., XIII, pp. 381-2, Nagpur 1946 and with revision, Bharatiya Vidya, VII, pp. 23-4, Bombay 1947. Its author is Haribhadra whose favourite 35 is the term fata duly mentioned here by a uddyotana calls him a guru from whom he had studied a number of zAstras. Render samaya or svamata-zata (or 797) -STIFTTTI:. 3) Is it that the author has in mind some poets who have for their 37 terms like abhimAna, parAkrama and sAhasa? 5) of the five kathAs enumerated the first two appear to be types of FPT, and the next two, perhaps the last also, possibly refer to the mode of narration or narrating. The T T is a mixed type which inherits the characteristics of all these; it is

Page #302
*127 this type that is adopted for the gas by the author (see lines 13-4). Gunapala follows this in his if, p. 2. For more details about the classification of Ts in early Prakrit writers, see my notes on the Lilavai, pp. 327.28 (Bombay 1949). Hemacandra notes a pretty large number of types of kathAs - upAkhyAna, AkhyAna, nidarzana, pravahnikA, manthallikA (of two types), maNikulyA, parikathA, khaNDakathA, sakalakathA, upakathA and bRhatkathA. He defines khaNDakathA and sakalakathA (which he has common with our author) thus - madhyAdupAntato vA granthAntaraprasiddhamitivRttaM yasyAM varNyate sA 'indumatI' Adivat khaNDakathA // samastaphalAntetivRttavarNanA 'samarAditya' Adivat sakalakathA. kAvyAnuzAsana, Bombay 1938, pp. 463-5. Haribhadra, however, describes his samarAiccakahA as dharmakathA. ullAva primarily means 'sweet' and 'coaxing ' conversation; -, an amusing story; the last type is . 7) Here onwards, in the next six lines or so, the author is explaining the stylistic, poetical, metrical and linguistic components that go to constitute his present composition, the kuvalayayAlA, which is a saMkIrNakathA. rUpaka may refer to the of that name, i.e., metaphor, or may indicate the dramatic form of the narration. The marginal correction for 3 (which again occurs in line 10 below) is justified. 3 is a very important metre. It seems to be very commonly employed by the bards and the name ullAlaka was given to it by them (cf hemacandra p. 43, line 19 ) [ chandonuzAsana VII. 3.1]. Two main varieties of this metre are again given by and the author of afar. They are gs and . The former contains 27 and the latter 28 Matras in each of the two lines. In both, the Yati appears after the 15th Matra, so that the line is practically divided into two parts, one consisting of 15 Matras occurring before the Yati or the caesura and the other containing 12 or 13 Matras according as it is kuGkuma or karpUra. Both chandaH koza [of ratnazekhara ] and treat this as a well-known metre' (H. D. VELANKAR: Apabhramsa Metres, Journal of the University of Bombay, II, iii, pp. 36, Nov. 1933). is a group of five or more verses upto fourteen which grammatically constitute a unit (T, VIII.12). 8) 30 (12-18) and 27 (12+15) Matras in each line, faqat (in four lines; 28 Matras, 6, 4x5 and Guru, in each; the first and the last of the 5 Caturmatras must either be a T or contain all short letters, and fa (30 Matras - 4x7, 2, Yati after 12, in each of the two lines). 3, 4 and fach refer to groups of two, four and three verses, sometime of a special pattern. 9) 03 has four lines, each having 32 Matras (4x8). There are no special restrictions, but in practice the even Caturmatras show generally the jagaNa (chandaH koza of ratnazekhara, 30 ). According to the vRttajAtisamuccaya, IV.46, daNDaka has fours, each containing six short letters at the beginning followed by the same number of jagaNas. mArAcaka has four lines, each having 12 Matras (ja, ra, and short and long, see vRttajAtisamuccaya, IV.58, ed. H. D. VELANKAR). has four lines each having four TS. is to be distinguished from fa. The former is governed by the number of syllables, their quantity and their fixed order of their position in a line; the latter, however, is regulated by the number of syllabic instants or mAtrAs. According to the vRttajAtisamuccaya, IV. 22, taraGgaka has four lines, each having 20 Matras, 4s and two long Matras. According to (o IV.74), each line has 21 Matras (6, 1, 2, 1, 4, 2, Guru, 3): Metres like etc. are called with a little variation. 10) mAlAvacana may refer to a metre or alaGkAra of the name mAlA or mAlAdIpaka; or it might indicate the zabdAlaMkAra called saMdRSTayamaka (kAvyAdarza III. 52 ) or what JACOBI has called zRGkhalAyamaka. 11) The entire work is composed in Prakrta-bhasa. The Varnaka or the prototypical descriptions as current in mahArASTradeza (mahArASTradezI (ya) varNaka nibaddhA) are employed. In the Ardhamagadhi canon, it is seen that the descriptions of the Town, of the King, of the Queen etc. are of a fixed pattern; and when they are not fully given, we get the phrase jahA vaNNao. The texts like the vasudevahiMDI clearly show that the descriptions are in a heavy style and stand in a way detached from the text. That can be experienced even in this work. The author describes certain situations because he is out to present a description. It is not unlikely that the poets were required to master such pattern descriptions which varied possibly from place to place. Uddyotana is employing patterndescriptions which were in vogue in. Lately some collections of such settled descriptions have been published. It is true that they belong to the post-Apabhramsa period of Indian literature, but they presume earlier traditional patterns on the same line. The edited by Dr. B. J. SANDESARA (TT, Y, Baroda 1956) contains pattern description of the town (p. 2), elephant (24), serpent (26), ocean (27) etc. which are in fluent Sanskrit: That only shows that these descriptions were common in Sanskrit, Prakrit and Apabhramsa. In this connection, NOTES

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KUVALAYAMALA Varnaratnakara ed. by Dr. S. K. CHATTERJI (Asiatic Society, Calcutta 1940) may also be seen. A learned poem like the t was already written by that time; under the Vakatakas even some kings contributed to Prakrit poetry; and it is under these auspices that the aff style was thriving. So it should be presumed that I had its patterns of description which is adopting here. Dr. A. MASTER has taken this phrase to refer to the script: 'The script of the original Ms. is named Maratthaya desi vannaya, in all probability that to which the name Nagari was afterwards given.' As it is seen, there is no reference to script here, nor would the context justify his interpretation. In the classification of T, given above, the author would put his work, namely, the 4, under ; but because some other elements, as noted below, are introduced in it, it has become a saMkIrNakathA. In this sakalakathA are introduced tApasa, jina and 12) Though the work is composed in Prakrit, just out of curiosity there are introduced Sanskrit passages by way of quotations or in the mouth of other characters (); some times is used; and in some places is presented. My friend Dr. H. L. JAIN sees here a veiled reference to the lIlAvaI of koUhala in which tApasajana and sArthavAha are introduced and which is composed in . It is an ingenious suggestion: my only difficulty is that there is no context for the author to refer to any work or author which he has done and, I believe, finished, in the earlier section. 15) This classification is more or less in the manner of Haribhadra in his samarAiccakahA which defines them in details. In this classification, kuvalayamAlA is a dharmakathA; but it has become saMkIrNa in view of the details about kAma and artha introduced here. 17) A sajjana offers even 'life' when asked for, then why not give at least the 'ear': a nice appeal indeed! 21) ifquit etc. are the tactical stages of imparting the rather than the types of it. In arifqut the mind of the hearer is to be first captivated by narrating something pleasant or catcning; in the second, faeifquit, the mind of the reader which has already come under the teacher's grip is now to be distracted or dislodged from its attachment or addiction; in the third, , the mind of the hearer is made receptive for religious ideas; and in the last, fat, the mind develops positive detachment or renunciation. 23) According to the traditton recorded in the kalpasUtra, sudharma was the disciple of mahAvIra and all the nirgrantha zramaNas of the present time are his spiritual descendents, other Ganadharas being without any descendents. Many of the canonical passages show that is addressing them to. The present context puts that verse (line 24) in the mouth of g, but I have not been able to spot it in any canonical text: and Pt. MALAVANIA also writes to me to the same effect. It is not unlikely, therefore, that himself has composed this verse keeping in mind the contents of the Tin which we have a similar context. A detailed disscussion of this topic is also found in the foff (Chapter III), 199 ff. The phrase akkhevaNi akkhittA occurs in the niryukti, gAthA No. 211. 25 ) Here possibly the author has in view the biography of Kapila (see JACOBI, S.B.E., 45, pp. 31-32, foot-note) who is said to have addressed the Eighth Lecture of the Uttaradhyayana. He 'sang the first stanza of this lecture, by which some robbers were converted, and he continued to sing, repeating his stanza after each following verse (as dhruva) till, at last, all the robbers were converted'. After Kapila attained omniscience, the event is explained thus by Nemichandra in his commentary on the uttarAdhyayana (zrI Atmavallabha granthAGka - 12, Bombay 1937, p. 125 ) : io ya rAyagihasya Nayarassa aMtarA aTThArasa joyaNAe aDavIe balabhaddapAmokkhA ikkaDadAsA nAma paMcacorasayA acchaMti / nANeNa jANiyaM - jahA te saMbujjhissaMti / tao o saMpatoya taM paesa / sAhieNa ya diTTho 'ko vi ei' tti / AsannIhUo nAo jahA - samaNagotti, amhe paribhavi Agacchai / roseNa gahio seNAvaisamIvaM nIo / teNa bhaNiyaM - khellAmo eeNaM ti / tehi bhannai --naccasu samaNaga tti / so bhaNai-vAyaMtao natthi / tAhe tANi paMca vi corasayANi tAlaM kuTTati / so vi gAyai dhuvagaM - 'adhuve' ityAdi / evaM savvattha silogaMtare dhuvagaM gAyai 'adhuve' ityAdi / tattha kei paDhamasilAge saMbuddhA, kei bIe, evaM jAva paMca vi sayA saMbuddhA pavvaiya tti / ityabhihitaH saMpradAyaH 1. Of course possibly with this incident in view, udyotana has composed a fine context to illustrate the fourfold aspect of the . 27) The author calls this verse both and. The second part has 28 Matras (13/15); but the counting of the first part may vary from 28 to 32. Identification with any recorded type presents some difficulty. The expression saMbujhaha kiM na bujjhaha occurs in the sUyagaDaM 1.2.1.1. *128 Page 5-lines: 11) The author is adopting these four aspects of the T here; and if some amorous contexts are introduced, it is only the refqft aspect, inducive to the adoption of religious life. 14) ffaf, the author himself. 21) The author wants to adopt

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NOTES *129 a mixed style comprising both and 3 which alone would meet the need of the situation. 24) The beginning of the Ferrari, which the author wants to make in a grandiose style offer HTT6WHET etc., reminds one, if it is not an imitation or a parody, of Bana who begins the tale proper thus: 3ffa eft fafea 1975T HEUGT125THAT Hata Hat etc. (p. 19, ed. PETERSON, Bombay 1900); compare also ta, 43, 73 fassurance. 27) A discourse on sajjana and durjana was conventional at the beginning of a kathA; see the lIlAvaI 12 f. Here the description of the art is in Apabhramsa, now and then contaminated with normal Prakrit forms which could even be optional in 379 . The coin is being compared with a dog, crow, ass, black serpent, poison, thrashing ground and dirt. Gunapala seems to follow this context in his Jambucariya, pp. 1-2; His verse No. 9, on p. 1 is closely drafted after line 12 here. Page 6-lines: 6) The figure of speech is fe here. 11) The metre is 360 with 27 ATTs in each foot, with pause after the 15th. Hemacandra's illustration of 2 (VII.3) shows the last syllable as short. It is in Apabhramsa. 15) Here onwards we have a description of out again with plenty of 379xist forms. 17) The second line is in Apabhramsa. It is perhaps defective, because, like the first, it does not conform to the Gatha pattern. Ayun is compared with fun, , feriut, FFTTETT, 43. Portions here and there have a metrical ring, for instance, 377fa1424371. Page 7--lines: 6) firettyT37 or free, or a contamination of the both, with far. 7) In this descriptive passage we have zRMkhalAyamaka. 21) vinItA is a secondary name of ayodhyA, see below pp. 8.27, 156.26, 177.7, 180.18 etc. 22) at qot Fyfe is a conversational and colloquial opening, and hence in 397. Some other forms also show vowel variation. 26) Here is a description of the roads in the market-yard. All the adjectives of the streets have a slesa and have to be construed with the objects of comparison as well. Page 8-lines: 4) The use of turmeric by ladies from FETTTE is well-known; see 670 61 and notes on it. Vakpati also refers to the profuse use of turmeric by Deccan ladies-019814aTfY A T aftauit OTTITI 7 AT TUTTUTTO PETOT fatifa 11 1359 368. 8) We have plenty of ETT here. 17) In $ 17 there are some Apabhramsa forms and plenty of illustrations of the figure of speech known as oftet, often arising out of slesa. 22-23) The metre is Terfect. 29) The metre is afrontars, having 30 art in a line (4x7, 2): in that case read TEST at the end of the first line. That disturbs the ha a bit. The second line has no pause after 12 mAtrAs, otherwise it would be a gIti. Paee 9_-lines: 3) We have the figure of speech, after here. 12) Is the metre Enfifa (27)? The first line does not show pause after 12 19Ts. 18) The 3TFTT-HUGT is an Audience Hall. It is both 3T412, as noted here, and at, as noted at p. 11.15. To the Inner Audience Hall some friends, ministers, queens etc. have an access; while the latter accommodated kings and others, and is the veritable Durbar of the king ($ 40). 21) The context reminds one of the kAdambarI in which the pratihArI is ushering in that cANDAlakanyakA. Some expressions here are closely common: cf. filgra61-'....againahifagfafa i gara Uda: TATHI ...... TGT trafini ETT024 qarfa Fatt: sagathulfaaet 1 (PETERSON'S ed. p. 8). Page 10--lines: 7) Here the passage contains some metrical units: vivaDeMta - chattayaM / furaca-feci II [TTE, 10 (5, 5)]; 757-a I 5T-TIET II (Higfit, 9 (4, 5)]; aa-31479 -Flat II [Ibidem); para I 01-II [Ibidem). 17) It is a gatha (30+27); better read aifa za tel. The second part of the first line as read by P is metrical and more regular, 25) This is a nice analysis of the reasons why ladies in a joint family get angry. TECO means 'calling one by a wrong or bad name' which amounts to offending his or her family. The following sentence jaNa imIe ceya gotteNa sayalamaMteuriyA-jaNamahaM gefa fit, however, needs further elucidation. Page 11-lines: 30) The expression HEITTSTT spoutrefy cathe fa is rendered by the Sanskrit Digest in this manner ETH Tusfraaifasy aat jali (p. *5.16). The idea that she entered 'fire'

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*130 in the presence of the late king is not clear unless the author has to say that she observed 'Sati'. I would render the Prakrit passage independently this way 'She became a goddess (in the next world) after taking leave (3+3=) of the great king (i.e., his father)'; or is there a reference to anumaraNa ( anu + Aruhya = an vAruhya = aNNAruhiya ) ? Page 12-lines: 8) Compare this context with for: Hema. iv.69. 18) - Instr. Sing., agreeing with presents some difficulty. Is it a fa? Or perhaps prose. 28) Are we to omit f? KUVALAYAMALA p. 66.12 ff, 12) Page 13-lines: 5) For some observations on these cults, see K. K. HANDIQUI: Yasastilaka and Indian Culture (Sholapur 1949) pp. 358 f., 391 f. 14) Note the form (P however paiNNA) for pratijJA, cf. paija in marAThI. 20 ) Identical with 15.21. 21 ) The author refers to lokazAstra, scriptures current among people. The Prakrit sentence reminds one of the famous verse:aputrasya gatirnAsti svargo naiva ca naiva ca / tasmAtputramukhaM dRSTrA pazcAdbhavati bhikSukaH // , which, with a slight change in the last pada, is quoted in the Sanskrit Digest (*6.8). 22) Some expressions have a metrical ring. Page 14-lines: 5) Here the author is referring to popular deities and orders of ascetics which were significant in his days. Compare anuyogadvAra, sU0 20. 7) kAyala (= kAka + la), a crow, is considered to be a Desi word; cf. in Marathi. 12) The following group of verses is called . They are all of the TTT type excepting the one (in line 15) which is a fa. 26) Difference of opinion is possible on the identification of this metrical form. Each line has 32. TS, with units of 4 S. In view of the internal zrRMkhalAyamaka I would take these lines as of samacatuSpadI vRtta, each line having 16 TS (6, 4, 4, 2) and identify them as two is. It is also known as Page 15-lines: 11) The goddess is for ; naturally, she is the spouse of great kings of yore; and some of their names are mentioned. mAdhava = kRSNa, maMdhAI = mAMdhAtR and dilIma = dilIpa. 21) Identical with 13.20. jAvaya and tAvaya could be even read jAva ya and tAva ya. 25) Better read gaa fafaga etc.; for a similar expression, see below 20.30-21.1. 26) Infinitive with, or is taken by some for . Here we have a beautiful description of the sun-set. Pt. D. MALAVANIA has put together the descriptions of sun-set from the 4, pp. 15, 73, 75, 82 along with Gujarati translation and appreciative remarks ( 1, Baroda 1963). Page 19-lines: 1) far loger, a fe in para 40 above. Page 16-lines: 3) is seen here and there. 10) Note the repetition of similar syllables which gives a pleasant ring to the prose. 17) This paragraph gives a detailed description of the af, the Durbar, of the king. It is attended by dignitaries, experts etc. from the various sections of the society. The king is seeking advice from this body, an assembly of the chosen people. 19 ) The term duggaiya is a bit elusive; can it be duggahaya ? 20 ) The term mahAbrAhmaNa has a good sense here. The comparison is with well-known standard figures like T, q and zukra. The poet vyAsa is already referred to above (3.24) ; dhanvantari, the ideal physician of yore. The king's council has eight members - mantrin, mahAnarendra, mahAvIra, mahAvaidya, mahAbrAhmaNa, mahAkavi, mahAsenApati and mahApurohita. 22) Note Apabhramsa is being mentioned along with Sanskrit and Prakrit. 23) bhAraha or bharaha refers to the nATyazAstra. visAhila from vizAkha, which is another name of kArttikeya, who is looked upon as a war-god. ff-4 may refer to some aspect of warfare. Specific branches are mentioned subsequently. faarf is also known as an author. T. 21) The metrical form Page 17--lines: 18 ) UNisa < uSNISa 20 ) dalathavaNaM or phalaTThavaNaM presents some difficulty : it refers to some ceremony, something like a 'collective prayer'. 27) fag. Are these some containers? Page 18-lines: 2) The metrical form is that we have two s here; see the note on 14.26. 8) priyaMvadikA is her name. 11) The four lines constitute a Dandaka Each line begins with six s, and there are 19 s in the 1st and 3rd lines and 20 TTS in the second and fourth lines. Different names are given according to the number of raMgaNas (8 arNa, 9 arNava, 11 jImUta, 13, 14, 16 or 17 ). No name is recorded for 19 and 20s as we have them here. These may be included under af (6+ any number of TTS). 19) The rhyme indicates that it is a samacatuSpadI, each foot having 16 mAtrAs. It is vadanaka or saMkulaka (6 4, 4, 2). The 9th mAtrA happens to be short as in . 22) Better --. 26) The string of verbal forms perhaps presumes a ready made list of roots. appears to be his name. 4 ) mahAsaMvacchara = mahAsaMvacchariya, an astroThese astrological details are quite interesting. 5) J has

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*131 but P uU; but both have magaro at 11 below. 10) rAsI is f, but kaNNo and tulo are Mas. 12) As to the source for the rAziphala, Uddyotana mentions baMgAlajAyaga, ie, a treatise on jAtaka composed by a saint are by name. Dr. Nemichandra, Arrah, drew my attention to the NOTES and also spared his personal copy (Banaras 1944) for my use for some time. Even on casual comparison one detects close resemblance in details and expression. The mAnasAgarI gives meSa rAziphala in this manner (p. 76 ): lolanetraH sadArogI dharmArthakRtanizcayaH / pRthujaGghaH kRtaghna (jJa ? ) zca niSpApo rAjapUjitaH // kAminIhRdayAnando dAtA bhIto jalAdapi / caNDakarmA mRduzcAnte meSarAzau bhavennaraH // The date of this mAnasAgarI is not known. It is not unlikely that it is a late compilation for practical purposes inheriting its basic material from Vaisnava, Jaina and Muslim sources. The Hindi translation casually notes that this work was written during the Mughal period, and hence salutations are offered to Rahamana along with Jaina and Hindu divinities. 13) The longer verses giving fare in the sragdharA metre ( ma, ra, bha, na, ya, ya, ya); and they are intervened by a gAthA. Page 20-lines: 2) Here is a reference to an author Vamgala, who is also called Rsi (line 24 below) and possibly to his work Vamgalajayaga, ; see my paper "Vamakalakacarya: a forgotten Authority on Astrology' in the Professor P. K. Gode Commemoration volume, pp. 203-8, Poona 1960. 27) After bath, but before meals, the king is spending some time in the ApAnaka-bhUmi, Drinking Hall, where he takes varieties of madhu, Asava and surA. Page 21--lines : 2 ) Better saMpaNNo for saMpuNNo. The usual canonical phrase is saMpatte bArasAhe divase. vyAsa-maharSi is taken obviously as a symbol of ideal qualities of a brAhmaNa. 7) paMcadhAI - parikkhitto is a standard phrase of the Ardhamagadhi canon, as in the passage tae NaM se daDhapaiNNe dArae paMcadhAiparikkhitte, taM jahA - khIradhAIe, majjaNadhAIe, maMDaNadhAIe, aMkadhAIe, kIlAvaNadhAIe etc. (ovavAiya, Sutra 105 ). 9 ) Compare the canonical expression hatthAo hatyaM sAharijjamANe ( ovavAiya, sUtra 105 ). 12) Cf. the canonical expression: taM daDhapaiNNaM dAragaM ammApiyaro sAiregaTTavAsajAyagaM jANittA sobhaNaMsi tihikaraNadivasaNakkhattamuhuttaM si kalAyariyasa uvahiti / ( ovavAiya, sU. 106 ) . 15 ) The prince studies for twelve years under his Teacher without even meeting his parents during that period (). Uddyotana has, for the prince, 8+12 years' but Bana 6+10 years' education. 24) The reference is to and his sons and others. Page 22-lines: 1) This list of 72 Ts enumerated here (lines 1-10) differs in details from the one given in the ovavAiyasutta 107; for similar lists see jainacitrakalpadruma (Ahmedabad 1935), pp. 134. These lists deserve to be compared in details, and their variations should be noted with reference to the place and date of the source. See also in this connection pp. 284 f. from a desfaY= by Dr. H. L. Jain, Bhopal 1962. 13) The second half of the first line is metrically defective ? 28 ) vAghaNa vAmaNa. Page 23 lines: 2) faf is not noted in PSM; it reminds one of and faf, the latter, a sharpening stone. 9) The king is addressing the stable-keeper, so there seems to be some propriety, if not significance, in using the Gen. sing. termination in a etc. (Hema. IV. 338). 12) In the second part of the 2nd line, are we to read ? and then it is a f. 13) The description of the horse has some Apabhramsa form, especially the Nom. sing in. Two au passages in prose seem to be put together. This has close resemblance with some portions of the tale of who is also carried away by a horse. This resemblance is also seen in the names of his friend mahendra siMha and of his horse jaladhikallola. 14 ) aiNiraha Extremely frank or innocent; or are we to read aiNirIha? 22 ) Some treatise on horses, azvazAstra, is being drawn upon. The list of the breeds shows that some names are regional and some indicate specific traits. These eighteen fall into three broad types ate etc. On other names of breeds see ed. B. J. SANDESARA, part 1, pp. 92, 113, 161 (Baroda 1956). The Asvasastram (Tanjore Saraswathi Mahal series, No. 56, Tanjore 1952) mentions 54 kulas of horses, pp. 66-7, which has some names like common with our list. See also some of the papers of P. K. Gode on this topic: 'Some references to Persian Horses in Indian Literature from A.D. 500 to 1800' Poona Orientalist, XI, i-ii, 1946, pp. 1-7. Some special Horse-names A.D. 1000-1200, f Tikamgadh, 1946, pp. 80-87. 'Indian Horse-nomenclature', auff af, Sagar 1951, pp. 453-55. Page 24 -lines : 12 ) kei + ittha keittha, kei + ettha = keettha 13 ) jaMgaesu or jaMgiesuM ? 15 ) Better read hara-hAsa-hAra etc. 20) The metre is, with four lines (). 30) That is how the ladies are in confusion at the arrival of the prince on the street.

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*132 KUVALAYAMALA Page 25-lines: 9). 16) The first line is metrically faulty; if is taken out, the first part would be allright, but the second part will be short. A good alternative seems to be to take as prose, and read ; in that case it becomes an 3f, the 2nd and 4th lines being of the same pattern. 19 ) saloNae =salAvaNye, pakSe salavaNe. 23) vidiNNa = vitIrNa. 30) The metre is af, having four lines, each line with 25 IaTTS (4x5, 5). As required, out of the five fars, the 2nd and the 4th are not a . Page 26-lines: 1) The prince is compared with anaGga, nArAyaNa, pUrNimAcandra, puraMdara, trinayana, sUrya, and Farfug, and shown how he has his speciality, if not superiority over every one of them. The author himself explains his procedure in line 14: In doing so, he has availed himself of the mythological details about them: T is darkish in colour, is stained with the mark of a deer; puraMdara has one thousand eyes; trinayana has pArvatI in the left half of his body; and svAmikumAra has his body made of different pieces. This comparison is only partial. 4) Take a f and the verse begins with ghaDai miyaMko etc. 13) kakkaso presents some difficulty. Is it a wrong reading for ekkaso ? 17 ) babbIsaya, some musical instrument. gAhulliyA stands for gAhA with the Fare suffix - (Hemacandra, VIII, iv. 429). 18) The first line has 27 TS and the second 30 mAtrAs of the Gatha pattern ; it is udgIti also called vigAthA. 26) seyaM geNha, to perspire ? 34 ) This conversational style deserves attention. The author writes or recites as if some audience is before him; and this brings a little detached character to the descriptions. Page 27-lines: 7) This reminds of a similar context in the I-9; the author's imagination has a touch of reality. omaM-thiya, upturned. Read sarA ya addAyamettAo. 12 ) The reading wavers between vihala ( = vihvala ) and viyala ( = vikala ). 17 ) Metre needs that we read vva teNa with JP. 21) orallI or olli, sweet and prolonged. 30) The style of description reminds one here and there of Bana's pattern of description of the faret (at, PETERSON's ed. p. 19). Many words need to be construed with double meaning. What follows here with f f corresponds to Bana's kvacit; of course the details vary, compare however raNabhUmi etc. with Bana's kvacitsamarabhUmiriva zarazatanicitA; laMkAuri - jaisiyA etc. with kvaciddazamukhanagarIva caTulavAnaravRndabhajyamAnatuGgazAlAkulA. Page 28-lines: 11) The metrical form is us, with four lines, each having 6+17 TS; and it is named. 12) We have here a good list of trees. 19) There are four feet, each having four sagaNas; and it is called chittaka or toTaka. 24 ) Two possibilities of interpretation are: araNya-dvirephamArjArAn or araNya- unduraiH mArjArAn. Better read with P raNNaMdurehi majjAre. 25 ) Natural antipathy is forgotten even by the birds and beasts in the presence of a great monk. The author himself explains when it is and why it is so here. This is known as an atisaya in Jaina terminology. Compare also the Yogasutra (II. 35) of Patanjali and the commentary of Vacaspati thereon: ahiMsApratiSThAyAM tatsaMnidhau vairatyAgaH / zAzvatika virodhA apyazvamahiSa mUSaka mArjArAhinakulAdayo'pi bhagavataH pratiSThitAhiMsasya saMnidhAnAccittAnukAriNo vairaM parityajantIti // . 29 ) saMta = zAnta as against ditta = dIpta. Page 29-lines: 13) The Yati is not clearly felt at the end of the 3rd Caturmatra: this is a fage variety of the T. 15) The Yati is not clearly felt at the end of the 3rd Caturmatra: This is a Vipula variety of gatha; so also note the second half in line 16. 16) Read rather fafofe7f. 21) Again fager in the first line; so also in the next two gathas. 27) Read rather kiM va hojjA u. 31 ) Put into inverted commas 'keNAhaM. .. turaMgamo'. farsfan. 6) The variation in the readings Page 30-lines: 2) and is due possibly to the similarity of the written symbols for and in early Nagari script; see the chart of letters of Ms. J. For other cases of this change see PISCHEL: Grammatik SS 260. 18) Note the fag in the second half. 22) Note the fay in the first half, and also second half. 24) This is a common idea how in the perspective of large number of births and rebirths, all relations lose meaning or have a temporary meaning. Compare elsewhere : putto vi bhAu jAo so ciya bhAo vi devaro hodi / mAyA hodi savattI jaNaNo vi ya hodi bhattAro / eyammi bhave ede saMbaMdhA hoMti eyajIvassa / aNNabhave kiM bhaNNai jIvANaM dhammarahidANaM || kattigeyANuppekkhA, 64-65 (Agas 1960). 27 ) The metrical form shows some irregularity. The first line has 32 #TTS (14+18, the latter half like a gatha) and the second line 27 TTS. Page 31-lines: 1) Here, it may be noted, is added to the standard list of four HTS, namely, krodha, mAna, mAyA and lobha. 6) There is vipulA in the first line; also in line 10 below. There is a partial effort for which seems to be necessitated for achieving the figure of speech

