Operation In Search of Sanskrit Manuscripts in Mumbai Circle 1

Author(s): P Piterson
Publisher: Royal Asiatic Society
Catalog link: https://jainqq.org/explore/007578/1

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TET ETC praya jIrNoddhAra -: saMyojaka :zrI AzApUraNa pArzvanAtha jaina jJAnabhaMDAra zA. vimaLAbena saremala javeracaMdajI beDAvALA bhavanA hIrAjaina sosAyaTI, sAbaramatI, amadAvAda-380005. - mo. 94265 85904 (o.) 079-22132543 ;

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"aho zrutajJAnama" graMtha jIrNodhdhAra saMskRta menyuskrIpTa ina muMbaI-1 : saMyojaka : zAha bAbulAla saremala beDAvALA zrI AzApUraNa pArzvanAtha jaina jJAna bhaMDAra zA. vImaLAbena saremala javeracaMdajI beDAvALA bhavana hIrAjaina sosAyaTI, sAbaramatI, amadAvAda-380005 (mo.) 9426585904 (o.) 22132543 saMvata 2067 I.sa. 2011

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"Aho Shrut Gyanam"

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pRSTha 238 286 54 007 810 850 322 280 162 302 aho zrutajJAnama graMtha jIrNoddhAra- saMvata 2065 (I. 2009- seTa naM-1 kramAMka pustakanuM nAma kartA-TIkAkAsaMpAdaka | 001 | zrI naMdIsUtra avacUrI pU. vikramasUrijIma.sA. 002 | zrI uttarAdhyayana sUtra cUrNI pU. jinadAsagaNicUrNIkAra / | 003 zrI arhadrItA-bhagavadgItA pU. meghavijayajI gaNima.sA. 004 zrI arhaccUDAmaNisArasaTIkaH pU. bhadrabAhusvAmIma.sA. 005 | zrI yUkti prakAzasUtraM | pU. padmasAgarajI gaNima.sA. 006 | zrI mAnatuGgazAstram | pU. mAnatuMgavijayajIma.sA. aparAjitapRcchA | zrI bI. bhaTTAcArya 008 zilpasmRti vAstu vidyAyAm | zrI naMdalAla cunilAlasomapurA 009 zilparatnambhAga-1 | zrIkumAra ke. sabhAtsavazAstrI 010 | zilparatnambhAga-2 | zrIkumAra ke. sabhAtsavazAstrI 011 prAsAdatilaka zrI prabhAzaMkara oghaDabhAI 012 | kAzyazilpam zrI vinAyaka gaNeza ApaTe 013 prAsAdamaJjarI zrI prabhAzaMkara oghaDabhAI 014 | rAjavallabha yAne zilpazAstra zrI nArAyaNa bhAratIgosAI 015 zilpadIpaka | zrI gaMgAdharajI praNIta | vAstusAra zrI prabhAzaMkara oghaDabhAI 017 dIpArNava uttarArdha | zrI prabhAzaMkara oghaDabhAI jinaprAsAdamArtaDa zrI naMdalAla cunIlAla somapurA | jaina graMthAvalI | zrI jaina zvetAmbarakonphransa 020 hIrakalaza jainajyotiSa zrI himmatarAmamahAzaMkara jAnI nyAyapravezaH bhAga-1 | zrI AnaMdazaMkara bI.dhruva 022 | dIpArNavapUrvArdha zrI prabhAzaMkara oghaDabhAI 023 anekAntajayapatAkAkhyaM bhAga pU. municaMdrasUrijIma.sA. | anekAntajayapatAkAkhyaM bhAga2 | zrI eca. Ara. kApaDIA 025 | prAkRtavyAkaraNabhASAMtara saha zrI becaradAsa jIvarAjadozI tatpopaplavasiMhaH | zrI jayarAzI bhaTTa bI. bhaTTAcArya | 027 zaktivAdAdarzaH zrI sudarzanAcAryazAstrI 156 352 120 88 110 018 498 019 502 454 021 226 640 452 024 500 454 188 026 214

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028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 kSIrArNava vedhavAstu prabhAkara zilparatnAkara prAsAda maMDana zrI siddhahema bRhadvRtti bRhannyAsa adhyAya? zrI siddhahema bRhadvRtti bRhannyAsa adhyAyara zrI siddhahema bRhadvRtti bRhannyAsa adhyAya3 (1) zrI siddhahema bRhadvRtti bRhannyAsa adhyAya (2) (3) zrI siddhama bRhadvRtti bRhannyAsa adhyAya 5 vAstunighaMTu tilakamannarI bhAga-1 tilakamannarI bhAga-2 tilakamannarI bhAga-3 saptasanmAna mahAkAvyam saptabhaGImimAMsA nyAyAvatAra vyutpattivAda guDhArthatattvAloka sAmAnyaniyukti guDhArthatattvAloka saptabhaGInayapradIpa bAlabodhinIvivRttiH vyutpattivAda zAstrArthakalA TIkA nayopadeza bhAga-1 tarakiNItaraNI nayopadeza bhAga-2 tarakiNItaraNI nyAyasamuccaya syAdyArthaprakAzaH dina zuddhi prakaraNa bRhad dhAraNA yaMtra jyotirmahodaya zrI prabhAzaMkara oghaDabhAI zrI prabhAzaMkara oghaDabhAI zrI narmadAzaMkara zAstrI paM. bhagavAnadAsa jaina pU. lAvaNyasUrijIma. sA. pU. bhAvabyasUrinIma.sA. pU. bhAvanyasUrinIma.sA. pU. lAvaNyasUrijIma. sA. pU. bhAvakhyarinIma.sA. prabhAzaMkara oghaDabhAI somapurA pU. lAvaNyasUrijI pU. lAvaNyasUrijI pU. lAvaNyasUrijI pU. vijayaamRtasUrizvarajI pU. paM. zivAnandavijayajI satiSacaMdra vidyAbhUSaNa zrI dharmadattasUri (bacchA jhA) zrI dharmadattasUri (bacchA jhA) pU. lAvaNyasUrijI zrIveNImAdhava zAstrI pU. lAvaNyasUrijI pU. lAvaNyasUrijI pU. lAvaNyasUrijI pU. lAvaNyasUrijI pU. darzanavijayajI pU. darzanavijayajI saM. pU. akSayavijayajI 414 192 824 288 520 578 278 252 324 302 196 190 202 480 228 60 218 190 138 296 210 274 286 216 532 113 112

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pAdaka | pRSTha ! 160 202 48 322 aho zrutajJAnama graMtha jIrNoddhAra- saMvata 2066 (I. 2010 - seTa naM-2 krama pustakanuM nAma bhASA kartA-TIkAkA(saMpAdaka 055 | zrI siddhahema bRhadvatti bUdanyAsa adhyAya-6 pU. lAvaNyasUrijIma.sA. 296 056 | vividha tIrtha kalpa pU. jinavijayajI ma.sA. 057 | bhAratIya haina shrm| saMskRta sane manA . pU. pUNyavijayajI ma.sA. 164 058 | siddhAntalakSaNagUDhArtha tattvalokaH | saM zrI dharmadattasUri 059 vyApti paJcaka vivRtti TIkA zrI dharmadattasUri 0608na saMgIta rAmAkA | . zrI mAMgaroLa jaina saMgIta maMDaLI 306 061 caturviMzatIprabandha (prabaMdha koza) | zrI rasikalAla eca. kApaDIA | 062 vyutpattivAda Adarza vyAkhyayA saMpUrNa 6 adhyAya saM zrI sudarzanAcArya 668 | 063 candraprabhA hemakaumudI pU. meghavijayajI gaNi 516 064 viveka vilAsa saM/J. | zrI dAmodara goviMdAcArya 268 065 | paJcazatI prabodha prabaMdha saM pU. mRgendravijayajI ma.sA. 456 066 sanmatitattvasopAnam |saM pU. labdhisUrijI ma.sA. 0676zamAdA hI guzanuvAI | gu4. pU. hemasAgarasUrijI ma.sA. 638 068 moharAjAparAjayam saM pU. caturavijayajI ma.sA. 192 069 | kriyAkoza saM/hiM zrI mohanalAla bAMThiyA 428 | kAlikAcAryakathAsaMgraha saM/J. zrI aMbAlAla premacaMda | 071 sAmAnyanirukti caMdrakalA kalAvilAsa TIkA saM. zrI vAmAcaraNa bhaTTAcArya | 308 072 | janmasamudrajAtaka saM/hiM zrI bhagavAnadAsa jaina 128 073 | meghamahodaya varSaprabodha saM/hiM zrI bhagavAnadAsa jaina 532 0748na sAmudinai in jtho J4. zrI himmatarAma mahAzaMkara jAnI 0758na citra padUma sAga-1 44. zrI sArAbhAI navAba 374 420 070 406

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076 | i jaina citra kalpadruma bhAga-2 vana ja 17 saMgIta nATya rUpAvalI 07 | bhAratanAM jaina tIrtho ane tenuM zilpasthApatya 079 | zilpa citAmaNi bhAga-1 O80 | bRhad zilpa zAstra bhAga-1 114 08 | bRhad zilpa zAstra bhAga-2 082 bRhad zilpa zAstra bhAga-3 083 AyurvedanA anubhUta prayogo bhAga-1 084 | kalyANa kAraka 085 | vizvanayana voza 086 | kathA ratna koza bhAga-1 087 kathA ratna koza bhAga-2 088 hastasagnIvanama guja. zrI sArAmArUM navAva 238 | guja. | zrI vidyA saramA navAva 194 guja. | zrI sArAmArUM navAva 192 guja. | zrI manasuhAnAnna muvamana | 254 guja. | zrI gagannAtha maMvArIma 260 guja. | zrI nAganAtha maMvArama 238 guja. | zrI navInnAtha maMvArama 260 guja. | pU. varAntisAgaranI guja. | zrI vardhamAna pArzvanAtha zAstrI 910 saM./hiM zrI naMdalAla zarmA 436 guja. | zrI levalAsa navarAna kozI 336 | guja. | zrI levalAsa navarAna tozI | 230 saM. | pU. me vinayanI pU.savinayana, pU. puNyavijayajI | AcArya zrI vijayadarzanasUrijI 560 322 114 089 e%caturvizatikA 090 sammati taka mahArNavAvatArikA

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zrI AzApUraNa pArzvanAtha jaina jJAnabhaMDAra pRSTha 191 272 92 240 93 254 282 95 118 96 466 saMyojaka-zAha bAbulAla saremala - (mo.) 9426585904 (o.) 22132543 - ahoshrut.bs@gmail.com zAha vImaLAbena saremala javeracaMdajI beDAvALA bhavana hIrAjaina sosAyaTI, rAmanagara, sAbaramatI, amadAvAda-05. aho zrutajJAnam graMtha jIrNoddhAra-saMvata 2067 (I. 2011) seTa naM.-3 prAyaH aprApya prAcIna pustakoM kI skena DIvIDI banAI usakI suucii|yh pustake vebasAiTa se bhI DAunaloDa kara sakate haiN| krama pustaka nAma kartA/TIkAkAra bhASA saMpAdaka/prakAzaka syAdvAda ratnAkara bhAga-1 vAdidevasUrijI motIlAla lAghAjI punA syAdavAda ratnAkara bhAga-2 vAdidevasUrijI motIlAla lAghAjI punA syAvAda ratnAkara bhAga-3 vAdidevasUrijI motIlAla lAghAjI punA syAvAda ratnAkara bhAga-4 vAdidevasUrijI motIlAla lAghAjI punA syAvAda ratnAkara bhAga-5 vAdidevasUrijI motIlAla lAghAjI punA pavitra kalpasUtra puNyavijayajI saM./aM sArAbhAI navAba 97 samarAGgaNa sUtradhAra bhAga-1 | bhojadevasaM . TI. gaNapati zAstrI 98 samarAGgaNa sUtradhAra bhAga-2 bhojadeva TI. gaNapati zAstrI 99 bhavanadIpaka padmaprabhasUrijI saM. veMkaTeza presa 100 gAthAsahastrI samayasuMdarajI saM. sukhalAlajI bhAratIya prAcIna lipImAlA gaurIzaMkara ojhA hindI munzIrAma manohararAma 102 zabdaratnAkara sAdhusundarajI haragovindadAsa becaradAsa 103 | subodhavANI prakAza nyAyavijayajI saM./gu hemacaMdrAcArya jaina sabhA 104 laghu prabaMdha saMgraha jayaMta pI. ThAkara orIenTa isTI. baroDA 105 | jaina stotra saMcaya-1-2-3 mANikyasAgarasUrijI AgamoddhAraka sabhA 106 | sanmatitarka prakaraNa bhAga-1,2,3 siddhasena divAkara sukhalAla saMghavI sanmatitarka prakaraNa bhAga-4,5 siddhasena divAkara sukhalAla saMghavI 108 | nyAyasAra - nyAyatAtparyadIpikA satiSacaMdra vidyAbhUSaNa esiyATIka sosAyaTI 342 362 134 70 101 316 224 612 307 250 514 107 454 354

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saM./hi 337 110 saM./hi 354 111 372 saM./hi saM./hi saM./hi 142 113 336 364 saM./gu saM./gu puraNacaMdra nAhara puraNacaMdra nAhara puraNacaMdra nAhara jinadattasUri jJAnabhaMDAra aravinda dhAmaNiyA yazovijayajI graMthamALA | yazovijayajI graMthamALA | nAhaTA bradharsa | jaina AtmAnaMda sabhA jaina AtmAnaMda sabhA phArbasa gujarAtI sabhA phArbasa gujarAtI sabhA | phArbasa gujarAtI sabhA 218 116 656 122 109 jaina lekha saMgraha bhAga-1 puraNacaMdra nAhara jaina lekha saMgraha bhAga-2 puraNacaMdra nAhara jaina lekha saMgraha bhAga-3 puraNacaMdra nAhara 112 | jaina dhAtu pratimA lekha bhAga-1 kAMtisAgarajI jaina pratimA lekha saMgraha daulatasiMha loDhA 114 rAdhanapura pratimA lekha saMdoha vizAlavijayajI 115 | prAcina lekha saMgraha-1 vijayadharmasUrijI bIkAnera jaina lekha saMgraha agaracaMda nAhaTA 117 | prAcIna jaina lekha saMgraha bhAga-1 jinavijayajI 118 | prAcina jaina lekha saMgraha bhAga-2 jinavijayajI 119 | gujarAtanA aitihAsika lekho-1 girajAzaMkara zAstrI 120 gujarAtanA aitihAsika lekho-2 girajAzaMkara zAstrI gujarAtanA aitihAsika lekho-3 girajAzaMkara zAstrI oNparezana ina sarca oNpha saMskRta menyu. | pI. pITarasana 122 __ina muMbaI sarkala-1 oNparezana ina sarca oNpha saMskRta menyu. | pI. pITarasana 123 ina muMbaI sarkala-4 oNparezana ina sarca oNpha saMskRta menyu. pI. pITarasana ina muMbaI sarkala-5 kalekzana oNpha prAkRta enDa saMskRta pI. pITarasana __ inskrIpzansa 126 | vijayadeva mAhAtmyam jinavijayajI 764 saM./hi saM./hi saM./hi saM./gu saM./gu saM./gu 404 404 121 540 raoNyala eziyATIka jarnala 274 raoNyala eziyATIka jarnala 41 124 400 aM. raoNyala eziyATIka jarnala bhAvanagara ArcIoNlaoNjIkala DipArTamenTa, bhAvanagara jaina satya saMzodhaka 125 | 320 148

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DETAILED REPORT OPERATIONS IN SEARCH OF SANSKRIT MISS. IN THE BOMBAY CIRCLE, August 1882--MARCH 1883. BY PROFESSOR PETER PETERSON. EXTRA NUMBER OF THE JOURNAL OF THE BOMBAY BRANCH OF THE ROYAL ASIATIC SOCIETY. 1 88 3. BOMBAY: SOCIETY'S LIBRARY, TOWN HALL. LONDON: TRUBNER & Co., 57 & 59 LUDGATE HILL.

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12:315.. 111 U3.1 45

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CONTENTS. REPORT OF OPERATIONS .. 1- 72 Extracts from MSS. acquired for Government, and from others belonging to H. H. the Maharana of Oodeypore............. 73-111 List of MSS. acquired for Government ............ 113--132 Appendix I.- Catalogue of the Palm-leaf MSS. in Santinath's Bhandur, Cambay ... (1)-(103) Appendix II.-Bana ; his predecessors and contem poraries ................................. (105)-- (129)

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JOURNAL OF THE BOMBAY BRANCH OF THE ROYAL ASIATIC SOCIETY. EXTRA NUMBER. Detailed Report of Operations in search of Sanskrit MSS. in the Bombay Circle, August 1882--March 1883. By Professor PETER PETERSON, Tue operations in search of Sanskrit manuscripts in the Bombay Circle* have been under the joint charge of Professor Bhandarkar and myself since August 1882, whon Professor Bhandarkar, who, on Dr. Kielhorn's departure, had been put by the Director of Pablic Instruction in sole charge, was invited by that officer, in accordance with Government Resolution No. 582, dated 21st April, 1882, to make over part of the work to me. It was then agreed between us that we should divide equally the amount that remained (Rs. 4,952) of the grant for the year, and that while the Bombay Professor should be generally in charge of the Northern,' and the Poona Professor in charge of the Southern Division, it should be open to cither of us at any time, after mutual consultation, to push the objects of the scarch in any part of the Circle that might be deemed expedient. The arrangement has worked, I believe, to the entire satisfaction of both of us--a result largely due to that liberality of feeling, and unselfishness of motive, which havo won for Mr. Bhandarkar the respect of all who have watched * Tho Bombay Circlo inclulcs, besides the Presidency of Boulay, Rajputana, Contrul Iuliu, and the Contrul Provinces

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OPERATIONS IN SEARCH OF SANSKRIT MSS. his carcer; and it is substantially the arrangement under which we are now together prosecuting the search. What follows then is a statement of my own operations in the joint work for that portion of the past year during which I was entrusted with part of it. The close of the monsoon term set me free from my College duties, and on the 18th of September I left Bombay for Jeypore.* My specific object in beginning with Jeyporo was to ascertain whether the copies kindly ordered by the Jeypore Durbar to be made of such books in the Royal Library as appeared to Dr. Buhler to be desirable acquisitions had been made; and, if possible, to secure them. On my arrival, I called on Major Prideaux, then Acting Resident at Jeypore, who had already promised to interest himself in this matter, * On the way I took occasion to visit Mount Abu. Beyond an A bumaha tm ya m, which purported to be a part of the Sivapurana, and which did not seem to be worth the trouble of copying (the owner not being willing to part with it), this digression did not, of course, offer anything directly connected with the object of my tour : and a detailed account of the many places of surpassing interest on the hill would be out of place here. I should like howover to say that having had the good fortune to be admitted within the shrine at Achaleswara, where the mark of the toe of the god Siva is to " be seen unto this day," and having carefully examined that mark, I am disposed to think that it contains the explanatiou of the curious knob on the left of the figure of the Pramara prince, which stands facing the temple of Vasishtha at the other end of the hill. The one is an exact copy of the other; and the "toe-nail of the devil" was probably one of the cherished insignia of the royal house of the time. I was able to secure admittance both to this shrine and to that of Vasishtha. It may be worth saying hero that my almost uniform experience in that matter leads me to believe that any traveller who does not scraple to show, by outward symbol, that he respects the reverence in which these sacred places are held, will be allowed free entrance, and will be treated with all courtesy. To be able to speak Sanskrit is of course often an additional recommendation ; though many of these shrince are now in the keeping of men who cannot speak two words of that language. There may be circumstances in which persons officially representing the government of the country, or an alien charch, may hesitate to comply with the condition universally attached to such a concession. No such considerations need trammel the scholar in search of knowledge. And as far as personal feelings are concerned, I do not envy those of the man who can stand before the ruined shrine of Vasishtha, or enter the porch of the Karli cave, while fancy conjures op thc innumerable company of men and women who have worshipped where he now is, without saying to himself, Put off thy shoes from off thy feet : for the place whereon thou standest is holy ground.

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IN THE BOMBAY CIRCLE. and in my work gencrally; and to whom I am exceedingly indebted for the trouble he took to help me. Learning from Major Prideaux that a day or two must elapse before I could hope to be admitted to a library, which is, as a rule, not easy of access, I resolved to spend the interval in making the acquaintance of such of the pandits of the place as I might be able to put myself in communication with. A visit to the froe publio library-an institution which reflects the greatest credit on the Jeypore administration, and to which there is, I am afraid, no parallel in Bombay*--as also to H. H. the Daharaja's Sanskrit school, soon made the fact and object of my visit widely known; and during the few days I was able to devote to Jeypore I had the opportunity of explaining the objects and plans of the search to more than one intelligent pandit and native gentleman, from whose co-operation in the future I anticipate the happiest results. The immediate fruit of my intercourse with some of these men I propose to examine in the paragraphs that follow. I will only add here, that my experience at Jeypore, and throughout this tour, confirmed me in the belief that while there is much which the native scholar may learn from the European scholar, there is more, in that which is of common interest to the two, that the European can learn from the native. No one who is not himself a student of Sanskrit letters can fully realise how dense and farspreading the cloud is that, to our eyes, still hangs over the history of the literature. But no candid mind can engage in the study of that history in India without recognising that much, which remains for the European to discover, has never been hid from the native learned oommunity.t * The Jeyp@re Free Library was founded by the late Maharaja at the instigation of a medical missionary: and it is amusing to note that one of its chief features is what must certainly be the most completo collection of Scotch sermons that exists anywhere east of the Lothians. Under the present management an attempt is being made to supplement these with books more in koeping with the surroundings; and there is, in particular, a very fair collection of Sanskrit books. + It is to be regretted, I think, that Government, in adopting Dn Kielhorn's scheme for entrusting the work of cataloguing the Poona collection to scholars in Europe, should have appeared to accept Mr Whitley Stokes' view, pressod upon them by the author of the scheme, thai that work could not be dono in India. "I know of no native scholar possessed of the requisito lcarning, accura'y, and persistent energy," said Mr. Stokes in 1868. I do not know that Mr. Stokes, had any special claims to speak with authority on such a point.

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4 OPERATIONS IN SEARCH OF SANSKRIT MSS. Among my first acquisitions in Jeypore were two small works which must be added to the already long list of writings by the Kash. mirian author, Kshemendra.* The Charu charyasatakam, No. 51,+ of that writer, is a century of moral aphorisms in very simple Sanskrit, cach with a sanction of the orthodox kind appended, which gives a quaint and pleasing picture of virtue's Ways of Pleasantness as they appeared to the Kashmir poet of the eleventh century. The Charucharyaeatakam and the Chaturvargasaingralia of Kshemendra. Here, for example, is Kshemendra's version of our proverb "The carly bird catches the worm": - brAhme muhUrte puruSastyajennidrAmataMdritaH / prAtaH prabuddhaM kamalamAzrayecchrIrguNAzrayA // "One hour before sunrise let a man resolutely shake off sleep: the lotus wakens early, and therefore it is that a discriminating Goddess of Beauty (prosperity) takes up her abode there." But the best of the few European Orientalists who have had the good fortune to be able to pursue their studies in India, have never been slow to confess their obligations to the accuracy, learning, and energy here so ruthlessly depre ciated. There have been of course exceptions. I have before me now a Report, which is to my mind chiefly remarkable from the fact that, neither on the covers, nor anywhere within the covers, docs the European scholar, whose name appears on the title-page, give that of the native who, unaided, and after great excrtions, procured for Government the valuable collection of palm-leaf MSS. so complacently exhibited, or make any reference at all to the other native collaborateur without whose special knowledge of Magadhi, and the Jain literature, that part of the Report, I make bold to say, could not have been written. Such a proceeding-and it does not, I regret to think, stand alone-may tend to confirm the relative estimate of native and European learning; but it is at the expense, I submit, of somothing more valuable than even a character for learning. *For Kshemendra, see Buhler's very valuable Report of his Kashmir tour, published as an extra number of the Journal of the Bombay Branch of the Royal Asiatic Society, to which I shall have to make constant reference. Of Kshemendra's works there were known to European scholars, previous to Buhler's visit to the poet's home, (1) Vrihatkathamanjari, (2) Bharatamanjari, (3) Kalavilasa. Buhler found in Kashmir (4) Ramayanamanjari, (5) Dasava. taracharita, (6) Samayamatrika, (7) Suvrittatilaka, (8) Lokaprakasa, (9) a commentary on Vyasa's Nitikalpataru, and (10) a Vyasashtaka found at the end of a copy of the Bharatamanjarl. The references are to the list of MSS. purchased by me for Government during the period under report, which will be found at the end of this paper.

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IN THE BOMBAY CIRCLE. The motive for another maxim is probably a sanitary one still in force in India : nottarasyAM pratIcyAM vA kurvIta zayane ziraH / zayyAviparyayAdgarbho diteH zakreNa pAtitaH // 5 "Do not sleep with your head to the north or the west: Diti slept in a wrong position: and Indra was able to slay the fruit in her womb." The reference here is to a story told in the first book of the Ramayana. Other examples from the Chrarucharyasatakam will be found in the extracts at the end of this report. The other hitherto unknown work by Kshemendra is the Chaturvargasam graha, No. 61, which is, as its title indicates, a concise exposition of the whole doctrine of the four great motives of human activity-duty, money, love, salvation. In that part of the first chapter which treats of the duties of master and servant I find a verse which looks like a bit of Kshemendra's personal history. It is a viudication of the honourable character, as a profession, of service rendered to a worthy master. vidvajjanArAdhanatatpareNa saMtoSasevArasanirbhareNa / kSemendranAmnA sudhiyAM sadaiva sukhAya sevAvasaraH kRtoyam // vRttyA jIvati lokaH sevA vRttirnijaiva keSAMcit / asthAne tIvratarA nidyA tu tadarthinAM sevA // "This chapter on service has been drawn up by Kshemendra, with a single eye to please learned men, himself full of the happiness that comes of the service of content. Men live by their professions: and in the case of some service is the profession to.which they are born. It is when service is rendered to an unworthy object that it is bitter and blameable." I may interpolate here a short account of Kshemendra's Suvrittatilaka, which was first discovered by Buhler in Kashmir, and a second copy of which was one of my Jeypore acquisitions. The The Suvrittatilaka of Kshemendra. "The new treatise on metrics, Kshemendra's Suvrittatilaka, No. 270, is very clearly written, and valuable on account of numerous quotations which illustrate the rules. The authors' names are aded to many of them."-Kashmir Report, p. 69. It would perhaps be going too far to say that in these early works on rhetoric illustrations that bear no name are to be understood to be by the author himself, though I am disposed to think that that was the practice. The presumption is perhaps strongest when, as here, the name is sometimes given and sometimes withheld, without any such intimation as is nsual in the later anthologics that the source is unknown.

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OPERATIONS IN SEARCH OF SANSKRIT MSS. work, as Buhler pointed out, is valuable on account of the numerous quotations found in the second and third chapters, which are in all cases accompanied by the name of the author, and which consequently enable us to fix a terminus ad quem for more than one poet in whose case such a limit was a desideratum. The three chapters, or vinyasas, into which the book is divided, are called respectively (1) Vritta vachaya, (2) Gunadoshadarsanam, and (3) Vrittaviniyoga. The vfittas or turns--it is curious to note, in passing, how closely vritta and verse correspond to each other in meaning-enumerated in the first vinyasa are as follows: (1) tanumadhya, (2) kumaralalita, (3) vidyunmala, (4) pramani, (5) anashtubh, (6) bhujagagrasisassita, * (7) rukmavati, (8) indravajra, (9) apendravajra, (10) upajati, (11) salini, (12) rathoddhata, (13) svagata, (14) totakam, (15) varsastham,t (16) drutavilambitam, (17) prabar My MS. of the Suvsittatilaka was not bought for Government : but was presented to me by my friend, Pandit Durga Prasada. In the comparatively few cases in which MSS. have thus been put at my disposal, I have gone on the rule of making over to the collection all MSS. that are new, or more correct than copies already there. Others I have felt at liberty to retain. * Bhujagagrasisusrita, MS., Bhujagagrasisusrita. The word takes this form to suit the metre. The more common form appears in the example: na namati caraNau bhanyA kimiti jddmtirlokH| bhavabhayazamanau zaMbho (jgshigustaavgre|| The example shows that this metre ended, according to Kshemendra, in three long syllables, the scheme being uuuuuu--- repeated four times, and not uuuuuu-uu as Weber, Ind. Stud. 8, 170, followed by the St. Petersburg Dictionary, has it. Colebrooke, Essays I., 141, gives Kshemendra's scheme. + The expression in the rule, vamsasthakhyam leaves us in doubt whether the word is vamsastha, or vamsastha. Colebrooke writes it with the short vowel : Weber with the long. The St. Petersburg Dictionary intimates a doubt. Kshemendra's example : janasya tIvrAtapajAtivAraNA jayaMti saMta: satata smunntaaH| sitAtapatrapratimA vibhAMti ye vizAlavaMzasthatayA gunnocitaaH|| makes for the short syllable. In the case of the example from Bana in the second vinyasa, cited further on, the metre is called vamsastham (ie, vrittam). See also p. 11.

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IN THE BOMBAY CIRCLE. shini, (18) vasantatilakam, (19) malini, (20) narkutam, (21) prithvi, (22) barini, (23) sikbarini, (24) mandakranta. With one exception, that of the anashtubh metre, where the verse tataH kumudanAthena kaaminiigNddpaaNddunaa.| netrAnaMdana caMdreNa mAheMdrI diglNkRtaa|| is cited from bhagavad Vyasa, the examples given of these various metres are by the author himself, and are so composed that each serves at once to the eye or ear as a versus memorialis both of the character and of the name of the particular metre. Thus the scheme of the first, the tanumadhya metre, in the technical language of Indian, prosody* being ty (i. e. --uv- -) four times repeated, the illustration runs tena pravibhaktA kAmaM vayasA saa| yena pravilAsaM dhatte tanumadhyA // This verse is in the tanumadhya metre: the word tanamadhya is an integral part of it: and the initial letters of the two lines of which it is composed give the scheme of the metre. What importance for the history of the literature the Suvrittatilaka possesses begins with the second vinyasa, which is a concise exhibition of the merits and faults observable in poems. The authors cited there and in the next vinyasa, which enquires into the reasons that make one metre suitable, and another not, in each particular case, are Abhinanda, bhatta Indaraja, srimad Utpalaraja, Kalasaka, Kalidasa, Gandinaka, Chakra,t Tanjira, Dipaka, bhatta Narayana, I Parimala, Bana (MS. Vana), Bhartsimentha, Bhartrihari, Bhavabhati, Bharavi, Muktakana, sri Yasovarman, # See Colebrooke's Essays, loc. cit. Aufrecht in his notice of the Srutabodha, & work whose author calls himself Kilidasa, and in which the rules them. selves are examples of the various metres, refers to the case of Terentianus Maurus, a grammarian of the first century who composed a handbook of Latin prosody on a similar plan. + Called also ari Chakra. The quotation is from the Venisamhara. $ The two verses "jayanti van&guramaulilalitah" and "namami bharvos. charanambujadvayam," are cited from the introductory verses to Kadambari, to show how the vasantatilaka suffers (yatyanarghatam) if each pada ends in visarga, and how it is improved if that fault be avoided.

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8 OPERATIONS IN SEARCH OF SANSKRIT MSS. Ratnakara, Rajasekhara, Rissu, Latadindira, bhatta Vallata, Viradeva, Sahila, bhatta Syamala, sri Harshadeva, and the author himself. In this list the following names are, so far as I know, new: Kalasaka,+ Gandinaka, Chakra, Jinjira, Muktakana, Rissu, Latadindira, Vallata, Viradeva, Syamala, Sahila. The verses quoted from these poets will be found in the extracts given at the end of this Report. The discussion on the 'fitness of metres' which occupies the last chapter, yields some not unimportant items of information for our purpose. The authenticity of the work last noticed, the Chaturvarga, is vouched for by what I take to be a specific reference to that book. Having laid down that the compositions to which the rules of prosody refer are of four kinds, being either scientific (sastram), or poetic (kavyam), or quasi-poetic (sastra-kavyam, instruction conveyed in the guise of poetry), or lastly, quasi-scientific (kavya-sastram, in which the author's skill in poetry is of more account than the instruction he professes to be anxious to convey), Kshemendra goes on to say that books like the Chaturvarga are instances of the third kind, while the poems of Bhatti and Bhaumaka are examples of the fourth.SS Pandit Durga Prasada, from whom * yathA vidyAdhipatyaparanAmro ratnAkarasya kaMThazriyaM kuvalayastabakAbhirAma dAmAnukAri vikaTacchavi kAlakUTAm / bibhratsukhAni dizatAdupahArapItadhUpotthadhUmama ilanAmiva dhUrjaTirvaH // for This is the first verse of Ratnakara's Haravijaya. Buhler's 3 34 (Report, p. cxxv.) is probably a misprint. Both here, and in the two works by Ratnakara, to be referred to immediately, his title is given as Vidyadhipati, not Vidyapati. A Kalasa however is quoted in the Sarngadharapaddhati.-Aufrecht's article in the magazine of the German Oriental Society. Called also bhatta Vallata. $ zAstrakAvyaM caturvargaprAyaM sarvopadezakRt / bhaTTibhaumaka kAvyAdi (ms (dha) kAvyazAstraM pracakSate || Kshemendra's simile in illustration of the first kind of poetical composition, that which is pure science, has a strangely familiar ring : tatra kevalazAstrepi kecitkAvyaM prayuMjate / titauSadhirasodvege guDalezamivopari // "Of these four kinds some use poetry in matters of pure science as men

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IN THE BOMBAY CIRCLE. I procured the present MS., had heard of a poem, resembling the Bhattikavya, by Bhaumaka, called the Ravanarjuniyam. Buhler brought from Kashmir a fragment of a work "called Ravanarjuniya or Arjunaravaniya," whose author's name he gives as Bhima or Bhimabhatta, which " resembles the Bhattikavya, and is intended to illustrate the rules of grammar."* It may be presumed, I think, that this is the same book, and that Kshemendra's text gives the author's real name. Immediately below this passage Kshemendra quotes as an instance of an injudicious display of poetical merits, in the discussion of a scientific subject, a verse on medicine by Vagbhatta. Before quitting the Surrittatilaka it must be noted that Kshemendra lends no support to the identification of Bhartrihari with either Bhatti or Bhartri. mentha, all three being referred to in the course of the book. Another of his own writings to which Kshemendra refers in this chapter is the Paranapa nch asika, a work which has still, so far as I know, to be recovered. In yet another place Kshemendra preserves for us the first verse of Bhartrimen tha's lost poem the II ay agrivav a dh a. The passage is interesting as confirming what Buhler has already pointed out from Hemachandra's Alarakarachudamani, namely, that the Hayagrivavadha was a kavya not a nataka, and was divided into sargast:uso a piece of sugar to counteract the taste of a pungent medicino." This is lloraco with a now free Ridentem discere verum Quid vetat ? ut pueris olim dant crustula blandi Doctores, elementa velint ut discere prima. Horace. Satires, Bk.'I., Sat. 1, 1. 25. Laughing, to teach the truth, What hinders? As some teachers give to boys Junkets and knacks, that they may learn apace. (Milton's translation of that passage.) * Kashmir Report, p. 61. + "The Rajatarangini mentions... Mentha, the protege of Matrigupta. ... I may add that Mr. Troyer is wrong in declaring that Mentha's great work, tho Hayagrivavadha, wag a nataka. The phrase (Rajnt. III. 2010) hayngrivavadham Menthas ta lagre darsayan navam, "when Month: Shower! the new Denth of Inyagriva,' in his Matrigupta's) presence" is ambiguous. It mny mean that the poet showed the MS. only and read it. Homachandra's Alankaracha Amani proves that this interpretation is the right one, as at tho end of Adhyaya 1V. it names the Hayagrivavadha is a specimen of a kavyn, and declares that it was divided into saryas or cantos."- Kashmir Report, p. 42. B

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10 OPERATIONS IN SEARCH OF SANSKRIT MSS. AraMbhe sargabaMdhasya kthaavistrsNgrhe| zamopadezavRttAMte saMtaH zaMsaMtyanuSTubham || AraMbhe yathA bhartRmeMThasya AsItyo hayagrIvaH suhRdvezmasu yasya taaH| prathayaMti balaM bAhoH sitacchatrasmitA:zriyaH / / The end of the chapter, in which the author cites various poets of the olden time (purvakavayah) as excelling in one or other kind of metre, is of sufficient importance to be given in fall: ekasminneva yairvRtte kRto dvitreSu vA shrmH| na nAma viniyogArhAste daridrA iyotsave || vRtte yasya bhavedyasminnabhyAsena pragalbhatA | sa tenaiva vizeSeNa svasaMdarbha pradarzayet / / ekavRttAdaraH prAyaH pUrveSAmapi dRzyate / tatraivAticamatkArAdanyatrArabdhapUraNAt // anuSTapsatatAsaktA sAbhinaMdasya nNdinii| vidyAdharasya vadane gulikeva prbhaavbhuuH|| spRhaNIyatvacaritaM paanninerupjaatibhiH| camatkArIkasArAbhirudyAnasyeva jAtibhiH / / vRttacchatrasya sA kApi vaMzasthasya vicitrtaa| pratibhA bhAraveyana scchaayenaadhikiikRtaa|| vasaMtatilakArUDhA vaagvlliigaaddhsNginii| ratnAkarasyotkalikA cakAstyAnanakAnane // bhavabhUteH zikhariNI nirrgltrNginnii| rucirA ghanasaMdarbha yA mayUrIva nRtyaati|| subazA kAlidAsasya maMdAkrAMtA pravalgati / sadazca damakasyeva kaaNvojturgaaNgnaa|| zAlakrIDitaireva prakhyAto raajshekhrH| zikharIva paraM vaH sollekhairuccshekhrH|| Kshemendra here, after speaking slightingly of the poet who has exercised himself in one form of metre only, or perchance in two, and who is therefore, like a poor man who gives a feast, obliged to make shift with what he has, no matter what the occasion may be, notices that some of the poets of byegone days, not open to any such reproach, had a great fondness for one or other particular metre. Abhinanda loved the anustabh, which was in his mouth as potent as the ball of magic in the mouth of a Vidyadhara.* Panini is as The ball, by holding which in his mouth, the Vidyadhara can transport himself to any distance.

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IN THE BOMBAY CIRCLE. 11 onticing with his upajatis as is a garden full of jati flowers. Tho vamsastha (as the metre is here plainly called), was Bharavi's favorite, as the vasantatilaka was Ratnakara's. Bhavabhati loved the sikharini, and Kalidasa the mandakranta. Rajasekhara's fondness for the sardulakriditam closes the list. The significance of the reference to Panini here I propose to examine later. Lastly, there is in the Bhao Daji Collection, deposited in the Library of the Bombay Branch of the Royal Asiatic Society, a work attributed to Kshemendra, called the II astijan aprakasa, but this I regret I have not yet been able to examine. E:LA. Kshemendra, there is reason to suppose, vivaranam of Rajanaka was in his youth a Saiva, and was conKshemaraja. verted later to the Vaishnava-Bhagavata creed by Somacharya.* He studied the Alamkaraskstra under the famous Abhinavaguptacharya. When therefore we find, No. 212, a commentary on a panchasika in honour of Siva, written by a Kshemaraja, who describes himself as a pupil of Abhinavagupta, I think that the presumption is in favour of the hypothesis that in Kshemaraja and Kshemendra we have, as is often the case, two names of identical purport for one and the same writer.t But I put forward this identification with all reserve, as it has the weight of Buhler's authority against it. Buhler, who first found the Samba panchasikavivaranam, has himself proposed the identification of our Kshemaraja with a Kshemendra who wrote a Spandasarndoba and a Spandanirnaya, both of which it has to be noted deal, like the Sambapanchasikavivaranam, with the Kashmirian Saivite doctrine : but that Kshemondra le regards as "certainly different from Kshemendra Vyasadasa." In the curious account of the sabha The Muktalat Aentakam and Rajendrakarnapura of held at the house of Alamkara, minister Sambha. of king Jayasinha (1129-1150 A. D.) to hear the brother of that statesman * Buhler's Kashmir Roport, p. 40. + Kshomaraja may have changeel his name to Kshemendra at the time of his conversion, as Saul changed his to Paul. For the extent to which synonyms are used in the sphero oven of proper names in India, seu 80 ne remarks by Max Muller in the valuablo noto le has appended to his 'India : What can It teach us?' (p. 314). We shall sco later a case where the poct Harsha has lain conccaled under the synouym Ruchikara.

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12 OPERATIONS IN SEARCH OF SANSKRIT MSS. Mankha* read his new poem the Srikanthacharita, mention is made of one Ananda the son of the great poet (mabakavi) Sambha. I venture to hope that Nos. 173 and 174 are two hitherto unknown works by the poot Mankha here speaks of. In the Muk talat sat a kam, No. 173, the poet is styled simply Sambhu. But the colophon of the Rajendra karna pura, No. 174, adds the information that he was a native of Kashmir. The latter poem moreover is in the form of an address to the poet's patron king Harsha. Harshadeva of Kashmir died in 1101, a date which it will be seen agrees with the presence of a son of Sambhu at Alamkara's sabha. In the Devistotram, No. 91, a copy istotram of of which has already been obtained by Yabaskara. Bubler, an otherwise unknown poet, Yasaskara, has extracted the alamkara sutras from a previous work, and has illustrated them in verses composed in honour of Devi. The sutras, which appear to be of considerable importance for the history of the alamkara sastra, will be given in the extracts at the end of this Report. From the opening words of Yasaskara ___oM namo gurave oM ratnAkarAbhyantarato gRhItvA laMkArasUtrANi yathAkrameNa / bandIva devyA girirAjaputryAH karomi zaMsaM zrutigocarANi // zrItrayIzvaramitrAtmajazrIzobhAkaramitraviracite alaMkAraratnAkarelaMkArasUtrANi it will be seen that they are taken from a work called Alamkararatnakars by one Sobhakaramitra, the son of sri-Trayisvara'mitra. In the last verses of his book Yasaskara tells us he had gone to live at the city on the hill Pradyumna, whence king Pravara went to the hill of Hari in bodily form (was translated to heaven), partly because the place was on Pravara's account sacred, partly on account of his own ill-health. The sanitarium or hill-station on the hill Pradyumna is mentioned in the Raja tarangini: raiNArambhAsvAmadavA dampatIbhyAM vyadhIyata / maThaH pAzupatAnAM ca tAbhyAM pradyumnamUrddhani / / ArogyazAlA niraghAppullApatvAya rogiNAm / tena senAmukhI devI bhayazAntya ca kAritA // III., 645. Buhler brought Mankha to light, and procured for Government a copy of his opic, the whole of the last sarga in which, containing "an account altogether unique in Sanskrit literature," will be found among the extracts at the end of Buhler's Report.

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IN THE BOMBAY CIRCLE. The Sambapanchasika is full of the Saiva doctrine of the oneness with the god he worships to which the true believer may attain: and it may therefore perhaps be assumed that the sri-Samba, in whose mouth the verses are put by the commentator as spoken by the god himself to make known his glory, is the name of a real writer. 13 The new copy of the commentary on Ratnakara's epic, the Haravijaya, called the Vishama padoddy ota, No. 229, appears to differ from that obtained in Kashmir by Buhler in being somewhat more complete. It has the first four verses of the first sarga, and it ends, not in the middle of the forty-fifth sarga, but with the seventieth verse of the forty-sixth. The existence of two copies of this commentary ending at about the same part of the poem may be a coincidence. But the suggestion may also be hazarded that the explanation lies in the fact that Ratnakara did not complete his poem, and that Alaka, the author of the commentary,* was a contemporary and pupil of the author, whose work, unlike that of his master, was not finished by another hand. That the whole of the Haravijaya is not by Ratnakara is expressly asserted, I may point out, in the colophon to Buhler's copy of that work, where Ganapati is given as the name of the author of the sequel. Commentary on Ratnakara's Haravijaya. No. 165 is a small book, hitherto I believe unknown, by this same Ratnakara, with a commentary by sri Vallabhadeva, who describes himself as the son of the minister (amatyavara) Ananda, and as the author of commentaries on the Sisupalavadha and more than one other poem (sisupalavadhadyanekakavyatikakartri). There was already in the Bombay Government Collection a copy of this Vallabhadeva's commentary on the Sisupalavadha: and a second copy was procured this year, No. 191. I have also procured his commentary on the Kumarasambhava, 36, in the colophon to which he styles himself, or is styled, Anandadeva Ratnakara's Vakroktipanchasika with the commentary of sri Vallabhadova. "The Tika explains, as its title, Vishamapadoddyota, indicates, only particularly difficult words and passages. Its MS. begins with L. 5, and ends in the middle of Sarga XLV. Its author is Alaka, son of Rajanaka Jayanaka."-- Kashmir Report, p. 45. My copy of the Vishamapadoddyota does not give the author's name. But the pandit from whom I obtained the book knew that it was the work of Alaka.

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14 OPERATIONS IN SEARCH OF SANSKRIT MSS. yanivallabhadeva. In the last line of his commentary to the present work, which he there speaks of, not as the Vakroktipanchasika, but, by a play on the author's name, as the Vakroktivarnanam Ratnam, Vallabhadeva, styles his father, Anandadeva, the sun in the firma ment of battle.' sUnurAnandadevasya raNabhUyoni bhaasvtH| vakroktivarNane rAne TippaNaM vallabhovyadhAt / The Vakroktipanchasika itself is a collection of crooked sayings' in the form of short dialogues between Siva and Parvati of the kind with which the Mudrarakshasa opens. Examples will be found in the extracts at the end of this Report. Buhler found in Kashmir a complete Rudrata's Kavyalarakara copy of a work called Kavyalamkarn, with the commentary of Nami. which a comparison with a fragment pre viously obtained from Jesalmir, proved to be by Rudrata, the author of the "Sringaratilaka, which has been known for a long time, and which has been published by Professor Stenzler as an Appendix to the Meghaduta."* The Jesalmir fragment (adhyayas 3--5) is accompanied by a commentary whose author's name Buhler gave as Svetimbara. Among the palm-leaf manuscripts procured for Government in 1880 by the enterprising and intelligent agent for this scarch, Mr. Bhagvandas Kevaldas, is a second complete copy of Rudrata's Kavgalamkara, with a commentary, also complete, by Nami.t No. 159 of the works included in the present Report is the same work as the palm-leaf MS. But it has not previously been noticed that the Nami of the palm-leaf MS. and the Svetambara of the Jesalmir fragment are one and the same person. In the colophons appcnded to the various adhyayas of the palm-lcaf MS. Nami describes himself, or is described, variously, as Svetabhikshunami (adhyaya 1), Svetamvaranami (adhyayas 2, 4 and 6), Namisadhu (ndhyayas 7, 9, 14, 15), Sadhunami (adhyaya 8), Panditanami (adhyaya 13). The colophons of the 3rd, 5th, 10th, 11th, and 12th adhyayas in that JS. aro incomplete. In my copy of the work, which is a Kashmir MS. obtained at Jeypore, the author of the commentry is described as follows:-Namisadhu (adhyayas 1, 7, 8, 10, 11, 12, 13, 14, 15), Syctamvaranami (adhyaya 2), Svetambarasrinami (adhyaya 3), Srisvctam * Kashmir Report, p. 67. + Dr. Kielhorn's Report, p. 34.

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IN THE BOMBAY CIRCLE. 15 varasrinami (adhyaya5), Srisvetambaranami (adhyaya 6), Srinamisidhu (adhyaya9), Panditanamisadhu (adhyaya 16). The colopbon to the fourth adhyaya has the abbreviated expression "iti Svetimvarah chaturthalh" which, or some such phrase, is probably the origin of the mistake. As the present MS. agrees with the Jesalmir fragment in the note to the verse quoted by Buhler,* in which Rudrata tells us that he was also called Satananda, and that he was the son of one Bhatta Vamuka, it is clear that we have not here to deal with two commentators on the Kavyalamkara. The beginning of the present copy of Nami's commentary agrees with the extract from the palm-leaf MS., as given in Kielhorn's Report, except that purastAt is rightly written in the first line, yasyAghridvaMdva [yasyAMghridvaMdva] is found for yasyAMiidvaMdva in the second line, and zrImAn for zrImana in the fourth line of the introductory verse. As was to be expected also, the oM zrIgaNezAya namaH oM, which is absent from the palm-leaf MS., is here prefixed. The colophon at the end however differs materially from that found in the palm-leaf MS., and I therefore give it in fullt : * I give the text of this verse and commentator's note from my MS. zatAnaMdAparAkhyena bhttttvaamksuununaa| sAdhitaM rudraTenedaM sAmAjA dhImatAM hitam // zatAnaMdeneti asyArtho vAmakAkhyabhaTTasutena zatAnaMda ityaparanAmA rudraTeneti kavinA sAdhitaM niSpAditAmidaM cakraM kAyaM vA kIdRzena sAma gItivizeSamajati prAmoti sAmAt [sAmAda] tena sAmavedapAThakenetyarthaH taca dhImatAM buddhimatAM hitmupkaarkm| + I note the variants in the palm-leaf M8. as given in the extract found in Kielhorn's Report, p. 35. sanaH, Kielhorn manaH.yadanavabodhAdvitartha, K. ----vitathaM Both Mss. read paMDita, apparently by mistake for piMData. paMcavizati, K. SaTsaptati. ekAdazasamAzataiHK ekAdazasamAsata: The MSS.divergeafter the words prAvaSIdaM samarthitaM tho palm-leaf MS. continuing as follows: mAghamAse tathA kRSNe sutamyAM shkrvaasre| citrakUTAsthitenedaM zivadevena suununaa| naigAmAyakAyasthelIkhataM jallaNena tu / / maMgalamastu

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16 OPERATIONS IN SEARCH OF SANSKRIT M98. evaM rudraTakAvyAlaMkRtiTippanakaviracanAt puNyaM // yadavApi mayA tasmAtsa naH paropakRtikRDyAt // 1 // thArAmadrapurIyagacchatilakApAMDityasImAbhavat sUribhUriguNaikamaMdiramiha zrIzAlibhadrAbhidhaH // tatpAdAMbujaSaTpadena namitA saMkSepasaMprekSiNaH so magdhAdhayAdhikRtya racitaM sahipanaM lghvdH||2|| yadanavabodhAdvitathaM vivRtaM kimapIha tnmhaamtibhiH|| saMzodhanIyamAkhilaM racitAMjaliraSa yAce'haM // 3 // sahasratrayamanyUnaM graMthoyaM paMpiM] ddito'khilH|| dvAtriMzadakSarazlokapramANena sunizcitaM // 4 // paMcaviMzatisaMyuktairekAdazasamA shtaiH|| vikramAtsamatikrAMtaiH prAvRSAdaM samarthitaM // 5 // mUlasUtravyatirekeNa mUlasUbetu saptazatAnyazItyadhikAni // 6 // __ zrIkRSNAyanamaH bhaktiH kRSNe matirddha zaktistyAge ratiHzrute // dayA sarveSu bhUteSu syAnme janmani janmani // 1 // satyaM manoramA kAmAH satyaM rampA vibhUtayaH / / kiMtu mattAMganApAMgabhaMgi lolaM hi jIvitam // 2 // Below this the scribe gives a date Samrat 1190%=A. D. 1134, which we may take to be the date of the manuscript from which he was copying. It is evident from this colophon, if the reading be accepted, that the date assigned to Rudrata by Bihler,*-A. D. 1050-1100-will have to be revised. Nami, 'a bee that sucked honey from the lotus feet of ari Salibhadra, the ornament of the gachchha of the city of Tharapadra,' wrote his commentary when eleven hundred and twenty-five years had passed from Vikrama (A. D. 1069).+ Moreover, he wrote it for men of feeble intellect, ever on the look-out for * "In the latter half of the eleventh century falls Rudrata, the author of the Kavyalamkara. . . . . Rudrata's timo is fixed by the fact that Buyyaka, who wroto in the beginning of the 12th century, quotes him."Kashmir Report, p. 67. It will be seen that there is nothing inconsistent in Buhler's argument with the revised date now sought to be assigned to our author + The colophon of the palm-leaf MS. would appear to read shatsaptatisamyuktaih for our panchavitsatisamyuktaih : but this must be a mistake, as shatsaptatisamyuktaih does not scan. I am not able to refer to the Poona MS. as it has gone, with others, to Prof. Pischel to be catalogued : but Ramachandra Sastri, who deciphered the extracts from the palm-leaf MSS., seems to think it most probable that he has himself made a mistake hero.

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IN THE BOMBAY CIRCLE. 17 primers and abstracts.'* That is to say, his commentary is a Shorter Commentary, which would of itself imply a longer, or several longer, predecessors. And Nami expressly tells us, in the second verse of his introduction, that his work is a compilation in which he has followed strictly commentaries drawn up by 'mighty minds of old ': pUrvamahAmativiracitavRttyanusAreNa kimapi racayAmi / saMkSiptataraM rudraTakAvyAlaMkAraTippanakam / / 2 / If we allow time for Rudrata's fame to be so firmly established that scholars of rank were willing to make their contributions to the science take the form of an examination of his work, I. and allow further for a series of commentaries which had so overlaid the text that a fresh start was felt to be necessary, it seems probable that Rudrata belonged to the middle of the tenth rather than to the second half of the eleventh century. Regret has often been expressed that in rhetoric, as in some other branches of Sanskrit literature, the fame of a comparatively late work, which appeared, to the student of a day when the science had ceased to be progressive, to sum up all that could be said, has almost completely overshadowed earlier works of genuine merit. Radrata's Kavgalankara is a case in point. It ought to be in the hands of every student of alamkara ; and now that we have in our collection two manuscripts, of which the one presents Nami's commentary as written not more than a hundred years after the date of the composition of the work; and that before us--which appears to me to contain a more correct copy of the same commentary than the palm-leaf manuscript itself-I hope shortly to bring out an edition. The * Pandit Nami did not indulge in any of the platitudes about a busy age, and the multiplicity of subjects pressing on every one's attention, with which the compilers of modern classics for lazy readers seek to lay the conscience of their public. + "My purpose is to compose something that may serve as a concise commentary to Rudrata's Kavyalarakara, in accordance with the commentaries composed by men of great mind of former days." It will not, of course, do to lay any stress upon purva, which may mean simply former.' It has often been pointed out that we have not here to allow for an interval during which a book, eventually recognized as a masterpiece, may be supposed to have been slowly struggling into notice. In ancient India, as everywhere before the invention of printing, the author's fame as a sage or teacher won immediate acceptance for a book which was a mere adjunct to his living fame.

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18 OPERATIONS IN SEARCH OF SANSKRIT MSS. first adhyaya of the text, which is devoted to a consideration of the uses of the science and practise of poetry, is given here as a sample of the work : and I will add a few notes with regard to the contents of the other adhyayas : aviralavigalanmadajalakapolapAlInilInamadhupakulaH // udbhinanavazmazruzreNiriva gaNAdhipo jayati // 1 // sakalajagadekazaraNaM praNamya caraNAMbujadvayaM gauryaaH|| kAvyAlaMkAroyaM graMthaH kriyate yathAyukti // 1 // asya hi paurvApaya paryAlocyAcireNa nipaNasya / / kAvyamalaMkartumalaMkarturudArA matirbhavati // 3 // jvalajjvalavAsaraH sarasaM kurvanmahAkaviHkAvyaM / / sphuTamAkalpamanalpaM pratanoti yazaH parasyApi // 4 // tatkAritasurasadanaprabhRtini naSTe tathAhi kAlena // na bhavennAmApi tato yadi na syuH sukavayo rAjJAM // 5 // itthaM sthAsnu garIyovimalamalaM sakalalokakamanIyaM / / yo yasya yazastanute tena kathaM tasya nopakRtaM / / 6 / / anyopakArakaraNaM dharmAya mahoyase ca bhavatIti / / adhigataparamArthAnAmavivAdo vAdinAmatra / / 7 // arthamanarthopazamaM zamasamamathavA mataM yadevAsya / viracitarucirasurastutirakhilaM labhate tadeva kviH|| 8 // nutvA tathAhi durgA kecittIrNA duruttarAM vipd| apare rogavimuktiM varamanye lebhirebhimataM // 9 // AsAdyatesma sadyaH statibhiryebhyobhivAMchitaM kvibhiH| adyApi ta eva surA yadi nAma narAdhipA anye // 10 // kiyadathavA vacmi yato guruguNamANasAgarasya kAvyasya / kaHkhala nikhilaM kalayatyalamalaghuyazonidAnasya // 11 // taditi puruSArthasiddhiM sAdhuvidhAsyadbhiravikalAM kuzalaiH / / adhigatasakalajJeyaH kartavyaM kAvyamamalamalaM / / 12 / / phalamidameva hi vidaSAM shucipdvaakyprmaannshaastrebhyH| yasaMskAro vAcAM vAcazca sucaarukaavyphlaaH|| 13 // tasyAsAranirAsAtsAragrahaNAcca cAruNaH karaNe / tritayamidaM vyApriyate shktiryutpttirbhyaasH||14|| manasi sadA susmaadhinivisphrnnmnekdhaabhidheysy| akliSTAni padAni ca vibhAMti yasyAmasau shktiH|| 15 // pratibhetyaparairuditA sahajotpAdyAca sA dvidhA bhavati / puMsA sahajAtatvAinayostu jyAyasI sahajA // 16 // svasyAsI saMskAre paramaparaM mRgayate yato hetuM / / utpAdyA tu kathaMciyutpattyA janyate parayA // 17 //

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IN THE BOMBAY CIRCLE. 19 chaMdovyAkaraNakalAlokasthitipadapadArthavijJAnAt / yuktAyuktavivekovyutpattiriya samAsena / / 18 // vistaratastu kimanyattata iha vAcyaM na vAcakaM loke / na bhavati yatkAvyAMgaM sarvajJatvaM tatonyaiSA / / 19 // adhigatasakalajJeyaH sukaveH sujanasya sannidhau niyataM / nadinamabhyasyedabhiyuktaH zaktimAnkAvyam / / 20 / / sphAraspharadurumAhimA himadhavalaM sakalalokakamanIyaM / kalpAMtasthAyi yazaH prAmoti mahAkaviH kAvyAt / / 21 // amarasadanAdibhyo bhUtA na kItiranazvarI bhavati yadasI saMvRddhApi praNazyati ttkssye| tadalamamalaM kartuM kAvyaM yateta samAhito jagati sakale vyAsAdInAM vilokya paraM yazaH // 22 // It will be seen that in a nobler spirit than the writers who followed, Rudrata recognises as objects of poetry only the fame of the poct and the good of others. In the second adhyaya, which treats of the natare of poetry (Kavyalakshanam), the known dialects of India are summed up thus prAkRtaMsaMskRtamAgadhapizAcabhASAzca zUrasenI ca / SaSThotra bhUribhedI deshvishessaadpbhrNshH|| a verse which alone shows I think that it is impossible to admit that the word bhasha standing by itself can in writings of this age mean Sanskrit.* Soon after in discussing Vakrokti, Rudrata Las occasion to adduce his first example kiM gauri mAM prati ruSA nanu gauraha kiM kupyAmi kAM prati mayItyanumAnatoham / / jAnAmyatastvamanumAnata eva satya mitthaM girI giribhuvaH kuTilA jayaMti // 15 // Buhler has noted that the quotations illustrating the rules are numerous, but that in no case has the source been given. It is possible that they are of the same authorship as the rest of the book. That this was the view of the writer of our MS. is probable from the fact that rules and illustrations are numbered . Compare remarks in the second Appendix to this Report, p. 121. In the 13th verse the ornaments depending on tho sound are said to be (1), Vakrokti; (2), Anuprasa; (3), Tamakam; (4), Slesha; (5), Chitram, it being noted that there is another elesha, of the senso, which is distinct from that already mentioned.

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20 OPERATIONS IN SEARCH OF SANSKRIT MSS. straight on. The commentator adds many illustrations: but generally, so far as I have noticed, gives the source. The discussion of vakrokti and anuprasa is completed in the second adhyaya: and the third is wholly taken up with the doctrine of yamaka. It may be worth noting that both in the palm-leaf MS. and in that now being described, the third is the first adbyaya to which a separate name is ascribed in the colophon. Both MSS. call it the yamakadhyaya. The explanation is probably that here the discussion of one subject and of one subject only is begun and ended within this division of the book. The fourth adbyaya is called the sleshadhyaya in the colophon of the palm-leaf MS., but not in that of the other. Both MSS. style the fifth, which treats of the alamkaras depending on the sound, the chitradhyaya; and the sixth adhyaya is devoted to faults in such ornaments. With the seventh begins that part of the book which best repays perusal. Alamkaras depending on the sense are said, in a passage I give below, to fall under four great heads, vastavam, aupamyam, atisaya, and elesha The discussion of the first of these four kinds is completed in the seventh adhyaya, which in both MSS. is called the vastavyadhyaya.t This brings us to about the middle of the book. The aupamyadhyaya (so in both MS.) is the eighth. The ninth and tenth are called in both MSS. the atisaya and slesha adhyaya respectively. In the eleventh the faults incident to alamkaras dependent on the sense are discussed (arthadoshadbyaya in both). Then follow four short chapters on the subject of nayakas and nayikas, which might have to be omitted in any general course of college instruction. * arthasyAlaMkArA vAstavamaupamyamatizayaH zleSaH || eSAmeva vizeSA anye tu bhavati niHzeSAH || 9 || TI0 saprabhedamarthamabhidhAya sAMprataM tadalaMkArAnAha arthasyeti uktalakSaNasyArthasya vAstavAdayazcatvArolaMkArA bhavati caturbhiH prakArairasau bhUSyata ityarthaH nanvanyepi rUpakAdayolaMkArAH saMti tat kimiti catvAra evoktA ityAha eSAmevetyAdi turhetA veSAmeva sAmAnyabhUtAnAM caturNAM te bhedA yatastato mUlabhedatvena noktA ityarthaH || 9 || mU0 vAstavamiti tat jJeyaM kriyate vastusvarUpakathanaM yat // puSTArthamaviparInaM nirupamamanatizayamazleSam || 10 || + Vastavadhyaya in the palm-leaf MS.

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IN THE BOMBAY CIRCLE. 21 The Kavyaprakasa. In the Introduction to his edition of Subandhu's Vasavadatta,* FitzEdward Hall had occasion to refer to a work written in illustration of the Kavyaprakasa, and called the Kavyaprakasanidarsanam. The author's name, according to Hall, was Sitikantha, and the book was "dedicated to Rajanaka Anandaka, some unknown princeling." Buhler has pointed out that a copy of what is presumably the same book, already acquired for the Bombay Government,+ attributes the work to Anandaka, and makes no mention of Sitikantha. No. 33 in the present collection is a third copy of this book, got at Jeypore, an examination of which, and of other works bearing on this the most famous of Indian books on rhetoric, which I procured later, has suggested the following considerations. In my own study of the Kavyaprakasa for college purposes, I have always been doubtful of the truth of the common theory that the book, or the greater part of it, is the work of a single author. It may be admitted that there is no inherent difficulty in the way of the common doctrine in the fact that the writer of the comments on the rules refers to the writer of the rules in the third person, if that stood alone. But it has always seemed to me that, though as a whole the commentary follows the text so closely that both might conceivably have been written by the same hand, there are places, where a divergence of view, if reverently and skilfully kept in the background, remains apparent. The most marked instance perhaps occurs early in the book, where the attempt to make out that the distinct precept that poetry may exist in the absence of P. 16. "I will add that the Government copy attributes the Kayaprakasanidarsana to Anandaka, who was a Kashmirian, not to Sitikan tha as Dr. Hall states. It says: "Shadangasaptasrutimiteshu gateshu varsheshu kaleradarsi kavyaprakaso vidhivadvivrity anandena sallakshananandanena srimadrajanakanvayatilakena rajanakanandakena virachitam kavyaprakasanidarsanam samaptam. The date of the Nidarsana is therefore 1665 A. D."-Kashmir Report, p. 69. 1665 A. D. is the year in which Hall says his MS. of Sitikantha's work was transcribed. For another way of taking this passage, see below, p. 24. The Kavyaprakasa begins with an invocation, on which the author of the commentary has the note "grantharambhe vighnavighataya samuchiteshtadevat&m granthakrit paramrisati. "Before beginning his book, the maker of the book, that he may avoid mishap, chooses an appropriate deity to whom to offer up prayer."

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22 OPERATIONS IN SEARCH OF SANSKRIT MSS. alamkaras really means that without alamkaras there can be no poetry, but that these alamkaras need not be always of a particular kind, wears an extremely suspicious look of the process of accommodation which is the usual refuge of scholars who have broken away from their teachers, but do not like to confess it, even to themselves.* Now the colophon of the text of the tenth and last allasa of the present copy of the Kavyaprakasa runs thus : iti srimamata [mammata] charyavirachite kavyaprakase rajanakanandakrite kavyaprakasadarsane 'paranamni arthalamkaranidarsano nama dasania ul(1)asah. This means "here ends the tenth allasa, by name arthalamkaranidarsana, in the Kavyaprakasa of Mammata, otherwise known as the Kavyaprakasadarsanam of Rajanakananda." Unless we are to assume a mistake, it is clear that Mammata's Kavyaprakasa and Rajanakananda's Kavyapraka sadarsanam are here spoken of as one and the same book : and I believe that this contains the explanation of the state in which the book has come down to us. The metrical rules are by one author: the running commentary is by another. Immediately after the colophon which I have ventured to explain in this way, there comes the following passage, which I give here with some corrections of my own, although I am not able to restore entirely a somewhat corrupt text. The actual text, as it stands in my manuscript, may be seen in the extracts at the end of this Report : ityesha margo vidusham vibhinno 'pyabhinna ekah pratibhasate yat na tad vichitram yad amutra samyag vinirmita sangbatanaiva betuh. The note on this is vidusham dhvanikritprabhsitinam ya esba margah svasvasiddhantas ttattadgranthagatam tena prithakpritha gavasthitopi ekarupataya pratibhati tatra sanghatana nimittam | * The passage is as follows: astrattoret hom : " A poem consists of words and sense, both faultless, and in addition possessing specific excellencies." They need not always have alamkaras. That is, alamkaras are usual but not necessary concomitants. On which the note is kvApItyanenaitadAha yatsarvatra sAlaMkAro kvacitsphuTAlaMaitarent Trap EITT:. "By the words "not always" he means that while alam karas must always be present, a poem does not cease to be . poem if there be no apparent alamkaras."

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IN THE BOMBAY CIRCLE. 23 vikshiptasya sukhavabodhaya ekatra sangrahanam ya sanghatana etadvasad ekatmata pratibhasat etena cha maha matinam prasaranahetur eshgranthah | granthakritanena kathamapi asamaptatyad aparena cha puritaraseshatvad dvikandopi akandataya yad avabhasate tatra sangatandvaev hetuh na bi sughatitasya sandhibandhah kadachid lakshyate ityarthasaktya dhyanyate yaduktam kritah srimammatacharyavaryaih parikaravadhih prabandhah puritah sesho vidhayalathasurina iti anyenapi uktam kavyaprakasadasakopi nibandhakridbbyam dvabhyam kritopi kritinam rasatattvalabhah lokesti visrutam idam nitaram rasalam bandhaprakararachitasya taroh phalam yat sampurnoyam kavyaprakasagranthal It is to be regretted that the text of the only MS. at my disposal while writing is so corrapt here. But enough is clear to show, firstly, that the commentator regarded the verse ityesha margo vidusham vibhinnah, &c., as an integral part of the work he had set himself to annotate : and, secondly, that he explains it rightly as referring to a binding together of a book and its commentary together, that the doctrine taught in both may be more easily apprehended. He is aware of and apparently does not reject the tradition which would explain the joining' of which the verse speaks as the mere mechanical attachment of a sequel to a book left incomplete. But that tradition, which may be true, but which, it is more probable, I think, rests solely on a misapprehension of this verse, he does not regard as the main purport of the verse. In the commentator's judgment we have here to deal with a book which contains the conclusions of two masters of the art, kept apart (prithakprithag avasthita), but always so as to form one book. The blending in the Kavyaprakasa, of which the second and later author here boasts, is like the mixing of the waters of the rivers Rhone and Saone. It has only to be added that the verse explained at such length here is found in other copies of the Kavyaprakasa than those in which Sitikantha's, or Ananda's commentary is attached, though it is as a role placed wrongly before the colophon. It follows that the joining'

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24 OPERATIONS IN SEARCH OF SANSKRIT MSS. of which the verse boasts is not the joining of the Kavyaprakasa as we know it-the collection of metrical rules with a running commentary, both supposed to be by Mammata--to the present commentary, but of a process that has taken place within the work itself. The colophon accordingly, on which I am laying stress, refers, as was already probable from the use of the phrase "arthalamkaradarsano nama dasama ullasah" to the work itself, and not to the present commentary, the authorship of which is therefore here attributed neither to Mammata nor to Rajanaka. With this preface I submit that the verse ityesha margo vidusham, &c., is the triumphant but somewhat uneasy boast of a later disciple who hopes to find that he has bound his comment so closely to the work of his master that the world will be content to treat for the future the two as one work.* Confirmation of this view with regard to the authorship of the Kavyaprakasa, as we now have that book, I am glad to be able to add I have found since in a copy of the text of the work obtained very recently. No. 31 is a manuscript, or a copy of a manuscript, written, as is shown by the rubric at the end, in 1375 A. D.T In the colophon of this MS., which contains, it must be remembered, no additional commentary, but merely the Kavyaprakasa as it is now printed, the work is expressly assigned to sri bhatta Rajanaka and Mammata : iti sribhattarajanakamammatayoh kritih kavyaprakasanamakah kavyasvarupadoshagunalankaranirupanagranthala samaptah. In view of the fact that a MS, of date 1375 A. D. attributes part authorship in the Kavyaprakasa to one Rajanaka, it becomes probable that the colophons to the copy of the work under examination already in the Government collection really refers to the same tradition, and should be translated "when four thousand and seventy-six * Kamalakara's interpretation of this verse cannot be accepted. The commentary within the Kavyaprakasa makes no secret of the divergence of the author's views from those of earlier writers. The following is Kamalakara's note : itIti viduSAM dhvanikadvAmanAdInAM bhinnopi mArgaH avirodhena yatsaMgRhItaH yatpratibhAsate tatracitraM yadyasmAdamutra graMthe saMghaTanA saMgraheNa saMdarbha eva hetuH kRtA sarvasaMgrahArthoyaM graMtha: ato na taiH siddhirityarthaH + See extracts at the end of this Report. Sasi stands for 1; sivanayana for 3; abdhi for 4, and Svetavaha for 1. That is Saruvat 1431 = A. D. 1375. I am indebted for the key to those chronograms to Mr. Ramchandra Shastri. Quoted above, note on page 21.

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IN THE BOMBAY CIRCLE. 25 years of the Kali age had gone that is, 1665 A. D.], the Kavyaprakasa (that is, the joint work of Rajanaka and Mammata) was illustrated by Ananda the son of Sallakshana, who has expounded it in the fit way. Here ends the Kavyaprakasanidarsanam of Rajanakanandaka [that is the book alreadyreferred to the ornament in the race of srimad Rajanaka." I do not press this translation: but it must be noticed that Buhler's apparent identification of the Ananda, son of Sallakshana, of the former clause, with the Anandaka of the latter is not entirely borne out by the phraseology. The question as to whether the commentary on the joint work was written by Sitikaatha, as Dr. Hall appears to have found stated, or by Ananda as stated in the colophon to the MS. referred to by Dr. Buhler, as also the question of the date of that commentary, are points on which my MS. throws no very certain light. But the fact that my copy does not contain the attribution to Ananda, when taken together with the circumstance that Hall's copy of the book was transcribed in A. D. 1665,* the very year of the composition of the work according to Buhler's colophon, weakens the authority of that colophon.t My third copy of the Kavyaprakasa, No. 32, contains a hitherto unnoticed commentary by sri Sarasvatitir tha the spiritual name, or name in baptism, as we might say, of one Narahari. In the introductory verses this writer traces his lineage back to Ramesvara, of the Vatsa gotra, in the country of the Andhras. The son of Ramesvara was Narasimhabhatta, whose son was Mallinatha. Mallinatha had two sons, the elder Narayana, and the younger Narahari, the author of this commentary on the Kavyaprakasa. The date of Narahari's birth is given in the following verse : savasugrahahastena brahmaNA samalaMkRte / kAle naraharerjanma kasya nAsInmanoramam / / "Did any heart not beat for joy when Narahari was born in the year which has for its siga Savasugrahabasta Brahma." Putting the eight vasavas, the nine grahas, the two hands, and the * Hall loc. cit. We can hardly suppose that Hall had in his hands the author's copy. + Before finally quitting this copy of the Kavya Prakasa, No. 33, I ought to note that it agrees with the other Kashmirian MSS., in reading sriharghadibanadinam dhanam. The other MSS. I refer to have the incorrect reading dh&vakadinam.

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26 OPERATIONS IN SEARCH OP SANSKRIT MSS. one Brahma, together, and reading backwards, we get Samvat 1298=A, D. 1242. vicArya sarva sukhameva duHkhaM sudhAmaye brahmaNi lolupasya / saMnyasyatastasya babhUva sArthA sarasvatItIrtha iti prsiddhiH|| There came a day when the child whose birth had been hailed with such joy learned that all joy was sorrow. With his heart panting after the living God he foreswore the world; and thenceforward was known to men fitly* as Sarasvatitirtha. He wrote bis commentary in Kasi. A fourth copy of the Kavyaprakasa, obtained after the conclusion of the year ander report, contains a commentary also, I believe, now noticed for the first time, by Bhim as ena. It is fair to say that on the question of the composition of the book Bhimasena speaks with no uncertain sound. His note introducing the comment on the first karika is atha srimammatacharyah svakritakavyarupasutrartharambharachitam svasvarupasuchakam mangalam svakiyam anasmarannaha grantharambhe, &c. Bhimasena's commentary, which he calls Sakhodadhi, however dates only from Samvat 1779=A. D. 1723. I have been able to do no more than glance at the book : but I have noticed that it contains the account of the relationship between Mammata and Kaiyata, t the anthor of the Pradipa, which has not hitherto, so far as I know, been vouched for by any manuscript authority. According to the story as Bhimasena has it, Mammata was an incarnation of Sarasvati in the person of a son of one Jaiyata. Though the goddess of speech in the form of a man, he did not disdain to study like an ordinary mortal in Sivapur, where he composed his Sahityasutram, by name Kavyaprakasa, as also a commentary by which he made the obscure Kavyaprakasa intelligible. Kaiyata and Uvata were his younger brothers, and were taught by him. I will place the passage among the extracts at the end of this Report. An examination of a copy of the work known as the Kavyapradipa, already acquired for Government, has disclosed nothing inconsistent * The reference hidden in het here can I think only be guessed at. The most probable explanation is that onr author, when he left the world, had taken a good deal of self-conceit with him, and means that Temple, as we might say, of Sarasvati, was no ansaitable name for a man of his learning. + Buhler had heard it asserted by Indian pandits that Kaiyata was a brother of Mammata.-Kashmir Report, p. 22.

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IN THE BOMBAY CIRCLE. with the views set forth above. The Kavyapradipa is usually described as a commentary on Kavyaprakasa, but it professes only to be a commentary to the karikas, or metrical rules in the book that now passes under that name. The book opens as follows: zrIgaNezAyanamaH sonodevyA: prathamatanayaH kezavasyAtmajanmA zrIgoviMdo rucikarakaveH snehapAtraM kanIyAn / zrImannArAyaNacaraNayoH samyagAdhAya cittaM natvA sArasvatamapi mahaH kAvyatatvaM vyanakti // 27 vacana saMdarbhavizeSarUpasya graMthasya prAripsitatvena stotumucitAyAH sevyamAnAyAzca vAgdevyA AspadabhUtAM kavibhAratIM tadabhinnatvenAdhyavasitAM prAripsitapratibaMdhakaduritazAMtaye graMthakRtstauti niyatItyAdi It will be seen that Govinda, who calls himself the first of the children whom his mother Sonodevi bore to Kesava, and the dearly loved younger brother of the poet Ruchikara, proposes to illustrate Kavyatattvam, a word which, if the passage stood alone, would most naturally be taken to be the name of the book to be commented on, or a compound formed of the name of that book, and the word tattvam in the sense of essence. Govinda begins with an independent explanation of the first karika. In the sequel there are frequent references to the commentary now embedded with the text of the karikas; but these references are as much in the way of hostile criticism as of explanatory comment. And it is in this light that I am disposed to explain the boast with which Govinda closes his work, namely, that in the Kavyapradipa, "a lamp to Kavyam," the world has a work that throws light even on the Kavyaprakasa, "the illuminator of Kavyam." Both works are attempts to explain a collection of karikas, which, under the simple, title of Kavyam, had become the text-book in Alamkara. It deserves to be noticed in this connection that all copies of the Kavyaprakasa which I have yet seen have, at the close of the tenth ullasa, before the colophon ascribing the work to Mammata, the words iti Kavyalakshanam samaptam*-here ends the description of poetry. These words can only refer to the whole book, and not to the tenth ullasa alone, and they may fairly be regarded as containing the lost See the extract In the Kavyapradipa-sampurnam Kavyalakshanam given in next paragraph.

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28 OPERATIONS IN SEARCH OF SANSKRIT MSS. title of the original book. I will add here that while at Oodeypore I heard of a third commentary on the karikas, called, like the Kavyaprakasa, and the Kavyapradipa, by a name, Kavyalata, which does not weaken the inference I have drawn. The end of the Kavyapradipa has an interest of its own, as showing that the poet Ruchikara, of whom Govinda, his younger brother by another mother, speaks so lovingly, was no other than sri-Harsha ;* and, secondly, as affording an interesting illustration of that collaboration between two authors which was one of the most striking literary features of the age. pRthak na pratipAdanamarhatIti kalyANamAstAM saMpUrNa kAvyalakSaNam / / jyeSThe sarvaguNaiH kanIyasi vayomAtreNa pAtre dhiyAM gAtreNa smaragarvakharvanapare nisstthaaprtisstthaashrye|| zrIharSe tridiva [vaM] gate mayi manohIne ca kaH zodhayedatrAzuddhamaho mahatsu vidhinA bhAroyamAropitaH // 1 // parizIlayaMtu saMto manasA saMtoSazIlena / idamadbhataM pradIpaM prakAzamapi yaH prakAzayatiH [ti] / / 2 / / dIpikAdvitaya [yaM kanye pradIpadvitayaM sutau| svamatau samyagutpAdya goviMdaH zarma viMdati // 3 // iti mahAmahopAdhyAya zrIgoviMdaviracite kAvyapradIperthAlaMkAranirNayonAma dazama ullAsaH smaaptH|| ". . . do not require separate notice. Here ends the Kavyalakshanam. May good luck go with it. He has passed into the sky, Sri-Harsha, who was first in all virtues, in age alone taking a second place, full of wisdom, lovelier than Cupid's self,t and I am left lamenting. Who now will go over and correct this book ? That burden fate has cast upon the learned. Let the good study with contented mind this Lamp of Poetry, which sheds light even on the Illuminator of Poetry. I have made two dipikas for daughters, and two pradipas for sons; may they fin default of children] secure the everlasting happiness of Govinda." I have closely examined a copy of the The Kasika Vsitti. Kasik a Veitti, No.34, got at Jeypore, in the hope of finding something that should throw further light *See note on p.11. + The meaning of nishthapratishthasraya is not very clear to me.

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IN THE BOMBAY CIRCLE. 29 on the authorship of that work, with the following result. No. 34 is a Jain MS., which reads at the end of the seventh adhyaya, after the word ajaganat: the verse iSTayupasaMkhyAnavatI zuddhaguNA vivRtagUDhasUtrArthA / vyutpannarUpasiddhivRttiriya kAzikA nAma / / 1 / / followed by the colophon iti zrIvAmanAcAryaviracitAyAM kAzikAyAM vRttau saptamAdhyAyasya caturthaH pAdaH // The end of the eighth adhyaya in this MS. is unfortunately in & bad condition. It contains this verse, in which, by means of a series of puns, the Kasika is compared to the holy city of Kasi. Then follows the verse - vyAkaraNasya zarIraM pariniSThitazAstrakAryametAvat // fare: qay: FRUGET TYTT II 11* The words immediately following are the bare iti kasikayam ashtam. asyadhyayasya, &c., followed by something which is anfortunately undecipherable. Going now back I note that these verses occur neither at the end of the fifth nor at that of the sixth adhyayas ; and that the colophons of these adhyayas do not give any author's name. In the sub-titles to the first, second, and third padas of the sixth adhyaya however the book is consistently described as the Vamanakasika. Throughout the fifth adhyaya there is no mention either of Vamana or of Jayaditya. Throughout the first four adhyayas the book is nowhere described otherwise than simply as the Kasiki vsitti without any reference to an author. The first of the verses I have quoted occurs at the end of each adhyaya, but it is only at the end of the first book that it stands in what appears to be its proper place, that is, immediately before the colophon. Elsewhere it is appended after the colophon. * Pandit Bala sastri in his excellent edition of the Kasik& puts the two verses ishtyupasankhyanavati and vyakaranasya sariram at the beginning of the book and adds the verse Vrittau bhashyo tatha dhatuna maparayanadishu viprakirnasya tantrasya kriyate sarasamgrahah The versos do not stand in that position either in the birch bark MS. Buhler procured from Kashmir (Report, p. cxxxvii.) or in my Jain copy. I may poto here thnt the last named MS. begins frisadhuparevan&thaya namah. Then follows the single verso vrittan, &c., and then the atha sabdanusasanam. For three additional verses found in the Kashmir copy see Buhler.

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30 OPERATIONS IN SEARCH OF SANSKRIT MSS. In a Brahminical MS. of the last five adhyayas of the work which I have acquired this year, the colophons of the seventh and eighth adhyayas, agreeing in this with the Jeypore MS., expressly attribute the Kasika to (paramopadhyaya) Vamana. The colophon to the sixth adhyaya is simply iti shashtodhyayah, but, in agreement here also with the former example, the book is referred to in the sub-titles of this adhyaya as the (sri) Vamanakasika. I found no reference to Vamana in other parts of this MS. It will have been noticed that neither MS. makes any reference to Jayaditya. So far as these MSS. go, then, they establish Vamana's authorship of the seventh and eighth adhyayas, and possibly of the sixth or part of the sixth. If the death of the first author led to the interruption of the work, we might expect to find that Vamana had to begin with an unfinished adhyaya: and the circumstance that he wrote or remodelled part of the sixth adhyaya, but did not choose to claim the credit of the whole of that part of the work, may account for the contradictory evidence that adhyaya presents in both MSS. A consideration on which I should be disposed to lay great stress is the way in which the verse ishtyupsankhyanavati, which does not appear at all in the Brahminical MS., is presented in the Jain copy. In the seventh and eighth adhyayas it stands just before the attribution to Vamana: and may reasonably be supposed to be Vamana's own boast with regard to the excellence of his own part of the work. The verse is absent from the fifth and sixth adhyayas. And the fact that the scribe of this particular copy inserted the verse in the first four adhyayas-placing it in its proper position, before the colophon only in the case of the first adhyaya-does not show more than that the verse and its application to the Kasika was well known. Not the least interesting among the books I saw at Jeypore was a Subhashitavali attributed to one srimad Vallabhadeva. The simple colophon (samaptoyam srimadvallabhadevavirachita srisubhashitavaliriti subham) gives us no information which might enable us to identify the compiler with one of the Vallabhadevas already known to us. I will only hazard the con The Subhashitavali of Vallabhadeva. I have not been able to ascertain whether this Subhashitavali is the same as that obtained by Buhler in Kashmir and attributed by him to Srivara. The present Subhashitavali contains, as Buhler notes his does, verses by Hemacharya.

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IN THE BOMBAY CIRCLE. jecture that, as such compilations are more frequently the work of critics and admirers than of poets, it is not impossible that we have here a work by the Vallabhadeva, whose boast it was that he bad composed commentaries to the Sisupalaradha and "to more than one other poem."* The collection includes verses attributed to a Vallabbadeva, who may or may not be the same as the compiler.+ The book is arranged on the same principle as the Sarngadharapaddhati : and in the great majority of cases the author's name is given. I I give the titles of the ninety-three sections under which the poems are grouped :Namaskarapaddhati 1. Darjanavarnanam 6. asirvachas 2. Kadaryah 7. Vakroktayah 3. Udarah 8. Kavikavyaprasansa 4. (athanya padesah tatradan) Sujanavarnanam 5. Suryenduvarnanam 9. * See page 14. + The former is the more natural supposition, as Vallabhadeva would hardly have referred to another writer of the same name without adding a distinguishing mark either to the one or the other. So Sarngadhara includes some of his own verses in his paddhati. Besides Vallabhadeva there are quotations from a poet who is styled Utpreksha-Vallabhadeva, whom Aufrecht in his analysis of the sarngadhara-paddhati, to be referred to immediately, distinguishes from Vallabhadeva, also quoted in that book. Aufrecht gives the following account of the Bhiksh&tanakavya of Utpreksha-Vallabha :-"The subject of this poem is a favourite one. Siva goes to Svarga to seek alms, and the Apsaras try to make him fall in love with them. The poet uses this plot in order to describe in detail, with more or less success, each act and word of a woman in love, as these are laid down in the treatises in the Kama sastra. He states his purpose in the first verse of the second chapter : bhikSATanena puruhatapurAMganAnAmAkasmikotsavavidhAyini caMdramaulau tAsAmanaMgazarajarjaramAnasAnAM nAnAvidhAni caritAni vayaM vdaamH|| "I sing the various deeds of the women of Indra's city, when Siva came there to beg and caused them an onlooked joy, but wounded their hearts sore with love." The Apsaras owe their festival "out of season "to the moon on Siva's head. Aufrecht thinks Utpreksha-Vallabha's name was Sivadasa; and informs us that tho only poets he quotes are Kalidasa and Bana. I Where the author's name is not known, the verse or verses are ascribed to kasyapi, or kayorapi, or kesh&mapi, as the case may be : and Dakshinatyasya kasyapi, "one of the poets of the south," is not an uncommon heading,

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32 OPERATIONS IN SEARCH OF SANSKRIT MSS. (atha prannial tatradau) Simhah 10. Gajah 11. Ushtrah 12. (atha khagah tatra) Mayurah 13. Hamsah 14. Kokilah 15. Kakah 16. Bhramarah 17. Kitamanayah 18. Vrikshah 19. Megah 20. Samudrah 21. Manayah 22. Sankhah 23. Padmah 24. Manah 25. Sankirnam 26. (atha sringaravarnanam adau vipralambhah tatradau) Dayitagamanam 27. Virahinyavastha 28. Sakhiprasnah 29. Virahinipralapah 30. Sakhivachyata 31. Dutipreshanam 32. Virahinam pralapah 33. Dutyuktayh 34. Sakhiprasnah 35. Upahasah 36. Stryavalokanam 37. Strivarnanam 38. Kesah 39. Lalatam 40. Bhruvau 41. Chakshushi 42. Nasa 43. Adharam 44. Mukham 45. Kanthal 46. Bahu 47. Stanau 48. Madhyabhagal 49. Romarajih 50. Jaghanamandalam 51. Uru 52. Padau 53. Manah 54. Anunayah 55. Uktipratyukti 56. (atha sambhogasringa rah tatra ritushatkavarnanam tatradau) Vasantah 57. Grishmal 58. Pravrit 59. Sarat 60. Hemantah 61. Sisirah 62. Pushpochchaya 63. Jalakelih 64. Astamayah 65. Abhisarikah 66. Chandrodayah 67. Panam 68. Chatavah 69. Priyavishaye chatavah 70. Suratarambhah 71. Suratakelih 72. Viparitasuratam 73. Prabhatavarnanam 74. Sankirnasringarah 75. Virah 76. Hasyam 77. Jatih 78. Rajavishaye chatavah 79. Nitih 80. (atha vairagyam tatradau) Dharmah 81. Silam 82.

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IN THE BOMBAY CIRCLE. 33 Kalih 83. Anityata 89. Karmapaddhatih 84. Vishayopahasah 90. Daivam 85. Paridevanah 91. Apat 86. Manorathah 92. Seva 87. Sankirnam 93. Trishaa 88. Bhagavadvarnanam 94. I have compiled and put in alphabetical order the following list of the authors quoted by Vallabhadeva. The list is a nominal one, and ander each name I have added the instances where it occurs with varying honorific prefixes, without attempting here to decide how far a real distinction is meant to be inferred. In the great majority of such cases, doubtless, the compiler understood himself to be dealing with one and the same poet. But I doubt whether, how far that applies to cases where, as in this book, a quotation from Baka is inmediately followed by one from Srivaka. Then, again, we cannot say whether the compiler knew that Vyasadasa was another name of Kshemendra, and Vidhyadipati of Ratnakara. He quotes the four, perhaps aware that they were only two, perhaps thinking them to be two, perhaps knowing them to be two. So again utpreksha-Vallabha, that is Vallabha fond of utprekshas, * may be intended to distinguish that Vallabhadeva from another poet of the same name; but we cannot, in the absence of other testimony, be certain that it is so. bhagavata-Achintadeva. Argata. Adbhutaphulla. Archaka. bhatta-Aparajita. Archetadeva. Amaka. Arjanadeva. Amaraka. Arthavarman. Amaruka. Arbhaka. bhagavata-Amritadatta. Avadhuta. Amritavardhana. bbatta-Avalokita. Ambaka. bhagavata-Avinitadeva. Aruka. bhadanta-Asvaghosha. bhatta-Arkan Asthibhauga rajapatra A. Acharyabhatta. * Compare apama-Kalid&sa, a title given to Kalidasa on account of his fondness for that figure, not a name intended to distinguish one Kalidasa from another.

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34 OPERATIONS IN SEARCH OF SANSKRIT MSS. bhatta-Adityaka. bhadanta-Adityadatta. bhatta-Ananda. rajanaka- Anandaka. Anandavardhana. Antivarman. bhadanta-Arogya. Aryadeva. Aryabhata. Indubbatta. bhadanta-Induraja. Indulekha. tathagata-Indrasimha. Isanadeva. Uchyamanananda. Utprekshavallabha. a padhyaya-Udaya. bhatta-Udbhata. Upamanya. Urjita. Aurva. bhatfa-Kapardin. Kamalayudha. sri-K. bhadanta-Kambalaka. (MS. v.) Karpura. Kayyata bhatta-Karnata. aradhya-Karpura. Kalaka. Kalasa. Kalasaka. bhatta-Kallata. sri-K. Kalhana. srf-Kalyanadatta. Kaviratnaka. Kalidasa. Kisoraka. Kundidevi. Kumaradasa. Kumarabhatta. Kusumadeva. Krishnamisra. Kshemendra. bhadanta-Kshemavriddhi. Gangadatta. Gangadhara. Gandagopala. Gopaditya Govindaraja. bhatta-G. bhatta-Govindasvamin. Ganrika. Chandaka. Chandragopin. Chamachamikaratna. Charpatinatba. Chita. Chtsaka. Chhatra. Chilika. Chiakasa. Chilabhattarika. Chilabhattanika. bhatta-Chalinaka. Jayadeva. pandita-Jagaddhara. Jayamadhavaka. Jayavardhana. bhagavata-sri-J. Jayaditya. sri-Jayapida. Jalbana. Jivaka. Jivanaga. Jenduka. pandita-Jonaka. sri-Jonaraja (MS. in one place Rajoraja.)

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bhadanta-Jnanavarman. Takshaka. Trivikrama. bhatta-T. bhagavata-T. Dagdhamarana. Darvata. Darsaniya. sri-Damara. Damodaragupta. Dahoraka. Dipaka. Durgamana. Durvahaka. Devagupta. Devata. divira-Devaditya. Dorlahkadarsaniya. Dohara. Dyutidhara. Dharmakirti. upadhyaya-Dharavarman. Dharmadatta. divira-Dh. Dharmadetha. Dhiranaga. Dhairyanmitra. Dharadhara. Narasimha. Narendra. Nagnajit. IN THE BOMBAY CIRCLE. Nagnacharya. bhatta-Nayaka. bhatta-Narayana. Nidradaridra. Naishadhakarta. Narayanasvamin. Padmagupta. pan lita-Panaka. pandita-Pajaka. Panini. rajaputra Parpati. Pundraka. Punya. Pulina. bhatta-Prithvidhara. Prakasadatta. Priyamukhya. Prakasavarsha. bhatta-Pradyumna. bhatta-Prabhakara. Phalgahastini. Prabhakarananda. pandita-Prasastaka. bhatta-Paribhata. Pravarasena. sri-Baka. Bandhu (MS. v.) bhatta-Ballata. Bana. (bhatt-Vana.) bhatta-sri-Bilhana. sri-Bhandaka. Bhattasvamin. Bhatti. Bhartrisarasvata. Bhartrihari. Bhavabhuti. Bhavaninandana. Bhushanadeva. Buddha (MS. v.) Bodhaka (MS. v.) Bodhisattva. Bhaskarasena. Bhattaka. Bhallata. Bhaschu. sri-Bhanushena. Bharavi. Bhasa. jyotishaka-bhatta-Bhaskara. 35

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36 OPERATIONS IN SEARCH OF SANSKRIT WSS. Bhima. Bhaunda. sri-Bhogivarman. Bhumidhara. Brabmayasahsyamin, Manibbadra. Madraka. pandita-Maddhaka. Madbusudbana. Manoratha. Mahamanushya. pandita-Mankba. Mankhaka. Mangalavatsa. Malaya. sri-Mammata sri-Mayara. Mabendra. Magha. Matangadivakara. prachanda-Madhava. Nuktapida. bhatta-Mahundaka. sri-M. bhatta-Muktikosaka Muktikalasa. srf-Matrigupta. Marimala. Murari. Murkha. Mentha. Menthaka. Morika. Yasalsvamin. Ranapati. Ratimitra. Ratisena. Ratnamisra. Ratnakara. bhadanta-Ravigapta. pandita-Rajaka. Rajakulabhatta. ara-Rajanaka. Rajapakahladaka. Rajasekhara Rama. Ramilaka. bhadanta-Riranaga. Rudra. kapila-Radraka. bhatta-Rudraia. Rairapaka, Lakshmana. Lalitanuraga. Lilachandra. Lilasuka. Lattaka. Lothaka (Isvarasuna). Lothaka (Jayamadhavasuna). Lothitaka. Lubuhaka. Luttaka. rajana(ka)-Laulaka. Vajravarman. bri-Vajrayudha. Vararucbi. Varahamihira. sri-Vardhana. Varman. Varshadeva. Vallata. Vallabhadeva. utpreksha-V. bhatta-V. Vahinipati. Vakpati (sri-Harshadevatmaja). Vamana. Vamana-svamin. bhagavad-Valmikimuni. Vandhu.

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Varabamilira. sri-V. Vasunaga. bhatta-Vasudeva. Vairupaka. Vayyahasa. Vikatanitamba. Vidhakaravarman. Vidyadhara. Vikramaditya. Vikshatimadhava, eri-Vibhakaravarman. ra-sri-Vijayapala. Vishnusarman. Vigraharaja. Vijayavarman. Vijayamadhava, corrected from Vikshalimadhava. ra-sri-Vijayapala. IN THE BOMBAY CIRCLE. Vijjaka. Vijjika. bhadanta-Viraniga. bhagavata-Vinka. Vitavrinta. Vidyadhara (Lallasunu). Vidyadhipati. sri-Vibhakara. Vibhutivala. Visakhadeva. Visrantivarman. Virabhatta. Vijaka. Vriddhi. Vrishnigupta. Vyasa. Vyasadasa (Rajanaka). Sakavriddhi. Sakachella. Sakavarman. Sakradeva. Sankaragana. Sanktaka. Sankuka. Shadanta. skandaskara-Sankara. Sanjira. Sankha. bhayavata-S. Sankhaka. Sambhu. Sarvata. Sarepha. Sasivardhana. Satyadeva. Sakalya. Satala. Sarvabhauma. Sasvata. sri-Sivasva min. Suravarman. Sura. Sudraka. bhatta-Sridatta pandita-Srivaka. Siddhartha. Siluka. Sirutadhara. Sitkararatna. Sukhavishnu. Subandhu. bhatta-Sunandana. Subhadra. Surabhichula. Srutadhara. sri-rajana(ka) Suka. bhadanta-Sura. bhagvata-sri-Sura Somadeva. Syandilya. Haragana. 37

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38 OPERATIONS IN SEARCH OF SANSKRIT MSS. Haragupta. Harigana. Harichandra. bhatta-Haribhuta. Haribhatta. Harshadatta. sri-Harsha. eri-Harshadeva. Haladhara. Hastipaka. Hemacharya. Early opportunity will be taken to offer a separate paper on Vallabhadeva's Subhashitavali. In the meantime a few gleanings may be acceptable. The first quotation from the poet Vallabhadeva, which occurs in the Kavikavyaprasausa, contains, I think, a dexterous allusion, quite in the manner of Indian writers, to the fact that the poet cited is the compiler of this anthology: avasarapaTataM sarvaM subhASitatvaM prayAtyasUkSmamapi / kSudhi kadazanamApe nitarAM bhoktaH samudyate svAdu // In the same section I find the following couplet given as from Bana: navortho jAtiraprAmyA zreSokliSTaH sphuTo rasaH / vikaTAkSarabandhazca kRtsnamekatra duSkaram // mukhamAtreNa kAvyasya karotyahRdayo janaH / chAyAmacchAmapi zyAmAM rAhustArApateoreva || This is a quotation from the introductory verses prefixed to Bana's Harshacharita: but it is singular that none of the MSS. which were at my disposal when drawing up the account of the Harshacharita, which will be found in the Introduction to my edition of Bana's Kadambari, contained the second verse. The other quotations from Bina of verses neither to be found in his extant works nor in the Sarigadhara Paddhati are numerous: and one at least I have noticed as probably taken from the lost geographical work to which Buhler found a reference in Anandavardhana's Dhvanyaloka : dUrAdhvaklamaniHsahairavayavaiH chAyAsu vizrAMtayaH kazmIrAnparito nidAghasamaye dhanyaH paribhrAmyati // "Anandavardhana calls Bana sthanvisvarakkyajanapadavarnanakarta, the author of the description of the country called a Sthanvisvara, i.e., Thanesar, and indicates thereby that we have to look out for yet another composition, probably a geographical one, of the famous friend of Harshavardhana-Siladitya."-Kashmir Report, p. 66.

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IN THE BOMBAY CIRCLE. 39 The verse taralayasi dRzaM kimutsukaamklussmaansvaasllite| avatara kalahaMsi vApikAM punarapi yAsyasi paMkajAlayam / / is an imitation of a verse in the Vikramorvasi,* and may be added to the examples I have given, to my edition of Kadambari, in the Introduction of Kalidasa's influence upon Bana. So long back as 1860 Aufrecht called attention to the fact that Shriigadhara's Paddhati* contains two verses attributed to Panini. *pabhAnsaraH pratigamiSyasi mAnasaM tvaM pAyayamutsRja visaM grahaNAya bhuuyH| mAM tAvaduddhara zuco dayitApravRttyA svArthAtsatAM gurutarA praNayikriyati // Vikramorvasi. Act IV. * In the magazine of the German Oriental Society, Vol. xiv., p. 581. Aufrecht's foll analysis of the Sarngudhara Paddhati, with translations of selected verses, appeared in 1873 in the xxviith vol. of the same journal. A reprint of that paper, with the translation in English, would be very welcome to students in India. I give the substance of the earlier note. The translations, which do not pretend to be literal, are my own. I wish I could have put them into as graceful verse as my honoured teacher has done in the Paper from which I am quoting. "In Sarigndhara's Paddhatithere are two verses with the simple wording, Pinineh, by Panini. The first is found in the chapter chandrodayavarnanam, the socond in varshasamnyagvabh& v&khyanam. We do not as yet know of more thon one Panini. Let us listen to what the sage "bent double over grammar and forusworn to all worldly joy," has to say and to sing : upoDharAgaNa vilolatArakaM tathA gRhItaM zazinA nizAmukham / yathA samastaM timirAMzuka tayA puropi rAgAdalitaM na lakSitam / / "On came the flushed Moon: Night fixed her quivering eyes the stars apon him, and was so taken with the sight, that sho noticed not how her whole mantle of darkness had slipped to her feet." kSapAH kSAmIkRtya prasabhamapahatyAMbu saritAM pratAporvI kRtsnA tarugahana mucchoSya sakalam / ka saMpratyuSNAMbhurgata iti tadanveSaNaparA staDidIpAlokAdizidizi caraMtIva jaladAH / / "See how. the clouds roam over the sky, darting their lightnings in search of tho Bun, who, after sending langour through the nights, drying up all tho streams, burning the face of the earth, and filling the deepest forest glades with beat, has gono-no man knows where."

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40 OPERATIONS IN SEARCH OF SANSKRIT MSS. From the same scholar's very valuable analysis of the contents of that paddhati, published later, it appears that the two are the only verses for which that august authorship is claimed by Sarngadhara. In the present anthology I have found the following additional examples of Panini: pANineH vilokya saMgame rAgaM pazcimAyA vivasvataH / kRtaM kRSNaM mukhaM prAcyA nahi nAryo vinerSyayA // "The East marks the glow that comes over the Sun and the West as they meet, and her own face darkens: lives there the woman who is free from jealousy ?" athAsasAdAstamaniMdyatejA janasya dUrojjhitamRtyubhIteH / utpattimadvastu vinAzyavazyaM yathAhamityevamitropadeSTum // "See, he has reached his setting, whose glory was beyond the reach of censure. Oh, man, that hast put far from thee the fear of death, to thee he calls, 'Everything that is born must die, as I am dying.'"* From what poem of Panini's are these verses taken? Perhaps from the Jambavativijaya, a work of which, besides one other corrupt line, I have so far came only upon the following verse : payah prishantibhih sprishtva vanti vatah sanaih sanaih Rayamukuta quotes this half sloke in order to show that, besides prishat, 'a drop of water,' there is a form prishanti, which has led some authorities to construe the word prishantivinduprishatah, in Am. I., 2, 3, 6 as a dvandva of three members. Of the two verses given above, the one is worthy of Kalidasa, who has made use of it: to the other that poet would perhaps have lent a little more Attic salt (rasa)." *One touch of nature makes the whole world kin. Listen to the echoes of these words of Paqini which rose from the England of three hundred years ago : "Behold the sun, that seemed but now Enthroned over head, Beginneth to decline below The globe whereon we tread : And he, whom now we look upon With comfort and delight, Will quite depart from us anon And leave us to the night. Thus day by day doth nature take The life that nature gave; Thus are our bodies every day Declining to the grave:

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IN THE BOMBAY CIRCLE. saroruhAkSINi nimIlayaMtyA ravau gate sAdhu kRtaM nalinyA / akSNAM hi dRSTvApi jagatsamagraM phalaM priyAlokanamAtrameva / / "The sun has gone : and straightway the lake shuts its lotus eyes. It is well done: for eyes that see the whole world see nothing if they see not the loved one." nirIkSya vidyunnayanaiH payodo mukhaM nishaayaambhisaarikaayaaH| dhArAnipAtaiH saha kiM na vAMtazcaMdro mayetyAzutarI rarAsa // 1 // "The very cloud in heaven peers through the dark night with its lightning eyes into her face; and straightway utters loud lament, as having, with the showers of rain, let fall the Moon." It is to be noticed that with one exception all these verses are in the upajati metre, which we have already seen, Kshemendra distinguishes as the metre which Panini loved, and in which he was at his best. We may assume I think that we are dealing here with verses which in the first half of the eleventh century, at a time when grammar was being eagerly studied, was recognised as the work of one Panini.'t Into the considerations raised by the discovery of the attribution of such a considerable-and in part so beautiful-body of verse to the great grammarian I will not now enter farther than to say that, on the supposition that we have not to do with two Paninis, the verses lend very strong support to those who would place the sutras and all the literature that has clustered round them, at a date much later than that ordinarily accepted. It is impossible to admit a gap of a thousand years between these verses, and the verses of a precisely similar character in the two collections, which we can assign to dates ranging from 600 to 1000 A. D. It is possible of course that there are two Paninis. But there is no evidence for such a supposition. And it is hard to understand why the fact, if it were a fact, should have been Thus from us all our pleasures fly Whereon we set our heart, And when the night of death draws nigh, Thus will they all depart." * MS. :. + MS. Brat. In my MS. of the Savrittatilaka of Kshomendra one of the verses is ascribed, in a marginal note, to l'anini, whose Patalavijaya is said to be well knowu.

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42 OPERATIONS IN SEARCH OF SANSKRIT MSS. so carly lost sight of. For I do not think it conceivable that either Sarigadhara or Vallabhadeva, and much less Kshemendra, in using the name Panini sans phrase could have had in their own mind any other than the author of the Ashtadyayi. The following verses are ascribed to V a kpati, who is here called the son of sri Harshadeva. The fourth stanza occurs in Bhartrihari's Sringarasataka : pareSAM cetAMsi pratidivasamArAdhya bahudhA prasAdaM ki netuM vizasi hRdaya klezakalilam / prasanne tvayyeva svayamucitaciMtAmaNiguNe viviktaH saMkalpa kimabhilaSitaM puSyati na te // pANI pAvanamakSasUtramucitaM rudrAkSamAlA gale bhasmAMge subhagaM zirasyati taDipigaviSo jttaaH| jIrNa valkalamaMsayostarutale vAsa: prazAMtasya meM bhUyAdAzramavartinaH kimaparaM karNe kadA shaaNbhvii| gaMgAtIrakRtoTajasya niyamakSAmasya zAMtAtmano nIvArapratipacasya dadhato medhyAM tvacaM taarviiN| darbhaprastarazAyinaH zivazivetyAkraMdataH pratyahaM bhasmasnAnakRtaH kadA mama manonirvANamabhyeSyate // aho vA hAre vA kusumazayane vA dRSadi vA maNau vA loSTe vA balavati ripo vA suhRdi vaa| tRNe vA straiNe vA mama samadazo yAMti divasAH kadA puNyeraNye zivazivaziveti prlptH|| ghanodyAnachAyAmiva marupathA dAvadahanA tuSArAMbhovApImiva viSavipAkAdiva sudhAm / pravRddhAdunmAdAt prakRtimiva nistIrya virahA labheyaM vadbhaktiM nirupamarasAM zaMkara kadA // "Women, as well as men, wonld appear to have reached distinction in letters at the courts of the princes of the Indian medieval times who were patrons of the arts and sciences. We have in this book [the Shringadharapaddhati] the names of nine poetesses-Nigamma, Phalguhastint, Madilash, Morika, Lakshmi, Vikatanitamba, Vijjaka Silabhattarika,* Sarasvatikutumbaduhitri. Another, Maruli, is memtioned in the following verse by Dhanadeva, 7, 9. (Compare Hall, Introduction to Vasavadatta, p. 21.) zIlA vijjAmArulAmorikAdyaH kAvyaM karte saMta vijJAH striyopi / vidyAM vettaM vAdino nirvijetuM vizva vaktaM yaH pravINaH sa vNdyH|| * Chflabhattarika in the Subhashitavali is merely an incorrect way of writing.

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IN TIE BOMBAY CIRCLE. 43 Women too were able to make verses; witness, Sila, Vijja, Marula, and Morika: but praise belongs only to the man who understands all learning, can conquer all opponents, and speak about everything.'"* A reference to the list of authors quoted by Vallabhadeva will show that this enameration may now be largely extended Returning now to the incidents of my stay at Jeypore, I may note that while waiting for arrangements to be made to enable me to visit the library, I took advantage of an invitation extended to me to visit and examine the Maharaja's Native Sanskrit College. The European scholar is familiar now with description of visits to such places : but I could not help wishing that it were possible to place some of the eminent men, who in mind and spirit are no strangers to a country they have never seen, in the midst of the scene before me. The cloisters surrounding an inner court-yard of a temple, that reserves only one side of its quadrangle for purposes of worship, were filled with a crowd of scholars of all ages. With some difficulty-for masters and pupils were everywhere squatted indiscriminately upon the ground-an asanam of cushions was spread. for me, and for my companion, who, had she been Sarasvati herself, could not have been treated with more respect. Children, who looked as if they might bat yesterday have learned to speak, recited to us glibly the first elements of that marvellous system of technical grammar, which some of them will be studying still when the present generation of men has passed away. Older pupils and their masters joined in discussing difficult passages, selected from various kavyas, with a warmth and vehemence that left short space for their visitor to interpose remarks which, to do the disputants justice, were uniformly received with scholarly courtesy. The last pupil who came ap to exhibit his proficiency to the mlechchha Sanskritist was an old blind man, who, I was informed, and readily believed, could have gone on repeating the Mahabhashya as long as there was any one to listen to him, and who, if I may judge from his happy demeanour, is evidently as content with tho shadow he pursues as any of us all. . Aufrecht's paper referred to. The author has the note, Vijja, a corruption of Vidy, is an abbreviation for Vijjak. Maruld is the reading of three of my manuscripts, A, B, and 0, and there is no occasion to change it into Maruta. A, O, E read Jatum for visvam.

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44 OPERATIONS IN SEARCH OF SANSKRIT MSS. It was a strange scene; and none the less strange, that it did not require to shut one's eyes to imagine that time had rolled back a thousand years. In all that met the eye or ear there was nothing to tell of the present, or of the culture and religion which make up what we fondly deem the only civilisation worthy of the name. And in no other way than that exhibited to us was grammar taught and learned in India in the days of the Buddhist pilgrim I-tsing.* My chief contribution to the discussion came at the close when I gave my friends what was probably their first lesson in comparative philology. It was listened to with urbanity; and the possible identity of father with pitar and of two with dva was even cheerfully admitted. But I failed to shake the conviction that if these things were so, they only confirmed the doctrine that all language outside of Bharatavarsha is a 'falling away' from Sanskrit. During the same interval we paid, by the courtesy of the Maharaja, a visit to Amber, the old capital of Jeypore. In a remote room of the deserted palace we were startled to come upon preparations, all but complete, for the daily sacrifice still performed there. The day was on the point of noon: the sacrificer and the knife were ready and in a corner of the room a girl was encircling with her arms the little goat that had till then been her playmate, but was now to be torn from her, and put to death, because the upper powers require some such satisfaction for the sins of the people of Jeypore. I-tsing, a Buddhist, went to India to learn Sanskrit, in order to be able to translate some of the sacred books of his own religion, which were originally written in Sanskrit, into Chinese. He left China in 671, arrived at Tamralipti in India in 673, and went to the great college and monastery of Nalanda, where he studied Sanskrit. He returned to China in 695, and died in 703 I-tsing then gives a short account of the system of education. Children, he says, learn the forty-nine letters and the 10,000 compound letters when they are six years old, and generally finish them in half a year. This corresponds to about 300 verses, each eloka of thirty-two syllables. It was originally taught by Mahesvara. At eight years, children begin to learn the grammar of Panini, and know it after about eight months. It consists of 1,000 slokas, called Sutras. Then follows the list of roots (dhatu) and the three appendices (khila), consisting again of 1,000 slokas. Boys begin the three appendices when they are ten years old, and finish them in three years. When they have reached the age of fifteen, they begin to study a commentary on the grammar (Sutra), and spend five years in learning it.-Max Muller. "India: What can It teach us?" p. 210.

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IN THE BOMBAY CIRCLE. 45 We turned and fled the scene, thinking in our hearts that a sight like this might possibly open the eyes even of certain commentators. On the fourth day of my stay at Jeypore, I had the honour of an interview with H. H. the Maharaja, who was good enough to issue orders to the extremely orthodox Brahmins in whose charge the royal collection of books is, to grant me free admittance and inspection of any book I might call for. I spent the next three days in going as carefully as possible over the library with the aid of the very rough MS. catalogue; but in the short time at my disposal I was unable to do more for the purposes of the search than make a harried note of books, to be added to our lists of desiderata, or of which it seemed desirable to arrange for copies. In this as in other parts of my work in Jeypore, I was much assisted by my friends, Pandit Durga Prasada, and others, whose co-operation and interest I desire heartily to acknowledge. That it was not feasible to do more on this first visit to Jeysingh's famous library was, I felt, the less to be regretted that Buhler had already made as careful an examination as was consistent with the time at his disposal. It is much to be wished that the enlightened Jeypore Darbar woald employ for a sufficient time a competent scholar to make a catalogue raisonnee of a collection which there can be no reasonable doubt still hides much from the learned world. There are pandits in Jeypore who.could do this work admirably, on the many excellent European models now available, if means could be found to satisfy the vested interests of the hereditary keepers of the books. On enquiring after the copies of the selected works ordered for Dr. Buhler, I was informed that they had been duly made and stowed awuy no one knew where. As I had no list of the books in question, and could find no one who would confess to any very precise knowledge of the matter, I was fain to be content with the promise kindly made by Ilis Highness's intelligent Private Secretary, Baboo Keshub Chunder Sen, that the books should be looked out. I can only here express the hope that my report next year will contain an account of these books, and of the copies ordered on the present occasion at my own request. I left Jeypore on the 14th of October for Ajmir. From Ajmir an easy excursion was made to Pushkar, a place whose chief claim to distinction now is by some considered to spring out of the annual

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46 OPERATIONS IN SEARCH OF SANSKRIT MSS. horse-fair held there, but which is also widely known as one of the most sacred places in India, and the only one of all her sacred places which boasts a temple raised in honour of the Creator Brahma. Pushkar is built on three sides of a lake, whose waters fringe the steps of countless temples that are mutely eloquent of the reverence and faith of a great people in days gone by. The suburbs are studded with the palaces of princes, who, in more modern times, have thought to compound for years of self-indulgence by visits to the holy place, or have come here to die. Overlooking all is the peak to which Brahma's angry spouse retired, when here, with the help of her rival, he made the world. Through paths ankle deep in dust, and followed by crowds of Brahmin beggars, as ignorant as they were shameless and importunate, we visited one deserted shrine after another, asking ourselves how long the best minds of India will be content to leave the religion of the common people a prey to the obscene creatures who fatten on it as a means of livelihood. To the Hindu who respects his country's past, and who hopes in her future, I can conceive of no sight more distressing than the present condition of the Holy City, Pushkar. My hurried visit was, of course, one of mere curiosity; but I obtained subsequently some valuable Brahminical MSS. from Pushkar, through Mr. Bhagvandas Kevaldas, whom I directed to visit the place, on our return from Oodeypore. The most of these have been, at his own request, handed over to my colleague, Mr. Bhandarkar. A night's journey on the Eastern Rajputana Railway brought us at four in the morning of the next day to the Chittore railway station, which for some reason not very apparent, is a good three miles from Chittore itself. The station for Oodeypore, to which we were bound, is a few miles further on, but the opportunity was not to be resisted of visiting the far-famed city, set upon a hill, which thrice defied the Imperial armies of the Great Mogul. Of the graces that remain to Chittore, something may perhaps be said in a note.* A solitary Brahmin, unable to read the torn leaves "We were advancing over a perfectly level plain; and the hill of Chittore was still a dark mass lying along our right. Our first glimpse of the fortress was a sight never to be forgotten. Chittore is to the plain along whose skirts we were moving what Abu is to the western desert. It stands out in the same isolated way from the more compact mass of hills to the further

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IN TIE BOMBAY CIRCLE. of the commonplacc stuti, which he carries about with him as a charm, is all, so far as I could find, that is left of the Icarning and culture of the city where the scribe Jallana, the son of Sivadeva, wrote centuries ago on palm-lcaf, the copy of Nami's east. But the summit of Chittore is a low table land. We were between tho hill and the now rising sun : and the first object brought out of darkness by his rays was the magnificent tower of victory raised by Khumba Rana to commemorate a victory over a Muhammadan invader for hundred years ago. Next we saw the diadem of towers-there is no other expression for it-tbat still, in anbroken line, encircles the brow of Chittore. As one gazes upwards it seems impossible to believe that such a line of defence was ever stormed. As & matter of fact, I do not believe that it ever was. The ficrce Alla-u-din and his host lay patiently below, the monarch managing the affairs of his vast dominions from his permanent camp in partibus, much as a vaster dominion is managed now from a shooting-box in the Himalayas, while his soldiers ravaged the plains far and wide. From time to time a Rajput chief, weary of inactions and as careless of the general weal as King James at Flodden, would throw open the gate entrusted to his charge, and sally down into the plain to fall an easy prey to his disciplined foe. The day came when this was done for the last time, and when the heart of a man in the feeble body of the Rajput widowed queen, who rode side by side with her boy at the head of the sally, availcd not to secure the usual safe retreat for the remnant of the defeated host. The invaders entered at the open door. Far to the south, Padmini-name never to be forgotten by Rajput heart-heard the despairing cry which told that the end had come, and straightway, followed by every wifo, widow, and maiden in the fortress, sought and found "That place of shelter Where the focman cannot come," and the victor stained his triumph by the indiscriminate butchery of all that remained of the chivalry of Mewar, We could only devote that day and the next to Chittore, and were glad to find that there would be no difficulty about climbing the hill that afternoon. The Hakam or governor of the place courteously sent a horse and a chair, and we started about four o'clock. There is a lovely bit of river scenery which lies between the bungalow and the hill; next the modern town of Chittore, which lies at the foot of the hill, and presents no feature of great interest, has to be traversed ; and then an easy ascent, which takes about an hour, brings you to the summit. I might say much of the monuments of antiquity that are crowded together there; but I do not know that any one of these is more impressive than the general aspect of the place itself. Chittore is a city of the dead. But it is that in this unique senso, that the dead of Chittore have not yielded up their titlo deeds either to the kiudly hands of restoring nature or to the generations that have followed them. Every house is empty; but every house stands ready to be occupied if only the rightful owners would come back. I cannot analyse the impression made on

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48 OPERATIONS IN SEARCH OF SANSKRIT MSS. commentary on Rudrata, which from Chittore was carried to Pathan, and now lies in the library of the English College at Poona.* We left Chittore on the evening of the following day for Nimbahera where, through the kindness of Colonel Euan Smith, C.B, then Acting Resident at Oodeypore, we found a dak waiting to convey us to the famous capital of Mewar. At the close of a fatiguing day's journey,t us by this weird scene; but as we sat on the terrace of Padmini's palace in the middle of the lake, at the southern end of the hill, with no sound in our ears but "Silent nature's breathing life," and saw the moonlight fall on these empty houses, that have continued through so many generations their futile protest against the oblivion that lies in wait for all things human, these men and women seemed the realities of the place, and we the passing shadows." From a Paper read before the Bombay Dialectic Society. See beforo p. 15. Chittore is a corruption of Chitrakuta. For the first fifty miles the way lies over a broad plain, which presents no feature of special interest. At the end of this plain the traveller finds himself approaching a gorge in hills that have for the last hour or two seemed entirely to shut out the western horizon, which I can compare to nothing so well as Scott's picture of the Entrance to the Valley of the Shadow of Death. In place of the grim spectre which there affrights the pilgrim, the gate of Mewar has over it only the clear blue sky. For defence it trusted to two long lines of walls, which begin far up in the opposing hills, and meet in the portal proper. The whole forms a most impressive and imposing sight; and some sense of the great natural advantages of the position chosen for their new capital by the Maharanas of Mewar, when it became apparent that Chittore was no longer tenable, is best had when it is seen that the only entrance to the wide plain, in the middle of which stands Oodeypore, is by similar mountain passes. It must be remembered that the whole of the surrounding country was in the hands of wild hill tribes, who had their own quarrels with the sovereigns of Mewar, but who always helped them against a foreign foe. As we drove slowly up the steep ascent, and passed through the portal, I understood, as I never had before, why it is that the Court of Oodeypore is the only Rajput Court, whose reigning monarch never attended a levee of the Great Mogul, and whose women were never forced to stoop to an alliance with the enemy of their faith. On the other side of the gates the plain lay before us, but the city of Oodeypore, still seven miles or so in front, was not for some time visible. When at last we did see the city, we saw a sight for which all our anticipations had failed to prepare us. I will attempt a bare sketch only of the scene from the upper terrace of the Residency. A line of low-lying hills, neither so near nor so high as to interfere with the imposing

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IN THE BOMBAY CIRCLE. 49 we were received with much cordiality by an officer, to whose active sympathy and great influence I desire to acknowledge the results accomplished at Oodeypore as almost entirely due. I'was glad to find that the Agents of the search, Mr. Bhagvandas Kevaldas and Mr. Ramchandra Shastri, who had been directed to join me here from Ahmedabad, had arrived some days previously; and next morning I began my work in Oodeypore by an examination of the works which had already been offered to them for purchase. altitude of the palace buildings forms the back ground. The whole of the centre of the picture is occupied by the majestic pile of the palace of the Maharanas, Bo massive in its proportions, so pure and delicate in its colours and decorations, so high in air, that poet or painter might be forgiven who should take it for the embodiment in marble of the apocalypatic vision of the Holy City, Now Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. The town is seen climbing up to the palace, and gathering all about it: and far away on every side the eye rests with quiet satisfaction on the hills that lie round Oodeypore. . . . . Ono chief glory of the place forms no part of this fair scene. It was said a moment ago that the hills behind the palace are neither so near nor so high as to interfere with the commanding effect of the position of the palace itself. Our first afternoon's drive showed us that the palace, which on this side is the last in a line of buildings climbing slowly up from the level of the plain, on the other descends sheer into a lake, whose surpassing loveliness no words can convey to those who have not been privileged to see it. For us, who have seen it, it is a possession for ever. More extensive than the Abu lake, it differs from that, which is fully its equal in simple beauty, in the variety of effect, if I may so speak of which it can boast. In many a distant and retired nook it repeate the effect of supreme repose, and perfect natural beauty, which distinguishes its Abu rival. Where it washes the palace walls and the gates of the city it presents with these the most charming specimen of that intermingling of shadow and substance on which poets love to dwell "Within the surface of Time's fleeting river Its wrinkled image lies, as then it lay Immovably unquiet, and for ever It trembles, but it cannot pass away." In the centre of the lake stand those dreams in marble, the water palaces with which the taste and munificence of the monarchs of Mewar have crowned the islands that are there. On one of these palaces Englishmen, so long as England is England, will never fail to gaze with an emotion that owes nothing to its loveliness, great as that loveliness is. It was here that during the Mutiny a company of men, women and children, gathered from far and wide. found an asylum at the hands of the late Maharana. To guard against any

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Accm sy 50 OPERATIONS IN SEARCH OF SANSKRIT MSS. I may here say at once that the number of desirable books offered then and subsequently to me at Oodeypore was greatly in excess of the funds at my disposal; and I should have no difficulty in procuring, on a second visit, with the consent of Government, for the use of scholars or learned institutions either here or at home, other copies of any of the books actually selected. It has not been possible to make a thorough examination of all the books bought; and I can only offer here a few remarks, chiefly by way of illustration of the passages selected for extract. This important find, No. 260, settles, I The Chatuhsaran aprakir. think, the question of the authorship of a nakam of Virabhadra with a coinmentary. book in great repute among the Jain com munity, besides raising some interesting points with regard to the authorship of others among their religious books now unhappily anonymous. The last gatha of the Chatuhsaranaprakirnakam is iya jIva pamAyahArivIra bhadaM tamevajjhayaNam / jhAe mutisaMjhamavajhakAraNaM nivvaisuhANam / / Another reading substitutes sites for it. On this the commontary, which is a very extensive one, has a note which may be concisely translated as follows : "O my soul, study this work morning, noon, and night; it will be a very Greatheart to you to slay the enemy, which is spiritual indifference; in the end it will bring you prosperity " (bhadrantam). The words vira bhaddam and tam the commentator goes on to say may be taken differently, vira and bhadra being construed as two vocatives, "O stout and blessed one," the effect of which is to incite the fanatical outbarst of hate in his own city the Maharana reuored to the island itself every boat on the lake; and through all the period of suspense he kept the charge entrusted to him as the apple of his eye. For her services on that occasion-to use the official phrasc-I cannot donbt that Mewar received ample material reward. But over and above that such a deed surely descrves to be held in grateful remembrance; and in future questions arising between that State and us it may us hope, be cast into the wavering scale. bhAI dalapatamA ITI granyAlaya esta FTATO Pite UT FEES

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IN THE BOMBAY CIRCLE. soul to fresh study of the sacred word. With the reading jita, the whole word must be taken as an adjective qualifying. Virabhadra. In either case it is intended to be intimated that the work of which this is the last gatha is the composition of Virabhadra, who was one of the 14,000 sadhus taught by Mabavira himself, the author's name being samasagarbham, hid in a compound word. And we may learn from this, according to the commentator, that each of the sadhas attached to the various Jinas wrote a prakirnakam, little as they themselves needed any such aids. This manuscript was written in Samvat 1645 = A.D. 1589. The existence of a commentary on Mahendrasuri's commen tary on Hemachandra's Ane. Hemachandra's Anekarthasamgrah karthasargraha, called Ane. tributed in the opening lines to Hemakarthakairavakarakaumudi. 11. chandra himself, has been known for some time; and my shastri informs me that Dr. Buhler, wha procured a copy in Kashmir,* was disposed to attribute the composition of the commentary, not to Hemachandra himself, but to some unknown pupil of his. My copy of the book, No. 234, shows that Dr. Buhler's inference from internal evidence was justified. The common theory on the subject is of course founded on the first verse paramAtmAnamAnamya nijaanekaarthsNgrhe| vakSye TIkAmanekArthakairavAkarakaumudIm / / in which the speaker appears plainly to say that he is about to compose a commentary on his own Anekarthasangraha. This ascription is continued in the colophon ityacharybemachandrasurivirachitayam anekarthkairavakarakaumudityabhidhanayam anekarthasamgrabatikayam anekarthasesho 'vyayakandah samaptah. But the words that follow set the matter in its true light. I give here the first three verses, which seem to me to be fragrant still of the love and reverence first breathed into them : zrIhemasariziSyeNa shriimnmheNdrsuurinnaa| bhaktiniSThena TIkeyaM tannAmnaiva pratiSThitA || *I have not been able to ascertain whether this copy contains the verses to which I am calling attention. In Dr. Buhler's list the Anekarthakairavakau. mudi is ascribed to Hemachandra; but in the report, which was evidently printed after the List, it is correctly ascribed to a "pupil of Hemachandra," p. 76.