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NOTES *133 AUTHIET. 12) J reads qur. In Apabhramsa there are some instances of this type. See the paper of Dr. A. M. Ghatage: An unassimilated group in Apabhramsa in the Proc. and Trans. of the All India 0. Conference XII, Benares, Vol. II, pp. 444 f., Benares 1946. 14) Some forms show Apabhramsa trend, for instance faga. 15) Words like feu, ZTUET, TUU, 9ty and pray have to be construed with double meaning. 18) Note the c here. 22) Here is a fagot TAT. 23) The second part of the first line is slightly defective: are we to read otra, perhaps a wrong reading for ata ? 26) The metrical form is doubtful; may be it is a prose passage. There are some Apabh. forms here and there. 30) These four lines are in fata metre, each line having 28 HTETTS (6, 4 x5, T); and the 1st and the last of the 5 THIS are either a grup or contain all short letters. 33) Note the $79. Page 32-lines: 1) o etc. has a metrical ring, cbvicusly a gatha of which the 2rd pada is short by two matras, one guru at the end. 5) The string of similies and the TEST " go together. It is P that uses fya, 59, fay. 9) 309fare T di Har q u e la tufant AT TEHT Wag 11 11 (Frat, T. PEUR); for their detailed explanation, see Malayagiri's commentary on the same. This ETAT is the Chief Minister among the ministers (840). His post is obviously hereditory as stated by the author (line 9: TrTT-To-f4-27T17311). Elsewhere the ministers are compared with TTE (16.19), and he is the chief among them, respected by all the ministers and feudatories. For the king, he was a good as a divinity, a Teacher or Preceptor, a Father, a friend, a brother and a relative (See also Rajasthan through the Ages p. 317, Bikaner 1966). 16) Now and then J shows the softening of a into a, 8HETH. 23) #yariaf presents some difficulty; the Sk. text adds nijasahacarahaste samal. Is it sevaka-upari? or svedalavopari? 26) The first lines of these three gathas are of the fagor type. 30) P has T, a misreading for 577H; but it is sarcastically more intelligent to call a man that. It is interesting to note, in this context, that 15 (in his Togfc VIII. 6) calls a man iren, faqit : ferotta maruft: fi qazu auferrat vasuMdharA // . 31) Either kajjattheNa or kajjatthiNAjaNa, the long vowel in othiNA is euphonic. Page 33-lines: 4) qogafooper of P is obvious in meaning; but aTE379551 of J presents some difficulty. There is a dit word gray meaning 'a female elephant' which does not suit the context. There is another dezI word vArua quick'; so the phrase may mean 'quickly got ready'; vArua-A-sajja. The royal road was awfully crowded, so the root 417 appears to be used specifically. 6) Note the fagot in the first half of the TTT. 16) quag=, with the meaningless appendage (37). 17) This is a rifar, with 30 Tirs in each line 4x7, 2, with a pause after 12 HITT). If the reading fafcur and 39f64f4T (based on P) are accepted, it would be a fal metre with 31 HTTS in each line, having a pause after 13 HITS. 18) There is 37714 in this expression. 21) Though in some gathas here the pause is not suitably after 12 FETS (thus showing faqat), the second halves of some of them have nice arthAntaranyAsa. 32) The monk divides his day into four parts (porisI), of which the first and the last are devoted to sajjhAya or study (suttattha here); cf. divasassa cauro bhAge bhikkhU kujjA viyakkhaNo / tao uttaraguNe kujjA diNabhAgesu causu vi // paDhamaM porisi sajjhAyaM bIyaM jhANaM jhiyAyai / 78419 faarufui guitarris H R II JETTEZUFT 26. 11-12. Page 34-lines: 11) Here we get an enumeration of the canonical texts, giving some idea of their contents. Somehow the 11th Anga Vivagasuyam is missing here, and Ditthiyaya, the 12th Anga, is duly noted. Among the Upanga texts seem to be mentioned only a few: ATT (?), qouqui, afaqoofer and quofe. (See SCHUBRING's enumeration, Die Leher der Jainas, 841). 20) This is a reference to ten-limbed and five-limbed syllogism. Compare 93 94 HET af ETTET T officia go Hoa TOUT T gratchet | Grafasafort 40. For details see the commentary thereon. 23) forfait is an important branch of knowledge, and it has eight branches aMgaM saro vaMjaNalakkhaNANi chiNNaM ca bhomma sumiNaMtarikkhaM / ede Nimittehi ya rAhaNijjA jANaMti loyassa suhAsuhAI // Quoted in the eam com. on the EEUETTH, Vol. IX, p. 72 (Amraoti 1949); compare also faetaufa, 4. 1002 ff. (Sholapur 1943). 24) Perhaps the author has in view a reference to the text I TE, see 3771Tra, Vol. II. pp. 485 f., 611 f., 666f. 27) Both religious and secular studies were open to the Jaina monk. 28) qf5h fout is equally better. 29) These are the different postures of meditation. Page 35-lines: 9) It is a Tifer, with two lines, each having 30 HETTS. The pause after the 12 HIETTs is not happy, as also in the next verse. 30). The major types of fear and the reasons

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*134 or pretexts with which they are committed are enumerated here. 33) Compare E T nArakasyAyuSaH / ta. sU. VI. 16. Page 36-lines: 7) Hereafter there is a description of the hell, compare us I. 5. 1-2; 19, especially 47 ff. For a detailed exposition of the hellish region see faufa, af 2, especially 316 ff. (Sholapur 1943). Some lines have a metrical ring. 16) for=fam? 17) Obviously this line gives adjectives of fast, but they stand with Mas. termination. 32) The author gives a dramatic or conversational set-up to his description. KUVALAYAMALA Page 37-lines: 6) ? 16) If it has no reference to monthly oblation, the reading of P can be adopted thus - maMsAmisaruhiramIsAo. 19) ANe ANe are colloquial pronunciation of Anaya, Imp. 2nd p. sing. The Apabh. dialect admits forms of this pattern, the Imp. 2nd p. sing. terminations being, and . P solves this difficulty by giving the plural form T. 24) The expressions in the second line are a contraction of haNaha NihaNaha bhidaha chiMdaha mAraya mAraya. 25 ) veyaraNI, also above (in 23) are in the Acc. Sing. Page 38 lines: 2) Please read fag. 3) The consonant t could remain in words like bitiya = dvitIya. If dropped, two similar vowels might coalesce and give rise to a word which would be of uncertain interpretation. Of course biiya or bIya (which may stand for bIja, vIta etc.) are not unknown in Prakrits. 10) Stress is repeatedly laid on the five sins resulting from the violation of five vows (ahiMsA, satya, asteya, brahmacarya and aparigraha ) ; see also above p. 37, lines 2-6. 14 ) P tarai in the sense of ; but has its correspondence in Marathi, Gujarati and Hindi (from its synonym). 15) Imp. 2nd p. sing., usual in Apabhramsa as noted by Hemacandra (VIII. iv. 387). 21-2) The metre is toTaka ( sa sa sa sa ) ; in one line (khaNametta etc.) sai is possibly to be read as se; it is also called chittaka. Page 39-lines: 1) Hereafter are detailed the various grades of faf and the miseries therein. 2) TaMka is a coin. Compare mAyA tairyagyonasya / ta. sU. VI. 17. 5 ) The doctrine of ahiMsA, in which hiMsA is defined as pramattayogAt prANavyaparopaNaM hiMsA, has necessitated a detailed classification of Jivas according to the organs of senses etc. In this context, see Uttaradhyayana X. 5 f., XXVI. 69 ff. Page 40 lines: 9) The metre is in four lines, each with, with pauses after 7, 7. 13) Hereonwards are given the details about human birth. Compare svabhAvamArdavArjavaM ca mAnuSasya / ta. sU. VI. 18. 24) For a study of similar lists, see OTTO STEIN: The Jinist Studies (Ahmedabad 1948) pp. 97 ff; J. C. JAIN: Life in Ancient India as depicted in the Jaina Canons (Bombay 1947), pp. 358 ff. These are anarya or people who never dreamt of any religious practice. 30 ) lallAya from lalla 'of defective speech' rulla and paMgulaya, cf. Marathi lulA and pAMgaLA. Compare this topic with the uttarAdhyayana X. 16ff. Page 41-lines: 6) ? 19) or 1, a pebble? 33) This is a fata with 28 TTS (6, 4x5, ) in each line; the second line, however, seems to be little defective, since its first and second of the five Caturmatras are not suitably constituted. 34) This is faqat as above. = Page 42-lines: 1) This is a fa, in two lines, each line having 30 TTS (4x7, 2) with a pause after 12 TITS. 4) kArisikArIsa. Here onwards are detailed the causes etc. of devagati. Compare sarAgasaMyamasaMyamAsaMyamAkAlanirjarAbAlatapAMsi devasya / ta. sU. VI. 20. 16 ) Read vajjaharaM te surA. 25) Whenever inconvenient words or expressions are used, we have the fag type of p. Page 43-lines: 5) TT is already noted by PISCHEL (Grammatik SSSS 212, 534): so we have here, future 1st p. sing. For similar forms see Hema. VIII. iii. 171. 18) The metre is with four feet (). 26) A fine piece of instruction of general virtues which constitute worthy behaviour without any special religious bias. 27) Perhaps af for the sake of metre? 28) Rather bahumAyaM mA kuNasu rUve with P. Page 44 - lines : 9 ) The metre is sragdharA in four lines with 21 akSaras ( ma ra bha na ya ya ya ) with pauses after 7, 7. 12) In the earlier section a described, and now he explains the basic causes that lead to it. 15) This is identical with foga VIII. 39. 16) Obviously the author is adding moha as the fifth to the basic list of four kaSAyas. As the author's explanation stands below, has to go under both arise out of the generic kaSAyas and their illustrations, see ta. sU. VIII. 10, especially the 283 f. (Bombay 1916); H. GLASENAPP: Die Lehre Vom. Jainas (English version, Bombay 1942) pp. 9-10. . 23) On the four degrees of bhASya (Bombay 1932); gommaTasAra, Karman in der Philosophie der

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NOTES *135 Page 45--lines: '9) a, Nom. pl. 10) Note the faqat in the second half. argforei= fireff#T#. 12) Note the similar opening set-up of these stories. 15) The author has in view the territory of Kanci inhabited by Dravida people. The name TTGT is typically un-Sanskritic. 17) The description looks like decorational addition. It is full of slesa and in Apabhramsa, and obviously, a standardised description. 21) ter or ta, child. 25) Her name is uifauft as noted below 1. 27. 26) A rt to Ganges is looked upon by Jaina authors as hat; cf. BITTITIETITTA T: f970FATT I forforatsfr i he farver II RP 11 Ratnakarandafravakacara, Bombay 1905. Page 46--lines: 1) A fine subhasita; read fart 5) Here is the description of the advent of autumn. 9) guTThiya (< goSThika) for muTThiya would be more appropriate in the context. In close writing g is likely to be misread as m. 12) a=terra (perhaps contaminated with T ra). 17) Note the use of it with infinitive also p. 48 1. 3. 18) The form oft deserves attention. 28) Or even 5-HTETTUUTUTTGTTU- F T . Page 47-lines: 5) The term ftu appears to be used in a general sense 'song'. 6) There are two halves, with two parts in each. The final vowel each part may be read short or long: accordingly, the metrical form is either alt (13-11) or faqe (4x3, -; 4,4, - -). Some have CE# with 14-12. See VELANKAR: EGZISETTETH, p. 351. This is in Apabhramsa. The earlier Ms. has grut, but in the later. For some remarks on this couplet see A. MASTER: BSOS, XIII/2, p. 4121. 9) Because it is a dezI word, the spelling has become uncertain koMkI or koMTI. 18) 'kappiya stands without any termination, perhaps a Prakrit form for the subconscious oftq3 in Apabhramsa. 20) Such catch expression could retain the consonant . Page 48-lines: 4) Even the later Ms. P. retains some cases cf the softening of intervocalic a to , which is looked upon as a characteristic mark of Sauraseni, here, for instance, 31TT. 5) Both the forms jalaM-thevA and jalatthevA have grammatical justification. 7) mae =aham ? 8) Better samAsAsio pucchio or even samAsAsiyamacchAe or samAsAsiyAmucchAe tao (so). 12) geNhaha geNhaha, re re, HT AT, arte, a fuse these constitute the collective cries of people (TCA ): so obviously HT-HT does not go with vAreha. Read in the foot-note 10 'P haMtI for mahaMtI' and in 12 'P vAreha for mA mA'. The reading of P might have been re re vAre vAreha. 16) Here are being referred to smRtikAras etc.; and some of their mutually inconsistent statements are being quoted. The authorities mentioned are HF, T, art , ATPOST and the sources in view are HTTA, GITu and Tiar. 18) Here we get four Sanskrit quotations, TTT in metrical form, which appear to have been taken, may be even in a mangled form, from some Fafa texts. The line fatri etc. is found in the aforefa III. 17. Vide my paper 'Sanskrit Passages in the KM., The Adyar Library Bulletin, Vol. XXV, parts 1-4, pp. 353-59. 23) Note the striking difference in the readings of J and P, the former easier for interpretation. affarsi presents some difficulty, but indicates that he should not have a fixed residence at any one place. TFIETT, 45397, 195, 1997, FHIH and a cover deities as well as places. The following observations from the Rajasthan through the Ages (Bikaner 1966), pp. 403-4, are useful: 'Of these the Gangadvara is the well-known site where the sacred waters of the Ganga reach the plains. Prabhasa might be either Prabhasa-Somanatha or Prabhasa-Kuruksetra, more probably the latter, the sanctity of which dates from a very early pericd. Puskara is the well-known Tirtha of this name near Ajmer. Lalita might be the Lalitesvara cf Prayaga, mentioned in the Skanda-purana. It speaks of Bhadresvara on the Kali as a jyotirlinga. Hemanta and Virabhadra are yet to be located.' The nature of the suffert prescribed is given in prose in this paragraph; and the following verses constitute a criticism of it. Page 49-lines: 1) Obviously people from distant south went to the Ganges. The practice of throwing into the streams the bones of the dead is being referred to in line 5 below. 15) Here the author mentions the Karma doctrine according to which one is responsible for one's Karmas, past and present; either one has to experience their fruits or exhaust them through penances. The favour or frown of the Almighty and priestly Praysacitta have no value at all. Such a philosophy cuts at the very root of prieslly rituals, and hence that eternal antipathy between the priest (TO) and recluse (THT). 16) This is a moral code, put in some details. 30) The beginnings of these tales have almost a common pattern, compare $8 87 and 96, also 110, 126 and 141. Page 50-lines: 2) Why the territory was named arat is explained here. 3) Note the style of putting things, the graded use of numerals and the colloquial expression at the close of the

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*136 KUVALAYAMALA form facasi desert Rather 177#T ifa (line 21 be passage (especially the Apabhramsa forms in the last sentence). 5) fwoifa? 15) This question and-answer style is more suited, for recitation before an alert audience. There are some Apabhrams forms. 22) Note some of the striking differences between J and P: 7deg and ETHI:, TFTOL TTTTT: etc., as understood by the Sanskrit Digest. 29) qftaftoft9159farat. Page 51-lines: 1) J has both the readings afchat and oftast while P has an uniform reading ofgat. 15) Tocant, Sk. text has a gaat:; does this stand for 799: if not eat:? 21) Compare rart at EUPH Fair forcat aT ET TE I. 29) Here we have a description of the ha season. 31) A bridegroom wears a red garment. 33) Tot, see my Notes on the Lila vai pp. 333-4. Page 52-lines: 10) TTTT Acc. sg. 12) The following metrical piece is called faqatavs The first four are faqat lines, each having 28 HTTS (6, 4x5, long): and the next unit is a af (4 x 7, 2;12). 27) The Ms. J writes the peculiar 37 which anticipates the present-day tendency Note the use of atae (line 4 above) and . The sunset and the spreading darkness are graphically described. Page 53---line: 22) Better read Taft for HST. Page 54-lines: 8) Is the metre 3795FFETF ? 13) Tut goes with a H3; that is why perhap J omits this. 17) Are we to read kavaMtaM piva? 22) Rather read pattA sasaMbhamaM / tA citiyaM etc 28) fa fagfo? Page 55-lines: 4) The form faraj deserves notice. Hemacandra has noted the form facta as a speciality of Paisaci. 6) attANa =Atman. 7) Rather juttakAlaM. cf. maellae and its Marathi prototypi . 10) The passage beginning with and ending with refa (line 21 below) is edited (from J) translated and annotated by A. MASTER in the B.S.O.A.S. Vol. XIII, Part 4, pp. 1005 f. The dialec illustrated here is Mid-Indian colloquial and runs parallel to the Apabhramsa known to us fron literature. The text differs here and there from the one presented by MASTER; ther eadings ari exhaustively noted; and there would be a good deal of margin for difference in interpretation. Is the particle For used in this passage to be spaced off from the word to which it is appended 16) According to the Editor of Rajasthan through the Ages (Bikaner 1966), p. 384, the Bhattarak: of Mulasthana is the Sun-ged of Multan. 'The story of Samba, as we have it in the FF&ETU bhaviSyapurANa, varAhapurANa and skandapurANa, shows that it was sAmba, a Yadava prince cured of leprosy who started the new form of Sun-Worship, brought the magas to Jambudvipa and built the famou temple of Mulasthana or Multan.' Mahakala Bhattaraka is the Saiva temple of Mahakala ir Ujjain in Central India. 19) The reference to Prayaga-vata is interesting, and the following observations from the Rajasthan through the Ages may prove useful: 'Suicide at Prayaga is mentioned in the Balaramayana of Rajasekhara. Yuan Chwang speaks of it in the following words "Before the hall of the temple there is a great tree with spreading boughs and branches and casting a deep shadow. There was a body-eating demon there, who depending on this custom (viz. of committing suicide), made his abode there. Accordingly to the left and right one sees heaps o bones. Hence when a man comes to the temple, there is every thing to pursuade him to despise his life and give it up. He is encouraged thereto both by the promptings of the heretics and by the seductions of the evil spirit. From early days till now this false custom has been practised (Beal, I p. 232)'. Something similar must have been taking place at Gargasagara where the pilgrims bathed at the junction of the Ganga and sea, and if tired of life, hurled themselves to death by falling on the image of Bhairava." See also the papers of P. K. GODE: Aksayavata, ABORI, Vol 38, pp. 82-9 and Religious Suicide at the Sangama, in the S. K. De Felicitation Volume, Bulletin of the Deccan College R. I. 25) The author lays more stress on Hu and tatha than outward purificatory rites which come under 1977. The Editor of the Rajasthana through the Ages, while observing: 'Partially the Jaina practice of sallekhana also seems to have been motivated by such a belief' has not taken into account the definition and the mental attitudes of Sallekhana, see foi instance, the Ratnakarandaka, vv. 122 ff. His reference to manoratha-kamita-patana in the Samaraiccakaha (p. 438) is not a Jaina practice, and cannot be connected with Sallekhana as implied by the way in which the sentence comes after a reference to Sallekhana. The quotations from the Bhagavali Aradhana, given in the footnotes, themselves do not justify this observation on the Sallekhana practice.

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NOTES *137 Page 56_lines: 5) a t of the usual enumeration is covered here by Try and e. 21) From this paragraph No. 111 we have the episode of Arafach. A running and close (wherever the original is followed) summary of it in Prakrit verses (sometimes borrowing words and phrases) is found in the AkhyAnamaNikoza of nemicandrasUri (c. 1073-1083 A.D.), with the vRtti of Amradeva (1134 A.D.), ed. Muni Shri PUNYAVIJAYAJI, pp. 222-25, Prakrit Text Society Series No. 5, Varanasi 1962. Some passages are mechanically imitated. 22) Something like the iCATI4even in prose (here) which shows some Apabhramsa tendency as well. 28) 147g is obviously a reference to the Terre of cANakya also known as kauTilya. 29) The reference is to the 23rd tIrthakara, pArzvanAtha, the son of vammA or vAmA, who was born at vArANasI. 31) The personality and character of gaGgAditya are effectively sketched by contrast. Page 57--lines: 5) Read 'Aragat #T oat' f. 16) Food or ui-does this refer to plucking ornament from the ear? 18) 47 and ordinarily mean the same, 'a pair'. Perhaps 33 has the meaning of 'vicinity', cf. Marathi 70%. 24) Here we get a list of vocations which were looked upon as respectable in those days. 29) pratiSThAna was obviously a famous town in the dakSiNApatha in the days of Uddyotana. From Varanasi to Paithan one has to cross a thick forest. Page 58-lines: 2) We have here a typical description of a ateiga of that time. 9) This episode reminds one of the tale of dhanadeva and anaGgadeva, in the samarAiccakahA, 2nd bhava. 26) Read fa ETE-HT-AUT. Page 59-lines: 1) Read de # or F fr. 4) Tuits are an itinerant tribe which first settled in different parts of Punjab, Kashmir and then came south-wards. During my visit to Kashmir in Oct. 1961, Dr. RAGHAVAN, Mrs. RAGHAVAN, Dr. H. L. Jain and myself visited Gulmarg. Pointing to a group of huts in the valley, I asked my pony-man as to what it was. He told me in broken Hindi that it was the 'Dranga', meaning 'village of Gujaras'. 5) It is a fa976 song about a white bull or ox; each line has 14-12 ATTIS (4x3, - ; 4, 4, - -); read rather fort. See A. MASTER: BSOAS, XIII, 2, p. 413. 15) Here is a reference to artificial head-dress of actors. Page 60-lines: 16) TT go #efty is a colloquial context to introduce a description. 17) In this group, the first is a far (with 30 HTTs in each line); and the rest are gathas with their lines interlinked by Thai. Rather Hafo. 22) This passage also has a metrical ring. Some of the pairs are clearly r at, a etc. 26) Here we have the summer described. Page 61---lines: 15) Compare with this episode the tale of 5HTT and GTUTET in the 1977 , 2nd bhava. 20) Please read mAyA-parAyatta-hiyaeNaM. 21) We should put a Danda after patto jalaM / . Then jAva to thANU is a gatha, the first part ending with jaMbAlaM. 28) As it stands, it is a gIti (with 30 mAtrA in each line) perforce; but if that is omitted, along with J, in the second line, then it is a Te. 31) TUT=STAT? Hemacandra recognises fut as a postposition of the Infinitive, the forms of which are often used for the Gerund, Page 63-lines: 18) These lines (18, 20, 22, 25) are metrical; the pattern is 452987; it is difficult to name the exact type, because there is syllabic variation here and there due to dialectal differences and uncertainty of readings. The dialect is Mid-Indian colloquial, not necessarily of any rigid literary type known to us. It is significant that they are put in the mouth of J19-ETIT. HET and EMT are justified, but FBT is perhaps a wrong reading, resulting from contamination with another similar word. Sy is a village, an encampment of an itinerant tribe like the Tits. For some discussion and notes on these pieces, see A. MASTER, BSOAS, XIII, 2, p. 410. See the notes on p. 59 as well. Dr. D. Sharma's observations (Rajasthan through the Ages, Bikaner 1966, pp. 354-5) are interesting in this context: "In villages direct democracy operated even more effectively than in towns. An interesting example comes from the Kuvalayamala where one Mayaditya brings together the grama-mahattaras and tries to commit suicide, after telling them as follows: 'I have committed the greatest crime of doing ill to a friend. Hence I shall enter a burning fire. Kindly give me fuel and fire'. The mahattaras gave their opinions about the character of the sin suggesting various means by which he could expiate it and when the "jetthamahamayahara sayala-dramga-sami" (the Chief mahamahattara, the lord of all the dranga) advised Mayaditya to enter the sacred waters of the Ganga, all of them echoed the former's words by advising the latter to go to the Ganga river, bathe in it, and give up his body by starving himself to death". Page 64 lines: 2) The first line is metrically defective. 3) This idea of seeking shelter is as

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*138 KUVALAYAMALA old as Jainism. Note the usual recitation: ET HOT, faat ruf etc. 9) Rather opt for T. 28) Tarot is located in the JFTIT. 30) This paragraph is in Apabhramsa, mixed up with some usual Prakrit forms. 31) deyaNao or deuNau=devanataH or devanataH? 35) Better read samavasaraNeca; otherwise the presumption would be that the Samavasarana of Rsabha had visited Taksasila. Page 65_lines: 2) The Sanskrit version has t hat for EFT311, which, therefore, should be read by it as 451839). 8) Here is a list of praiseworthy channels of expending wealth., 13) That is how the traders prepared themselves for a trip on business. 14) farfa ateferat, middlemen or commission agents were encouraged. 17) TT? 20) Lobhadeva is bringing horses for sale from Taxila (in the Uttarapatha) to Sopara (in the Daksina-patha) near Bombay: the horses, obviously, fetched good price in the South. 22) It means that in the local Traders' Association (atfore- T), the traders from other parts of the country narrate their experience and receive a Farewell, symbolised by TT, A1547 and at (TE-Heategu). "Traders coming from outside reported their sales and purchases to it. A desi of the dealers from outside, assembled at Pehoa, granted certain donations to a number of temples. Commenting on the term nanadesagata-bhataka-vyuvaharaka-desi of the record Buehler writes: 'The word desi which I have translated by foreman means literally guide, instructor. It would seem that the dealers had appointed a manager who acted in their name'. Though this is a possible interpretation, we can have better sense if we interpret the word Desi as Sreni, or guild of dealers." See Rajasthan through the Ages, pp. 495-6. 28) This is an interesting passage indicating what commodities fetched more price in which parts of the country. Some statements seem to be made in a light vein. Page 66--lines: 19) We get here a string of nice similes or 39#TS. 27) Better ETH TE T . Page 67-lines: 1) That is how the traders' 'fleet' is made ready. Some of the rituals (1. 5 f.) are quite interesting, and the various items in the boat (1.8 f.) deserve special note. 5) Better 45af . 17) The routine is not quite clear. We may take to in the sense of 'thereafter'. 18) For partial comparison, see the tale of vIradeva and droNa in which also the NijjUhaga appears, samarAiccakahA, 2nd Bhava. Page 68 - lines: 17) The passage gives a good glimpse of the popular religious attitude and propitiation of several deities mentioned by name. See also $ 34 above and 8 395 below. Candika is promised a pasu here, and earlier (832), the king is shown to be ready to offer his head to Katyayani for procuring a son. On Remanta etc. see Rajasthan through the Ages, pp. 392 f. 24) This is a Dandaka (6 + TT). The first line has an additional cle at the end; so also the last line, if fo is treated as a part of the line. Page 69-lines: 1) This context of the shipwreck may be compared with the one in the ATSTEHETSTI, IX. 14) Here and there one finds some metrical ring in this passage. 27) That is a part of the routine of preparing gold from baser metal. Page 70-lines: 1) Compare this episode of "Ttus birds with a similar context in the story of IGT, for instance, in the E T HIRT (Bombay 1943), 93. 158 ff. Here it is TE, elsewhere it is spelt . It looks like a hybrid word-5 means 'head', 'portion of the body above the neck.' or T stands for a or al meaning two': a bird having two heads. Ganda-bherunda is a famous title, and the Govt. of Mysore has an emblem like this. Page 71-lines: 2) In this paragraph we get significant observation on the striking characteristics, both stylistic and structural, of Sanskrit, Prakrit and Apabhramba. Obviously, the author discloses his liking for Apabhramba. He recognises Paisaci as the fourth variety, but attributes it to Pisacas who dwell in the udara of the Vata tree. 10) For a detailed study of these Paisaci fragments, see A. MASTER: BSOAS, XII, 3-4, 659 f. His readings and renderings need minor improvements here and there: still he has given very useful material for the study of these passages. For further notes see also F. B. J. KUIPER: "The Paisaci Fragment of the Kuvalayamala', IndoIranian Journal, Vol. I, 1953, No. 3. 11) The word dat is illustrated by Hemacandra VIII, iv, 307. 12) Here AT, Hema. HITTI, VIII, iv, 307. Better read aragato. 13) Here fear, also in Hema., Ibid. 310. 20) The author hits at Sanskrit (1. 2 above) that it has 37777964T etc., but his Paisaci style (II. 11f. 17 f., 19 f.) is not much different. Page 72-lines: 8) Compare p. 55. I. 26. 16) Are we to read Gotf -Hos? 23) 'Moha' means here infatuation with excessive sex-impulse. 27) og=18$ for metre. 31) In these

Page #314
NOTES 139 descriptions the author easily adopts Apabhramsa: perhaps these are popular Varnakas, to be repeated here and there; see also below lines 35 f. Better read T3 we have got here. Page 73lines: 3) There is 5 TH in the prose passage here. 4) Indra plucked with his Vajra the wings of flying mountains and made them settle down on the earth: for a graphic description of this, see the T55CFT, 224-35. 5) The second line is metrically defective (in the 4th pada). 12) These are symbolic gestures to indicate that he wants to meet her in private (see next page, lines 23 f.). 16) The sunset and the spreading darkness are graphically described; see also p. 52, l. 24 f. Page 74_lines: 4) The author develops a nice conflict. 11) The period of twelve years has some significance. Page 75-line: 26) Note the imagery in this description. Page 76-lines: 1) The details are significant from the point of view of ra. 19) There is a metrical ring about greatfrn etc. In fact, by reading act , we have a gatha ending with fsheat. Then with some metrical defects, the subsequent portion ending with dry is a fifa unit. Page 77-lines: 15) Here is a reference to the festivity of HGGETUIERT. 23) He has expressed himself by Trulfest Page 78-lines: 9) The author is referring to some #THRITET and its section fruttat'. In the kAmasUtra of vAtsAyana (Benares 1929), there is a prakaraNa (No. 23) which is called varaNasaMvidhAnam and the T No. 2 contains an expression E SO 17. 13) This is a group of faict lines; line 15 presents some difficulty; are we to read the Ag? Page 79--lines: 8) This reminds us of the famous illustration of 35EUR UTAT': see FalfHFiftie (Agas 1960) 64-65. The anecdote of Trafft which is given by Subhacandra in his commentary on these gathas, is an old one, and is referred to in the Bhagavati or (Mula-) Aradhana (Sholapur 1935), gathas 1799-1800. 30) af shows how the author slips into Apabhramsa forms. Page 80-lines: 5) This is the illustration of arti q. See my paper on this in the Munshi Indological Felicitation Volume, pp. 201f., Bombay 1962. 13) See T. Sutra VI. 6; Ta need not be taken as the technical term: it just means 'guarding' of g in nine ways (na, kArita and anumodita by manas, vacana and kAya). 16) Here is an interesting reference which sheds some light on the organisation of Jaina Samgha. A Carana monk (who is defined here) does not initiate others into the order, because he has no 778-9f , that is, he has no monks who follow him in his tour. We get here a clue for the etymology of the term Te, which indicates a group of monks who accompany an er while he is touring. 18) TE=TR, Palithana. The Sanskrit digest adds more details, because, later on, the place attained more fame and attracted pilgrims. 22) Rather read 311FHFHU....Tfossfes Page 81-lines: 1) Here follows, at the end of the five Tales, a didactic discourse on 1, mAna, mAyA, lobha and moha under the sway of which the soul wanders in Samsara: when these passions surge, one must restrain them; and when they start operating, they must be made pointless. 31) Better 26404. Page 82---lines: 12) The sun-set is graphically described intentionally putting together a number of similes, often based on 9. Better TYTUT-ETT. 15) Rather feate fa. 25) Some Apabhramsa forms are used. In the Brahmana families Tuzit was being repeated. 31) These details are interesting, because they refer to a number of places and temples: TT4UST, TERRITOT, 45977, ETTA AS, f9fTe, feta (see also p. 99, line 22), 37974, GATE, Tafaer, griE, QU994, Tals. Facitat was being recited in the 37942T (TTOTIUT?). Page 83--lines: 1) This FigoT is perhaps #15 +376T=GTf. In the Tamil country there is a goddess Korfavai, who is a deity of victory and identified with great. 4) The conversations in the apartments of courtezans give a good picture of the activities there, besides mentioning many items of domestic use. 12) May be a little exaggerated, we get here, in the following verses, some glimpses of the fashionable and luxury-loving section of the society. 31) Read of thet. Page 84-lines: 12) This and the next are face lines. 14) Note the forms gyfeet, afruant and compare them with Marathi counterparts like this, af etc. We get here some idea of the dress. 16) There are Apabhramsa forms here and there: HER, fifu; The, catre (lines 18-9).