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52 OPERATIONS IN SEARCH OF SANSKRIT MSS. " Srimad Mahendrasuri, the faithful pupil of sri Hemasuri, in. scribes on this commentary his master's name:" samyagjJAnanidherguNairanavadheH zrIhemacaMdraprabho / methe vyAkRtikauzalaM vya [va] sati (tat) kAsmAdRzAM tAdRzam / / "My lord Hemachandra was a store of right knowledge, and his virtues knew no bonnds; how should such as I be able to explain his book." vyAkhyAmaH sma tathApi taM punaridaM nAzcaryamaMtarmanastasyAjasramapi sthitasya hi vayaM vyAkhyAmanubrUmahe / / "Yet I will venture, wonder not at that; he still is here, and I but say after him what he teaches me."* In the beginning of his commentary, A commentary on the Bhayaharastotram of Ma No 232, on the Bhayabarastotra of Manatunga by Jinaprabha. natunga, Jinaprabha intimates that it is not his intention to give the vidyamantras, which I take to mean magical formulae for acquiring knowledge, that have been extracted from the work by his predecessors. In the lines at the end the date is given in the following chronogram : saMvadvikramabhUpateH zaraRtUdarcisRgAMkarmite that is, in Sarvat 1365-A.D. 1309. Jinaprabha was the pupil of sri-Jinasimbasuri, and he wrote in the city Saketa, that is Oude. The Jagatsundariyoga The present copy of this work, No. 266, mala of pandita eri-Hari- is only a collection of scattered leaves ; but shena. I have heard of a complete copy, which I hope to secure in the course of this year. Pandita sri-Harishena wrote-in Samvat 1582, Saka 1449=A.D. 1524 ; and his book appears to have been an attempt to reconstruct out of the writings of physicians of his own and of past times a chapter of a lost encylopaedia, called * He being dead yet speaketh.-Heb. xi. 4.

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IN THE BOMBAY CIRCLE. 53 the Yonipra bhrita, of which he speaks in the most enthusiastic terms. In one of the leaves I have found what looks like the colophon of the original book : iti srimahagrantham yoniprabhritam sripanhasravaan munivirachitam, according to which the author would be one sriPanha. The name of the author of the SamThe Samyaktvasaptatika yaktvasaptatika, No. 351, was unknown with Sanghatilakacharya's commentary. to the commentator, who refers to him as kaschit purvacharya, a certain old teacher. In the introductory verses mention is made of a guru Gunasekhara, and of the commentator's own spiritual teacher Jinaprabha, with regard to whom,.we are told, that he taught Shah Muhammad in Delhi, and that in consequence the "sis views' and his own glory spread everywhere. Sri Sanghatilakasuri belonged to the Rudrapalliyagachha. There is much of interest in the prasasti given at the end of the book. Beginning with the rise of the Chandragachchha, like the Moon, out of the ocean of Mahavira's teaching, it gives as the first in the line of teachers sri. Varddhamana. To him succeeded Jinesvara. Jinesvara's pupil was Abhayadevasuri, who is celebrated here as the one suri who 'manifested' or brought to light commentaries on the nine angas, and also the statue of Stambhana Parsvanatha.* He was succeeded by Jinavall a bh a. Jinavallahha's pupil was Jina se khara, whom sri. Padmachandra followed. Then in order came sr i-Vijay en du, a second' Abh a y adeva suri, the founder of the Rudrapalliyagachchha, Devabhadra, sri-Prabhunandasuri. Prabhanandasuri had two pupils, sri-Chandra suri, and Vimala sa sisuri, (Vimalachandra). They were followed by one Gunasekhara, of whom, it is said, that he overthrew all rival pandits, even as far as Kashmir. His pupil was the author of our book. He composed his commentary at the request of 'a favourite papil' eri-Devendra munisvara, who stood next in rank to Soma rur book. *"Abhay ad eva, laghugurubhratar of Jinachandra, was the son of Dhana a freshthin at Dhara, and Dhanadovi, and was originally called Abhayakumara. By excessive self-torment he became leprous, his hands fell off, but he was healed by a miracle. By the Jayatihuyanastotra he called forth an image of Parsva, near Stambhanaka. He wrote commentaries on nine angas and died at Kappadavanijagrama in Gurjaradesa."-From Klatt's paper, See note, p. 59.

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54 OPERATIONS IN SEARCH OF SANSKRIT MSS. tilaka chary a,* in the year from Vikrama 1422 (dvi 2, nayana 3, ambodhi 4, kshapaksit 1) = A. D. 1366. The work was finished at Sarasvatapatannam in the Devali of that year. Y asuhkalas a, the younger brother of Soma k alasa, assisted the author, and wrote for him the first copy.t The Prakritaprabodh a by A commentary, by Narachandrasuri on Hema-Narachandra 8 21 1deg 2, NO. JU Narachandra suri, No. 300, is a chandra's Prakrit gram. commentary, hitherto I think unknown, mar. on the eighth adhyaya of Hemachandra's great grammatical work. The author was a pupil of Mala dha ri, and wrote in Samvat 1645=A. D. 1589. Shortly after my arrival at Oodeypore, I had the first of several interviews with which H. H. the Maharana honoured me. This liberal-minded prince showed the greatest interest in my commission : and, by his orders, I had free access to the royal library during the whole period of my stay in the city, at such hours and for such time as was convenient to me. Further, on its being represented to the Mahirana, through my good friend, Kaviraj Shyamaldas, fMember of Council, that it was impossible for me to examine thoroughly during my stay at Oodeypore the books I had selected as most likely to repay closer investigation, orders were issued to permit me to take away on loan all books I might want. I desire here to tender to H. H. the Maharana my most hearty thanks for a concession almost, I venture to think, unique; and also to the Prime Minister, Punnilaldas, for the facilities extended to me. Thus favoured I was able with the assistance of my agents to csamine more or less closely every book in the collection ; and I brought away with me from Oodeypore some thirty books selected as the most noteworthy, and a complete catalogue, admirably drawn up under the direction of my friend, the Court Poet. The results of iny examination of these I must keep for a separate paper; but I will place at the end of this Report selected extracts from which scholars * somatilakAcAryAnujasya may also be a bahurrihi. + See note on p. 62. Kaviraj Shyamaldas, who is an excellent Sanskrit scholar, is preparing a history of Mewar, which cannot fail to throw much light on a subject, our knowledge of which, rather than the materials for such knowledge, is sorely deficient. I am glad that I have been able to lend him several important MSS. for his purpose from this year's collection.

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IN THE BOMBAY CIRCLE. 55 will be able to form an opinion with regard to the value of the collection. I shall be happy to undertake to procure for scholars, with the consent of H. H. the Maharana, which I doubt not will be cheerfully given, copies of any of these books. Oodeypore during the time of my visit was in what we should call a state of great spiritual activity. The Maharana and the bulk of his people were celebrating the primaeval rites of the Dusserah as Tod saw them, * and as the spectator of a thousand years ago may have seen them. Opposite the little group of English, who watched the great procession of the worshippers of the Sun go past, the reformer, Dynananda Sarasvati, mounted on an elephant, and surrounded by a little crowd of believers, was there to see honours almost regal paid to the high priest of the famous shrine of Eklinga, whose constant occupation at all other times is to wash, dress, feed, and worship a hideous black stone, but who, for this rite, leaves the holy place and comes into the town. The Digambara Jains in their turn, who are very numerous in Oodeypore, had been fluttered by the arrival in their city from Edur of a Bhattacharya, whose descent by "spiritual succession and the laying on of hands" set him in their opinion high above all other powers, spiritual and temporal, in Oodeypore. I regret that circumstances prevented me from having an interview with the Brahminical reformer: though, as Professor Max Muller may be interested to hear, I was indebted to him for the loan of a volume of the editio princeps of the Rig Veda, to which I had occasion to refer. But I saw Kanakakirtti, the Jain teacher, in his mandira, or cathedral, more than once; and obtained a great deal of information from him. Kanakirtti worthily maintains the traditions of Jain learning. He is the owner at Edur, his chief seat, of a library of Digambara books, numbering according to his own account no less than 10,000 volumes, which he has promised to throw open to me if I can make it convenient to visit that remote town. Among the books brought by the Bhattacharya with him to Oodeypore on the occasion of his present visit, I was highly gratified to come at once upon a poem called the Yasastila k am, by Somad ev a, which I had been on * See the first volume of Tod's "Annals and Antiquities of Rajasthan," p. 582. + 1 visited the shrine of Eklinga, and was a witness of this extraordinary exhibition,

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56 OPERATIONS IN SEARCH OF SANSKRIT MSS. the look out for ever since I heard from some Digambara friends in Jeypore that I would find that, unlike the Svetambara book of the same name, it was an historical work. Kanakakirtti was embarassed by the crowd of adherents who, unable to follow our conversation, made up for that by the zeal with which they watched our movemeuts: and I was able only to carry away with me a memorandum to the effect that the work, which was written in Samvat 881=A.D. 825, is an account of the deels of Yasodhara, the eldest son of Arikesari in the Chalukya dynasty. Through the efforts of Col. Euan Smith and by the kind interposition of the Oodeypore Durbar, the book has since been copied for me. I hope to have it soon in my hands. It was very difficult to leave Oodeypore, but my short vacation was rapidly drawing to a close, and I was anxious, before returning to Bombay, to make a personal effort in the way of securing the catalogue of the Bhandar attached to the temple of Santinath, at Cambay, which the officers of the search have been endeavouring to obtain ever since Dr. Buhler's visit in 1879. On the 27th of October, accordingly, we tore ourselves away from the magic of the place, and the kindness of friends, and after a journey by Nimbahera and Ajmir, lasting over three days and two nights, we left the Bom. bay and Baroda line at the village of Anand, where we found that the Collector, Mr. Grant, had most considerately left his camp for us, and had arranged with the Cambay Durbar for our transport to Cambay. We broke the journey, as I should recommend every one to do, at Borsad, and were much interested in what we saw, under Mr. Gillespie's guidance, of the small Christian settlement there. Cambay, once in the direct highway of commerce between Eastern Asia and Europe, now a forlorn town which the very sea seems eager to desert, was reached early on the morning of the 1st November; and I was gratified to learn from the Dewan, Mr. Shamrao N. Laud, who had been already busying himself on behalf of the search, that he had every reason to believe that in the course of a day or two I should be allowed to visit the library; and that permission would be given to draw up the long-desired catalogue. At his suggestion, and with much assistance from him, for which, as for his benevolent exertions on behalf of the search, I desire cordially to thank him, we spent the interval in visiting the sights of Cambay. A detailed description would be out of place here ; but the attention of hunters after archaeological treasures may perhaps

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IN THE BOMBAY CIRCLE. 57 be called to the rich harvest that awaits research in the old town, about five miles from the present Cambay. The present town is obviously only the last of a series of attempts to keep pace with the ever-retreating sea ; and I feel certain that a few handfuls of sandy dust alone, in the older town, conceal many fragments of antiquity similar to the magnificent marble statue which some strange chance has raised above ground, and which has such a weird effect on the visitor, who comes upon it, as we did, unexpectedly, after a sharp turn in a dirty lane between mud cottages. The promised access was duly given; and I spent several days full of interest in turning over with my own hands manuscripts of the authentic antiquity which these Cambay MSS. can boast. The books are kept in a dark underground vault, on stepping out of the light into which you can see nothing that in the least suggests the real character of the place. As the eye becomes accustomed to the darkness, a hole in the wall is seen, which is the entrance into the smaller and darker vault where the books are kept. We gathered below the one window which from above lets light into this strange place, and the keeper of the books grudgingly handed out one after another for our inspection. The system according to which the pages of palm-leaf MSS. are. numbered has been described by Pandit Bhagvanlal Indraji in the Indian Antiquary, Vol. VI., p. 42.* In the Cambay MSS. it may deserve note that on the first, second, and third pages, for which the Pandit assigns, in the case of Jain MSS., the ordinary numeral figures, I found universally the marks Fa, ffa, and xff respectively.t Whereas, however, in the case of the other pages, the sign stands on the left, and the ordinary Devanagari numeral sign on the right hand side of the page; in the case of the three first pages the Devanagari numeral sign is sometimes also repeated below the syllabic marks. Moreover, in the compounds of 1, 2, and 3, that is to say, numbers like 11, 12, and 13, the syllabic signs are not always employed. * Dr. Buhler "transiated this article for the Pandit, who cannot express himself in English, in order, among other objects, to secure the Pandit the credit due to him." The kindly intercession was by no means superfluous. The good Pandit is one of the native scholars already referred to, who do not meet with such fair play from every one. + Dr. Buhler has somewhere referred to the practice of marking the first three pages with the separate syllables of the Fren ft; but I have mislaid the reference.

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58 OPERATIONS IN SEARCH OF SANSKRIT MSS. t They may be made by writing the syllabic sign for 10 above the ordinary numeral sign. The sign for 7, which the Pandit writes , and Kielhorn (Report) or T, is in the Canibay MSS. f. In 27, 37, &c., the sign used is that given by Kielhorn. The sign for 20 is, as the Pandit gives it, e. Kielhorn found rtha or tha, O or ghu. The sign for 30 is , never, so far as I could see, mf, which Kielhorn gives. That for 60 is, as the Pandit has it, . Kielhorn's here may be a misreading. Permission to make a catalogue was again given; but scholars owe it to the benevolent activity of the Dewan that this time the promise was kept, and not abandoned as soon as the European scholar had been forced to quit the place. The list, which will be placed in the first Appendix to this report, is the work of Mr. Ramchandra Shastri, with whom I have carefully gone over the proofs twice, in the hope of putting it out in as readable a form as possible. I am not satisfied that the keeper of the books has even yet disclosed the whole of the treasures in his charge; but it will be seen that inspection has been given of a very large collection of most valuable MSS.; and I trust that the list as it stands will be acceptable. The following notes, with regard to all of which I am largely indebted to Mr. Ramchandra Shastri, are put forward with no other pretension than to call the attention of scholars to what has appeared most noteworthy in a rapid review of the list. The Vasudevahinda, No. 2, in No. 2.-The Vasudevahinda. three parts, would seem to have been writ ten by various hands: as Samgh a da8 ag ani, No. 8, is not in this list credited with the authorship of more than the first section. The Cambay MS. of a work, which No. 8.--The Srijinendracharitram, otherwise called is now for the first time, it is believed, the Padmanabhakavyam of brought to notice, was written in Samvat Amarachandra. 1297 = A.D. 1241. It differs from a copy of the same work which I have secured for Government, No. 285 of the present collection, in containing, at the end of the poem, a prasastisarga, which is probably of great value. I hope later to sccure a copy of this sarga. The author of the poem, Amara

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IN THE BOMBAY CIRCLE. chandra, was the pupil of a chary a-sre-Jin adattas uri, who may be the same as the teacher of that name who died at Ajamera (Ajmir) Samvat 1211 = A.D. 1145.* I made enquiries about this book on my return to Bombay, and was gratified to receive, through the instrumentality of my pupil, Mr. Ramdass Chubildass, a good copy, which however unfortunately, as has been said, does not contain the chapter with the genealogy. The author tells us that he has composed his work on the model of Hemachandra's Trishashtisalakaparushacharitram. The spiritual genealogy of sri- PraNo. 9.--The Santin&tha- dyumnasuri, who corrected for the charitram told in verse by Devasuri. author Dev a su ri this poetical account of Santinath, No. 9, is-after the usual reference to Mahavira, the twenty-one Jinas, the two "childless" pupils of Mahavira, Gautama, and Sudharma, and the fourteen purvas-carried up to Haribhadra, with regard to whom, it is mentioned, that he was the author of one hundred and fourteen books. This, I am told, is commonly stated among the Jains at the present day. Next, though not, of course, in immediate succession, comes Deva suri- not the author of the present book-who is identified for us by the fact that the world's teacher, Hem a chandrasuri, is spoken of as his pupil. This Devasuri wrote in prakrit the Srisantivrittam, which we have here, done into Sanskrit, and put more concisely, I by a later writer of the same name. The great Hema * Throughout what follows I have consulted Klatt's valuable paper in the Indian Antiquary, September, 1882, entitled Extracts from the Historical Records of the Jainas. + This copy of the work was presented to me; and made over by me to the Government collection. There is an interesting verbal resemblance between the language Devasuri employs of his own work as an adapter vaide zrIdevacaMdraM taM yatkRtaM prAkRtaM bRhat / zrIzAMtivRttaM saMkSipya saMskRtaM kriyate mayA / / and a verse of Somadeva's, the real meaning of which is still perhaps a moot question yathA malaM tathaivaitantra mnaagpytikrmH| graMthavistarasaMkSepamAtra bhASA ca vidyate / / See the note in the second Appendix to this Report, p. ( 121. )

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60 OPERATIONS IN SEARCH OF SANSKRIT MSS. chandra comes next. His conversion of king Kumarapala is glanced at in the verse : nRpatipratibodhinyA yadvirA sudhayAmarAH / jajJire pazavopi zrIhemasUrti mahema tam || "Let us honour that sri-Hemasuri, by the nectar of whose words, of power to enlighten a king, beasts even were raised to a seat among the immortals." Hemachandra is followed in this enumeration by sri-Devananda suri, with regard to whom the statement is made that he wrote and himself explained a grammar called the Siddhasarasvatam Sabdanus a sanam: zrIdevAnaMdasUribhyo namastebhyaH prakAzitaM / siddhasArasvatAkhyaM yairnijaM zabdAnuzAsanaM || Sri Devanandasuri had a pupil called sri-Kanakaprabha, and he in his turn a pupil called s ri-Pradyumna. He corrected this book. I find the statement that Santinatha attained Nirvana, faqreer, at a tirtha called Kotisila. In the epilogue to this book, Devasuri, the author of the work, is praised as having overthrown the supremacy of Brihaspati : bArhaspatyAdhipatyasya pAtane prathitodyamaH / apUrvaH kopi loke smin devasUriH kRtodayaH || And we are told that he was installed by the suri sri-Madanendu, as that teacher's successor. This book was written in Samvat 1338-A.D. 1282. No. 12.-Badrabahu's In Klatt's paper already referred to, it is commentary on the Avasyastated that Bhadrabahu of the Prachikasutra with notes by Tila- nagotra composed the Upasargaharastotra, kacharya. the Kalpasutra, and Niryuktis on ten sastras, viz., Avasyaka, Dasavaikhalika, &c., He died in 170 V., at the age of 76. The present book preserves for us the substance of this old writer's commentary on the Avasyakasutra, with the comments of a later writer who speaks as modestly of the gap between himself and his subject, as Kalidasa himself, but who hopes that his own deficiencies may render him all the more acceptable as a guide to other babes in the faith: tattvArtharatnaughavilokanArthe siddhAMtasaudhAMtarahastadIpAH / niryuktayo yena kRtAH kRtArthastanotu bhadrANi sa bhadrabAhuH || tasyAvazyakaniyuktigavIM duhan vRttibhAjanerthapayaH / praguNIkaromi sarasaM rasalolupalokatuSTikRte ||

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IN THE BOMBAY CIRCLE. paraM kva dvaadshaaNgiibhRdbhdrbaahugurogirH| mugdhadhIrvAlizaH kAhaM padamAtrepyazaktimAn / / tadyadAvazyakamahaM vivarItuM matiM vyadhAm | gaMgAMtarItumArabdhastadoSNaikena kRSNavat / / mahAzAstrasya cAmuSya mahAkavivinirmite / gaMbhIrArthe mahatyau stazUrNivRttizca yadyapi // tathApyatyalpadhIhetoralpadhIrapyahaM punaH / racayiSyAmya vRttimuttAnArthI laghIyasIm || Of his own spiritual genealogy Tila k a chary a gives the following account: He was the pupil of Ert-Sivaprabhasuri, who succeeded sri- Ch a kresvara suri, who succeeded sr 1-D har. maghosha. King Jayasiinhadeva, we are told, was a " swan at the lotus feet of Dharmaghosha." That teacher's predecessor was sri- Chandraprabha. The closing lines of the book give an interesting glimpse of the way in which, in that old time, books were finally prepared for publication. The sage, conscious of his own weakness, but in his master's strength, has made this commentary on the Avasyakasatra. What through haste he may have explained amiss the learned world is humbly asked to correct : and a prayer is put up that the merit of the work may not be entirely lost to the worker : etAM vRttiM laghumaviSamAM sohamAvazyakIyAM tatpAdAbjasmaraNamahasA mugdhadhIrapyakArSam / tadyatkicidrabhasavazato dRSTamasyAmazuddhaM tatsaMzodhyaM mayi kRtakRpaiH suuribhistttvvidbhiH|| vRtti racayatA caitAM sukRtaM yanmayArjitam / / bhavehaM tena syAM shrutaaraadhnttprH|| Then follows the date put in verse like the rest of the epilogue, that it may endure so long as the book shall last. zatadvAdazakebjhAnAM gate vikrmbhuubhujH| saMvatsare SaNNavate vRttireSA vinirmame || "When twelve hundred of the years of Vikrama the king were gone, in the ninety-sixth year this commentary was made." The book was therefore composed in A.D. 1240 ; and the Cambay copy was written in that town, where we may presume it has remained ever since, in A.D. 1389. But the book is not yet ready to be published. Before it undergoes that ordeal it must be revised or corrected ; and that labor of

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62 OPERATIONS IN SEARCH OF SANSKRIT MSS. love is undertaken for the Master by "oor 'virtuous and learned pupil," sri. Padma suri, who has been in that work "an eye to help us." Mention must also be made of another pupil, of lower rank, who has written out the new work in this its first copy.t ziSyA naH zasyacAritrAH srvshaastraabdhipaargaaH| asyAM sahAyakaM cakSuH shriipdmprbhsuuryH|| ziSyosmAkamimAM vRttimakhinnaH zAstratattvavit / alikhatprathamAdarza yshstilkpNdditH|| What follows has been added by the scribe of the Cambay copy; and is not without its own interest sasapAdatrizatyasyAM zlokadviSaTsahasrikA / pratyakSareNa saMkhyAtAditi nizcitavAnaham / / saMvata 1445 caitra vadi3 some zrIstaMbhatIrtha kAyasthajJAtIyamahaMjanIsuta ma. mAlokana likhitaM / / mAlhaNadevIsutavizuddhavAsanAvazyakalaghuvRttim / lekhayatisma zarAMbudhizakrAbde staMbhatIrthapure // The name of the scribe was Maloka, and he got his commission from Malhanadevi, who desired in this way to do something for the good of the soul of her dead son. As her husband's name is not mentioned it is probable that Malhanadevi was a widow. This is a collection of queries, put, No. 15.-The Satapadik& of Mahendrasimha. according to the story, to the sage Dhar maghosha, by a certain over proud suri, and of the detailed answers with which Dharmaghosha confuted his opponent, with a commentary by Mahendrasimha. The method is a favourite one in Jain books; and we may recall, in connection with it, both the responsa prudentium of the Roman lawyers, * Padmaprabha is called Sri-Padmaprabhastri, a fact which would indicate that Tilakacharya, at the time of writing, had already indicated Padmaprabha as his successor. + Prathamadarse. If I am right in the way in which I have taken this phrase, it shows that &darsa, as applied to a book, is neither, as the St. Petersburg Dictionary appears to take it, a copy in the strict sense of that word, 'nor, as Wilson explained it (B. R. sub voce), the original manuscript from which a copy is taken. Adarsa may be applied indifferently to such an original manu. script, and to all copies taken from it. Each is a glass' in which the reader may see the reflection of the author's mind.

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IN THE BOMBAY CIRCLE. 63 and the questions with which the Scribes and Pharisees " sought to puzzle" the teacher they hated. The latter perhaps of the two presents the closer analogy; as the specific object of the one party, in this game of question and answer, is generally, as here, represented as being to confound rather than to seek instruction, The date of the composition of the text of the Prasnottaram, or 3 6 12 Catechism, is given both in a chronogram gunarasaravi, and in figures, Samvat 1263=A.D. 1207. The author, Dharmaghosha is said to have succeeded srim aj Jay a si mh a suri, who was the pupil of srimad Aryarakshtita suri. The present commentary was composed in the year from Vikrama udadhigraha 12 suryasa ukhye, or Samvat 1294=A.D. 1238, by a suri who can only have been one remove from the author of the text. We have already, No. 12, seen mention No. 23.-The Niryaktis made of Badrab ahu, who, according of Badrabahu. to the pattavalls of theKharataragachchha, "composed the Upasargaharastotra, the Kalpasutra and Niryuktis on ten sastras, viz., Avasyaka, Dasavarkalika, &c., lived forty-five years in griba, seventeen in vrata, fourteen as yogapradhana, and died in 170 V., at the age of seventy-six."* From the present fragment of a volume containing the Niryuktis of this writer, we learn that they were commentaries on the following works-(1) the Avasyakasutra, (2) the Dasavaikalikasutra, (3) the Uttaradhyayanasutra, (4) the Acharangasutra, (5) the Sukritangasutra, (6) the Dasasrutaskandasutra, (7) the Kalpasutra, (8) the Vyavaharasutra, (9) the Suryaprajnapti, and (10) the Rishibhashitani. No. 29 is a copy of a commentary on No. 29. A copy of Hemachandra's commentary on the Jivasamasaprakaranam by the great the Jivagam&saprakaranam, Hem ach andra. The book ends with written with his own hand. " the abrupt statement jivasamasavrittih samapta," the commentary on the jivasama sa is finished," no author's name being given. The reason for this omission, if we may trust the colophon--and I know of no reason why we should not trust itis that we have here a venerable relic in the shape of an original copy of one of Hemachandra's works : * Indian Antiquary, September 1882, p. 240.

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64 OPERATIONS IN SEARCH OF SANSKRIT MSS. graMthAgraM 6627 saMvat 1964 caitrazudi 4 somedyeha zrImadaNahilapATa ke samastarAjAlivijeta mahArAjAdhirAjaparamezvarazrImajjayasiMhadevakalyANavijayarAjye kAle pravarttamAne yamaniyamasvAdhyAyadhyAnAnuSThAnarataparamanaiSThikapaMDitazvetAMbarAcAryabhahAraka zrI hemacaMdrAcAryeNa pustikA li0 zrI0 evaM "The number of the granthas is 6627. In Samvat 1164 [=A. D. 1108] this day, being Monday the fourth of the light half of the month Chaitra, here, in Holy Anahilapataka in the reign of the king of kings, Jayasimhadeva, conqueror of Kalyana, the 'devout and learned' svetambara teacher bhattaraka sri Hemachandracharya wrote down this book." The terms in which Hemachandra bere speaks of himself, and which I have translated freely, "devout and learned" refer more to his disposition (yamaniyamas vadhya yadhyananushthanarata), and what may be called his official status (paramanaishthika pandita) than to personal achievements; and need not in them selves be any bar to the acceptance of this assumption as genuine, even if we put out of sight the consideration that Hindu authors, as a rule, were not much troubled with false modesty. I leave the question to more competer.t hands; but it was impossible not to dwell for a moment on the interest attaching to a book, which may be in the handwriting of the great teacher who, writing when English history was hardly yet begun, has, from his urn,* ruled the spirits of so many generations, and is potent still. The scribe, of what must be a copy of the sabdanusasanavritti contemporary with Hemachandra himself, more learned than his present congeners, here gives a clue to his date in one of the verses he appends at the end of the book : No. 33. The Sabdanussanavritti of Hemachandra. karNe ca siMdhurAjaM ca nirjitya yudhi durjayam / nAnA cakre mahAbhAratamanyathA // "Sri Bhima now gives a new version of the Mahabharata, by conquering Karna and the Sindhu king, a foe (or foes) hard to beat."t "The great of old! The dead but sceptred sovrans who still rule Our spirits from their urns." Byron's Manfred, Act iii., Scene iv. + Compare," Then Bhima, crossing the bridge, advanced with his army into Sindh, the Raja of which country, whose name was Hummook, coming to oppose

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IN THE BOMBAY CIRCLE. 65 The row of Jain books is broken here No. 34-The Sumbhali. by a Brahminical work on erotics by one matam of D&modaragupta. Damodaragupta, which would appear to be of a somewhat amusing character. The scene of the poem is laid at Benares, a city whose courtesans even, we are told, may attain union to Siva. One Malati, an ornament of her sex' (yoshidbhu. shanam), who is described as pezalavacasA vasatiH lIlAnAmAlayaH sthitiHpremNaH / THT: QTTETETATATERT and who may be the same as the Sumbhali who gives the book its title, heard one day from the terrace of her house the Arya verse* : yauvanasauMdaryamadaM dUreNApAsya vaarvnitaabhiH| yona veditavyAH kaamukhRdyaarjnopaayaaH|| " Trust not, 0 women, in your youth and beauty; but make yourselves acquainted with the methods of acquiring the hearts of your lovers." Malati determines within herself that this is the advice of a friend, and sets off to the house of Vikarala, whose door was beset with lovers,' from her to learn those "Wonderful ways For beguiling the hearts of men." The history of this copy of HemachanNo. 36.-The Yogasastram of Hemachandra, with dra's Yogasastravivaranam as told in the the commentary by the lines added at the end, is interesting in same author. more ways than one. Written in Samvat 1292 = A.D. 1236, it was presented to Padma deva suri, the immediate successor of sre-Mana tuig as uri, by a Jain Sister, if we may so speak, the whole story of whose 'taking the vow' is here told at length. The merchant Ganiyaka, of the lineage of Dharkkata, and his guileless wife Gunasrih, had one child only, a daughter whom they loved dearer than life.t Standing by the side of Sister Prabhavati, this dearly loved child took at the hands of the good teacher Pradyamnasuri, the five great vows, to injure no him in fight, a contest ensued. The Moon-descended Bhima fought valiantly, and taking many prisoners, subjected to himself the Raja of Sindh. Bhima next went against Karna the Raja of Cheda, who made submission."-Forbes' Ras Mald, Vol. I., p. 83. * This common device takes the place with Indian writers of our inotto prafized to a book. + Join a FAITTETHET.

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66 OPERATIONS IN SEARCH OF SANSKRIT MSS. living creature, to speak no falsehood, to rob no man of his goods, to keep her virginity, to know nothing as her own. Thereafter she became the servant,-the bee that hovered round the lotus feet-of the sisters Jagasrih, Udayasrih, and Sricharitrasril, and caused this book to be written and presented to the teacher who had initiated her.* The spiritual genealogy of sri-Manatungasuri, the immediate predecessor of the recipient of the book, is, in the lines immediately preceding, carried up to sri-M ahadeva of the house of Chandra. In his line rose prabhu Mana tu ngagana bhrit, in his Buddhisagara guru, in his Pradyumnasuri. Pradyumnasuri had a pupil Deva chandragana bhrit, known far and wide as the leader of the gachchha, a lord among the wise (munisvara). Devachandra had two chief pupils; the first sriManadeva, the other sri-Purna chandra. The Manatungasuriguru, who was the preceptor of our Pradyumnasuri, sat in the seat of sri-Manadeva. The writing of the book was completed on Sunday the eighth day of the light half of the mouth Kartika, in Samvat 1292. In his "India: What can It teach us?" p. 336, Max Muller refers to Bhao Daji's statement to the effect that Jain records mention Siddhasenasuri, a learned Jain priest, as the spiritual adviser of Vikramaditya. Professor Jacobi, it is added, states in his Kalpasutra Pref., p. 14, that Siddhasena is a Jain author, who is said to have made the Samvat era for king Vikramaditya. No. 41-Siddhasenadivakara's commentary on the Pravachanasaroddhara of Nemichandra. My shastri recognised the present workt as, of two commentaries on Nemichandra's Pravachanasaroddhara, that attributed to Siddha sena divakara; and his story with regard to this writer is as follows. Divakara was a Brahmin proud of his learning, who was conquered in argument by the Jain Vriddhavadin, and in pursuance of an engagement he had given, became thereupon the convert and pupil of his opponent, taking the name Siddhasena in addition to his own. For the sin of having presumptuously thought to turn I am told that at the present day women in the Jain community who desire to abandon the world never have the vows administered to them by men, but by those of their own sex, who are already religious recluses. + Compare No. 149.

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IN THE BOMBAY CIRCLE. 67 the sacred books of the Jains from Magadhi into Sanskrit, he was ordered by Vriddhavadin to visit all the Jain temples in existence; and he spent twelve years in the performance of this penance. Coming one day to Ujjayini he entered the temple of Mahadeva in the vicinity of that city, which is still a place of pilgrimage ; and, instead of worshipping the lingam, lay down, put his feet up against it, and so fell asleep. The startled worshippers of Siva brought Vikramaditya to the place, who, disregarding the sage's assurance, that the lingam would have flown to pieces if he had worshipped it, or shown it any sign of respect, ordered him to be beaten as a sacrilegious wretch. With the first blow shrieks were heard from the women's apartments, and it soon became known that each blow administered to Siddhasena told, not upon him, but upon the person of the king's favourite wife. Siddhasena was released; and raised his hand as if in honour of the lingam. Straightway it was broken in two; and a great light appeared, in the midst of which was seen the majestic form of Rishabhadeva. No. 57.-A Churni and This is a book which in Samvat 1296= Vritti on the Pakshikapra. A.D. 1240, certain pilgrims from Nagpur, * tikramanasutra. whose names are given, having heard the scriptures expounded "here in Vijapur, *" in the paushadhasala, or Hall of Fasting, by Devendra suri, Vinay ach andra s uri, and Dev a bh a drag ani, and having considered that the world is nought, caused to be written for the use of the faithful. No. 58.-- Abhayadevasu. The date of the composition of this work ri's commentaries on the is given as Samvat 1120=A.D. 1064 : satras of the four argas. and it deserves note that the present copy was written Samvat 1184=A.D. 1128, only sixty-four years later. A bh a ya deva s uri finished the book in Asahila-pa tak, in the Dusserah of the year mentioned, and in correcting it he was assisted by a host of pandits of whom Drona is singled out as the chief. The author of this book VijayaNo. 60.-The Bhuvana. sundarikatha of Vijayasim. sisih a su r i who wrote in Samvat 1365= hasuri. A.D. 1300, calls bimself the pupil of Samudra suri; and he refers to the works of Padalipta, Bappabhatti, and Haribh a dra. Both cities in Gujarath.

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68 OPERATIONS IN SEARCH OF SANSKRIT MSS. No. 62.- Sildngasuri's This manuscript was written in Samyat commentary on the Achd. 1303=A.D., 1247, when Visaladeva was rugasutram. king in Anahila-patak, for the use of this great minister Tejahpala, No. 111.-Vivekamanjari In the last lines of his book A sad a is of Asada. nued called the son of Raja Ka tu k a, the ornament of the race of Bhillamala. Bhillamala is the Sanskrit form of the name of the town now called Bhinmal in Marwar. Asada wrote in the year whose sign is the eight vasus, the four oceans, and the twelve suns, i. e. 1248=A.D. 1192. This is a hand-book for poets, written No. 120.--The Kavisiksha of Jayamangalacharya. by a Jain at the time when the great Jayasimha was king (A.D. 1094-1143) His book contains at least one verse which should not be allowed to perish : na kavitvamadharmAya mRtaye daMDanAya vaa| kukavitvaM punaH sAkSAnyUnamAhurmanISiNaH // "It is no sin not to write verses; for that a man need neither die nor take a beating : but to write bad verses, this is a fault in the eyes of all wise men." This fragment preserves for as the fact No. 130.-The - - - that Jin a bh a dramuni, pupil of melapagaranakaha. Salibhadra, wrote in Sarivat 1204=A.D 1148. A complete copy of the work already No. 149.-Siddhasenasu. ri's commentary or Nemi- noticed under No. 41. The text ends with a Jain rendering of the Roman roddh&ra. poet's "dum Capitolium Scandet cum tacita virgine pontifex," which the commentator is at some pains to reconcile with the indifference that befits a saint: jAva juI bhuvaNattayameyaM ravisasisumerugirijuttam / / pavayaNasAruddhAro tA naMdau baU paDijjaMto / / 6 / /

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IN THE BOMBAY CIRCLE. 69 iha yadyapi yadbhavitavyaM tadeva bhavati tathApi zubhAzubhaphalatvAcchobhanAyeM prazaMsA vidheyeti darzanArthamAyazasA [darzanArtha mAzaMsAM kurvannAha yAvadetadvijayate bhuvanatrayaM svargamartyapAtAlalakSaNaM ravizazimerugiriyuktaM dinakaratuhinakarasuragiriparigatam tAvadayaM pravacanasAroddhAragraMtho budhaistattvAvabodhabaMdhurabuddhibhiH paThayamAno naMitu ziSyapraziSyaparaMparApracAritarUpAM samRddhimAsAdayatu / / Yas odeva s uri, Nem ich andra suri and Vijay as a. na suri, were three pupils, in that order, of Amradev a suri, who was the pupil of Jinach andra. No. 122.-The Sobhana. The last book I can refer to here enjoys stuti. a great reputation among the Jains, but to our minds must present a melancholy specimen of perverted ingenuity. It is a poem in ninety verses so constructed that the second and fourth lines of each verse agree, to the letter, in sound, but present a different sense. The author, so bh an a cha rya, is said to have been the brother of Dhanapala. Before closing this Report I desire, as one of the officers placed by Government in charge of the search for Sanskrit manuscripts in the Bombay Circle, to enter my protest against the view that the work may, so far as the Bombay Circle is concerned, be held to be nearing its term. It is under this, or some similar impression, I am persuaded, that Government have been induced to sanction the diversion, to purposes not originally contemplated, of little less than half the grant assigned by the Government of India "for the discovery and preservation of the records of ancient Sanskrit literature."* In Dr. Buhler's time that sum stood, as originally fixed by the Government of India for Bombay, Rajputana, Central India, and the Central Provinces, at Rs. 8,000. The first raid upon this by no means extravagant sum was * I quote this definition of the purposes of the search from the Government of India Resolution in the Home Department of 9th February 1878. How little it is the case that the preparation of a catalogue raisonnee was one of the main objects for which the search was originally ordered by the Government, will be best seen if I reproduce here the opening paragraphs of that Resolution : "RESOLUTION.- At the instance of Pandit Radhakrishna, of Lahore, a scheme was sanctioned by a Resolution in the Home Department, dated 3rd Novem. ber 1868, for the discovery and preservation of the records of ancient Sanskrit literature at an outlay of Rs. 24,000 per annum. The chief features of the Boheme were as follows:

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70 OPERATIONS IN SEARCH OF SANSKRIT MSS. committed by Dr. Burgess, who succeeded in diverting Rs. 1,500 to his work on inscriptions. In November, 1881, "when on the point of leaving India," Dr. Kielhorn formally advised Government that the diminished grant of Rs. 6,500 was a great deal too much for the purpose in hand; and that the Rs. 2,000 required for his scheme for a catalogue raisonnee of the Poona collection might be taken from (1) " To print uniformly all procurable unprinted lists of the Sanskrit manu. scripts in Indian libraries, and to send them to the various learned Societies of Europe, and to individual scholars in Europe and India, with an intimation that the Government will carefully attend to their suggestions as to which of the manuscripts therein mentioned should be examined, purchased, or transcribed ; Tour expense of competent scholars. Purchase of munu scripts. of Transcription manuscripts. TOTAL (2) "to institute searches for manuscripts, and to this end to prepare lists of desirable codices; to distribute these lists among scholars and other persons willing to assist in the search, with a request that they will report their discoveries to such officer as may, from time to time, be appointed by the Government of India, and to depute competent scholars on tours through the several Presidencies and Pro. vinces to examine the manuscripts reported upon, to seek new manuscripts, to purchase manuscripts procurable at reasonable rates, and to have Rs. Rs. copies made of such mani. Bengal........... 1,000 1,000 1,2003,200 1,000 1,000 Bombay ......... scripts as are unique or other 1,200 3,200 Madras and wise desirable, but which the Mysore.......... 1,000 1,000 1,2003,200 possessors refuse to part North-Western Provinces ...... 500 500 600 1.600 with; and Punjab ........ 500 5001 6:0 1.600 Oudh 500 500 600 1,600 (3) "to grant to the Asiatic Society Central Pro vinces ......... 500 500 600 1,600 of Bengal an additional alRajputana...... 1,010 1,000 1,200 3,200 lowance for the publication 6,000 6,000 7,200 19,200 of Sanskrit works hitherto Printing Native catalogues of unprinted. desirable manuscripts ...... 1,000 The statement given in the margin Additionalgrant to Asiatic So shows the financial result of the ciety ............ Sundries......... scheme, i.e., how the Rg. 24,000 sano. tioned as the annual expense for carrying it out are distributed." ... 3.00 000 27.000 After a review of the several results, the Government of India resolved that these warranted a prosecution of the search.

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IN THE BOMBAY CIRCLE. the grant without prejudice to the objects for which the grant was sanctioned. "The allotment of Rs. 2,000 for cataloguing purposes," Dr. Kielhorn wrote, "will leave only Rs. 4,500 for the purchase of new manuscripts. But in my opinion this sum will now, when unknown or desirable manuscripts become rarer every day, and after I have secured for Government many of the ancient palm-leaf MSS. known to exist, be amply sufficient, and I venture to point out that the proper cataloguing of the manuscripts which Government possesses is as important a matter as the acquisition of new manuscripts, and was one of the main objects for which the search was originally ordered by the Government of India."* I am persuaded that no one who is himself actively engaged in the search for manuscripts in India will homologate the views here expressed, in so far as they point to the desirability of contracting our efforts for the discovery and purchase of unknown works, or of better copies than those already secured of known works. To me it seems that the time is ripe for effecting even more than has yet been done; and that Dr. Buhler's great success in India, and the acquisition of palm-leaf MSS., to which Dr. Kielhorn is here referring, are an incentive rather than a discouragement to future effort. In two important respects the existing conditions are certainly more favourable than those in which Dr. Buhler had at first to work. Thanks to an enlightened encouragement of secondary education, we have, scattered over the country, a body of men who have learnt Sanskrit in our colleges, and who, I am confident, want only leading and encouragement, to explore libraries in numbers vastly greater than the officers in charge of the search can hope to undertake, with an energy and intelligence which may be trusted to secure good results. And it is also, I think, true that the old feeling of jealousy as to the motives and objects of Government in making this search is dying out. That feeling, in so far as the educated classes are concerned, was by no means either unnatural or unjustifiable at the time when the search was first ordered, and when a Secretary to the Council of the Governor-General was found urging that everything # Dr. Kielhorn's letter to the Director of Public Instruction of 30th Novem. ber 1881, as given in Government Resolution in the Educational Department No. 2053, 27th December 1881.

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72 OPERATIONS IN SEARCH OF SANSKRIT MSS. IN THE BOMBAY CIRCLE. obtained in working out the scheme should be "sent to Europe."* It is now generally understood that the work is not being prosecuted on lines with which no one could reasonably expect a native scholar to sympathise; and we have year by year in greater force the active support of the educated classes throughout the country. The unreasoning prejudice raised on religious grounds is dying more slowly; but in that respect, too, matters are steadily improving. And I need not say that when that last obstacle vanishes, results may confidently be looked for of supreme importance. In these circumstances it will be readily understood that it is matter of great regret to me personally that, after long waiting, I find myself put in part charge of the work of travelling and purchasing books over a district which comprises nearly a third of the peninsula, with a yearly grant for all expenses of Rs. 2,225.+ I venture respectfully to urge that the sum is altogether inadequate; and to express the hope that arrangements may be possible for restoring the grant to the amount originally sanctioned out of Imperial revenues. I would fain hope, also, that it may be found possible to elicit, in favour of an undertaking that has the support of the most enlightened of the native community, that public spirit in the private citizen which has never been wanting in Bombay. I have in this connection to tender here my best thanks to the Bombay Branch of the Royal Asiatic Society for permitting this Report to appear as a number of their Journal, and for contributing towards the expense of its publication. "To Europe we should send everything obtained in working out this scheme, original MSS., copies, extracts; for in Europe alone are the true principles of criticism and philology understood and applied, and, fifty years hence, in Earope alone will any intelligent interest be felt in Sanskrit literature. There will then, it is safe to say, be as few Sanskrit scholars in India as there are now Greek scholars in Greece."-Note by Mr. Whitley Stokes. See Gough's Records of Ancient Sanscrit Literature, p. 5. Mr. Bhandarkar and I have had the disposal of Rs. 6,500 during the year under report. But that was due to the fact that as yet nothing has had to be paid towards the catalogue scheme.

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granthoddhRtAni naM0 26 kAmAkSIstutizatakakam - sUkakaviH pa0 41 A0 zrIkAmAkSIdevyai namaH bhImo vayamaMjaliM pratidinaM baMdhacchide dehinAM kaMdarpAgamataMtramUlagurave kalyANakelIbhuve // kAmAkSyAghanasArapuMjarajase kAmadruhazcakSuSa maMdArastavakaprabhAmadajuSe maMdasmitajyotiSe // 1 // ca0 jyotiSkaNebhyonamaH 100 iti zrImUkakavisArvabhaumakRtau maMdasmitajyotirvarNananAma zatakaM saMpUrNam // A0 mahimnaH paMthAnaM madanaparipaMthipraNayini 0 cidrUpakalayA // 99 // iti zrImUkakavisArvabhaiomena kRtaM pAdAraviMdazatakaM saMpUrNam A0 kAraNaparacidrUpA kAMcIpurasImni kAmapIThagatA // ca0 pIyUSadhoraNI divyA // 100 // iti zrImUkakaviviracite AryAzatakaM saMpUrNam A0 mohAMdhakAranivahaM vinihaM tumIDe ca0 ayameva bhedaH // 100 // iti zrImUkakavisArvabhaumakRtau kaTAkSazatakaM saMpUrNam A0 pAMDityaM paramezvari stutividhau naivAzrayaMte girAM ning tapovipinadhAvinaM satatameva kAMcIpure vihArarasikA purA paramasaMvidurvIruhe // kaTAkSanigaDairdRDhaM hRdayaduSTadaMtAvalaM ciraM nayatu mAmakaM tripurakhairisImaMtinI / / 100 / / iti zrImUkakavisArvabhaumakRtau zrI kAmAkSIstutizatakaM saMpUrNam // naM0 31 kAvyaprakAzaH pa0 64 ante // saMpUrNamidaM kAvyalakSaNam // || iti zrIkAvyaprakAzerthAlaMkAranirNaya nAma dazama ullAsaH // 10 // J

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74 EXTRACTS FROM MANUSCRIPTS iti zrIbhaTTarAjAnakamammaTayoH kRtiH kAvyaprakAzakaH kAvyadoSaguNAlaMkAranirUpaNagraMthaH samAptaH graMthAgrasaMkhyA // 2500 / / ...."gaNi nayavijayAhvo lekhayAmAsa ramyam // 3 // zazizivanayanAdhizvetavAhonmitasya bahulabahulapakSe vatsarasya pradhAne / / yadaruNapuramadhye pustakaM ramyavarNa mudamidamiha dattAM tadvipazcihijebhyaH // 4 // naM0 32 kAvyaprakAzaTIkA pa0 128 AdiH DhuMDhisaMjJamabhinaumi siddhidaM vighnarAjamabhisuMdarAdharam // AMdhradeze vatsagotrIyarAmezvarastasuto narasiMhabhaTTastatsuto mallinAthastatsuto nArAyaNo jyeSTha : kanIyAn suto nrhriH|| sabasu graha hastena brahmaNA samalaMkRte / kAle naraharerjanma kasya nAsInmanoramam / / 13 / / vicArya sarva sukhameva duHkhaM sudhAmaye brahmaNi lolupasya / saMnyasyatastasya babhUva sArthA sarasvatItIrtha iti prasiddhiH // 15 // kAzyAM sarasvatItIrthamatinA tena racyate / TIkA kAvyaprakAzasya bAlacittAnuraMjinI // 17 // naM0 33-kAvyaprakAzaTIkA pa0 296 ante siddhiriti zubham // iti zrImamATAcAryaviracite kAvyaprakAze rAjAnakAnandakRte kAvyaprakAzadarzane'paranAmni arthAlaMkAranidarzano nAma dazama ullAsaH ityeSamArgo viduSAM vibhinnopyabhinna ekaH pratibhAsate yat // na tadvicitaM [] yadamutra samyag vinirmitA saMghaTanaiva hetuH|| viduSAM dhvanikRtmabhRtInAM ya eSa mArgaH svasiddhAntasiddhAntastadvanthagataM tena pRthakpRthagavasthitopyekarUpatayA pratibhAti tatra saMghaTanaiva timitam vikSiptasya sukhAvabodhAyakatra saMgrahaNaM yA saMghaTaneta zAdekAtmatApratibhAsat etena ca mahAmatInAM prasaraNahetureSagraMthaH graMthakRtAnena kapyakathitamapyasamAptatA daparaNa ca paritAvazeSatvAdvikhaMDopi akhaMDatayA yadavabhAsate tatra saMghaTanaiva mAdho hetuH nahi sughaTitasya saMdhibaMdhaH kadAcillakSyatetyarthazaktyA dha nyate yaduktaM / /

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ACQUIRED FOR GOVERNMENT. 75 kRtaH zrImammaTAcAryavaryaiH parikarAvadhiH / prabandhaH pUritaH zeSovidhAyalaDha [ka] sUriNA iti anyenApi uktam kAvyaprakAzadaha [za] kopi nibandhakRdbhayAM dvAbhyAM kRtepi kRtivAM [nAM] rasatatvalAbhaH / / lokesti vizrutamidaM nitarAM rasAlaM vanva [baMdha prakAraracitasya taroH phalaM ya[] saMpUrNoyaM kAvyaprakAzagranthaH / / naM0 67 cArucaryAzatakam-kSemendraH pa07 OM nama: zivAya // zrIlAbhasubhagaH satyAsaktaH svargApavargadaH / jayatAtrijagatpUjyaH sadAcAra ivAparaH // 1 // brAhma muhUrte purussstyjennidraamtNdritH| prAta:mabuddhaM kamalamAzrayecchrIguNAzrayA // 2 // na kurvIta kriyAM kAMcidanabhyarcya mahezvaram / IzArcanarataM zvetaM nAbhUnetuM yamaH kSamaH // 4 // nottarasyAM pratIcyAM vA kurvIta zayane ziraH / zayyAviparyayAgabhauditeH zakreNa pAtitaH // 6 // arthibhuktAvaziSTaM yattadanIyAnmahAzayaH / zvetorthirahitaM bhuktvA nijamAMsAzanobhavat // 7 // mAtaraM pitaraM bhaktyA toSayena prakopayet / mAtRzApena nAgAnAM sarpasatrebhavakSayaH // 16 // strIjito na bhaveddhImAn gaaddhraagvshiikRtH| putrazokAdazaratho jIvaM jAyAjitotyajat / / 26 / / na kadaryatayA rakSelakSmI kSimapalAyinIm / yuktyA vyADIMdradattAbhyAM hRtA zrInaMdabhUbhRtaH // 46 / /

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76 EXTRACTS FROM MANUSCRIPTS prabhuprasAde satyAzAM na kuryAt svamasannibhe / naMdena maMtrI nihitaH zakaTAlohibaMdhane // 55 // A0 yatnena zoSayeddoSAnna tu tIvravrataistanum / tapasA kuMbhakarNaubhUnnityanidrAvicetanaH // 61 // biDaMbayenna vRddhAnAM vAkyakarmavapuHkriyAH / zrIsutaH prApa vairUpyaM viDaMbitatanurmuneH // 63 // udvejayena taikSNyena rAmAH kusumakomalAH / sUryaubhAryAbhayocchityai tejo nijamazAtayat / / 78 / / padmavanna nayetkozaM dhUrttabhramarabhojyatAm / suraiH krameNa nItArthaH zrIhInobhUtpurAMbudhiH / / 79 / / baMdhUnAM vArayedvairaM naikapakSAzrayo bhavet / kurupAMDavasaMgrAme yuyudhe na halAyudhaH // 88 // paropakAraM saMsArasAraM kurvIta satvavAn / nidadhe bhagavAn buddhaH sarvasatvoddhRtau dhiyam // / 89 / / * janmAvadhi na tat kuryAdaMte saMtApakAri yat / sasmAraikaziraHzeSaH sItAklezaM dazAnanaH / / 94 // zravyA zrIvyAsadAsena samAsena satAMmatA / kSemeMdreNa vicAryairyaM cArucaryA prakAzitA / / 100 // iti zrImanmahezvarAcAryavaryakSemeMdra kRtamupadezazatakaM cArucaryAbhidhaM samAptam / / naM0 81 dazakumAracaritadIpikA pa0 15 siddhi zrI gaNapataye namaH ******** abhivAdya sahasrAMzuM tamonaM laghudIpikA / kumArANAM dazAnAM ca caritasya prakAzyate // 1 // zrutveti / vRttAMta prakAraH / caMdrakaiti... kozalAbhijanatvAt kozalavaMzajatvAt // // iti zrIdazakumAracaritavivaraNe aSTama ucchvAsaH // ca0

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ACQUIRED FOR GOVERNMENT, naM091-devIstotram pa015 Adi OM namo gurave ralAkarAbhyantarato gRhItvAlaMkArasUtrANi yathAkrameNa / / baMdIva devyA girirAjaputryAH karomi zaMsaM zrutigocarANi // zrItrayIzvaramitrAtmajazrIzobhAkaramitraviracite alaMkAraratnAkarelaMkArasUtrANi AmukhaikArUpadaM punarukavadAbhAsam // 1 // kSamAvanI lokajanArtihAnI jhumatsuparvadraviNArthadAtrI // vyanaktu siMhAtu [nu ] padAdhiruccairumAmbikA me dayayA mahotsavam // atra kSamA avanI iti loka jana iti Ati hAni iti nyu [[] matsuparva iti draviNa artha iti padaaMghri iti umA ambikA iti mahautsava iti Amukhye ekArthatvaM vastutastu paryavasAnenyArthatvena punaruktavadAbhAsaM nAmAlaMkAraH anavitAdAcyatvaM kAyAdena prakalpite mukhyArthabAdhasambaMdhaphalAbhAvAvrakSyatA asaMbaMdhAbhidhAyitvaprasaMgAdyaMganApi na atra masya cArthasya na dharmaH punaruktatA punaruktopi vA tatve sa eva syAdalaMkRtiH paunaruktyamalaMkArastenAnarthasya kasyacit iti parikara zlokaH punaruktavadAbhAsaM tulyarUpavRttiyamakaM // 2 // tulyarUpatvaM svaravyaMjanasamudAyagatasya kramasya tulyatve bhavati // kaMpAt kRtAMtasya kRtAnukaMpA kaMpAti no yAMghi natedrakaMpA / kAlIva saMtApaharApi kAlI kAlI nRNAM saphaladAstu kAlI / / // yamakam // 2 // alaMkArasUtrANi yathAkrameNa. 1 Amukhai [khyai] kArU [rtha] padaM punaruktavadAbhAsam / / 2 tulyarUpavRtti yamakam // 3 yoIyoH sAmyaM chekaanupaasH|| 4 anyathA chekAnuprAsaviparIto vRttynupraasH|| 5 tulyaabhidheybhinntaapryshbdaavRttibttaanupraasH|| 6 padmAdilipivarNavAccitraM ca citram // 7 upamAnopameyasya sAdRzyamupamA / 8 kalpitena kalpitopamA / 9 tenaiva tadekadezena taMdanvitabhedanavA (na) nvyH|| 10 tdvirhaadsmH||

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78 EXTRACTS FROM MANUSCRIPTS 11 parasparamupamAnopameyatvamupameyopamA / 12 sAmAnyoddiSTAnAmekasya nidarzanamudAharaNam // 13 anyonyadharmayogArthamaupamyaM pratimA // 14 sakRddharmasya nirdeze prastutAnAmaprastutAnAM vA tulyayogitA / / 15 mizrANAM dIpakam // 16 vAkyadvaye sakRtpativastUpamA // 17 pratibiMbabhAvanAvasthAnamarthamaupamyaM dRSTAMtaH // 18 asati saMbaMdhe nidarzanA // 19 sadRzAnubhavAtsmaraNe smRtiH|| 20 anyaasNgaatkautukvinodovinodH|| 21 anubhavasmRtyAdi pratyUhovyAsaMgaH // 22 arthAditasyAdhikaguNatvaM tdekovytirekH|| upameyapratikUlatopamAnasya vivakSyate sa dvitIyaH / / 23 sajAtIyasyAtaddharmatvaM ca vyatirekaH / / 24 adhikaguNasyAnAdaraH pratIpam // 25 uddiSTasya pakSatayAnunirdezovaidharmyam // 26 AroporUpakam // 27 niyatadharmahAnAM [nau] cAropyamANasyAtisAmyamabhedaH // 28 prakRtopayogitve pariNAmaH // 29 viSayasyamukhyasyavApahnavenyavidhirapahutiH // 30 tasyApi saMdihyamAnatve sNhehH|| 31 saMbhAvitasaMbhAvyamAnApoho vitrkH|| 32 viSayatvena saMbhAvanamutprekSA // 33 anyarUpatayA nizcayo bhrAtya [nti] mAn // 34 ekasyApyanekadhA klpnmullekhH|| 35 saMbhAvyamAnasya pratimA / / 36 yadyarthavyaktAvyaktasamAnasya kriyAtipattiH / / 37 adhyvsaanmtishyoktiH|| 38 aprastutAdanyapratItiraprastutaprazaMsA // 39 stutiniMdAbhyAM vyAjastutiH // 40 pratipakSAdisaMbaMdhisvIkAraH pratyanIkam // 41 pratyanIkaM citsadasatve vinoktiH // 42 sahArthavazAdekasyAnekasaMbaMdhe sahoktiH //

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ACQUIRED FOR GOVERNMENT. 79 43 vizeSaNAnAM sAmyAdaprastutadharmAvacchedaH samAsoktiH // 44 vizeSyasyApi sAmyedvayorvAcyatva [vaM] shlessH|| 45 sAbhimAyatvaM prikrH|| 46 sApekSatvAdupAdAnenAnyapratibhaMgyaMtareNavAbhidhAnaM paryAyoktam / / 47 vihitasyAzaMkitasyavAvizeSAvagamAya niSedho nizcayaH / / 48 iMSTaniSedhaAkSepaH // 49 aniSTavidhAnaM vighanAbhAsaH // 50 saMdihyamAnayorekatratAtparyachA sNdehaabhaasH|| 51 vikalpitayoviMkalpAbhAsaH // 52 viruddhAbhAsatvaM virodhAbhAsaH // 53 hetvabhAve phalotpattirvibhAvanA // 54 hetusAkalye phalAnutpattirvizeSoktiH // 55 tyordeshkaalaanytvmsNgtiH|| 56 rUpadharmayoH parasparanibaMdhanatvamanyonyam / 57 dharmibhAvasya dharmANAM ca niyamoviparyayaH // 58 avilakSaNAdilakSaNakAryotpatti paryazcAciMtyam / / 59 arthAnarthatadanyasyoktirviSamam // 60 tadviparyayaH samam // 61 viphalaH prayatnovicitram / / 62 anAdhAramAdhayamekamanekagocaraM saMbhAvitAdadhi kasya viruddhasya saMpattizca vizeSaH / 63 ta [u] tpattivinAzayo pAyanye vyAghAtaH / / 64 pratibaMdhakAdevidhAnAsAmatkR [W] mazakyam / / 65 doSaguNayoranyathAvaM vR [vya] tyAsaH // 66 tadanyAbhyAM samAdhAnaM smaadhiH|| 67 sajAtIyavijAtIyApekSayA tuchatvam / [tUdekaH] // 68 vivRttAvanyAdayastulyam // 69 aprAptyarthaM tu tulyaanaadronaadrH|| 70 tyaktasvIkAra aadrH|| 71 hetvaMtarAdanyasyApi tathAvaM na [tvama] nukRtiH // 72 prAptasya pratibaMdhaH prtyuuhH|| 73 sthitasyAnyathApattiH prtyaadeshH|| 74 upodalanaM smaadhiH||

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EXTRACTS FROM MANUSCRIPT3 45 vizeSasyAMtareNa samarthanamAMtaranyAsaH // 76 savA-saMbhavosaMbhavovyAptiH // 77 sAdhanAtsAdhyapratItiranumAnam / / 58 parapratyAyikaM liMgaM hetuH|| 79 gataniSThApratipAdanamApattiH // 80 daMDipApikayA pAtanamarthApattiH // 81 asaMbhAvyahetuphalapreSaNaM vidhiH // 82 anyaniSedhArthopi vidhiniymH|| 83 prAptasya parisaMkhyA // 84 pratyApattiH pratiprasavaH // 85 nAnAphalaprayuktaH prayatnastaMtram / / 86 prasaMgAdanyArthaH prasaMgaH // 8. viruddhayostulyatve pAkSikatvaM vikalpaH / / 88 dharmayogapadyamanyasyApitatkaratvaM smudaayH|| 89 vinimayaH privRttiH|| 90 krameNaikamanekatAnyathA vA paryAyaH // 91 ArohAvarohAdimaH [kramaH] // 92 rUpadharmAbhyAmAdhikyaM varddhamAnakam / / 93 viparyayo (va) rohaH // 94 sNbhaavnyaanythaavaatishyotishyH|| 95 uttarottarasya pUrvapUrvAnubaMdhitvaviparyayo vA zRMkhalA // 96 anyadharmasvIkArastadguNaH // 97 dharmasAmyAgudapratItimi (mI) litam // 98 asyAM kutazcidvivekovivekaH // 99 anubhUtasya prArtha [prArthya] syAMtaropalabdhau prbhaagH|| 100 nirUDhasya pratibheda udbhedaH // 101 gUDhamA [DhA] kAMkSopanibaddho gUDham / / 102 sUkSmArthavacanaM sUkSmam // 103 udbhedapracchAdana [naM] vyAjoktiH // 104 anyathA saMbhAvitayoH zabdArthayoranyathA yojanaM vakroktiH // 105 smygsvbhaavoktiH|| 106 viprakRSTasya pratyakSAyamANatvaM bhAvikam // 107 udAttacaritAMgamu dAttam / /

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ACQUIRED FOR GOVERNMENT. 81 udAttaM pradyumnasya cakAra yatra girijA zrIzArikAnugrahaM nadyA yatra varAhaloca [nabhuvAM mArI sari saMgatA // rAjA samavarAbhidho harigiriryAtaH sadeho yataH tiSThastatra pure yazaskarakavistuSTAva rogIti [ca] zrIzobhAkarasUtrArthasvalohAmAtraghaTTanamAnimitaM ratnakaMThena devIstotra trecaarunni|| iti zrIkAzmIradezavAstavyazrIryazaskaraviracitamalaMkArodAharaNanibaddhaM devIstotraM saMpUrNa samAptam // naM0 137 muktAlatAzatakam-zambhumizraH50 13 __ A0 OM zrIgaNezAya namaH mAnaM muMca vipaMci paMcamaravanyakArapAraMgamA mAbhUvan kalakaMThakaMThakuhare kuMThakramAste giraH / prAptaH paMcazaraprapaMcazaraNaM yadUMgabhaMgIgurubaMdhUkapriyabAMdhavo dhavalitazyAmAdhavo mAdhavaH // 1 // yA lakSmIH smarakArmuke sphurati yA bAlye pravAle ruciyo nIlAMburuhacchade mRdumarutkholite vibhrmH| yA kAMtiH kanakAMbujepi sakalaM draSTuM tadekatra ce ccetaH kaMdalitAdbhutaM taba sakhe pazyAnanaM subhravaH // 109 // zaMbhumizrakRtA muktAlatA samAptA / / naM0 153-rasendracUDAmaNiH-somadevakRta pa060 apUrNaH / AdiH gomAMsabhakSAmarasIdhupAnAnvidhvastapApAnatimuktitApAn / tAn kaulikAnaumi sadehamuktAn [sadehamuktAn] hasataH sadaiva / / gozabdenoditA jihvA tatpravezo hi tAluni / / gomAMsabhakSaNaM tattu mahApAtakanAzanam / jihvApravezasaMbhUtA vahvinotpAditA khalu // cAMdraH zravati yastAraH sA syAdamaravAruNI / / tatpAnaM dvArazabdena dehasiddhiM karoti hi / /

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82 EXTRACTS FROM MANUSCRIPTS eSaiva khecarI mudrA cirAbhyAsena siddhyati // prakRtyAdidharAMto yazcaturviMzatiko guNaH // tatkulaM tena dIpeta yo jIvaH sa hi kaulikaH // rasairvAbhyAsayogena kalpasthAyI kule nahi // sarvaizvaryaguNopetaH kaulikosau mheshvrH|| paMcabhUtasamUhAtmA nAstiko vedaniMdakaH // paMcatvamuktavAdI ca sahi pASaMDakaulikaH // tasmAtpASaMDamutsRjya zivoktAM kaulikIM kriyAm // saMsevya sAdhayenmartyo jIvanmuktiM parAMparAm // iti zrIkarabAlabhairavapuravarapati zrIsomadevaviracite raseMdracUDAmaNau rasasU trasthAne rasamahimAnirUpaNaM nAma prathamodhyAyaH ..... ...iti dvitIyodhyAyaH "iti tRtIyodhyAyaH kathyate somadevena mugdhavaidyaprabuddhaye / paribhASA raseMdrasya zAstraiH siddhaizva bhASitA // " iti caturthodhyAyaH atha yaMtrANi vakSyaMte rasa taMtrANyanekazaH / samAlokya samAsena somadevena sAMpratam // *" iti paMcamodhyAyaH maMthA bhairavamahAgama - pradiSTA divyauSadhIrvadati saMprati somadevaH // vArddhakyarogaharaNAya rasAyanAkhyA sUteMdrabaMdha jAraNa karmaNISTAH * " iti SaSThodhyAyaH - kathyate somadevena sAMprataM darzito rasaH / zrIkaMThAgamanirdiSTA viziSTArasasAdhane / / iti saptamodhyAyaH atha auSadhIguNAH sarpAkSI vaMdhyakakauTI jalabiMjI apUrNaH naM0 154 rAjeMdra karNapUraH zambhukaviH pa0 5 // zrIgaNezAya namaH // baddhasparddhaH kSitidharasutAbhrUlatAvakratAyAM bhUyAdbhUtyai tava haraziraH zekharo rohinniishH| ...........

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ACQUIRED FOR GOVERNMENT. 88 yaM niSpIDya stanamukhanakhollekharekhAsu devyAH saMbhogAMte vitarati sudhAspaMdamaddhedumauliH // 1 // cauDIcUDAbharaNaharaNaH kIrNakarNAvataMsaH karNATInAM muSitamuralIkeralIhAralIlaH / kurvanurvItilaka tilakosicalATIlalATaM jIyAdekastava navayazaH svarNazANaH kRpANaH // 6 // kiMcAnyadvasudhApuradara purastvatpauruSasya kvacicAhatyaskhalitakramopi gagane traivikramo vikramaH / / 8 / / jahAti nagarI galat [svakara] kaMkaNaH kauMkaNo vanaM vizati vivhala skhalitakuMtalaH kuMtalaH / kimanyaduditakrudhi tvayi mRgeMdrabhImAravaM taTaM vizati mAravaM cyutaramAlavomAlavaH // 12 // tasthau kaMpataraMgitastanataTaM bASpAMbudhautAdharaM zokAkrAMtakapolakIlitakaraM dyAM muMjarAje gate / saMjAte bayi hArihAravalayakANaM kaNakaMkaNaM caMcakAMcanakAMci sA bhagavatI narti vAgdevatA / / 17 // zeSa klezamazeSamutsRja bhaja tvaM kUme kame svaka svairaM khelata siMdhusaikatalatAkuMjeSu dikuNjraaH| apyetAM sakulAcalAM sanagarAM sAMbhonidhi sApagA sadvIpAM ca bhuvaM bibharti hi bhujaH zrIharSapRthvIbhujaH // 19 // zlAghA rAghava lAghavaM tava gatA duSyaMta vizvaM tava mlAniM yAti yazogatA tava tathA pArtha prathApArthatAm / jAtesmin guNibAMdhave narapatizyAmAdhave mAdhave kasyApyatra na karNa karNapadavIM yAtA bhavatkIrttayaH / / 44 // kUrme dhairya zithilaya dhRtiM muMca zeSasya zeSAmAzAmAzAkariSu vasudhe devi mA mA ddhiithaaH| zaktaH saptAMbunidhiparikhAmekhalAmapyayaM tvAM voDhuM maurvIkiNaparicitobhUpaterasya bAhuH / / 66 // pIyUSadravahAriNI sumanasAM bhrUlAsyavistAriNI vatsevAbhiravApi kAppabhinavA vAgdevate bhAratI / astyekA tu kRtAMjalerjanani me zaMbhoriyaM prArthanA madAcA kvacidastu vastunipuNaH zrotA sacetojanaH / / 75 // iti kAzmIradezodbhavazaMbhukaviviracito rAjeMdra karNapUraH samAptaH / /

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EXTRACTS FROM MANUSCRIPTS +0 159 kAvyAlaMkAraH-saTIkaH-rudraTaH-namiH TI0 yathoddezastathA lakSaNamiti vAstavalakSaNamAha vAstavamiti yadastusvarUpakathanaM kriyate tadvAstavamiti jJeyaM vastuna idaM vAstavamiti kRtvA itizabdorthanirdeze vAstavazabdavAcyaH sortha ityarthaH puSTArthagrahaNamapuSTArthe nivRttyarthaM tena gorapatyaM balIvaIstRNAnyatti mukhena saH / / mUtraM muMcati ziznena apAnena tu gomayam / / asya vAstavatvaM na bhavati aviparItagrahaNaM vivakSitaviparItArthasya vAstavabanivRttyartha yathA daMtAn nirdalayadrA ca jaDayattAlu dvidhA sphoTayamAjyaH saMghaTayadgalaM galadilAdaMtrANi saMkocayat / / itthaM nirmalakarkarIsthamasahapAleyavAtAsahaM nAvatyAH pracuraM pibaMtyanudinaM pronmuktadhAraM payaH / / atra hi payasaH zItalatvamAlhAdakatvaM ca vivakSitaM tadvaiparItyaM ca pratIyate nirupamAdigrahaNaM tvanuvAdamAtraM na tUpamAtizayazleSANAM vAstavatvanivRttaye pRthagupAdAnAdeva teSAmanyatvasiddheH / / 10 naM0 165 vakroktipaJcAzikA-saTIkA mU0 ratnAkaraH, TI. ballabhadevaH pa011 zrIgaNezAya namaH TI0 A0 vAgIzvarIM namaskRtya gaNAnAM ca tathezvaram / vakroktivarNane rAtne paMjikA kriyate laghu [:] // 1 // mU0 A0 savyAlaMbanametadadya bhavato nisneha muMcAmyahaM savyAlaM vijahIhi suMdari vanaM niHslehatA nAsti me / maivaM vakSyasi kiM vanaM nanu jalaM mUrddhA mayaivohyate vakroktyeti himAdrijAmavacasaM kurvan haraH pAtu vaH / / 1 / / TI0 savyAlaMbanaM vAmabhAgAvasthAnaM savyAlaM vyAle?STasattvaiH sahitaM vanaM ca daMtyoSThayayorhi zabdAlaMkAreSu yamakavakrotyAdiSu na tathA kavayo bhedagrAhiNaH maivaM kuTilaM kasya vanavivakSA ityarthaH vakSyasi kathAyaSyAsa dhArayiSyasi ca vahapApaNe dhAtoH vanaM kAnanaM jalaM ca avacasaM jitvA nirvacanAm // 1 //

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ACQUIRED FOR GOVERNMENT. 85 ca0 vakroktipaMcAzatimitthamenAM yo bhAvayenmatsarariktabuddhiH / spaSTottarAsUktiSu kAvyabaMdhe bhavetsaratnAkaravatmavINaH // 51 // bhAvayedvicAraye [t] spaSTamuttaraM yAsu tAdRzISUktiSu vakroktiSu kAvyabaMdhe subhASitaviSaye ratnAkara: ayameva kavivaraH haravijayakAvyakArastadvatmavINaH kuzalaH syAt / / 51 // sunUrAnaMdadevasya raNabhUvyomni bhAsvataH // vakroktivarNanerAtne TippanaM vallabho vyadhAt // iti zrIbAlavRhaspatyanujIvino vAgIzvarAMkasya vidyAdhipatyaparanAmno haravijayamahAkAvyakarttuH kAzmIradezodbhavarAjAnaka zrIratnAkaramahAkavikRtau vakroktipaMcAzikAyAmamAtyavarAnaMdadevasUnuzizupAlavadhAdyanekakAvyaTIkAkarttRzrIvallabhadevakRtaM TippaNakaM saMpUrNam // naM0 212 sAmbapaJcAzikA - saTIkA - mU0 sAmbaH TI0 kSemarAjaH pa0 29 AdiH // OM namaH sarasvatyai // OM puSNan devAnamRtavisarairindumAsrAvya samyag bhAbhiH svAbhIrasayati rasaM yaH paraM nityameva / kSINaM kSINaM punarapi ca taM pUrayatyevamIdRg dolAlIlollasitahRdayaM naumi cidbhAnumekam // 1 // etadAvezvaivazyapronmiSaddhiSaNA vayam // vimRzAmo manAk zrImatsAMbapaMcAzikAstutim // soyaM parAmRzaraso rasajJairiha rasyatAm // AyuSyAjyAmRtasparzaH zatapadyAhi zAMtaye // samastAgamamahAmnAyaparamarahasyavinmahAyogI [ga] sahasrasaMpradAyasaMpUrNaH zrIsAMbaH svAtmavivasvatstutiM jagatonugrahAya vaktumupakramate // mU0 zabdArthatvavivarttamAnaparamajyotIruco gopateH mUlopAntyazlokaH bhaktizraddhAdyakhilataruNIvallabhenedamuktaM zrIsAMbena prakaTagahanaM stotramadhyAtmagarbham / yaH sAvitraM paThati niyataM svAtmavatsarvalokAn pazyan sote vrajati zukavanmaMDalaM caMDarazmeH // 52 //

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86 EXTRACTS FROM MANUSCRIPTS TI0-kIdRzena sabina bhaktizraddhe AdI yAsA tatvArthaciMtAdInAM tAevAkhi. lAstaruNyo navanavAH suMdaryastAsAM vallabhena kSaNamapi parihartumazakyena meyasA rUpalAvaNyAtizayamAtrAt samastabAhyaramaNIyena ityanena vyatirekalabhyenArthana bhagavadvAsudevasutatvamAtmanaH prakaTayati // 52 // __upasaMhArabhaMgyA janAnanujighRkSurAzAste antyazlokaH mU0 iti paramarahasyazlokapaMcAzikaSA tapananavanapuNyA sAgamabrahmacaryA / haratu duritamasmadvarNitAkarNitA vo dizatu ca zubhasiddhiM mAtRvadbhaktibhAjAm / / 53 // TI0-ityuktakamAt".."kazcicchevaH parazivasamAvezagADhAnurAgodrekasphUjanabhinavadazAvezavaivazyazAlI satstotresminvivRtiracanAM kSemarAjonyayuMktetyetanaivaM jhaTiti ghaTitaM darzanIyaM hi sadbhiH // ___ iti zrIsAMbapaMcAzikAvivaraNaM kRtaM zrImahAmahezvarAcAryavabhinavaguptapAdapaMkajopajIvinA rAjAnakakSemarAjamadhuparAjenetyom // naM0 229 muvRttatilakam-kSemendraH pa0 18 ___ yathA kalazasya aMjalI jalamadhIralocanA locanapratizarIrazAritam / AttamAttamapi kAMtamukSituM kAtarA zapharazaMkinI jahau / - yathA bhaTTavallaTasya varamiha ravitApaH kiM na zIrNAsi gulme kimu davadahanairvA sarvadAhaM na dagdhA / yadahRdayajanauvairvRttavarNAnabhijJairitarakusumamadhye mAlati probhitAsi // yathA gaMdinakasya karataratibaMdha kaMcukaM kurvatInAM pratiphalitamidAnI daipmaataamrmrciH| stanataTapariNAhe bhAminInAM bhaviSyanakhapadalipilIlAsUtrapAtaM karoti // yathA vIradevasya tava zatapatrapatramRdutAmratalazcaraNazcalakalahaMsanapuravaradhvaninA mukhrH|

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ACQUIRED FOR GOVERNMENT, 871 mAhaSamahAsurasya zirasi prasabhaM nihitaH sakalamahIdhareMdragurutAM kathamaMba gataH / / yathA sAhilasya kacagrahamanugrahaM dazanakhaMDanaM maMDanaM dagaMcanamavaMcanaM mukharasApaNaM tapeNama / nakhArdanamatardanaM dRDhamapIDanaM pIDanaM karoti ratisaMgare makaraketanaH kAminAm / yathA bhaTTazyAmalasya dhRto gaMDAbhoge madhupa iva baddhobjavivare vilAsinyA mukto bakulatarumApuSyayati yH| vilAso netrANAM taruNasahakArapriyasakhaH / sa gaMDUSaH sIdhoH kathamiva ziraH pAzyati madhoH / / yathA lATaDiMDIrasya citraM tAvadidaM sureMdrabhavanAnmaMdAkinIpAthasA kenApyuttamatejasA nRpatinA kSmAmaMDalaM maMDitam / nAtazcitrataraM nizAkarakalAlAvaNyadugdhodadhe bhUmeryadbhavatA viriMcanagarI kIrtiplavaiH plAvyate / / yathA rissoH lAtuM vAMchasi kiM mudhaiva dhavalakSIrodaphenacchaTA cchAyAhAriNi vArAiNa dyusarito DiMDIravistAriNi / Aste te kalikAlakalmaSamaSIprakSAlanakakSamA kIrtiH saMnihitaiva saptabhuvanasvacchaMdamaMdAkinI / / yathA cakrasya satyaM pAtAlakukSibhari ciravilasadikkariNINitAnaM zrIgarbhazvabhramabhraMlihalahari haristhAnamapyeva kiMcit / kalpAMte vyAptavizvaM pariraTati sarinnAtha pAthastvadIyaM kiMtvetakuMbhayoneH karakuharadarIpUramAcAmatobhUt / / kSemeMdrasya pavanapaMcAzikAyAm / peMkhacchaMkhAbhighAtasphuTadakhilacalacchuktinirmuktamuktA muktavyaktAdRhAsAH smaranRpasakaladvIpasaMcAracArAH / sarpakarpUrapUramavaNakaracitApUrvadikkarNapUrA dhAvatyAdhmAtavizvA ratavidhutavadhUvaMdhavogaMdhavAhAH /

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EXTRACTS FROY MANUSCRIPTS naM0 232 ajita0pa0 19 Adau ajiyaM jiyasavvabhayamityAdi mU0 ca0 36 gAhA taM bhoeu naMdi pAveu ya naMdiSeNamabhinaMdi / parisAivi suhanaMdi bhaya ya disau saMjame naMdi // 37 // mU0 TI0 vyAkhyA0 tat yugalaM modayatu harSayatu ca naMdi samRddhi lokAnAM pApayatu ca nadiSeNaM stutikAraM zreNikaputramanyaM vA naMdi vA abhinaMdi abhisamRddhi pApayatu parSadopi sukhasamRddhiM dizatu itIhApi yojye mama ca stotrakartuH dizatu dadAtu saMyame pramodasamRddhiM / / 37 / / mUlavRttAni etAnyevAjitazAMtistavo vyaakhyaatH|| saMprati anyakartRkamapi gAthAdvayaM vyAkhyAti parayetyAdi ...... 39 zrI naMdiSeNamuniviracitAjitazAMtistavAvacUrNiH saMpUrNA // __-bhayaharastotram-saTIkam A0 muu0|| namiUNa paNayasuragaNacUDAmaNikiraNaraMjiaM muNiNo / calaNajualaM mahAbhayapaNAsaNaM saMthavaM vocham // 1 // A0 TI0 // zrIpArzvasvAminaM natvA mAnatuMgaguroH kRtau / vRtti bhayaharastotre sUtrayAmi samAsataH // 1 // vidyAmaMtroddhArAH pUrvAcAryaiH pradarzitA yasmin / te ca ciraMtanavRttejeyAstAniha na vakSyAmaH // 2 // tatrAdAvAcAryaH ziSTasamayaparipAlanAya""""" mU0 ca* // jo paDhai jo ya nisuNai tANaM kaiNoya mANatuMgassa / / pAso pAyaM pasabheu sayalabhuvaNacciyaccalaNo " 21 / / iti zrIpArzvanAthastotram TI0 ca0 sakalagrahaNamiti gAthAtrayArthaH // 21 // bhayaharastavane (vi) vRtirmayA vyaraci kiMcana maMdAdhiyApyasau / anucitaM yadavocamiha kvacittadanugRhya vizodhyamRSIzvaraiH // 1 // vRttireSA vizeSoktirociSNuzcArucetana (6) carcyatA cirarAtrAya nAmnAbhiprAyacaMdrikA // 2 // saMvadvikramabhUpateH zaraRtUdacimagAMkarmite / poSasyojjvalapakSibhAji raviNA yukte navamyAM tithii| ziSyaH zrIjinasiMhasUrisuguroSTIkAmakArSI miA zrIsAketapure jinamabha iti khyAto munInAM prabhuH // 3 // samAptoyaM bhayaharastavavRtterabhimAyazcaMdrikA nAma kRtiH zrImajjinaprabhasUrINAm //

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ACQUIRED FOR GOVERNMENT. 89 +0234 anekArthakairavAkarakaumudI pa0 210 A. // ahaM // paramAtmAnamAnamya nijAnekArthasaMgrahe / vakSye TIkAmanekArthakairavAkarakaumudI(m) // 1 // vizvaprakAzazAzvatarabhasAmarasiMhamaMkhadurgAnAm / / vyADidhanapAlabhAgurivAcaspatiyAdavAdInAm / / zAstrANi vIkSya zatazo dhanvaMtarinirmitaM nighaMTuM ca // liMgAnuzAsanAni ca kriyatenekArthaTIkeyam / / 3 // ca. anyathA bhUyAMsopyarthAH saMti yadAhuH // nipAtAzcopasargAzca dhAtavazceti te tryH|| anekArthAH smRtAH sarve pAThasteSAM nidarzanam / ityAcAryahemacaMdrasUriviracitAyAmanekArthakairavAkarakaumudItyabhidhAnAyAmanekArthasaMgrahaTIkAyAmanekArtha - zeSovyayakAMDaH smaaptH|| zrIhemasUriziSyeNa zrImanmaheMdrasUriNA / bhaktiniSThena TIkeyaM tannAmnaiva pratiSThitA // 1 // samyagjJAnanidherguNairanavadheH zrIhemacaMdraprabho graMthe vyAkRtikauzalaM vya [va] sati (tat) kAsmAdRzAM tAdRzam / vyAkhyAmaH sma tathApi taM punaridaM nAzcaryamaMtarmanastasyAjasramapi sthitasya hi vayaM vyAkhyAmanubramahe // 2 // yallakSyaM smRtigocare samabhavadRSTaM ca zAstrAMtare ta (trA) rSa samadarzi kiMtu katicit no dRSTalakSAH kvacit / abhU[bhyUhyaM svayameva teSu sasukhaiH zabdeSu lakSyaM budhaiyasmAtsaMpati tucchakazmaladhiyAM jJAnaM kutaH sarvataH // 3 // ekatrApi kRtAbhidheyaviSaye vyutpattirarthAtare karttavyA svayameva darzitadizA nibaMdhavaMdhyairbudhaiH / varNAdyakramavarNanaM ca na zubhaM tatrApi kArya svayaM yadvaktRpatipAdane na vikRtiH kAmaM varIvRddhayate // 4 // paripUrNA ........... nekArthasaMgrahaTIkAnekArthakai ........ kaumudItyabhi ........" // 7 // naM0 260 catuHzaraNaprakIrNakam-sAvacUra pa0 8505 ahe namaH mU0 A0 "sAvajjajogavirai 1 ukittaNa 2 guNavarDa a paDivattI 3 // khaliassa niMdaNA 4 vaNatigicha 5 guNadhAraNA ceva 6 // 1 //

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90 EXTRACTS FROM MANUSCRIPTS TI0 A0 idamadhyayanaM paramapadaprAptibIjabhUtatvAt zreyodbhutaM atastadAraMbhe graMthakunmaMgalarUpasAmAyikAdyAvazyakArthakathana 1 bhAvastvamaMgala [ bhAvamalaM ] kAraNadravyamaMgalabhUtagajAdi 14 svamoccAravyAjasarvatIrtha kRdguNasmaraNa 2 vartamAnatIrthAdhipatizrIvIranamaskaraNa 3 rUpamaMgalatrayamAha || sAvajjeti / athavA SaDAvazyakayutasyaivaprAyazcatuHzaraNapratipattyAdiyogyatA syAt ataH prathamaM SaDAvazyakamAha / sAvajjetyAdi / sahAvadyena pApena varttate iti sAvadyAH yogA manovAkkAyavyApArAsteSAMviratirnivRttiH sAvadyayogaviratiH sAmAyikena kriyate ityadhyAhAraH utkIrttanaM jinaguNAnAmutkIrttanA caturviMzatistavena kriyate guNA jJAnadarzanacAritrAdyAH te vidyaMte yeSAM te guNavaMto guravasteSAM pratipattirbhaktiH guNavatpratipattiH sA vaMdanakena kriyate skhalitaM AtmanoticArApAdanaM tasya niMdanaM niMdanA na punaH kariSyAmItyabhyupagamanaM sA pratikramaNena kriyate vraNasyAtI cArarUpabhAvatraNasya cikitsA pratikArarUpA sA kAyotsargeNa kriyate guNA viratyAdayo mUlaguNottaraguNarUpA teSAM dhAraNaM dhAraNA sA pratyAkhyAnena kriyate caiveti SaNNAmapi samuccaye // 1 // mU0 ca0 iya jIva pamAyamahArivIra bhadaM tamevajjhayaNam // jhA mutisaMjhamavaMjhakAraNaM nivvuisuhANam || 63 // iti catuHzaraNaprakIrNakam // TI0 ca0 atha prastutAdhyayanopasaMhAramAha / iyajIva0 iti uktaprakAreNa hejIvAtman etadadhyayanaM dhyAya smara trisaMdhyaM saMdhyAtraye iti saMbaMdhaH kathaMbhUtaM pamAyamahArivIraM pramAdA eva mahatorayaH zatravazcaturdazapUrvadharAdInAmapi nigodAdidurgatipAtahetutvAt pramAdasya teSAM pramAdamahArINAM vinAzAya vIravaddIraM subhaTakalpamityarthaH anusvAralopaH prAkRtatvAt punaH kathaMbhUtaM bhadramaMte yasmAttad bhadrAMtaM mokSamApakamityarthaH athavA he vIra he bhadreti saMbodhanapadadvayaM jIvasyotsAhavRddhihetu aMtamiti jIvitAMtaM yAvadevaitadadhyayanaM dhyAyetyarthaH punaH kiMbhUtaM avaMdhyakAraNaM saphalakAraNaM keSAM nivRttirmokSastatsukhAnAmiti jIya iti pAThe bitapramAdamahAri (:) yosau vIrabhadrasAdhuH vIrasatkacaturdazasahasrasAdhumadhyavartI tasyedaM jita0 tadetadadhyayanaM dhyAyetyAdi / evaM zAstrakarttuH samAsagarbhamabhidhAnamuktaM asya cAdhyayanasya vIrabhadrasAdhukRtatvajJApanena yasya jinasya yAvaMta: sAdhavaH pratyekabuddhA api eva prakIrNakAnyapi tAvaMti bhavatIti jJApitaM bhavatIti gAthArthaH // iti catuH zaraNaprakIrNakAvacUriH sammattaM zAstraM // saMvat 1645 varSe bhAdrapada mAse zuklapakSe navamyAM tithau ravivAre // mu / sAdhuvijaya //

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ACQUIRED FOR GOVERNMENT, 91 naM0 266 jagatsundarIyogamAlA tru0 hariSeNapaNDitaH niuttavbam / / 333 / / / / iti paMDitazrIhariSeNena mayA yonimAbhRtAlAbhe svasamayaparasamayavaidyakazAstrasAraM gRhItvA jagatsuMdarIyogamAlAdhikAraH viracitaH iti // 7 // sarvoSadhiriddhisaMyuktaM / 1 / kAttArakosaM / AzcaryamahodadhikaraNikAralaratnAkaraM / yaMtramAtRkAvizvakarma- - -bhavyajanopakArakArakaM / mithyAdRSTiNirasaNapaTIyasaM / --- -jvarabhUtazAkinIdhvAMtamArtaDaM / samastanimittazAstrotpattiyoni / vidvajjanacittacamatkAraM / paMcamakAlasaMjaM / sarvavidyAdhAtuvAdAdividhAnaM / janavyavahAracaMdracaMdrikAcakoraM / AyurvedarakSitasamastasatvaM / praznazravaNamahAmunikuSmAMDinImahAdevyA upadiSTaM / puSpadaMtAdibhUtabalisiSyahRSTidAyakaM / itthaM bhUtaM yoniprAbhRtaM graMthaM / 7 / kalikAle samvanhU jo jANai joNipAhuDaM gaMthaM ----7 kA---manIhananRNAmahanmatesyAdati yadyeSaH priyadharmakaH pRthuyazAH zrIpUjyapAdo guru:------pramodbhataciMtAmaNiM yoNimAbhRtasaMjJazAstramamalaM devAsurAbhyarcitam / / 8 / / tAvanmithyAdRzAM tejo maMtrayaMtrAdiSu sphuTam ---- vati dhImataH // 9 // iti zrImahAgraMthaM yoniprAbhRtaM zrIpanhazravaNamuniviracitaM samAptam // // 7 // saMvat 1582 varSe zAke 1447 pravarttamAne --- liSitam // naM0 300 prAkRtaprabodhaH-naracandrasUriH pa0 11 A0 OM namaH sarasvatyai / / namaH zrIgaNezAya // praNamya paramaM jyotiyotitAzeSavAGmayam / / siddhahemASTamAdhyAya rUpasiddhirvidhIyate // 1 // iha ca yathA saMskRtalakSaNe dhAtupratyayAdisiddhAyAM prakRtI pazcAdvibhaktyA vidhistathA prAkRtalakSaNepi prAyaH prAkRtalakSaNasiddho prakRtimAdhAya tadanaMtaraM vibhatyAdikriyA karttavyA nAnyathA rUpasiddhiH kramabhaMgaprasaMgAt // atha mA0 / / kaiavaM / kagacatadapayavAM prAyolugiti taluki siH tasyAH klIbe svarAnmusariti ma tasya monasvAra ityanusvAraH ca0 DammiDe: / / 324 // iti maladhAriziSyazrInareMdrasUriviracite prAkRtaprabodhe caturthaH pAdaH samAptaH / / nAnAvidhairvidharitAM vibudhaiHsvabuddhyAtAMrUpasiddhimavalokya (nataiH sva) ziSyaiH / / abhyarthito muniranujjhitasaMpradAyamAraMbhamenamakaronnaracaMdranAmA // 1 // evaM graMthAgraM 1500 // saMvat 1645 varSe vaizAkha vadi 13 zukre zrIvaTapada mahAnagare likhApitam / /

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92 EXTRACTS FROM MANUSCRIPTS naM0 351 samyaktvasaptatikA-saTIkA. pa0133 A0 TI0 / / aham / / namaH sarvajJAya // saccAmIkarabaMdhuroddharataraskaMdhasphuraddolataH siddhAMtonnatizAlino nayacayaporjasvigarjAnuSa [] cchaMdovyAkaraNapramANasumahaHsaudAminImAlinaH / dhinvaMto nikhilaM dharitrivalayaM vyAkhyAmRtodarSaNaiH zrImaMto guNazekharAkhyaguravo naMdaMta meghA iva // 5 // DhillayAM sAhimahaMmadaM zakakulakSmApAlacUDAmaNi yena jJAnakalAkalApamuditaM nirmAya ssttdrshinii| mAkAzyaM gamitA nijena yazasA sAkaM sa sarvAgamagraMthajJojayatAjjinapabhagururvidyAgururnaH sadA // 8 // eteSAM guNazAlinAM padapayojanmadvayIsevanAt saMjAtAdhigamaH sa saMghatilakAcAryoM jaDopyaMjasA / pUrvAcAryakRtervicAracaturajJAtArthasArthodgate: samyaktvAgragasaptatevivaraNaM karttAsmi saMkSepataH // 9 // makaTIkRtAmRtAyamAnasadupadezasAraH prakaraNakAraH prajJAvajJAtasurAcAryaH kazcit pUrvAcArya (:) apahastitasamastadurgatimahAdaMbhe samyaktvasaptatikAbhidhAnazAstrAraMbhe""""""prathamagAthAmAha / dasaNasuddhipayAsam TI0 ca0 duHkRtaM mama // 2 // iti zrIrudrapallIyagachagaganamaMDanadinakarazrIguNazekharasUripaTTAvataMsazrIsaMdhatilakasariviracitAyAM samyaktvasaptatikAvRttI tatvakaumudInAmnyAM samyaktvasthAnaSaTkasvarUpanirUpaNo nAma dvAdazodhikAraH samAptaH"graMthAgraM 536a0 25 samAptA cayaM samyaktvasaptatikAvRttistatvakaumudyAbhidhAnA // atha prazastiH // zrIvIrazAsanamahodadhitaH prasUtaH modyakalAbhirabhitaH pRthitaH prathivyAm / mAdyanmahaH prasaranAzitatAmasosti / zrIcaMdragacha iti caMdra ivaagtshriiH||1|| tatrAsIddharaNeMdravaMdyacaraNaH zrIvarddhamAno gurustatpaTTe ca jinezvaraH suvihitshrenniishirHshekhrH|

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ACQUIRED FOR GOVERNMENT. tacchiSyobhayadevasUrirabhavadaMganavAMgImahA vRttistaMbhanapazvanAthajinarATmUrttiprakAzaikakRt / / 2 / / tatpaTTapUrvAcalacUlikAyAM bhAsvAniva zrIjinavallabhAkhyaH / saccakrasaMbodhanasAvadhanabuddhiH prasiddho gurumukhya AsIt // 3 // tacchiSyo jinazekharo gaNadharo jajJetivijJograNIstatpAdAMbujarAjahaMsasadRzaH zrIpadmacaMdraH prabhuH / tatpaTTAMbudhivarddhanaH kuvalayaprodyatmabodhaikadhIH zrImAn zrIvijayeMduriMduvadabhUcchazvatkalAlaMkRtaH / / 4 / paTTe tadIyebhayadevasUrirAsIdditIyohiguNAdvitIyaH / jAto yatoyaM jayatIha rudrapallIyagacchaH sutarAmatucchaH / / 5 / / tatyAdAMbhojabhRMgojani jinasamayAMbhodhipAthodhijanmA sUrIMdro devabhadronupazamaramArAmameghopamAnaH / tasyAMtevAsimukhyaH kumatamatitamazcaMdramArttaDakalpaH kalpadruH kalpitArthamavitaraNavidhau zrIprabhAnaMdasUriH / / 6 / / jyotistomairamAnaiH pratihatajagatIvartitejasviteja:sphUrtI tatpaTTapUrvAcalavimalalasanmaulimaulIyamAnau / zrImAn zrIcaMdrasUrirvimalazaziguruzcAprameyaprabhAvI jAtau zrIrAjahaMsAviva bhavikajanavyUhabeodhakadakSau // 7 // AkasmIramaraNacArudhiSaNAn vAdIMdra vRMdArakAn mAdyadvAdavidhau vijitya jagati prAptapratiSThodayaH [yAH ] | sureMdrA [sUrIMdrA ] guNazekharAH smayaharAH zRMgAracaMdrakSamAdhIzAbhyarca [] padAMbujAH samabhavaMstatpaTTazRMgAriNaH // 8 // zrIsaMghatilakAcAryAstatpadAMbhojareNavaH / samyaktvasaptatervRttiM vidadhustatvakaumudIm // 9 // asmacchiSyavarasya somatilakAcAryAnujasyAdhunA zrIdeveMdramunIzvarasya vacasA samyaktvasatsaptateH / zrImadvikramavatsare dvinayanAMbhodhikSapAkRtprame zrIsArasvatapattane viracitA dIpotsave vRttikA // 10 // sA somakalazavAcakavarAnujairatra vihitasAhayyaiH / prathamAdazaiM likhitopAdhyAyaiH zrIyazaHkalazaiH // / 11 // 93

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94 EXTRACTS FROM MANUSCRIPTS ACQUIRED FOR GOVERNXENT. medhAmAMdyAtmamAdAcca yadavadyamihAjani / tatmasadya mahAvidyA (C) zodhayaMtu vizAradAH // 12 // dvAdazAtmaiva sadvAradizAmeva bodhakRt / iyaM samyaktvatatvAnAM kaumudI dyotyatAM bhuvi // 13 // prazastizlokAH 25 / pratyakSaraM nirUpyAsyAgraMthamAnaM vinizcitam / rudrAdrimunisaMkhyAtAH zlokAH sacaturakSarAH // 14 // anena zlokena saha graMthamAnaM / graMthAgraM / 7711 akSara 4 // zubhaM bhavatu // kAvyaprakAzasya TIkA-bhImasenaH zabdabrahma sanAtanaM na viditaM zAstraiH kvacikenacit taddevI hi sarasvatI svayamabhUt kAzmIradeze pumAn / zrImajjaiyaTagehinIsujaTharAjjanmApya yugmAnujaH zrImanmammaTasaMjJayA zritatanuM sArasvatI sUcayan / / 4 / / maryAdAM kila pAlayan zivapurI gatvA prapaThyAdarAcchAstraM sarvajanopakArarasikaH sAhityasUtraM vyadhAt / tavRttiM ca viracya gUDhamakarokAvyaprakAzaM sphuTaM vaidagdhyaikanidAnamarthiSu caturvargamadaM sevanAt // 5 // kastasya stutimAcaretkaviraho [varo] ko vA guNAnvedituM zaktaH syAtkila mammaTasya bhuvane vaagdevtaaruupinnH| zrImAn kaiyaTa auvaTo hyavarajo ya cchAtratAmAgato bhASyAbdhi nigamaM yathAkramamanuvyAkhyAya siddhiM gataH // 6 // saMvabahAzvamunibhUjJAte mAse madhI sudi / / trayodazyAM somavAre samAmoyaM sukhodadhiH / / iti zrImatpadavAkyapramANapArAvArINadIkSitabhImasenakRte kAvyaprakAzavivaraNe sudhAsAgarerthAlaMkAranirNayo nAma dazama ullaasH||

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EXTRACTS FROM OODEYPORE MANUSCRIPTS. 95 azvAyurvedaH patra 276 / 11 / 28 // zrIgaNezAya namaH gaNezazAlihotrarevatebhyo namaH praNipatya dhavalatanuM madya[mAndya]timiraharaM [hara] zazAMkam / / Ayurvedanidhi mahAmunizAlihotraM ca ye zAlihotrasuzrutagagairarastu maharSibhi[:] purAgaditA[:] / sveskhe turaMgazAstre yogA[:] zAMtya vikArANAm // teSAM madhyAt rAjan sArataraM hayahitAryartha]muddhRtya / / racitasvayaM[tastvayaM]samAsena saMgrahasaMdhi [dhiH sa] yogAnAm / / dharmArthakAmasiddhiM [ddhi]ryathA turaMgarbhavettathA pUrvam / / kathitaiva mahAmunibhistathApi vakSye samuddezam // .''ityazvAyurvede gaNakRte siddhiyogasaMgrahe azvaprazaMsAnAmAdhyAyaH ityazvAyurvede gaNakRte siddhiyogasaMgrahe AvarttAdhyAyaH ityazvAyurveda gaNakRte siddhiyogasaMgrahe sAMgaparIkSAH ityAzvAyurvede gaNakRte""mizrakI [ka] nAmAdhyAyaH i..."mahAdoSAdhyAyonAma / / 0 // ..... i""""tAlulakSaNam..... i"""kulAdhyAyonAma / / ..." i""""varNAdhyAyaH // "" i..."rAjopavAyodhyAyonAma // ..... i""""parezanAmAdhyAyaH..." iti puMDharAdhyAyonAma // itilakSaNamaSTAMgaM zubhAzubhaM racitametadazvAnAm // zRNvadhunA munikathitAmimAM cikitsA samAsena // ityazvAyurvede gaNakRte siddhayogasaMgrahe lakSaNamaSTAMgaM samAptam // ityazvAyurvede gaNakRte siddhayogasaMgrahe nirdezAdhyAyonAma // "..." iti""""kriyAsUtranAmAdhyAyaH....... iti zAlAvidhiH...... iti guggulakalpaH...... iti SaTgatikodhyAyo nAma // "."

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96 EXTRACTS FROM MANUSCRIPTS BELONGING iti lvnnvidhiH||...... iti ssyvidhiH||..... iti rasavIryavipAkanizcayonAmAdhyAyaH // ..." iti rasavIryavidhiH / / ..." iti surAkalpaH // .... iti dravyagurudoSanizcayaH / ....." iti khAdanAni / / ...... iti dazamUlarasavidhiH / / iti mahAlehaH / / ...... iti kA [kaM] kolyAcaM tailam // " iti lehakalpa: smaaptH||..." iti sugaMdhikaTukacUrNam // .... iti zleSmaghanavidhiH // ....." iti pratipAtakalpaH / / ..." zAlihotre citrakAdyavalehaH // ...." nAvanakalpaH [lAnakalpaH] iti dhUmakalpaH // ..... abhyaMgavidhiH // """" iti pralepanakalpaH // " upanAhakalpaH // itymikrmaadhyaayH||..... iti kSAravidhiH // ...... iti shiraavedhvidhiH||..... iti shstrkthaanaamaadhyaayH|| iti svedavidhiH // ..... iti cakSu [9] rogklpH|| kalpasUtraM samAptam / / ..." evaM nidAnAni samAptAni // nidAnasthAnaM caturtham".." arbudacikitsA // ...... zalyoddhAracikitsA // ... prnssttshlyaadhyaayH|| taMtracikitsA // ......"

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YO H. 8. THE MAHARANA OP OODEYPORE. amacikitsA // ...... dhnvNtrirvtrnnirbhaardvaajothkshypH|| ete viSa [sya] haMtAra ete vidyAci [vidyAzci] kitsakAH // "viSataMtracikitsA // ....... yahalakSaNAdhyAyaH // ....." muSkAdhyAyaH // ..." vedhAdhyAyaH smaaptH|| zoSacikitsA..... ityazvAyurvede gaNakRte siddhiyogasaMgrahe bamunizcagaNakRte cikitsAsthAna paMcamaM samAptam // arogAdhyAyaH // """ upsrgaarissttaadhyaayH|| uttaraM saptamaM sthAnaM / etatsaMparikIrtitam saMgrahAdhyAyaH // ....." aayurjnyaannaamaadhyaayH||"." saaraadhyaayH||"" doSalakSaNAdhyAyaH / / ....." suutikopkrmaadhyaayH||....." adhikAracikitsA // .... atauce rogavijJAnamucyate // """ cNdhyopkrmH||....." yAtrAlakSaNam // """ shobhaalkssnnaadhyaayH|| dhAvanAdhyAyaH // ..." svAtisaMpAtiko [zAntisampAThiko] naamaadhyaayH|| ityazvAyurvede gaNakRte siddhiyogasaMgrahe samAptamidamuttarasthAnamiti // samAptathAyaM durlabhasUnugaNakRte [to] yogasaMgrahaH / suvistIrNamu [nmu] nimoktAha [ddha] yA (yurve) vedasasAgarAt uddhato yogaratnAnAM gaNaeSastatodhunA / / ..."zAlihotreNa gargeNa zuzrutena ca bhASitam / / ..." tatvajidA [tatvaM yad jizAstrasya tatsarvamiha saMsthitam // "" saptAMgaNakRtamazvAyurvedazAstramiti // ..... yatrApazabdazatamAnamasaMgatInAM // gaNamayaH samAptam [:]"." gaNasya pustikA // ||sNvt 1727 varSe / / ""

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98 EXTRACTS FROM MANUSCRIPTS BELONGINS hastyAyurvedazAstram zrIgaNezAya namaH pAlakAppAya pratyUhavyUhavicchedakAraNaM gnnnaaykH| jayati sthirsNpttirgjbhktnidrshnH||1|| Amodazca pramodazca sumukho durmukhastathA / avino vinakartA ca heraMbogaNanAyakaH // 2 // laMbodaro gajamukho dhuumrketurgjaannH| sarvakAryeSu heraMbanAmAnyetAni saMsmaret / / 3 / / atha vanAnucaritamadhyAyaM vyAkhyAsyAmaH aMgAMgA [aMgAnA] madhipaH zreSThaH zrImAniMdusamadyutiH / vedavedAMgatatvajJaH sarvazAstravizAradaH // 4 // yeneyaM pRthivI sarvA sshailvnkaannaa| catu:sAgaraparyaMtA bhuktA hyamitatejasA // 5 // sa romapAdonRpatizcakravartI mahAyazAH / medhAvI dharmavAn dhIro nirjitAri: pratApavAn // 6 // aMgadezeSvabhUcchImAn romapAdo mhiiptiH||...... 24 apazyanAgatAMzcaMpAM munayaH shNsitvrtaaH||" dIrghaparikaraM kAppaM nAradaM suravaMditam // ....." guNavatyA vacaH zrutvA mataMgo munisattamaH / .... bhaviSyati hi te putraH saamgaaynsNbhvH|| dIrghakAlaM tapovIrya maunamAsthAya yo vratam / / cariSyati gajaiH sArdhaM zIrNapaNAMbubhojanaH // svayaMbhUH mAgdadau yasmai gajAyurvedamuttamam bhavitA triSu lokeSu tapovIryeNa sNyutH|| pAlakAppaiti khyAto muniriNabAMdhavaH // ....." pAlanAdjayUthasya kAppagotreNa evaca // pAlakAppaiti zrImAnAmnA khyAto bhaviSyati // evaM divyavacaH zrutvA zrImatastasya dhiimtH|| pAlakAppaiti zrImAnnAmadheyaM cakAra saH // .... tanmAM viddhi mahArAja prasUtaM sAmagAyanAt // ..... grAmyANAM vyAdhayo ye ca tanmamAkhyAhi pRcchataH / /

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TO H. E. THE MAHARANA OF OODEY PORK. ityukto bhUmipAlena pAlakAppastatomuniH // hetumatpuSkalArthaM ca vAkyaM rAjAnamabravIt // vane nibodha me hetumArogye vanacAriNAm // ....... iti pAlakAppe gajAyurvede mahApravacane mahArogasthAne vanAnucarito nAmA dhyAyaH prathamaH // aMgohi rAjA caMpAyAM pAlakAppaM sma pRcchati // ..... ityakSirogA vidhivatsanidAna cikitsitAH // pRcchate romapAdAya viMzatiH parikIrttitAH // mahArogamiti mayA yatte sthAnaM prakIrttitam // tatsamApta mihAdhyAye prathamaM zAstranizvayAt // iti zrIpAlakA hatyAyurvede mahApravacane mahArogasthAne akSirogAdhyAyoSTAdaza: // samAptamidaM sthAnaM prathamaM mahArogAkhyam atrAdhyAyA aSTAdaza aSTottarazataM ca rogANAM sanidAnAni cikitsitAnyuktAni // II pAlakAppe 99 sthAnAni catvAri 4 adhyAyAH 170 dvitIyaM kSudrarogasthAnaM adhyAyAH 70 tRtIyaM zalyasthAnaM adhyAyAH 33 caturthamuttarasthAnaM adhyAyAH 49 samagragraMthasaMkhyA 12000 zrIrastu zubhamastu // patra 101 paM0 11 a0 51 // zrIgaNezAya namaH athAtaH kSudrarogasthAnaM dvitIyamArabhyate atha pa [va] mathurogAdhyAyaM vyAkhyAsyAmaH aMgohi rAjA caMpAyAM pAlakAppaM sma pRcchati / vAraNAnAM vamathavaH saMbhavati kathaM mune // 1 // sAdhyAsAdhyaM cikitsAM ca tadbravIhi mahAmune / evaM pRSTAgarAjena pAlakAppastatobravIt // 2 // ...... kSudraroga iti mayA yatte sthAnaM prakIrttitam / / tata [t] saptabhiradhyAyaiH samAptaM sthAnanizcayAt / / bhavati cAtra zlokaH / bhiSagiha nu [tu] yathoktametadevaM vidhimanuyathoktametadevaM vidhimanusRtya karoti yazcikitsAm // bhavati [sa] satataM nRpeNa pUjyo niyatamatirnR [rnR]parAjya [ja] hastivaidyaH //

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Accn.k5 100 EXTRACTS TROY MANUSCRIPTS BELONGING ___ iti zrIpAlakAppamunipraNIte gajAyurvede mahAmavacane vRddhapAThe kSudrarogasthAne dvitIye gAtrarogonAma saptatitamodhyAyaH // samAptaM kSudrarogasthAnaM // zubhamastu / / saMvat 1758 patra 90 paM011 a0|50 // zrIgaNezAya namaH / / // namo vAgdaivyai / / tapobhirbahulaiH pUtaM muni vAraNabAMdhavam / / bAMdhavo viduSAmaMga idaM vAkyamavocata / / tatsarvaM manujAdviddhi samatvaM caiva yadbhavet / / ityabravItpAlakAppo rAjJAMgena praNoditaH / / iti pAlakAppe gajAyurvede mahApravacane zalyanAmni tRtIyasthAne daMtoddharaNaM nAma trystriNshodhyaayH|| samAptaM cedaM zalyanAmakaM tRtIyasthAnaM / / zubhamastu / / patra 131 paM09 a 26 athAtazcaturthe uttarasthAnamArabhyate / / aMgo hi rAjA caMpAyAM pAlakAppaM sma pRcchati / hitaM nizreyasaM caiva gajAnAmanuciMtayan / / 1 / / apUrNam yogayAtrA pa0 36 paM09 a040 // 8 // zrIgaNezAya namaH yazcakSurjagataH sahasrakaravaddhAmnAM ca dhAmAvanmokSadvAramapAvRtaM ca ravivaddhvAMtAMtakRtsaryavat // AtmA sarvazarIriNAM savitRva [t] tigmAMzuvatkAlakat [kRt] sAdhvIM naH sa giraM tanotu savitA yonyairatulyopama [:] // 1 // vakSyAmi bhUpamadhikRtya guNopapannaM............." // 38 // svaviSayamabhigabhya mAnaveMdro balimupayAcitakAni vAdhikAni / nigaditavidhinaiva saMvidadhyAt prathamagaNAsphuTabhUta devatAbhyaH / / 39 // iti yogayAtrAyAM balotsAhonAma SoDazaH sargaH // // yAtrAvatAraAdI daivAcArAbhiyojakAdhyAyaH [yAH] //

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To B. H. THE MAHARANA OP OODEXPORR. 101 yogAdhyAyomizrakabalyupahArau tathA snAnam / / aminimittaM nakSatrakaiTabhalakSaNaM tathA vaaryaaH|| za[zA]lAkA vidhirga gitamadakaraNaM vAjiceSTA ca // SaDgavidhiH prasthAnaM zAkunamutsAhasuranivezazca / / viMzativRttau tAni paMcazatAnyatra kathitAni / / iti AcAryavarAhamihirakRtau yogayAtrA samAptaM [ptA] saM0 1733 kA0 su05 lipIkRtam / / vIracampU: pa0 21 paM0 10 a0 2 ||shriignneshaay namaH / / niytrucirpaanaarktdntaagrrociiilitdnujraajmauddhdppaaNdhkaarH| sRjatu dazadigaMtasthAyiniSkIrtimallI stripurapurapuraMdhImeravo bhairavo vaH / / 1 // ..... svasti zrImadvaghelakulAvataMsamahArAjAdhirAja zrIrAmacandradevAtmaja zrIyazodAnandanayuvarAja zrIvIrabhadradevacarite mizra zrIbalabhadrAtmaja vijayazrI garbhasaMbhavasakalazAstrAravindapradyotana bhaTTAcAryazrIpadmanAbhaviracite prathama ucchrAsa: samAptaH // 1 // svasti..."zrIvIrabhadradeva carite..... yugarAma zazAMke varSe caitre site prathame / / zrIvIrabhadracaMpU: pUrNAbhUcchyase viduSAm / / svasti""""saptama uchAsaH samAptaH // samAptovIracaMpUnAmA graMthaH / / saMvat 1648 samaye ASADha zuddha tRtIyAyAM some lAhurapure jagannAthabhaTTenAlekhi pustakamidam // tIrtharatnAkaraH patra 240 paM01 a0 25 nAstyAdipatram supasiddhAni tIrthAni nAnAgraMthagatAni ca / / vicArapUrva saMkSipya likhitAni vishesstH|| zrIrAmaprasAdaniSpannastIrtharatnAkaro mayA // tatpAdapadmayugale kAzyAM bhaktyA niveditaH / /

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102 EXTRACTS FROM MANUSCRIPTS BELONGING iti zrImatparAzarasagotrasakalazAstravizAradazrImAdhavAtmajarAmakRSNabhaTTaviracite zrIrAmaprasAdAkhye tIrtharatnAkare madhyadezasthatIrthamAhAmyam / samAptoyaM graMthaH // saMvat 1699 varSe..."medapATadezAt mahArAjazrIrANA zrIjagatasaMghajIvijayarAjye svati zrIudayapurazubhasthAnAt.."likhitaM kalyANamastu / / pallIvAlajJAtIya zrIrAmarAyajIsutagarIbadAsaH....." bRhaspatisaMhitA // p070609| 35 a0 ||siddhignneshaay nmH|| athAta: saMpravakSA [kSyA] mi OMkArasya tu lakSaNam / / OMkAratrimAtraM tu zRNuSvApihitomunI / / ..." iti bRhaspatisaMhitAyAM gurunAradasaMvAde bhUmipUjAzamAlaMbhanaM samAptaH / / " iti....."vratadIkSAvidhAnam...... iti""""vAstupUjAdhikAraH samAptaH""" punarAgamanAyaca // iti bhUmivisarjanIyaM samApta iti zrIbRhaspatisaMhitAyAM gurunAradasaMvAde bRhaspatipaddhati saMpUrNa smaaptmiti|| vidhAnamAlA pa0 232 paM0 11 a0 34 // 90 // zrIgaNezAya namaH / / yodhanvaMtarizAstramarthacatura: kAruNyaratnAkaraH saujanyAmRtapUrNamAnasasaricchrIzaMbhucittaH sdaa| bhUpAlAlikalAlanIyacaraNadvaMdvasya sUnurharebhUvistAriyazAH sadA jayati saH [sa] zrIvizvanAthaH sudhIH / / 1 / / praNamya laMbodaramuktanAmA saMtA [to] SadA sarvapurANadRSTAm / dharmArthakAmavyavahArasiddhayai karomi zuddhArthavidhAnamAlAm / / 2 / / kurvatu kaMTheSu nijeSu dhIrAH // 7 // iti zrI nRsI [siMhabhaTTaviracitAyAM vidhAnamAlA saMpUrNamiti // // saMvat 1677 varSe "likhAyitamidaM pustakam // vRddhavasiSThasaMhitA pa0 120 50 13 a0 28 ||shriignneshaay namaH prahAMbhojasurAsureMdranikara"........... jyotiHzAstraM samagraM prathamapuruSataH svarNagarbhAdviditvA