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*140 KUVALAYAMALA 22) These are fatet lines. 24) Here are mentioned the attendants, or the conventional company, of the king. faca is one of them. 25) GET=2757? 27) It is a catching contrast between the courtezan and the monk. Page 85-lines: 14) fouf etc. and etc. are two lines of the Gatha. 27) Though the ring is slightly different in these two verses, the pattern of ITS conforms to the Gatha type. Page 86 lines: 21) The king first hears an engrossing episode of the bed-room; then he sees a saint engrossed in meditation; and lastly, he crosses a highly passionate, yet devoted beloved. Page 87-line: 13) farfaTT FUT, some miraculous movement, jumping up like a flash of lightning (see above p. 73, 1. 24). Page 88--lines: 2) Some of the ideas in this paragraph closely resemble those in the AT8449, 3 and 10-especially in the context of the rarity of human birth and of religious instruction. 14) The verse mANussa etc. is attributed to sudharmasvAmin ; it is traced in the Avazyakaniyukti, 831 or 832. TH=HTT. 23) One is reminded of the oft-quoted verse: a TIT FAUTETI ETT STATUT dhAvan kilAndhako dagdhaH pazyannapi ca paGgalaH / / Page 89-line: 1) This is a cor of the 55819, and it is followed by its 3974 in the next paragraph. There are three kinds of souls: abhavya, kAlabhavya and bhavya. Page 91-lines: 10) This is called ferateve by the author. The first verse is feat. The next looks a bit irregular with 28 or 29 HTTS in the first line and 30 hits in the second. The third is a ufa. The last verse is in Apabhramsa; it has 28 Tats in the first line and 26 in the second line (which is a good dvipathaka line). Is tau redundant; or are we to read tau aMgahi~ vilasaMta? 15) F117 to greet with the word ' '=7 (>73 >71) #TETT > 719 FT 3Tt; 21) For details see W. SCHUBRING: The Doctrine of the Jainas (Delhi 1962), $ 170. 24) But who has and where is narrated the FT of Dharmanandana ? The Sanskrit recension has no remark corresponding to this. Page 92-lines: 12) We get here in the following sections, the conventional description of the Saudharma-kalpa, Padmavimana, the rebirth of Lobhadeva's soul there, the attendants, the way in which he was introduced to the heavenly environments, and his recollection of the past life. Page 94-lines: 4) Compare TTTTTTT para 12-14. 8) The first two verses are in faust metre; the third is a gAthA and the fourth is khaNDa (avalambaka), a samacatuSpadI, each foot having 13 (4,4,5) HTEIS. 19) The metrical form is fifa. 23) A nice simile with plenty of double meaning. Page 95-lines: 7) The text of P shows a gap. As the query stands, there should follow (according to J) a description of forme after afa ; but instead we get the description of the images. May be that the description of it is missing. For the description of images, see T hory, para 129. 12) We get here some details of the Puja. 15) This and next are in feyet metre. 20) See the TITUTU, para 138. 24) In these verses, the Five Paramesthins are saluted, and then the religious duties of house-holders and monks are enumerated in short. Page 96-lines: 5) Here (also p. 110, line 7, but PBHATTt) the name of Art in heaven is TEHETT, but elsewhere (p. 229. line 25) 434TTI. Looking at the various readings together, HTFTHE in heaven is THT and Atutfach is T39.9) All the five Jivas (of Candasoma etc.) meet here in the Saudharma-vimana. 11) There is the Ta Thk here. For a canonical back-ground of these details see how god sUryAbha is going to the samavasaraNa of mahAvIra in the rAyapaseNiyasutta, 28) Compare TEUTATT, paras 21 etc. Here we have a good description of the Samavasarana, incorporating most of the conventional details about the fetus etc. Compare also falaquofa (Sholapur 1943) IV, 710 ff. Page 97-lines: 9) Here we are given a description of the fagtes; compare fate quorfer, IV. 919 f. 27) Hereonwards follows a nice discourse on Jiva, its nature, its relation with Karman, its migration through various births, and its final liberation. Page 99---lines: 3) This tale of a wild rat is as good as an independent, or even a detached, episode. 17) Read 3toaut fa. 19) 3fufHat is an Apabhramsa form, Page 100-line: 12) That is a good list of the repeated instructions in the order of monks. Page 101-lines: 4) Even the wild rat is behaving like a saint in human birth. Even a lowest being can attain liberation in due course. This gives a lesson to and holds a hope before others. 13) Rather pattIu for puttIu. 17) Better kuraMge dhoruddavehiM.

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NOTES *141 Page 102_lines: 18) Read T54at. Perhaps we have to read 9399Feat. 31) Note kuvalayacandra is being addressed. Page 103--lines: 17) The metre is gofatifea. 32) There is a reference here to tra font mahotsava. Page 104 lines: 7) Daksinapatha is looked upon as full of plenty, a veritable heaven indeed. 21) quat, a branch of knowledge which deals with mining. The trees indicate the hidden wealth below: this is a common idea, see TrafTA, IV, p. 36 (ed. KALE, Bombay 1925). The secondary branches or roots of the Malura tree indicate the presence of wealth below. Is fac u t a form of the Gen. dual (=facamat:)? The extent, nature and the depth also are indicated by the size, juice and height of the tree. Page 106-line: 6) - or Tagfra, perhaps a person who sits in the latticed topmost cage or cabin of the ship and views things at a distance. Page 109-lines: 26) The two names parft (p. 104. 8) and I here, refer to the same town. Better read our Gutt (see p. 105 line 10). 35) TO, present participle Nom. Sing. Page 110-lines: 7) See above the note on p. 96, line 5. 8) This FET is called face elsewhere, see p. 162. 1. 9) See p. 92, lines 1 f. Page 111-lines: 27) TTT possibly refers to some canonical text. TT afturg to qfam ' fh may be even a quotation: it resembles the style of the Acaranga-sutra. It is a Ta of what is called the T TTT style Pt. BECHARDASAJI informs me that this is traced in the 1934 , haribhadrIyAvRttiH, p. 661. 30) The Lion is called sAdharmika, 32) Likewise jIvaMdhara had given karNajApa to a dying dog which consequently was born as god. The gaitaraFT of arfait refers to it in this way: prApaddevaM tava natipadairjIvakenopadiSTa. pApAcArI maraNasamaye sArameyo'pi saukhyam / kaH saMdeho yadupalabhate bAsavazrIprabhutvaM jalpaJjAtyarmANabhiramalastvannamaskAracakram / / 12 / / Page 112-lines: 4) Read T. 6) We have the sia 944 here. 9) The descriptions in prose on this page (lines 9-12, 14-19 and 21-24) are affected by Apabhramsa forms. 21) Here the wild, if not wildly cruel, habits of the Fogs in the Vindhyan range are described. The author has given above, p. 40. lines 24 f., a good list of Fate people; and here he gives the description of a typical get in the Vindhya religion. These people are called irreligious, and this picture shows what the author means by religion. 27) The advent of summer is described. Page 113--lines: 6) Apabhramsa forms are found in the descriptive passages on this page, see lines, 6-8, 10-12 and 21-24. 20) Some metrical defect in the first line; arsfout? 29) T TT The advent of secolines, 6-8, 10-12' and Apabhratsa Page 114-lines: 8) The elephants had enough evidence on their person that they had come from a watery spot. 23) Here is reference to AyuHzAstra or Ayurveda. Page 115 lines: 4) The statue of Arhat is on the head of the Yaksa. Very often the image of Parsvanatha is found on the head of Padmavati: this idea is as old as Uddyotanasuri's time. In this context, Dr. U. P. SHAHA, Baroda, writes to me thus: 'About your inquiry regarding the earliest Yaksa image having a Jina-image on top, I must say that I do not remember any image prior to about eleventh century. But Yaksi images with Jina on top are known from at least c. sixth century (A. D.), and you will find a bronze of Ambika (c. 6th century) illustrated as fig. 14 in my book, Akota Bronzes, published by the Government of the old Bombay State (by its Department of Archaeology and Archives). In this context the following observations of Dr. D. SHARMA (Rajasthan through the Ages, Bikaner 1966, pp. 395-6) may prove interesting: 'We have scriptural evidence too of the worship of the Yaksaraja, Kubera. Many images of this potbellied god have been found in Rajasthan. The image of Jaina Kubera from Bansi (near Chitor) is of excellent workmanship. It depicts miniature figures of a Jina both in the crown and the head of the deity (Researcher I, p. 18).' 12) First two verses have a h . Page 116--lines: 9) This is a reference to the TUTETTET. For a detailed conversation on the recognition of the 'padapaddhati' see the vasudevahiMDI, part I, pp. 135 etc. 17) Preads akkhittiyaM for duvaIkhaMDalayaMThe metre is dvipadI. dvipadIkhaNDa is a joint metre. Page 117--lines: 21) Some forms show Apabhraiba tendency. 27) fa:Fa: is the left with which the Truth (namely afara out of cafu fraf etc.) is recited. A Brahmana could be distinguished or was characterised by this Hr7; otherwise he was just a beggar.

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*142 KUVALAYAMALA Page 118-lines: 6) Here is a list of the georets of this world; so here is substituted for 187. 18) Note the Apabhramsa forms. 30) There is 6th in these lines. Page 119-line: 29) These are eight varieties of ourers. Page 120--lines: 4) The metre is ta. 26) 370- TT? Page 121-lines: 1) We have similes here based on 9. 4) Rather a CHETI a? Note the Apabhramsa tinge in the prose describing the river etc. 21) This poetic description of tar is quite catching. Page 123--lines: 7) This context reminds of the parrot episode in the Kadambari. 14) Compare Kadambari (PETERSON'S ed. pp. 33-34) especially the expression fuff irfraui .... etc. 19) atau Infinitive of purpose. 22) FUTS is perhaps a short form (for domestic use) of H H above. 24) fagi , see above p. 16.23. 29) Some of these are the anuprekSAs. 33) Are we to read rAiNo jahA piuNo 'mahArAyarisiNo' etc.? Page 124lines: 18) Hafeters and Tic were famous as holy places even in the time of Uddyotanasuri. See p. 80 above. 28) As usual, in such descriptions, we get some Apabhramba forms. We have XI5 446.31) Read with J E . Page 126--11. 18 f. The idea of a child being brought up in the herd of deer is not imaginary but a fact of experience. My friend Shri D. PUUTTASWAMI, Mangalore, draws my attention to a cutting from an English magazine which deserves to be reproduced in this context: 'Bedouins, hunting gazelle in the Syrian desert with the aid of a jeep, saw a strange 'animal' running with the herd. On capturing it, the tribesmen were amazed to find it was a boy about 14. The lad was taken to an asylum at Damascus, where he is being taken care of by the doctors. He can only mutter animal sounds and spends most of the time in the grounds completely naked. He will eat grass and his only drink is water from an ice-cold mountain stream. The lad runs amazingly fast, and until exhausted during the chase was able to outpace the jeep. It is thought that he is a Bedouin boy, who abandoned by his mother in the desert, had in some strange manner been living with gazelle.' The caption of the cutting is 'Real Life Tarzan'; and the photograph of the boy is given. Page 127--lines: 1) FT afsce PTT is the usual canonical phrase. 28) Better read fure eNiyAe lakkhio etc. 30) Rather pavvAlaNA. Page 128--lines: 3) Etats presents some syntactical difficulty? 11) Each line has 32 HTTTS. If the verse can be split into 4 lines, then the 2nd or the 3rd have the same pattern. Are we to read jiNaMdayapAe for pae jiNayaMda to suit the rhyme? 13) Each line has 31 mAtrAs, with a pause after 13 mAtrAs and the third Caturmatra has five mAtrAs. The author calls it gItikA. 17) Rather AyaMta for Ayatta. To converse in Thats was looked upon as a diversion. Page 129-lines: 3) The author shows that he is conversant with 1989 . In one verse, he outlines 989997 in Sanskrit; but in Prakrit, he gives elaborate details covering more than a page. It is not unlikely that he is reproducing the details from some manual on that lore. Dr. NEMICHANDRA SHASTRI, Arrah, informs me that these details about HTHSSTIFT deserve to be compared with those in the vArAhI saMhitA, for puruSalakSaNa Chaps. 68-9 and strIlakSaNa Chap.70, and also bRhatparAzarahorA Chaps 75 and 81. Some items are common, but there are differences as well. 26) In this discussion which is mainly in gathas, there are a few 365 verses, see lines 26, 29; p. 130, line 27; p. 131 line 11. 33) Note this used: perhaps he has a Sanskrit text before him. Page 132--lines: 1) We get some details about the faster clan here. 14) That is how gods, men and Vidyadharas are to be mutually distinguished. 27) We get here the description of the mode of worship. Page 133--lines: 15) It is interesting to note how both #th and ruins are being associated with the eart fail. Page 134-lines: 17) Here is the etymology of eat, according to Jaina tradition. From his two sons 1 > furry and agafo > ATHUSTE started and a DTS. 3696 > 93477 belong to the latter. ( 1T371). 25) facut-get or -Art is reached after crossing vindhya as well as sahya by one starting from ayodhyA. 26) The first three verses are gItis. All of them have PT TATT. 33) Note the Apabhramsa forms here. Page 135 --lines: 6) This farget is located on the shore of the Southern Ocean; see also below 155.19. 21) We get here some idea of the equipment of the caravan. Cf. Lilavai 1065 f.

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NOTES *143 Page 136-lines: 4) Sometime the following verse or verses repeat the idea contained in the prose above. That seems to be the stylistic feature of the author. 27) Obviously atom (f ). Page 137-line: 8) This idea of refH has gone a long way to consolidate the Jaina Samgha consisting of monks, nuns, laymen, and lay-women. Page 138-lines: 9) On To see, OTTO STEIN: Jinistic Studies, p. 19. 10) TE Gen. pl.? 31) A serious conclusion is reached through jocular or half-serious arguments. Page 140-lines: 2) The Varnaka has some Apabhramsa forms. 29) ET=754. Page 141-lines: 2) Uddyotana speaks more than once about the TF (see below 216.3). In this connection an observation of Dr. R. WILLIAMS (vide his thought-provoking paper 'Before Mahavira' J.R.A.S. April 1966) may be noted: 'whilst the Svetambaras hold that Rsabha pulled out his hair in four handfuls, the Digambaras prefer to say that his loca was accomplished in five handfuls (See Sramana Bhagavan Mahavira, V, part i, p. 298)'. This difference does not seem to be sectarian. 5) This gives a good idea of what a rua means in Jainism. The equipments of a new monk are noted here. Page 142-lines: 21) Here is a nice discourse on Dharma, its practice and objective. The following details are available here: The five Astikayas; Jiva and Pudgala, and the resultants of their mutual relation, namely, the Seven Principles, ofta, 371a, 3769, arET, , FAUT and 17 are fully explained in SS 233-34. Page 143---lines: 4) Better read our faret TET. 23) Perhaps for TTT? Page 144-lines: 1) Better read #Tator at. 29) Note the syntax of the sentenceFit Fat etc. 30) Read of 5 4 5 foartfasa-HXY-6. Page 145--lines: 7) The metre is fe or alca, having four rots in each foot. 9) Upon OTH etc., see OTTO STEIN: Jinistic Studies, (Ahmedabad 1948) pp. 3 etc. 10) Note the syntactical looseness of the sentence, quite natural in speaking. Page 146-line: 13) It is interesting to note how concessions in the code of good behaviour are given according to the ability of those who practise them. Page 147-lines: 14) A nice description of the gathering of dark clouds and of the advent of rainy season. 21) This is a fant TTTT. 25) ozifa is emended; but the original reading appears to have been wuifa 'covered, or thatched'. 27) Some forms are in Apabhramsa. Page 148-lines: 3) Better read AT TT CHIE. 11) Indra-maha, Maha-navami, Dipavali and Baladevotsava appear to follow in succession after the rainy season. See ta tatu 9H (Ahmedabad 1964) by V. S. AGRAWAL. Page 149-lines: 6) The prose passage has jent and shows some Apabhramba forms. The trees mentioned here belong characteristically to the Western Coast, where obviously the fauteract was located. 14) Note qfur for 99.21) Note the Apabhramsa forms. . Page 150-lines: 4) What a realistic sketch of the style of gossip of women folk carrying water! 8) fari ang for faring is equally justified. 18) It is a Hoo-agro HE perhaps a residential school to which students from different parts of India have come, for instance, 1) ste, 2) 71109, 3) #739, 4) 7749957, 5) Thee or T704, 6) HETTE, 7) ATTE, 8) 67 or 274, 9) fafcis or fafcsit and 10) 99. Srikantha is the same as Foto. See A. MASTER: BSOAS, Vol. XIII, part 4, p. 1009. See below the notes on pp. 153. Mathas are well-known in the South. 22) Note HTU, sifafanu, fats are forms of plays. 25) Branches of learning studied: 21*ut, agsta, HIEUCI, astfarafa, Hint, fungi, rate and 11467. See A. MASTER: Ibid. Jainism is covered by 3 raat. See Annals of B. O. R. I., vols. 48-49, p. 247 f. Page 151-lines: 7) Here are enumerated secular branches of learning, covering various arts, crafts and miraculous attainments. Note the phrase 72 Fists and 64 fatis, see above p. 22, 1. 1 f. 12) Here is a specific reference to pupils who were given solely to the study of Vedas. 18) The language in which the lads from that residential school are talking is typically conversational Mid-Indian possibly imitating the contemporary spoken idiom as distinguished from the literary styles known to us in Sanskrit, Prakrit or Apabhramsa. For some annotations on this passage, see A. MASTER: BSOAS, vol. XIII, part 4, pp. 1010 ff. gifqat qat--the talk or conversation started. FHS Passive third p. sing. 19) It is interesting how pure Sanskrit words are retained as it is done in the present-day Modern Indian Languages. 99605 1st p. pl. of the

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144 KUVALAYAMALA present. amte 'white', 'fair'. Or is it note ? aute is a post-position: or its use. See 'Notes on Two Post-positions of Late Middle-Indo-Aryan, Tanaya, Resi and Resami' by L. A. SCHWARZSCHILD: Bharatiya Vidya, Vol. XIX, Nos. 1-4, pp. 77 ff., Bombay 1962. 21) There seems to be some pun either on bhojana or spaSTa, preferably on the latter. vaNi colloquial of varNaya. 23) The termination degvAstavye seems to be affected by the following te. 24) amvopi-vayamapi? Like 3pfru, afa also seems to serve the purpose irrespective of person and number. 26) The cemark of the prince clearly indicates that these (silly) boys have hailed from different parts of the country (desika) and their chatter is inconsistent or disconnected. Page 152-lines: 2) T qaia is typically colloquial; compare in Marathi 57 art. If one objectively analyses any speech of the educated people in any of the New-Indo-Aryan languages, it may not be much different, when judged from the point of view of literary languages like Sanskrit, Prakrit and Apabhramsa: the admixture of Sanskrit words, dropping of termination and syntactic lapses. 4) This is definitely colloquial, running parallel to the literary current known now as Apabhramba. 6) =ETU:. Ecu, query or ETS is an adept in the recitation of gathas. 7) tareft seems to be an imitation of colloquial pronunciation of Tift or TT. 8) It is an Anustubh. Obviously, it is a mangled form of some standard lines. Dr. H. L. JAIN draws my attention to the following verse from the Pancatantra: buddhiryasya balaM tasya nirbuddhestu kuto balam / au ft HEHFT: TTT fantast: 11. Many of the copperplate-grants have a concluding line like this: yasya yasya yadA bhUmistasya tasya tadA phalam / . 9) The Anustubh has 32 akSaras, while the skandhaka has 32 FTTTS (12+20) in a line, being more or less an extension of the gatha. goue is colloquial for 908. Apabhramsa allowed variation of any vowel for any vowel, plenty of it must have been there in the spoken dialect. 11) This is a Dohaka (14 - 12) or fat (4x3, - ; 4, 4- -); but somehow paifa and an do not rhyme. The first two mies have eight syllables: that is how perhaps it is mistaken as a 19. 12) Tot possibly for 9(3) . 13) It is a good gatha, only dRSTA should be substituted by daLUNa. raiyarAo and aharo are in the Acc. sing. through Apabh. Ts and 36, but really tui and 36 in Prakrit. There are some Sanskrit spellings. 23) Note fact....ahafury. There were provincial traders, characterized by their various provincial languages (4-"HTT), which are to be distinguished from literary languages (like Sanskrit, Prakrit, Apabhramsa). On these verses see A. MASTER: BSOAS, XIII-2, 1950, pp. 413-15. 24) Gollas are an itinerant tribe. They tend cows and sell medicines etc. They are akin to Abhiras. They are described as dark. Their speech is illustrated by 355 or 3739, rather difficult to interpret. 25) Generally speaking Madhyadesa is the territory bounded by the river Sarasvati in Kuruksetra, Allababad, the Himalaya and the Vindhya. Here it refers to the central area of it, now-a-days covered by Hindi of which a 3T3TI' is a good ancestral specimen. 26) Magadhas are the residents of Southern Bihar: the expressions T o r gat (from a have a clear Magadhi stamp: Nom. sing. in 5 and changed to . 27) da is the Doab between the Ganges and the Yamuna; and it was a part of the Madhyadesa. fait Fat must be from some predecessor dialect of Hindi. The readings of P are ki te ki mo( vayam). 28) kIra refers to Kashmiris. Page 153/lines: 1) For J reads 495 which refers to those who come from 24 or the Panjab. Z=ra, arde, 'here or there', or this or that'. 2) Those who came from farget spoke 'cauDaya me' cauDaya=nice? 3) mArue, those who come from marudeza or Marwar 'appA tuppA~' remind one of 'Marwari apam we (incl.) and Manjhi-Panjabi tupa you (LSI)'. The author is not sympathetic in describing them. 4) TTTS (a clan of that name) are described to be pious and diplomatic (fafquefagur) spoke 'Oh, that is not good'. Dr. D. SHARMA adds the following observation on Gurjara (Rajasthan through the Ages, Bikaner 1966, p. 110). "In the Pratihara period (c. 750-c. 1018 A.D.) itself, the earliest reference to the word, Gurjara, is found in the Kuvalayamala of Uddyotana Suri, written at Jalor, in 778 A.D., in the reign of the redoubtable Pratihara ruler, Ranahastin Vatsaraja. On its p. 153, we find the Gurjaras differentiated from the Saindhavas, Latas, Malavas and Maravas and described as devoted to dharma and clever in matters of peace and war. (Members of a barbarian horde could hardly have received this high praise, and that this is not flattery inspired by the author's stay in the Gurjara country can be seen from the description by Yuan Chwang who speaks of the king of Gurjara as "distinguished for wisdom, courageous, a deep believer in the law of Buddha and one who highly honoured men of

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NOTES *145 a territo which spedisciples barre rritory known by of Sivachandra. Ga Gurjara-desa wi name did existe iple Yaksadatta ook which speaks of distinguished ability".) Obviously, the differentia here is provided by the geographical location of these people. If the Latas, Saindhavas, Maravas, and Malavas mean respectively, the people of Lata, Sindh, Marwar, and Malwa, the word Gurjara should naturally stand for the people of the territory known as Gurjara. And that a territory known by this name did exist can be seen from the description on p. 282 of the same book which speaks of Sivachandra Gani's visit to Bhillamala and also of his disciple Yaksadatta Gani whose disciples beautified the Gurjara-desa with temples (rammo Gujjaradeso jehi kao deva-haraehim). Not very far from Bhillamala, which was thus a part of Gurjara (not only according to Yuan Chwang but also Uddyotana Suri) was Jalor, then ruled by Vatsaraja (ABORI, XVIII, p. 137)." 5) TC covered major parts of the present Gujarat. The forms illustrated have some resemblance with Old-Gujarati forms. 6) Ata is the territory round about gouferit. The people there spoke 'HT34 wut The would mean you are brother and sister', if it makes a sentence. Perhaps they illustrate some phase of Sauraseni, if not of Prakrit in general. 7) Karnataka people fs wife (or af gifs ?) 'are not Kanarese, but reading adi (metri causa) the first two words are good Telugu for 'that go.' The author is writing in the 8th century when major portion of the Telugu area was included in Karnataka, or their boundaries were not identical with the present ones; and the script was almost common. 8) a g, Tajikas, i.e., Persians or Arabs; and their description is significant. The words 'isi, Kisi, misi' suggest Kismis currants, but the three words seem to form the same phrase as in asi-masi-kasi-vanijja etc. 9) Kosala, the Kingdom with Ayodhya as its capital, had two sectors, Northern and Southern. The words 'jala, tala are suggestive of the Chattisgarhi jela, tela (acc. of the relative and correlative pronouns), used in the area formerly known as Mahakosala.' 10) marahaThe, those hailing from mahArASTra. diNNale and gahiyalle correspond to Marathi past participles fast and a given and taken'. The Prakrit model is obvious: fout Fees and 4+ Fras. As we are guided by literary specimens, which are after all limited, some margin has to be made for regional and dialectal variations (of the normal type) in the predecessor forms. The OldMarathi preserves a form ET given found in the Patan inscription of A.D. 1206 see, W. DODERET: The grammar of the Jnanesvari, BSOS IV, part 3, pp. 543-73, section 5. A form art is found in the sta att also, Govt. edition, 37. 87-43. 11) The Andhras uttered 'spft gfe, fe' which may be intended for Telugu adi, pondi, randi 'that, go, come'. 12) Here eighteen aant HTTS are referred to; but in the above verses the author has illustrated only sixteen. A. MASTER opines that the two missing Desi-bhasas are possibly Odra and Dravidi, as in the Natyasastra 3TUUTS4=3u|g5. The prince sees there soms other people of the non-Aryan stock: the Khasas, a mountain tribe; the Parasas, inhabitants of Pars or Fars; and the Babbaras who are often mentioned, but not indentified. 16) Measures of weight like 9, 40, HTC ann mit are mentioned here. The next verse presents some difficulty: see below the marginal notes on it, Page 154-lines: 7) Note the swift style. 10) Compare 3TITEGTS story, 53-54. Rather pADiyAhoraNo. 12) The metre is pramANikA (jaralaga) or nArAca ; the first line has four pAdas, so also the second. There is some internal rhyme raNaMta, jharaMta ect. 14) diLaM taM jayakuMjaraM is a good anuSTubh line. 21) Many of these ideas, almost in similar words, are found in the story of 31TECT, included in the com. of a on the Uttaradhyayana-sutra; see verses 59 ff. Page 155-lines: 7) Here we have a Reus enumerated in the present context. 29) This story is found in the commentary of Devendra on the Uttaradhyayana; it is critically studied by R. Fick in his Eine Jainistische Bearbeitung der Sagar-sage. Keil, 1888; also s a FETETE ed. by Muni JINAVIJAYA, Ahmedabad 1921. 31) Tag Pass. 3rd p. sing.; see also 156.1 where the usual facut is used. Thus we get here a list of persons and supernatural sources consulted to know about the unknown. Page 157-line: 19) May be that these are quotations from some fafHRIFT, verses partially akin to these are attributed to the Angavidya and quoted in the commentary of Devendra on the Uttaradhyayanasutra, see CHARPENTIER's Notes to his edition, p. 311 (Uppsala 1922). Page 158-lines: 10) With a view to making the context romantic, the author has depicted the hero more as a romantic adventurer than as a pious soul ordained by Karmas to reach Vijayapuri for the spiritual enlightenment of Kuvalayamala. 14) Here is a poetic description of a woman, from her foot-nail to the hair on her head this mode of describing is seen in the

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*146 KUVALAYAMALA Ardhamagadhi canon as well; see, for instance the description of queen Dharini in the Aupapatikasutra, Sutra 12. The description of Mahavira (Ibidem, Sutra 16) however starts from the head and ends with the feet. 25) On the ten stages of , the following verses from the story of agaDadatta (in Devendra's com. on the uttarAdhyayana) are interesting: nisuNijjai payaDamiNaM bhAraharAmAyaNesu satthesu / jaha dasa kAmAvatthA hoMti phuDaM kAmuyajaNANaM // 41 // i ) paDhamA jaNei citaM ii) bIyAe mahai saMgamasuhaM ti / iii) dIhuNhA nIsAsA havaMti taiyAe vatthAe // 42 // iv) jarayaM jaNai cautthI v) paMcamavatthAe ujjhaI aMgaM / vi) na ya bhoyaNaM ca ruccai chaTTAvatthAe kAmissa || 43 || vii) sattamiyAe mucchA viii) aTThamavatthAe hoi ummAo / pAMNANa ya saMdeho ix) navamAvatthAe pattassa // 44 // X ) dasamAvatthAe gao kAmI jIveNa muccae nUNaM / (compare also paumacariya 15.46 f.). For a detailed enumeration of these from different sources, see R. SCHMIDT: Beitrage Zur Indischen Erotik, pp. 124 f., Leipzig 1902. Page 159-lines: 18) The line etc. has some metrical ring in some parts. 29) The author has not given earlier any indication of these detailed activities of Kuvalayamala. Page 160-lines: 9) This context reminds one of f and gas in the Samaraiccakaha, 2nd Bhava. f is present in both the places: Haribhadra introduces her in a painting and here engraved or cut on a bhUrjapatra. 18) Compare ahiNavadiTTaNaTTa etc. and the dvipadI lines below with similar verses in the II, p. 72 JACOBI's edition. 22) feat, some different script, other than . On some details about fofq, please see H. L. JAIN: meM jaina dharma kA yogadAna (Bhopal 1962), pp. 286ff ; A. NAHTA: jainAgamoM meM ullikhita bhAratIya lipiyA~, evaM icchAlipi in the nAgarI pracAriNI patrikA, 75, 4, 343f, also his sAMketika mahArASTrI lipi kA eka grantha, kalpanA, January 1952. 24) The metre is fart, which is called gas. The second line is slightly defective. Page 161-lines: 1) Elsewhere he is called 4, p. 110.8. 3) The structure is that of a gatha, but the ring is slightly different. 16) Description of the morning. 18) This is a fay , so also the next.. Page 162-lines: 3) These are the practices of propitiation for getting a child. 9) Kuvalayamala is dark in complexion. 21) Here is a discourse on what is heya, upadeya and upeksaniya with reference to this and the next world. Page 163-line: 14) He is a far, so he flies. Page 164-lines: 3) The string of similes adds a grace to the simple style; see also line 8 below, and lines 7 ff. on p. 165. 11) Rather THIEPVISU. Page 165-lines: 1) See p. 158.4. 17) These hyperbolic expressions show the author's mastery over expression. 27) See notes on p. 158.25. 32) Strings of such similes Page 166-lines: 16) These gathas are of the Vipula type. evidence that Uddyotana is adept in his ideas and expressions. Pgae 167-line: 1) The author says '' because he does not accept the theory of creation. Compare zAkuntalam - asyAH sargavidhau prajApatirabhUt etc. Page 168-lines: 8) This context reminds one of the II, p. 65 (JACOBI's ed.). 11) Jdegrehira but P rehirA. 23) Very often the use of ki in this text is a forerunner of Marathi kIM. Page 169-lines: 3) The box for betel-leaves has the shape of fish with golden wings. 12) The advent of the cold season is being described. A string of short sentences giving significant colour-strokes in a descriptive picture is a speciality of Uddyotana. 21) Compare a 1. 26) Some forms are in Apabhramsa, also in 33 ff. on the next page. 33) Those who scorched themselves with five fires are qualified as Mahamunis. Page 170-lines: 7) These astrological details need scrutiny, especially with regard to their source. 12) The is coming at night, as is the custom in some parts of India. 21) Prewedding preparations in the palace are being described. Page 171-lines: 3) There is a description of the Wedding of f and in the samarAiccakahA II, pp. 74ff. 11) Compare the four maNDalas with samarAiccakahA, p. 80. 18) These four verses are in a samacatuSpadI metre, called saMkulaka; each line of which has 16 mAtrAs (6, 4, 4, 2). From the second verse onwards, the lines are interlinked with 5. Page 172-lines: 4) Note how a long passage, quite a nice one, is absent in P. 10) There is a slight metrical defect which can be removed by reading for ; so also in 12 where the emendation is suggested, or auf. 15) This passage is found only in one of the Mss. 18) af Gerundive form; cf. Kannada forms like madi. 28) for is not recorded in the PSM.