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TO.H. H. THE MAHARANA OF OODEYPORE. 103 pUrva brahmA.............................. // 2 // skaMdhadvayaM vRttavicitramarthagaMbhIramAdAvadhunA.............. tatsaMhitAskaMdhamidaM tRtIyaM vakSye jaganmohananAmadheyam // 3 // ..."12 iti zrIvRddhavasiSThabrahmarSiviracitAyAM mahAsaMhitAyAM zAstrasvarU. pAdhyAyaH prathamaH antyapatre 126 iti zrI tithinakSatravArarogotpattizAntyadhyAyaH...... iti kuhUyogavidhinAmAdhyAyaH saMvat 1730 pauSavadi * * graMthasaMkhyA 3473 nAradapaJcarAtre pAramezvarasaMhitA zrIgaNezAya namaH zuklAMbaradharaM viSNuM zazivarNaM caturbhujam / prasannavadanaM dhyAyetsarvavighnopazAMtaye // 1 // pAtu praNatarakSAyAM...... 86 pAramezvarazAstrANAM sarveSAM munipuMgava / sArabhUtaM vizeSeNa pauSkarArthopapAdakam // 8 // mUlavedAnusAreNa chaMdasAnuSTubhena ca / lakSagraMthena sarvArthakriyAjJAnopalabdhaye // 8 // samebravInmahAzAstraM paarmeshvrsNjnyyaa| tasmAttu sAramuddhRtya sarvazAstropayoginam / / 89 / / zlokaiH SoDazasAhasraiH pAramezvarasaMjJayA / saMpravakSyAmi te zAstramidAnImavadhAraya / / 90 // nAradopi...." iti zrInAradapaMcarAtre......yahamasa strazva tomara tAMparA pAnA shoraaNvaamaadhyaayH||1|| apUrNA patra 194 paM0 12 akSara 52 nAradapaJcarAtre jayAkhyasaMhitA // || aadiptraabhaavH|| 79 iti zrI nAradapaJcarAtra jayAkhyasaMhitAyAM zAstrAraMbhaprayojanaM nAma :pamaH pttlH||

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104 EXTRACTS TROX MANUSCRIPTS BELONGINO iti zrI. yogAkhyAnaM nAma trayastriMzodhyAyaH / / 33 / / samAptA ceyaM jayAkhyasaMhitA / / atha jayAkhyAnukramaNikA // AraMbhaprayojanAdhyAyaH // 1 // brhmsrgaakhyH||2|| pradhAnasarga jIvasvarUpa. // 3 // zuddhasarga brahmatvAkhya. // 4 // paramAnaMdaprAptau maMtrarvighanAza. // 5 // maMtroddhAra. // 6 // maMtropakaraNa. // 7 // mudrAbaMdhAkhya. // 8 // lAnavidhi. // 9 // samAdhivyAkhyAna. // 10 // nyAsavidhi. // 11 // mAnasayAga. // 12 // bAhyayAga. // 13 // japavidhAna. // 14 // amikArya. // 15 // dIkSAvidhi. // 16 // ziSyabheda. // 17 // abhiSekAkhyanAma. // 18 // maMtrasiddhicinhAkhyanAma. / / 19 // pratiSThAvidhAnanAma. // 20 // pavitrakavidhAnanAma. // 21 // vaiSNavalakSaNazrAddhavidhinAma. // 22 / / saMskArAtmakanAma. // 23 // mAyazcittavidhinAma. // 24 // maMtrasAdhananAma. // 25 // sAdhakamaMtrasAdhananAma. // 26 // aMgamaMtrasAdhakanAma. // 27 // aMgamaMtrasAdhananAma. // 28 // cakratrayakalpasA0 // 29 // kaustubhAdInAM maMtrasA0 // 30 / /

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TO H. H. THE MAHARANA OF OODEYPORE. 105 upAMzujapasAdhanaM nAma // 31 // sAdhanavidhinAma. // 32 // yogAkhyAnanAma. // 33 // iti zrInAradapaJcarAtre jayAkhyasaMhitAyAmanukramaNikA samAptA"graMthAgrasaMkhyA 5000 saMvat 182 patra 142 nAradapaJcarAtra lakSmIsaMhitA ||shriignneshaay nmH|| namonityAnavadyAya jagataH sarvahetave // jJAnAya nistaraMgAya lakSmInArAyaNAtmane / kiM bhUyaH zrotumicchasi 236 iti zrInAradapaMcarAtre mahAlakSmItaMtre zrIsUktamabhAvaprakAzonAma paMcAzattamodhyAyaH // 50 // iMdratapa[po]lakSmIdarzanaM // 1 // zuddhamArgaprakAzonAma // 2 // traiguNyaprakAza. // 3 // AtmasvarUpaprakAza. // 4 // prAkRti sRSTitattvaprakAza. // 5 // jIvasya tatvanirUpaNa. // 6 // pramAtRkaraNAdiprakAza. // 7 // savovatAreSu zaktirUpa. // 8 // avatAraprayojananA. // 9 // vyUhaprakAza. // 10 // vaibhavaprakAza. // 11 // avidyAvidyAprakAza. // 12 // jIvaprakAraprakAza. / / 13 / / shuddhaashuddhjiivsvruupvnnnnenNnaa0||14|| jIvasya guNatrayAtyayavarNanaMnA0 // 15 // jIvazuddhivarNanaMnAma. // 16 // saMsArataraNopAya. // 17 // maMtrotpatti. // 18 // vaikharIsvarUpanirUpaNa. // 19 // mAtRkAbhUmivarNana. // 20 //

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106 EXTRACTS FROM MANUSCRIPTS BELONGING maMtraguruziSyalakSaNa. // 21 // maMtrANAmuttamAdibheda // 22 // maMtrANAMmAtRkAprakAzonAma. // 23 // tArakAprakAzonAma // 24 // tArakAnuttaraprakAzavarNoMddhAra* // 25 // tArakAmayasaptavidyAprakAzonAma. / / 26 / / tArikANAM sadAcAraprakAzonAma. // 27 // sadAcAraprakAzonAma. // 28 // SADuNyavibhavAmISomavibhAgaprakAzonAma. / / 29 / / trayarUpeNa sudarzavibhavaprakAzonAma. // 30 // sudarzanarahasyaprakAzonAma // 31 // sthUlasUkSmAdiprakAzonAma. // 32 // aMgopAMgAdimaMtraprakAzonAma // 33 // mudrAsamudrApadarzanasnAnapra. // 34 // bhUtazuddhiprakAzonAma. // 35 // aMtaryAgaprakAzonAma // 36 // bahiryAgaprakAzonAma. // 37 // bahiryAgAvaraNaprakAzonAma // 38 // bahiryAgaprakAzajapAdividhiH // 39 // nityavidhiprakAzaH zraddhAdivarNanaM ca0 // 40 // dIkSAbhiSekaprakAzonAma // 41 // purazcaraNakrama // 42 // manonivAraNadarzana // 43 // rahasyaprakAza // 44 // parivAramudrAmUrtiprakAza. // 45 // siddhiprakAza // 46 // kIrtimaMtrasiddhiprakAza // 47 // jayaprakAza // 48 // prtisstth| vidhAnasiddhipra. // 49 // iti zrIsUktamaMtraprabhAvaprakAzaM nAma paMcAzodhyAyaH // 50 // mahAlakSmI saMhitA samAptA // saMvat 1782'''lakSmIsaMhitA patra 113 graMthasaMkhyA 3700

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TO H. H. THE MAHARANA,OF OODEYPORE. 107 // raamklpdrumaakhynibndhH|| zrIgaNezAya namaH paNaumi jAnakIjAni pitaraM kamalAkaram / aMbAmaruMdhatIzIlA lakSmI lakSaNazAlinIm / / 1 // jagadguroH zrIkamalAkarasya digNtvikhyaatnibNdhkiittaiH| anaMtasaMjJastu tadAtmajosau zrIrAmakalpadrumamAtanoti // 2 // iti zrImatpadavAkyapramANapa [pA] rAvArapArINazrImannArAyaNabhaTTasUri [sa] nuzrIrAmakRSNabhaTTasutazrImajjagadgurukamalAkarabhaTTAtmajAnaMtabhaTTakRte zrIrAmakalpadumAkhye nibaMdhe samayakAMDaH samAptaH // patra 101 // praNamya jAnakIjAni pitaraM kamalAkaram / anantasaMjJastanute dAnakAMDaM yathAmati // 1 // anaMtavibudhenAtra kamalAkarasUnunA / / yotra zramaH kRtastena prIyatAM rghunNdnH|| samastavidvatparitApahArI smstsNdehniraaskaarii|| zrIrAmakalpadrumanAmadhArI nibaMdha eSostu jaMgamacArI / / ta vedAMtazAstre phaNipatibhaNitaM [te] prauDhataMtre svataMtraH zikSAdakSaH khalAnAM guruvaravacasA bhUla ta]bhAvopadeSTA / / bhATTe bhaTTopamAno viditabahumataH saMmataH sajjanAnAM zraute smAte ca vede vijayati nitarAM zrIgarIbAbhidhAnaH / / tatkRtaM yanna kenApi taddattaM yatna kenacit / / saMpAditA ca sA kIrtiryA ca kenApi nArjitA // soyaM janaM dharmakathAvihInaM pApe rataM vIkSya dayArdracetAH / / saMpUjya sUnaM [y] kamalAkarasyApyacIkarattena nibaMdhamenam // iti zrImanmahAmaMDalAkhaMDalacakravarticUDAmaNirAjAdhirAjazrImahArANArAjasiMhazrI divANajIpurohita zrI zrI zrI garIbadAsa purohitamahArAja preritAnaMtabhaTTaviracitazrIrAmakalpadrumAkhyamahAnibaMdhAtargataM saptamaM dAnakAMDaM samAptam / / patra // 140 // praNamya jA0...."utsargAkhyaM yathAmati // 1 // brAhmaNabhojanaM IzvarArpaNamiti zubhamastu / iti zrImanmahImaMDalAkhaMDalacakravarticUDAmaNizrIrAjasiMhamahArANAsArvabhaumapurohita zrIgarIbadAsameritAnaMtabhaTTa viracite zrIrAmakalpadrumAMtargate utsargakAMDe taDotsargavidhiH smaaptH|| ||ptr. / / 25 / /

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108 EXTRACTS FROM MANUSCRIPTS BELONGING bhUpAlavallabhaH zrIgaNezAya namaH zrIsUryAya namaH yacchAstraM savitA cakAra vipulaM skaMdhaistribhijyotiSa tasyocchitti rmayA sUnuH kaliyuge"..." / / bhUyaH svalpataraM varAhamihiravyAjena sarva vyadhA dityaM yaM pravadaMti yogakuzalAstasmai namo bhAsvate / / 1 / / iti rAjamAtaDe vivAhazuddhipaTalam ......... iti tArAdilAnadoSopazamanaM homAdikathanaprAyazcittam..... zastraprakaraNamuktaM bhUpAlavallabhe // iti zrIkRSNadevAtmajaparazurAmakRte bhUpAlavallabhe nItizAstram..... iti zrIpazurAmeNa jyotiSAM gativedinA ghAtazAMtiviracitA narANAM [hita] hetave // ........ iti zrIparazurAmeNa jyotiSAMgati'..."kAraprakaraNaM kRtaM bhuupaalvllbhe||35|| iti bhUpAlavallabhe alaMkAraprakAraprakaraNam" iti bhUpAlavallabhe gavAdilakSaNam ........ 19 iti zrIbhUpAlavallabhe zAstradR........" 44 kRSNadevAtmajenaiva pazurAmadvijanmanA / / svamAdhyAyonigadito. patra 600 50 11 a0 24 apUrNam kRtyaratnAkaraH brahmacArikAMDaH pa0 79 paM01 a048 ||shriignneshaaynmH|| 1 A0 devaH sphuranmari [himatattadanaMtamatsya kuurmaadijnmkthitaagtvaibhvoyH| brahmAMDabudbudamayo laradaMzaleza staryAnapohatu sa bodhamahodadhirvaH // 1 // lakSmIdharakRta:ca0 apUrNaH

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TO H. H. THE MAHARANA OF OODEYPORE. 109 2 A0 gRhasthakANDaH 250 110-501-a049 // shriig0|| svAdhyAyAdhigamorthatatvagataye stkrmnisspttye......| ca0 kurvatoyaM prakAra iti medhaatithiH|| // iti zrIbhaTTalakSmIdharaviracite kRtyakalpatarau gRhasthakAMDa samAptam / / ___3 A0 naiyatakAlakANDaH 350 160 50 1 a048 ||shriig0|| yena pratyahamabhrasiMdhupayasi snAnAdibhiH karmabhiH ..... ca0 ityeSakathito rAjan purANazravaNA[Na] vidhiH|| // iti mahArAjAdhirAjazrImadgoviMda caMdravi-devamahAsAMdhivigrahikeNa bhaTTahRdayadharAtmajena zrIlakSmIdhareNa viracite kRttyakalpatarau naiyatakAlakAMDaM samAptam / / zrAddhakANDaH 450 100paM0 100 a046 4 A0 zrIga0 yaH puNyAtmA dhinoti pratidinamatiteha~takArairmanuSyAn..... ca0 prAdhAnike sthAne pradhAnahomasthAne...." iti bhaTTahRdayadharAtmajamahAsAMdhivigrahikabhaTTazrIlakSmIdharaviracite kRtyakalpatarI zrAddhakAMDaM samAptam / / graMthasaMkhyA 3000 dAnakaNDaH 550935010 a040 5 A0 OMnamorvigharAjAya nirvighaphaladAyine / / yenAvicchedavedadhvanihatakalibhiH zrotriyAnAM purIbhiH ca. nakSatranAyakaM kuryAddArAbhyAM madhyataH sthitam / iti zrIbhaTTalakSmIdharaviracite kRtyakalpatarau paMcamaM dAnakAMDaM samAptam / / pratiSThAkANDaH 65083 paM09 a041 6 A0 // shriig0|| athapratiSThA // tatra prAsAdAdiphalaM / tatra yamaH / kRtvAdevakulaM zubhaM ca0 vizeSeNa tu saMpUrNAste pUjyAH zatazomune / itizrImahArAjAdhirAjagoviMdacaMdrasAMdhivigrahikazrIlakSmIdharabhaTTaviracite kRsyakalpatarau pratiSThAkAMDa: pUrNaH / /

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110 EXTRACTS FROM MANUSCRIPTS BELONGING tIrthakANDaH 8086 paM09 a041 zrIgaNezAya namaH 8 A0 dharma nirmalahemakuMbhazirasoyasyAmarANAM gRhAH..... ___ca0 nAgaizcaiva hatA ye ca te narAH puNyakarmiNaH // iti bhaTTazrIhRdayadharAtmajamahAsAMdhivigrahikabhaTTazrImallakSmIdharaviracite kR. tyakalpatarau tIrthakAMDaM samAptam // graMthasaMkhyA 2525 zuddhikANDaH 105054609 a0 39 ___ zrIgaNezAya namaH 10 A0 varNAdapyucitArjanApi bhRzaM zuddhairyadIyairamI......... ca0 patighI ca vishessenn"""niNditH|| iti bhaTTazrIlakSmIdhareNa viracite kRtyakalpatarau zuddhikAMDaM samAptam. graMthasaMkhyA 1250 rAjadharmakANDaH 11 5051 509 a052 __ zrIsiddhivinAyakAya namaH 11 A0 nyAye varmaniM yajjagadguNavatAM geheSu yatino.......... ca0 AyurArogyamaizvaryaM tadaMte ca sukhIbhavet // iti zrImadgoviMdacaMdramahArAjasAMdhivigrahikazrIlakSmIdharabhaTTaviracite kRtyakalpatarau rAjadharmakAMDaH sNpuurnnH|| saMvat 1612 vyavahArakANDam 1250 17050 a049 12 A0 // OM namo bhagavate vAsudevAya ||AUM namaH zivAya / / nAnAzAstravacovicAracaturaprajJAbalasthApita ca0 svaRkthataH vibhaktAnavagaccheyulekhyamapyantareNa tAn // ___ iti bhaTTahRdayadharAtmajamahAsAMdhivigrahikabhaTTazrImalakSmIdharaviracite kRtyakalpatarau vyavahArakAMDe vyavahArakAMDaM samAptam // graMthasaMkhyA 5000

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TO H. H. THE MAHARANA OF OODEYPORE. zAntikANDam 13 pa0 33 paM 12 a0 50 // OM namaH zivAya // yasmin bibhrati vizvapAlanamahAyajJaM dvijanmottame brAhmaNA daivataM mahat / / || 13 A0 namogaNezAya ca0 iti mahArAjAdhirAjazrImadgoviMdadevamahAsAMdhivigrahika zrImanhRdayakarAtmajabhaTTazrIlakSmIdharaviracite kRtyakalpatarau zAMtikapauSTikakAMDaM samAptam / / iti / / 2650 / / mokSakANDam 14 pa0 89 paM0 8 a0 51 // zrIgaNe0 // 14 A0 vedAMtoktivivekavaibhavagaladdurvAramAyAtamaH yathA gatirnadRzyeta tathaivAsya mahAtmanaH // ca0 * goviMdacaMdra ... mokSakAMDaM samAptam / / // saMvat 1708 zubhamastu 111

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brAhmaNapustakAni. brAhmaNapustakAni. kartA. kato. patrANi. saMvat . zlokAH saMpUrNamapUrNa vA. 1780 1230 C0000 15000 1 agastya saMhitA ..... 2 aniTkArikA-savyAkhyAnA ... 3 amarakozakavitabhASA ... .....nAraNadAsa nRpaH aSTAdhyAyI ...... aSTAMgahRdayadIpikA-padArthacandri | kAnAnI. bhandhayaSTipaddhatyAkhyoyajJIyagranthaH .... 7 AtmavidyopadezaH ...............zaMkaraH AnandalaharITIkA ...... ........bhaTTAcArya gau rIkAntaH 9 AraNIpadam ............. 1. AryAvijJaptiH .................. rAmacaMdraH...... 12 AzvalAyanagRhyakArikA-jaya | ntamate. 12 AzvalAyanItavRttiH .........nArAyaNaH ... 13 AzaucasaMgrahAkhyatriMzacchokI mU0 bopadevaH / saTIkA. TI. bhaTTAcAryaH 14 Ahnikam -sAmagAnAm ...... 15 itihAsasamuccayaH .............. 16 ur3AmaramahAzAstrasAroddhAraH.. 17 uttaragItA-saTIkA ............gauDapAdI ... 18 RtusaMhAramahAkAvyam ........ kAlidAsaH ... RgvedamantrasaMhitA............... aitareyatrAhmaNapazcikAvA-vrAtya | paJcikA. 21 UrdhvadehikapaddhatiH............... rAmezvaraH .. 22 kavikalpagumanAmA dhAtupAThaH ... bopadevaH ...... 23 kakSApuTaH ........................ nAgArjunaH... 24 kAmaketugrAmaNIkathA-zrIkA ntAkathA ca. 25 kAmazAstresmaradIpikA ....... 26 kAmAkSIstutizatakAni... mUkakaviH ...] 27 kArakaparIkSAvRttiH ....... ....... | . | apUrNam . . 2000 3936 256 24 1875 700

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114 LIST OP MANUSCRIPTS brAhmaNapustakAni. kartA. patrANi. saMvat. zlokAH saMpUrNamapUrNa vA. 1. 28 kArakavyAkhyA .................. jayarAmabhahA cAryaH 29 kAlAnaNayaH..................... mahojIdIkSitaH 3. kArtavIryadIpadAnavidhiH ......... rAmacandraH 31 kAvyaprakAzaH ................. mammaTAlaka yoH kRtiH 32 tasyaiva TIkA..................... sarasvatI tIrthaH| 128 33 tasyaiva TIkA sArasamuccayAkhyA... 34 kAzikAvRttiH ......... ........ jayAdityaH ... 303 paM016 a056 35 kuvalayAnandakArikA-saTIkA...TI0 AzAdhara bhahaH 36 kumArasambhavakAvyasya TIkA. vallabhadevaH saca Anandade vAyaniH 37 tasyaiva TIkA devasenAnAmnI saMga raharicaraNadAsaH 38 kulArNave paJcamakhaNDe saptadazo. .. llAsaH 39 kuNDatatvapradIpaH .............. balabhadraH ...... 20 1802 kuNDalakSmavivRttiH ... ..... rAmaH ......... 41 kuNDapradIpaH ...... ........" mahAdevaH ...... 42 kuNDaprabandhaH...... kAlidAsaH sa ca balabhadra sutaH 43 kuNDamANDaH .................. govinda daivajJaH 10 44 kumbhIvratakathA ...... 81722 45 kedArakalpaH ........... 46 gaNapatyupaniSad ........... gaNapatiratnapradIpaH-paTala 9 daza-brahmezvaraH mamapUrNam. 48 gaNitanAmamAlA................. haradattaH-zrIpa tisutaH 49 gaNDabheruNDanRsiMhamAlAmantraH .... 50 tasyaivavidhiH-bharuNDatantroktaH ... gAyatryartharahasyam ............... jJAnadevaH ... 52 gItagovindakAvyam-saTIkam. mU. jayadevaH | TI. nArAyaNaH / | apUrNam .....

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ACQUIRED FOR GOVERNMENT. J15 brAhmaNapustakAni. kartA. patrANi. saMvat. zlokAH saMpUrNamapUrNa vA. . 2 . ma Gaa & AK:- 53 gItAmAhAtmyam-padmapurANoktam. 54 gItAsAraH-skandapurANoktaH ... 55 gurugItAstotram ............... 56 gRhyasUtram ............ 57 gopAlarahasyasahasranAmastotram sammohanatantrAntargatam. 58 grahalAghavodAharaNam............... vizvanAthaH ..] 59 grahAgamakutUhalam ............... bhAskaraH..... 6. ghaTakhaparakAvyam-saTIkama......mU.kAlidAsaH 61 caturvargasaMgrahaH .............. kSemendraH ...... 62 caNDIstotram-saTIkam ......... TInAgojImahaH 63 tadeva TIkA-gutavatInAnI ......TI bhAskararAya. 64 candragrahaNasAdhanam ..............zrIpatiH ...... 65 campASaSThIvratakathA brahmapurANokkA. 66 cAturmAsyamAhAtmyam ....... 67 cArucaryAzatakam kSemandraH ...... 68 janmadIpakaH ..................... govindaH 69 jAtakapaddhatiprakAzaH ......... divAkaraH jyotirnirNayaH .... nAndidattaH-zrI patiziSyaH tatvabodhinI-siddhAntakaumudyASTIkA.jJAnendrasarasva tI. tarkasaMgrahadIpikA prakAzaH ...... nIlakaNThaH...| 73 tAjikamuktAvalI ...............AtukaH sadA zivaputraH 74 tAjikapanakozaH............... govarddhanaH 75 tApImAhAtmyam-skandoktam .... 76 tArArahasyavRttikA........... trikAlajJAnAkSaracintAmaNiH ... 78 triprabhAdhikAraHziromaNeH-saTIka: mU0 bhAskaraH TI. rAmakRSNaH 79 triveNikA ........ AzAdharabhahaH 80 vizacchokI ..................... bopadevaH ...... 11 dazakumAracaritadIpikA ......... dazazlokI-saTIkA............... TIkA. raghunA thA-mAdha. / vAtmajaH n apUrNam __

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116 LIST OF MANUSCRIPTS brAhmaNapustakAni. | saMpUrNamakartA. patrANi. saMvat. zlokAH kA pUrNa vA. 380 apUrNama daNDakam........ navagrahAdhidevatAsthApanam navagrahAdhipatyAdhidevatAsthApanam nakSatrasthApana pUrNAhutiH vaizvAnarastuti: amRtAbhiSekaH 84 dakSiNakAlikApUjanaprayogaH....... ...... |34 / 32 ... 85 dAnadIpavAkyasamuccayaH ........... dAnapaJcikA ..................... ratnAkara ThakuraH 7 dinakarI-anumAnakhaNDAt ...... dinakaraH...... 18 divAkarapaddhatiprakAzavivaraNam... vIrezvaraH ... 89 durgAdevIsUktam .............. divIstotram-sAvacUra ............ laghupaNDitaH... 91 devIstotram-alaMkArodAharaNAna- yazaskaraH ... baddham. 92 dharmazAstrasarvasvetIrthakarttavyatAvi cAra: 93 dhRSTakakathA-zAkinIcaritraviSaye. 94 dhruvabhramakabhASyam ............... padmanAbhaH 95 navacaraNavicAra:-bhASAyAm vA | karmavipAkavicAraH. 96 navaratnaTIkA .....................vallabhaH ....... 97 nakSatrazAntiH .................. baudhAyanaH 90 nAthastutiH vA-Atmamandirasto-yAmunAcAryaH | tram. 99 niruktapUrvArddham .............. 100 nirodhalakSaNavivaraNam ............ harirAya 101 nRsiMhacampUkAvyam............... kezavabhahaH ... 102 nyAyabodhinI-tarkasaMgrahasya TIkA govarddhanaH 103 pavamAnasUktam ............. 104 paJcaparvamAhAtmyam-garuDapurANo 500 nAdipatram kam 105 paJcatantraprathamatantram ......... 106 pRthvIvarAhasaMvAdaH-varAhapurANe | RgvedavidhAne. 90 upAMtyapatraM / nAsti

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ACQUIRED FOR GOVERNMENT. 117 brAhmaNapustakAni. kartA. saMpUrNamapatrANi. saMvat. zlokAH | pUrNa vA. A 107 praNayAmRtapaJcAzakam............rAmacandraH ... 108 prabodhinI mAhAtmyam .......... 109 prabodhacandrikA-zlokabaddhA-vyA vaijalabhUpatiH karaNaviSaye-sandhiparyantA. 110 prayAgamAhAtmyam-matsyapurANo | kam. 111 prayogaratram-anantabhaTTIsahitam- mU. nArAyaNaH | prAyazcittaprayogAntam. 112 pAtaJjalayogazAstravivRtiH-rA- bhojadevaH .... 42 | jamArtaNDAbhidhAnA. 113 pArAzarIyadharmazAstram ...... 114 prAkRtecandrikA-veNIsaMhAranATa kasya. 115 prauDhamanoramA .................... bhahojidIkSitaH 116 piMgalapradIpaH....... .....lakSmInAtha bha hArakaH 117 puSpAJjalistotram ............... rAmakRSNaH .... 3 118 bAlabhAratam pracaNDapAmDavApara- rAjazekharaH ... 20 nAmakam-aMko 119 bIjagaNitam... 120 bIjagaNitaprabodhaH ............... rAmakRSNo jyo tirvid. 121 bhAminIvilAsaH-vilAsaH 1 paNDitarAjaH 122 bhuvanezvarIstotrabhASyam ......... padmanAbhaH...... 123 makarandavivaraNam ...............divAkara ... 124 manoramAvRttau bhASAvibhAganAmA-vararuciH ... / dazamaparicchedaH mntrmhoddhenokaanaamnii TIkA ...mahIdharaH ......| 126 mantrapADhA ........................yAjJavalkyaH ...| 127 mantrasaMkalanA-sthApanasya ....... ...... 128 manyusUktama ....... 129 mahAkAlayogazAstrekhecarIvidyA. AdinAthaH ... 130 mahAbhAratasAvitrI ......... 131 mahArNavanAmA karmavipAkaH ...... madanapAlaputraH gatapatra *.. * 500 apUrNam 132 mAdhavanidAnam ..................mAdhavaH ...... / 102 ... / 1700

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118 brAhmaNapustakAni 133 mAdhavAnalanATakam. 134 mAnavasUtram 135 mImAMsArthasaMgrahaprakaraNam LIST OF MANUSCRIPTS 136 mRgavyAdhakathAnakam - vA- mRgopA khyAnam nAradapurANoktam . 137 muktAlatAzatakam 138 muhUrtacintAmaNeSTIkA 139 muhUrttatatvam 140 muhUrttatatvam - saTIkam 141 meghadUtakAvyam 142 meghadUtakAvyam - sAvacUri.. 143 yakSiNIvetAlasAdhanam - mantraranA kavIzvaraH laugAkSibhA skaraH zambhumizraH . rAmadevajJaH . kezavaH valyuktam. 144 yantracintAmaNi : saTIka : ..... 145 yantroddhAravidhiH- rudrayAmaloktaH 146 yAjJikavallabhA 147 yogaratnasamuccayaH 151 rajodarzanazAntiH 152 ratnakozaH. 153 rasendracUDAmaNiH - adhyAyAH 7 154 rAjendra karNapUraH 155 rAmasahasranAma - liMgapurANoktam... 156 rudrajapaH 157 rudrAdhyAyaH 158 rudravidhAnam - maitrAyaNIyAnAm vyAlaMkAraH 160 lakSahomavidhiH - vAsiSThaH 161 lamacandrikA. ...... karttA. mU0 kezavaH ... TI0 gaNezaH - kAlidAsaH mahAdevasutaH... candraH--tI sarasutaH vyaMkaTezaH 148 yogArNavaH *** 149 raghunAthavilAsa vA - rasamaJjarI bhA- raghunAthaH - gaM. SAkavitA. ziSyaH vallabhadevaH 150 raghuvaMzapaJjikA - sarga 17 . baudhAyanaH . somadevaH zambhukaviH 159 rudrAlaMkAra - saTIka vAkA pU0 rudraTaH ......... ... TI0 namisAdhuH 111130 . kAzinAthaH... saMpUrNama - patrANi saMvat. zlokAH pUrNaM vA. 16 1863 250 | 26 28 / / ... ... 54 patra 4na ... 300 13 184 1882 5500 28 1735 486 157 3500/ - 19 11 40 ... : 26 1612. 250 19 1600 apUrNam 7 1856 170 ... 300 100 51 1578 600 229 1815 4580 www 400 tru. 430 ... 12 312 12 1740 594 200 5500 350 250 560 nAdyapatram 150 6 130 29 1825 350 31 1618 150 16 1830 300 142 4000 ... 7 1620 | ... 50 [tre na staH 1000 Adyantapa

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ACQUIRED FOR GOVERNMENT. 119 brAhmaNapustakAni. karnA. saMpUrNama patrANi. saMvat . zlokAH pUrNa vA. 162 lIlAvatI-pATIgaNite-saTIkA. TI. gaMgAdharaH 163 saiva-ghanamUlaparyantA ............sa eva ....... 5 164 vasantarAjazAkunaH.. ...... 62 patra ___eanAma & Acg 169 vakroktipaJcAzikA-saTIkA ...mU. ratnAkaraH / TI. vallabhadevaH 166 varddhamAnenduH ................... padmanAbhaH 267 vAmanasUktam ..................... 168 vijayAkalpesavispaTalam......... 169 vivekamArtaNDaH vA-yogapradIpaH... 170 vilhaNacaritanAmakakhaNDakAvyam vilhaNaH ... 171 viSNubhaktiprabandhaH-stabako 2 . puruSottamaH... 172 viSNuzrAddhapaddhatiH ...............nArAyaNaH ... 173 viSNusahasranAma sabhASyam padma purANokam . 174 viSNusUktam 175 visaladevarAsa ..... vRndAvanakAvyam ..... meghAbhyudayakAvyam ghaTakhaparakAvyam candradUtakAvyam zivabhadrakavikAvyam zivabhadrakAvyam 177 'vRhajjAtakaTIkA ...............mahotpalaH .... 150 1890 6000 174 vaidyajIvanan -saTIkam ....... mU0 lolimbarA- 30 1822/ 1260 jaH TI0 rudrabhahaH koNerabhahaputraH 179 vaidyamanotsavaH bhASAyAm ......... nayanasukhaH 12/ 1749 350 280 vadyapadApaH ..................... uddhavamizraH .... 1400 181 vyaMkaTAgarimAhAtmyam adhyA. 17 / 336/ apUrNam | varAha purANoktam . 182 zatabhokavyavahArakam ............trivikramaH .... 5/1781 - vA-trivikramazatakam 183 zabdazobhAnAmaka vyAkaraNam ... nIlakaNTha: ... 29 1736 490 284 zabdabhedaprakAzaH.......... ..... / 17 ...| 300

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120 brAhmaNapustakAni 185 zAbdabodhaprakriyA 186 zivagItA - saTIkA 187 zivapurANam 188 zivarAtrikathA 189 zivArcanacandrikA pra0 15 LIST OF MANUSCRIPTS 190 zizupAlavadhakAvyam 191 tadeva - saTIkam . 192 zIghrabodhaH 193 zukadevacaritram - bhAratIyam...... 194 zrAddhapaddhatiH 195 zrAddhavidhiH ...... 196 bhImAlakhaNDaH - skandapurANasya.... 199 sadAcAranirNayaH 200 savIlamAlAkhyam -- Rgvedasya 201 saMvatsarotsavakalpalatA 202 saMkSepAnhikacandrikA.. 203 saMhitA - sAmavedasya.. 204 sandhyAbhASyam 205 smRtayoSTau . atri smRtiH vyAsa smRtiH zaMkha smRtiH hAtismRtiH saMvarttasmRtiH yamasmRtiH 197 zrIharSa caritrasyavAMkA - saMketanAbhI. zaMkaraH 198 zrata paddhatiH mU0 padmapurANo ktam . DI. vyaMkaTezvaraH skandapurANe 347. OY. kartA. 30. 117. 213. 90. zrInivAsabhaTTaH . mAghaH DI0 vallabhadevaH kAzInAthaH... brahmottarakha NDoktam * raghunAthaH saMpUrNa ma patrANi saMvat zlokA: pUrNa vA. zrIkRSNapaNDitaH 14 118 ....... 128 8 patra 5/6 na 50 4 1450 370 | 6660 apUrNA 64 1776 3000 166 10000 32 1827 400 1685 280 / gatAni 26 47 zivabhadrazuklaH 18 SaSThaM . :: : 35 ... 765) 18 1538 230 200 1605 4600 6 na ... :: 30 1553 10 vrajarAjaH 17 bhahadivAkaraH 40 ... ... ... 452 3000 ... 2225 : 2550 359| 575 200 235 720 441754 600 55 9242 54 1677517

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ACQUIRED FOR GOVERNMENT. brAhmaNapustakAni . 64. zAnAta pasmRtiH aMgirassmRtiH 54. 206 sAcinAmakanavamakANDaH 207 sAdhanapaJcakama-saTIkam P karttA. mU0 zaMkaraH TI.vimalabhUdharaH 208 sapiNDayanirNayaH 209 sApiNDadIpikA 210 sArasvatavyAkaraNasya sUtrapAtra: anubhUtisvarU pAcAryaH 211 sAhityadarpaNa TIkA 212 sAmbapaJcAzikA - saTIkA mU0 zrIsAmbaH TI kSemarAjaH 213 sAMkhyatantram -- AryAbaddham - sa- mU0 IzvarakRSNaH TIkam. sAMkhyatatvakaumudInAtrI TI0 vAcaspatiTIkA. mizraH 224 siddhAntacandrikAyASTIkA-tatva lokezakaraHdIpikA nAnI. kSenaMkaraputraH 295 saiva dvitIyAvRttitRtIyAvRttI 216 siddhAntaziromaNI bIjagaNitA .... sa eva..... dhyAyaH. rathantaram 4 sAmavedasya 226 sphoTavAdaH... 227 haravijayakAvyasya TIkA. 228' haripUjanavidhiH rAmabhavaH zrIdharaH 217 siddhantaziromaNivAsanAbhASyam. bhAskaraH 218 siddhAntaziromaNeSTIkA- candrArka gaNezaH grahaNAtpAtAdhikAraparyantA. jJAnAnandaH 219 siddhAntasundaraH- uttarArddham 220 siMhAsanadvAtriMzikAkathA - gaya. 221 subhASitAvaliH 222 suvRttatilakam 223 saubhAgyasundarIvratakathA - jJAnabhAskara granthoktA. 224 sauzrute AyurvedazAstre zArIrasthAnam. 225 stobhaH rAmacaraNa bhaTTAcAryaH vallabhaH kSamendraH kauNDabhahaH saMpUrNama - patrANi saMvat. zlokAH pUrNa vA 107 1642 1200 3. 7 6 120 18 1873 432 | 11 1544 280 182 28 67 93 ... : E 180 18. 14. zake 19 15 175 9 40 43/ 1545 1134 6000 600 1122 Pos 89 158 3600 27 ... 4008 1000 400 660 6500 300 150 52. 1640 1100 20 200 800 121 31.1767 1290 154 17 4500 240 apUrNam

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122 jainIyapustakAni 229 hallIjatAjikam 230 hAyanaratnam 231 hAyanasundaraH LIST OF MANUSCRIPTS jainIyapustakAni . 232 ajitazAntistavaH saTIka ajitazAntistavaH - saTIka :. bhayahara stotram - saTIkam smaraNastotram - saTIkam gurupAratantrya stotram - saTIkam pArzvanAthastotram - saTIkam upasarga hara stotram - saTIkam 235 apApAvRhatkalpaH vA pAvApurakappo vA dIpotsavI kalpaH 236 abhidhAnacintAmaNinAmamAlA bIjakAni. 237 AcArAMga pradIpikA karttA. balabhadraH ........... mU0 mA0 nandiSeNaH mU0 mA0 jivana vallabhaH TI0 saM0 dharmata lakamuniH mU0 mA0 mAnatuM gasUriH | TI0 saM0 jinapra saMpUrNama - patrANi saMvat. zlokAH pUrNa vA. bhasUriH mU0 mA0 jinada uttasUriH TI0 saM0 jayasAgaragaNiH - tadvat. - tadvat. mU0 mA0 bhadrabAhuH TI0 saM0 jayasA. garagANiH 233 anekArthasaMgrahaH * hemacandraH 234 anekArthakairavAkara kaumudI - ane- hemacandra mahe - 210 kArthasaMgrahasyaiva TIkA. ndrasUrI guru ziSyo ka tIrau. mU0 mA0 jinapra bhasUriH *** . jinahaMsasUriH 19 370 141 1880 3850 | 15 19 V ... eungjing 58 1836 2000 saMpUrNam 11284 saMpUrNam 450 apUrNam : 1500 saMpUrNam 416 .... 800 197 161210000

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ACQUIRED FOR GOVERNMENT. pustaka. 238 Adidevastavanam - mantrayantrakAle. tam - saTIkam. 239 ArAmazobhAnAmnIkathA 240 Avazyaka niryuktiH 231 AvazyakalaghuvRttiH 242 ilAputraRSirAsa 243 uttamacaritranRpakathA 244 uttamakumAracaritram kartA. bhadrabAhuH . tilakAcAryaH jJAnasAgaraH na kalpavyAkhyAnam. 254 kukaDAbhaMjArIrAsa 255 kumArapAlaprabandhaH 256 kriyAkalApaH. 257 kriyAratnasamuccayaH 258 khumANarAsaH - bhASAbaddhaH 259 caturviMzatijinastotram - guptA yAbhidham - saTIkam 260 catuH zaraNaprakIrNakam - sAvacUri 261 245 uttarAdhyayana sUtrasya kathAH 246 |upadezamAlAvacUriH 247 upasargaharastotram - priyaMkaranRpaka - mU0 bhadrabAhuH... thAsahitA laghuvRtizva. 248 kampayaDI 249 karmmaprakRtiTIkA malayagiriH 250 karpUra prakaraNAbhidhaH - subhASitakozaH hariH - vajrasena ziSyaH 251 kalpasUtrama -- kAlikAcAryakathA ca kIrticandraH zlokabaddhA saMskRte. padmasAgaraH kathAkRt 252 tasyaiva TIkA kalpakalikAnAmnI lakSmIvallabhaH 253 kalpAntarvAcyAni vA-gacchabhede ndraH mU0 mA0 varibha saMpUrNama - patrANi saMvat. zlokAH pUrNa vA. : dra sAdhuH . guNaratnasUriH... sa eva. catuHzaraNapayantrAvacUri AturapratyAkhyAnavivaraNamH. bhaktaparijJAvacUriH. saMstArakaprakIrNakAvacUriH. sa eva. sa eva. 262 candradhavaladharmaM dattakathA - bhASAbaddhA. mANikyasundaraH merutuMga ziSyaH 270 34 3000 282 1458 12325 170 6 1556 275 7 1533 330 73 1799 4500 22 1527 1500 28 850 om 13 600 152 1811 8000 10 345 67 . valhapaNDitaH . jinamaNDanaH... 82 | vijayAnandaH * guNaratnasUriH . dolatavijayaH - mU0 sAgaraca 1320 183 ... 4109/ 41 1525 2000 200 ... 1662 270 4000 325 124 1671 5661 13 139 5120 600/ 14 10 | 8 2645 675 16 ... : 123 792 AdipatrA bhAvaH 338

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124 LIST OF MANUSCRIPTS jainIyapustakAni. kartA. patrANi. saMvat.. saMpUrNamapUrNa vA. bh lb 263 caityavandanabhANyAvacUrNiNaH vandanakabhASyAvacUrNaH pratyAkhyAnabhASyAvacUNi: 64 caityavandanAbhASyam-AryAvRttaba-pAvacandraga ddham . siddhadaNDakastavanam-bhASAbaddham 265 chandonuzAsanam ..................hemacandraH ....... 266 jagatsundarI yogamAlA .........hariSeNapaNDita yoniprAbhRtam prabhazravaNamuniH 267 jambUdvIpasaMgrahaNI mU. mA0 ...... haribhadrasUriH... | -bhASAsahitA. 268 jinazatakakAvyam-sAvacUri:... jambUsAdhuH 269 jIvavicAraH-saTIka:-mU0 mA0 zAntisUriH TI. vAcakara | nAkaraH 270 jIvAbhigamasUtrasya TIkA ......malayagiriH... 271 jJAtAdharmakathAsUtrasya pradezavyA-abhayadevasUriH khyA : 272 tAjikasArasya haribhadragaNakakR-sumatiharSaH ... | tasya dIkA. 273 thirAvaliyA gAthAH peDhiyA varacariyA paDhamA varacariyA viiyA gA0 348 upasargAH samavasaraNam gaNaharA uMghaniyaktiH samAcArI upoddhAtaniyuktiH namaskAraniyuktiH gA0 139 sAmAiyanijjutI gA0 111 cauvIsatthayanijjatI gA0 62 vaMdaNanijjatI gA0 190 paDikkamanijjatI jmANasayam gA0 106 jinabhadragANa | kSamAzramaNaH 3 2822 gA.

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ACQUIRED FOR GOVERNMENT. jainIyapustakAni . pAriDAvaNiyAnijjattI gA0 152. paDikkamaNa saMgaNI gA0 80. jogasaMgahA gAo 60. AsAyaNA gA0 asajjhAyanijjutI gA0 111. kAusaganijjattI gA0 172. paccakhkhANanijjutI gA0 194. 274 dazavaikAlikasUtrAvacUriH 275 darzanasapratikAprakaraNam - mA0 sambodhasatatikAprakaraNam - mA0 kAlasaptatikAprakaraNam - mA0 276 darzanapuddhiprakaraNam - sAvacUri mU0 mA0 277 dazAzrutaskandhasya zrIkalpAkhyamaSTamAdhyayanam - sAvacUriH 278 |devAH prabhostotram - saTIkam 282 navyakarmagrantha paJcakam - saTakam, saptatinAmakakarmagrantha - saTIkaH kartA. 283 nigodaSatriMzakA - saTIkA 284 nyAyadharmopadezaH adhikArAH -jayazekharaH: - dharmaghoSasUriH - devendrasUriziSyaH mU0 jayAnandaH TI0 vAnaraRSiH 279 dhanya zAlicaritram - zlokabaddham, jinakIrtti sUriH 280 dhAtupAsya haimasya svaravarNAtu - puNyasundaragaNiH 281 |namaskArastavaH - saTIka : - mU0 mA0 jinakIrttisUTI0 saM0 riH- somasundaraziH SyaH -- dvayoH kramaH karttA. devendrasUriH / jagaccandra sUriziSyaH sa ca dvayoH karttA. mU0mA0 ratnasiMhasUriH saMpUrNama - patrANi saMvat. zlokAH pUrNaM vA. 8 4| 56 1613 / 2000 38 . 200 27 1497 1417 31 14 27 ... ... ... 1900 256 *** 640 ... 760 250 125 3000 585 783 apUrNam

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126 LIST OF MANUSCRIPTS jainIyapustakAni. kartA saMpUrNamapatrANi. saMvat. zlokAH pUrNa vA. 285 padmAnandakAvyam .......... amaracandraH / jinadattasU. riziSyaH 286 paJcanigranthasaMgrahaNAvariH ..... 287 paJcanigranthisUtram .............. 288 paJcatantram-bhASAbaddham ,........guNameruziSyaH paJcAkhyAnabhASA ............... yazodharaH......! paryuSaNAkalpavAcanikAnAya:- jinasAgara vAcanAtrayAtmakaH SaDtaragacchIyaH sUriH 291 pramANaprameyakalikA ............ narendrasenA cAryaH sarvArthanirAkaraNanAmakavAdastha- zrIraviprabhAbhilam dhaguruH sarvajJavAdasthalam IzvaravAdanirAkaraNam dRSTAntadUSaNam saMkSepeNa sarvajJasiddhiH sarvasthalam. sarvajJavyavasthApanAsthalam. vedabAhyatAnirAkaraNam haribhadrasUriH gaNadharavAdaH tamovAdaH agnizItatvasthApanAvAdaH vipravaktramudgaraH strInirvANasiddhiH 292 pravacanasAroddhAraH-mA.......... nemicandraH ... 1800 293 pravacanaparikSAprakaraNam- dharmasAgaragaNi 249041 sahasrakiraNAparanAmakam hIravijayAzeH | vyaH 294 | pravacanasAroddhAravRhadRttiH....... 17000 295 prajJApanAtIyapadasaMgrahaNyASTI- mU0 abhayadevakA. sUraH TI0 kulamaNDa nagaNiH 296 | pratyekabudhacAratram .. 297 | praznottarasamuccayaH............... kIrtivijayaH | 26/1655/ 1330 298 | prabhavyAkaraNasUtrasya TIkA ...abhayadevasUriH / 100 ... / 5630

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ACQUIRED FOR GOVERNMENT. 127 jainIyapustakAni. karnA. patrANi. saMvat. zlokAH saMpUrNampUrNa vA. jinava- 9 ... 299 pANinIyadvayAzrayakAvyam ......vijayaratnazi-| 11/ ... | 180 SyaH 300 prAkRtaprabodhaH narendracandrasUri haimavyAkaraNASTamAdhyAyasyaTIkA vAsa ca maladhAri | ziSyaH 301 piNDavizuddhiTIkA ............jinavallabhaH 302 piNDavizuddhiprakaraNam-sadIpi- mU0mA0jinavakam. |llabhagaNiH TI. udayasiMhaH 603 puSpamAlAprakaraNam-mA0 ......hemacandraH..... 304 tasyaivAvacUriH ............... 305, phalavaddhipArzvanAthastavanam ......kSamAratnopA dhyAyaH-saca padmAnandasa riziSyaH | phalavaddhipArzvanAthAvijJatiH ...... dayAsAgara:-pa mAnandaziSyaH varakaNApArzvanAthavijJaptiH....... nayavarddhanaH-na ndivarddhanasUri ziSyaH zatruJjayamAhAtmyastavanam ...... sArAvalIpaya troktam jayatihuyaNastotram ........... dharmasUriH jJAnapaJcamIstotram ........... gaNadhararacitam 306 biiyAvara cariyA gA0 348 | 48 ... | 25000 upasargAH gA. 70 samavasaraNam gA. 69 oghanijjuttI samAyArI upoddhAtaniyuktiH gaa0210|| namaskAraniyuktiH gA. sAmAiyanijjattI gA0 100 cauvIsatyayanijjunI gA. 62) vaMdaNanijjuttI gA0 289 paDikkamaNanijjunI gA. 52) dhammajjhANam gA0 69 jhaNasayam gA. 206jinabhadragANaH gA. 38

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128 LIST OF MANUSCRIPTS jaunIyam. saMpUrNamakartA. patrANi saMvat. laukAH pUrNa vA. pAridvAvaNiyAnijjuttI lesAI gA. paDikkamaNasaMghayaNI gA0 80 jogasaMgahA gA60 AsAyaNA gA. 4 asajjhAyanijjuttI gA0 111 kAusaganijjatI gA0 172 paccakhkhANanijjuttI gA. 90 307 bhagavatIsUtrasya TIkA............ abhayadevasUriH| 277 2516/18616 308 bharatezvarabAhubalipramukhakathAH ... zubhazIlaH .... 343/ ... 20063/ 309 bhaktAmarastotraTIkA-saprabhAvaka- guNAkarasUriH thAsahitA. 31. bhuvanadIpakaH-bAlAvabodhasAhitaH. mU0 saM0 padmA- 223| 1847 2318 | bhasUriH TI0 bhASA ratnacandra: 311 bhojacaritrama-bhASAbaddham ...... kuzaladhIropA dhyAyaH 312 malayasundarIcaritram-zlokabaddham jayatilakasU 313 malayasundarIkathA-gadya .........mANikyasunda- 20 314 munipaticaritram-mA............haribhadrasUri:... 315 meghadUtakAvyAvacUriH............sumativijayaH | yogazAstrasya catvAraH prakAzAH .hemacandraH ... bhaktAmarastotram ...............mAnatuMgasUriH kalyANamandirastotram .........kumudacandrAcAryaH ajitazAntistotram............jayazekhara sAraH pArzvanAthastotram ............... mahendrasUriH jIrApallImaNDanapArzvanAthastavaH... ajitazAntistotram ............ nandiSeNamuniH tIrthamAlAstotram............... candrasUriH pratikramaNam bhASAyuktam......... zIlopadezamAlA ..............vimalasUriH dharmalakSaNam catuH zaraNam .................. vIrabhadra sAdhuH

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ACQUIRED FOR GOVERNMENT. 129 jainIyapustakAni. patrANi. saMvat zlokAH saMpUrNamapUrNa vA. ...... gautamapRcchA jIvavicAra navatatvavicAraH 317 rAjamabhIyasUtram saTIm TI.malayagiriH 318 rUpasanacaritram jinasUriH ... 319 rohiNyazokacandranRpakathA- kanakakuzalaH zlokabaddha. 320 laghusaMghapadRkaprakaraNam-zabdArtha : sahitam. 321 liMgAnuzAsanAvivaraNam-chandoba micandraH 322 liMgAnuzAlanam-saTippaNapadacche-saeva dam. 323 varddhamAnaviyAkalpaH ............siMhatilakasU. 324 varddhamAnadezanA-mA0 ............ zubhavarddhanagaNiH 325 vikramAdityarAsaH .............. lAbhavarddhanaH 6 vicArapatram -pUrNimAgacchIyam. 327 vijayayantravidhiH-vijayapatAkA | khyayantrovA. 328 vidyAsAgarapreSTikathA-zlokabaddhA. gugAkaramUriH 329 vipAkasUtrasya TIkA............. abhayadevasUriH jinezvarAcA yaziSyaH 330 saiva .......................... 331 vinalamantrirAsa ............... laavnnysmyH| 332 viSamArthapadaparyAyAH ....... 333 | vItarAganamaskArastavaH sarvajJastavaH zaMkhezvarapArzvanAthastavaH niraJjanaparamAtmaviMzatikA kurukullAdevIstavaH RSimaNDalastavaH vItarAgastutiH zatruJjayacaityaparipATI 34 vIracaritram mA0 ..... | -tadarthazca bhASAyAm ..saeva 20 1611 //

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130 LIST OF MANUSCRIPTS jainIyapustakAni. kartA. saMpUrNama patrANi. saMvat. lokAH | pUrNa vA. 339 vRhanavatatvaprakaraNam-mU.mA..... ...... | -bAlAvabodhasahitam 336 bRhatsaMgrahaNI-saTIka--mU0mA0...jinabhadragaNiH kSamAzramaNaH TI.malayagiriH 337 vaitAlapaJcAzikA-bhASAbaddhA ...pramodazIlaH-- 33, 1818 somavimalasU riziSyaH 338 vyutpattiratnAkaraityabhidhAnaci- devasAgaragaNiH 347 1751,18000 ntAmaNeSTIkA 39 zabdaratnAkaraH ......... ...sundaragaNiH zAradAstutiH saM......... siddhacakrAmAyaH bhASA varadagaNezastotram........... zaMkarAcAryaH tripurabhairavIstavaH gorocanAkalpaH mAyASTakam jinadattasUrIzvarASTakam 341 zAntinAthacaritram-zlokabaddham. ajitaprabhariH 114 1668 5005 352 tadeva tadvat. zrImunidevasUriH 898 1993 Re* 37/ 26 343 zrAvakavratabhaMgaprakaraNam-saTIka m-mU. mA. | lokavicAra:-saTIka:-mU. mA0 344 zrIpAlanarendrakathA-mA .........rabazekharasUriH 345 zreNikacaritra-bhASAbaddha......... dharmavarddhanaH ... 346 SaDazItiprakaraNam-mA .........jinavallabhaH... SaDAvazyakavRttiH .............. vA-upAsakAnuSTAnavRttiH vA-vandAruvRttiH vA-zrAvakapratikramaNasUtrasyalaghu vRttiH . 344 samavAyAMgasUtravRttiH ............abhayadevamUriH -buddhisAga raziSyaH 349 'sarasvatIstavaH-mahAmantragabhitaH.... ...... | 86/1620 3952 ... | 200

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ACQUIRED FOR GOVERNMENT. 131 jainIyapustakAni. kartA. patrANi. saMvat. zlokAH | | saMpUrNamapUrNa vA 350 sAradAstavaH-saMskRte jvAlAmAlinI vidyA bAlabhAratIstutiH jinastutiH ..... .................... jayAbhinandiH paJcaparameSTistavaH ............ jinaprabhasUriH tRtIyajvarASTakam............... malladevaH stambhaNapArzvanAthastutiH-mA....abhayadevasUriH | shuurnn saptazatijinastotram-mA....... zAntistavaH-mA0 ............ munisundrsuuriH| [nArita paMcamaM patraM bhayaharastotram-mA0 ....... bhaktAmarastotram -saM. .........mAnatuMgasUriH ajita zAntistavaH-mA0 laghuzAntiH -saM. ......... mAnadevasUriH bRhacchAntistavaH-saM0 ......... zAntisUri: kalyA mAndarastotram-saM. ...kumudacandrAcAryaH jayatihuNastotram-mA.......... abhayadevasUriH 351 samyakasaptatikA-saTIkA-ma.TI.saM0saMghati- 133/ ... | mA. | lakAcAryaH 302 saMgrahaNiTIkA .... ........malayagiriH .... 3.3 sandehaviSauSadhInAnI paryuSaNAka- -mUlayoHlpasya TIkA. bhadrabAhuH taniyukkiTIkAsahitA ......... TIkayo:-ji | naprabhasUriH 354 sArasvatasya-TIkA .......... sahajakItiH paJcasandhirahitA. 355 siddhapaJcAzikA-sAvacUri:-mU0 mA devendrasUri ..... 81677 356 saiva .............................saeva. 357 siddhAntasAradIpaka:-digaMbarIyaH sakalakIrti bhahArakaH 358 sUrimantrakalpaH .......... 173|| 178 12 na 359 sthAnAMgasUtraTIkA ...............abhayadevasUriH | 288 ... 14500 36. snAnavidhiH-vidhirbhASAyAm ...... 361 syAdvAdaratnAkaraH ...............zrIdevAcAryaH 13000 AdyapatrA -municandra bhAvaH ziSyaH

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132 LIST OF MANUSCRIPTS ACQUIRED FOR GOVERNMENT. jainIyapustakAni. kartA. saMpUrNa mapatrANi. saMvat. zlokAH varga vA. 300 362 syAdvAdaratnAkarasya mUlam ......saeva vA-pramANanayatatvAlokAlaM kAranAmakam . 363 syAdvAimaJjarI-saTIkA.........mU. hemacandraH TI. malliSaNa sUriH hariSeNazrIzreSaNarAsa ............dhanyavijayaH haMsarAjavacharAjacaritram-gaya. rAjakIrtivA cakaH 366 SavArakabAlabodhinI .. 367 SaTArakavivaraNam-zlokebaddha m...

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APPENDIX I. CATALOGUE OF THE PALM-LEAF MSS. IN SANTINATH'S BHANDAR, CAMBAY.

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Name of Work. | No.of No. of No. of | lines on letters Author's name. I leaves. each in each page. | line. ge. Remarks, m lh apUrNam madhye tru. 200 (6) mahAvIracaritram -triSaSTizalAkApuruSacaritrAntargataparva 10. hemacandraH vasudevahiNDasya madhyamakhaNDa:-mAgadhI ....... |Begins|| namaH sarvajJAya / / jytynekaaNtkNtthiirvH|| jayai navanaliNakuvalayaviyasiyavarakamalapattalaDahattho / / usabho sabhAvasulaliyamayagalagai laliyapatthANo || jayai ya paNaya puraMdaraNahApahA hasitabhUsaNavArDa / / vIro samattatihuya NaloyaNakamalAgarAicora || tattoyapaNayasuravaimauDataDAghaDalalitakamajuyalA // ajiyAipAsacarimA sesAvi jayaMti jiNacaMdA // bhavasiddhibuddhimaMgala jaya siva supasattha siddhakallANA / jahaNo jayaMti loe nicaMpi hu suhaphalAsiddhA // namiuNa ta [taM] viNaeNaM saMghamahArayaNamaMdiragirassa / / vochAmi suNaha nihuyA khaMDaM vasudevacariyassa // Ends paumasirI lalitasirI rohiNI bAlacaMdAya evaM vasudevabhAriyAe sataM sammatam | sammattAya vasudevahiMDI saMgahaNI sammattaM ca vasudevahiMDIe mAjjhimakaDam | graMthAgaM 17000-patra 394 / / zrIjinendra caritram-pamAnandAparanAmakamahAkAvyam...... ................ amaracandraH Begins // svasti zrIrjayobhyudayazca // ahe naumi sadAhatyakAraNaM sakalAhatAm // svasvastizrIjayazrImanmahAnaMdamahomayam // 1 // 3 / 410 / 3-4 99-101/ 1297 | saMpUrNam b'i- a ------ m- tshe-

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Endsgate zrIpArzvanirvANAtsAr3he varSazate dvaye // zrIvIrasvAmino jajJe mhaanNdpdodyH|| 79 // ityAcAryazrIjinadattasUriziSyapaMDitazrImadamaracaMdraviracite mahAkAvye zrIjineMdracaritre zrIpadmAnaMdAparanAni vIrAMke prazastisarga:samAptaH graMthAgraM zloka saMkhyA 115 // 7 // maMgalaM mahAzrI zubhaM bhavatu // 4] mahAvIracaritram-triSaSTizalAkApuruSacaritrAntargataM dazama parva......... hemacandraH / 325. 5-6 53-56, 1280 | saMpUrNam AvazyakavRttipradezavyAkhyATippanakam .................... candrasUri:- [abha-181- / 3-6 / 60-62/ 2297 | apUrNam Ends yadevasUriziSyaH] 275 vizeSato madvidhAsumatAmiti // granthAgraM || 4640 / / pAraThAsaMThiyaNa yazodevasariH / 149 | 4-5 / 75 saMpUrNam |Begins / / namo vItarAgAya / / namaha nayanamira naravaisarasiruha viyAsaNam / / bhuvaNapaNayaM niyatamatimiraniyaraM vIrajiNadiNesara sirasA // 1 // |Ends pAraThAsaMThie saMmattA // vaDDAvallipurIe esA phagguNaca umAse pajjunnasUriNo dhammanattueNaM tu suyANusAreNa gaNiNA jasadeveNaM uddhariyA ettha paDhamapaI 23 pUjAvidhAnaM samAptamiti || zloka 2800 | laghusaMgrahaNivRttiH devabhadrasUriH [ca- 360 3 62 saMpUrNam Begins ndrasUriziSyaH]. | u namaH sarvajJAya // atyadbhutaM yogibhirapyagamyaM vidhUtaniHzeSatamovitAnam // Ends gAthAdyapramANA saMkSiptatarA saMgrahaNistadyAkhyAnAca ---zrIdevabhadrasUriNA racitA svagurupraNItA [ta] saMgrahaNyA vRttiH samarthitA // ( 4 )

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No. of No. of No. of | lines on letters Name of Work. Author's name. I leaves. Age. I Remarks. each in each page. | line. 6 vasudevahiNDasya prathamakhaNDa:-mAgadhI ....... saMghadAsagaNiH | 243 | 4-6/ 155/ 1388 | saMpUrNam |Begins / / namo vItarAgAya || Namo viNayapaNayasuriMdavaMdavaMdiya kumAravidANaM karai tassa esA dAriyA dAyabvA graMthAyaM 12000 saMvat 1388 9 zAntinAthacaritrama-zlokabaddham devasUriH 189 / 3-6 / 120 1338 saMpUrNam Begins - // namaH zrIzAMtinAthAya || vezmaratnanizArattanabhAratnaparaMparam // paraM tajjayati jyotirmahAmohatamopaham // 2 // noDDIno yanmanomUSAsthita: zAMto rasAdhipaH / / sa zrIvRSabhayogIndraH zriyeSTApadasiddhibhAk // 2 // namaH zrIzAMtaye bheje yaM mRgaH zritavatsalam || siMhikAsutavitrasto vanepi gaganepi ca ||3 // vyAkhyA pAMtu zrInemetadyutijuSastviSaH / namanmUrddhasu bibhratyokSatadUrvAkSatazriyam / / 4 / / zrImatpArzvaprabhuH saptatatvakoTIzvaraH zriye // upa'kRtA dhvajA yasya phaNavyAjAcakAsate // 5 // yo bAlye meruvaMzAgre naJjayat kIrtinartakIm || taM zrIvIraM tapaHzrINAM nAdyAcAryamupAsmahe // 6 // brahmaguptisanAthasya yatidharmasya muurtyH|| ekonaviMzatiH saMtu tejitAdyA jinA mude / / 7 / / ekAmapi trirUpAM yo jagacitayagocare // .. cArayAmAsa jainI gAM gautamaH satamazchide // 8 //

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zrImudharmA sudhrmshriiviirvNshsmudbhvH|| taro mahAMtarArAtipAtane tanutAM mama // 9 // cturdshmitaapuurvpuurvrtnkulaashryH|| vizvarUpaM dadhanmadhye zrutavAddhiH pravarddhatAm // 10 // caturdazazatagraMthagraMthanAyAsalAlasam / / hAribhadraM vaco hAri bhadraM bhadraM karotu naH // 11 // vAdavidyAvatodyApi lekhazAlAmanujjhatA / / devasUriprabhoH sAmyaM kathaM syAdevasUriNA | // 12 // vaMde zrIdevacaMdraM taM yatkRtaM prAkRta bRhat / / zrIzAMtivRttaM saMkSipya saMskRtaM kriyate mayA || 13 // amAnaM mahimAnaM kastasya stautu gnneshituH|| ziSyo yasyodito hemacaMdrasUrirjagadguruH / / 14 // nRpatipratibodhinyA yandirA sudhayAmarAH // jajJire pazavopi zrIhemasari mahema taM // 15 // zrIdevAnaMdasUribhyo namastebhyaH prakAzitam / / siddhasArasvatAkhyaM yaunijaM zabdAnuzAsanam / / 16 // zrIdevAnaMdAzaSyazrIkanakaprabhAziSyarAt // zrIpradyumnazciraM naMdyAt graMthasyAsyApi zuddhikRt / / 17 // EndssacyAsapUrvamatha koTizilAkhyatArthe prAjyaiH samaM munivaraiH zivamAsasAda || 400 // dhIrodAttacaritravAnadhigatazcakrizriyaM tatra yabhogepyasya na saMgamaMgatimatistadvIrazAMto dhruvam / / zUraH krUratarazca mohanihatau dhIroddhato nAyaka : siddhau baddharatibha dhIralalitaH zrIzAMtaH [sic. lege zAMtiH] zivAyAstu

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Name of Work. No. of | No. of Author's name..No. of | lines on letters leaves. each in each | page. | line. Remarks. RAMERA bArhaspatyAdhipatyasya pAtane prthitoymH|| apUrvaH kopi lokesmin devasUriH kRtodayaH / / 102 / / yo vAdIzvaradevasUrisugurormUlakrame sUriNA cakre zrImadateMdunA nijapade tenAgravRttazritA // kAvye zrImunidevasUrikavinA zrIzAMtivRtte kRte zrIpradyumnamunIMdudhIrucizuci: sarogamatsaptamaH // 403 / / graMthAgraM 405 akSara 16 nirvRttiprApti ma saptamaH sargaH samAnaH // iti zrIzAMtinAthacaritraM saMpUrNam / / saMvat 1338---zodhanIyamasamaM dhRtvA mamatvaM mayi / / nizIthasUtraTatIyakhaNDasya bhASyam-....... apUrNam tru. 11 bRhatkalpasUtram-cUNi bhASyamizram ............ apUrNam tru. Avazyakaniyukti:--laghuvRttisahitA-mU0 mA0 TI0saM0...... [mU0 bhadrabAhusvABegins mI] TI0 tila- 290 | 4-6 / 138/ 1445 | saMpUrNam ttii.|| namaH paMcaparameSThine || kAcAryaH / deva: zrInAbhisUnurjanayatu sa zivAnyaMsadeze yadIye khelaMtI kuMtalAlI vilasadalikulaprojjvalA zAlate sma / / saMjAte saMyamazrIpariNayanavidhau mAMgalikye trilokIlakSmyA TUAkarANAM tatiriva patitodastahastadvayAgrAt / / 1 / / vizvAhaMkAramardI samitikRtaratizcakracApAMkapANiH / prodyagIrvANazAlI vyphRtvissmaastraaridoddkNddrH|| bhaktimArabhAranamrakSitipatipaTalImaulikoTIrakoTIzANAkoNAgralekhollikhitanakhazikhaH pAtu vIrAstrilokIm // 2 // 190/

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nityaM yatpraNipAtasaMbhramabhRtAM pAdAbjapIThasthalanyAsolA sikiNAvalivyatikarAdbhAleSu bhavyAtmanAm // etenaMtamahomahodayapade yogyA iti prItitaH puNyaddharyA kila varddhitAni tilakAnyavyAjjinaughaH sa vaH // 3 // yatkAMtiprasareNa vizvadhavalIkArazriyA sarvataH saddhghAnaM paripacyatedhimanasaM zuktaM tadaklezataH // yenotsarpati sarvavAGmayagataM jJAnaM paraM tatkSaNAt sAsmAkaM zrutadevatA racayatAdvighnopazAMtikriyAm || 4 || AstenanyajanAmanasyanukalaM svasvAmibhaktistato vAsaM yasya cakAra pANikamale sA kevalazrI dhruvam // naivaM cedvilalAsa tatkathamiyaM sarvatra tatra kSaNAt nyasto yatra bhavedayaM sa bhagavAn zrIgautamo naMdatAt // 5 // gavAmIze yatra pravacanadhuraM dharmadhavale sphuradvayAkhyAnAdapratihRtasamastetaravRSe // samAropyAtmIyAM tribhuvanapatirnirvRtimagAdbhavAraNyAnnistArayatu sa sudharmAbhidhaguruH || 6 | tattvArtharalaughavilokanArthe siddhAMta saudhAMtarahastadIpAH // niryuktayo yena kRtAH kRtArthastanotu bhadrANi sa bhadrabAhuH // 7 // tasyAvazyaka niyuktigavIM duhan vRttibhAjanerthapayaH // praguNIkaromi sarasaM rasalolupalo katuSTikRte // 8 // para kva dvAdazAMgIbhRdbhadrabAhugurorgiraH // mugdhadhIrbAlizaH kvAhaM padamAtrepyazaktimAn // 9 // tadyadAvazyaka mahaM vivarItuM martei vyadhAm || gaMgAM tarItumArabdhastadoSNaikena kRSNavat || 10 || (7)

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Name of Work. No. of | No. of Author's name.i | No. of | lines on letters | leaves. ch each | in each page. | line. ! Age. Remarks. (8) mahAzAstrasya cAmuSya mahAkavivinirmite / / gaMbhIrAthai mahatyau stabhUNirvRttizca yadyapi || 11 // tathApyatyalpadhIhe toralpadhIrapyahaM punaH / / racayiSyAmya vRttimuttAnArthI laghIyasIm // 12 // mU0-AbhiNibohiyanANaM suyanANaM ceva uhinANaM ca / / taha maNapajjavanANaM kevalanANaM ca paMcamayaM // 1 // Ends TI0 yato yathAkhyAtacAritriNa eva mahodayapadAvAptiriti|| || iti zrI zrItilakAcAryaviracitAyAmAvazyakalaghuvRttau pratyAkhyAnAdhyayanaM samAptaM || atra graMthAyaM 698 tatsamAptau samAtA cymaavshyklghuvRttiH|| graMthasarvAgraM 12325 tIrthe vIravibhoH sudharmagaNabhRtsaMtAnalabdhonnatizcAritrojjvalacaMdragacchajaladhiprollAsazItayutiH || sAhityAgamatarkalakSaNamahAvidyApagAsAgaraH zrIcaMdraprabhasUriratamatirvAdIbhasiMhobhavat // 1 // tatpaTTalakSmIzravaNAvataMsAH zrIdharmaghoSaprabhavA babhUvuH / / yatpAdapadme kalahaMsalIlAM dadhau nRpaH zrIjayasiMhadevaH // 2 // tatpadrodayazailazRMgamabhajatnejasvicUDAmaNiH zrIcakrezvarasUrirityabhidhayA kopyatra bhAnurnavaH / / saMprAptAbhyudayaHsadaiva tamasA no jAta vicchAyitaH naivoccaMDaruciH kadAcidapi na praaptaapraagsttH||3|| vilalAsa svairaM tatpaprAsAdacaMdrazAlAyAm / / zrImAn zivaprabhaguruH saMyamakamalAkRtAsaktiH // 1 //

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zrIzivaprabhasUrINAM teSAM ziSyosmi maMdadhIH // nAmnA zrItilakAcAryaH zrutArAdhanagRddhibhAk // 5 // etAM vRtti laghumaviSamAM sohamAvazyakIyAM tatpAdAbjasmaraNamahasA mugdhadhIrapyakArSam / / tayatkicidrabhasavazato dRSTamasyAmazuddhaM tatsaMzodhyaM mayi kRtakRpaiH sUribhistattvavidbhiH // 6 // vRttiM racayatA caitAM sukRtaM yanmayArjitam || bhave bhaveha tena syAM zrutArAdhanatatparaH // 7 // zatadvAdazakebdAnAM gate vikramabhUbhujaH / / saMvatsare SaNNavate vRttireSA vinirmame || 8 // ziSyA naH zasyacAritrAH srvshaastraabdhipaargaaH|| asyAM sahAyakaM cakSu: zrIpadmaprabhasUrayaH // 9 // ziSyosmAkamimAM vRttimakhinnaH zAstratattvavit / / alikhatprathamAdarze yazastilakapaMDitaH / / 10 / / sasapAdatrizatyasyAM zlokadviSaTsahasrikA || pratyakSareNa saMkhyAtAditi nizcitavAnaham || 11|| saMvata 1445 caitra vadi 3 some zrIstaMbhatIrtha kAyasthajJAtIyamahajanomata ma. mAlokena likhitaM / / mAlhaNadevIsutavizuddhavAsanAvazyakalaghuvRttim / / lekhayatisma zarAMbadhizakrAnde staMbhatIrthapure / / 5 / / mU. saJvesipi nayANe bahuvivattavvayaM nisAmitnA // taM sabvanayavisuddhaM jaM caraNaguNaThiu sAhU // 3 // 13 | upadezamAlAprakaraNam-mAgadhI .. dharmadAsagaNiH / 45 / 3-4 | 36-45 ... | apUrNam

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No. Name of Work. Begius nAmikaNa jinavariMde iMdanariMdaccie tiloyaguru || uvaesamAlamiNamo vucchAmi gurUvaeseNam || 1 // Euds iya dharmadAsagaNiNo jiNavayaNuvaesa kajjamAlAU // mAlazva vividha kusumA kahiyA sutIsavaggassa || 540 saMtika bukarI kANakarI sumaMgalakarI ya || hou kahagassa parisAI tahaya nivvANaphaladAyI // 541 ittha samapya INamo mAlA uvaesapagaraNaM pagayaM // gAhANaM savvaggaM paMcasayA ceva bAyAlA || 542 -ajitazAntistavaH mAgadhI.. Begins ajiyaM jiyasatrabhayaM saMtiM ca pasaMtasavvagayapAvam || jaya gurusaMtiguNakare dovi jiNavare paNivayAmi || 1 || Ends- jai ittha paramapayaM ahavA kitI suvitthaDA bhuvaNe || tA tiulo kuddharaNe AyaraM kuNaha || 42 || - thirAvali - mAgadhI Begins jayaha jagajIvajoNI viyANa jagagurU jagANaMdo || jaganAho jagabaMdhU jayai jagapiyA mahobhayavaM // 1 // Author's name. [nandiSeNa maharSiH ] No. of No. of lines on leaves. each page. 10 4 No. of letters in each line. 3-4 | 36-45 3-5 37-46 Age. : : Remarks. saMpUrNam saMpUrNam ( 10 )

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5 3-4 46 ... | saMpUrNam 2, 3-4 46 ... | apUrNam |Ends jeyaMte bhagavate kAliasuaANugie dhIre // te paNamiNa sirasA nANassa parUvaNaM tucchaM / / 50 ||thiraavliyaa samanA / / -gautamapRcchA-mAgadhI ..... / BeginsnamiDaNa titvanAhaM jANaMto tahavi goyamo bhaya / / abuhANabohaNatyaM dhammAdhammaphalaM vocche // 1 // Ends aDayAlIsA paNunarIhiM gAhANaM hoI causaThI / / saMkheveNaM bhaNIyA goyamapucchA mahatthAvi / / 63 / / goyamapucchA sammanA / / / --causaraNa prakaraNam-mAgadhI.... | [vIrabhadrasAdhuH- Begins mahAvIraziSyaH] causaraNagamaNadukkaDagarihAsa kaDANumoyaNA ceva / / esu guNe aNavarayaM kAyabbo kusalahe utti // 1 // triSaSThizalAkApuruSacaritrAntargatatIyaM parva hemacandraH Begins ahaM / / trailokyaprabhave puNyasaMbhavAya bhavacchide / / zrIsaMbhavajineMdrAya manobhavabhide namaH // // dhAtrIpavitrIkaraNaM lavitraM karmavIrudhAm / / caritramatha vakSyAmi zrIsaMbhavajinezitaH // 2 // EndsevamAyuH pUrvalakSyamabhUcchrIzItalaprabhoH // 124 / / suvidhisvAminirvANAnirvANaM shiitlprbhoH|| sAgaropamakoTISu vyatItAsu navasvabhUt / / 125 // zrIzItalasya----ityAcAryahemacaMdraviracite triSaSTizalAkApuruSacaritre ( 11 ) 127

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No. Name of Work. No. of No. of | No. of | lines on letters Author's name.] leaves. each each in in each page. | line. Age. I Romarks. (12) mahAkAvye tRtIye parvaNi zrIzItalasvAmicaritavarNanonAmASTamaH sarga: samApta ca tRtIyaM pdN|| zrI saMbhavaprabhRtitIrthakRtAM tRtIyeSTAnAM caritramiha parvavareSTasarge dhyeyaM padasthamiva vAriruheSTapaonadhyAyato bhavati siddhiravazyameva / / 15 zatapadikA-....... mahendrasiMhaH | 200 / 7-9 | 58-62 ... | saMpUrNam Begins|| namaH shriimdevgurupdpNkjebhyH|| tribhuvanagRhapradIpaHkalyANanidhirbhavodadhau dvIpaH / / saMzItitimirabhAnurjayati zrImAn jino vIraH / / 1 / / pUrvapakSazataM kazcit sUrizcakre sadarpadhIH / / vidadhe zrIdharmaghoSasUriruttaravistaram / / 2 // |Ends viharati Asate jiivaabhigmvRttii|| || itizAzvatASTAhikAvicAraH ||5|| || 11|| zivamastu | adhyApayitR-adhyetR-vyAkhyAtR-zrotRbhyaH | samAptAceyaM zatapadikAbhidhAnA viSamaviSamatarakatipayavicArANAMprabhottarapaddhatiArIta||7|| iyaM ca vikramAdgaNarasa (ravi) saMkhye varSe 1263 zrImadAyarakSitasUriziSyANAM zrImajjayasiMhasarINAM paTTAlaMkRtikartabhiH zrIdharmaghoSasaribhividabdhA tatazca tAmatigaMbhIrArthatvAt vyutpatramatInAmeva mukhAvabodhAM taditareSAM tu kiMcidAyAsagamyAmavagamya tatasteSAmeva zrIdharmaghoSanarINAM zrutAMtevAsibhirapi tatpaSTadhatibdhitaiH (------) zrImaheMdrasiMhamUribhirvikramAdudadhigrahasUryasaMkhye saMvatsare 1294 saiva graMthapaddhatiH kvacidAdhAna kvacidaddharaNaM kvacitkramaviracanAM ca

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vidhAya kAni------dadhikAnyapi prabhottarANi prakSi (pya) sakumAramatInAmapi sukhAvabodhA bhavatviti kiMcidvistaravatI vidadhe // 7 // bhadramastu caturvidhasaMghasya-granthAya5200 iti zatapadikAbhidhAnA prabhocarapaddhAtaH samAtA // / paryuSaNATippanakam ............. pRthvIcandrasUriH 3-50 5 Ends 55 | 1305 | apUrNam syAlikhada- pRthvIcaMdrasUriridaM 5---sallakSapure paryuSaNATippanakaM sammana / / maMgalaM mhaashriiH|| upadezamAlA ................. dharmadAsagaNiH / 56 4 | apUrNam zrAddhadinakRtyavRttiH 266 | 4-6 170 apUrNam Begins 174 // I namaH sarvajJAya || gobhiryena jagatrayepi nikhiladravyaprakAzaH sadA cakre jAvatamobhidA bhavabhRtAM doSApahArastathA / taM natvA jinavIramarkamatulaM sUtrAttathAcAyataH zrAddhAnAM dinakRtyasUtravivRti vakSye subodhAmaham // 5 // 171vyavahArasUtram-mAgadhI uddeza 5. ................... 176 apUrNam vyavahArasUtradvitIyakhaNDasya TIkA: malayagiriH saMpUrNama Beging || namo vItarAgAya || vyAkhyAtaH prathamoddezakaH sAMprataM dvitIyamArabhyate / / tasya cedamAdisUtraM // 7 // dosAhassiyA egato vihati | ityAdi / athAsya sUtrasya kaH saMbaMdha ucyate // cha / abhbhuThiyassa | Ends parihArastapa ityekArtham ||7|| iti zrImalayagiriviracitAyAM vyavahAraTIkAyAM paMcamodezakaH samAptaH || paMcamodezake graMthAyaM // 905 // 7 // maMgalaM mhaashriiH||7||603---shreyorthe vyavahArAdvitIyakhaMDa likhAyitamiti 603 saMvat 1309 varSe bhAdrasudi 15 ( 13 )

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No. INo. of | No. of No. of | lines on letters Name of Work. Author's name. leaves. ge. | Remarks. each in each page. | line. | saMghAcAravidhinAmakabhASyAghadhikAra:- . dharmakIrtiH | 272 | 2-8 | 140- | ... | saMpUrNam Begins 300 ||ii namaH pravacanAya // deveMdravi'dastutapAdapadmaH svarbhUbhuvaH zrIvara kelisadma // saMdehasaMdoharaja:samIraH sa vaH zivAyAstu jineMdravIraH || iha hi duraMtAnaMta Ends zeSavidhyAdivaNI / / iti zrIsaMghasya pratidinamavazyaM kRtividhau sudharmAnuSThAne pragaTamadhikAra: prthmkH| sadAhaM caityAnAM vihitavidhivadvaMdanavaraH / zrutAdAmrAyAca prakRtavivRti: pAramagamat // 2 // iti zrIdeveMdrasUriziSyamahopAdhyAyazrIdharmakIrtisamutkIrtite pratidinAvazyakatyazrIsaMghAcAravidhinAni caityavaMdanAdivivaraNe caityavaMdanAvidhAnAbhidhAnaprathamAdhikAre caityavaMdanAvizeSavidhisvarUpAdivarNanonAmA caturthaH prastAvaH / / / evaM samarthitabhaityavaMdanAvidhinAmA prthmodhikaarH|| jayati zrIjinazAsana [naM] samuThita [samanuSTita ] zrutadharmaghoSasuvizuddhi // yatra sadApi hi sAdhuH pravarapravalhAdana [] purastAt // 1 // zrIdharmakIrtikartA gauravyonyopi dharmaghoSa iva // zrutadugdhAyupalabdhiH kimu saccaraNAdhvanInastu // 2 // sarvajJAkhyaH pitA yasya guruH shriiptinaamtH|| nirvdysrvvidyaanNdyovishvnNdpe|| [------ -----] ||3 // ( 14 )

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( zuddhakriyAdisaMzleSazAlinastasya kAvyarAjasya || laghubaMdho vRniriyaM svaparopakRtau kRtArthAstu || 4 // 22 raghuvaMzakAvyam- ............... kAlidAsaH 140- 3-5/40-42/ ... apUrNam Ends rAjJI rAjya vidhivadasiSadbharkharavyAhatAjJA || niryuktayaH-mAgadhI........ bhadrabAhusvAmI | 15 | 3-6 | 36-40 ... | apUrNam Begins AmiANabohiyanANaM suyanANaM ceva uhinANaM ca|| taha maNapajjavanANaM (kevalanANaM) ca paMcamayaM // 1 // ---80pIDhivA | titthayare---te vaMdiuNa sirasA attha puhattassa | taddhi tehi kahiyasta suyanANassa bhagavau nijjA kittadassAmi ||4|| Avassagassa dasakAliyasta taha uttarassa [jjha ] mAyAre suyagaDe nijjurti vochAmi nahA dasANaM [ca] || 5 || kappassa ya nijjatti vavahArassa ya paramaniuNassa / / sariyapattIe vouM isibhAsiyANaM ca || 6 // eesi nijjuni vochAmi ahaM jiNovaeseNaM || Ahara (Na) ukAraNapayAnavahAmiNaM samAsaNaM || 7|| sAmAiya nijjati voThaM uvaesiNaM gurujaNeNaM || AyariyaparaMparAe AgayaM aNupuccIe // 8 // nijjutti [tA] te atthA jaM baddhA teNa hoi nijjutti / / 24 prazamaratiprakaraNam | [umAsvAtivA- 5-27, 4-5 | 50-70/ ... | apUrNam Ends cakaH ] dharmakathikA prasamaratirAryAzatatrayaM dvAdazonaraM pArasamAptAmAta / / prasamaratiprakaraNaM samAptamiti || maMgalaM / / -prabhottararatnamAlikA-... ..[vimalacandrasUriH] 2 / 5-5 50-70 ... | apUrNam 15 )

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Name of Work. No. of No. of Author's name.|| No. of | lines on letters leaves. each in each in enchi Ago. | page. | line. Remarks. [haribhadrasUriH] | 2-4 4-5/45-52 ... | apUrNam [sa eva 3 4-5/45-52 ... | saMpUrNam Begins kaH khalu nAlaMkriyate dRSTAdRSTArthasAdhanapaTIyAn // kaMThasthitayA vimalaprakrAMtaratnamAlikayA // 1 // EndsprabhottararatnamAleyaM kaMThagatA kaM na bhUSayati // 9 // zrAvakadharmavidhipaJcAzakam -mAgadhI...... Ends jAyai cArittapariNAmo // 40 // -dIkSAvidhipaJcAzakama-mAgadhI... |Begins / nabhiuNa mahAvIraM jiNadIkhkhAe vihi pavakhkhAmi || |Ends viraha laDaM kuNaI / / 44 || dIkSAvidhipaMcAzakaM samAptamiti || -caityavaMdanAvidhipaMcAzakam-mAgadhI. ...... Begins namijiNavaddhamANaM sammaM vochAmi vaMdaNavihANaM / / |Ends viraheNa vIrohi / / 40 / / caityavaMdanAvidhipaMcAzakamiti / / -paJcAzakam-mAgadhI. BeginsnamiuNa vaddhamANaM sAvagadhamma samAsa vocha / sammattAIbhAvatthasaMgayaM muttniiiie|| // ( 16 ) ....... [sa eva] 3 4-5 47-55/ ... | saMpUrNam [sa eva] | 38 4-5 46-54 ... saMpUrNam

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26 27 Ends jamhA eso suddho anithANo hoi bhAviyamaINa || tamhA kareha samma jaha viraho hoi kammANaM || 44 || paMcAzakaprakaraNaM samAptamiti || ArAdhanAprakaraNam - mAgadhI. Begins AloyaNovayAraM uccArA khAmaNA aNasaNaM ca || suhabhAvaNA namokkArabhAveNaM catti samaNavihI // 1 // Ends iya abhayasUriviraddayaM ArAhaNapagaraNaM paDhatANa || sattANa hoi niyamA paramA kalANani phattI || 85 // upadeza pra0 - mAgadhI Begins namiUNa mahAbhArga tiloganAhaM jiNaM mahAvIram || loyAlayabhiyaMkaM siddhaM siddhovae sattham || vochaM uvaesapae kaii ahaM taduvaesau suyame // bhAvatthasArajutte maMdamaivibohaNaThAe || 2 || Ends 1110 aniyaya saThAvayA kAlikAcAryakathA - AryAbaddhA - mAgadhI |Begins // OM namo vItarAgAya // hayapaDiNIU kaititthaunnaI jayarDa kAlagAyariyam // vijjANaMdarisINaya deviMdodhammakittidharo || 1 || magahesu dharAvAsaMmi vara sI honivo [bhidho ] piyA tassa || sarasuMdarittiputto kAlaU [ kAliGa] sarasaI uhiyA || 2 || abhayasUriH yazobhadrasUriH 4 50 4-5 47-55 4-6 70-76 5-7 | 120 125 D .... : saMpUrNam apUrNam tru. apUrNam ( 17 )

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No. 28 29 Name of Work. kAlikAcAryakathA - gayabaddhA - mAgadhI Begins- atthi iheva jaMbUdIve dIne bharade vAse vAse dharAnAmanayaraM tattha ya vairi - vArasuMdarIvehacca [ vedya] vikkhA [dikkhA ] gurU vairasI honAmarAyA tassa ya sayalaM te urappahANI surasuMdarI nAmadevI. Ends kampanisIha kahAvalipabhiyanusAreNa rahaya mahA isayA kAlayasUrie baMdhA vadvAvi suNaMtu muNI 5 zrI kAlikAcAryakathA jIvasamAsaprakaraNam savRttikam. |Begins DI0 || u namo vItarAgAya || yaH sphAra kevalakarairjagatAM nihatya hArdaM tamaH prakaTitAkhilatatvavastuH // nityoditosuravaraiH stutapAdapadmapUrvo ravirvijayate sa jineMdravIraH || 1 || mU0 dasa dasa ya jiNavare codasaguNaja. Nae namasittA || codasajIvasamAsa [saM] samAsaNukkAmastAmi || 1 // Ends TI0 paryAyAtmakatvAditi gAthArthaH || 280 || tadevamanyApi prakSepagAthA siddhAM - tAnusAreNa vyAkhyeyA' jIvasamAsavRttiH samAptA // graMthAgraM 6627 saMvat 1964 caitrazudi 4 someveha zrImadaNahilapATake samastarAjAvali virAjita mahArAjAdhirAjaparamezvara zrI majjayasiMha devakalyA NavijayarAjye evaM kAle pravarttamAne yamaniyama svAdhyAyadhyAnAnuSThAnara tapara manaiSThika paMDitazvetAMbarAcAryabhaTTAraka zrI| hemacaMdrAcAryeNa pustikA li0 zrI0 Author's name. No. of leaves. 5 TI0 [hemacandrasU- 194 riH abhayadeva | sUriziSya : ] No. of lines on each page. No. of letters in each line. 5-7 | 120125 Ago. Remarks. saMpUrNam 5-7 |50-60 | 1164 saMpUrNam ( 18 )

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triSaSThizalAkApuruSacaritrasya dvitIyaM parva .. hemacaMdrasUriH / 40 6-766-70 ... apUrNam 1 kalpasUtram...... 2-77 5 50 ... | apUrNam Beging teNaM kAleNaM teNaM samayeNa Ends parUveda pajjosavaNAkappaM nAma ajjhayaNaM saaThaM sahe uyaM sasattaM saaThasaThabhayaM savAgaraNaM bhujjo 2 uvadaMse iti bemi // 7 // pajjosavaNakappo sammano / aThamajjhayaNaM sammat / / eka: sahasro dvizatIsametaH zliSTastathA SoDazabhirvidaMta / / (zrI)kalpasaMkhyA kathitA viziSTA vizAradaiH paryuSaNAbhidhasya || zrAvakavicAraH kathAsahitaH... 2-129 4-872-76/ ... | apUrNam 33 | zabdAnuzAsanavRttestRtIyAdhyAyasya prathamadvitIyau pAdau ............| hemacandrasUriH / 4429 57-60 ... | saMpUrNam Begins-- || ahaM / / namasturamogateH kaH khapaphiraH saH gatisaMjJakayornamas purasEnds tena ziSTaprayogonusaraNIyaH ityAcAryazrI hemacaMdraviracitAyAM siddhahemacaMdrAbhidhAnasvopajJazabdAnuzAsanavRttau tRtIyasyAdhyAyasya dvitIyaH pAdaH smaaptH|| zrImadullabharAjasya pratApaH kopi duHsahaH / / prasaran vairibhUpeSu dIrghanidrAmakalpayat // 2 // zubhaM 34 zuMbhalImatam-saMskRtAryAvRttabaddham .......... dAmodaraguptaH 93gatA- 944-71/ ... | apUrNam Begins / / OM namaH zivAya // sajayAta sNklpbhvoraatmukhshtptrcuNbnbhrmrH|| yasyAnuraktalalanAnayanAMtavilokanaM vasatiH // // ( 19 ) KER

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Name of Work. | No. of No.of Author's name. | No. of |lines on letters | leaves. | each in each page. line. Age. | Bemarks. avadhIrya doSanicayaM guNaleze sanivezya mtimaaryaaH|| zuMbhalyAmatametadAmodaraguptaviracitaM zRNuta // 2 // atikhalu nikhilabhUtalabhUSaNabhUtA vibhuutigunnyuktaa|| yuktAbhiyuktajanatA nagarI vANArasI nAma / / 3 // vArastriyopi yasyAM pazupatimanu tulyatAM yaataaH|| 5 // ( 20 yoSibhUSaNaM mAlatI nAma | // 20 // pezalavacasA vasatiH lIlAnAmAlayaH sthitiH premNaH // bhUmiH parihAsAnAmAvasatho vakrakathikAnAm || 21 // sA zuzrAva kadAciddhavalAla yaSTadezamadhirUDhA // kenApi gIyamAnAM prasaMgapatitAmimAmAryAm || 22 // yauvanasauMdaryAmada TUreNApAsya vAravanitAbhiH // yatnena veditavyAH kAmukahRdayArjanopAyAH / / 23 // zrutvAtha vipulajaghanA manasIdaM cakAra mAlatI ciram || atisAMpratamupadiSTaM suhRdevAnena sAdhunA paThatA / / 24 // tadgatvA pachAmo vikarAlAM kalitasakalasaMsArAm || yasyAH kAmijanogho divAniza dvAradezamadhyAste // 25 // iti manasi sA nivezya drutataramavatIrya vezmanaH zikharAt // vikarAlAbhavanavaraM parijanapArivAritA prayayau | // 26 // atha vikarAlobatadazanAM nimaharnu sthUlacipiTanAsAgrAm / / ulvaNacUcukalAkSatazuSkakucasthAnazithilakRtnitanum // 27 //

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35 gaMbhIrAraktadRzaM nirbhUSaNalaMbakRSNapAlIM ca // katipaya pAMDuracikurAM prakaTazirA saMtatAyatagrIvAm || 28 // sitadhautavasanayugalAM vivedhauSadhimaNisanAthagalasUtrAm || tanvImaMgulimUle tapanIyamayIM ca vAlikAM dadhatIm // 29 // gaNikAgaNaparikaritAM kAmijanopAyanaprasaktadRzam || AsaMyAmAsInAM vilokayAmAsa vikarAlAm ||30|| avalokya sAvidhAya kSitimaMDalalInamaulinA praNatim // paripRSTa kuzalavArttA samanujJAtAsanaM bheje || 31 // atha viracitahastapuTA saprazrayamAsanaM samutsRjya // idamUce vikarAlA mavasaramAsAdya mAlatI vacanam || 32 || vidadhAsi harimakaustubhamahAraM ravi magajanAthamamareMdram // adraviNaM draviNapatiM niyataM yatigocare patitam || 33 || ayameva buddhivibhavaH Ends 300 zrutvAsi ghaTaputraH priyApriyaM prItimAn smitaprathanam || nijagAda cArubhASiNi gItikasamayasaMmitaM kathitam || 308 // abhinaya sA tatheti prayayau padmAvatI nijaM bhavanam || akarocca viditakArya yuktAvasare mano yogazAstrasya TIkATippanakam ............ Begins // ahaM // yogazAstrasya TIkATippanakam || soDheti kathaM sahiSyate sarasyAmiti Ends tulyatA || adhyAtmye adhyAtmazAstropaniSannAni arthaparisamAptikaM vAkya | padamucyate || 5 || maMgalaM mahAzrIH || 5 || 5 || zubhaM bhavatu lekhakapAThalakapAThakiyoreva || 24 5-7 46-71 ... saMpUrNam ( 21 )

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No. 36 Name of Work. yogazAstravivaraNam - dvitIyaprakAzasya || | Begins // ahaM / gRhidharmmAya kalpata ityuktaM / gRhidharmmazca zrAvakadharmmaH // Ends yathApavarga || 40 || 195 || 5 || iti paramArhatazrIkumAra pAlabhUpAla - zuzrUSite AcAryazrI hemacaMdra viracite adhyAtmopaniSatrAtri saMjAtapaTTabaMdhe zrI - yogazAstre svopajJaM dvitIyaprakAzavivaraNa || 4 || graMthAgraM || 3100 || maMgalaM mahAzrIH || bhadraM // AsI caMdrakulAMbaraikataraiNiH zrImAna devAbhidha stadvaMze prabhumAnatuMgagaNabhRt prAjyaprabhAvaH prabhuH || tatrAjAyata buddhisAgaraguruH pradyumnasUristatastAcchaSyojani devacaMdragaNabhRd gacchAgraNIvizrutaH // 1 // zrIdevacaMdrasya munIzvarasya jAtau suziSyau jagati praziSyau / zrImAna devaH prathamo gaNezaH zrIpUrNacaMdro gnnbhRttthaanyH|| 2 // yaH saiddhAMtikamaulibhUSaNamaNirvidvajjanAgre saraH saMtoSottamaranara jitatanuH zrImAnadevaH prabhuH // yaccetaH kalayApi no vilikhitaM [taH] sahApalIlAvatI - vellallocanacAruvIzcitasara[zara] zreNIbhirAtmodbhavaH / / 3 // zrI pUrNacaMdrasUre gaurvAdigo vRMdanAzinI // brahmanighopi sotryAdvo yAsUta paramaM vRSam || 4 | zrImAnadevasUreH paTTejAna mAnatuMgasUriguruH // vidhiriva bhavAMtakArI narakadveSI sa viSNuriva / / 5 / / | Author's name. hemacandraH No. of No. of lines on leaves. each page. 5-6 53-56 | 1292 saMpUrNam 242 No. of letters in each line. Age. Remarks. ( 22 )

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sAsA sarvAsA bhAmahatto guroko ( anyacca / / dharkaTavaMzasudhAnidhicaMdraH zreSThI gaNiyAko nistNdrH|| tasya guNadhI (6) samajani jAyA dakSasateva sadaiva vimAyA // 6 // tasyAMgajekA sumahattarA yA prabhAvatIsaMjJamahattarAyAH || pArzve gRhItyaMca mahAvratAni pradyumrasUreH suguroH kareNa || || jagazrIrudayazrIzrIcAritrazrImahattarA(:) krameNa tAsAM sarvAsAM pAdapadmamadhuvratA || 8|| sA nirmalamatigaNinI ramyAM zrIyogazAstrasadvRtteH / / dvaitaprakAzakhaMDasya pustikA lekhayAmAsa || 9 // zrImAnatuMgasUreH paTTasthitapadmadevasUrINAm || tAM pravacanarasapAtraM pradadau puNyAya puNyatarAm / / 10 // ka--saMvat 1292 varSe kArtika zadi 8ravau dhaniSThAnakSatre yogazAstravRttidvitIyaprakAzasya likhiteti || zubhaM bhavatu || 37 | zabdAnuzAsanavRttiH -pAda 4..... | hemacaMdraH Beging| || ahaM / / vRddhirAraidaut AkAra Ar aikAra aukArazca pratyeka vRddhi saMjJA bhavaMti mArTa | yAcyaM | dAkSiH | kArayati / kArtha Ends kSIrIyati dAnAya || 7 // ityAcAryahemacaMdraviracitAyAM siddhahemacaMdrAbhidhAnasvopajJazabdAnuzAsanavRttau caturthAdhyAyasya tRtIyaH pAdaH smaaptH|| karNa ca siMdhurAjaM ca nirjitya yudhi durjayam || zrIbhImenAdhunA cakre mahAbhAratamanyathA // 3 // 38] triSaSTizalAkApuruSacaritrAntargatasaptamaparva .. hemacaMdraH Begins, | |ahaM ||ii || namaH srvjnyaay|| 208 4-6.52-56 saMpUrNam / 23) / 306 4-755-65 1318 saMpUrNam

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Name of Work. No. of | No. of Author's name.] | No. of lines on letters leaves.| each | in each page. | line. Age. | Remarks. ( 24 ) atha shriisuvrtsvaamijineNdrsyaaNjnaateH|| harivaMzamRgAMkasya tIrthe saMjAtajanmanaH ||3|| baladevasya padmasya viSNornArAyaNasya ca // prativiSNo rAvaNasya caritaM parikIrtyate || 2 || Ends - parvatadhariSeNacakrI / / 32 // ityAcAryahemacaMdraviracite triSaSTizalAkApuruSacarite mahAkAvye saptamaparvaNi hariSeNacakravarticaritavarNano nAma dvAdazaH sargaH ||---tryodshH srgH|| samAptaM cedaM saptamaM parva graMthAgraM 3888 saMvat 1318. 39 neminAthacaritram-mAgadhI ...... guNavallabhaH | 276 | 4-6 60-65 / ... | saMpUrNam Begins // namaH zrImadariSTanemaye / / ajjavi jassa pavattai dhammo nIIya bharahavAsammi || taM paDhama jiNavaraM paNivayAmi nidaliyadurihuhaM [dariohaM / / 1 // |Ends saghuvittamarayaNagaNe vallavo bhaNai naNaM nII viNayaM dhamma kAmaM sirvapi hu kallANaM sAhaba sirinemijiNacariyaM ---pAvai sAsayaM ThANaM / / iti navabhavapratibaddhuzrImannemijinAkhyAnakaM zatakAdhika paMcasahasraM samApta / / maMgalaM mhaashriiH|| | paJcasaMgrahaTIkA ..... malayagiriH | 269 | 5-6 62-66 / ... | saMpUrNam Begins / // namo vItarAgAya / /

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41 292 4-5 52-55 ... | apUrNam atre -- madAha --samastavijJAtajagatsvabhAvam / / vidhvastaniHzeSakatIrthamAnaM praNamya vaMde jinavarddhamAnam ||... yathArthavAda vivRNomi paMcasaMgrahamatinipuNagabhIramalpabuddhirapi Ends taMdayatyaH graMthAya 4631 // 7 // itizrImalayAgariviracitAyAM paMcasaMgraha. TIkAyAM baMdhavyamarUpaNAdvAre tRtIyaM samAptamiti || pravacanasAroddhAravRttiH-dvAra 6-142 ....... ................ siddhasenAdevA- |Beging karaH | idAnI karaNati saptaSaSTaM dvAramAha piMDavisohI samiI Ends| idAnIM logasarUvaMti tricatvAriMzadadhikazatatamaM dvAramAha gAthAtrayaM mAghavaIetalAuI---- | upadezamAlA ..... Beging / namaH sarvajJAya || sayadevayaM ca vaide yAsupasAeNAsikhiyaM nANaM || annaM pavayaNadevI saMtikaritaM narmusAmi // 1 // | Ends akkhara menassa jaivi dAyAraM sovvavai lablake Tuhapaure dAruNe narae ||542 / / upadezamAlAprakaraNaM samAnamiti // -dharmopadezamAlA .... yazodevasUriH Begins / / namo jinAya || sijma umajjhavi sayadevi tujjha bharaNAu suMdarAjjhati / / dhammovaesamAlA vimalaguNA jayapaDAyava / / 1 / / jiNasiddhasUriuvajjhAyasAhamayadevighanANANi || dhammovaesamAlaM thoDaNa bhaNAbhi suyavihiNA ||2|| 180 4-650-65/ ... | saMpUrNam ( 25 )

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No. Name of Work. INo.of | No. of | Authors name.J.NO. of | lines on letters leaves. each in each page. | line. Age. Remarks. jinabhadragaNiH ( 26 ) Ends saibhaeNa jamAlI puvogahiya havai goviMdo / saMsAmgi sAgabhikkha goThAmahilAbhinivese // 10 // dharmopadezamAlAprakaraNaM sammattaM // -kSetrasamAsaprakaraNam ......... Begins - namiuNa sajalajalaharanibhassa NaM vaddhamANajiNavasabham / / samayakhetasamAsaM vochAmi guruvaeseNa // 1 // EndsjaMbUddIvollakkhaM khetasamAsassa paDhamauddeso / / paDhaNe jANasamato tANa samattAi TukkhAI || 90 // kSetrasamAsaprakaraNaM samAptamiti || -saMgrahaNI......... BeginsniThaviyaaThakama vIra namiuNa tigaraNavimuddham / / nANamaNaMtamahatthaM tAsaMgahaNinAmeNa || // Ends bemi yava suyaharehiM taheva suyadevayA eka // 9 // -karmastavaH Begins| // nmiunnjinnvaard|| ........ jinabhadragaNiH [jinavallabhaH] | ... | ... | ... | ... |

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............... EndsdisaDa varanANalaMbhaM daMsaNamuddhi samAhiM ca ||4|| karmastavaH smaaptH|| -karmavipAkaH ....... [jinavallabhaH] |Begins vavagayakammakalaMka vIraM nAmiDaNa kamagaikusalam // vo kammavivAgaM guruvahaThaM samAseNaM ||1|| HEnds eya gAhANasaya chAvaTi eka paDhiuNa || jo guru puchA nAhI kammavivAgaM tu soairA / / 16. // karmavipAkaH samAptaH || maMgalaM mahAzrIH / / -sattarikA prakaraNam-vA SaSThaH karmagranthaH-mAgadhI caMdramahattarAcABegins ryakRtagAyA 70 siddhapaehi mahatthe (ttha) baMdhodayasaMtapagaDiThANAe [f] || tatra prakSisagAbocha maNa saMkhavaM nissaMdi[] diThivAyassa ||1|| thAkartA deveMdrAEnds, cAryaH jo entha [jatthama] paDiputro atyo appAgameNa baMdhoti [baddhoti / / ta khamiuNa bahumuyA pUre uNaM parikahi || 06 || sattArakA sammattA / / / -sayagaM jinavallabhaH Beging arihaMte vaMditA anuttarakkame paNamiuNa || | baMdhasayage nibaddhaM saMgahamiNamo pavakkhAmi ||1 // Endsiya kammapagaDi pagayaM saMkhebudiThAninuya mahattham // jo uvaDhaM jA bahuso sohI baMdhamoknatyam / / sayagaM sammannaM / / 139 / / ( 27 )

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No. Name of Work. | No. of No. of No. of | lines on | letters Author's name. | leaves.| each in each page. | line. Age. Remarks. jinavallabhagaNiH ... | saMpUrNam (28) -AgamikavastuprakaraNam-mAgadhI ......... Begins // nichinamohapAsaM pasariyavimalobha [vimala] kevalapra[pa]yAsam // paNayajaNapUriyAsaM paNamittu jiNapAsam ||1|| vochAmi jIvamaggaNaguNatA[ThA]NuvauMgajogalesAI / / kiMcigurUvaesA sannANasuDDANahe utti // 2 // |EndsjiNavallahovaNIya jiNavayaNAmayasamuddabiTumimam / / hiyakaMkhiNA vuhajaNA nisuNata guNaMtu jANaMtu / / 86|| ityAgAmikavastuprakaraNaM samAptam / / -navapayam-mAgadhI Begins // namiuNa vaddhamANaM miLaM samma vayAi saMlehA // navabheyAI vocha sadANamaNuggahaThAe || 3 // Ends ii navapayaM tu neyaM lihiye sIseNa kakvasUrissa || gaNiNA jiNacaMdeNa saraNaThimaNuggahaTa ca // sailehaNA sammattam || 140 // navapayaM sammattam / / -sattavANA-mAgadhI....... BeginsvaMdAmi savvannajiNidavANI prasanagaMbhIrapasatthasasthA / junIjuyA je abhinandayanto naMdati saMtA tahata kurNatA // 3 // jinacaMdragaNiH ... kakkasUriziSyaH ... | ... | saMpUrNam

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..... 164/ ... | ... | ... | saMpUrNam Ends sAviyANati sattamaM ThANaM // karmagrantha-mAgadhI....... dhammilacaritra-mAgadhI.... madhye|| bhaNiyaM dhAmmala tumaI--jaMbuddIve dIve bharahe vAse bharuyacha nAma nayara taccaya [tatthaya rAyA jiyasattUnAmA bhajjA ya se dhAriNI nAma tatthaya nayare vaIkula ---- kalpasUtram-mAgadhI Begins // teNeM kAleNaM teNaM samaeNa Ends bhujjo 2 uvadaMse itti bemi / / pajjosavaNAkappo smmtto|| -kAlikAcAryakathA-mAgadhI mahezvarasUriH Begins || paDisiddhami kuNato ANAe davvakhetakAlassa || sijjhai visuddhabhAvo kAliyasUrivva jaM bhANiyam ||1|| EndsnityaM sakAlakaH / / 52 // iti zrIpAlIlagache mahezvarasUrabhirviracite kAlikAcAryakathA samAptA / / nRpavikramakAlAtIta saM0 2365 varSe bhAdrapadekalpasUtram-mAgadhI ........ ...... Begins ||ii namaH sarvajJAya // | teNaM kAleNa teNaM samaeNa samaNe bhagavaM mahAvIre paMcahattutare hutthA taMjahA ( 29 ) | ... | ... | ... | 1365 saMpUrNam | 51 / ... | ... | ...

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No. 46 47 Name of Work. Ends bahUNaM devANaM bahUNaM devINaM majjhagae ceva evamAikkhar3a evaM bhAsai evaM panavei evaM parUveI pajjosavaNAkappo nAmaM aDDayaNaM saaThaM saheuaM sakAraNaM samuttaM saatthaM saubhayaM savAgaraNaM bhujjo 2 uvadaMse itti bemi || aDDamaDDA [jjha] yaNaM samattaM pajjosavaNA kappo sammatto // ityevaM graMthasaMkhyA SoDasasatAni paMcatyadhikAni 1605 i0 graMthasaMkhyA / / maMgalaM mahAzrIH || kAlikAcAryakathA - zlokabaddhA -- mAgadhI. Begins atthittha bharahe vAse kamalA kelimaMdiraM || tilayaM bhUpuraMdhINa dhArAvAsaM mahApuraM // 1 // Ends supatreNa nimmiyA sUriNA bhAvade [ e ]Na esA saMkhevau kahA | 100 // iti zrIbhAvadevasUrikRtaM kAlikAcAryakathAnakaM samAptamiti // bhayaharastotram -- mAgadhI....... Begins namiUNa paNayasuragaNacUDAmaNikiraNaraMjiaM muNiNo || calaNajualaM mahAbhayapaNAyaNaM saMthavaM vocchaM || 1 // Ends jayo pAsi [sa] jiNo || 22 || bhayaharaNaM samAptam // - paramapamoyA - mAgadhI. Author's name. bhAvadevasUriH No. of leaves. mAnatuMgAcAryaH | :.. 13 No. of lines on each page. No. of letters in each line. : Age. : Remarks. ...... ( 30 )

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[nandiSeNamuniH] .... | ... ... | ..... ...... siddhasenasUriH |Begins // jaiA samaNabhayanvo mahAvIre jiNuname // loganAhe pa [sa] yaMbuddhe logaM ciya vibohiNe // 1 // Ends ahmANaM deu nivvuI / / 20 // iyaparamapamoyA // -ajitazAMtistavaH-mAgadhI ..... Begius, // ajiyaM jiyasavvabhayaM saMtiM ca pasaMtasavvagayapAvam / / jagagurusaMtiguNakare dovi jiNavare paNivayAmi // 1 // Ends AyaraM kuNaha || 40 // ajitazAMtistavaM samAptam // -ekavIsaThANam-mAgadhI .... Begins / / namo vItarAgAya || cavaNavimANa nayarI jaNagA jaNaNIya rikkhA // rAsIu lachaNa pamANa AuM vanaMtara dikkha tava bhikkhA // 2 // nANa ThANaM gaNahara muNi ajjiyasaMkha jakkha devIH / / siddhiThANaM ca kameNa vasahimo jiNavariMdANaM ||2|| EndsiyaM ekvavIsa ThANA uddhariyA siddhaseNasUrIhiM / / cauvIsajiNavarANasasa[NaM asesa] sAha[hAraNAbhaNiya [yA] || 65 / / ekvavIsaThANaM sammattam // -dUsamakaMDikA-mAgadhI Begins-- // namo vItarAgAya // nami uNa jiNavarANaM NijjiyasamaNANaNimmamattANaM / / vochaMdUsamagaMDI gurUvaesANusAreNa // 1 // ( 31 )

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Name of Work. Author's name. | No. of No. of No. of lines on letters leaves. each in each page. | line. Age. Remarks. siddhasenasUriH | ... | ... ... ... | ) dharmadAsagaNiH | ... | ... | ... | ... ( 6 Ends AraMbhojAvachacceva | dUsamakaMDikI samAtA gAhA 83 graMthAma 103 -sAsayajiNathUI-mAgadhI ........... Begins, sAsayajiNaNAhabhavaNANi |Ends bharahAimaNuyamahiyA mohArimalamahiya maheya / / sirisiddhasaNasUrIhi saMthuyA sivamuhaM hiMtu [dita] || 34 // -upadezamAlA-mAgadhI ......... Beging | namiNa jiNavariMde idanAradaccie tiloyagurU / / |Ends gAhANaM savvaggaM paMcasayA ceva bAyAlA / / 542 / / -zrAvakapratikramaNasUtram-mAgadhI ...... Beginskaremi bhaMte sAmAiyaM savaM jorga pacakkhAmi siddhAMtavicArAH.............. EndsziSyAMbhojadivAkarasya purataH zrIdharmaghoSaprabhoH siddhAMtaM vimalAkhyasUrigaNabhRtsiSyeNa saMzRNvatA || smRtyartha gaNicaMdrakItikRtinA kecidvicArAvarAH saMtyete paripiMDitA[:] parilasasiddhAMtaratnAkarAt // iti niHzeSasiddhAMtavicArAH sahasradyamAnAH smaaptaaH|| 14 caMdrakIrtigaNiH 81 56 ... apUrNam i.