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NOTES *147 mentioed. Pe the cor Kam Page 173--lines: 8) The expression Tutust etc. is really out of place, because they are now husband and wife; the whole atmosphere, therefore, is a bit artificial though quite catching and romantic. 17) Either the whole episode is a later addition, at a second thought; or we need here a sentence 711 foretatt FETETETT I. Once the friends had gone out (p. 172.4), but they were again called in to arbitrate this dispute. The context does not suffer, even if this episode is omitted. 25) #E+TAAT=Hifant ? 32) faut is situated right on the sea-shore; and its southern fortwall is washed by the waves of the ocean. 35) Read #1 999 Teori. Page 174-lines: 7 Here is a quem in four lines: each line opens with 6 and a number of TTS (-U-); so it may be called in general fat or in particular for (as defined by some). 14) The metre is , see the note on p. 171.18. 20) These factes are also known by the name chappaNNaya or SaTprajJas. 21) (1) prahelikA is a riddle or conundrum' thus defined in the Kavyadarea (III.97) which enumerates sixteen sub-types of it: *TETTIIfaalay T ATUTUTI qroqHTE ry 41: fot: 11. Bana mentions it - Fitfac 3777747-131547 - faraitTGT T - Tiffaftar TC4 TIGHT: (ed. PETERSON, Bombay 1900, p. 7, line 22; see his notes on the same, especially the extracts from the com.). See also Dr. P. V. KANE's notes on the Sahityadarpana I.2, p. 23 f (Bombay 1951). The Kamasutra (1.3) puts it as one of the kalAs. The reading (2) bUDhAo is uncertain; P reads instead cUlAo. Is it gUDhAo? (3) aMtimaFTTT37f , which is also known as sahih. On this see P. K. GODE: The history of the Art of capping verses, in the Dr. S. K. Belvalkar Felicitation Volume (Delhi 1957), pp. 169-74. These three, according to Uddyotana, are quite popular, current even among the cowherd boys. 25) (4) farchet-According to the definition given by the author the last syllable also should have been an alphabet. PETERSON in his notes, referred to above, gives an illustration which has bindus in the first and the last syllables. Page 175-lines: 3) acqfare? (5) The name of this riddle is 37deg or gifagant. The first line gives a clear definition of this. 4) This line and the illustrated verse are in Sanskrit. 10) (6) Trate of which so many alternatives or varieties are known, arising out of grammatical or dialectal etc. variations. See. Hema. Kavyanusasana, v. 4 (Bombay 1938), p. 323, especially the Viveka. 14) By Set the author has the standard dialect (either TETTI or strat) in view: that is why he mentions also apabhraMza, paizAcI and mAgadhI. 15) gUDhattara is an important variety of praznottara which is illustrated by Haribhadra also in his samarAiccakahA pp. 610 f. 21) (7) paTThaLaM (=960tef or poatef?). 23) The author is using some explanatory words in Sanskrit. #: Tyfa feuz: etc. is a good pm19, with three padas in Sanskrit and one Prakrit. Page 176 - lines: 1) (8) 3777546 is illustrated in the Notes of PETERSON referred to above thus: akSarasya varNasya cyutiryatra tadakSaracya takaM yathA-kurvandivAkarazleSaM dadhaccaraNaDambaram / deva yauSmAkasenAyAH kareNuH T RAHT 11 377 #TOTY141 codat fermenterianfar: 1. 4) (9) #17164794 is thus illustrated in the Notes of PETERSON referred to above: HTETT THE FATTY T-sfeefe l foc TTTT: 1 fat: 04: Stater frosa: ufanisa : 11 factif#TPage #323
*148 KUVALAYAMALA Page 178-lines: 25) The similes are quite effective. 32) The author has a fund of useful information from which he draws suitable illustrations; and his discourses carry a great effect on the minds of his readers and hearers. Page 179-lines: 1) Read 169 for UT. 11) 3 in some of these words may stand for short o. 19) Better jiyANa for jiyAya. Page 180--lines: 24) That gives some ideas of the preparations of the Journey to the east. 31) This context reminds of Sakuntala who takes leave of trees etc. in the fourth Act of 37fHTTSETTESH, IV.8 ff. Page 181-lines: 16) Here ToT is taking leave of domestic birds and beasts. 25) Here are the rituals before the prayANa. Page 182 line: 6) Here follows a poetic appreciation, in comparison and contrast, of prince Kuvalayacandra and princess Kuvalayamala, by themselves and in relation to others. Page 183-lines: 19) facrutazt is obviously different from purait raat. 24) Here follows an exposition of good and bad zakunas, perhaps from some zakunazAstra. Page 184-lines: 10) Compare 9344694, 94.35-36. 25) On his way back from Vijayapuri the prince first crosses the Sahya mountain. 28) The monk is neither a Tapasa nor a Tridandin. His three characteristics are: (i) The hair on his head is pulled out lately; (ii) he is wearing white garments; and (iii) he has a bunch of feathers in his hand, apart from his captivating appearance. 33) As his eyes are winking and his feet touching the ground, he could not be a god; but he is a faenter who has recently entered the order of monks. Page 185--lines: 8) Lata-desa is said to be known for Desabhasas. 18) Here is introduced a screen or scroll on which the HT-2is painted. 21) Here follows an attempt to present various sketches from this world, of persons showing their activities and the consequences to which they are subjected here and elsewhere. 27) A king with his activities. 32) The robbers and the robbed. Page 186--lines: 6) The cultivator and the head of the family, their minor and major sins. 18) The plight of the family-members on the death of the head of the family. Page 187-lines: 6) In this paragraph the amorous enjoyments of the couple and their consequences are described. 20) Singer, wrestler, wealthy, learned, ascetic, archer, a woman in delivery pains etc. are depicted in this para. Page 188--lines: 8) Wedding and the stages, child to old man, both happy and unhappy, are depicted in this para. 20) A king, a greedy sea-farer, a fisherman, a trader, pious men etc. are sketched in this para. 31) Hereon follows a sketch of the animals, killing each other with natural antipathy, eating one another for food; and they are all suffering under the sway of raga and dvesa. Page 189-line: 18) This para depicts the scenes from hell. Page 190--line: 14) Hereonwards the #ter is sketched; and the effect of all these scenes on Bhanu. Page 191--line: 1) This episode gives some glimpses of the contemporary vocations and ways for earning livelihood and wealth. Page 192-3-line: 27) Hereonwards we get symbolically spiritual interpretation of agriculture (1.27), tending cattle (1.29), seafaring (1.33), mining (p. 193, 1.2), carrying merchandise (1.4), begging (1.6), gambling (8), fighting (12), wrestling (14), miraculous eye-paint (15), managing a demon (18), miraculous spell (20), and winning divine favour (22). Page 194-lines: 1) Better at TT STUTUT GS # THI. 18) Here we get some information about initiation into the order and equipments of a monk. 33) The imagery of the morning twilight is very nicely put. Page 195 lines: 12) Here we are introduced to Dhatuvadins, alchemists, who are busy in converting baser metal into gold. 20) Read HAT 1967-973-CHT 1. 25) Here some glimpses of the technique of alchemy are available. 29) Ta and ca are synonyms. 30) : a charmer, magician. Page 196--lines: 2) a has a double meaning, a king, and also a magician. 5) fe 3fe.... [369 for 37at).... Taat i....fa 3471 il is a metrical unit. 32) 1919gs is the name

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NOTES *149 the Yuva, ctions of mala, p. 20 See the of an ancient text; see, for some details about it, J. C. JAIN: TERU fit fath, pp. 673 etc.; also Anekanta, vol. II, pp. 485 f. Page 197--lines: 6) Rather tutqresfrm forei, see p. 196, line 32 above, for a similar reference to F TEC. Or whatever the Sarvajna has preached in this respect is Flores itself. 20) That indicates the great authority of the tuities. 21) 37fe is used for the plural. 29) What are known as Dhatuvadins in common parlance have three specific classes: f a , narendra and dhAtuvAdin. They are further defined and explained. Page 198--lines: 7) Here the morning is being described. 11-12) These two verses show, with vowel-grade variation here and there, 24 (11-13) #TTS in each line; and the pattern may be called 3616. Better read 714 with J. 13) This is a gatha. 18) These three Sanskrit verses are in the 375C9 metre. 23) Here we get some idea of his, or of any prince of that time, travelling paraphernalia. 27) Read of, or fogva. Page 199-lines: 17) Are we to read for 567? 28) Here is a quia of the town decoration. Page 200--lines: 8) The ceremony of tatruft is described here in this paragraph. In this context, please note the observations of Dr. D. SHARMA (Rajasthan through the Ages, Bikaner 1966, p. 314): "No book gives a description of the Yuvaraja's rights and duties. A fond father must have left much to his son. (See the Upamitibhava-prapanchakatha, pp. 237-238, Tilakamanjari, pp. 93, Kuvalayamala, p. 200). By giving him an impressive coronation, attended by all the influential sections of the society, he tried to ensure his peaceful accession and mostly succeeded in his objective. Led by the ruler, the Mahasamantas shouted, "Victory to the Yuvaraja", as they poured on him scented water from gold pitchers, interspersed with auspicious articles like tender shoots of leaves, lotuses and other flowers (Kuvalayamala, p. 200). And further solemnity must have been added to the accession by various ceremonies. The minimum age at which a Kumara was made a Yuvaraja, probably, was 16 years. It was not necessary that he be 25 years old, as assumed by some writers on Ancient Indian Polity". 11) FT IFTTT jaukArio=jayakAritaH. Page 2014-lines: 16) This indicates how oth (in which the pagar played an important role) was important. 21) That is how the same mother-deity gets different designations cr names under different contexts. 28) FIT and auf (7) refer to written symbols for vowels and letters (in general). Possibly -aourt stands separate and without case-termination. It is a good description of a palm-leaf Ms: The leaves (lit. the bunch of leaves) are as long as the wooden boards (G1, or even :), between which they are packed. The script is igit; and the letters which are inscribed on palm-leaves are covered with the fluid or powder of H . Page 202_lines: 1) This paragraph summarises the fundamentals of the Dharma which the Kuladevata has given to him in that Mss. Moksa or Liberation is achieved through darsana, jnana and caritra. The five Vows: Ahimsa, Satya, Asteya, Brahmacarya and Aparigraha are to be practised. All beings, like oneself, yearn for sukha and dread duhkha; so one should be kindly and friendly to all the beings, both trasa and sthavara, treating them all like oneself. Mind, speech and body must be duly disciplined for proper behaviour; and one should lead an austere life cultivating qualities like ksama etc. The passions should be subdued without any pretence; and ultimately one should give up the world, plunged in study and ever intent on Jina who is free from raga and dvesa. It is thus that the self is realised. This Dharma gives the fruit of Moksa and is the source of all happiness. 12) Amitagati's Sanskrit counterpart runs thussattveSu maitrI guNiSu pramodaM kliSTeSu jIveSu kRpAparatvam / mAdhyasthabhAvaM viparItavRttau sadA mamAtmA vidadhAtu deva // All these go back to a Sutra of Umasvati -#THEA1604HTETIT 7 Heatherf*4H177forum 1.7oo 9-88. 17) proi. 33) faqat, initiation rather than renunciation. Page 203--lines: 1) Dharma, as an allround socio-religious organisation, needs at least the following constituents: an object of reverence, scripture, teacher and a group of followers. But often dharma is used in a limited sense also; and it means, some ritual, some belief, some cult, some tenet, some tradition, some custom and so on. It is in this limited sense that the author is presenting different dharmas which the king rejects one after the other, because they do not tally with what the Kuladevata has given to him in the scriptural Ms. It is better that we read

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*150 amhaMcau, cf. Konkani, Amaco, agreeing with dhammo 21 ) What the religious teachers are going to state is fast, and not Dharma as a whole or in its entirity. 23) This corresponds to the Buddhistic view, stated possibly in contrast to the Jaina view which is given in that text by the Kuladevata. 27) The two view-points, given in lines 27 and 31, look apparently alike: that may be the reason why J omits the first and P omits the second. Both of them have the Samkhya terminology as their basis. The first is specifically attributed to Tridandins but the second is stated anonymously. 35) Equating Krsna with Paramatman, this verse echoes many bits from the-see, for instance, VI-29, 31; XIII-16, 27; XVIII-20 etc. Compare also the Svetasvatara VI-11 - eko devaH sarvabhUteSu gUDhaH etc. Cf. sUyagaDaM 2.6.47. Also the verse eka eva hi bhUtAtmA bhUte bhUte vyavasthitaH / ekadhA bahudhA caiva dRzyate jalacakravat (satyazAsanaparIkSA 86 ) . Page 204-lines: 3) In lines 3 and 5, Brahmanical sacrifices are put forth as the religious practices. 9) See the variant line in P. 11) Here the case for is being pressed. 13) See how lines are improved upon in one or the other Ms. 15) Dana is the highest dharma of the house-holders. 18) P omits lines 18-21 and J omits 22-25. Their contents are such as to induce one to argue that they are alternative passages or both can have a legitimate place in the text. In the first view, the term ara is being understood in a different context. In line 22, are we to read sa ita-vAya - ( sa dvaitavAda ) ? 27 ) This is a typical case of devotional dedication carried to extreme: some such cases are reported even to-day; and social reformers are up against them. 31) This is self-immolation in fire or water as a part of religious end. Such practices are reported at various localities; see K. K. HANDIQUI: Yasastilaka and Indian Culture, pp. 391 f., especially foot-note 6. KUVALAYAMALA Page 205-lines: 1) would have been more suited for Jaina terminology. 3) The king, while rejecting this view, is putting forth the Jaina view, which is prescribed primarily for monks: these are socially beneficial acts which involve a, inevitable in the case of a layman. g. 5) Note the alternative line given by J, which is less popular in expression. 6) On this point, the author has expressed himself more than once earlier internal purity, by removing Karmic dirt, is more important than outward cleanliness, achieved by bathing in holy waters, or at holy places. 9) The alternative verse of J is quite dignified. 11) Here is a case made for Varnasramadharma in refutation of which, the Jaina definition is stated. 15) Building of temples for the worship of god is accepted by both, but the king raises the point 'which god?'. 19) The reference is possibly to an image of man (representing some god?) made of earth is to be created and some mantras are to be repeated before it with a view to burn ons's sins. 23) Dhyana, as means of Moksa, is accepted, but the king wants it to be accompanied by tapas, austerities, sila, rules of good behaviour, and niyama, self-imposed restrictions. 27) Obviously the king means that far should be shown to those who are deserving, but not to ch simply because they are elderly etc. 31) This is the patent view of the If school. 35) This refers to giving gifts to Brahmanas. Page 206-lines: 3) This seems to be the view of Karunikas 'who also according to Vacaspati Misra were one of the Saiva sects. As the name Karunika, however, alternates with that of Karuka-siddhantins in the commentaries of the Sankara-bhasya on the Brahmasutras and the Kalamukhas in the commentaries of Ramanuja and Kesava Kasmirin, the three terms, Karunika, Karuka and Kalamukha can probably be equated' (Rajasthan through the Ages, Bikaner 1966, pp. 412-13). 7) No one has any right to kill any one on any pretext--that is the stand of the king. 9) The point at issue is not clear. 11) This is an interesting view that the 3- wants to avoid all animal products, treating them on par with flesh. Haribhadra also refers to them and their view (Samaraiccakaha, pp. 552-53, ed. H. JACOBI, Calcutta 1926). On the exact meaning and identification of -f, see B. J. SANDESARA: A Note or the word Svetabhiksu, Journal of the Oriental Institute, XVI, No. 2, pp. 120 f. These ascetics possibly besmeared their bodies with ashes, and hence called so. Early tradition identifies them with Ajivikas. In this connection see N. SHASTRI: Development of Religion in South India, Longman's Publication 1963, p. 115. Pandara seems to be a non-Brahmin temple priest. 19) The Hitopadesa (1-183) has a verse like this--na zuklIkRtA haMsA zukAzca haritIkRtAH / mayUrAzcitritA yena sa te vRtti vidhAsyati // . The king makes it plain that Karma is only another name of Vidhi. 27) Isvara, as the guiding

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NOTES *151 force behind human activities, is rejected by the king. The author of the Rajasthan through the Ages (Bikaner 1966), pp. 396 ff. has some comparative observations on these religious tenets and rites. 33) There are many people who are capable of discriminating between Dharma and Adharma--that is how and why some people practise renunciation. 35) Knowledge is considered to be more important than good behaviour. This may be an attack against some Samkhya followers. See K. K. HANDIQUI: Yasastilak and Indian Culture (Sholapur 1949), p. 229. Page 207--lines: 3) This is the Jaina doctrine according to which one should abstain from five sins and adore Arhat as deity. This tallies well with what was written in the Ms. given by the Kuladevata. 9) Every one is free to practise the religion professed by him, whether it is or is not acceptable to the king. 11) Dharma is based on the Agama which constitutes the words of an Apta who is free from raga and dvesa etc. (line 14). Samantabhadra's description of 3774 is helpful in this context ( TUE* 4-10) 3 SATTATT I fou fur arrepent TEST Ha II ETIATTAFF FF72642T: 17 TECHEIST TRAIGT: tecia 11. The knowledge of Agama is inherited, like the throne, through a succession of Teachers. Why the Agama is authentic and authoritative is explained in lines 25-26. 34) Note the distinction between a and 1 . Page 208lines: 1) In this paragraph the prince reviews his career upto this time. 22) When a monk says THT2T, it is only a blessing. Compare in this context the other expression haft more current in the South than in Gujarat. Page 209-lines: 9) Here we get some details of the sterfafer. 16) This is from the 357 TEUTETET III.1. This and the next paragraph explain fully this verse. 18) This is a detailed explanation of what is known as ASICA, which illustrates how rare the human birth is. On the rarity of human birth, Matrceta gives a similar illustration in his Adhyardhasataka: prApya manuSyatvaM sasaddharmamahotsavam / mahArNavayugacchidrakUrmagrIvArpaNopamam // 5 // Page 210_lines: 1) Here follows the 394, explanatory application, of the ser noted above. 12) Even if one is born as a man, to belong to a worthy family etc. and to get Jinadharma are something equally rare. Compare TITTO III.1, X.4 ff. That Jina-dharma is rare is nicely explained with a number of apt similes. Page 212-lines: 1) Ta din fotott has a metrical ring. The Danda should be put after 15t, and not after Music. 6) The author explains how one's Karmas are all powerful and how their consequences are certain and cannot be escaped. 10) A philosophical attitude like this that one is responsible for the consequences of one's own thoughts, words and acts definitely enables the individual to behave better and supplies a stable base for the moral balance of the society. This is really to the credit of the Jaina teachers that they have been able to evolve a philosophy of conduct uninfluenced by any reliance upon Super-natural intervention or guidance. 32) Uddyotana stands almost unparallelled in this peculiar style of presenting a string of short and effectively varied sentences and clauses. Page 213-lines: 7) Facts is de facto entrusted with the powers of the king: of course, the context may not allow us to generalise about the contemporary practice. 14) Herconwards is expressed a genuine yearning for adopting the life of renunciation characteristic of a Sramana or Jaina monk. 23) This shows how renunciation even during boy-hood was lauded at the time of Uddyotana; to-day, however, though now and then practised, it is not looked upon with favour by the society in general. Page 214-lines: 6) Some of the similes are quite catching. 13) In the view of the author, it is never too early to adopt sramanya: perhaps boy-hood is better suited for its adoption. 16) The two verses, one in line 16 and the other in line 18, are parallelly drafted: What is true of Surya is also true of the Jina-surya. 20) It is a prayer in Sanskrit and the metrical form is 30TH. Ratnaprabha's Sanskrit Digest reads to for TT. 24) See above p. 183, line 13 f. 31) The Sanskrit text (p.* 72.7) rightly renders the last pada thus-ETHRT cafeat TheT: I. Page 215-lines: 12) The normal form of blessing is T. 28) T is possibly a contraction of ge or a. Page 216-lines: 4) A Toeg was assigned to him. It obviously means a party or group of monks organised for faent or tour; see also line 6 below. 22) They are called gafaa.

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*152 KUVALAYAMALA Page 217-lines: 10) Note the Mas. Nom. sing. in g. 21) Here the setting of the Sama. vasarana of Mahavira is comparatively simple: only three items are mentioned-91*1*774, TASH and raktAzokapAdapa. 28) Here ziva stands for mokSa; naturally the reading jiNaM mottuM gives better sense, Moksa is the real shelter and that is reached through Samyaktva (Caritra or Kiriya ?) Jnana and Darsana. Samyaktva is variously explained here. We can suitably read HFUTTfcatfagor etc. 29) Here Futa, T and aia are mentioned (also at line 13, next page); elsewhere samyaktva and darzana mean the same, and the third item is caraNa, kiriyA or cAritra. May be that cAritra is being partly included under the Page 218-lines: 10) Here the characteristics of a firefocuita are being given. Compare sarvArthasiddhi on the ta0 sU0 I. 2-tat [samyagdarzanaM] dvividhaM, sarAgavItarAgaviSayabhedAt / prazamasaMvegAnukampAstikyAdyabhiauferetur ## #fastfartafa I. 11) See the discussion of the HTCFTS, or the attendant clauses of the as in the grateffETTHTT, VII, 11- T TG ITFUUHTETESTET HTETTUTTE QUATTTfaruq I. 16) Compare do T. VII. 12--11Fleurat ar ama ztratefa I. 21) Here are being explained the doSas or aticAras of samyaktva; compare ta0 sU0 VII. 23-zaGkAkAMkSAvicikitsA'nyadRSTiprazaMsAsaMstavAH samyagdRSTeraticArAH / . Pujyapada raises the point how they could be just five when elsewhere they are enumerated, in their negative aspects, as eight limbs of #4769, see the Ratnakarandaka-srava kacara 11-18. 31) These pithy instructions summarise, more or less, what is discussed above. Page 219_lines: 4) By saying gai HT-RYU, the author takes fra and get to be identical. 7) Jnana must be backed by Darsana and Carana. 8) Better Jayi with P. 13) Here we get the basic justification of the doctrine of Ahimsa. 17) Hereonwards we get some apparently 'flimsy' arguments to defend or justify feat; some of them are interesting in view of the basic philosophical or moral approach. 29) Cf. Jo To VII. 3-H TETTYYTToi faut! 30) Cf. FACHT (in his arferfet)-fagarafa ya ua, fara TTTTHETETFHafedi vadhAyatanamabhyupaiti ca parAnna nighnannapi, tvayAyamatidurgamaH prazamaheturudyotitaH / / 3-16. Page 220-lines: 1) The first ETEC is duly observed by one who adopts the five afafas; but the list of the so-called Samitis here combines two items, known as TOTS and affers elsewhere-Emetaforegur faro TTT ATT 959 I TOTO VII.4 and fufhalafTetfrf: HGT: 1 Ibid IX.5. See also the Acaranga, Book II, Lecture 15, i. . 9) Here the second vow musAvAyaviramaNaM is defined and its consequences here or elsewhere are explained. 15) alIkavacana is of three kinds: sadbhAvapratiSedha, arthAntarabhASaNa and nindA which are duly defined. 19) Truth must serve, and is subordinated to, Ahimsa. 23) It is to be guarded by five Tahts which are explained hereafter. The ta0 sU0 mentions them thus : krodhalobhabhIrutvahAsyapratyAkhyAnAnyanuvIcibhASaNaM ca paJca / VII. 5. 27) Better ihaloyAjIva. The seven kinds of fear are thus enumerated : ihaparaloyattANaM agattimaraNaveya0776FFIT I hafa fafect foruraftafe Il see Subhacandra's Sk. com. on the Kattigeyanuppekkha (Agas 1960) p. 232. 30) Hereonwards 37 UutisTT34 is explained. 32) That is the rationale of this vow: much the same as in the case of Ahimsa. Page 221 - lines: 1) The third HETTT is guarded by five Bhavanas, which agree more with the enumeration in the Acaranga, II, 15, iii, p. 206-7 (JACOBI's Translation) than with the one in the Tattvarthasutra which runs thus: TUTTfanfaatan TITTET urtezeifergaffa iagt: 4571 VII. 6. 9) The fourth mahAvrata is maithunavirati or brahmacarya. The characteristics and consequences of sexual pursuits are described; and then follow the five Bhavanas, the first being a little different from those in the Tattvarthasutra: FTTTTTTTAUTAFERE facteua TaeTATTHETT#FATFATTT: | VII. 7. Cf. 37TTETTA 16. 25) The first line presents some metrical handicap: B.tter itthIpasupaMDavajjiyAe~ vasatIe~ acchai NIsaMgo / , and it is a vipulA type. 31) The fifth vow is qfagfa fa. Greed is the root cause of attachment for possessions; and it makes him unhappy here and elsewhere. 32) Note the popular verse: 37THUA E TETT TT TT THE sie feritet: 962TUT: II. Page 222 lines: 4) The five Bhavanas which sustain well or guard this last H T are these : manojJAmanojJendriyaviSayarAgadveSavarjanAni paJca // VII. 8. The author often calls these bhAvanAs as #fufas. 5) fria, guarding mind, speech and body, and fraus refers to hurtful behaviour through mind, speech and body: thus both amount to the same contents, put positively and negatively. The author says tridaNDaviratamanaH; has he in view three-fold acts, kRta, kArita and anumodita?