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49 | siddhAMtoddhAradvitIyakhaNDa: ...caMdrakIrtigaNiH | 110 46 | 56-64| 1212 | saMpUrNam Begins| vyavahAre saptamasya samarthitAni aSTame tu uccAraNaM pAsavaNaM EndsdaDhagalidhoyapotI sadasavatthaMti bhaNiya hoirAlagakaMga // saMvat 1212 ASADhavadi 12 gurau likhiteyaM siddhAMtoddhArapustikA lekhakadevaprasAdeneti || graMthAgraM 1670 dvitIyakhaMDaM / / ziSyAMbhojavanaprabodhanarave: zrIdharmaghoSaprabhoH [bho] vaktrAMbhojavinirgatAH katipayAH siddhAMtasatkA amI / / paryAyAgaNicaMdrakItikRtinA saMcitya saMpiMDitAH svasya zrIvimalAkhyasUriMgaNabhRsiSyeNa ciMtAkRte / / 50 | dharmAbhyudayanAmakamahAkAvyam-saMghapaticaritamityaparanAmakam ...... udayaprabhasUriH | 380 3-5 ... | saMpUrNam |Begins ||ii namaH sarvajJAya || aha~ lakSmI stumaH zreSThaparameSThipadama dam yatparaH kiMkarAyaMte surAsuranarazriyaH // 5 // EndsnityaM vyomani--saurabhyaprasaraM ciraMkalayatAt kiNjlklkssmiipds||62|| iti zrIvijayasenasUriziSyazrImadudayaprabhamuriviracite zrIdharmAbhyudayanAni zrIsaMghapaticarite lakSmayake mahAkAvye zrIvastupAlatIrthayAtrotsavavarNano nAma paMcadazaH sargaH // --- sarIraM 3 51 | anuSThAnavidhiH ...... | 124 | 3-5 40 ... | saMpUrNam |Beging| ||rtt namo vItarAgAya // ( 33 )

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Name of Work. No. of No. of No. of lines on letters Author's name. | leaves.| each in each | page. | line. ge. | Remarks. namiuNa tiloyaguruM loyAloyapayAsayaM vIram / / vibhbhamaviNAsahetuMNuSTANavidhi patrakhkhAmi // 3 // | Ends pAre yavvaMti // 7 // iya eso aThottaraposahavihI smmtto||ch|| zlo01046 // 52 karmavipAkA .... Ends kammavivAgaM tu so airA // ch|| 168 || karmavipAkaH smaaptH|| 53 | bhagavatIsUtram ...... 54 upadezapadAni. gargamaharSiH / 25 3 30-35 / ... | apUrNam tru. | 5-160 5-7 55-69 | ... | apUrNam tru. haribhadrasUriH | 28-5 5 60 ... | apUrNam / ( 34 ) Endg lesudeseNa uvadesapayAi hai samakhkhAyA---yA uddhariuNaM maMdamativibohaNaThAe jAiNima[mma]yahariyAe raitA eteu dhammaputteNa haribhadAyarieNaM bhavaviraha icchamANeNaM // haribhadrasUri ri:] kRtiH|| 7 // gAthAnAM 1040. 55 | triSaSThizalAkApuruSacaritrasyASTamaM parva...... hemacaMdrasUriH / 234 | 3-5 81-85/ ... | saMpUrNam |Begins / / ahaM / / U~ namo vizvanAthAya janmato brahmacAriNe // karmavallIvanachedanemaye riSTanemaye // 1 // EndsvismayAya trilokyaaH| 128

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56 57 58 tasyaiva dazamaM parva |Ends saMvat 1324 varSe mArgavAdi 13 svAvadyeha zrImadujjaya [[ya] nyAM zrImahAvIracarita pustakaM sA devasiMhena mAtuH zreyortha likhAyitam // pAkSikapratikramaNasUtrasya cUrNivRttI Begins || namaH sarasvatyai || zivazamaikanimitta natvA // vakSyAmi sukhabodhAya pAkSikasUtrasya vRttimimAm || 1 || Ends sesaM devasiyaM pUrvavat kurcchati yAvatsamAptamiti // anupa [pa] bhedena chaMdasA graMthAgraM catvAri zatAni // pAkSika pratikramaNacUrNavRttigraMthA 3100 ekatriMzat zatAni // saMvat 1296 vaizAkhamudi 3 gurau iha vIjApure zrInAgapurIyazrAvakaiH pauSadhazAlAyAM siddhAMtazAstra pUjyazrIdeveMdrasUri zrIvinayacaMdrasUri upAdhyAyazrIdevibhadragaNivyAkhyAnataH saMsArAsAratAM vicitya sarvajJoktazAstraM pramANamiti manasA vicintya zrInAgapurIyavarahUDiyA saMtAne sA0 Asadeva sA0 nemaDasuta sA0 rAhaDajayadeva sA0 sahadeva tatputra sA boDhAgosala sA0 rohaDasta ji-NacaMdra dhaNesara - lAhaDadevacaMdraprabhRtInAM caturvidhasaMghasya pAThanArthaM vAcanArthaM ca Atmazreyortha likhApitaM // jJAtAdharmakathAdyaMgacatuSTayasUtravRttayaH. |Begins TI0 || namo jinAgamAya // u namo gaNAdhipataye || natvA zrImanmahAvIraM prAyonyagraMthavIkSitaH // jJAtAdharmaMkathAMgasyAnuyogaH kazciducyate || 1 || hemacandrasUriH abhayadevasUriH 266 78 4-7 330 4-7 80 1324 | saMpUrNam 120 120 - 1984 | saMpUrNam 130 ( 35 )

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No. Name of Work. mU0 || namo suyadevAe || terNa kAlenaM teNaM samaeNaM caMpAya jayaMrI punabhaddacei || DI0 zrI varddhamAnamAnamya vyAkhyA kAcidvidhIyate // upAsakadazAdInAM prAyograMthAMtarekSitA // 9 // Ends mU0 || sayaM saMbudveNaM puraSontimeNa purisasIheNaM dhammaka hA suyakkaMdho sammatto dahi vaggerhi nAyadhammakA sammattA || 5 || graMthasaMkhyA 4064 || TI0 || puMDariyamahArisivva jahA // ityekonaviMzatitamaM jJAtaM vivaraNataH samAptam || 9 || nirvRtikakulanabhastala caMdradroNAkhyasUrimukhyena || paMDitagaNena guNavatpriyeNa saMzodhitA caye [ yam ] 10 // ekAdazasu [za ] teSvatha viMzatyadhikeSu vikramasamAnAM || aNahilapATakanagare vijayadazamyAM ca siddheyam // pratyakSaraM nirUpyAsyA graMthamAnaM vinizvitam || anuSTubhAM sahasrANi trINi saptazatAni ca || mU0 anuttarovavAiyadasANaMtA sammannato | navamaM aMgaM sammataM // TI0 zeSamaMtakRdazAMgavaditi // anuttaropapAtikAkhyAtaM navamAMgapradezavivaraNaM samAptamiti // zabdAH kecana nArthatopi viditAH kecittu paryAyataH tatra zranugate : samUhya bhaNato yajjAtamAgaH padam / Author's name. No. of No. of lines on leaves. each page. No. of letters in each line. Age. Remarks. ( 36 )

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zIlAMgasuriH / 429 5 118 | 1320 saMpUrNam vRttAvatra takanjinezvaravacobhASA vidhe kovidaiH saMzodhya vihitAdaraijinamatopekSA yato na kSamA // 1 // pratyakSara nirUpyAsya graMthamAnaM sunizcitam / / vRtInAM tisaNAM zlokasahasraM trizatAdhikam / / maMgalaM mahAzrIH / / saMvat 1984 mAgha suravI aoha zrImadaNahilapATake mahArAjAdhirAjazrIvijayasiMghadevakalyANavijayarAjye jJAtAdharmakathA yaMgatAttilikhiteti / / 59 | sugaDAMgavRttiH sUtraniyuktisahitA ...... | Begins TI.|| I namaH sarvajJAya || svaparasamayArthasUcakamanaMtagaparyayArthagaNakalitam || sUtrakRtamaMgamatulaM vivRNomi jinAnamaskRtya // 1 // ni0|| namo jinAya // titthayare jiNavare satakare gaNahare ya nAmiNa || muyagaDassa bhagavarDa nijjuti kittaissAmi / / 3 / / Ends TI. caraNadiu sAhuni samAtA ceyaM sUtrakRtadvitIyAMgasya TIkA kRtA ceyaM zrIzIlAMgAcAryeNa vAharigANasahAyena | yadavAptamatra paNya TIkAkAraNa mayA samAdhibhRtA / / tenApatanatamasko bhavyaH kalyANabhAgbhavatu / sarvagraM 13800 ni0 muyagaDasta ci [bi ] iu suyakkaMdho sammano / sammattaM ca suthagaDanihANaM biimaMgaM / / graMthataHzlo / / 265 // ( 37 )

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Name of Work. INo. of | No.of Author's name.|| | No. of lines on letters | leaves. each | in each page. | line. ge. | Remarks. vijayasiMhasUriH 271, 5-7 136/ ... | saMpUrNam ( 38 ) saMpajjitANaM viharai bemi || nAlaMdarajaM sammattaM / sammANi mahajjhayaNANi codasasayANi || sammattaM suyagaDaM sUttaM / gAhAe ekavIsasayANi sarvajAtasUtre zlokA 2625 / sarvasaMkhyAjAtazloka 16600 / / saMvat 1320 varSe bhAdrapadavadi 2 ravAvayeha vIjApure // | bhuvanasundarIkathA-mAgadhI Begins / / namaH sarvajJAya || paDhamaM ciya paDhamajiNassa namaha nahamaNimaDa ramaNIyam / / aMkuriyamokhvapAyavabIyanihANaM va payakamalam // // siripA(ya)litakai bappahaTTiharibhaddamUrippamuhANa || kiMbhaNimo uNajjavi na guNahi~ samo jae sukaI / / EndssivamalayamakSayasuhaM mokhkhaMnirAvAhaM ettha samappai siribhyaNasuMdarInAmavarakahA esA / pha[] DaviyaDasalaliyakSaragAhAhi viNimmiyA rammA || iha Asi jayapasiddho nimmalanAillakulasammubhbhuu / tavasIlasaMjamararDa samuddasUriti AyariI / / niyahatthadikSieNaM sIseNaM tassa aNuvarma gunnss|

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sirivijayasIhanAmeNa sUriNA viraiyA esA // saMvat 1365 ratnAdevIye mUlye leI sAdhane orAvI 201, 4-5 | 139 / ... | saMpUrNam 282 | 4-6 | 140- 1303 saMpUrNam jambudvIpaprajJaptisUtram-mAgadhI ... Begins, / / namaH sarvajJAya || namo arahaMtANaM || teNaM kAleNaM teNaM samaeNaM mihilAnayarI hotthA riddhisthimiyasamiddhA vaNNau tIseNaM mihilAe nayarAe Ends ANeyavvAu || jaMbuddIvapaNNakaraNANaM cuNNI sammattA / / jaMbuddIvapaNNattI sammattA // 7 // zubhaM bhavatu // AcArAMgasUtram-TIkAniyuktisahitam ...... ..TI0 zIlAMgasUriH Beging sU0 // namo vItarAgAya || mayaM me AusaMteNaM bhagavayA eva makhkhAyaM ihamegesiM nosaNNA bhavati ni0| vaMdittu savvasiddhe jiNeya aNauMgadAyae save / / AyArassa bhagavato NijjuniM kittaissAmi || 1 // ttii0|| namaH srvvide|| jayati samastavastuparyAyavicArApAstatIthika / vihitaikaikatarthinayavAdasamUhavazAt pratiSThitaM / / bahuvidhabhaMgisiddhasiddhAMtavidhUnitamalamalImasa / / tIrthamanAdinidhanagatamanupamamAdinataM jinezvaraiH / AcArazAstraM muvinizcitaM yathA jagAda vIro jagate hitAya yaH / / tathaiva kiMciddataH sa eva me punAtu dhImAn vinayApitA giraH / / ( 68 )

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Name of Work Author's name. | No. of | No. of No. of lines on letters leaves. each in each page. | line. Remarks. zastraparijJAvivaraNamatibahugahanaM ca gaMdhahastikRtam / / tasmAt sukhabodhArtha gRhAmyahamaMjasA sAram / / ) ( 0 sU0 kalIbhAvAppathavimuccati tti bemi vimotI sammattA | aSTamadhyayanaM // samAptamAcAraH prathamamaMgamiti / / 7 / / uddezato graMthAnaM / / 5554 / / ekvArasatitidodo do uddezaehi nAyavvA sanaya aThamanavamA ekkasarA iMti ajjhayaNA / / 67 // sarvagAthAsaMkhyA || 367 || AcAraniyuktiH samAptA / / TI. sAdhurmokSasAdhanAyAlamiti tAtparyArthaH // AcAryazrIzIlAMkaviracitAyAmAcAraTIkAyAM dvitIyaHzrutaskaMdhaHsamAptaH / / samAptaM cAcArAMgamiti AcAraTIkAkaraNe yadAptaM puNyaM mayA mokSagamaikahetu tenApanIyA zubharAzirucairAcAramArgapravaNostu lokaH / / graMthAgraM || 12300 // AcArAMgavRttiH 12300 AcArasUtra 2500 niyuktiH 400 / / saMvat 1303 varSe mArgavadi 12 gurau ayeha zrImadaNahilapATake mahArAjAdhirAjazrIvIsaladevarAjye mahAmAtyazrItejaHpAlapratipatnI zrIAcArAMgapustakaM likhitamiti kalyANamastu zrIjinazAsanapravacanAya / / |-maMgalaM mhaashriiH||

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Q 63 64 65 66 uttarAdhyayanasUtrasya laghuvRttiH || OM namaH pravacanAya || |Begins praNamya vitrasaMghAta ghAtinastarthinAyakAn // siddhAMca sarvasAdhUMca stutvA ca zrutadevatAm || 1 // baharthAMdvRddha kRtAGgaMbhIrAdvivaraNAt samuddhRtya || adhyayanAnAmuttarapUrvANAmekapAThagatAnAm || 3 // arthAtarANi pAThAMtarANi sUtre ca vRddhaTIkAtaH // boddhavyAni yatoyaM prAraMbhI gamanikAmAtraH || 4 || Ends gato'ne abhipretAni itiH samAptau bravImIti pUrvavat itisUtrArthaH ni --- yoga upadhAnAdivyApAra stadanatikrameNeti yathAyogamityuttarAdhyayanaTIkAyAM sukhabodhAyAM SatriMzamadhyayanaM samAptam || asti vistAravAnityAdi bhagavatIsUtram . zrAddhadinakRtyavRtti:.. || OM namaH sarvajJAya // gobhiryena jagacayepi nikhiladravyaprakAzaH kRtaH Ends Begins saMcitanAtho dinakRtyavRttau // 1 // iti zrAvaka dinakRtyavRttau vidhizayanAdidvAra TUvyAvarNano nAmASTamaH prastAva: tatsamAnau samAptA ceyaM zrAddhadinakRtyavRttiH // darzanazuddhinAmakazAstram - saTIkam - mU0 mA0 TI0 saM0. |Begins TI0 || namaH sarvvajJAya || caMca caMdra marIci cArurucirA vizvabharA rAjate nemicandrasUriH ...... devendrasUriH 440 356 .mU0 candraprabhasUriH 283 TI0 vimalagaNiHdharmaghoSa sUriziSyaH 4-6 150| 1352 | saMpUrNam 3-5 120-131 3-5 140 | 5-6 160 170 : / saMpUrNam ( 41 )

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Name of Work. | No. of INo. of | No. of lines on letters leaves. each in each page. | line. Age. Remarks. and 2-54/ 3-6/ 45 ... | apUrNam (3) mU0-patrabhavaM navatIraM duhadavanIraM zivaMbatarukIram || kaMcaNagorasarariM namiuNa jiNesaraM vIram ||1 // vocchaM tucchamaeNaM aNuggahatthaM samatthabhabvANam // sammattassa sarUvaM saMkheveNaM nisAmeha // 2 // Ends TI-viSayavimukhatApAdikAM bodhikAM ca // 13 // mU0-jANaMtu kuNaMtu lahaMtu sivasuhaM sAsayaM hutti // 67 pajjosavaNAkappo-saTIkaH mU0 mA. TI. mA0 ....... Begins saMbaMdhe settamAsiya phAsattA Agato tAhe vAso jogga uvahiM uppA etti vAso joggaM ca khettaM ca paDilehota etaNa saMbaMdhaNa pajjosavaNAkappo saMpatto dArA catvAri adhikAro vAsA jogoNakhetteNa uvadhiNAya jAya vAsAsu mjjaay| nAmanippano pajjosavaNA kappo. Ends-- vAle sutte sUI kuDasIsagachae apachimae NoNaThi tavassI Agahi tAsi ahautta visesA // 67 // pajjosavaNA kappo sammatto / / kahejjati samosaraNevi kAhijjati / pajjo savaNAkappo aThamajjhayaNaM parisamAptam / / 68 | kalpasUtram ......... .... | 105, 3-6/ 1 ... | saMpUrNam

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kAlidAsaH ... 2-129 | 3-6 75-142 3 44 42 ... | apUrNam ... |Begins / / namaH sarvajJAya || teNaM kAleNaM teNe samaeNaM samaNe bhagavaM / / EndsbhajjI uvadaMma setti bemi // 7 // pajjosavaNAkappo sammatto aThumajmayaNaM dasAsuyakhaMdhassa / ekaikAkSaragaNanayA graMthamAnamidaM / eka: sahasro dvizatIsametaH zliSTastathA SoDazabhividaMta / / kalpasya saMkhyA kathitA---1216 zubhaM bhavatu || 69 raghuvaMzakAvyam-sarga 13 ......... 70 sAvadhapannattI..... Begins / / namo arhtaann| arahaMte vaMdittA sAvagadhamma duvAlasavihapi / / vochAmi samAsaNaM gurUvaesANusAreNam / / 1 / Ends taheva suyadevayA eya 405 / / sAvayapannattI sammattA // 71-dhyAnazatakam,-mAgadhI........ BeginsvIraM sukkajmANaggi-daDhakambhidhaNaM paNamiuNam / / joisaraM saraNaM jjhANamajjhayaNaM pavakkhAmi // 1 // Ends jJayaM NeyaM bheyaM ca---paMcottareNa gAhAsaeNa jjhANasaya samudiTham / / jiNabhadakhamAsamaNehi kammavisohI krNjlnno| jjhANasayaM sammattam / / ( 43 ) jinabhadragaNi- 243- | kSamAzramaNaH 3 45| ... | saMpUrNama

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No. Naine of Work. No. of | No. of No. of lines on letters Author's name. I leaves. each in each page.] line. I ge. Remarks. haribhadrasUriH / 52 2-3, 30-35 ... | saMpUrNam ( 44 ) 71 | dharmAvanduH ........ Begins I namaH srvjnyaay|| praNamya paramAtmAnaM sasuddhRtya bhratArNavAt / / dharmabindaM pravakSyAmi toyabiTumivodadheH // 1 // EndsvaMdyastrijagatIzvara iti dharmabindau dharmaphalavidhiH / aSTamodhyAyaH samAptaH / / kRtirAcAryaharibhadrasyeti / / maMgalaM mhaashriiH|| 72] upadezamAlA-mAgadhI ...... |Begins // namo vItarAgAya / / siddhUmakammamaviggahamakalaMkamasaMgamakkhayaM vIram / / paNamAmi sugaipacalaparamatyapayAsaNaM vIram // 1 // jiNavayaNakANaNAja ciNiuNa suvaNNamasarisaguNam // uvaesamAlameyaM raNama varakusumamAlaM va || 2 // EndsjAvajiNasAsaNamiNaM jAvaya dhammo jayaMmi vissphurh|| tAva paThijjau esA sabvehi sayA mahatthIhim / / 505 // zrIhemacaMdrasUriviracitA upadezamAlA smaapt| / / hemacandraH 47 4-541-45/ ... saMpUrNam

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.... 73 | upadezamAlA-mAgadhI dharmadAsagaNiH | 16 | 10 | ... | saMpUrNam |Begins namiDaNa jiNavariMde iMdanariMdaccie tiloyagurU / / Ends | gAhANaM sabvagga paMcasayA ceva bAyAlA || 542 / / 74 | causahiprakaraNam-ekavIsaThANA vA-mAgadhI ................ siddhasenasUriH | 192, 3-5, 54 ... | saMpUrNam |Begins cavaNavimANanayarIjaNayA jaNaNIya rikkhraasiiu| laMkaNaemANaAuM vanaMtaradikkhatavabhikkhA // 3 // nANaThANaM gaNaharamuNiajjiyasaMkhajakhkhadevaji // siddhiThANaM ca kameNa vasAhimo jiNavariMdANam // 2 // |Ends iya ikkavIsa ThANA uddhariyA siddhaseNasarIhiM / / cauvIsajiNavarANaM asesasAhAraNA bhaNiyA / / 64 // iti causaThi samAptA / -saptasthAnAni-mAgadhI........ ... | ... | saMpUrNAni Begins vadAmi samvannajirNidavANiM pasanagaMbharipasatthasattA // jutIjuyAI abhinaMdayaMtA naMdati sattA tahataM kuNaMtA // 1 // Ends jahArihaM rakkhaNavaddhaNaMti 26 biMbANaMti paDhamaM ThANaM sammattaM ---mahAphalaMti 12 cei harANaMtiM bIyaM ThANaM sammataM / 32 jiNasAsaNapotthayANati taiyaM ThANaM sammattaM / 30 sAhUNati cautthaM ThANaM sammataM / 10 saMjaINaMti paMcamaM ThANaM sammat / 30 sAvayANati chaThaM ThANaM smmnN| 10 sAviyANaMti sattamaM ThANaM sammattaM ( 45 )

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No. - mUlazuddhiprakaraNam Begins sAmattheNa va attheNaM suddhabudhIe Ends mahAmaINaM va mahaitasatthaM pajjunasUrIvayaNaM pasattham // 22 // mUlazuddhiprakaraNaM samAtam || -gAhAko sam Begins Name of Work. nijjhAriya jarAmaraNaM vaMdittA jiNavaraM mahAvIram // chapannagAhAU vochaM suyaNassa jogAU || 1 || (Ends viulabuddhI jaNaM si [va] sohaggayaM lahai || 158 // gAhAko samAtam // - navapayapagaraNam .......... |Begins namiUNa vaddhamANaM mircha sammaM vayAI [i] saMlehA // navabheyAi voLaM sadvRANamanuggahAe || 2 || Ends iya navapayaM tu lihiyaM sIsehiM kakkasUrissa // gaNiNA jiNacaMdeNaM saraNaThamanuggaharaM ca // 10 // navapadapagaraNaM sammattam // - jIvadayAprakaraNam - mAgadhI Author's name. No. of leaves. pradyumnasUriH jinacaMdrasUriH kakkasUriziSyaH) : ... No. of No. of lines on letters each in each page. line. / : : :. ... : Age. ... : Remarks. saMpUrNam saMpUrNam saMpUrNam saMpUrNama ( 46 )

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|Beging| saMsayatimira......jIvadayApagaraNaM vocham // 2 // Ends avaraha paDikvAhi // 11 // jIvadayAprakaraNaM samAptam / / -dharmopadezamAlA-mAgadhI. | Beginssijmau majjhavi suyaevi tujjha bharaNAu suMdarA jjhtti| dhammovaesamAla vimalaguNA jayapaDAyaca / / 2 // Ends - mAlA uvaesANaM evaM jo paDhai bhAvairDa kaMThe / / so pAvai nivvANaM acireNa vimANavAsaM ca / / 104 / / -devaicariyam. Begins-- namiuNa caraNajayalaM nemijirNidassa loganAhassa / / devayasuyANucariyaM nAmaggahaNaM pavakhkhAmi // 1 // Endsiya devamuricariyaM jo paDhai suNai bhAvae nicam / / so pAvai paramaphalaM kiM bahuNA ettha bhaNieNam / / 100 / / siri aMgAre jAliM ehiM jo mannai uvayAru / khaMtiprabhAvi mukhkhi garDa rANau gayasukumAlu / / 101 // devaicariyaM sammattam / / -kSetrasamAsaH-mAgadhI Begins nAmauNa sajalajalaharanibhassa gaM vaddhamANajiNavasabham // | samayakhettasamAsa vochAmi gurUvaeseNam // 3 // ( 47 )

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Name of Work. No. of | No. of INo. of | lines on letters Author's name. I leaves, each in each | page. | line. se. Remarks. ( 48 ) Ends logo cauddasarajjau~ 86 khettasamAsa: smaaptH|| -nANAittam. Begins namijaNa jiNa jagajIvabaMdha dhammakaraNakaravaTTam / / voThaM dhammagaiNaM dhammAvisesaM samAseNam // 1 // | Ends tihi vajjai tihiM pAvijjai sukhkhaM jo jANe sai tini tiyaso jAe saha mokhkhi / / 83 / / nANAittaM sammattam / / -paJcakalyANakam-mAgadhI BeginstitthaM pavayaNasuyadevayaM ca namiuNa sabvabhAveNam / / kallANapaMcaehiM AijiNiMdaM namasAmi // 1 // Ends cavaNajammaNanikhkhamaNakevalaM paMcamaM ca nivvANam // kallANapaMcayaM tuha jimiMda IdehiM nimmaviyam || 51 // paMca kallANANi sammattANi // -gautamapRcchA-mAgadhI BeginsnamiNa titthanAhaM jANaMto taya goyamo bhayavam / / abahANabohaNatthaM dhammAdhammaphalaM vocham / / /

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( 1-subhAsiyANi | Begins deviMdanariMdanamaMsiyassa EndsvisuddhabhAveNa tumhe saraNaM uveha // 40 // subhAsiyANi samAnAni / / -saMghayaNI.... Begins, namiuNa jiNamamoha jagapujjaM jagaguruM mahAvIram // 1 jaMbuddIvapayatthaM vucchaM suttaM supari (supara) heu / / 1 / / Ends iya saMghayaNI esA jaMbaddIvami dasapayatthANam / / uddhariyamayavaIe raiyA haribhaddasUrIhim / / 28 // saMghayaNI sammanA / / -zrAvakavidhiH-mAgadhI |Begus jattha pure jiNabhavaNaM samayaviu sAhusAvayA jattha || tatya sayA varisayavaM pavarajalaM iMdhaNaM jattha // 4 // Ends atidArudakhkhadhaNapAlaya jiNacaMdacalaNabiMbesu // jo kuNai paramabhatti nitthinno teNa saMsAro / / 22 / / zrAvakavidhiH smaasH|| -dANavihI |Begins dhammovaggahadANaM dhammaTiyANa nAranAha // je khaMtimavajjavaniyamaparA muttibaMbhadharA ||1|| 49 )

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No. Name of Work. Ends NANadhammo maNeThAI || 25 || dANavihI sammattA // - saMyamamaJjarI - mAgadhI Begins namiUNa namiratiyasiMdarvidAsari mauDalIDhapAvIDham || pAsajiNesara saMjamasarUpasaMkittaNaM kAham // 1 // Ends savaNaha bhUsaNagayavasaNa saMjamamaMjarI eha || kahai mahesarasUrivirukani suNaMtu sumeham || 35 // saMjamamaJjarI samAptA // - praznottararatnamAlikA - praznottararatnapaddhatirvA . Begins praNipatya jinavaredraM prabhottararatnapaddhatiM vakSye || nAganarAmaravaMyaM devaM devAdhipaM prathamam || 1 // Ends racitA sitapaTaguruNA vimalA vimalena ratnamAleva || praznottaramAleyaM kaMThagatA kaM na bhUSayati // 29 // samAptA ceyaM praznottara ratnamAlA // - dharmalakSaNam. Begins dharmmArthaM klizyate loko na ca dharmaM parIkSate || kRSNa nIlaM sitaM raktaM kIdRzaM dharmalakSaNam // 1 // Author's name. mahezvarasUriH vimalacandrasUriH No. of leaves. : ... No. of lines on each page. : : No. of letters in each line. : Age. : : Remarks. saMpUrNama ( 50 ) pari, 45

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75 96 77 Ends eka dazavidha dharmaH sarvajJaiH parikIrtitaH // jJAnvA caiva hi kRtvA ca garchati paramAM gatim // dharmalakSaNaM samAnam || - zAntistavaH Begins zAMti zAMtinizAMtaM zAMtaM zAMtAzivaM namaskRtya || stotuH zAMtinimittaM maMtrapadaiH zAMtaye staumi || 1 // kAlikAcAryakathA - mAgadhI....... Begins || atthi iha jaMbuddIve bhArahe dhArAvAsaM nAma nayaraM tattha vaIrasIho nAma rAyA Ends garDa saTAne sUreM do sUrI citra kAleNaM jANittA niyayaM // AuparimANaM saMleiNa viheUNa aNasaNavihiNA divaM patto || zrImatkAlikAcAryakathA samAnA // dazavaikAlikasUtrasya niryuktiH Begins || namaH sarvvajJAya || siddhigamuvagANaM vRhatsaMgrahaNI Begins || namo vItarAgAya // niviya aThakammaM vIraM namiUNatiyaraNavimuddham || NAgamanaM tamahatthaM tA [saMgaha ] Nitti nAmeNam || 1 || mAnadevasUriH ...... jinabhadragaNiH : 74 % 3-5 40 2-3 40 na 2 ... : ( 51 )

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No. Name of Work. INo. of No. of Author's name.] No. of lines on letters | leaves.| each in each | page.] line. Remarks. ( 52 ) coThiibhavaNogAhaNAya suranArayANa patteyam / / naratiriyadehamANaM AupamA [NA] Ni vocchAmi // 2 // EndsjaM uddhariyaM suyAu puvAyariya kthmhvsmiie|| bemi yava suyaharehiM taheva suyadevayA erDa || 419 / / vRhatsaMgRhaNi[:] samAptA || namaskAraniyuktiH |Begins uppattI nikhkhavo payaM payattho parUvaNA ettha // akhkhavae siddhikamo parDayaNaphalaM namokvAro ||1|| Endsiha logaMmi tidaMDI sAdivvaM mAulaM rAvaNameva // paraloe caMDapiMgalahaDiyajakhkho ya diThatA || 139 // namaskAraniyuktiH samAptA // -cauvIsattharDa | Begins cauvIsagachayassa Ends caMdAiva gahANaM pahApagAsei parimiyaM khettam / / kevaliyanANalaMbho logAloga pagAsei / / 65 / / cauvIsattharDa sammattA / /

Page #198
-vaMdaNaniyuktiH BeginsvaMdaNa cii kiikamma pUyAkammaM ca viNayakammaM ca // kAyacaM kassa va keNa vAvi kAheva kai khutto / / 1 // Ends evaM kiyakammavihiM jujutA caraNakaraNamAuttA / sAhU khavaMti kamma aNegabhavasaMciyamaNaMtam / / 194 / / vaMdaNaniyuktiH samAptA / -paccakhkhANaniyuktiH Begins pacakhkhANaM pacakhkhArDa Ends, jaM caraNaguNaThirDa sAhU || paccakhkhANanijjunI sammattA // -kusalAnubaMdhajjhA [jjha] yaNam Begins sAvajjajogaviraha Ends iya jIvapamAyamahArivIrabhadaM tameyamasUyaNaM----suhANam / / 62 / / kusalAnubaMdhajjhAyaNaM sammattam / / -AurapaccakhkhANam Begins desekvadesaviraH Endsdesau~khayaM savvadukhkhANam / / 60 // AurapaccakkhANaM sammattam / / ( 53 )

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Name of Work. No. of | No. of Author's name.] No. of lines on letters leaves. each fin each page. | line. . Remarks. (54) -khettasamAso Begins namiuNa sajalajalahara Ends jaMbUdIvo nAma khettasamAsassa paDhamauddeso / / paDhaNe jANe sammatto tANa samattAi dukhkhAI / / 86 / / khettasamAso sammatto / 78 | caMdAvesUyam-[dvAdazabhAvanAprakaraNam ]...... Begins-- paDhamaci [bi] yasaraNaya saMsAro egayAya annattam / / asuittaM AsevasaMvaroya taha nijjarA navamA / / 1 / / logasahAvo bohIe dullahaM dhammasAharDa arahA / / eyA urAya vArasa jahakvahaM bhAvaNAyArDa || 2 // Ends tahaya ---- vAsavahINaM maraNapuNa-bhavajammaNadogAi viNivAyagamaNANam / / 174 // caMdAvesUyaM sammattam // 79 naradevakathA-mAgadhI Ends dANutullu navi atthi itthu tihuyaNiciMtAmaNi iti dAne naradevakathA samAptA / / -ratisuMdarIkathA-mAgadhIH |Begins| zIlasuhamabAha / hohai muNirDa / / iti zIlavate ratisuMdarImahAsatIkathAnakam // 3-21 4 56] ... | Ends

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80 81 82 rohiNicariyam -- mAgadhI Begins atha tapaHkathAnakamucyate || OM namaH sarvvajJAya || namiUNa mahAvIraM sayalaMtaravevAravaravIram || vucchaM jayavitthariyaM rohiNicArayaM jiNudiTam // Ends iya rohiNIyacarie nivakumarakumAripuvvabhavasAro // sammattAe cauttho patthAro dinabhavapAre || 10003 || karmmastavaH - mAgadhI. |Begins namiUNa jiNavariMde tihuyaNa Ends daMsaNazuddhi samAhiMca || 57 // karmmastavaH // - kammavivAga ......... |Begins vavagayakammakalaMkaM vIraM namiUNa kammagaikusalam // vochaM kammavivAgaM gurUvaiThaM samAseNa || 1 | upadezamAlA - mAgadhI -dharmopadezamAlA -- mAgadhI Begins sijjhau majjhavi suyaNAve tujjha bharaNArDa suMdarAjjhati // dhammo samAlaM vimalaguNA jayapaDAyacca // 1 // Ends mAlA uvaesANaM evaM jo paDhai bhAvaI kaMThe // so pAvara nivvANaM acireNa vimANavAsa ca // 104 // 1-sattaThANA gargamaharSiH dharmadAsagaNiH 64 4-6 : ... : 45 : ... apUrNam ( 55 )

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No. 83 -mUlazruddhiprakaraNam -paMcakalyANakam - kSetrasamAsaH - vivekamaMjarI Begins Name of Work. siddhipurasatthavAhaM namiUNa caramajiNanAham || savaNasuhA rasasariyaM vochAmi viveka maMjariam // 1 // Ends siribhilla mAlanimmalakulasambhavaka duarAyataeNa // ia AsaDeNa raiaM vasujalahidiNesavarisaMmi || 144 || viveka maMjarI sammattA // yogazAstram - prakAzAH 4 Begins || namo durvArarAgAdivairivAranivAriNe // -pAvapaDighAyapagaraNam. |Begins // sabvannuNaM deviMdarvidapUyANaM jahAThayavatthuvAINas // Ends paramasaMbohIe suhiNo bhavati jIvA // 30 // ii pAvapaDighAyaguNa bIjAhANam // aticArapratikramaNam -- mAgadhI. Author's name. AsaDa: hemacandraH No. of leaves. : No. of lines on each page. No. of letters in each line. / Age. :. Remarks. 220 3-6 40 1368 saMpUrNam ( 56 )

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84 Begins vaMdittu savvasiddhe dhammAyarieya savvasAhUya || ichAmi paDikamiu sAvagadhammA iyArassa // 1 // Ends evamAloiya niMdiya garihiya durgachiya tiviheNa // paDikaM to vaMdAmi jiNe cauvIsam || 50 || - dharmalakSaNam -upadezaratnamAlA - gautamapRcchA - mAgadhI yogazAstravivaraNam - paJcamaprakAzAt Begins atrAMtare paraiH prANAyAma upadiSTo yamaniyama Ends tena jinabodhilAbhapraNayI bhavyo jano bhavatAt // iti paramAtazrI kumArabhUpAla zUzrUSite AcAryahemacaMdravirAcate adhyAtmopaniSannAni saMjAtapaTTabaMdhe zrI yogazAstre dvAdazaprakAze svopajJaM dvAdazaprakAzavivaraNaM samAptam || | - gautamapRcchA - jIvopAlaMbhaprakaraNam Begins || dhammovaesajuttaM uvalaMbhaM tassa jIvadehammi || Ends gachasi puNa sAsarya ThAnam // 25 // jIva upAlaMbhaprakaraNam || hemacandraH 262 3-6 50-54 : saMpUrNam ( 57 )

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No. of No. of No. of | lines on letters Author's name. leaves. each in each page. line. Age. Bemarks. Name of Work. (58) -kSetrasamAsaH Ends chattIsasahassA taiyamehalA merujoynnlkhkho|| cAlIsajoyaNucA cUlA jiNabhavaNakayasohA // 9 // khettasamAsapagaraNa samAptam / / -dAnavidhiH -zrAvakavidhiH -navakAraprakaraNam -zrAvakapratikramaNasUtram Begins || namo arihatANaM 1 namo siddhANaM 2 namo AyArayANaM 3 namo uvajjhAyANaM 4 namo loe savvasAhUNaM 5 // eso paMcanamukvAro savvapAvappaNAsaNo // maMgalANaM ca savvesi paDhamaM havai maMgalam // |Ends evamahaM Aloi anidiya girihiya dugaMchiya saMmaM // tiviheNa paDikvaMto vedAmi jiNA cauvIsam || 50 // -aticAragAhA namostu varddhamAnAyeti stutiH / -prabhottararatnamAlA........ Begins praNipatya jinavareMdra prabhottararatnapaddhatiM vakSye // nAganarAmaravaMyaM devaM devAdhipaM prathamam // 1 // kaH khalu nAlaMkriyate dRSTAdRSTArthasAdhanapaTIyAn // kaMThasthitayA vimalaprabhottararamamAlikayA // 2 //

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) Ends racitA sitapaTaguruNA vimalA vimalena ratnamAleva / / prabhottaramAleyaM kaMThagatA kaMna bhUSayati // 29 // samAptA ceyaM prabhottararatnamAlA || -dharmalakSaNam -kalyANikastavanam -ajitazAntistavaH -vaharasAmisiddhiprakaraNam-mAgadhI-gadyabaddham Beging| ahu jaNani suNejja ho katra dharejja ho vaharasAmi muNivaracarirDa / / Ends laiya dikhkha guNavatie || vaharasAmisiddhiprakaraNa samAptam || -vairasAmicariyam |Begins kaDavihi dasehivi paDhamasaMdhi---ujjayaNinayara viharattu varIsa hu gaNahakaguNamahaM tu // EndsmuNivaravaraditi jiNavarabhati vadaratAmi gaNahara carirDa sAhijjarDa bhAvi muvvaggapAviji [jaM] tihuyaNu gunnbhriu|| vaharasAmicaritaM samAptam || -causaraNam .... vIrabhadrasAdhuH / ... Begius|| ahaM nmH|| sAvajjajogaviraI 1ukvittaNa 2 guNavauapaDivatnI3 // khaliassa niMdaNA 1 vaNatigicha 5 guNadhAraNA ceva // 1 // ( 6 ... | ... | ...

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Name of Work. | No. of | No. of No. of | lines on letters Author's name. I leaves. each in each page. line. Remarks. ) ( 0 Endsiya jIvapamAyamahArivIrabhadaM tamevamajjhayaNam // jhAesa tisaMjhamavaMjhakAraNaM nii suhANam // 63 // iti catuHzaraNaprakIrNakam || ratnatrayakulakam-mAgadhI ....... municandrasUriH Begins caMdadasamajja [mma laM kaM [kaM] piyanIsesakugaipAyAlam // maMgalakamalamarAlaM vaMde vIraM guNavizAlam || // Ends rayaNaM NanayaM kulayaM miNa raiyaM muNicaMdariNA saMmam // bhabvA bhavitA puNa havaMti savisuddha saMmattA // 1 // ratnatrayakulakaM samAptam || -zatrujayastutizlokAH sapta, dharmaratnazAstram-saTIkam mU0 mA0 TI0saM0 .. ... mU0 zAntisUriH 279 / 6-882-85 ... | saMpUrNam BeginsTI0 // namaH prvcnaay|| saijJAnalocanavilokitasarvabhAva ni:sImabhImabhavakAnanadAhadAvam || vizvAcita pravarabhAsuradharmaratnaratnAkara jinavaraM prayataH praNaumi || zrIdharmaratnazAsra bahurtha svalpazabdasaMdarbham / / svaparopakArahetAvivRNomi yathAzrutaM kiMcit // 2 // iha hi heyopAdeya Accm. 45

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dharmadAsagaNiH | 253 5 / 50 ... | mU0 namiNa sayalaguNagaNarayaNakulahA vimalakevalaM vIram / / dhammarayaNatthiyANa jaNANa viyaremi uvaesam // 1 // mU0 tesi imo bhAvatyo niyamaivihavANusArabhaNirDa || saparANuggahahe u samAsaH saMta sUrIhim || 43 // ----ciThati sahI suhaM pattA // 18 // TI. nirvANasukhaprAMtiriti / / iti zrIdharmaratnavRttiH samAptA || ---dharmaratnaprAptirjagatopi tenAstu // 12 // 9000 86 | upadezamAlA -thirAvaliyA Begins, jaya jagajIvajoNI viyANarDa jagagurU jagANaMdo / jagaNAho jagabaMdhU jayai jagapiAmaho bhayavam ||1 // Ends jeaMte bhagavate kAliyasuya ANugie dhIre // te paNamiuNa sirasA nANassa parUvaNaM voccham / / 50 // evaM thirAvaliyA sammanA / -ekkavIsaThANA ....... -saMgrahaNiH Begins namiuNa -pratikramaNasUtram Beging| vaMdittu sabvasiddhe ( 61 ) siddhasenadivAkaraH

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No. - navapadaprakaraNam -paccakhkhANaNijjutI Begins- paJcakhkhANaM paJcakhkhArDa paJcakhkheyaM ca ANupubbIe || parisA kahaNavi hIyA phalaM ca AIya chambheyA // 1 // Ends savvesipi nayANaM bahuvihavattatrvayaM nisAmittA || taM savvanayavisuddhaM jaM caraNaguNaThiu~ sAhU || 94 // iti paccakhkhANaNijjuttI // - kAusaganijjuttI Begins Name of Work. AloyaNapaDikamaNe mIsavivege tahAvi usa gge || tavacheyamUlaaNavaThayAya pAraM cie ceva || 1 | Ends- tamhArDa nimmameNa muNiNA uvaladdhasuttasAreNam || kAusaggo uggo kammakhayaThAya kAyavva // 72 // kAusaganijjuttI sammattA || - jIvavicAraH khettasamAsaH Begins namiUNa sajalajalahara - karmavipAka : Author's name. kakkasUriH No. of leaves. No. of No. of lines on letters each in each page. line. A Age. : Remarks. (62)

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|-piMDavizuddhi Begins doviMdavadavadiyapayAraviMdobhavadiya jiNadeve vochAmi muvihi yahiyaM piMDavisohi samAseNa || // Ends icceyaM jiNavallaheNa gaNiNA jaMpiMDanijjuttirDa kiMcI piMDavihANajANaNakae bhavvANi savvANiNa || vRttaM suttaniutta muddhamaiNA bhattIya sattIyate sarva bhabvamamacharA suyaharA bohitu sohiMtu yam // 103 // -saMvegamaMjarI -dharmalakSaNam Begins, dharmArtha klizyate loko na ca dharma parIkSate // kRSNaM nIla sitaM raka kIdRzaM dharmalakSaNam ||1 // EndseSa dazavidho dharmaH sarvajJaiH prikiirtitH|| jJAtvA caiva hi kRtvA ca gacchati paramAM gatim / / -dharmalakSaNaM samAptam || -upadezaratnamAlikA -AtmAnuzAsanam yogazAstrasya prakAzAH4..... -pannavaNasUtrasAroddhAraH ... Begins| teNaM kAleNaM teNe samaerNa caMpAe nagarI punnabhaddaceipa vaNNato ( 63 ) hemacandraH 317 | ...

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No. .. Name of Work. Ends aMto muhuttaddhAughA ceva kAla kareti // patravaNasUtrasAroddhAraH samAptaH || - caityavandanabhASyasya dvAdazAdhikArAH upadezamAlA Begins || namiUNa jiNavariMde iMdanAraMdAcee tiloyagurU || Ends paMcasayA ceva bAyAlA || 542 // -dharmopadezamAlA.. Begins || sijhjha majhjhavi suyadevi tujhjha bharaNArDa | Ends acireNa vimANavAsaM ca // 104 // -sattaThANA Begins vaMdAmi sabvannu jidivANi pasannagaMbhIra pasanthasattA || juttI jjuyAiM abhinaMdayaMtA naMdati sattA tahataM kuNaMtA // 1 // Ends sAviyANaMti sattamaM ThANaM sammattam // - mUlazuddhiprakaraNam Begins ********** sAmattheNaM va attheNaM subuddhabuddhIe Author's name. dharmadAsaH pradyumnasUri : No. of leaves. 248 : : No. of No. of lines on letters each in each page. line. 4-6 45-50 : : : Age. 1290 .... Remarks saMpUrNam saMpUrNam saMpUrNam saMpUrNam (64)

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Ends mahAmaINaM va mahatthasatthaM pajjunnasUrIvayaNaM pasatyam / / 22 // mUlazuddhiprakaraNaM samAptam / / -paJcasUtram Begins / / namo vIyarAgANam // savaNUNaM deviMdapUANa* * * * * * guNavihANasUttam ' * * * * * * sAhudhammapArabhAvaNAsUttam' * * * pavvajjAgahaNavihisUttam' * * * * pavajjApAlanasUttam * * * * * * pavvajjAphalasUttama . . . . . . Ends tilogaNAhabahumANeNaM nisseyarasa sAhigati ----pavvajjAphalasUnam paMcama sammattam -ArAdhanApaJcakam Begins / / maNirahakumArasAhU kAmagayadovi maNivarobhaya * * * * * prathamA ArAdhanA . . . . . . . . . vayaragupti muNi ArAdhanA . . . . . . . caturthI ArAdhanA . . . . . . . . . Ends aJcaMta sAsayaM ciya bhujAMta aNovamaM sokhkha // 98 // paMcamI ArAdhanA saMmattA / paMcaikatrA gAthA 339 -kamastava: ( 65 )

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No. - karmavipAkaH -zatakam Name of Work. |Begins arahaMte bhagavaMte aNuttaraparakkame paNami UNam | vaMva [dha ] sayage nibaddhaM saMgahamiNamo pavakhkhAmi // 1 // Ends iya pagaDipagayaM - sattarIprakaraNam Begins siddhae ehiM mahatthaM baMdhodaya satta pagaDi ThANANam // vochaM suANa saMkhevaM nissaMdaM diThivAyassa || 1 | Ends esA ya kammapayaDI - mokkhaM acireNa garchati || 86 // | sattarI sammattA // | - Agamika vastuvicAraNArasAraprakaraNam -- mAgadhI - mokhkhaM || 108 || zatakam // niThaviya ***************** Begins nichina mohapAsaM vochAmi jIvamaggaNaguNaThANuva gajogalesAe Ends ityAgamikavastuvicArasAraprakaraNam || -saMgrahaNiH - |Begins Author's name. jinavallabhaH [candramahattarAcAryaH] No. of No. of lines on leaves. each page. ... : No. of letters in each line. Age. ... : Remarks. 693575 ( 66 )

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6/67-70 1214 saMpUrNam -kalyANapaJcakam-mAgadhI Beginsnitya pavayaNasayadevayaM ca namiuNa saJcabhAveNam || katrANapaMcaeNaM AijiNidaM namasAmi // 1 // Euds bhahasubhahasujjApA somaNato piyardasaNe mudaMsaNe amohe ya maNabuddhe jasohare // 52 / / paMcakalyANakAni samAnAni || -ekavIsaThANA 89| bhavidattAkhyAnakam-mAgadhI ............. mahendrasuriH | 144 Begins ---vItarAgAya / / paMbiMdiyaniravekhvaM paMcanamokvArahe uyaM tahaya / / paMcamagaisAhaNa paMcamanANaM namaseTu / / 1 // EndsmiliyANaM ca dasANavi etya kahANANa hoi vitreyam / / gAhANaM mANeNaM doNisahassAI gaMthaggam || 2000|| iti maheMdrasariviracitaM paMcamIphalamAhAtmyasaMsUcakaM bhavidattAkhyAnakI samAmam || . ' 'saMvat 1215 varSe mArgasudi 5 zake || 1. mahAvIracaritram-mAgadhI ...... | Begins // namo vItarAgAya || paNamaha paDha majiNaMdaM bhaviyAyaNakamalabohaNadiNiMdam // kodusAsaNakaMda pnnyaasuramr----||1|| sirisiddhanarAhivakulanavayalavimalapuNNimAI ( 67 ) 5-6 60 1190 saMpUrNam

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No, 91 92 94 99 Name of Work, Ends vAsasayANaM ekkArasa --saMvat 1990 zloka 3000 lokasaMvyavahAranAmakAMkam - sAhityazAstram -- saMskRte vassavigayANaM agupAlI sesaMbahuraMmi eyaM vaddhaMti Begins -- ~ vimuktAzca yAMti bhuvanaM samaMtAce kepi namaH saMdAM [sadA] tebhyaH // 1 // Ends 'lokasaMvyavahAra nAmakyaM vayaM [kAMkaM ] kRtirAcAryaraviguptasya // saMgrahaNiH saTIkA sAhasikatvaM guNaiti yallaghavaH kalpayaMti tadyuktam // guMjAphale sudRbdhA prabAlakAzA puliMdrANAm || -- tavopatasthe 97 - kalpasUtram.. Begins terNa kAlena teNaM samaeNaM samaNe bhagavaM mahASIra Ends " samIsaraNe kaTTijjati pajjosavaNAkaSpI // saMvat 1300 varSe kArtikavAda 13 zanau -- paJcAzaka sUtram ..... Ends virahaM hoi kammANam 44 tapovidhAnaprakaraNaM ekonaviMzatitamaM samAptam // kalpasUtram Author's name. ravi guptAcAryaH ...... No. of leaves. 33 4-6 *111 140 No. of lines on each page. 16-64 5 4 20 ... No. of letters in each line. 64 Age. 40 ... 44 | 1300 Remarks, apUrNam apUrNam tru. ( 68 )

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96 97 98 99 paryuSaNAkalpaTippanakam Begins praNamya vIramAzcarya se vadhiM vidhidarzakam || zrIparyuSaNAkalpasya vyAkhyA kAcidvidhIyate || 1 // -- devasenagaNiH- zrIdharmaghoSasUre [:] bodhita zAkaMbharInRpatiH tacchi SyayazobhadrasUriH tatpAdapadmamadhupaH Ends zeSaM pUrvavat iti nizIthacUrNau dazamodezake bhaNitam // svaparabAdhAya || 6 || zrI paryuSaNAkalpaTippanakaM samAptamiti // kalpasUtram ..... kAlikAcAryakathA -- mAgadhI |Begins namo vIta nAmanayara vairasI honAma rAyA Ends |Begins ----- aNasaNavihiNo divaM patto kAlikAcAryakathA saTIkA atthi iheva jaibuddIve dIve bharahe vAse dhArA || namo vItarAgAya // ayaM ca sAMpratakramAdAgatolpAtizayazceti pratipAdanArthaM zlokamAha / Ends sUrIparaMpareNa jAvasaMyaM kiMtu sAisaupAyaM | vochino kAlado serDa sUrarINAmAryANAM paraMparA | aNasaNavihiNo divaM patto / iti zlokArthaH / maM0 370 devasenagANaH 49 4-6 150-53 165 va 2-6 40-53 lgitapa trANi 26 4 40 27 . : : saMpUrNam. saMpUrNam. ( 69 )

Page #215
No. 100 101 192 Name of Work. dharmopadezamAlA |Begins sijhjha majhjhavi suyaevi tujhjha bharaNArDa suMdarAijhati // dhammovaesamAlA vimalaguNA jayapaDAyacca // 1 // Begins ******* Ends mAlA uvaesANaM eyaM jo paDhai bhAvairDa kaMThe // so pAvara nivvANaM acireNa vimANavAsaM ca // 104 // jItakalpasUtram - saTIkam mU0 mA0 TI0 saMskRte mAgadhyAM ca mU0 || namo vItarAgAya // siddhisahayAra mAyA vaNibhavadavamayaNapADebhaDANakamo // kIraM sAraM nIraM vIraM namiuM mahAvIram || 1 // vocchaM paMcagaparihANipagaraNaM DI0 || namo sudevA || kayappavaNayapaNAmI vocchaM pachittadANasaM khevam // Ends mU0 guNesu 102 jItakalpasUtraM samAptam || gA0 202 DI0 parichiyaguNammi 97 iti kAraNe parisamAptau zabdAnuzAsanasyASTamodhyAyaH -- vA prAkRtavyAkaraNam - saTIkam Begins- atha prAkRtaM / athazabda AnaMtaye Anthor's name. ...... ...... No. of leaves. 76-86 181 hemacandraH- dvayoH 2-223 No. of | No. of lines on letters each page. ... : | in each Age. line. ... / Remarks. TI0 apUrNam 45 | 1224 | saMpUrNam ( 70 )

Page #216
103 104 Ends abhyudayazceti / ityAcArya zrI hemacaMdraviracite zabdAnuzAsanavRttau aSTamAdhyAya caturthapAdaprakAzikAnA || saMvat 1224 varSe bhAdrapada zudi 3 budhe upadezaratnakozaTIkA |Begins - - - - tvAzrIvarddhamAnAya niHsImajJAna cakSuSe jitAMtarAri vegAya Ends sarvAnuSThAnAnAmiti gAthArthaH || 62 // iti zrIdevabhadrA upadezamAlA patrayaNasaMdoha Begins namiNa vaddhamANaM vavagayamANaM surehiM kayamANam || caDagainivANaM tANaM sattANa bhaviyANam || 1 || pavayaNalavADa keI uvalahiNaM gurU sagAsArddhaM // kahiyAmi saMgaheDaM bhaviyANamanuggahaThAI || 2 | Ends AggiccAvevariThAya / pavayaNasaMdohassa chaThe payaM sammattam 250 piMDavizodhiprakaraNam -- mAgadhI *******. Begins deviMdavadavaMdi yapayAraviMdo bhavaMdiya jinadeve || chAmi suvihiyaM piMDavisohiM samAseNam || 1 | jIvavicAraprakaraNam AurapaccakhkhANam devabhadrAcAryaH dharmadAsaH jinavallabhaH 250 229 : : : 2 44 : : ... : saMpUrNam ( 71 )

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No. | Name of Work. me Author's name. | No. of | No. of No. of lines on letters leaves. each in each page. | line. Age. | Remarks. nandiSaNaH ....... .......... (72) Begins desekvadesavira Ends vayaM savvadukhkhANaM / / 60 // AurapacakhkhANam // -ajitazAntistavaH........ Begins ajiyaM jiyasavvabhayaM Endsnaha huMti tassa rogA puvapannA vinAsaMti ||38|| ajitazAntistavaH..... Begits / / sakalArthasiddhisAdhanaharicaMdanacArucaraNaparicaraNe || kAMcanakajasaMcaraNau nirupAdhijJAnavaracaraNau // 1 // EndssaMprati suvihitayatipatisUrizrIhIravijayagururAjye // zrIsakalacaMdravAcakabAlakamunizAMticaMdreNa / / 39 // iti zrIajitazAMtistavanam / / saMvat 1651 akabbara--- 106 / karmavipAkaH zAnticandragaNiH 8 3-4 20-26/16-51/ saMpUrNam 32 4 28 ... | ...

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.......... | 93] 3-5/26-32/ ... | .... 2 ) 107 | zAlibhaddacarittam................ Begins, muravarakayasammANa [maravarakayamANaM] naTha hi] nIsesamANaM bhavajalahimujANaM satahatyappamANam / / viyariyavaradANaM chinnakammArinANaM payaDiyavaranANaM vadiuM vaddhamANam // 1 // voThAmi sAlibhadassa pavitta varamaMgalaM cariyam Ends jeya vakhvANayaMtI narasuravarasokhkhaM bhujiu jati mokhkham / / 177 / / iti sAlibhaddacaritaM samAptam || sukosalAkhyAnakam |Begins aha patto vIsaimo jiNaM tere EndsmayadevI harau ahmANam 101 mukosalAkhyAnaka samAtam / / subAhucariyam Begins namiuNa mahAvIraM sasurAsuramaNuyavaMdiyaM sirasA / / vochaM subAhucariyaM gurUvaesANusAreNa || 1 / / EndseyaM subAhucariyaM guNasaddhieNa dhIreNa siddhaM tu tA saNa mokhvam / / 228 ajitazAntistavanam-mAgadhI pAvapaDiyAyapagaraNam Begins savaNuNe 108 kSetrasamAsaH-vA jaMbudvIpasamAsaprakaraNam ( 77 / / 30 ... |

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Name of Work. Age. Remarks. No. of | No. of Author's name. No. of | lines on letters 4. leaves. each in each page. | line. vAmadevaH- / jinezvarasUri- 102 6-850-56) ziSyaH saMpUrNam / | antimapatrA bhAva: paJcasaMgrahadIpakam ...... Begins ||uN namaH sarvajJAya || siddhaM zuddhaM jinAdhIzaM nemIzaM guNabhUSaNam // natvA graMthaM pravakSyAmi paMcasaMgrahadIpakam ||1 // nemicaMdramudriNa yaH kRta: paMcasaMgrahaH // sa eva zlokabaMdhena pravyaktIkriyate mayA // 2 // |Ends nAnAzAstravicArakovidamatiH zrIvAmi[madeva: kRtI cakre zAstramidaM------ 110 subhASitaratnakozaH | Begins, || OM namo vItarAgAya // mAnuSyAryakSetradezonvayAyunIrogatvAcAryabuddhayAdisaMpat // saMsAresmin mAnavAnAM durApA sAmagrIyaM dharmamAggai samagrA // 1 // (74) munidevAcAryaH / 59 | 6-8 50-159/ ... | apUrNam dAanArr-- hArakamahApaMDitAcAryarAjaguruzrIvimalunmaNidevaviracite sarasvatIsarvasvakozAbhidhAne subhASitaratnakoze dharmAdhikAraH prathamaH 19 | yogazAstrasya prakAzAH4....... hemacandraH / 141 -prabhottararatnamAlA .. vimalacandrasUriH Begins| praNipatya jinavareMdra prabhottararatnapaddhati vakSye // 4 18 ... saMpUrNama

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112 (Ends praznottaramAleyaM kaMThagatA kaM na bhUSayati // 28 // praznottararatnamAlA samAptA // viveka maMjarI |Begins siddhapurasatthavAhaM namiUNa caramajiNaNAham || savaNamuhArasasariyaM vochAmi vivegamaMjariam || 1 // |Ends siribhilla mAla nimmalakulasambhavakaduarAyataeNa // iya AsaDeNa raiyaM vasujalahidiNesavarisaMmi || 144 // vivekamaMjarI sammattA // | - saMgRhaNIratnam - vA trailokyadIpikA - mAgadhI. Begius || namovItarAgAya // namiuM arihaMtAi ThiibhavaNogAhaNA ya patteyam // suranArayANa buchaM nara tiriyANaM viNA bhavaNam || 2 || uvavAyacavaNavirahaM saMkhaM igasamaiyaM gamAgamaNe // Ends malahArimasUrINa sIsaleseNa sUriNA raiyam // saMghayaNirayaNameyaM naMdau jA vIrajiNatittham || 318 || -upadezamAlA sudaMsaNAcarittam -- mAgadhI. Ends arahaMtasiddha Ayariyasuhayau (va) jhjhAya sAhubhattIe // jaM paramamaMgalaM maMgalANaM hou savvANaM zrIsu AsaDa: candrasUriH 717 223 : : 2-5 50-60 1244 saMpUrNam ca. ( 75 )

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Name of Work. No. of No. of Author's name.No. of | lines on letters " leaves. each in each page. line. Age. Remarks, - ... | saMpUrNam ) (2 -vaMdaNacuNNI ... yazodevasUriH Begins ichAmi paDikkamiDa iriyAvAhayAe ityAdi jAvattassa michAmi dukkaDati eyassa vakhkhANaM ichAmi abhilasAmi EndsichaM tassa michAmi dukkaDaMti sugamo ya imo // 7 // sirijasodevasUriraiyA vaMdaNaya [ssa] cuNI sammattA / / graMthAyaM 007 -paccakhkhANasarUvam .. yazobhadrasUri Begins tavajhjhANAnalanidaiTuTukammidhaNaM jiNaM namiDaM // paccakhkhANasarUvaM bhaNAmi suttANusAreNa // |Ends bhaNiyaM jasabhahasUrIhi 28 paccakhkharagaNaNAe gathapamANaM sayANi cattAri // nayaNavasuruddamANo vikkamanivavattharo ettha 29 saMvat 1244 varSe---- liMgAnuzAsanavivRttiH ......... hemacandraH Begins // namo jinaay|| ---siddhahemacaMdravyAkaraNanivezitAni liMgAni liMgAni || AcAryahemacaMdro vivRNotyaha namaskRtya // 4 // 114 / haimavyAkaraNasya durgapadAvali................. hemacandraH 222 nAntya- 3-5 patram 42 ... / 296 / 6 / 60 / 1264 | apUrNam

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hemacandraH / 142 5 / 50 ... | apUrNam ( |Begins sarvazaM sarvadevAya praNamya vivRNomyaham // haimavyAraNa ---vRti durgapadAvalim ||1 // ---pratipa nAya vRttikAraH zlokamekamakArSIt praNamya paramAtmAnamityAdi ihahi Ends pUrvanipAtobhavatItyAdiphala / / ityAcAryahemacaMdrAnusmRte siddhahamanAbhi zabdAnuzAsane avacarNikAyAM tRtIyasyAdhyAyasya prathamaH pAdaH / / saMvat 1264 zrAvaNa sudi 3 ravau 115 / zabdAnuzAsanalaghuvRttiH .. BeginspraNamya paramAtmAnaM zreyaHzabdAnuzAsanam // AcAryahemacaMdreNa smRtvA kiMcit prakAzyate // 1 // ahaM arha ityetadakSaraM paramezvarasya Ends apihita pinaddhaM apinaddha / / ityAcAryahemacaMdraviracitAyAM siddhahemacaMdrAbhidhAnasvopajJazabdAnuzAsanalaghuvRttau tRtIyAdhyAyasya dvitIyaH pAdaH 116 / zabdAnuzAsanam .......... |Begins| | ahe siddhiH syAdvAdAt lokAt Ends samarthaH padavidhiH // ityAcAryahemacaMdrAnusmRte siddhahemacaMdranAni zabdAnuzA sane saptamAdhyAyasya caturthaH pAdaH 117 zabdAnuzAsanam .... Begins| || ahaM siddhiH syAdvAdAt 77 ) hemacandraH / 83 4 48 ... | apUrNam hemacandraH / 122/ 4 50 ... | apUrNam

Page #223
Name of Work. No. of No. of Author's name. No. of lines on letters "leaves. | each in each | page. | line. e. | Remarks. 70 4 49 | 1292 | apUrNam ( 17 3 50 | ... | saMpUrNam 8 ) Ends bahulametannidarzanam // ityAcAryahemacaMdrAnusmRtAbhurAdayo Nito dhAtavaH samAtAH | zabdAnuzAsanam .... hemacandraH | Begins bhU sattAyAM pA pAne prA gaMdhopAdAne Ends parasmai bhASA bahulametannidarzanam ityAcAryahemacaMdrAnusmRtAzcarAdayogitodhAtavaH samAptAH / / saMvat 1292 jyeSThasudi bhavabhAvanA-mAgadhI ................ hemacandraH | Begins // namo vItarAgAya // namiuNa namirasuravara EndsbhavabhAvaNA vararayaNAvalIe kIraH alaMkAro iti zrIhemacandrasUriviracitA bhavabhAvaNA samAtA // | kavizikSA .......... jayamaMgalAcAryaH Begins, // namo vinarAjAya // prabodhamAnaMdaparaMparANAM hetuM samullAsitatattvasetum || yuSmAkamatyujvalamAnasAMtAmIsudhA suMdaramAtanotu ||1 // nAnArthakavizikSANAM saMgrahAdasamAdiha // mayA prakAzyate tattvaM zrImatpArzvaprasAdataH // 2 // 19 5 52 ... | saMpUrNam

Page #224
aucityaM zlAghyate tatra kavitAjIvitopamam || kavayastadajAnaMta (:) kathaM syu (:) kIrtibhAjanam // 3 // chaMdasAM nirNayaM kRtvAlaMkArANAM nirUpaNam // akliSTapadasaMbaMdhAt kAvyaM kurvIta kovidaH || 4 || yAnyeva dUSaNAnyAhustAni syuH bhUSaNAnyapi // samAsoyaM kavIMdrANAM vijJeyaH kavitaiSiNA || 5 // pratibhAvisphuradbuddhiranuprAsaparaM padam // banIyAt prathamaM rUpe ramate mAnase yataH || 6 // tatra prasattiguNabhAbdhikAvye prayatno vidheyaH // na punaryamakacitrAdau tathA lolaTaH yamakAnulomataH // 7 // taditaravakrAdibhedo iti rasavirodhinyaH || abhimAnamAtrameta harikAdipravAho (yam) || 8 | * tathAha mAghakAvye zriyaHpatiH 'hariH / 1 / tathA puraMdarAdIni sthAnAni varNituM zikSaNIyAni tathA vyarthAnyapi padAni chaMdaH siddhaye bhavatIti kathaM padayordvayoH salAvaNyatA vidheyA / yadbhAmahaH / nAkavitvamadharmAya mRtaye daMDanAya vA || kukavitvaM punaH sAkSAnyUna mAhurmanISiNaH 1 // tathA rUDhayaugikamizrANAM nAmnAM vaktavyatA jJeyA / tathA sarva sarvasyopamA bhvAdibhirutprekSA parAnyoktInAM tu vaiparItyena vA evAnyoktayaH tadbhAvasaMbaMdhatadAdhAratatsaMgyAdhArAdibhiH prayuktazleSacaturddhA zabdAnekArthabhUH | 1 | zabdakhaMDanabhUH | 2 | guNasAmyabhUH / 3 / kriyAsAmAnyabhUH / 4 / krameNodAhRtaH / vyomavannagaraM bhAti lasatkanyA manoharam || ( 79 )

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Name of Work. No. of | No. of No. of | lines on letters Author's name. I leaves. each in each page. | line. Age. | Remarks. rAmacandramahA- | 12/ kaviH 6 50 | 1306 | saMpUrNam ( 08 ) AkIrNamRSibhizcitrAlaMkRtaM gurubaMdhuram ||1|| haran sarvAMbhojizriyamavirataM siMdhupatinA kRtArtha stunvAno nisi zi]tamAsa vidyotamasamam / / sudhAMzustvadvaMze tvamive jayasiMhakSitipate Ends anullasatyAM ndyaarthyuktaavbhinvtvtH|| arthasaMkalanAtatvamabhyaset saMkathAsvapi 3 // iti zrIjayamaMgalAcAryaviracitakavizikSeyaM samAptA / / 21 / nirbhayabhImanAmA vyAyogaH....... |Begins tapobhirdustapairyena sNtpyaatmaanmuujitaaH|| jitA rAgAdayastasmai kasmaicitpaNidadhmahe ||1 // nAMdyate sUtradhAraH bho bho sphurati bhAgyapragalbhAH sbhyaaH| nepathye | bhAva praguNamAkhalaM bharatakulaM zrImadAcAryahe masUriziSyamahAkaveH rAmacaMdrasya bhUyAMsaH prabaMdhAstataH kiM samRddharasAnubaMdhabaMdha saMdhi [dhI] kRtya saMraMbhAmahe sUtra kathamayamasmadaMtevAsI vizAradaH prabaMdhavizeSajijJAsAbhara) punaruccaistaraM nirbhayabhImanAmAnaM vyAyogamadhikRtya pravartadhvam. Ends preyastaraM brUhi naH puruSaH idamastu | bhUyAMsaH satkavInAM rasaracanaparA: kAvyavAca: pravAcaH pratyAzaM yAMtu helAviphalitasujanA TurjanA nAzamIyuH // dharmaH puSNAtu vRddhiM kurukulakamalArAmacaMdraH sudhAdrAM []

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4 19 1318 | saMpUrNam prApya svAtaMtryalakSmImanubhavatu murda zAsvatI bhImasenaH / / samAptoyaM nirbhapabhImanAmA vyAyogaH kRtiriya prbNdhshtkmhaakve| raamcNdrsy| yAMdRzaM pustake dRSTaM tAdRrza likhitaM mayA // yadi zaddhamazuddha vA mama dokho [So] na dIyate || saMvat 1306 varSe bhAvavA vadi daravAvayehazrImahArAjakuladhIudayasiMhadevaka lyANavijayarAjye nirbhayabhImanAmA vyAyogo likhita iti zubhaM bhavatu 122| nyAyAvatAravRttiTippanam .... 120 Begins natvA zrIvIramekAMtavAMtavidhvasabhAskaram / / vRttI nyAyAvatArasya smRtyai kimapi Tipyate // 1 // EndskAmajalpaviSaye vIro jinaH pAtu vaH || saMvat 1318 nyAyapravezapaJjikA .... pArzvadevagaNiH | 119 | Begins mU0 haribhadrasUriH / / namo nmohebhyH|| durvAramAradhAri [mArahari] kuMbhataTaprabhedakaThIravaM jinapatiM varadaM praNamya / / gyAyapravezakamiti prathite suzAstre prArabhyate tanudhiyApi hi paMjikeyamA * * * haribhadrAkhyasUrinahi na ziSTa iAte nyAyapravezakAkhyazAstra vivaraNakarapravarttamAna iSTadevatAnamaskArArtha---zlokadvayaM cakAra samyagityAdivyAkhyA Endsloka iti // gyAyapravezapaMjikA samApnati / / (18) 1 .-60 | 1318 | saMpUrNam

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No. 124 125 nyAyapravezazAstrasya sadvRtteriha paMjikA // svaparArthe dRbdhA spaSTA pArzvadevagaNinAmnA || 1 // graharasarudrairyukte vikramasaMvatsare tu rAdhAyAm // kRSNAyAM ca navamyAM phAlgunamAsasya niSpannA // 2 // saMvat 1318 upadezamAlA - dharmopadezamAlA..... - zIlopadezamAlA Begins ..... Name of Work. AbAlabaM bhayAriM naimikumAraM namita jayasAram // sIlovaesamAlaM vRcchAmi vivegakarisAlam || 1 // -sattaThANA -paMcakallANA - kSetrasamAsaH - vivekamaMjarI -yogazAstram Ends Iya jayasiMhamuNIsaraviNeyajayakittiNA kaye eyam || sIlovayasamAlaM ArAhae lahai bodhiphalam // 115 // paJcasUtram - pratikramaNasUtram -dharmalakSaNam Author's name. .... .. jayakIrtisUriH ...... No. of No. of lines on leaves. each page. 64 65-196 : 197 - ... No. of letters in each line. Age. :: : Remarks. ...... saMpUrNam ( 82 )

Page #228
129 | upadezaratnamAlA -gautamapRcchA uttarAdhyayanalaghuvRttiH 127 / mRgAvatIkathA ......... 128 | palyopamopavAsavidhiH ...... Ends zrImadRSabhajinena bhASitaH palyopamopavAsavidhiH samAptaH saMvat 1210 : dazakAlikavRttiH ..... Ends bhavAMbudheH samullaMghya te yAMti padamavyayamiti // saMvat 1200 130 | ---- mAlapagaraNakahA..... Ends sAlibhaddasUrINa sissehiM 3 sirijiNabhaddamurNidehi suhayakarovivaraNAnusAraNa----mAlapagaraNakahA samAsarDa esA 4 cattAri sAhiyavArasavarisa ema vikkamarDa nipanomava--------- 1 triSaSTizalAkApuruSacaritram .... 132 kalpasUtram ......... NimipavajjasUttam..... |Beging caijaNa devalogA uvavanno mANusammi loyammi || uvasaMtamohaNijjA Ends evaM kareMti subuddhA pAMDiyA pavicakhkhaNA || vijaya bhogesu jahA se nemirAyarisittibe mi / / Nimipabvajjamutna sammattam / / 62 // ( 88 )

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No. Name of Work. No. of | No. of Author's name. | No. of | lines on letters | leares. | each | in each page. | line. Age, Remarks. .......... (84) | kesIgoyamijjam ........... Ends - saMthuyA te pasIyaMta bhaya kisigoyamAni bemi / / namirAjarSike zIgoyama adhyayana katicit kesIgoyamijaM sammattam / / 135 | suppaNIDhANakulayam ....................... BeginsjiNe siddhe namaMsittA savvasAhU ya bhAvarDa // vocha suyANusAreNaM muppaNIDhANasuttamam / / 1 / / Ends asAsaya samvamiNaM muNaMto garUvaesa satharya kuNatA / / su [mu] caMti dukhkhANa paraMparAe namaMti dITha na ya saMparAe // 9 // kulayaM sammattam || 134 sammArAhaNAkulayam ......... |Begins dANAicauvihadhamma mekvakAla ca desiuM loe / / karuNAe ca uvayaNaM samma namiTha mahAvIram ||3|| EndshoTha bahujapieNaM puzvamuNINaM saritu [ntu] cariyAim / / bhArAhaNAe taha ramasu jalaha lahuM lahasi siddhipayam / / 70 // ArAhaNAkulaya sammattam / / -ArAdhanAkulakam ..... Begins, / AloyaNA vayANa abhayadevasUriH ... ... | ... | ... | ......