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NOTES 153 ? 10 ", line Otherwise the use of TF loses significance. 8) Note the distinction between us and waa; the former is prescribed for a limited period in the case of a house-holder and the latter is prescribed for a monk for the whole of his life. 9) Hereonwards there is an exposition of three Taas and four fets, which stand thus-FICTITUUSfaxrhifisterta f chafmANAtithisaMvibhAgavatasaMpannazca / ta0 sU0 VII. 21. For details see also the uvAsagadasAo. On the enumeration of gas and freigas there are minor differences here and there. 16) Compare Torrent sallekhanAM joSitA / ta0 sU0 VII. 22. 19) Hereonwards the aticAras of the above vows and saMlehaNA are described. Compare 39THIEFTTT I. 45 ff. and do VII. 25 ff. Uddyotana appears to follow the Tattvarthasutra closely. Page 223-line: 4) The term is used for the mu and foreigas; see also the To Ho VII.24. Page 224_lines: 7) Here a rget is mentioned; but elsewhere, p. 217, line 11, it is #17a. 17) 775917 is the name of Mahavira in one of his earlier births. 31) * 17 417: or 98477:? Page 225-lines: )) you yourself get burnt. 13) Tofag=itfoc. 24) Some of the expressions have a metrical ring. Page 227-lines: 1) Hereonwards there follows a fluent exposition of the twelve Anupreksas. 1) 3fU-, 19-20; 2) BRTCUT-, 21-23; 3) FTT-, 24-32; 4) 560-, next page: 1-4; 5) 374ca-, 5-8; 6) stafara-, 9-23; 7) 7771-, 24--(next page) 2; 8) 93-, 3; 9) fizT-, 4-7; 10) 19-,8; 11) SH-, 9; and 12) atfaca-, 10-11. The enumeration agrees partly with o to and partly with other Prakrit sources. For a detailed discussion about them, see my Intro. to the Karttikeyanupreksa (Agas 1960). Page 228-lines: 11) The author gives here his ideas about digestive process inside. 25) a (?). 28) Some of the illustrations are interesting. Page 229-lines: 6) Are we to read virammae for ca rammae? 19) Better read dhiIe for diTThIe. 25) See the notes above on p. 96, line 5 and p. 110, line 7. There is some confusion between the names in heaven (padmasAra and padmavara) of mAnabhaTa and mAyAditya. Page 230--lines: 1) Here, in this paragraph, the author makes out the point that a Samyagdrsti, without good conduct (a-virata) will be unhappy; but, if he is endowed with good conduct (virati), i.e., he abstains from all sins and is pure in mind, he is happy. 12) This is an 3TEETH verse. 13) The term queramu obviously means questions and their elucidations in reply): thus the contents included under the title queTaTTOUTE are out of place. 20) The grades of existence, the physical disabilities and equipments, intellectual gifts, possessions and other worldly environments depend on one's own Karmas; and what Karma slead to what types of consequences is elaborated here in 88 356 onwards. 32) The tendencies and acts which lead the soul to hell (lines 32 to p. 231. line 1); see go to VI. 15ETTE ftuarai T : I. Page 231-lines: 2 f.) The tendencies and acts which lead to different gatis (11. 2-4), to different genders (11. 5-7), to duration of life (11. 8-9), to comforts (11. 10-11), to fortune (1l. 12-13), to grades of intelligence (11. 14-15), to pangs, fortitude, and fruitfulness (II. 16-21), to frustration (11. 22-25), to defective organs, different social status and unbalanced routine (11. 260 to p. 232, 1.4); but one who is endowed with three jewels attains liberation. 10) Compare avull , 5.8 first line. Page 232-lines: 24) The name of the king is get=up , but P reads 03. Both the spellings are available-outhat and fath: P is partial towards the second. One the next page, line 2, we get JT P ---such instances indicate that the earlier Mss. contained more Saurasenisms which were eliminated in later codices under Maharastri influence. Page 233--lines: 9) This Sanskrit line is just the half of an oa verse. 19) stafa is the name of the king of Ujjaini. If the author's statement is based on any tradition, well, that should explain the name of that territory. The term stafar is to go back to the vata to protect: (pres. participle) ti in Prakrit, or avanti (iti te rAjAnaH). taiu or taio, possibly a contaminated form from 75377 and wait, then. 23) gat Acc. sing. 27) Some of the expressions have 70. Page 234-lines: 11) Hoe is a kind of drum, posibly slender in the middle; or the reading might have been 756=HT. HETet is generally used for a lady with slender waist. 13) #fagsarisA Inst. sing. (on the mistaken analogy of payasA, from payas) stands as an adjective of payaharajuvaleNa. 17) Obviously the poet has mastery over a fund of similes. 19) The author mentions here a number of mythological maidens: far, sfa, eft, , T, Jarit, sfazit and racit. (a-virus Para

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*154 KUVALAYAMALA Trefor the commagery Page 235---lines: 16) Each line has 30 Ars; it is of the fat type; and it can be called fruft- (4x7, 2; with pauses after 12 and 8 HTTS). 24) facetaus (Hema.: Chandonusasana IV.85). If t3 (meaning, group) is also a name of some metrical form, may be that the reading is corrupt (ffer??). *fcut, also spelt flat, what (fe3T)Hema., Ibid. VII. 67. fo=fall (Hema., Ibid. III. 68), or fat=a. Tre is well-known. 30) fureu=fagtui? fcho= fara ? The author is adept in such style, with pithy sentences. Page 236-lines: 10) Some word is missing in the first line. 12) The first line presents some difficulty. Are we to read phuDaM ti / ? 22) The prajJapti-vidyA helps them to know things at a distance; and it is both personified as well deified. 26) 5=a; it is recorded as an independent form of the Gen. Sing. of THC, see Hema. VIII, iii. 99. Or Gora, being read of uttered together, becomes jeNa e. 31) In the Ms. P, there is a Danda after eso. P clearly reads taMtakkhaNe, but J @rut which is preceded on the margin by 18. As HERTEL has noted the Buddhist version (of the 9267) from Nepal was called AFTEYTT; see my paper in the Adyar Library Bulletin, Vol. XXV, parts 1-4, pp. 354-55. The Sanskrit version (p.* 78, 1. 4) calls this merely a popular verse, and reads the second pada thus: HTTsaatley, perhaps a little improvement on the reading of P. Page 237--lines: 1) This verse is quoted by Harisena (A.D. 931-32) in his agritt (Bombay 1943), p. 152 in this manner: TT TT- HTT: Faquta ( 40TA] HTT: quefcat I : TUTI T Iefa ara att fagy ll. 3) grafiH A# would be equally a good reading. 4) TA HE TOAT (eventually Ta'far)? Or go [Fa]? 16) Or #1 (negative particle) a aatfe eft. 'And (I hope) he is not carried away or kidnapped by deities'. 29) Is 3ft just a particle of decoration here? Page 238_lines: 1) This is a fagot 317f. 5) The imagery is finely projected. 14) furat, tip or top, compare Kannada ani. stify-T379. The comparison is possibly with a heap of tufts of zirISa piled up in a big basket. 24) kAvAliNiyA, one who follows the routine of kApAlivrata, a Tantric 144TT. Page 239-line: 26) For facility of pronunciation, the intervocalic consonant t might have been retained in such words as faat. Page 240-lines: 10) The word 177 has possibly some Fafa verse in view. We get in the a terutafa (8.83)-fafe cat arti qfaret: afajfa: 1 arif AT HTET Gati at per afa: 11. The practice of 3.7HUT or at seems to have been common in the society round about. See also a simile arising out of this custom, p. 82, line 20. 16) Here art is graphically compared with Afhait, a nicely worded metaphor. 30) Hereonwards we have not only a series of dependent upamAs but also a good bit of anuprAsa upto vaNaMtarAiM, almost of the pattern of zrRMkhalAyamaka. Page 241---line: 17) In the first three as we have the 14 . Page 242-line: 1) Hereonwards we have an exposition of udaya, kSaya and kSayopazama of jJAnAvaraNIya and other Karmas with reference to pu, 17, 17, 79 and 9. Page 243--line: 13) Here is a contrast of the conditions in the Aparavideha and Bharata. Page 244-lines: 5) Here is a Sanskrit quotation: 'HTET ATT AIT TH' 1. 24) This text says ekko paraM devo. The Sanskrit text, however, 'dvau devI staH, taavpylpaayussau|'. There seems to be some confusion of details in the Prakrit text. 28) Better a paragraph should begin with a etc. 30) Note how synonyms of root ta etc. are used. Page 245--lines: 6) Here is an exposition of the Lesya doctrine to explain how individuals occupied with the same act (see 246.9) incur different quantities of sin. 9) The form ET inherits the traits of ea. Note the form art, a relic of the Perfect. 12) Here is a fine account of what is known as lezyAvRkSa. 17) Are we to read Na ya bhAyaNa (Acc. sing.) kappaDe ya phAliyae? 18) 914, Desi, hungry. Page 246-line: 33) Note the Yamaka in this verse. Page 247--lines: 7) STATT TTGT' is a metrical foot. 14) The proper name Ta is rendered after by the Sanskrit digest, but it should be better TIC. 15) The story of Agadadatta in the com, of the FTTETTAT very much resembles this story. Compare the verse in the story majjhe satta diNANaM puracoraM no lahAmi jai nAha / to jaliyajalaNajAlAvalIsu jAlemi niyadehaM // with line 16 here.

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NOTES *155 Page 248--lines: 9) Gautama raises this question, because this eating of flesh by one of the Deva-yoni is against Jaina dogmas. Mahavira explains the situation by saying that the Vetala is just joking to test the bonafidy of the prince. 15) advisarisa; here sarisa has the sense of sahiya. 34) gheppaI vA or gheppai vvA-here lengthening of i or doubling of vA is for the sake of metre. Page 249.-line: 30) In the IT-374ouprafegi t (p. 37, verse 70) Rajasekhara has expressed a similar idea in his Karpuramanjari II. 6: 377fFH f ruft uzputrur aty, qort af TduddhataraMgamAlA / pacchA ase sarai taMsaNirikkhieK AaNNakuMDaliacAvaharo aNaMgo // . Page 250-line: 28) Note 37fu........ at 1. Page 252-lines: 29) So the author recognises both the forms ac (line 1) and ag. 31 Here the author seems to have confused between 7991 and 9r9s, see 250.19 above. The Sanskrit Digest rightly says 'campakamAlayA proce'* 83.12. Pag@ 253-lines: 4) TU A U H, 4G9T refers to the code of warfare. 18) Vajragupta is plunged in sense-pleasures, not even aware of the passing of twelve years since he left home: so here is a divine voice reminding him, deluded by slumbering with infatuation as he is, that a Fall for him is inevitable, if he fails to remember the mutafan. 26) In this paragraph virati is stressed even in the midst of pleasures. . Page 254-lines: 1) Pleasures are a result of Punya which accrues from the practice of Dharma without which all enjoyment is a mockery. 11) Lovely and tempting lures cannot be a shelter from the pangs of hell from which Dharma alone can protect one. 19) Nowhere there is anything like satisfaction in this Samsara: quenching of one thirst only gives rise to another, and so goes on the series in this Samsara, irrespective of the fact whether one is a god or a man. 26) Samsara has manifold tortures, ailments, humiliations and sufferings which one should recollect and get rid of infatuation for pleasures. Page 255-lines: 3) The sense-organs are a trap and their pleasures are fatal in consequence; so one should be devoted to Samitis instead, with full control on mind, speech and body. 12) Kulaka is obviously a group of verses. 26) This verse tra TT TT Fiffa #TTI 3774T HE TOTS Taitts4foc 7 11 is taken out possibly from a narrative context. The source is said to be affastet. Page 256-lines: 30 f.) Gods are of two kinds #TT and factfit. The former class includes Mifara, fpira, . RTT deities, trafa, gif, TT, TTSH, ta, fara, fat, fier, Thera, FETT, 95, 7877, , TE, TIERT, ATT, 3gfe, qui, ofta, fag and 35. All these are worshipped by somebody or the other, in some place, context or the other. In giving fruits in response to devotion, worship etc. these gods are only eat, coincidental: what is important is one's own Karma according to which there results one's happiness or misery. The gods of the facific class (namely, arhata, siddha, AcArya, upAdhyAya and sarvasAdhu), when respected, only show the path of Liberation. However, according to the war of the devotee, they become the cause or occasion of T9 and E- which process is illustrated by parallel cases of the Mantric lore, sometimes a bit obscure. Vitaraga god is indifferent to praise or blame. Just as mercury dropped in fire splits into pieces which flow in different directions; similarly the sin disappears at the sight of Jina. Page 257-lines: 22 f.) Here we have some Tantric description of the worship of R-49. These details have been worked out in a chart in the Gujarati translation, p. 460, lately brought out by zrI hemasAgarasUri, in the zrI Ananda-hema-granthamAlA, No. 10, Bombay 1965. Page 259-lines: 1) The Vajjalaggam has a verse like this: afga qu TH TIU fant riddhI pecchAmi sayalaloe te maha loyA na pecchaMti // . 8) One can introduce here the popular notion of ga for que (see below 260.1) and thus the author has stated his concept about the relation between da and 764 which affect one's worldly prospects. Page 260-lines: 12) affae, Mas. nom. pl. 13) DECT HTUTT Acc. pl.? 18) As it is TESTC af.... Toad H I. Page 261-lines: 6) Religion can be and has to be practised not only by men and women but also by beasts and birds as well. 8) A doctrinal point is raised: who go to hell and how the hell-life is incurred? Here four causes or items are specifically stated. Compare a TITEqfuera 7744144:, To T VI.15, which is more general. The first three are covered by bahArambha and the last by parigraha. 22) The expression pAva-paramaM amhANaM jIviyaM ti / is interesting.

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156 KUVALAYAMALA On the pattern of pAvaparamaM jIviyaM, we can read ahiMsA paramo dharmaH, rather than ahiMsA paramo dharmaH as it generally understood. 31 ) anujjA = anujJA. Page 262-lines: 1) The context of the bird seeking consent of the elders to quit the world and adopt renunciation is really an art giving lesson to all those who are too much attached to the world. This breathes the same spirit seen in the Uttaradhyayana IVX and IXX. Page 263-lines: 3) Here the Mother is being requested to give a to adopt renunciation. The various terms of address are interesting. 16) Note with infinitive. 33) Here in the same manner the elder brother is being requested. Page 264 - lines: 3) The second part presents some difficulty. 12) Here the younger brother is approached. 18) Here the elder sister is being addressed. 21) 4 from ga? 28) Now the younger sister is approached. 33) Hereonwards the wife is being addressed. Page 265-lines: 21) This optimistic desire to put oneself on the right track, for doing which it is never late, is a highly praiseworthy tone and a worthy outlook on life. 34) pAehiM ( = pAdeSu = pAdayoH ) ? fig= Page 266-lines: 1f.) He is addressing his children, then his father-in-law (7. 11), thereafter his mother, his mother-in-law (l. 17), and then his friend (1.31). Page 268-lines: 9) Here the references to Magadha, Rajagrha and king Srenika bring us to a historical period. 20) suttaNANaM - sUtra - or zrutajJAna. 25 ) Hereonwards some details of the nimittajJAna are given. Some syllables are auspicious, while others are inauspicious. These topics, Dr. Nemichandra Shastri, Arrah, informs me, are discussed in Jaina texts such as frez, Atilaka, kevalajJAnaprazna cUDAmaNi, candronmIlanaprazna etc. Page 269-lines: 7) The theoretical discourse about nimitta serves like a prelude and anticipates, as it were, the dream of Maharathakumara. 23) Here is a doctrinal discourse on the fourfold Aradhana: 1,, and . 26) Compare Mulacara v. 72 and 170. The topic of Jnana is dealt with in 269.26-270.4. Page 270-lines: 5) The topic of Darsana is dealt with in lines 5-15, with reference to its eight angas. 14) This verse is often quoted. May be that it is an old verse of traditional inheritance. 16) Hereonwards is discussed a consisting of five Samitis and three Guptis, which are called Eight . 26) The last T consisting of twelve penances is passingly referred to. Page 271-lines: 1f.) Here is the offering of Samayika, a good doctrinal discourse on its contents and mode of offering. Having accepted Samlehana, on the eve of his career, one abandons all violations (in thought, word and act, and all that is committed, commissioned and consented to) of the six-fold vows (Five Mahavratas and Ratri-bhojana-viramana), 11. 1-6; all notions of mineness in the context of possessions, relations and attachments 11. 7-15; and all passions (kasayas), all activities, through words and deeds, which cause even remote pain to others: lastly, he forgives all or apologises to all and want all to forgive him. Page 272-lines: 5f.) Likewise, the saint Vajragupta, on the eve of his career, recounts and offers repentance for his various irregularities in the practice of religion. He offers Samayika, recollects fourfold Mangala and solicits fourfold shelter, the best of the four being Jinadharma. Then either he abstains from or devotes himself to items, enumerated from one to thirty three, as well as those of the miscellaneous type connected with Jaina doctrine (ending with p. 273, line 22). This tendency along with the pattern of details is pretty old, see the Uttaradhyayana, Chap. 31 called Caranavihi; it is followed in the Dharmopadesamala, pp. 67 f. (Bombay 1949). Page 273-lines: 6) Then Pratikramana is offered with reference to various omissions and transgressions. 20) Here the author has the tenfold enumeration of Prayascitta. while another with nine varieties is also known, see the oo. IX.22. The former has mUla, anavasthApya and if in the place of afg and r of the latter. 25) Similarly Svayambhudeva meditates on the nature and types of Death, namely, Pandita- and Bala-marana. Right from conception death might overtake one at various stages and in various forms. In this context see the I. vii. 8; (Sholapur 1935) which is mainly devoted to this; maraNasamAhI, one of prakIrNa texts, deals with this topic.

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NOTES *157 Page 274 lines: 4) Within a few days after birth, the child may be offered as oblation or it may be affected by various diseases and ailments, the list of which is quite interesting. This list sheds some light on the contemporary practices like T . 16) Here some weapons used for striking are mentioned. 22) After enumerating the types etc. of Death for human beings, the author deals with those of sub-human beings in their Sthavara (27 f.) and Trasa forms (30 f.). Page 275-lines: 6 Death in hells and heavens is dealt with in the following lines. 16) Hereonwards we get a description of the nature and constituents of the body which is after all perishable being subjeet to various ailments. What is more important is Dharma for the practice of which one should take the maximum advantage of the body without undue infatuation for it. Page 276-lines: 3f.) One is to reflect on the nature of Jiva and its fate in Samsarathere are various kinds of death; but the Pandita-marana alone helps one to get rid of Samsara and attain the status of Siddha. Page 277-lines: 7) In the same manner, the saint Maharatha accepts Samlehana and offers salutation to Arahanta, Siddha, Acarya, Upadhyaya and Sadhu in SS 420-24. We get a good discourse on these five and their nature. The Arahantas, especially the Tirthakaras of all times, of all places, in their different stages of varying careers, and endowed with great qualities are described: a salutation to them leads one to Moksa. 26) Hereonwards we have a salutation to Siddhas; their types and varieties are interesting. Compare in this context T. S. X. 9. Page 278--lines: 7) It is the Ganadharas, to be included under the category of Acaryas, who are responsible for incorporating in Sutras the words of Jina which thereby have come down to us. Different Acaryas knew the Angas of varying extent. It is they who enlighten us in the Scriptural knowledge. Salutations are offered to them, of the various times and places. 24) The Upadhyaya is one who propounds the contents of the Angas and Upangas for the benefit of pupils. Page 279-lines: 1) Here the Sadhu is saluted, and his outstandind qualities are incidentally mentioned. 12) 1947Tt has obviously the meaning of #174177 and its etymology might be offered thus: jayakAraH > jaukkAro (in Apabhramsa) > jokkAro, the doubling is not in any way abnormal: sugati is often represented by soggai. We get both the forms NamoyAro and NamokkAro. This paragraph (8 425) glorifies the 99946477 in view of its religious sanctity, spiritual powers and miraculous force. A good deal of literature has developed round this w a T both in Prakrit and Sanskrit, and a good bit of it is publisned in two volumes, 7HFPTT Falszty, published by fecufat THUS, Villeparle, Bombay-56, 1961-62. Page 280---lines: 1) In this paragraph is described the spiritual progress on the 1992 ust (See the Doctrine of Karman, p. 73, Bombay 1942) culminating with fafur or 197 which is characterised by the highest Bliss (see lines 15-16). 17) Here ends the $4TT FAT elaborated and composed by the genius of atauufagIn the Santinatha Jaina Bhandara, Cambay (G.O.S. 135: Catalogue of Palm-leaf M88. in the S. J. Bha., Cambay, Baroda 1961) there is a Ms., Pancaaradhana prakarana (No. 115-5, folios 88-110, Extent 339 gathas, Language-Prakrit, size 13.7 X1.7 inches, Age of Ms., c. first half of the 13th Cent. V. S., condition-good), p. 189. It opens thus: maNirahakumArasAhU 1 kAmagayaMdo vi muNivaro bhayavaM 2 / vayaragutto ya muNI 3 sayaMbhudevo mahArisi tti 4 // 1 // maharahasAhU 5 ya tahA paMca vi ee tavaM ca kAUNaM / vIravarassa bhagavao aMte AloyaNaM dAuM // 2 // ArAheUNa tao jiNovailaiMNa ceva maggeNa / niviya-aTrakammA aMtagaDA kevalI jAyA // 3 // jaha muNivarehiM eehiM jhosiyaM kammaseNNamasUhaM pi / taha annaNa vi muNiNA jhoseavvaM payatteNaM // 4 // End-tattha na jarA na maccU nAvihiNo [na vAhiNo] neya svvdukkhaaiN| accaMtasAsayaM faut fa tutta# TRE II SC11494 37/TTET TEHTIT I 4891 TTT: 338 113 11 This shows how these characters from a tale, in course of time, were looked upon as Religious Heroes, great saints in flesh and blood, who attained liberation after practising penances etc. 18) The story proper ends with the paragraph $426. Hereonwards is more or less the concluding Upasamhara, in which the author explains himself on certain items ($ 427-28), solicits sympathy from the readers ($ 429), then gives some personal information in what may be called a Prasasti (8 430), then there is concluding Mangala (8431), and lastely the Granthagra is given (8432). 19) For the description of the Nagari, see SS 14 f. For the meaning 3 quit see p. 4, 1. 22. 22) For the episode of Ratnasekhara alias Jinasekhara, see pp. 117-120. 23) For the biography of Enika, pp. 124-27. 24) For the account of the Bhilla chief, see pp. 138-149. 26) For the episode of the Citrapata,

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158* pp. 185-ff. 27) For the episode of the alchemists, see pp. 195 f. 28) Here the reference appears to the context where the king meets various religious teachers holding different views, p. 203 ff. 29 ) juyasamilAdiTThato, see 8326. Then diyo dhammaphalaM possibly refers to the episode of the Bird pp. 261 ff. KUVALAYAMALA Page 281-lines: 1) For the details about Kamagajendra, see above pp. 232 ff. 2) For details about Vajragupta, see above pp. 244 ff. 3) About Svaymbhudeva, see above pp. 255 ff. 4) About Maharatha, see above pp. 268 ff. 5) The topics of Aradhana etc. pp. 269.23 f. 8) Raga is attachment or attachment for the world and its ties. Raga is acceptable (for treatment) or praiseworthy provided it leads finally to non-attachment or Vairagya. 11) Two parts of the Vasudevahindi have appeared from Bhavanagar (Atmananda Sabha). From the first part it is seen that the Dhammillahindi is included in the Vasudevahindi, but here Uddyotana by using plural fe seems to indicate that the Vasudeva-hindi and Dhammillahindi are two works. 13) For the reference to T, see p. 13, 1. 8. 14) This has possibly in view the conversation which the king had with the goddess, especially p. 15, line 9 etc. 15) For the context of g, see p. 129. 18) These non-Jaina deities are referred to more than once in the text. 20) Some apparently unpalatable details can find a place in the T which ultimately gives rise to . 23), many speeches, dialects current in differents, territories, parts of the country. possibly refers to recitation. From the mention in the preceding line and here, it is clear that the name of the work is Kuvalayamala. 27) The author tells here that within three hours of the day he composed one hundred granthagras (extent of one hundred anustubh units) and possibly went on writing (or having got written, note the reading of P) them on a slate as was the custom in those days. Muni Shri PUNYAVIJAYAJI tells me that generally the authors recited as they went on composing and some one else, if not the author himself, went on writing side by side on a slate with a soft-stone-piece (something like chalk). 28) On the position of , a deity of the 1, in Jaina mythology, see the a III, 14-9. She plays a significant role in Jaina rituals and Tantra. The author feels that it was due to the benign favour of - that he could compose this work with such a remarkable speed. Page 282-lines: 1) These two verses are really touching; and almost with paternal affection, Uddyotanasuri has presented Kuvalayamala to the world of scholars. Some of the words have a double meaning. 3) This is a Dharmakatha. Various Kalas are described or shown here. Many kings have taken diksa in this Katha. The author wishes that his work should live long like the fame of Rsabha, the first Tirthakara. 4) This paragraph gives personal details about the author, and as such it is a biographical Prasasti. The two Mss. J and P show great variations in the details of this Prasasti and they deserve careful study. J gives more details, and some of them are a second thought, and at least once intruding on the continuity of P. 4) P has not got first two gathas. That means, it does not refer to two Pathas (Daksina-patha and Uttara-patha) and to the river Candrabhaga or the Chinab-the Acesins of the Greeks or rather the united streams of the Jhelum and the Chinab. The Prasasti according to P., therefore, begins with line 6, which opens thus: etc. 6) The letters sa and ma are very much similar in P; so one is justified in reading faf-a. 7) Acarya Harigupta hailed from the Gupta-vamsa; he was a Guru of Toramana; he had his camp (possibly during the rainy season) at Pavvaiya (on the bank of Candrabhaga) from which capital Toramana ruled the country (lit. enjoyed the sovereignty of the world). 8) The Ms. P does not specify the relation between Harigupta and Devagupta; J makes it, however, clear. This Devagupta is possibly the same as the one mentioned at p. 3, line 28; like his teacher Harigupta, he also hailed from the Gupta-vamsa and is styled Rajarsi. He is mentioned earlier along with other literary figures; and here he is called a fa or gafa; and in both the places there is a reference to his fame 'payado' or 'payado'. May be that he had written a work like af. P specifies his fame thus: fa favory fail. 8) Sivacandragani is called Mahattara, a well-known title; stands obviously for = 9) Both J and P say that he came and stayed at Bhinnamala or Bhillamala. The reason why he came from the Pavvaiya area to Bhinnamala is that he wanted to pay respects to Jinas (in various temples on the way). 10) Sivacandra's pupil is Yaksadatta with the title Ksamasramana. The Editor of the Rajasthan through the Ages (Bikaner

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NOTES *159 9966), p. 121, proposes that this Ksamasramana Yakgadatta might be identical with Yaksadeva who was patronised by Nagabhata I. For details the reference is given to a paper "Original Capital of the Imperial Pratiharas' in the Bharatiya Vidya, XVIII, parts iii-iv, pp. 74-80. He had many pupils, known for their austerities and gift of speech; and it is they who had got constructed many temples of Jina on account of which the Gurjara-desa became attractive. 12) This gatha is found only in J. It is amplificatory of bahuya sisa and mentions six pupils of Sivacandra, namely, Naga, Vinda, Mammata, Durga, Agnisarman and Vatesvara. 13) It is the sixth pupil, namely Vatesvara, that is meant by tena. He had a Temple of Jina built at Akasa-vapra-nagara. A careful scrutiny of the variations seen in J and P in lines 11-13 clearly leaves the impression that the draft of J is subsequent to the draft of P. That is, J is rewriting what was already there in P, so far as this prasasti is concerned. The pronoun tena in singular refers only to Vatesvara when six of the pupils are mentioned here. P reads at 31Tff TOTIUT for which J has jiNAlayaM teNa NimmaviyaM ramma. The expression tasya mahadaMsaNe cciya is more appropriate with the reading of P, along with which it stood originally, than with the reading of J which came to be substituted in the revised draft. 14) The pupil of Vatesvara is Tattvacarya. One can ever read 74-945-T as a compound expression. 15) Among his contemporaries, not so quite laudable, he had an outstanding character. 16) The author of this work namely Ecata is a pupil of Tattvacarya; he composed the HOT after having had a vision of and inspiration from hrI devI; and he was known as dAkSiNyacihna. 17) After giving his descent in the ascetic hierarchy (harigupta >devagupta >zivacandra>yakSadatta>nAga-vRnda-mammaTa-durga-agnizamana and vaTezvara>tattvAcArya>uddyotana i.e., 14 ), he now gives some details about his instructors or teachers in different branches of learning. Acarya Virabhadra (asthavarah kalpavrksah) was his Guru who taught him Siddhanta and Haribhadra, a prodigy of manifold learning, taught him Yuktisastra or pramana-nyaya (P reads TATUTTGU). 19) After giving his ascetic and tutorial parentage or ancestors, Uddyotana gives his natural parents. In the town of Mahadvara, there was a dutiful Ksatriya, Uddyotana by name. This line is found only in J. FT for TAT is a misprint in f. n. 19. 20) Samprati also can be taken as a proper name; in that case Vatesvara is the popular (and alternative) name. P calls him 16T. In case samprati is not a proper name, the implication would be that Vatesvara is a recent, if not contemporary, ruler. Our Uddyotana, the author of Kuvalayamala, is the son of Vatesvara. So his natural parentage is of a Ksatriya ruling family: Uddyotana > Samprati alias Vatesvara > Uddyotana. He had the name of his grand-father, not in any way unusual. Vatesvara happens to be the name of his father as well as of his grand (ascetic) teacher. 21) The author mentions here the place where this work was composed. Javaliura or Jalor was rich in temples and Sravakas or Jaina laymen. It is there that Virabhadra (possibly the same as one, noted above, from whom the author received lessons in Siddhanta) got constructed a lofty temple dedicated to Rsabha-Jinendra. While staying in that temple, Uddyotansuri composed this work and completed it on the 14th day of Caitra Krsnapaksa. So far as P is concerned, the matter continues very well with line 5 on the next page. In Sain. 915, i.e., A.D. 858, just after 80 years after the completion of the Kuvalayamala, Jayasimhasuri composed his Dharmopadesamala-vivarana (Singhi Jain Series, No. 28, Bombay 1949, pp. 228 f.) at Nagaur (possibly then included in Gujjaratta, or Gujarat) during the reign of Bhojadeva (to be identified with Mihira Bhoja, c. 840-90, whose dominions included the Cis-Sutlaj districts of the Punjab, most of Rajputana, the greater part, if not the whole, of the present United Provinces of Agra and Oudh and the Gwalior territory', see V. A. SMITH, The Early History of India, 4th ed., p. 393). He gives the genealogy of his ascetic predecessors. Devavacaka was succeeded by many teachers (suri); then comes Vadasara (= Vatesvara), styled Ksamasramana; his pupil was Tattvacarya (who was suprasiddha); he was followed by Yaksamahattara, Krsnamuni etc. These names remind us of Devagupta, Vatesvara and Tattvacarya mentioned by Uddyotana. It is not unlikely that they are identical. According to P Vatesvara was styled Ksamasramana. Page 283-lines: 1) Lines 1-4 are found only in J: obviously they are an addition in the revised draft, supplemeniing a few new facts and ideas. When this work was completed at Jalor, Sri-Vatsa-raja was the contemporary (jaiya) king; he is called rana-hattha. Dr. DASHARATH SHARMA in his address at the History Congress mentions that Vatsaraja's coins are available. (Singhi Jain Garat) during the reign Sutla districts of the Punya and Oudh an V. A. SMITH's. Devavacaramana; himuni etc.

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*160 KUVALAYAMALA In this address he puts together some details from the Kuvalayamala. Jalor was possibly within his jurisdiction. 4) Uddyotana calls himself Acarya here; and tells us that he was a limb of or belonged to Candrakula. 6) Earlier only Caitra-kssna-caturdasi was mentioned; here more details are given. It was completed (the reading of P is more explicit) in the afternoon, when one day was less for the Saka era to reach seven hundred. The year ends with Caitra-kronaamavasya. This last day but one of the Saka year 700, according to JACOBI, corresponds to the 21st March 779 A.D. He has an important note thus explaining te TAFT fuga . i.e. Caitra ba-di 14 "This date is interesting from the point of view of the Calendar. As the Caitradiyear invariably begins with the suklapaksa of Caitra, the date in question would seem to be recorded according to the purnimanta scheme in which the dark fortnight precedes the bright one. But as KIELHORN (Ind. Ant. 1896, p. 271 f.) has shown from dates in inscriptions that in connexion with Saka years almost always amanta months are used, the prima facie interpretation of our date becomes extremely doubtful. In the year under consideration, however, there was an adhika Caitra which precedes the nija month; therefore, in this adhika Caitra ba-di 14 is the last day but one of the preceding year, if the year began with nija Caitra, as it ought to do, since the new moon initiating true Caitra immediately preceded Mesasamkranti. I, therefore, believe that SWAMIKANNU PILLAI's assertion (Indian Ephemeris vol. I, part I, p. 65), 'when there is an adhika Caitra, that begins the year', applies only to modern usage (Samaraiccakaha Intro., p.fi, Calcutta 1926). 9) This section presents what is called Pravacanamangala. Such a mangala comes at the beginning and at the close of a discourse or treatise. It consists of salutations to all the worthy ones and to all those who deserve reverence and recollection of whom develops an auspious mood (in the individual) as well as atmosphere (round about). What J presents is a different draft of the Mangala from that in P, though some of the contents are common; and these contents go back to ancient Mangala-sutras. Some forty four of them are a part of the Mangala salutation at the beginning of the Vedanakhanda (Satkhandagama, Khanda 4, Bhaga 1, Book 9, pp. 2 f.; see also the editorial observations in the Visaya-paricaya, and Book 1 Prastavana p. 29 f.). The Dhavala com. on this section explains fully all those expressions which are common to these Mangala salutations. The references to various for and foets are interesting. 16) Perhaps for it. 43) It may be noted that the Mangala in P refers to the Siddhayatanas in the Sammedasaila. 44) The two Mangala passages drafted independently and added in Mss. P and J, using the same basic traditional material, might have been put at the end of the Mss. when they were completed and consecrated. fofo faifo 39f5971 is a better reading found elsewhere in the H. T: TEFU. Page 284-lines: 5) The expression faefas fefesy 4879771 is a bit elusive; the term fefofefosdevIo is in plural: if it does not refer to zrI (sirI> silI >hilI in popular Apabh.) and hrI-devIs. it has in view some local tutelary deities invoked in Tantric rituals. See the formulas in the HERTTEFT. Muni Shri PUNYAVIJAYAJI kindly showed me an advance copy of what is called pavayaNamaMgalasArathayaM printed in the mantrarAjarahasya of siMhatilakasUri (in the Singhi Jaina Series). Some of the prose passages in this Collection have close correspondence with the matter in our paragraph 431. There are some significant various readings which need careful study. 7) The concluding verse clearly indicates that a Mangala of this type is to be recited every day. 8) This seems to be the aurhor's approximate calculation recorded in the draft included in the Ms. P. Even after this calculation noted in the body of the text, it is interesting to observe that the Granthagra noted by the copyist of the Ms. P is only 10,000. The subsequent reference to Uddyotana possibly belongs to the copyist. 11) Why it is a falu , see ante p. 4, line 16. 16) The Ms. J plainly mentions the date when it was completed. It is Samvat 1139, Phalguna Vadi 1, Sunday.

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Concordance of the Printed Text with the Mss. J & P In the first column, the No. of the page of the printed text of the Prakrit Kuvalayamala is noted; then in the next column it is indicated where that page begins and ends in the Ms. J (leaf No., a or b, line and column); and in the last column, it is shown where that page begins and ends in the Ms. P (Page No., a or b, and line). This Table will enable the critical reader to spot the context of the printed text in the Mss. either J or P. P Printed To Page NO. From Line From Page Line Page Col. Page Line Col. Page Line 1b 8a 22 86 96 10a lla 116 126 13a 86 96 10a lla 116 126 13a 14a 14a 9b 10a 146 156 16a 17a 146 156 16a 17a 18a 186 96 10a 105 11a 10b 11a 18a 115 11b 12a 196 20a 12a 186 196 20a 21a 216 210 12b 126 13a 136 216 22b 236 13a 13b 14a 14b 22b 23b 14a 24a 15a 240 25a 145 15a 156 155 25a 26a 27a 16a 262 16a 16b 27a 17a 276 285 276 28b 29a 16b 17a 176 29a 18a 185 30a 306 316 326 336 30a 31a 315 326 176 18a 186 19a 196 20a 206 19a 195 20a 11 11 3 1 2

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*162 KUVALAYAMALA Printed Page No. From Line To Line From Page Line To Page Line Page Page Col. 12 34a 35a 36a 206 21a 33b 34a 35a 36a 21a 21b 11 12 12 11 216 22a 36b 22a 10 36b 10 375 37b 38b 39a 10 22 23a 236 24a 24b 226 23a 23b 24a 246 386 10 400 39a 40a 41a 41a 25a 42a 426 25a 25b 26a 25b 12 42a 42b 43b 436 260 26b 446 12 27a 276 446 36b 27a 276 456 460 45b 460 47a 28a 28a 286 29a 286 29a 296 47a 48a 49a 50a 506 516 526 53a 14 13 13 30a 48a 49a 50a 506 516 526 53a 54a 55a 296 30a 30b 3la 316 32a 30b 31a 316 32a 54a 13 326 326 33a 33b 560 34a 35a 56b 57b 356 36a 586 33a 33b 34a 35a 356 36a 36b 37a 376 38a 36b 55a 56a 565 576 586 59b 60a 6la 62a 63a 64a 646 65b 666 67a 68a 69a 59b 60a 61a 62a 63a 64a 37a 375 38a 38b 385 39a 646 39a 39b 40a 405 656 666 67a 68a 41a 395 40a 405 41a 416 42a 426 69a 70a 70a 71a 716 72a 71a 716 72a 73a 416 42a 426 43a 435 44a 44b 45a 43a 6 43b 73a 740 52 74a 75a 76a 44a 44b 45a 75a 3 456

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CONCORDANCE ETC. *163 Printed Page No. From Line To Line From Page Line To Page Page Col. Page Col. Line 76a 77a 2 46a 77a 456 46a 466 47a 776 786 796 476 48a 486 46b 47a 47b 48a 486 49a 49b 50a 506 51a 516 52a 99 776 786 796 80b 8la 82a 83a 84a 85a 86a 86b 875 88b 896 90b 49a 85a 495 50a 50b 51a 516 52a 86b 52b 88b 895 91b 52b 53a 536 54a 546 925 936 111 53a 536 54a 546 55a 556 56a 56b 57a 576 55a 556 95 56b 56b 57a 98a 57b 58a 58a 586 80b 81a 82a 100 83a 101 84a 102 103 86a 104 105 876 106 107 108 906 109 91b 110 925 936 112 94b 113 114 966 115 97b 116 117 99a 100a 119 101a 120 102a 121 103a 122 104a 123 1045 124 105b 125 106b 1076 127 1085 128 1096 129 110a 130 11la 131 112a 113a 133 114a 1146 1156 116b 1170 1381185 139 1195 140 120a 118 59a 595 60a 606 61a 585 59a 59b 60a 60b 61a 61b 62a 62b 63a 61b 94b 950 96b 97b 98a 99a 100a 101a 102a 103a 1040 1045 105b 106b 107b 1086 1095 110a 11la 112a 113a 114a 114b 1156 116b 1176 118b 1196 120a 121a 126 636 62a 62b 63a 636 64a 646 65a 65b 64a 132 64b 65a 65b 66a 666 66a 134 35 67a 136 676 66b 67a 67b 68 68b 69a 137 68a 686 69a 696 696 7 6 3 - 70a

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*164 KUVALAYAMALA To Printed Page No. From From Line Page Col. Page Line Col. To Page Line 70a 70b 70b 141 142 143 144 145 3 2 2 17 71a 71a 710 716 17 72a 710 715 72a 72b 17 17 146 17 72b 147 73b 148 122a 123a 123b 1246 1256 126b 1276 128b 129b 130a 131a 132a 1326 1335 134b 736 736 74a 149 150 151 73b 74a 750 75a 756 152 75b 76a 76b 76a 766 153 154 155 156 77a 77a 776 135a 78a 157 786 158 159 2 160 79a 795 795 80a 806 16 776 78a 786 79a 79b 796 80a 806 8la 816 82a 825 83a 81a 81b 121a 122a 123a 1235 1245 1255 126b 1275 1286 1296 130a 131a 132a 1326 1335 1345 135a 136b 137a 138a 139a 140a 1405 1415 1426 143b 144b 145b 146b 1476 148b 1496 1506 151a 152a 1525 153a 1540 155a 1555 1565 157b 1586 159b 160a 161a 162a 163a 164a 82a 826 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 83a 83b 84a 836 1365 137a 138a 139a 140a 1405 1415 1425 1435 1446 145b 1465 1476 1486 1496 150b 151a 152a 1526 153a 154a 155a 1556 1565 157b 1585 1595 84a 846 85a 845 85a 856 856 86a 86a 86a 860 866 866 87a 876 178 179 882 886 180 181 182 87a 875 88a 88b 89a 896 90a 906 91a 183 184 89a 896 90a 905 91a 915 160a 185 33 186 187 161a 162a 163a 164a 165a 916 92a 13 4 1 13 92a 188 189 926 4 92b 926

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*166 . KUYALAYAMALA R To Printed Page No. From Line To Line From Page Line Page Col. Page Col. Page Line 239 240 241 242 243 244 212a 213a 214a 215a 216a 217a 218a 219a 220a 221a 115a 1156 116a 116b 117a 1175 118a 118b 119a 1195 1196 120a 245 246 247 248 222a 249 250 11 251 252 253 10 8 6 254 255 256 257 258 259 11 260 261 262 263 264 265 266 213a 214a 215a 2160 217a 218a 219a 220a 22la 222a 2225 2236 2246 2256 226b 2276 2286 229a 230a 231a 2326 2336 2345 235a 2355 2365 2375 238a 239a 240a 241a 242a 243a 244a 2445 246a 2466 248a 249a 250a 2506 252a 2525 2536 254a 12 222b 2236 2246 2256 226b 2276 2286 229a 230a 231a 2326 2336 2346 235a 2356 2366 2376 238a 239a 240a 241a 242a 243a 244a 2446 246a 246b 248a 249a 250a 2506 252a 2526 2535 aArawnNaNaN-W NWN ANNANNNNADA-WWNWWW AwuwWANA 267 115b 116a 116b 117a 1176 118a 1186 119a 1196 1195 120a 120a 1206 121a 121b 122a 122b 122b 123a 123b 124a 1246 125a 1256 125b 126a 126b 1266 127a 1276 128a 1286 129a 1295 130a 1305 13la 13la 1315 132a 1325 133a 133a 1331 133b 1206 12la 1216 122a 122b 122b 123a 123b 124a 1246 125a 1256 1256 126a 126b 126b 127a 127b 128a 128b 129a 1295 130a 130b 131a 131a 131b 132a 132b 133a 133a 133b 268 16 13 269 270 271 272 273 274 275 276 277 278 15 13 279 12 13 280 281 282 283-4 4 16 8 18

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INDEX (of Names and Subjects occurring in the Introduction, A cultural Note and Notes) Abhayya, 68. Abhidhana-cintamani, 116. Abhimananka, a title, 76, 102. Abu, 101. Abul Fasal, 117. Acesines, river, 100. Addanaka-desa, 106. Adhikaksara (metre), 85. Adinatha, 40, 103. Adipurana (of Pampa), 110. Adiovara, 101. Aditya, 129. Aditya-vamsa, 43. Adityayasas, 43. Advaita, 52, 70. African origin of ivory, 118. Agni, 129. Agnihotra, 128. Agnisarman, 89; also an ancestor of the author, 97. AGRAWALA V. S., 113. Ajada, *125. Ain Akbari, 117. Ajanta, 121, 125, 129. Ajayavarman, king, 107. Ajivaka sect, 128. Akalanka, 78. Akasavapra, 97; its identification, 101. Akbar, 102, 117. Akhyanamanikosa, 95, *137. Aksaya-vata, 116. Alaka, 103. Alauddin Khilji, 104, 117. Alchemical experiment, 32 (described 69.24-28). Amaragupta, 90. Amarakosa, 125. Amargadh, 102. Amatya Santi, 101. Ambarakotta, 102. Amber, 102. Amitagati, 91. Amradeva, 95-6, 109-10. Amstadhvani, a metrical type, 125. Anahaka, 90. Anahilapataka, 101. Anandamandira, 55. Anandapura, 101. Ananga, a prince, 54, 61, 112. Anatha-mandapa, 116. Andhra, 84, 124. Anekanta, 45, 124. Angas (enumerated), 27, *133. Anger, see Krodha. Antaraveda, 83,-vedi, 124. Anupreksa, 54, 68, *153. Anustubh (metre), 85. Anuyogad vara, *125, *130. Apabhramsa, 12, 16-7, 20, 22, 25, 32 (described 73.5-7), 77-9 (passages here), 91-3, 120. Aparavideha, 44, 56 (details 243.13-22), 67, 69, 112. Apana-bhumi, 73. Aradhana, 69 (for details 269.23 f.). Aradhana-kathakosa, 95. Aranyaka-parvan, 129. Ardhamagadhi, 14, 81. Arsa Prakrta, 14. Arthasastra, 76, 116-7. Arunabha, 55, 66, Aryagandavyuha etc. 7. Asada, 81, *125. Asikni, 100. Askalanda, 100. Asrama, 42, 121. Astapada, 98, 102-3. Astasahasrika-prajna paramita, 7. Asthana, 77, 127. Astrologer, 25. Asvapati, 79. Asvasastra, 72, 111. Atisaya, *132. Attendants (in heaven), 37 (described 93.14-8). Audience, private and public, 115. Aurangzeb, 104. Auspicious day for Travel, 32 (described 67.1-7). Autumn, 28 (described 46.5-8). Avahatta, 114. Avalambaka (metre), 85. Avanti, 55, 66, 79, 105, 107-8; -janapada, 29 (described 50.3-7), 74. Avanti-bhubhit, -raja or -natha, 105. Avantivardhana, 29, 74, 112. Avaskandhaka (metre), 85, *135.

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168 Ayodhya, 39, 43-4, 47, 49, 51 (described 199.27-30), 52-3, 62-4, 74. 76, 108, 125, 127. Ayodhya-kanda, 122. Ayuhsastra, 40. Badnawar, 106-7. BAGCHI P.C., 106. Bahubali, 43. Bahu-parigha, 44, 95. Baladevotsava, 73. Balavabodhini-vrtti, 109. Baluchistan, 121. Bana, 76, 84, 87, 113, 115-8, 121, 123, 125, 128, 126, 129. Banavasi, 75. Bandika, *126. Barabaricum, 118-9. Barahavani (gold), 114. Barayauri-Parapuri-Dvarakapuri, 95. Barbara, 72, 77, 84, 114. Baruza, 106. Bathing pool (in heaven), 37 (described 94.15-32); Bauddha, 45. Baurah, 106. BECHARDASAJI, 104. Benaras, professions in, 72. Bed chamber, various equipments of, 121. Bengal, Kapalika Dharma in, 128. Bhaddasetthi, 95, 118. Bhadra, 90. Bhadrasana-kanya, 122. Bhadrasarma, 28, 60. Bhadrasresthin, 32, 64-5. Bhadresvara, 71. Bhagavati Aradhana, *136. Bhagavati-vrtti, 2. Bhagavad-gita, 71, 76. Bhakti (cult), 70. Bhairava Bhattaraka, 116. Bhamaha, 84. BHANDARKAR R.G., 75. Bhanu, autobiography of, 49, 50. Bhanumati, 47, 64. Bharanda, 32, 120. Bharata, 14, 43, 70, 77. KUVALAYAMALA Bharata, 71, 76, 110, 114, *126. Bharata Kaumudi, 81. Bharata-ksetra, 56, 69. Bharata-putra, 123. Bharata-sastra, 77. Bharata-varsa, 23, 31, 74. Bharatiya Vidya, 100. Bharu(a)nda (bird), 65, 120, *138. BHATTA HARIHARA, 108. Bhavabhuti, 123, 128. Bhavacakra, wheel of Samsara, 125. Bhavana, *152. Bhavya, 67-8. Bhikkhu of the Pamdara category, 128. Bhilla, 43-5, 62, 72, 75, 88, 114, 124; -pati 43, 112. Bhilla camp, 43 (described 135.10 f). Bhillamala, also -acarya, -kula, 101-2; -nagara, 97. Bhilmal, 101, 108. Bhinmala, 101, 102, 104-5. Bhinnamala, 101; -gaccha 101. Bhogavati, 48, 94. Bhoja, 4, 81, 91, *125. BHOJAKA A., *125. Bhokas, 114. Bhrgu, 41. Bhrgukaccha, 37, 41-2, 53, 62, 74, 93, 123. Bhrgupatana (doctrine), 128. Bhujanga (metre), 85. Bhuja-parigha (see Bahu-), 44. Bhujaphalika, 95. Bhurja-leaf, 47, 72. Bhuta, 41, 70. Bias (river), 101. Bink-Vinita, 108. Birth-festivities, 25 (described 18.11-31.) Black Magic, 124. BLOCHMAN, 117. Bokkasa, 114, Brahmagupta, 101. Brahmana, 29, 70-2, 120; -sala, 121. Brahmi, 51 (Ms. contents described SS320), 72, 105. Brhaspati, 74. Brhat-gaccha, 108. Brhatkatha, 76, 81, 84, 114, *125. Brhatkathakosa, 105-6, 108. Brhatkatha-slokasamgraha, 120. Brhattippanika, 19. Brja-bhasa, 114. Buddha, 71, 120, 125; -vihara, 121. Buddhisagara, 104. Buddhism, 70-1, 124-5. Buddhist, 78, 83, 125; -Stupa, 122. Buddhasvami, 120. Budhpur, 100. BUHLER G., 4-6, 106. Butea frondosa, 118. Byzantium, 75.

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Cacigadeva, 101. Cakkalaya (metre), *127. Cakravartin, 43. Camara (native of the east), 72. Camcala (horse), 116. Camp, 51 (described 198.7 f). Campa, town, 3 6-9, 50, 58, 61, 65, 74, 123, 127. Campakamala, 57, 65. Campavati, 57. Campu, 84, 92, 94-5, 110, 113. Canakya, 117; -sastra, 76. Candala-Kanyaka, 87. Candana, 104; -vihara, 103. Candasoma, biography of, 28-9, 35-9, 58-59, 60-61 (biography outlined), 62, 67, 72, 74. Candika, 120. Candra, 129. Candrabhaga (river), 74, 97, 100. Candradvipa, 38 (described 106.21 f.), 65. Candra-gaccha, 96. Candragati, 88. Candragupta, 57, 70. Candrakula, 98, 108. Candrapida, 116. Candraprabha, *125. Candra-prajnapati, 2. Candrasara, 90. Capavamsa, 101. Carana-sramana, 34, 70, 120, *139. Caravan of traders, 43 (described 134.32-135.3), 124. Carcari (metre), 85. Carcarika, 78. Carcika, 121. Caru (metre), 85. Carvaka, 71, 124. Caturvadana, 74. Caturvarnya-dharma, 70. Cavada, 101. Ceylon, 81. Chacha (e) r(a), 100. Chachpur, 100. Chalukya, 91. Chambal (river), 100. Chandahkosa, *127. Chandonusasana, *127. CHANDRA P. 7. CHANDRA K.R., 87. Chappannaya, 36, 76, 114, *126, *147. CHATTERJI S.K., *128. CHATURAVIJAYA, 18. Chedasutra, 14. China, 118-19. INDEX Chinab, 100. Chinese silk, 119. Chitor, 103. Chittaka (metre), 85. CHOUDHARI G.C., 107. CHOUDHARY R.K., 98.. Cina. 73. Cinamsuka, 118. Cintamani, 44, 62, 72; -palli, 53. Citra, 38. Citrapata, 127-28. Citrasutra, 128. Cittacala (horse), 116.. Coins, 115. Cold season, 48 (described 169.12-170.4). Couch (from Dvaraka), 72. Courtezans, 35 (their behaviour described SSSS 157-58; constrasted with monks SS 160). Culika Paisaci, 77, 81. Dacca, 124. Daksina-madhyama-khanda, 74. Daksinapatha, 30-1, 72, 74. Daksinyacandra, 109. Daksinya-cihna, 23, 87, 92, 97, 99 (also daksina-, -munipa), 102. DALAL C.D., 2, 19, 96. Dandaka (metre), 85, 88, *127, *129. Dandin, 114, 116. Danta-vina. 89. Dappaphaliha, 95. Darpaparigha, 44-45 (autobiography), 53, 62-3, 95. Darsana (school of philosophy, some enumerated), 45. Darware Am and Khasa, 115. DASA H., 14. 169 Dasavaikalika-curni, *125. Dasavaikalika-niryukti, *128. Dawn, 36 (described 91.9-13). Death, 44, 59 (varieties SS 416), 69, 90. Debal, 100. Devacandra, 18-9. Deccan, 113. Deceit, see Maya. Desabhasa, 21, 50, 74. DESAI M.D., 96. DESAI RATIBHAI, 101. Desa (two divisions), 74; -bhasa 77, also 83 (eighteen in number). Desi, 80, 83, 86, 91; -bhasa, 20, 60, 77, 84, 110, 111, 124 (enumerated). Desinamamala, 121.

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170 KUVALAYAMALA Deva, 128. Devabhadrasuri, 101. Devacandra, 91. Devadusya, 122. Devagupta, 76, 91, 99, 100, 114, *125. Devakumara, 127. Devendra, 109. Devi, 50, 127; -vimana (described), 212. DEY N.L., 100. Dhakka, 83. Dhammillahimdi, 77. Dhanadatta, 38-9, 50, 62, 65. Dhanadeva, 31, 64, 90. Dhanamitra, 50. Dhanapala, *125. Dhanavati, 43, 62. Dhandhuka, 106. Dhanesvara, 15. Dhanvantari, 74. Dharanendra, 42. Dharani-varaha. 106. Dharma, fourfold 22-3, 26-7, 44, 47, 51, 52 (types of Dharma described), 53-54, 58, 62-3, 67-9, 71, 89, 94, 117, 122, 128, *149; -dhyana, 122; -Jinendra 37; -katha (four varieties), 22-3, 60, 67-69, 76, 86, 88-9, 91-2, 109-10; -labha, 27-8, 49, 69; -four steps of, 30. Dharmanandana, his discourse 27 f.(described $73), 28-9, 31, 33, 35-6, 60, 62, 64-7, 88. Dharmanatha, Samavasarana of 37, 64, 67. Dharmapariksa, 91. Dharmaruci, 42. Dharmasena, 88. Dharmika Matha, 121. Dharmopadesamala-vivarana, 96; -vrtti 96. Dharmottara, 19. Dhatuvada, 71, 112, 124, 127. Dhatvadesas, 80. Dhatuvadin, 51, 127; see Alchemist. Dhavala, *126. Dhavala, *133. Dholka, 106. Dhruva (king), 105. Dhuvaya (metre), 85. Dhyana, 44, 71. Die Nonne etc., 86. Dietectic rules, 40 (described 114.22-8). Diggajendra, 56. Dignitary, 68. Diksa, 29, 31, 34-36, described 44, 59, 62-7, 90. Dilipa, 70. Dipavali, 73. Divakaramitra, 121. Divyavadana, 125. Doha-chanda, 117. Dohaka (metre), 85. Dohdahi, 114. Doshi, B., 3. Dostatika, 107. Dotariya, 107. Dowson, 100. Dramga, 82; -Svamin 82. Dranga, 117. Dravidas, 28, 74. Dravya, 69. Dravyapariksa, 114. Diohavarman, 23 (described SS 18), getting a boon from Kuladevata 24, 39, 43-46, 49, 51-3, 62-4, 70, 74, 77. Drinks, 25 (described 20.28 f.). Dronaka, 90. Drona-parvan, 122. Dratanta, 89. Durbar, 112, 115. Durga (Teacher), 97. Durga, 70, 129. Durgasvami, 101. Durjana, discourse on 23, 79, 94; -ninda, 114, *129. Duvalaya (metre), *127. Dvaraka, 72, 74; -puri, 95. Dvaravati, 118. Dvipadi (metre), 40, 85, 89, 117; -khanda, 78. Dvipathaka (metre), 85. Early History of India, 98. Eastern India, 113. Educational Institute, 124. Education of prince, 116. Eka-dandin, 42. Elephant-keeper, 46 (described 154.11-3). ELIOT, 100-1. Ellora, 126, 129. Enika, biography of 41-3, 46, 62. Evening, 29 (described 52.27-30); darkness (described 73.16-:8). Fabrics, 115. Famine, 40 (described 117.13-21). Fatalism, 71. Festive talks, 25 (described SS 44). Fighting (with missiles) 43 (described 136.15-27). FLEET J.F., 4.

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Forest-park, 27 (described 33.5-13); (thick one, described 60.15-24; 70.16-18). Funeral pyre, 28 (described SS 93). Gaccha, 70, 108. Gajasimha, 104. Galitaka (metre), 85. Gana, 120; -adhipa, 70, 129; -dhara, 122. Ganaratnamahodadhi, 6. Gandavyuha, 7. Gandha, 72. Gandharva, 41, 70, 129. GANDHI L.B., 2, 19-21, 81, 96, 101. Ganesa, 129. Ganga, 23, 72, 74, 82; -dvara, 71: -samgama, 116. Gangaditya, 30, 64. Gangapatta, 118. Ganges, 28, 30-2, 61, 64-5, 70, 124. Garden, 48, (described 166.16-19). Garudavahana, 26. Gatha, 46, 78, 85, 89-91, 110, 125. Gathakosa, 76. Gati, four in number 50 (in details), 54, *153. Gauda, 105. Gautama, 54-9. Gayatri-japa, 71, *139, *141. GHATAGE A.M., 20. Ghatayala, 15. Gheria, 75. Gita, 71, 76. Giti (Gitika, metres), 85, *125. God, 58 (types described), 68, *155. Godlings (enumerated), 129. Godavari, 124. Gold, 114, -preparation of 120, 129. Golla, 83. INDEX Gomedha, 128. Gopala, 105. Gosvami Tulasidasa, 114. Govinda, 58, 70, 129. Graha, 129. Grama-mahattara, 81-2; -nati, 79. Greed, see Lobha. Greek, 75, 100. Ground (below, described 27.7-9). Guggula, 70; -jvalana, 128. Gujarat, 91, 98, 101, 117, 124. Gulika-Vidyadhara, 121. Gulma-sthana, 117. Gunacandra, *125. Gunadhya, 76, 81, 114, *125. Gunapala, 109, *125, *127, *129. Gunasena, 89. Gupta, 20, 76, 118; -period 120-1, 124; -vamsa, 97-8, 100. GUPTA P.L., 105. Gupti, 58. Gurjara, 30 (wayfarer, 59.3), 80, 82-3, 97, 117, *144; -Pratihara, 79, 113. Guru, 76, 85, 88; -bhrata, 109. Gwalior, 100. Haddala (grant), 106-7. Hala, 76, 114, *125. Halika, *125. 171 HAMILTAN A., 75. Hamsa (horse, 116). Hamsagamana (horse), 116. Hamsa (designs with), 125. HANDIQUI K.K., 110, *129. Haradatta, 28. Haradvara, 102. Haribhadra, 13, 18-20, 76, 84, 88-9, 91, 96, 98, 109-10, 114, 116, 126. Haridatta, 33. Harigupta, 97-100. Harinikula (metre), 85, *129. Harisena, 91, 106-8. Harivarsa, 76, also *126. Harivamsa, 99, 105, also *126. Harivamsuppatti, 76, also *126. Harsa, 36. Harsacarita, 113, 117, 119, 121, 123, 125, 128-9. Hastinapura, 58. Hayana (horse), 116. Heavens (limitations of, described SSSS 83-4). HEBER, 102. Hell, 28 (tortures described SS 75-8), 68 (tortures etc.) *134. Hemacandra, 12, 14, 20, 79-82, 116, *127. Hemanta, 88. HEMASAGARASURI, 101, *126. HERTEL, 78. Heyopadeyavrtti, 7. Himalaya, 121. Himsa, 28 (sufferings from, described 35.24 36.6), 53, 68 types etc.. Hindi, 113. Hindu Period, 129. Hingulas, 121. HIRALAL, *126. Holy platforms of Yaksa etc., 121. Horse, 26, (eighteen breeds 23.22-24.9); 29 (March described 24.19 f.)-traders 116, *131.

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172 Hri-devata, 23, 92. Hri-devi, 60, 97-8, 110. Human birth, 28 (sufferings described SS 81-82), 35 (rarity of, described SS 165); its objectives, 22, 68. Huna, 98. Huna (horse), 116. HUNTER W.W., 102. Ikshvaku, 43, 124, 128. India, 71, 98. Indian Linguistics, 77. Indivara, 53. Indo-Aryan, 84, 95. Indra, 37, 43, 70, 127, 129. Indramaha, 73. Indrasana, 115. Indravajra (metre), 85. Indrayudha, 105-6. Indriyas, 69. Indus, 100. Infatuation, see Moha. Isvara, 24, 26, 70-1, 128. Jabalipura, 20, 98, 102. JACOBI H., 14, 19-20, 87, 89; 91, 96, 108-9. JACQUEMENT, 102. Jadila, 76, 88, *126. Jadiya, 76, 88. Jahangir, 104. Jaina, 125. Jaina, 104. Jaina Granthavali, 19. JAINA H.L., 106-8, *128. JAINA J.P., 100. JAINA K.C., 104. Jaina monk, 69, his Asrama, 121. Jaina Sahitya aura Itihasa, 91. Jaina Sahitya Samsodhaka, 86. Jaina Sahityano S.I., 96 Jainism, 67, -doctrines of, elaborated 68 f., 70-1, 91, 98. Jaina Sasana, 125. Jaina Siddhanta Bhaskara, 99. Jaina-tirtha-sarva-samgraha, 104. KUVALAYAMALA Jaipur, 102. Jajju, 101. Jalor, 101-5, 108. Jambhattika (metre), 85. Jambudvipa, 23, 31, 74. Jambucariya, *125, *127, *129. JAMES W., 75. Janaka, 88. Jankan, 100. Jasa, 86. Jata-Simhanandi, 88. Jatila, 88, 126. Java, 118. Jayamala-ji, 104. Jayanta, 49. Jayantasimha, 101. Jayanti, 49; 75-6. Jayantipura, 75. Jayarama, 91. Jayavarana, 73. Jayavarman, 34, 73. Jayasi, 119-20. Jayasri, 38, 65, 75, 123. Jayatunga, 39, 75. Jaya Varaha, 105-7. Jayavarana, 73. Jayavarma-deva, 107, Jayavarman, 33, 66. Jesalmere, 96. Jhelum, 100. Jina, 22, 31, 35, 37, (images of precious stones described 95.6-10), 39-43, 45, 71, 97, 101, 125; -grha 121; -natha 125; -temples 98. Jinabhadragani, 6. Jinadasagani-mahattara, 101, *125. Jinadattasuri, 20. Jinaratnakosa, 96. Jinasasana, 78. Jinasekhara, 41, 62; see also Ratnasekhara. Jinasena, 91, 105-7, also *126. JINAVIJAYAJI, 2, 19-21, 99-101. Jinendra, 22, 125. Jitari, 36. Jiva, 37, 44, 52, 59, 68 (relation with Karman), 76. Jnana, 30, 39, 53, 55, 59, 69, 122. Jnanamarga, 71. Jnanavaraniya, 68-9. Jnanesvari, 114. Jodhpur, 102, 104. Jonipahuda, 27, 51, 71, 76, *133, *148-9. Journal of Numismatic Society, 114. Journal of the O.I. 81. Jugasamila, 52, 111. Jyotirisvara Thakkura, 119. Jyotisa, 124. Jyotiska, 42. Kadamba, 75.

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Kadambari, 76, 84, 87, 114-16, 123, 125. *126, *129. Kailasa, 98;-temple, 126. Kakandi, 53, 56, 65, 128. Kakkasa (horse), 116. Kakkola, 121. Kakkuka, 15. Kala, 25 (seventy-two, 22.1-10), 46, 71, 86, 94, 116, *131. Kala, 69;-bhavya, 35, 68. Kalaya (horse), 116. Kalhana, 117. Kalidasa, 103, 114, 118 KALYANAVIJAYA, 102, 104. Kama, 22, 27, 67, 117. Kamagajendra, 55-6, 58, 60, 66-7, 112. Kamakatha, 22. Kamalasana, 76. Kamasastra, 77, *139. Kamini, 73;-sartha 112. Kanakaprabha, her gift of medical coil 40 f., 41, 62, 88. Kanakasila (writing on), 128. Kanauj, 105. Kancanaratha, 63. Kanci, 28, 60, 84;-puri 43, 62, 124 Kankali Tila, 122. Kannujja, 124. KANTIVIJAYAJI, 18. Kapalika, 71, 117, 121, 124, 128-9. Kapila. 23. Kappadiya, 116. Karma, 29, 31, 37, 39, 44-5, 49, 56 (details SS 371), 67-9, 86, 89, 97, *154. Karna-japa, 69. Karnata, 74. Karnataka, 83, 124. INDEX Karoba, 75. Karpura (metre), *127. Karttikeya, 121, (Visakhila, *130) Karuna-dharma, 71. Kasaya, 28 (four plus one types and four grades of each one, 44.17-45.37; 81.4-82.7), a discourse on 35, 68, 94. Kasi, 30, (described 56.21-25), 74, 79, 116. Katha, 84;-Types of, 22f., 87, *125; -sahitya 114;-sarira, 23;-vastu, 89, *129. Kathiawar, 106. Katisutra, 128. Katyayani, 24, 70, 87, 112. Kaumbari, (fruits, and Parable), 35. Kaumudi Mahotsava, 123. Kausambi, 27 (described SS 68), 30, 61, 74, 93. Kautilya, 76, 116-7. Kavidarpana; *127. Kavya-mimamsa, 18, 114. Kavyadarsa, *127. Kavyanusasana, *127. Kayaha (horse), 116. Kayandra, 101. Kayotsarga, 43, 62. KEITH A. B., 110, *125. Kerala, 119. Kevala-jnana, 41. Kevalin, 23, 38, 41-2, 62, 90. Khadga-ratna, 57;-vidyadhara 121. Khamda, 129. Khanda-katha, 22, also 114. Kandilla-gaccha, 108. Kharepatan, 75. Khasa, 77, 84, 114, 124. Khasa (horse), 116. Kimnara, 41, 55, 70. Kimpurusa, 41, 70, 129. Kira, 83, 124. Kirata, 114. Kirtipala, 104. Knowledge, branches of 25 (enumerated 16.25f.); fourfold, 27. Konkan, 75. Kopagrha, 24, also 115. Kosa, 76, 114. Kosala (king and town, described 72.3473.34), 33, 37, 65, 72, 74, 79, 84, 118, 124. Kosamba, 54. Kosambi, 116. Kotadvara, 102. KOTHARI M. G., 107. Kotta, 121. Kottajja (Durga), 71, *139;-ghara, 121. Kottal Garh, 121. 173 Kottavai, 121. Kottavi, 121. Kotyacarya, 6. Kouhala, *128. Kramadisvara, 79. Krishna, 105. Krishna (river), 125. Krodha, 27, illustrated by the biography of Candasoma 28, 35, 60, 68, 89. Krsna, 107. Ksapakasreni, 59, 64, 69 (for details, 279.26 f.). Ksatrabhatah, 95. Ksatriya, 43, 72, 96. Ksaya, 56, 68. Ksayopasama, 56, 68.

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174 KUVALAYAMALA Ksemendra, 120. Ksetrabhata, 95. Ksmatilaka, 36. K-suffix, 79. Kubera, 120. Kudangadvipa, 122, also 111. KUIPER F.B.J., 2, 4, 21, 81. Kuladevata, giving a boon 24, 51, 62-3, 70,128. Kulamitra, 50. KULKARNI V.M. 87. Kullu Kangra, 124. Kumara, 26. Kumarapala, 91, 101, 103-4. Kumaravihara, 103. Kumkuma (metre), *127. Kurpasaka, 125. Kushan, 122, 124. Kusumavali, 89. Kuvalayacandra, 23, birth and education of 25, on the horse 26, 39, -his Journey to the South 40 f., 41-43, in Vijayapuri 45, 47-9, 51-3, 54. 60, 62-7, 71, 74, 87-8, 111-2, 125, 127-8. Kuvalayamala, Mss. of 1 f.; differences in the Mss. of 8 f.; Text-constitution of 13 f. Studies about the 18 f.; contents of the 22 f.; Outline 'of the story of 23; Story of the 60 f.; Jaina Discourses in the 67 f.; Religious Touches in the 70 f.; DifferentLores etc. in the 71 f.; Socio-cultural glimpses in the 72 f.; Court and Geography in the 74 f.; Authors and Works referred to in the 76 f.; Language and dialects in the 77 f.; Sanskrit passages in 78. Metres used in the 84f.; Influence of Earlier Works on the 86 f.; Sanskrit Digest of the 91 f.; The Author of the 96 f.; Cultural Note on the 113 f. Kuvalayamala, 39, 45(described 150.6-9), 47, 48, 49 (described 166.32 f.), 51-3, 59, 63-4, 66, 89, 94, 112, 125. Kuvalayamala-katha, 18, -samksepa 91 f. Lambha, 84. Lankapuri, 33. Lanchana (of Tirthakara), 124. Languages (of traders), 46 (described 152.23-153.18). Lata, 49, 50 (desa-bhasa), 74, 83, 124; -desa 77, *148. Lesya, 56 (details 8 376), 69, 94; -dharma, 124; -vsksa, 69. LEUMANN E., 6, 86. Liberation, 37, 44 (described SS 233-4), 55, 59 (described SS 426), 67, 89. Lilavai, 84, *127-9. Lingapurana, 128. Lion (see Candasoma), 27 (described 29.21-4), 38-9, 53, 60, 62-3, 65-7. Lobha, 27-8, illustrated by the biography of Lobhadeva, 31, 45, 60, 68, 89. Lobhadeva. biography of 31-2, in heaven 37-39, 58, 60, 64-5 (biography outlined), 67, 72, 90. Loha-danda, 45. Lohana, 100. Lokapalas, 29 (appeal to, described 53.6-9), 70. Lokasastra, 70. Lokayata, 45, 71, 124. Low, 75. cu Madana, 54, 61. Madana-mahotsava, 73, 120. Madanamanjari, 41. Madana-trayodasi, 34, 73, 120. Madhava, 70. Madhya-desa, 23 (described, 7.7-12), 62, 74, 83, 93, 115, 124. Madhyama-khanda, 31, 74. Magadha, 59, 74, 83, 124. Magadhi, 77. Magha, 101. Magical sword, 129. Mahabrahmana, 25, 74. Mahacina, 73, 118. Mahadhana, 39. Mahadvara, 96-7, 102. Mahakavi, 25, 74, 79, 99, 100, also 115. . Mahakala, 107, 115-6. Mahamahattara, 117. Mahamamsa (motif), 128. Mahanarendra, 25, 74, also 115. Mahanavami, 73. Mahapalli, 45. Mahapuranu, 107. Ladies, 26 (in disturbed state, described 24.30-26.27). Lagna-yoga, 48. Lakha, 100. Laksmana gani, *125. Laksmi, 32 (going with adventure, described 66.18-24), 38. Laksanasastra, 71. Lalita (metre) 85. Lalitavistara, 109, 122, 125.

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Mahapurohita, 25, 74, also 115. Maharastra, 74, 84, 124, -desi, 77. Maharastri, 16, 77, 82, 99. Maharatha, 50, 59-60, 64, 67. Mahasabari-Vidya, 71. Mahasamudra-nagari, 123. Mahasena, 39, 64, *126. Mahasenapati, 25, 74, also 115. Mahatavi, 41, 75. Mahavaidya, 25, 74, also 115. Mahavira, 22, 53-9, 61, 63-5, 67, 101, 103. Mahavira, 25, 74, also 115. Mahaviracariya, *125. Mahavrata, 39, 68 (with Bhavanas), *152. Mahendra, 37. Mahendra-kumara, brought as a captive 23 f., 24, 26, 46-51, 53, 63, 74. Mahilarajya, 119. Mahipala, 106. Mahoraga, 41, 70, 129. Maibar, 100. Maithila, 38. Makandi, 40 (described 117.1-5), 128. Makran, 100. Mala (horse), 116. Malava, 108, 124; -desa 29, 74; -king 23; -people 83. MALAVANIA D., 14, 104, *128. Malwa, 91, 98, 104, 107. Mala-Vidyadhara, 121. Malik Shah, 103. Malik M. Jayasi, 117. Mallavadi, 19. Malura (tree, wealth under), 65. Mamdhatr, 70. Mamdula (horse), 116. Mammata, 97. Mana, 27, illustrated by the biography of Manabhata 28 f., 60, 68. Manabhata, biography of 29 (his comfortable life in a village, 51.29-34, his darkish wife described 52.13-15), 30, 37, 39, 54, 61-3 (biography outlined), 72, 74, 112. Manasagari, *131. Manasollasa, 114, 116. Mangala-kanya, 122. Maniman, 41. Maniratha, 53; -Kumara, 54, 58-60, 63, 67. Manorathaditya, 53, 66. INDEX Mantra-japa-mandapa, 121. Mantrin, 25, 74. Manu, 71. Marahatthayadesi, 22. Markandeya, 71, 79. Maratha, 104. Market places, eightyfour in number, Uddyotana's enumeration of some, 115. Marriage, see Wedding. Maru, 105, 124. Maruka, 83. MASTER A., 21, 81-2, 84, *128. Matanga, 124. Matha, 71, 111, as an Educational Institute, 124. 175 Mathura, 30 (colloquial conversations described), 61, 82, 115-6, 122. Matr, worship with blood, 70. Matrasamaka (metre), 85. Matrka, 120. Matsyapurana, 128. Maya, 27-8, illustrated by the biography of 30, 60, 68, 89. Mayadevi, 54, 112. Mayaditya, biography of 30-1, 37, 39, 46, 47, 58, 60, 64 (biography outlined), 72, 90, 96, 110. Mayurahasta-kanya, 122. Meghaduta, 103. MEHANDALE M.A., 15. MEHTA N.C., 20, 99, 100. Mekhala, 55. Merchants (conference), 118 f. Merutunga, 103. Middle I. Aryan, 46, 77. Mid-Indian, 84, 92-3, 111. Mihilla (maithila) 34. Mihiragula, 98, 100. Military Science, 124. Mimamsa, 45, 71. Minas, 102. Ministers, eight, 25. MIRASHI V. V., 107. Mirbar, 100. Mithyatva, 88. MITRA K.P., 99, 100. Mitrakumara, 38. Mittankot, 100. Mleccha, 45 (described 146.13-7), 72. Moha, 27-8, illustrated by the biography of Mohadatta, 33, 35, 60, 66, 68, 94. Mohadatta, biography of 33, 34, 37-9, 56, 60, 63, 65-6 (biography outlined), 72, 112. Moksa, 22, 37, 52, 58. Moonlight, 25 (described 15.26-16.5). Monk, 35 (described, 86.3-21, 87.20-27), *148. Morning, 51 (described 198.7 f.) Mouse, wild, 37, see Rannamdura.

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176 KUVALAYAMALA Nirvana, 23, 92. Niryukti, 91. Nisithacurni 101, *125. Nitisastra, 77-8. NITTI-DOLCI, 14. Nyaya 88, 98, 128. Mrcchakatika, 117. Muhnot, 104. Mukhagalita (metre), *129. Mulasthana, 116. Multan, 100, 116. Munja, 91, 104 Munideva, 91, 96. Muhapottiya, 50. Mukhapotrika, 44, also 50. Mulasarvastivada-vinaya, 115. Murumda, 114. Mythological maidens, *153. Ocean, 48 (described 173, 33f.), 125. Odda, 114. OJHA G. H., 5. Orphan home, 116. Ovavaiyasutta, *131 Naga, 70, 97, 129. Nagabhata, 103. Nagarjuna Kunda, 124. Nahada, 103. NAHAR P.C.. 102. Nahusa, 70. Naimittin, 59. Naiyayika, 45, 71. Nala, 70 Namaskara, 41, 62. Nami, 42. Nanda, 33. Nandeda, 123. Nandini, 28, 60. Nandipura, 42, 123. Nandisvara Temple. 104. Nani, 121. Nannaraja, 107. NARASIMHAJI, 101. Naraca (metre), 85. Narayana, 26, 120, 129. Narendra-Kala, 127. Narkutaka (metre) *127. Narmada, 29, 31, 41, 62, 75, 79, 93, 111; see Reva. Nasik, 124. Nata, 123. Native Trader's club, 32. Natyasastra, 14, 77, 123. NAWAB S.M., 3. Nayadhammakahao, 94. Neem 73. Nemicandra, 86, 95, *137. Nepal, 78. Netra-patta, 73, 118-9. Nidana, 38, 89. Night-fall, 33 (described 75.21-28). Nimitta-jnana, 27, 72, 124, *133, *156. Nirgrantha, 44. Nirun, 100. Pabiya, 100-1. Pada (of Malura), 38. Padalipta, 20, 76, 84, 114. Padartha, exposition of 44. Padiggaha, 50. Padimatra, 2-3. Padma, 42, 62. Padmacandra, 37-9, 60, 76, Padmacarita, *126. Padma-gatha, 48. Padmakesara, 37-9, 52, 62, 63-7. Padmanagara, 42, 123. Padmaprabha, 37-9, 62, 65. Padmapurana, 87. Padmasara, 37, 39, 54, 62, 67. Padmavara, 37, 39, 64. Padmavata, 120.. Padmavati, 100. Padmavimana, 37 (described SS172) 68, 122. Painting, 128. Paisaci, 12, 17, 22, 32, 81, 92-3, 120;-bhasa, 77. Palas, 113. Palasa, 73, 118. Pali, 81, 83. Palittaya, 76, *125 see Padalipta. Palli, 43 (described 138.11-14), 44, 53, 62, 72, 75, 87, 117; -pati, 41; description of, 79. Pampa, 110. Pamcatamtakkhanaya, 78. Pamdara, 128,-bhiksu, 71. Panca-aradhana-prakarana, 109.. Pancacamara (metre), 85. Pancakhyanaka, 78. Pancanamaskara, 43, 62, 69. Pancapadi (metre), 85. Pancaparamesthin, 37. Pancasamgraha, 91. Pancatantra, 77-8, 110, 123, 128.

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INDEX 177 Pancavimsati Samkhya, 128. Pandava, 129. Pandita-marana, 69. Panjara-purusa, 123. Para (horse), 116. Parakramanka, 76, 102. Paramanandasuri, 96. Paramira, 91, also 103. Parameshin, 68, 69 (details about the five, 277.7.), *157. Parapuri, 95. Parasa, 77, 84, 114, 124. Paravaya (horse), 116. Parihasa-katha, 22, also 114. Parivrajaka, 105. Parna-sabara, 104, also 124. Parsva, 104. Parsvabhyudaya, 107. Parsvanatha, 101, 103. Parvata, 100. Parvati, 121. Parvatika, 100. Passion, see Kasaya. Pastimes, 48 (enumerated 174.21-24). Pasupata, 128. Pataliputra, 33-4, 66, 74. Patanjali, *132. PATEL N.I., 86 Patraccheda, 124. Pattan, 101. Paumacariya, 76. 79, 87, *126. Paunara, 123. Paurnimika-gaccha, 103. Pausa-siri, 113. Pavanavarta, 26. Pavvaiya, 20, 74, 97-9, 100-1. Persian Gulf, 114, 118. Pesaya, 81. PETERSON P., 19, 87. Pi-lo-mo-lo, 101. Pisaca, 32, 41, 57, 70, 128, *138. Poly-glottism, 117. Prabandha, 91, 110. Prabandha-kosa, *125. Prabhacandra, 20, 95, 108-9, *125. Prabhanjana, 76, *126. Prabhasa, 71. Prabhavaka-carita, 96, 108-10, *125. Pracita (metre), 85. Pradyumnasuri, 91, 96. Pragvata, 101. Prahelika, 48, 73. Prajnapti, 71 ; -vidya, 55, Prakrit, 22, 25, 32 (described 17.3-5), 42, 87, 91, 93-6, 113, 120. Praksta-bhasa, 77. Pralambaka-mala-kanya, 122. Pramada, 44. Pramana, 88, 98. Pramana-Nyaya, 91. Pramanika (metre) 85. Prasnottara, 48. Prathamaksara-racita, 49. Pratiharya, 37. Pratikramana, 36, 59, 69. Pratisthana, 30, 72, 74, 117 (prosperity of). Pratyeka buddha, 44, 69. Pravacana-devata, 49. Pravartini, 37. Pravrajya, 52. Prayaga, 82, 116. Prayascitta, 29, 60, 64, 71-2, 78, 111. PREMI,'N., 18. 91, *126. Priyamkara, 54. 61, 111-2. Priyangumati, 55, 66. Priyangusyama, 23 (described 19), pining for an issue, 24, 62. Prthvicandra, 36. Prthvicandra-carita, 115. Psthvisara, 52-3, 56, 63-4, 66. Prthvisundara, 55. Ptolemy, 75, 100. Pudgala, 44. Puja, 68, 88. Pulinda, 29. 61, 74, 112, 114, 124. Punjab, 98, 100. Punnata Samgha, 106-7. Punya, 22, 69. PUNYAVIJAYA MUNI, 3, 7, 14, 87. Purana, 71. Puramdara, 26. Purandaradatta, 27 (described 31.33-32.8), 28, his observations on monks 35; he becomes Sravaka 36, 74, 88. PURI B.N, 105, 107. Purnabhadra, 78. Purnakumbha-kanya, 122. Purusa-laksana, 77. Purva-desa, 72, 74. Puskara, 71. Puspabhuti, 129. Puspadanta, 107. Puspakarandaka Udyana, 116. Raga, 58. Ragada, 28 (described 45.17-20), 60, 74, 79,

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178 RAGHAVAN V., 81. Raghuvamsa, 105, 118. Rainy Season, 45 (described 147.13-148.15). Raja-gaccha, 108. Rajagrha, 59, 74. Rajakira, 41-2, 62. Rajalaksmi, 24, 70. Rajarsi, 99, 100. Rajasabha, 115. Rajasekhara, 18, 114. Rajasekhara, *125. Rajasthan, 98, 101-2, 105, 117, 128. Rajasthan Through the Ages, *135, *136. Rajatarangini, 117. Raksasa, 32, 41, 64, 70, 120, 124, 129. Raksasi, 77. RAMANIK VIJAYAJI, 14. Rama, 87, 122. Ramayana, 76, 114, 122, *126. Ranagajendra, 55. Ranahastin, 105. Rana Khomana, 103. Rannumdura, biography of 37 f. RAPSON, 105. Rasa, 114. Rasabandha, 124. Rasayana, 124. Rashid-uddin, 75. Rashtrakuta, 105, 113, 116, 119. Rasi, 25 (details given, 19.12 f.); phala, 71, 94, 111, *131. Rathoda, 101. Ratnabhadralamkara-kanya, 122. Ratnadvipa, 32, 64, 73, 119, 122. Ratnakarandaka-Sra., *136. Ratnamukuta, 44, 53, 62, 90, 111. Ratnaprabha, 18-9,91-6 (biographical details), 109. Ratnaprabhasuri, 99. Ratnaprabha, 41, 62. Ratnapuri, 44. KUVALAYAMALA Ratnarekha, 33. Ratnasekhara, his biography 40 f., 41, 62; see also Jinasekhara. Ratnasekhara, *127. Ratnasena, 120. Ravana, 122. Ravanavaho, 111, *128. Ravi, 100. Ravisena, 76, *126. RAY H.C., 106. Rayasiri, 115. Rayanauri, 79. Religious Enlightenment, 39, Religious Schools, 70, 128, -Establishments, 121. Renunciation, 36, see Diksa. Repentance, 36, see Pratik ramana. Residential School, 45 (described 150.21 151.10). Reva, 41 (described SS 206), 75. Revanta, 120, also *138. Royal Parrot, see Rajakira. Rsabha, 22, 40-3, 60, 62, 78, 88, 98, 102: -natha, 47, 124. Rsabhapura, 57, 65, 129. Rudra, 58, 70-1, 129; -bhavana, 121. Rudrasresthi, 95. Rujhan, 100. Rupaka, 111. Sabara, 90, 114, 124; -chief, 87, 117; -couple 42 (described 128.19-25); -prince, 23; -Vidya, language and Vidya of 124, also 42, *142. Sabarasena, 31. Sabarasimha, 34, 66. Sabha-kanya, 124. Sadhana, 124. Sadharmika-vatsalyata, 70. Sadvaita, 52. Sagara, 46, 70. Sagaradatta, adventures of 38-9, 53, 60, 62, 65-7, 90, 123. Sahajana (horse), 116. Sahasanka, 76, 102. Sahya, 43 (described 134.25-30), 49, 62-3, 72, 75. Sailendra, 118. Saindhava, 83. Saint, 26 (described 29.7-9). Saiva, 117;-temple 103. Sajjana, discourse on 23, *129. Saka, 114. Sakala, 100. Saketa, 54, 61. Saktibhata, 29, 61, 95. Sakuna, 41, 49 (described 183.24-184.20), 63, 87. Sakuntalam, 91. Salabhanjika, 123. Salahana, 76, 114. Salibhadracarita, 96. Saligrama, 30. Sallekhana, 53 (details SS 346); misunderstood *136. Samantasimha, 101. Samaradityacarita, 109.

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INDEX 179 Samaraditya-katha, 76. Samaraditya-samksepa, 91, 96. Samaraiccakaha 13-4, 20, also 76, 84, 89, 91, 96, 110, 116, *126, *129. Samaramiyanka kaha, *126. Samarasimha, 104. Samavasarana, 37 (described $178), 38, 49, 53-4, 56, 58-9, 61, 64-5, 67-8, 89, 93, 118, 122, *152. Samayika, 59, 69. Samdhi, 84. Samgama, 22, *125. Samgha, 109. Samiti, 58. Samkara, 19, 119. Samkhya, 45, 70-1, 124, 128. Samkirna (-katha), 22, 67, 76, 84, 86, 88-9, 92. Samkulaka (metre), 85-6. Samlehana, or Samlekhana, 53, 59, 61, 64-5, 67, also Sallekhana. Samma, 100. Sammeda-sikhara, 74, also 41, 53. Samprati, 97. Samsara, 27 (described $ 66), 28 (causes of, (causes of, described 44.17-21), 35, 37, 44, 49, 54, 58, 69, 86, 94; -cakra, 50, 63, 71, 111, 125-7 (details), *148, *155. Samsksta, 77. Samudra, 71;-sastra, 42 (for details see 129.8 131.23), 77-8, 96, 112. Samudrakallola, 26. Samyag-drsti, 54, 68, *152. Samyaktva, 23, 27, 30, 36-7, 37, 42, 44, 49 (illustrated with similes $282), 50, 53 (details 217.28-218.6), 55, 60, 62-4, 67-8, 88, 90, 92, 110, *147, *152. Samyama, 30. Sanchor, 104. Sandabal, 100. SANDESARA B. J., 20, *127. Sangha, 104. SANGHAVI S., 3. Sanmukha, 71, 74, 97. Sanskrit, 22, 25, 32, (described 71.1-3), 35, 78 (passages quoted), 91, 120, also 74, 115. Santibhata, 95. Santaraksita, 19. Santinathacarita, 18, 91, 96. Santyacarya. 101. Sarad, 89, also 113. Saraga, 58, 70. Saralapura, 58. Sarasvati, 76. Sarasvatikanthabharana, 81. Sarat-paurnima. 73, 123. Sardulavikridita (metre), 85. Sasira (horse), 116. Sarthavaha, 22, 31, 118 (motif etc.), 124. Sarvajna, 51, 58, 65. Sasanadevata, 101. Sasivamsa, 43. Sassanian, 114. Satrunjaya, 35, 41, 94, 121. SETHI S., 106. Saudharma-deva, 44,-kalpa, 37 (described $ 171), 53, 60, 62, 68,-sabha, 127; -vimana, 42, 93. Sauramandala, 105-7. Sauraseni, 14, 17, 82 Saurastra, 74, 105, 124; -mandala, 106. Savitri, 40. Scythians, 121. Sea Voyage, preparation for, 119 f., 123. Select Inscriptions, 98. Semdhava (horse), 116. SEN S., 81. Seraha (horse), 116. SHAHA A.P., 102, 104. SHAHA N.G. 102. SHARMA C, *126. SHARMA D., 100-2, 105, 107, *137 f. Ship (ritual and equipment), 119. Ship-wreck, 32 (described 69.1-7), also 120, *138. Sialkot, 98, 100. Siddha, 51, 59, 69. Siddhanta, 97-8. Siddharaja, 91. Siddharsi, 18, 101, 109. Siddhi, 127. Sihara, 100. Sikhikumara, 90. Sila, 22, 89. Simamdhara-svamin, 56, 67. Simghala, 114. Simha, 41-2, 50. Sindha, 102, 108, 124. Sindhu, 23, 74, 124. Singhala, 120. SIRCAR D.C., 15, 98, 100. Siva, 120. Sivacandra-ganin, 97, 101. SIVARAMAMURTI C. 5. Siwistan, 100. Skanda, 58, 70, 78, 120, 129. Skandhaka (metre), 85. Slesa, 87, 93, 111. SMITH V.A., 98, 105.

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180 KUVALAYAMALA Sundarakanda, 122. Sundari, 54, 61, 63, 111-2. Sun-set, 35 (described 156), also 43 (descri bed 135.12-7), *130. Sunya, 95. Suparna, 129. Supasanaha-cariya, *125. Supurusacarita, 99, also 76, 114, also *126. Suprabhadeva, 101. Suprabhata-stotra, 78. Surendra, 57. Surya, 120. Susarmadeva, 28. Susena, 23. Suvarnadeva, 33, 34, 65-6, 87. Suvarnadvipa, 73, 118, 122. Suvarnagiri, 103-4. Suyagadarn, *128. Svargaloka, 127. Svayambhu, 114. Svayambhu leva, 58-61, 67. Svetapatanathamuni, 108. Syllogism (of ten limbs), 27, *133. Smrtis 91. Soma, 40. Somadeva, 100, 119. Soma race, 45. Somayasas, 43. Somesvara, 71. Sorgir, 103-4. Sopara, 72, also 31, 64, 74, also118. South (India), 38, 40, 102, 123. Southern Shore, 38 (described 104.8-12). Sovangiri, 103-4. Sragdhara (metre), 85. Sramana, 22, 47, 53, 64, also 71. Sravaka, 53, 88, 101-2, 104; -dharma, 36. Sravasti, 54, 57. Srenika, 59, 64, 74. Sresthin, 31, 36. Sri, 38. Sridatta, 25, see Kuvalayacandra. Srikanta, 42, 62. Srikantha, 124. Srimala, 101. Srimati, 41. Srisoma, 28. Sritunga, 39, 75. Srivallabha, 105-6. Srivardhana, 41-2. Srivatsa, 41. Srngara-prakasa, 81, *125. Sankhala-yamaka, 111, *129. Srutajnana, 59, 72. STEIN O. *143. Sthananga, *128. Sthanu, 30-1, 64, 90. Sthavara, 27. Subandhu, 84, 114. Subhasita, 38, 74, 78, 123. Subhuman birth, 28 (miseries described 88 79 80), 68. Sudharma, *128. Sudra, 31, 72. Sugriva, 122. SUKHALALAJI, 108. Sukhanadi, 75 Sukladhyana, 122. Sukra, 74. Sukri, 102. Sulocana, 75, *126. Sumana (metre), 85. Sumatinatha, 102. Sumatra, 118-9. Summer 31 (described 60.26-61. 1; in Vindhyas $ 197, 118.16-24). also 123. Sunanda, 37, 94. Tajika, 83. Taksasila, 31 (described 64.28-35), 74, 117-9. Taksila, 118. Talwar, 100. Tamala, 58, 61. Tambula, 72, also 83. Tamka (horse), 116. Tamkana (horse), 116. Tamtakkhana, 78, also 77. Tantra, 115. Tapas, 22, 30, 89. Tapasa, 22, 49, 69. Tapti, 124. Tara, 37. Taracandra, 37, 94. Taradvipa, 32, 120. Taraka, 129. Tarangaka (metre), *127. Tarangalola, compared with the Kuvalayamala 86 f, 89, *125. Taramgavai, 76, 84, 86, also 87, 114, *125. Ta-sruti, 8, 13f. Tattvacarya, 97. Tattva, 37. Tattvarthasutra, *134 f. Tejapala, 117. Thakkura Pheru, 114. THAKUR U., 98. Thakura (Ksetrabhata), 29,

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Thanesvar, 124. Tilakamanjari, 128, *125. Tiloya pannatti, *133 f. Tirtha, 22, 29, 72. Tirthakara, 22, 90, 104; 122 (marble image), 123-25, also 113, 118. Tirtha-yatrika, 72. Tiyalaya (metre), *127. TOD, 103. Toramana, 20, 97-100. Toraraya, 74, 97-99. Tosala, 33-4, 65-6, 87. Totaka (metre), 85, *127. Traders' Club, 32. Trade commodities, 72-3. Tridandin, 49, 52, 69-70. TRIPATHI Ch., 110. Triratna, 122. Trisula, 70. Trivarga, 117. TRIVEDI H., 106.. Trivikrama, 110. Turmeric, use of *129. Uccasthala, 31 (described 65.1-2), also 95. Ucchvasa, 84. Udadhi-kallola (horse), 26 (described 23.12-19). Udaya (of Karman), 56. Udayasimha, 101. Uddyotana (suri), 12, 15, 18, 60 (personal observations and Mangala), 75-7, 79-82, 84-7, 89, 91-4; -details about 96 f.; -genealogy of 97f.; -contemporaries of 98 f.; -place of 102 f.; Prabhacandra on 108; nature and indebtedness of 110f; style and gifts of 111 f., see also 113-7, 119-21, 123-4, 127-29. Udgiti (metre), 86. Udu, 129. Ujjain, 106, 107; Ujjaini, 29 (described 50.10-19), 34, 55, 61, 74, 79, 125, also Ujjayani, 41 (described 124.28-31), 87, 123 description, 128. Ullala (metre), 86, *129. Umarkot, 102. Upadesamala, 7, 109. Upadhyaya, 59, 69. UPADHYE A.N., 18, 21, 91, 113-4, *126. UPADHYE P.M., 87. Upagiti (metre), 86. Upamitibhavaprapancakatha, 18, 101, 109, also 96. Upanagara, 79. INDEX Upanisad, 70. Upasama, 26. Utpreksa, 92, 111. Uttaradhyayana, 101, *125, *128, *133. Uttarapatha, 31, 72, 74, 97, 118. Uttararamacarita 123. Vadanagar, 101. Vadanaka (metre), 85, *130. Vaddakaha, 76, *125, see Brhatkatha. Vaghotan, 75. Vaidurya-prabha, 54; -vimana, 53, 60, 63, 65. VAIDYA P.L., 7, *126. Vaijayanta, 75. Vaijayanti, 75, also 122. Vajjalaggam, 96, *125. Vainayika, 71. Vairagya, 29. Vaisesika, 71. Vaishali, 98. Vaisramana, 54; -datta, 43, 124. Vaisya, 72, Vaitadhya, 23, 31, 41, 55, 74, 101. Vajragupta, 57, six discourses given to him 58, 59, 60, 65, 67 also 95. Vakataka, *128. Vala, 101. Valabbi, 101. Valmika, 71, 76, also 114, 122, *126. Vamana, 101; also 116. Vamana-purana, 121. Vamgala-jayaga, 25, 71, 76. Vamgala-risi, 25, 71, 76. Vanadatta, 34, 66, 112. Vanaprastha, 70. Vanara, 124. Vanarasi, 116. Vanity, see Mana. Varadatta, 88. Varaha, 106-7. Varanasi, 30 (described 56.26-30), 64, 74, 79, 116-7. Varangacarita, 76, 88, *126. Varanga, 88. Vardhamana, 99;-pura or nagari, 105-8. Varmalata, 101. 181 Varnakasamuccaya, *127. Varnaka type, 110, *127. Varnaratnakara, 119, *127. Vasava, taking Purandaradatta to the park 27 (described 32.9-15) 28, 35. Vasavadatta, 84. Vasavasena, *125.

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182 KUVALAYAMALA Virtues, 28 (cultivation of, described 43.23 f.); code of 28 (described 49.15-18). Virya, 59, 69. Visakhila, *130. Visavakya, 31, 36. Visesavasyaka, 6. Visnudatta, 33. Vivekamanjari-tika, 96. Vizendruek, 75. Vollaha (horse). 116. Vow, 71. Vrata-drstanta, 35, 94. Vinda, 97. Vrttajatisamuccaya, 85, *127. Vyaghradatta, 34, 66, 112. Vyaghramukha, 101. Vyakarana, 124. Vyantara, 32, 57, 70, 128. also 120, 129. Vyasa. 71, 74, 76, 114, *126. VYAS S.N., 103. Wealth, 30 (ways of earning, described 57.16-17 and 24-26). Wedding, 48 (preparations and rituals, 170.20-171.26), 125. WINTERNITZ A., *125. Vasisthasmrti, 78. Va-sruti, 17. Vastupala, 117. Vasudevahimdi, 77, 84. Vata, 26, 31. Vatesvara, 97. Vatsa (country) 27 (described 31.3-18), also 74. Vatsaraja, 105, 107-8. Vatsyayana, 77. Vatthavvaya (horse), 116. Veda, 96, also 82, also 70-71, 83. VELANKAR H. D., 18, 96, *125, *127. Vetala, 57, 65, 70, 111, 128, -Sadhana, 115. Vicarasreni, 103. Videha, 90. Vidya, 51. Vidyadhara, 39, 41-2, 55-7, 66-7, 124. Vigatha (metre), 86. Vihara, 44. Vijaya, 41, 47, 49, 63. Vijayasena, 46, 64. Vijayadurga, 75-6. Vijayanagara, 75. Vijaya 39, 45 (described 149.20-26), identifi cation of 75, 76, 124. Vijayanagari, 45, 75. Vijayapura, 41, 75-6. Vijayapuravari, 75. Vijayapuri, 43, 45 (described 149.6-17), 46-7, 63-4, 75, 79, 83, 93, 112, 125. Vijnana, 25, sixtyfour in number 46, 71. Vilasavati-katha, 2. Village Elders 31 (colloquial speech of, described 63.18-26). Vimala, 44, 76, 79, 87, *126. Vimalanka, 76, 87, 102. Vimana, 39, 55-6, 88, description of 122. Vinami, 42. Vinaya, 36, 121, also 94. Vinayaka, 120. Vinayakapala, 106. Vindhya, 26 (scenes described 27.28-28.27), 39, 40 (scenes described, 112.3-25), 41, 45, 51, 60, 62, 75, 79, 87, 127. Vindhyapuri, 124. Vindhyatavi, 123. Vindhyavasa, 37. Vinita, 23 (described &$ 14-7), 36, 62, 74, 87-8, 93-4, 108. Vipula (metre), 86. Virabhadra, 71, 86, 98, 102-3. Virabhata, 29-30. Viradeva, 90. Virahanka, 76, 102. Virasuri, 101. Virati, 58, 69. Yajnadatta, 40. Yajnadeva, 58. (Yajna) Soma, 40. Yaksa, 40-1, 62, 70, 120, 123, 129; -image *141. Yaksadatta, 97. Yaksakanya, 40, 62. Yaksavasati, 103. Yaksinisiddhi, 124. Yantramala, 124. Yasas, 86. Yasastilaka and Indian Culture, *129. Yasodharacarita, 76, *126. Ya-sruti, 8, 12, 15f. Yati, 117. Yatrika, 30 (described 58.2-3). Yavana, 114. Yavanadvipa, 38, 65, 123. Yoga, 124. Yogamala, 124. Yogasutra, *132. Yoniprabhrta, 76. Youn Chuang, 118. Yudhisthira, 122. Yuga-samila-drstanta, 68. Yukti-sastra, 88, 98. YULE, 75. Yuvaraja, 73-4, also 52, 127 (coronation), *149.

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GLOSSARY (of some Sanskrit and Prakrit words, used especially in the Introduction, A Cultural Note and Notes) aSTau apsarasaH, yoSitaH, 122. asatya, 53. aMdhala, 116. Ausattha, 72. AkSepiNI, 23, *128. Agama, 52. AcArya, 37,59, 69,98. ADiyattiyA, 95. Adeya, 47. ApAnabhUmi, 73, also 115. Apta, 52. AbhIrI, 34. Ayaho, 80. ArAdhanA, 59, 63,69,91,94, *156. AlocanA, 59. Avasati, 121. Azcarya, *145. Asava, *131. AsIsA, 119. isi kisi misi, 44. akArya, 23. akSaracyutaka, 48, *147. accijjati devae, 119. ajJAna, 34. aJjana, 124; ---siddhi, 127. aTi puTi raTi, 84. aTTha, *125. aTTAviDaya, 48. aDaDe, 83. aDi pAMDi mare, 83. aNAhamaMDava, 116. aNiyA, *154. aNuvrata, *153. aNNAruhiya, *129-30. aNNi paNi, 80. aticAra, 53, *153. atthANamaMDava, 115, also 128. adhama, 22. adharma, 23, 44, 122. adhikAkSara, 85. adhikAra, 84. anantAnubandhi, 28, 94. anuprAsa, *130. anuprekSA, 54, 64, *153. anumaraNa, *154. anuSTubh, 85. antakRta, 38; -kevalina, 53, 59, 61, 63, 65, 67. antimAkSaravUDhA, 48. antyAkSarikA, *147. anveSayAmi lagnaH, 95. appAM tuppAM, 83. apratyAkhyAnAvaraNa, 28. abbhaMtarovatthANamaMDava, 115. abhavya, 35, 68,97. amhaM kau tumhaM, 83. arahaMta, 45. artha, 22. 27, 67, 117. athaMkathA, 22. arthAntaranyAsa, 111. arhat, 27, 40, 44, 59, 69. avanti, *153. avayava, 108. avaralivi, 72, *146. avalambaka, 85. avaskandhaka, 85. avirata, 54. azaraNatA, 44. azubha, 72. aSTakanyA, 122. a, *136. uU, *130. ucchAsa, 84. uttama, 22. utpatti, 76. udadhi, a deity, 129. udaya, 56,68. udU, *130. upazama, 26. upasthAnamaNDapa, *129. upAdeya,47. upekSaNIya, 47. ullApa-kathA, 22. ullAla, *127. ullAva, *127. uSNISavijayadhAriNI, 5. UNisa, *130 Urjayanta, 107. ege le, 83. ehauM, 82. ehaM tehaM, 83. orallI , *132. auSadhIvalaya, 40-1.

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184 KUVALAYAMALA kaisaiya, 80. kathA, 22, 87, 114. kathAprabandha, 88. kathAzarIra, 23. kanyA, 121. kappaDiya, 116. karNajApa, 69, *141. karpUra, *127. karman, *151. kalA, 25. kasa, 113. kAI kajja, 82. kAuMje, *125, *135. kAuMbarI, 35. kAmAvasthA, *146. kAminIsArtha, 112. kAyala, 80, *130. kAruNika, *150. kArya, 23. kAlabhavya, 34.. kAvAliNiyA, *154. kitto kammo, 83. kira, 82. kirADa, 123. kilikili, 80. kuladharma, *149. kusumotara, 81. kuMkuma, *127. kUpapadra, 95. kUpavandra, 29, 95. kUvAkhaMbae, 119. kemiyAgAra, 127. koDDIe, 116. kopagRha, 24, also 115. koMkI, 94. koMTI, 94. kautuka, 25. krayANaka, 94. kriyAvAdin, *149. kSapakazreNI, *157. kSamApaNA, 59. kSamAzrapaNa, 97. kSaya, 56. kSayopazama, 56. kSetra, 69, 94. gaNijjae diyahaM, 119. gati, 54. gandha, 32. gandhodakabhRGgArakanyA, 122. gaGgAjula, 118. garbha, 94; -gRha, 103. gahiyalle, *145. gAthArdham, 48, *147. gAthArAkSasam, 48, *147. gimhalacchI, 113. guggula, 70, *157. gujjarapahiya, 117. guNa, 25. guNavrata, *153. guru, 97. gUDhacautthagoTTI, 89. gUDhacaturthapAda, 48, *147. gurjara, 79, *137. gotraskhalana, *129. grantha, 60, 91, 110. grAmanaTI, 79. grAmamahattara, 81. grISma, 89. ghaI, 80. gharoyare, 80. cauDaya me, 83. cauhaTTa, 115. cakkalaya, *127. cakkAyajuvala, 86. caccara, 94. caTTa, 83. caDapphaDa, 80. catuSka, 117. cammarukkha, 95. caraNa, 59, 69. carcarI, *128. carmavakSa, *133. caMdoyave, 128. cANakkasatthaI, 116. cAraNazramaNa, 70. cAritra, 44, 53, 55. cittabhittI, 121. citrazAlikA, 121. cilicili, 80. cuNNajoga, 127. cUrNa, 51. caukI, 117. khaiyae, 116. khaTikAkhaNDa, 94. khanyavAda, *141. kheDDu, 82. gaGgApaTTa, 118. gaccha, *151; chiNNaNAsaya, 116. chiNNo?, 116. cheda, 113. -parigraha, 70, also 120.

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GLOSSARY 185 jaiyA, 98, 105. jaccasuvaNNa, 113-4, 129. jamala, *137. jala tala le, 84. jalahidaiyA, 74. jaMtasauNae, 121. jaMpiyallau, 82. jANaNa-jJAtvA, *137. jAtismaraNa, 86-7. jAtyasuvarNa, 113. jAyalliya, 80. jAlagavAkSa, 121. jugasamilA, 52, 111. jokkAra, *140. joyajoyaNIsiddha, 115. dInhalA, *145. duggaya, 116. durjana, 79,90. duvalaya, *127. devAGga, 122. dezI, *138. desabhAsA, 83. desavANie, 77, also 32. doNI, 122. dohaka, 97, 85. dohada, 126. draGga, *137. dvAraprakoSTha, 125. dvipathaka, 85. dveSa, 58. NavaMkura, 80. NaMgUla, *132. NikkhuDa, *134. NijjAmayA, 119. NimittaiM, 119. Nettajuyala, 115. dharmalAbha, 27-8. dhavaladhaya, 115. dhAI,94, *131. dhAtuvAdina, 51, *149. dhavayaM, 85. dhruvaka, *128. taNae, *144. taNuva, 116. tatkSaNabhavya, 35. tapas, 89. tayaNuppaveso, *136. ta-zruti, 8, 13 f. tahu, 80. tADaNa, 113. tApasa, 49. tAmotara, 81. tAmbUla, 32. tAva, 113. tiyalaya, *127. tukAnta, 117. tuGgabhavana, 115. tRNa, 80, *133. tere mere Au, 83. toDiya-kaNNa, 116. totta, 126. tridaNDin, 49. nau re bhallAM , 83. namaskAra, 41. narendra, *148-49. nAgavallI , 121. nArAca, 85. nijjuhaga, 90. nidAna, 38. nirgrantha, 44. nirvedajananI, 23. nIrAga, 58. netrapaTTa, 118. dakkhiNNaiMdha, 99, 109. dantavINA, 89. darzana, 53, 55, 59,69, 122. dAna, 22, 89, 90. dAlivaTTA, 124. diNNale gahiyalle, *145. divyapuruSa, 27. dIkSAvidhi, 151. dINa, 116. paijjA , *130. paJcanamaskAra, 69, *157. paJcaparameSThin, *157. paJjarapuruSa, 123. paDiggaha, 50. paNi, *143. padmagAthA, 48. papphoDesu, 121. paravayaNa, 78. parikhA, 118. parigraha, 53. pariccheda, 84. parisaMkhyA, 93, *129. parihAsa, 112. pallI , *143. passaMte, *135. paMgula, 116. paMcadhAI, *131,

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186 KUVALAYAMALA bhAraNDa, 32, *138. bhAvanA, 22, 36, 58, 68, 89, *125. bhittikanaka, 144. bhujaMga, 85. bhUrjapatra, 47. bhUSaNa, 128. bheNI, *135. bhoyaNamaMDava, 115. paMDarabhikkhu, *150. pAiyabhAsA, 99. piccha, 49,69. pUrvakRtakarmana, 86. pRGga, 119. pRSTamAtrA, 21. pRSTArtha, 48. poTTala, 94. pomhaM, *147. prajJapti , 71. pratikramaNa, 59, *156. pratibhANDa, 123. pratimAlA, *147. pratihArI, 87. pratyAkhyAnAvaraNa, 28. pratyekabuddha, *143. prathamAkSararacitam, 147. prayAga, *136. pravartinI, 37. praznottara, 48. prahara, 100. prahelikA, *47. prANa, 80, *135. prAtihArya, *140. prAyazcitta, *156. prAyAtrikamaGgala, 122. prAvu, 82. protu, 82. maellae, *135. maGgala, 22, 60. maDaha, 116. maDhaM, 124. maNitoraNa, 115. maNivalaya, 113. maNi sihara, 115. madirA, 121. madhu, *131. mantrajApamaNDapa, 121. mantrin, 25. mayahara, 28. maraNa, *156-7. mahAkavi, 115. mahAdhana, 39. mahAnidhAna, 127. mahApallI , 45. mahAbrAhmaNa, 25, *130 mahAmAMsa, 128. mahAvrata, *153. mahAzabda, 106. mahAzAbarI, 71. mahAsthAna, 101. maMdula, 116. mAtrAcyutakam, 48, *148. mAlAvacana, *127. mAlUra, 38. mAlya, 32. micchAmi dukkaDaM, 43. mitradroha, 81. miliellae, 82. mukhapotrikA, 44, also 50. mucchA , *134. muttAsela, 123. mUsA, 127. momAi, 120. phuTTaNaM kaNayaM, 127. babbIsaya, *132. bali, 31. bAlamaraNa,69. bAhirovaTThANa-bhUmi, 115, *130. bitiya, *133. binducyutakam, 48, *147. bindumatI, 48, 55, 66, *147. buddhi, *133. bohittha, 94. brolla,82. bhaTTAraka, 80. bhaNitavyatA, *147. bhale, 1, a Tantric Symbol, sometimes identified with Kundalini. bhava, 69. bhavAntara, 127. bhavya, 38, 42, 53, 63, 68. bhaMDAI, 119. bhAuya bhaiNI tumhe, 83. bhATaka, 94. bhANDapati, 32. bhAmaNDala, 123. yadRsiya, 83 yamaka, *127. ya-zruti, 15f. yuktizAstra, 88, 98. yugazamilAdRSTAnta, 68, *151. yuvarAja, 52. yauvarAjyAbhiSeka, *149,

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GLOSSARY 187 rakSA-cAtuSkika, 117. raGga, 28. rajoharaNa, 44, also 50. raNahatthi, 105. raNNaMdura, 111. ratnamayI mahApratimA, 123. rAsaNaccaNa, 90. rekhA, 128. vihAra, 44. vettalayA paDihArI, 115. vokkille, *125. vyatireka, *129. zaratpUrNimA, *140. zarad, 89. zava-zayana, 126. zikSAkta, *153. zIla, 89. zaGgATaka, 121. zRGgIkanaka, 114. zRmaNa-brAhmaNa, *135. zleSa, *129. lakkhavaI kirADa, 123. lagga, use of, 95, 119. lagnayoga, 48. lajjA , 83. ofsat (metre), 85. laMgUla, *132. laMchaNa, 124, also 72. lekhAcArya, 25. lokamUDha, *135-6. loca, *143. lohadaNDa, 45. SoDazavarNa, 114. sajjana, 23, 79,90, 94, 114. satI, *154. samaya-saya-sattha, 88. sari pAri, 83. savisara, 115. saMkIrNa, 22. saMjvalana, 28. saMniveza, 72, 79. saMpratu, 82. vakkhANamaMDalI, 71. vandanaka (metre), 86. varakathA, 22. varga, 128. varNaka, 114, 116, *127. vaNNi ,83. vartanA, 128. valakkha, 116, 121. valakkhala, 121. va-zruti, 17. vastu,89. vaMdiya, *126. vANiyameliyA, *138. vAmaNa, 116. vAruyA, *133. vAsabhavana, 115. vAsIcaMdaNakappa, *139. vAhakeli, 94. vAhiyAlI, 94. vAhayAlI, 94. vikSepiNI, 23. vijjAghara, 116. vijjukkhittaM karaNaM, 73, *140, also 35. vijJAna, 25,46. vinaya, 94. vipulA, 86. virata, 54. virAga, 58. vilokyate lagna:, 95. visAhila, *130, -maya (corazAstra ?) vihaDaNa, 113. saMlehaNA, 59, 156-7. saMvidhAnakama, 48, *147. saMvega, 54. saMvedajananI, 23. sAdharmika, *143, also 70. sAmAyika, *156. sijjhau jattA, 119. siddhayAtrA, 119. sinnAna, 81. silikA, *131. siMghavaDae, 128. siMhavAhinI, 107. surA, *131. suvvaM, *148. seyavaDa, 119. svabhASA, 37. hatthasaNNA, 120. haliddA, *129, also 115. hitapaka, 81. hiMsA, 28, 53, 68. huNNippau, *146. hRdaya, 48. hemanta, 88, 113. heya, 47, *146. hrI devI, 60.

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P. L. 22. 5 31. 23 31. 45 40. 44 55. 29 69. 44 79. 21 82. 47 ___L. 12 3. 21 5. 9 9. 4 9. 5 9. 12 10. 12 10. 44 12. 14 ADDITIONS AND CORRECTIONS Introduction P. L. Read 33. 29 loya-sahAvaM va bahu-maggaM Read MANGALA 34. 16 jANa ya pucchaM 35. 8 uvagaMtUNa Sthanu 35. 14 jaNa-maNahara vayaNa-somma suha-rUna emergency 36. 17 vilINayA Makandi 37. 16 sabyaMge Northern 38. 2 pavvae the ear 38. 12 sahoyara, following P. of a palli 39. 7 apayA payaare (for like) 39. 17 teiMdiyaeNsu 39. 23 gaddhAiTro Prakrit Text 44. 31 kiMci ya mANeNa puNo Read 45. 13 NiDAlo bhIsaNa kaliyA-vilAsa 45. 21 bahu-lIya 'sIlamaio dhammo' 46. 6 pavvAliyAi~ can it be vo (bo) llikke, cf. 46. 44 P eyaM ca maMti0 Marathi bolake, talkative or vocal? 47. 48 (the page of J has kutitthANaM ca samakAlaM 48. 2 -NihaNato viNijjiyAsesa 48. 8 'jalaNaM pavisAmi' ghaNa-samao 48. 11 --jAlAvalIavuNNae 49. 29 NA-yANimo diTThivAehiM 51. 5 kajjAkajjaM, P om. me, P bAhu, 51. 24 dUsaha-paharaMto guru uvakayaM tenn'| 52. 14 -vaMdaNivADiya 52. 36 P jaNo AsaNaMsu, suhAsaNatthA ya bhaNiyA bAla-kIlayA0 acchau tA. 55. 4 Better fafose with J. 57. 7 tahAvivarIya dIsai milie 57. 21 'Nahi Nahi' sAhiyaM, tehi 62. 28 suMdaro bhaddo Better so'sItI 63. 31 raiyaM vippautto 65. 26 -mallataMbolAiyaM helAe 69. 13 bhaddaseTrI jiya-samudda 71. 24 bhAgIrathi pADalAhi~ 72. 49 ko vAraMbhai rattAhi~ 75. 10 palAyamANo jAva ya 78. 10 suvaNNadevAe rayaNiyaro 78. 28 -hiyayANa moheNaM 78. 36 P om. so mayaNa etc., vAlayAe~ 80. 23-4 'ekmakajjaM ... varAo' maMDavA sattAyArehi 81. 9 yiyaDDho ravi-turaya 81. 33 maDhANa on the margin in J) 82. 1 vilINaM suraguruNo 85. 3 vaccaMto kusumabANa 86. 20 ayANamANassa asayaNNa 91. 30 gIyatthA jaNei 92. 25 pavaNuddhaya P murukkhassa 94. 3 bahu asuhaM mayaraMda-vaMda 97. 10 degNekka-vara muccaMti ...98. 29 koittha 15. 6 53. 14 dacha 13. 14. 15. 16. 20. 20. 20. 22. 24. 25. 25. 29. 13 2 29 27 2 7 9 13 26 22 10 ___12 30. 22 30. 31. 31. 31. 19 24 28 32. 2 33. 18 33. 24

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ADDITIONS AND CORRECTIONS 189 Read uddhAiyA gavvuttuNe avahariya citI -NimmaviyA // -mettaNa dinnAo, P ciyAnale P. L. 106. 18 106. 107. 25 108. 108. 108. 30 108. 47 112. 21 113. 21 117. 3 117. 27 118. 25 120. 16-7 120. 21 121. 16 121. 19 121. 20 122. 122. 2 P. L. 150. 8 150. 20 151. 24 151. 46 153. 12 153. 15 154. 28 155. 9 155. 12 155. 16 156. 29 157. 34 159. 11 159. 29 160. 4 160. 18 160. 30 163. 8 163. 9 164. 40 165. 26 166. 11 166. 20 123. 166. Read bAhAjuvaleNaM, marahaTThayasoraTThA tega bhaNiyaM faithfully desIbhAsAo gaNi kAkaNi savAyA luddhAgayAli daDhavammassa kumAro 'jahANavesi'... rAiNA ya saa| gaMtuM tA uvaTTiyA NacciyaM -vavaesehiM jANasi daiyasuha payatto uvavaNNA vaNiyaP khuhiya kajjaM evaM sasurAsurajuvANA NiyaraccaNAI va pAriyAya ghaNa-taruvara mahiMdaM puhaisAro ki ca tammi ya diyahe kIrau (esa] eriso samAgayAo vAra pesehi tti -daDhavammo gaMDUsa ...alajjaM viya payattA imAe kuvalayamAlAe mottaNa tao siddhaM // iMdaggeI jammA 21 123. 7 124. 1 124. 124. 125. 30 127. 29 128. 16 128. 129. 14 129. 17 129. 30 131. 11 136. 24 136. 25 138. 14 142. 1 143. 144. 1 144. 2 144. 8 144. 12 145. 2 145. 38 146. 10 146. 15 146. 31 147. 5 147. 12 147. 147. 27 148. 31 148. 31 20 degsevvaovesao ghariNio bajjho bAhiuM sayala-jakkha jakkharAyA imA valayA haMsa ula paMtIhi Naccai bhaNaiva -pAyayAsapaNe -calaMta NiThThara-thora maNimaMto vAhaNAiM aMteuriyA-jaNassa, Omit one jaya samubhijjamANa uvvaTTiUNa NANAi-kiriyA paNAmiyAI rattavaNNaya diTra-mettANaM bhiNNAsaMpuNNA vA saMkhAI ujjue havaMtaM tAi~ vi ujjhiUNa payattA uddhappahAra alayA-puri ujjoyaNasUri jo pasatto suhama va bAyaraM vA bhaNAvei ya bhaNa' viNijjaraM sajIva...tao jhAi // bhaNAmi, for saMpattaM tAo tae juvaiyaM, ca eyaM, sajjhagiri dava-dava etc., agatha mAruyAveya vAvaDa bhaNNamANeNa 'sAhammiyassa vaMdAmi' 166. 33 167. 21 168. 21 170. 14 170. 20 170. 173. 10 173. 20 180. 14 180. 18 180. 32 181. 30 182. 26 183. 24 183. 32 184. 1 184. 6 184. 23 186. 21 186. 32 187. 4 188. 189. 22 190. 14 190. 22 194. 29 195. 195. 25 tumhe, khippaM taM karayaMto aiputtaevaM kira vaTTae dINa-vimaNA ramaNijjaM / ti eyaM jaNemANA vaNadavo paDivAvo,

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190 P. L. 199. 17 199. 31 200. 5 201. 21 201. 203. 203. 211. 211. 211. 214. 204. 20 205. 39 207. 20 207. 23 goan non agr = adaage ees - e ===== nae 33 209. 14 210. 6 210. 26 210. 31-2 8 35 225. 1 3 215. 2 217. 32 218. 3 218. 11 226. 230. 6 15 218. 219. 21 219. 22 220. 221. 25 237. 237. 238. 239. 9 222. 223. 223. 223. 32 224. 2 2 224. 26 31 224. 28 19 225. 25 13 4 kAma suhasurU piNa 12 1 230. 18 230. 29 231. 232. 234. 11 11 17 235. 18 236. 14 21 29 19 3 NAma DhaM DhaM paDIo auNNANa pi e lacchi // Read daMsaNa - visuddhi NANassa ghosiuM bhUe rAiNA jiANaM kahaMto visesA sahassehiM uvaviTTo saMtAva jiNa - vayaNaM kaMkaDu rehirA 235. 11 sayaMvaraM, taha muddho kamma-vivareNa - jaliya pAhAuya-maMdirovari savvaM sacca jayassa samaM // kusama ahajoNi... sugaI suA kA tassa kavaliyamma bhikkhaNa ekkaM vAraM ti vilINa cAI kulo kammakkhayayAe ... palaviuM muddhaDa guNa maMtavAdiNo - pUvayaM khiraMta lohiyaM gaha-gahio - tiri-maNuya gaMgao / daMsaNa muNida bhakkhaM va pANayaM valiya-calaMta uvagayA, kAmagaiMda-garula ovaiyaM tammi pasaMta rammi, musumUriyaMjaNasAhati / hA hA ayANue KUVALAYAMALA P. L. 239. 241. 242. 243. 15 245. 243. 243. 29 246. 247. 248. 250. 262. 433542 2 2 2 2 2 2 2 2 2 2 2 2 263. 15 264. 251. 17 251. 29 252. 13 252. 31 6 253. 30 257. 1 260. 3 273. 23 20 27 34 264. 25 267. 268. 29 11 7 269. 8 269. 270. 14 270. 19 18 270. 23 271. 27 271. 30 272. 25 272. 28 29 275. 25 276. 27 276. 31 277. 26 278. 21 278. 7 280. 28 280. 28 281. 23 282. 1 283. 7 283. 11 283. 26 283. 32 283. 41 284. 8 rahaMgagaNAkosallAvaNaavahI AvaraNa ujjaya Read jaya mahaMto vakkhevo tisaiMdapujjei pujjA vasudayaM cakkhe su kahi pamhala calaMta bhaNiyaM sajjo citiyaM tIe sacca NAgA vasUllasaMta muhaM dIha khamasu, bhaNato ayalla pariccaiUNa vaDDumANa jANAmi tattha || aTTheva vatthe [patte ] pANe Na sitto vi [majjha] majjhattho khAmemi NAya - ajjhayaNe siTThA AyAra-pagappa suhA Natthi vAhaNa bahuyAI kamma- siddhANa jara kIrai suyaNe... ya pAva titthiyANa mettI jANA maNeNa vayaNaya suyaNa heNa kattaNA himANA ujjumaINaM kaittaNAhimANo savva-nANAiM aNaMtohi savvohiM sahassAI

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ADDITIONS AND CORRECTIONS 191 Sanskrit Text & Notes P. L. P. L. 2. 40 *14. 18 18. 32 Read readings 'vatkoTi: [sAmIpyaM] *44. *45. 126. 156. 29 36 18 25 Read mamopari samasti 'tanayaH, padmacandraH puna bArapaTTe caupannamahA serIsI

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