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( 8 |Endsiya ArAhaNAkulaya raiyaM siriabhayadevasUrIhim // bhaviyANaNuggahaha saraNaThaM appaNo taya || 86 // 237 dhammovaesasarUvam ........ BeginsnamiGa jiNavaravIra dhIrimaheuM khalaMtakhavagasta || dhammovaesasarUva kavayaM ussaggiyaM voccham ||1 // Ends lokvekvallamalloya // 54 // -causaraNapayannA -bhavabhAvanA -jIvANusiddhi kulayam |Begins paNamiyamiyaM kavayaNa sirivIra Ends tassa nassai lajjamoho 25 jIvANasiddhikulayaM samAptam 138 dhanapAlapaJcAzikA-sAvacUriH RSabhapaJcAzikA vA Begins mU0 jaya jaMtukappapAyava vaMdAya paMkayavaNassa / / sayalamuNigAmagAmiNi tiloyacUDAmaNi namo te ||1|| TI. namastubhyaMjaMtukalpapAdaya jagati viSTape Ends mU0 iya jjhANaggipalIciyakammidhaNa bAlabaddhiNAvi mae / thuu bhavabhayasamuddabohitya bohiphalo || 50 // TI0 AtmanobhidhAM darzayati dhanapAla iti / / saMvat 1265 ) dhanapAlaH | 29 | ... | ... | 1265 saMpUrNam

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No. 139 140 141 kalpasUtram -- kAlikAcArya kathAsahitam .. kSetrasamAsaH -sattaThAMNA -mUlazuddhiprakaraNam -paMcakalyANakam - zAlibhadracaritram Begins suravarakayabaddumANaM Ends sokhkha bhuMjiuM jaMti mokhkham || 179 || sAlibhaddacaritaM sammattam // - therAvali Begins Name of Work. jayai jagajIvajoNIviyANa Ends NANassa parUvaNaM vottham || 50 || therAvali sammattA // -gAthAkosaH |Begins nijjuriyajarAmaraNaM vaMdittA jiNavaraM mahAvIram || chappannagAhA vucchaM suyaNassa jogArDa || 1 || Ends paralAlaha ghuTaMti || 64 || gAthAkosaH || samayasArapahUDo saTIka mU0 mAgadhyAM TI0 saMskRte Author's name. No. of leaves. No. of lines on each page. 130 |56-178 .... ................. TI0 amRtacandraH | 189 6-19 No. of letters in each line. 100112 Age. :: Remarks. saMpUrNa ma ( 86 )

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142 143 144 145 146 Begins TI0 || u namaH paramAtmane // - pratha namaH samayasArAya svAnubhUtyAcakAzate // vizvabhAvAya bhAvAya sarvvabhAvAntarachide || 1 // mU. vaMdittu satrvasiddhenuvamacama [va] Nova [ga] maM gaI patte // vo chAmi samayapAhuDamiNamo suakevalIbhaNiyam || 1 || Ends uditamamRtacaMdra jyotiretatsamaMtAjjalatu vimalapUrNa niHsapatnasvabhAvam || iti samayasArabyAkhyAyAmAtmakhyAtau navamakaH yasmA .. nakiMcitkalaH ityAtmakhyAtinAmasamayasAra vyAkhyA samAptA // mahAnizIthasUtram . |Begins // OM namo titthassa u namo arahaMtANaM / suyaM me Ausa teNaM bhagavayA evamakhkhAyaM iha khalu chaumatthasaMjama kiriyAe vaDhDhamANe Ends bhavai || 5 || cattAri sahassAIM paMcasayArDa taheva cattAri silogA ciya mahAnisIhaMri pAeNa graMthAgraM 4554 mahAnirzArthaM samAptam // AlhI AbhiNi seyattha putthiyA sirimahA nisIhassa || rUpalasukhAviyAe lihAviyA terasattarase || tadeva tadeva viSaSTizalAkApuruSacaritrasya prathamaM parva vRhajjAtakam |Begins // u namaH sUryAya || mUrttitve parikalpitaH zazibhRtovarmA punarjanmanA hemacaMdraH varAhamihiraH 243 239 220 512 60 5 58 | 1317 S 3-6 48 :::: ( 87 )

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No. 148 Ends catvAryasmin vRttasaMkhyAzatAni 4 iti bRhajjAtakaM samAptam || 147 nisIhasUttam ...... 149 Name of Work. Begins || namaH sarvajJAya | je bhikhkhu hatthakammaM karai kareMtaM vA sAdijjai Ends ahIematirittaM teNa paraM chammAsA || 4 || NisIhe vIsaimo saMvat 1217 laggakuMDalikA |Begins || avitahasavvAesaM namiDaM ca [3] vIsaMmaM jiNavaresum / buchAmi samAseNaM laggaMgarUva eseNam || 1 || Ends 28 iyativihasuddhijuttaM tI eviuttaM ca vattiyaM laggam // jaM kiMci iha ajuttaM sorhiti taM viutA // 128 // laggakuMDalikA samAptA // pravacanasAroddhAraH - saTIka mU0 mA0 TI0 saM0 Begins mU0 nAmaUNa jagAdijiNaM vochaM bhavvANa jANaNAnimittam // pavayaNasAruddhAraM gurUvaesA samAseNam || 1 || TI0 OM namaH || sannaddhairapi yattamobhirakhilairna dRzyate kutracicaMcarakAlakalAbhirappanukulaM yannIyate na kSayam // Author's name. haribhadrasUriH No. of No. of lines on leaves. each page. 76 17 * mU0nemicandrasUri : 249 DI0 siddhasenasUriH : No. of letters in each line. : : 64 Age. Remarks. 1217 saMpUrNam : saMpUrNam saMpUrNam ( 88 )

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| tejobhiH sphuritaiH parairapi haThAdAkramyate yatra ta. jaina sarvajagatprakAzanapaTujyotibhiraM naMdatAt // 1 // yo dhyAnena nimUlakASamakaradveSAdividveSiNoyastrailokyavilokanaikarasika jyotiH kimayAtanot / / yaH sadatamazeSamarthamavadat durvAdivitrAsahahevAryaH zivatAtirastu sa vibhuH zrIvarddhamAnassatAm // 2 // svagurUNAmAdezaM ciMtAmaNimodaraM samAsAdya || zreyaskRte karomi pravacanasArasya vRttimimAm || 3 // iha hi ziSTAH Ends mU0 dhammadharuddharaNamahAvarAhajiNacaMdamUrisIsANam / / siriammaevamarINa payapaMkavarAehim / / 609 // sirivijayasenagaNaharakaNijasa devasUrijiThehim || sirinemicaMdasarAihe saviNayaM sissa bhaNiehim / / 160 / / samayarayaNArDa rayaNANaviva samutthadArAi / / niuNanihAlaNavaM gahirDa saMjattapahiM vA / / 611 // pavayaNasAroddhAro rairDa saparAvibAhakajjami jaM kici iha ajuttaM bausuA taM visohaMtu / / 612 // jAva jaI bhuvaNanayameyaM ravisasimamerugirijuttam / / pavayaNasAruddhAro tA naMdau bau paDhijjato / / 613 // TI. iha yadyapi yadbhavitavyaM tadeva bhavati tathApi zabhAzabhaphalatvAcchobhanArthe prazaMsA vidheyeti darzanArthamAyazasA darzanArthamAzaMsAM kurvannAha yAvadetadvijayate bhavanatrayaM svargamartyapAtAlalakSaNaM ravizazimerugiriyuktaM dinakaratuhinakarasuragiriparigatam tAvadarya pravacanasAroddhAragraMtho budhaistattvAvabodhabaMdhurabaddhibhiH gyamAno naMdatu ziSyapaziSyaparaMparApracAritarUpAM samRddhimAsAdayatu / / | iti zrIsiddhasenamAraviracitA pravacanasAroddhAravRttiH samAptA / / ( 68 )

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Name of Work. | No. of ] No. of No. of lines on letters Author's namo. leavesench lin each | page. | line. | Bemarks. 34 saMpUrNam (06 ) 757-60 | 1392 | saMpUrNama 20 pAraThAsaMThie ........... yazodevaH Begins ||ii namo vItarAgAya // namaha nayanamiranaravaisarasiruhaviyAsaNam // bhavaNapaNayaM niyatamatimiraniyaraM vIrajiNadiNesaraM sirasA // 3 // Ends pAraThAsaMThie saMmattA pahAvallipurIe esA phagguNacaumAse pajjunnasUriNo dhammanattueNaM tu suyANusAreNa gaNiNA jasadeveNaM uddhariyA etya paDhamapaI 23 pUjAvidhAnaM samAptamiti 151 | AcAravidhiH .... / 172/ Begins, sa zrIvIrajino jIyAdyasya paadnkhaaNshvH|| vikAze bhavyarAjIva rAjesU [rAjiSva] ruNabhAvanaH // 1 // Ends AcArAvidhigraMthaM vidhigraMthavidhinAtra lekhayAmAsa // 10 // bhAsate || 18 // 152 upadezamAlA dharmadAsagaNiH | 178 | Begins // namiNa jiNavariMde iMdanAradacie / Endsiya dhammadAsagaNiNA......paMcasayA ceva bAyAlA || 542 // 6| 62 / ... saMpUrNam

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/ upadezamAlA maladhArihemaca.] ... | ... | ... | ... | saMpUrNam Begins ndra sUriH siddhamakammamAviggahamakalaMkamasaMgamakhkhayaM dhIram // paNamAmi sugaipaccalaparamatyapayAsaNaM vIram // 5 // Ends uvaesA bhabvehiM sayA suhatthIhim 505 iti maladhArizrIhemacaMdrasariviracitaM upadezamAlAprakaraNaM samAptam / / yogazAstrasya prakAzAH4... vItarAgastotram .......... hemacandraH / saMgrahaNiH kSetrasamAsaH dharmopadezamAlA vivekamaMjarI Ends iya AsaDena raiyaM vasajalahidi sacariyami || 44 // | iguNattIsIbhAvanA Endsvajjati jANamANA ayANamANA ya vajjhati / / zrAvakavidhiH-mAgadhI Begins / jattha puri jiNabhavaNaM / / EndsteNa saMsAro 21 pavvajjAvihANapagaraNam Begins saMsAravisamasAyara kammarayaNapamajjaNaM dhIra 25 pabajjAvihANapagaraNam 6 ) (

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Name of Work. No. of No. of INo. of | lines on letters |Author's name.] | leaves. | each in each page. | line. .| Remarks. dhanapAlA (92) hemacandraH -saMyamamaMjarI Begins namiuNa namiratiya -RSabhapaJcAzikA Begins| jaya jaMtukappapAyava caMdAya varAya paMkayavaNassa / / Ends bohitthaM bohiphalo // iti zrIRSabhadevapaMcAzikA paMDitadhanapAlaviracitA samAptA || 153 vRhatsaMgrahaNi: ....... -upadezamAlA ......... -zrAvakadinakRtyam Begins - vIra namiuNa tiloyabhANu Ends taM majjhamichAmiha dukkauMti // 34 // 154 pratikramaNam ....... Begins-- | namo vIyarAgANa savvannRNaM deviMdapUiyANaM Ends paDikkato vaMdAmi jiNa cau dIsa 50 | -dharmalakSaNam -upadezaratnamAlikA 102 570-75 / ....

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155 156 197 - kSetrasamAsaH |Begins || sirinilaya kevaliNaM avitahavayaNaM namitto vIrajiNam // narakhittaviAralavaM buchAmi suAu saparahiam || 1 || Ends ia narakhittaMviAro somatilayasUriNA samAsena || lihiu saparasi hiu soheavvo suaharehi // 33 // iti kSetrasamAsaH samAptaH // bhavabhAvanA - kalyANa maMdirastotram - vItarAgastotram -RSimaMDalam |Begins bhattibhara mirasuravara kirIDa Ends samaNahaM kAusolahai siddhisuham || 210 // triSaSTizalAkApuruSacaritrasya - caturtha parva dharmopadezamAlA vIracariyam... Begins vIra jiNe saravaracariu aisayasahi marhitu Ends vara jiNesarasUri sIsiM / suvihiyaha nam // kammapayaDi - sAvacUrNi -- mAgadhI Begius siddhoniddhuyakammo sahammapaNApago tijaga . somatilakasUriH 108 vIracariyaM samma - hemacandraH ...... jinezvarasUriH : 293 47 119 : : 3 3-580-85 70 : ::: saMpUrNam apUrNam ( 93 )

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No. 158 159 Ends iya kammapayaDigAhA iyatti evaM kammapayADepagayaM kammapagai adhikAraM RSimaMDalastavaH |Begins isi maMDalassa guNamaMDalagga tavaniya maMDaladharassa |Ends parisAe dinu borhi majjhaya siddhivasarhi uvavihita 171 RSimaMDala stavaH samAptaH parigrahapramANaprakaraNam saMsArasiMdhUttamajANavataM Name of Work. Begins | Ends mokhkhaphaleNaM giridhammasAlo 66 parigrahapramANaM samAptamiti || - jinastuti : Begins .......... saMsArasiMdhUttama jANavataM Ends iti varNamAnanAmA ghuraMkapitRmAtRkIrttanAjjinapAH // zrI caMdraguptasUribhirabhiSTutA : zivasukhaM dadyuH || 25 // - dvAdazavratanirUpaNam Begins saMsArasiMdhU 8 Author's name. mAnatuMga sUriH caMdraguptasUriH mAnatuMga sUri : No. of No. of lines on leaves. each page. 28 12 09 No. of letters in each line. 46 8 82-85 : Age. D: : : : Bemarks. ...... ...... ( 94 )

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___72/ 3-468-72/ ... 6 ) | bhokhkhaphaleNaM gihadhammasAlA 81 * zAlibhadracaritram-mAgadhI .... puMDarIkastavaH-mAgadhI Begins AraMbhe muniyattA Ends bhaireNaM sAhusavvakhkhAram 198 puMDarIkastavaH sukosalacaritam-mAgadhI Beging nAmajaNa calaNajuyalaM Endsiha loe uttasokhkham 90 devacaritna sammattam jogasayam -mAgadhI Begins namiuNa jogiNAI EndssiddhIe sayA avirahoya 101 jogasayaM sammattam ajitazAntistavaH-mAgadhI Begins ajiyaM jiyasabvabhayaM Ends uvasaggavAraNoeso 161 upadezamAlA ..... Begins / // namiNa jiNavariMde iMdanariMdaccie tiloyagurU / EndsgAhANaM sagvagaM paMcasayA ceva bAyAlA || 542 // ( dharmadAsaH

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Name of Work. | No.of | No. of No. of lines on letters Author's nameti leaves. each in each page. | line. Age. Remarks. hemacandraH (96) -bhavabhAvanA ..... |Begins || namiNa namirasuravara // Ends bhavabhAvaNAvararayaNAvalIe kIrarDa alaMkAro iti zrIhemacaMdrasUriviracitA bhavabhAvanA smaaptaa|| karmastavaH -karmavipAkaH -sayagam -sattarI RSimaMDalam -jjhANasayam 162 dazavaikAlikasUtram 163 vItarAgastotram ... 164 | bhaktAmarastotravRttiH ...... |Begins ||ii namo vItarAgAya // vRtti bhaktAmarAdInAM stavAnAM vacmi yathocitam // saMkSepAnmuktilAbhAya mukhabuddhiprabuddhaye // 1 // EndspuSpakalitA ca kaThe galapradeze viyate / / zrIkhaMDelagachasaMbaMdhizvetAMbarazrIzAMtisUriviracitamAnatuMgAcAryakavikRtabhakAmarAkhyasUtravRttiH parisamAptA / / m hemacandraH zAntisUriH / 29 4

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139 | 4 50 1209 / ...... 169/ upaniyuktiH |Begins // namaH sarvajJAya / / duvihovakkamakAlo sAmAcArI ahAuyaM ceva / / |Ends eptA aNuggahatthA phuDaviyaDavisuddhavaMjaNA iNamo ekvArasahi saehi aThahiM ahiehi saMgahiyA 1956 ghaniyuktiH samAptA // 166 piMDaniyuktiH ............... Begins // namaH siddhebhyH|| piMDa uggarma uppAyaNesaNA saMjoyaNAppamANeyaM EndsnijjaraphalA ajjhatthavisohi juttassa // 7 // saMvat 1209 kArtika vadi 12 some 167 dasaveyAliyaNijjutIrDa.. BegingnamaH siddhigatimuvagayANaM kammavisuddhANa samvasiddhANam / / NamiuNaM dasakAliyaNijati kittaissAmi || 1 // |Ends taM savaNayavisaddhaM jaM caraNaguNaThirDa sAhU 441 // cUliyajjhayaNanijjuttI sammattA // dasaveyAliyaNijjuttI sammattArDa | 168 mahAvIrastotram-mAgadhI .... |Begins| gharisiddhahajAu jiNu caTavIsavauMjjavIra ( 26 ) ......

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Name of Work. No. of | No. of Author's name.|| No. of lines on letters | leaves. | each in each page. line. Age. | Remarks. (98 ) Ends bhavajalahi / sAsayasuha saMpattu 30 zrImahAvIrastotraM samAptam / / dazavaikAlikasUtram-mAgadhI .......... pAkSikasUtram .................. 171 / pAriThAsaMThiaNa-suyaNarayaNA vA ......... yazodevasUriH | 259 / 932-39 | 1289 udyotanasUriBegins ziSyaH-municaMdranamaha nayanamira naravaisarasiruhaviyAsaNam / / dharmasahodaraH bhuvaNapaNayaM niyatamatimiraniyara vIrajiNadisaraM sirasA ||1|| --- iya namiuM vIrajiNaM thouNa sarassa Ica bhAveNam / / bhaviyajaNa bohaNatthaM uvaesaM kiMci vochAmi || 3 // Endsii valikvAreNaM kanvakaraNaNi jAyavasaNeNam // esA kahiyA raiyA teNaya NoNusaraNatham / / 20 // pAriThAsaMThie saMmattA vaDDAvallIpurIe esA phagguNacaumAse pajjunna sUriNo dhammanattueNaM tu suyaNusAreNa gaNiNA jasadeveNaM uddhariyA ettha paDhamayaI 23 pUjAvidhAnaM samAptamiti // saMvat 1289 / / 172 | pANDavacaritram-ekAdazasargAt 234 | ... | ... | ... | EndsvihirephArpitamahimamahAkAvyametaddhinotu // 28 // iti malladhArizrIdevaprabhasUriviracite pAMDavacaritraSTAdazaH sargaH //

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5 / 55 | 1216 | saMpUrNama 173 | AgamikavastuvicArasAraprakaraNam-vA SaDazItiprakaraNam - saTIkam jinavallabhagaNi: | 69 / | Begins TI. natvA jinaM vidhAsye vivRti jinavallabhasUNi tasya [munistasya / / AgamikavastuvistaravicArasAraprakaraNasya // 1 // mU0 nicchitramohapAsaM pasariyavimalakevalapayAsam / / paNayajaNariyAsaM paNa mittu jiNapAsam ||2|| vochAmi jIvamaggaNaguNa ThANuvauMgajogalesAI / / Ends mU0jiNavala hovaNIyaM jiNavayaNAmayasamuddabiMdumimam // hiya kaikhiNA buhajaNA nimuNatu guNaMtu jANaMtu // 86 / / ityAgamikavastuvicArasAraprakaraNam TI.varSe zatakAdazake dvAsaptatyAdhike nabhomAse || sitapaMcamyA steye samarthitA vRttikeyamiti / / iti ssddshiitiprkrnnvRttiH|| saMvat 1216 -zrAvakadharmaH.. 174 Begins | || namiuNa vaddhamANe sAvagadhamma / Ends bhavavirahaM hoI kammANam -karmavipAka: -karmastuvaH -AgamikavastuvicArasAraprakaraNam ...... .jinavalabhagaNiH | ... | |Begins| nichinamohapAsa pasariyavimalakevalapayAsama || 66 ) ( ... | . ...

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No. 175 176 177 Ends suNaMtu guNaMtu jANetu 86 ityAgamikavastuvicArasAraprakaraNaM kRtiriyaM jinavallabhagaNeH || karmAdivicArasAraH |Begins sayalaMtarAyavI raM parevivohiMtu sohiMtu 152 dazavaikAlikasUtram Ends pAkSikasUtram Begins aNNANa mohadalaNI jaNaNI sayanANa bhaviyalogassa || sirasA saharisabhAvo paNamAmi suyAya suyadevi // 1 // titthaMkareititthe atityasiddhe |Begins Name of Work. Ends sAmatthae vaMdAmi || kSAmaNakasUtraM samAtamiti // - pavajjAvihANasUttam saMsAra visamasAyara Ends kammAivicArasAra lavam || 1 || - thirAvali |Begins jidhamme Aya kuNaha || 24 || pavvajjAvihANaM sammattaM // jayai jagajIva // Author's name. jinavallabhaH No. of No. of lines on each leaves. page. 150188 72 153 S No. of letters in each line. Age. 50 1290 :: : : :: Remarks. 685242 ( 100 ) Accom. Sy

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|Ends parUvarNa votthaM // 50 // thirAvaliyA sammattA // -piMDavizuddhiH ........ jinavallabhagaNiH ... BeginsdeviMdavaMdavaMdiyapayAravidebhivaMdiya jiNadeve // chAmi suvihiyaM piMDavisohi samAseNa || 1 // -zobhanastutiH ....... ..... zobhanAcAryaH Begins bhanyAMbhojavibodhanakataraNe vistArikAMvaliraMbhAsAmaja nAbhinaMdana mahAnaSTApadAbhAsuraiH / / bhanyA vaMditapAdapadma viduSAM saMpAdaya projjhitAraMbhAsAmajanAbhinaMdanamahAnaSTApadAbhAsuraiH // 1 // Ends sarabhasanatanAkanArIjanorojapIThAluThattArahArasphuradrazmisArakramAMbhoruhe parama vasutarAMgajArAvasannAzitArAtibhArAjite bhAsinI hAratArA balakSemadA // kSaNarucirucirArucaMcatsaTAsaMkaTotkRSTakaMThoTe saMsthite saMkaMTAdbhavyalokaM tvamaMbAMbike paramavasutarAM gajArAvasannA zitArAtibhA rAjite bhAsi nIhAra tArA balakSemadA || 96 // iti vicitrayamakabaMdhena zobhanastutayaH saMpUrNAH // 178 kSetrasamAsaH ............ ...... 173 / ... | ... | |Begins / namiuNa sajalajalaharanibhassa // Endslogo caudasarajjuI 86 khetasamAso sammatto / / gautamapRcchA Beging namiNa titthanAhaM jANaMto tahaya goyamo bhayavavaM / / ( 101 )

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Name of Work. No. of No. of No. of lines on letters Author's name. leaves. each in each page. | line. Age. Remarks. | ... | ... | saMpUrNam ( 102 ) -AurapaccAkhkhANa |Begins / desekvadesavirarDa Ends khayaM savvadukhkhANam // 6 // aurapaJcakhkhANaM sammattam / / -ajitazAMtistavaH..... jinavallabhaH Begins ullAsikvamanakhvaniggayapahAdaMDachaleNAMgaNaM vaMdArUNa disaMta ibva payarDa nibvANamaggAvalim / / kuMdiTujjaladaMtakatimisau nItanANaM kurukvere dovi dAhijja solasajiNe thosAmi khemaMkare // 1 // Ends iya vijayAjiyasattaputta siriajiyajiNesara taha airAvisaseNataNai paMcamacakkIsara titthaMkara solasamasaMtijiNa vallaha saMtaha kuru maMgalamavahara sadariyamakhilaMpi thurNa taha / / 17 // -prabhottararatnamAlikA ........ vimalacaMdrasUriH Begins kaH khalu nAlaMkriyate dRSTAdRSTArthasAdhanapaTIyAn // kaMThasthitayA vimalaprakrAMtaratnamAlikayA // 1 // Ends kaMThagatA ke na bhUSayati / / 28 // -dharmalakSaNam Begins| dharmArtha klizyate loko na ca dharma parIkSyate / / ... | ... | ... | ... saMpUrNama

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... ... | ... | ... | saMpUrNama 34 ... | ... | ... | saMpUrNam Endsgacchanti paramAM gatim // dharmalakSaNaM samAptam // -upadezamAlA ...... ..dharmadAsagaNiH | BeginsnamiuNa jiNavaride iMdanAradaccie tiloyaguru // uvaesamAlamiNamo buchAmi gurUvaNa [e] seNam ||1|| Ends gAhANaM sabvaggaM paMcasayA ceva bAyAlA || 542 / / 179 prazamaratiH umAsvAti- | Begins vAcakaH nAbheyAdyAH EndsjinazAsanANNavAdAkRSTA dharmakathikAmimAm || zrutvA ratnAkarAdiva jaratkapardikAmaddhatA bhanyA 310----mahatsAsanaM jayAti 313 // -arhatpravacanavyAkhyA.... Begins athAtorhatpravacanaM vyAkhyAsyAmaH tadyathA tome SadjIvanikAyAH 180 | gauDavadhakAvyam-mAgadhI ..... vAkpatiH |Begins // namo jinarAjAya // paDhama ciya dhavalakarDavavIamabaruhagoaraM namaha || harijaDharAni - mukhitanAlasutnaM pivasaryabhum ||1 // EndskarAyalaMchaNassa vavappairAyassa gauDavaha // nAmeNa kahAvIDhaM raiyaM ciya taha samatnaM ca // ( 103 )

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APPENDIX II. BANA; TIIS PREDECESSORS AND CONTEMPORARIES. The circumstance that Bana can be assigned with absolute certainty to the first half of the seventh century of the Christian era lends great importance to the introductory verses of the Harsha Charita, in which reference is made to other known and unknown poets.* I will first transcribe the passage, marking the various readings in my MSS. of the text, and in a copy of the commentary which I have procured from Jeypore, and then offer some remarks as to the conclusions which may be drawn from it: oM zrIgaNezAya namaH oM icchAdizaktinicayaprasarakrameNa vizvAvabhAsanavidhau prathitaprabhAvA / yAdhyAyinAM hRdayakokanadapratiSThA rUpaM prakAzayati naumi sarasvatIM tAM / / 1 namastuMgazirazcambicandracAmaracArave / trailokyanagarArambhamUlastambhAya zaMbhave / / 2 harakaNThagrahAnandamIlitAkSIM namAmyumAm / kAlakUTaviSasparzajAtamUchogamAmiva / / 3 namaH sarvavide tasmai vyAsAya kavivedhase / cakre puNyaM sarasvatyA yo varSamiva bhArataM // 4 prAyaH kukavayo loke raagaadhisstthitdRssttyH| kokilA iva jAyante vAcAlA: kAmacAriNaH // 5 * The following paper is extracted from the Introduction to my edition of Bana's Kadambari." I have onnitted the analysis of the Harsba Charita itself, given there, as we may shortly expect the results of a more thorough exami. nation of that work from the pon of Dr. Fuhrer. 'oN zrIgaNezAya namaH.0 au namaH sarvajJAya. 'oM icchAdizakrinicayaprasara B,C, and Com. omit i and this rerso. For prasara, Breads pracaya. pratiSThA Both Mss. write pratiSTA. 'harakaNThagrahAnanda. A harakaMTAgrahAmanda. (sic.) 'sparzajAta. 0 sparzAjjAta. 'dRSTayaHA murtayaH 'kAmAcAriNaH. B, C, and Com. kAmakAriNa. 14

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( 106 ) santi zvAna ivAsaMkhyA jAtibhAjo gRhe gRhe / utpAdakA na bahavaH kavayaH zarabhA iva // 6 anyavarNaparAvRttyA bandhacihnanigRhanaiH / anAkhyAtaH satAM madhye kavizcauro vibhAvyate // 7 zleSaprAyamudIcyeSu pratIcyeSvarthamAtrakaM / utprekSA dAkSiNAtyeSu gauDeSvakSaraDaMbaraH // 8 navortho jAtiragrAmyA zleSokliSThaH sphuTo rsH| vikaTAkSarabandhazca kRtsnamekatra duSkaram // 9 ki kavestasya kAvyena sarvavRttAntagAminI / katheva bhAratI yasya na prApnoti digantaram / / 10 ucchAsAntepyakhinnAste yeSAM vaktre sarasvatI / katharmAkhyAyikAkArA na te vandyAH kavIzvarAH / / 11 kavInAmagalado nUnaM vaasvdttyaa| zaktyeva pANDaputrANAM gatayA karNagocaram // 12 padabandhojjvalo horI kRtvrnnkrmaasthtiH| bhahAraharicandrasya gadyabandho nRpAyate // 13 avinAzinamagrAmyamakarotsAtavAhanaH / vizuddha jAtibhiH kozaM ratnairiva subhASitaiH // 14 kIrtiH pravarasenasya prayAtA kumudojjvalA / sAgarasya paraM pAraM kapiseneva setunA // 15 sUtradhArakRtArambhairnATakairbahubhUmikaiH / sapatAkairyazo lebhe bhAso devakulairiva // 16 nirgatAsu na vA kasya kAlidAsasya sUktiSu / prItirmadhurasAAsu maJjarISviva jAyate / / 17 samuddIpitakandarpA kRtgauriiprsaadhnaa| haralIleva no kasya vismayAya bRhatkathA // 18 ADhayarAjakRtotsAhairhRdayasyaiH smRtairapi / agrAmyA. A writes agrAsyA. So also below v. 14. So before it writes incorrectly udIzyaSu. and pratIzyeSu. degna prApnoti digantaraM. 0 na vyAmoti jagatrayaM. Com. 10 kathamAkhyAyikakArA : &c. The Calcutta Edition omits all that precedes this line and prefixes the interpolated verse caturmukhamukhAmbhojavanahaMsavadhUrmama mAnase ramatAM dIrgha sarvazuklA sarasvatI. "padabandhojjvalo hArI kRtavarNakramasthiti:- Cale. Ed. padabaddhojjvatohArikRtakaNThakamasthiAtaH, avinAzinam Cale. Ed. kuvinAzanam. "sAtavAhanaH Hal's first MS. zAlivAhanaH: 11 sUtra, A sUta, mUmikai; A bhUSika:. "bhAso A bhAsA " sArdAsu A sAndrAsu. " kRtotsAhai :. Calc. Rd. kRtocchAsai::

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( 107 ) jihAntaHkRSyamANeva na kavitve pravartate // 19 tathApi nRpaterbhaktyA bhIto nirvhnaa[nnaakulH| karomyAkhyAyikAmbhodhau jihAplavanacApalam / / 20 sukhaprabodhalalitA suvrnnghttnojjvlaiH| zabdarAkhyAyikA bhAti zayyeva 'pipAdakaiH // 21 jayati jvltprtaapjvlnprkaarkRtjgdrkssH| sakalapraNayimanorathasiddhizrIparvato harSaH / / 22 The enumeration it will be seen begins from Vy as a, who has his place at one and the same time, alongside of the tutelary deities namaH sarvavide tasmai vyAsAya kavivedhase / cake puNya sarasvatyA yo varSamiva bhAratam / / invoked-and as the exemplar of all good poets kiM kavestasya kAvyena sarvavRttAntagAminI / katheva bhAratI yasya na prAmAta digantaram // It may be fanciful : but in these, and in the numerous other references to the Mahabharata to be found in the Harsha Charita and Kadambari, can we not recognise the language of a time when the name and the fame of the Katha Bharatt-India's Tale of Troy divine'-as put together by Vyasa, was as yet comparatively a fresh wonder in the world? From Vyasa Bana goes to the great body of 'story-tellers' or rhapsodists, Akhyayikakaras. Most writers have followed Hall in what I venture to suggest is the erroneous idea that in v. 7 Bana alludes to a poet called Chaura.* The context shows that the author is speaking of poets who are such only in name ( F TTTT:); and in this verse he in effect says that the plagiarist, however skilful his juncture may be, finds no honour among learned men and is esteemed chaurathief. This is the natural construction, and it has the support of the commentary, the note in which runs as follows:-anyeti kavizcauraHsahRdayAnAM madhye nAkhyAtaH kathitopi na jJAyate na A samaMtAt khyAtopi tu kiMcitprathito vA anye pUrvakavinibaddhavilakSaNA ye varNA akSarANi teSAM racanena vadhacinhaM zrIlakSmI. prabhRtiracanAliMgaM anye tu bhASAlaMkAraprabhRtibaMdhacinhamAhuH atha ca satAM sAdhUnAM madhye cauro lakSyate kIdRk na nA anAkApuruSaH akhyAto'prasiddhaH kena anyaH prAktanacchAyavyatiriktasrAsakRtaH pANDimAdirvarNa : mukharAgavizeSastatpari. So also Hall's second Ms. with Adya for ADhaya. "savarNaghaTanojjva laiH. A suvarNaghATinojjvala:. pratipAdakaiH. * Hall, loc. cit., p. 54. See Buhler's paper in Ind. Stud. XIV., p. 406. In his Kashmir Report Buhler shows that the only work over ascribod to this mythical Chaura is a composition of Bilbaqa's.

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( 108 ) vartanava yadvA zUdratve sAta dvijAdivarNAzrayeNa svajAtyucitasya svabhAvasya tya kumazakyatvAdbhAvaprakaTanamavazyameva / bhavati yato baMdhaH zRMkhalAdikRto graMthistacihna tvadUSaNAdi The reference to the Akhyayikakaras, with which Bana begins his enumeration of poets presumably nearer his own time than Vyasa, is extremely interesting in view of the question of the origin of Kadambari. In later books on Rhetoric, the Akhyayiki is defined as resembling the Katha, with the difference that the genealogy of the poet, and sometimes an account of other poets, are given. And the Harsha Charita, which has very obviously suggested the definition, is given as an example of the class. When, for the better understanding of this definition we turn back to the description of Katha, we find that species of composition distinguished as a narration in prose, with here and there a stray verse or two, of matter already existing in a metrical form.* The existing collections of metrical fables, such as the Kathasarit sagar a of Soma deva and the Vlihat kath & of Kshemendra are later than Bana by several centuries; but Hall and Buhlert have shown that implicit confidence is due to Somadeva's and Kshemendra's statements to the effect that their books are translations into Sanskrit and abridgments of an older work. I shall show in the sequel that the Katha-sarit-sagara contains one form of the original of Bana's Katha Kadambari : and, when we bear in mind that Kadambari is given as the stock example of a Katha, it is clear that by Akhyayika in the present passage Bana refers to metrical stories, such as furnished him with the theme of his own romance. The poets next mentioned by name, or singly, are-(1), the author of & Vasavadatta; (2), Bhattaraharichandra; (3), Satavahana; (4), Pravarasena, or, perhaps, the author of a work in praise of Pravarasena; (5), Bhasa ; (6), Kalidasa; (7), the author of a Vsihatkatha. I do not take A dhyardja in the verse that follows as a proper name. Before examining our list in detail, it may be well to ask how we are to regard the list itself. It it be fair to judge from a casual note, I it would * The otherwise praiseworthy translation of the Sahityadarpana by Pramada data-mitra in the Bibl. Ind. is defective here. The text is : kathAyAM sarasaM vastu padyaireva vinirmitaM kvacidatra bhavedAryA kvacidvaktrApavaktrake Adau pacainamaskAraH khalAdernakIrtanam, This, it is obvious, does not mean "In the Katha, which is one of the species of poetical composition in prose, a poetical matter is represented in verse, and, sometimes," &c., but rather as I have given the sense above. + Hall loc. cit., pp. 22-24. Buhler, Ind. Ant., Vol. I., p. 302. "In Bana's Harsha Charita, Introd. v. 15, Bhasa is lauded on account of his dramas: indeed his name is even put before that of Kalidasa."--Note on p. 205 of English translation of Indian Literature.

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( 109 ) seem that the distinguished scholar Weber leans to the theory that we have here an attempt to classify, in order of merit, some of the writers who preceded Bana. I can see no grounds for such a supposition, and the particular instance which Weber has in view does not, when closely examined, in any way bear it out. For Bhasa and Kalidasa are not here compared as rival writers of dramas. If Bana's reference were all that remained of the fame of the prince of Indian poets, we should never have known that he wrote a play. But, while the list is not in order of merit, it is not necessary to contend, on the other hand, that it is strictly in order of time. We can be certain that the poets referred to lived before, or at the same time with, Bana; but we cannot be certain of more than this. What I wish to emphasise is the internal evidence the verses seem to furnish that they are not the tribute of cold respect, or even of warm though disinterested admiration, for authors, the pride of their time, but already sinking into oblivion to the men of Bana's day. I may be mistaken ; but it appears to me that the passage breathes in every line the impulse of a mighty revival in the last phase of which Bana himself bore part. With his own eyes, so to say, he had seen the fame of other poets go out, as the star of the incomparable author of the Vasavadatta rose abovo his country's intellectual horizon: he stood near the time when Bhasa won eternal fame by those plays of his--a form of composition unknown before, and best described by an epithet (EUR **) recalling one of their special characteristics: the joy the people took in Kalidasa acted as a deterrent rather than an incentive to one who lived, while as yet the fame of that new poet was yet fresh in the hearts of all men. I shall make my meaning clear if I say that the tone of the passage appears to me to resemble that which the poets who stood nearest our owu Elizabethan writers lored to use of that glorious company, rather than that of a grave deliberate panegyric on the classical ornaments of the long story of a nation's literature. It is commonly taken for granted that the Vasa va datt 4,* with which this list opens, is the extant romance by Subandhu of that name. This was the opinion of the commentator of that Vasavadatta, sivardma Tripathin, who quotes the present couplet, and refers it expressly to his author. The commentator of the Harsha Charita, who as a rule occupies himself more with verbal explanations than with anything else, does not say anything on the point. Hall expresses no doubt on the subject; though he would also seem to have held, on the ground of internal evidence, that his Subandhu was posterior to Bharabhati,t who it is certain now, must in his turn be placed * Hall's Introduction to Vasayudatta, p. 9. + Ibid., p. 14.

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( 110 ) after Bana. It is impossible not to wish to agree with Hall in his estimate of the relative positions of Bhavabhuti and his Subandhu. For that after the graceless string of extravagant and indecent puns presented by the present Vasavadatta had been received with approval into the national literature, a reversion should have been possible to the chastity, alike of sentiment and of diction, of Bana and Bhavabhuti, would be a literary miracle almost incredible. The matter is not on which to dogmatize, but I may call attention to the following considerations as tending to show that the Vasavadata which excited Bana's passionate admiration was not the worthless production now extant under that name. In the first place, then, it seems probable that this Vasavadatta was like Bana's own Kadambari, a metrical or prose version of one of the tales of the rhapsodists mentioned in the verse immediately preceding. It will be shown in the sequel how closely Bana himself followed, for the incidents of his story, his, original. Now the Katha-sarit-sagara does contain a tale of Vasavadatta, which the author of the Ratnavali took as the ground-work of his play, and this tale is not identical with, or in any way similar to, Subandhu's romance. Secondly, Hall appears to be right in pointing out that there is little reason to suppose that Subandhu had need to be beholden to any previous author, for his narrative. "Katyayana the grammarian, is "According to the Rajatarangini, Bhavabhuti was patronized by Yasovarma, king of Kanoja. This Yasovarma was subdued by Lalitaditya, king of Kasmira, who acquired by his conquests a paramount supremacy over a large part of India. The mention of this circumstance enables us to fix the date of Bhavabhuti. Lalitaditya reigned, according to General Cunningham, from 693 A.c. to 729 A.C. The chronicle of Kaemira mentions another poet named Vakpatiraja, who lived at the court of Yasovarma. A work in Prakrit entitled Gaudavadha Kavya by this same Vakpatiraja has recently been discovered by Dr. Buhler. In it, the exploits of Yasovarma and his defeat of a Gauda king are narrated. In giving his own history, the poet tells us that "certain excellences still shine in his works like drops of poetic nectar churned from the ocean of Bhavabhuti." From this it would appear, that Vakpatiraja was either a pupil of Bhavabhuti, or one of those who derived benefit from his company. If the poem then was written in the latter part of Yasovarma's reign, Bhavabhuti must have lived in the first part. So that, our poet flourished at the end of the seventh century. And the date thus determined agrees with all that is known of the chronological relations of Bhavabhuti with other writers. In the first place, Bana's omission of his name from the long list given by him at the beginning of his Harsha Charita is now intelligible. Bana flourished in the first half of the seventh century."-Bhandarkar's Introduction to Malati Madhava, p. ix. "The romance of Vasavadatta, referred to in the Malati-Madhava, as in like manner that found detailed in the Katha-sarit-sagara-and which had previously [?] been dramatized in the Ratuavali-resembles in scarcely a feature, barring the common appellation of their respective heroines, the one with which we are at present engaged." (Hall's Introduction to Visavadatta, p. 2.) Bhandarkar has pointed out to me that Bhavabhuti's reference to a tale which he puts on a line with those of Sakuntala and Urvasi, and which is evidently not Subandhu's story, goes far to establish the existence of some such Vasavadatta as that to which I believe Bana refers here.

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( 111 ) the earliest author known by whom a tale of Vasavadatta appears to be indicated. To discourage the surmise that Subandhu was beholden to this, or to any other ancient composition, there is however, the argument of entire silence, in all Hindu literature yet discovered, that he was thus indebted. The object which he proposed to himself was, it is justly inferred, of a nature to render choice of plot a matter of very secondary import. His aim, as slight observation may suffice to convince, is the illustration of certain powers of the Sanskrit language; and this, through the medium of such imagery, as was in his time, counted most tasteful, and such allusions to Indian lore as were then held especially in esteem. At the least it is accordingly just as probable that he devised, as that he borrowed, the hungry array of incidents which he has employed as a vehicle for the execution of his purpose." I should prefer to say that Subandhu's purpose left him free to borrow from any available sources such incidents as seemed suitable; and it is in that light that I should explain certain coincidences between his narrative and that of our author. Bhattarahari chandra is still no more than a name to us and the reference made to his work is ambiguous, Bana's aim unfortunately being rather to illustrate the simile beween the composition in question and a good king, than to convey information of the kind we want. The note in the commentary is padAnAM suptiGatAnAM baMdhaH prakRSTA racanA rItirityarthaH svamaMDalAvaSTaMbhazca hArI hRdyo hArayuktazca ahArIti vA na kasyacidapi yo harati kRtA varNAnAmakSarANAM krameNa bhAmahAdipradarzitanItyA [tyA] sthitiravasthAnaM yatra kRtayugavadvarNAnAM dvijAdInAM krameNa manvAdismRtikAraprakAzitamArgeNa sthitiH pAlanaM yasminsatIti ca bhahAreti pUjAvacanaM. In the beginning of Mahevara's Visva prakasa, the author traces his lineage to one Harichandra who was a physician at the court of Sahasanka If there were any other reasons for identifying this Sahasanka with the king (S a & a n k a) who slew Harsha's brother, we might find our Harichandra here: and regard him as one of the authors in virtue of whose writings Sri Sd has dnka, like Srillarsha, stands among the poets. The honorific epithet Bhattara was much in use among the earlier Jains as a designation of those who abandoned the * bhAso rAmilasaumilo vararuciH zrIsAhasAMkaH kavi maiMTho bhAravikAlidAsataralAH skaMdhaH subaMdhuzca yaH / daMDI bANadivAkarau gaNapatiH kAMtaca ratnAkaraH siddhA yasya sarasvatI bhagavatI ke tasya sarvepi te // Rajasekhara in the Sarngadhara-paddhati: quoted in Aufrecht's paper on that work in the 27th volume of the Zeitschrift der Deutschen Morgenlandischen Gesellschaft.

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( 112 ) worldly life. The Svetambara Jains have a mahaka vyam on an historical subject called Dharma & ar m d bh y u day a, by Bhattar a. k a II a rich andra, which presents many points of resemblance with Kalidasa's Raghuvamsa. I have not yet been able to procure the Dharma & arm dlhu day a, * and cannot say whether these resemblances are vulgar plagiarisms, or are to be accounted for in the way in which I attempt below to account for the resemblance between Kalidusa and other writers of his time. Satavahana's Koshat was at first taken to be a vocabulary : but it has long been seen that Kosha is used here in the technical sense which it bears already in Dandin's Karyadarsa. I It is more difficult to say with any certainty whether the work to which Bana refers, or any part of it, has come down to us. There is in existence a Prakrit anthology of love poems called the Sapta e a ta ka m of Hala, which there is fair reason, as has been generally recognised, for holding to be the Kosha of our verse. Halas is given by Hemachandra as a synonym of Satavahana. In his commentary on Hala's Saptasatakam Gangadhara-bhatta identifies Hala with Salivahana, as the Bombay MS. reads the name. A circumstance which seems to support the traditional view is noticed now, as is believed, for the first time. It is difficult to understand how the Kosha, which won for Satavdhana undying fame, and-what has perhaps stood him in better stead,-a place in this list of poets, can have been a collection of the kind of which the Sarngadhara-paddhati may be put forward as a type. The poet may, and the Indian poet often did, stoop to collect into a 'treasury' the verses of others : but no title to immortality can be drawn from work which can be done as well by the intelligent critic. * Bodl. Cat., p. 187. + The note in the commentary is avinAzinaM prasiddhamanazvaraM ca agrAmya vaidagdhyayukta agrAmabhavaM ca jAtiH svabhAvoktirUpolaMkAraH kozaH samuccayo gaMjazca subhASitaH sUktibhiH zobhanaM ca bhASitaM prabhAvarNanaM yeSAM taiH. I should have mentioned earlier that the commentary gives very little help here. Sankara, as Bhao Daji, loc. cit., p. 39, as already noticed, evidently knew no more than he could gather, or thought he could gather, from his text. Hall, p. 14. The technical meaning of the word is thus given in the Sahitya-darpana in the same context in which the definitions of Katha and Akbyayika, which we have already had occasion to consider, stand koSaH zlokasamUhastu syaadnyonyaani]peksskH| vrajya[varga] krameNa racitaH sa evAtimanoramaH / / The commentary explains bajyA by sajAtIyAnAmekatra saniveza:.Compare a title like The Golden Treasury. & St. Petersb. Dict., sub roce Elas. See also Aufrecht's Cataloguo, p. 195.

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( 113 ) In other words, it is not unreasonable to suppose that the poems brought together in the Kosha were original. Now there are, I submit, grounds for supposing that Hala's Saptasatakam is a collection of this kind : and not, as the eminent scholar Weber holds, a collection of verses by different hands. In his essay "On the Saptasatakam of Hala," Weber discusses this question as follows:-"That the work is a collection, and not the production of a single author is clear not only from the author's own words in the third verse, but, more particularly, from the circumstance that the scholiast, though unfortunately he does not carry the practise beyond the beginning of the commentary, gives with each verse the name of its author. These names moreover are given in prakrit,* a circumstance which makes it tolerably certain that they belong to the text. Unfortunately they break off with the 15th verse. The names given up to that are: Halassa (the compiler himself! +) 4, 13, Vodieassa 5, Chullohassa 6, Maarandasenassa 7, Amarara. assa 8, Kumarillassa 9, Siriraassa (Srfraja) 11, Bhimasamino (Bhimasvamin) 14. Of all these names only one, Kumarila, is familiar to us in another connection, namely, as that of the eminent teacher of the Mimansa philosophy. ... Besides these, Bhao Daji mentions. the following as given also by Kulanatha: Kaviraja, Vishoudatta, Ratiraja, Paramararasika, Nasira, Avarai, Kavva, Usala, Jalaharadhvani, Kesava. These must, I suppose, be given in parts of the commentary which have not come into my hands. Among these names, too, which it must be noted have a somewhat strange and suspicious look, but which like the previous ones are in praksit, so as, like them, to raise the presumption that they belong to the text, there is again only one familiar to us in another connection, namely, that of Kaviraja, known to us as that of the author of the Raghavapapdaviyam, who however cannot, on account of the date, be thought of here." The "author's own words" to which Weber refers in the beginning of this pas. eage are found in the third verge of the Saptasatakam, and run as "In prakritischer Genetiv form." I omit the last word, as I do not understand that Weber lays any stress on the circumstance that the names are, as always, in the genitive case. May I in passing, with all respect, deprecate the attack on Bhao Daji's 'curious style'--for what is obviously a printer's error-as proceeding from the learned German whose own style is the despair of the English translator. + There would be nothing surprising in the fact of a compiler of an antho. logy including verses of his own." Sarpgadhara, the compiler of the anthology often in the various divisions of the work inserts efforts of his own. These bave no poetical merit. In the 14th century Sarasvati's lips had long been closed." (Anfrecht's paper in the magazine of the German Oriental Society.) I have noticed the same circunstance in a Subhashitavali of Vallabhdeva in my possession. 15

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( 114 ) follows in the original praksit, and in Gangadharabhatta's Sanskrit gloss* : sattasaAI kaiya[va]chaleNa kIDIamajhjhArammi / / hAleNa vIraiAI sAlaMkArANa gAhANaM // 3 // prekSAvatpravRttaye svagraMthasya saMkSimasAMsArarUpatAM cAha / / satteti / saptazatAni kavivatsalena koTemadhye / hAlena viracitAni sAlaMkArANAM gaathaanaaN| majhjhAro mdhyH| kavigAthAsaMgraheNa tatkIrtisthApanAt / kavivatsalena hAlena zAlivAhanena sAlaMkArANAM gAthAnAM koTemadhye saptazatAni virAcatAni saMgRhItAnItyarthaH / gAthAlakSaNaM tu|| paDhamaM bArahamattA bIe ahA[dA] raehi sNjuttaa| jahapaDhamaM taha tIaM dahapaMca avi hasiA gAhA iti piMgaloktaM bodhyam It appears to me to be at least doubtful whether this verse has been correctly understood to mean that Hala in the works of which he is speaking has a collected"+ seven hundred poems by different authors. I venture to suggest that facial has its ordinary acceptation here ; and that that the verse really means that of the thousands of gathas which (y. 2) are the admiration of men of discrimination, Hula is the author of no less than seven hundred, namely, these which are given in the book that follows. If I am right, we have an easy explanation of the fact that the commentator's list of authors breaks off with the 15th verse, and of the perhaps even more significant fact that the names he gives are unknown, and wear the appearance of unreality which Weber so justly notes. The contents of the Saptasatakam, it must be added, do not in any way militate against such an hypothesis. The verses are all in the same metre, a circumstance in which Weber sees an indication of the antiquity of the collection : but which may as naturally, it is obvious, be referred to the predeliction for a particular kind of verse entertained by an individual author. Weber has noticed places where the verses, which as a rule have no very close relation to each other, are brought more nearly together, * I quote from the MS. in the Bombay Government collection deposited in the Elphinstone College, which Weber also used. + Weber has apparently felt the difficulty of giving this meaning to reA , a word which everywhere else is consistently used, in this connection, in the sense of composed.' At p. 4 of the Essay he translates the word by zusammengestellt (collected): at p. 73 by zurecht gestellt (arranged). It is not unimportant that ar e is applied to the verses themselves (GRETCUF) and not to some such collective title as koSa:. t The Threr in the midst of which are Hala's seven hundred verses may have been a collection made by his order. & Compare Kshemendra's remarks as given in foregoing Report, p. 11.

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( 115 ) either by the carrying over from one verse to one or more following verses of the same situation (vv. 70 and 71, 80 and 81, 129 and 130, 135 and 137), or by the recurrence of a catch word in several verses that stand together (vv. 118-20, 122-125, 156 and 157, 162 and 163, 259-264, 267-269, 308-310, 315 and 316, 324 ard 325, and 329 and 330). The locale of all the verses appears to be the same, while the slightly varying themes on which all the seven hundred verses ring the changes are no more inconsistent with a common origin than the love plaints of Heine's Buch der Leider, or the various shapes one sorrow takes in Tennyson's In Memoriam. The matter is again not one on which to dogmatise : but if this be, as I believe it is, the character of the Saptasatakam of Hala, we may perhaps be permitted to see in that circumstance corroboration of the traditional identification of Hala with the Satavahana, who by his "Treasury" won for himself a fame that could not perish. The question of Satavahana's date I do not wish to enter upon. I content myself with pointing out, as Bhao Daji and Weber have already done, * that the author of the Katha-sarit-sagara makes him a contemporary of Gunadhya, the author of the Vsihatkatha. This is found also in Kshemendra's Vsihatkatha.t Somadeva makes Gunadhya the minister of king Satavahana of Pratishthana. That the Satavahana and the author of the Vsihatkatha to whom reference is made here by Bana were contemporaries is at all events then not out of keeping with the view I have endeavoured to support of the general character of this passage. kItiH pravarasenasya prayAtA kumudojjvalA / sAgarasya paraM pAraM kapiseneva setunA / / "The glory of Pravarasena flashed, bright as the lotus, to the further shore of the sea by means of the Bridge,' just like the army of a pes." There can, I take it, be no reasonable doubt that the reference here, as Weber first recognised, is to the extant Prakrit poem the Setu. ka vya or Set 1 bandha. But it appears to me to be quite as certain that Bana knows nothing of the tradition which ascribes that poem to Kalidasa. There is no authority for the omission of the next following couplet with regard to Bhasa, so as to bring the couplet in which Kalidasa is mentioned by name in juxtaposition with our verse. And it appears to me to be impossible to admit that verses * Essay, p. 2. + Bubler's paper in Indian Antiquary, Vol. I., p. 307. Max Muller ("India: What can It teach us," p. 315,) pointed out this difficulty to Dr. Bho Dji. I may add that there appears to be no doubt that the proper reading in what I may call the Kalidasa verse is Nirgatasu na vi kasya

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( 116 ) 15 and 17 both refer to Kalidasa. He is obviously adduced in the latter of the two verses for the first time. This being so, I think it is impossible, with our present light, to say what amount of truth there is in the legend which makes Pravarasena the patron and not the author of the Setu-bandha. In that detail the legend is not, in itself, indeed inconsistent with Bana's reference to the book, as it is quite possible that here, as in his allusion to the Vasabadatta, our author, unfortunately for os, did not think it necessary to mention a name, as that of the author of the book, which in his day seemed as if it would never die. But when the legend goes on to ascribe the poem to Kalidasa, it is in direct conflict, as it appears to me, with Bana's statement, and cannot therefore be accepted. Pravarasena, moreover, is in no way the subject of the Setu-bandba: so that he must be mentioned here either as the author of the poem, or as the patron of the poet. When we look at the context, and remember that Bana's theme is the triumph of good poets, we can hardly, I think, resist the conclusion that it is the author's fame, and not that of any patron, which this famous bridge carried over sea. It does not, of course, follow that the Pravarasena who wrote the Setu-bandha is not the king of Kashmir* with whom, in his presumed character of patron of the work, and friend of Kalidasa, he has been identified by Bhao Daji and Max Muller. The commentator on the Setu-bandha was a king: and there is no reason why the Setu-bandha should not have been written by a king. But if I am right in regarding with suspicion the legend referred to above, it will be seen that the motive, as well as some of the arguments for the identification in question, must be held to have lost much of their force. I will only add that Sankara evidently knows nothing of the tradi. tion which assigns the Setu-bandha to Kalidasa. His note is :pravarasenaH kazcitkaviHprave plate raso yeSAM te pravarasAH vAnarAH teSAminaH svAmI pravarA ca senA yasya sa sugrIvazca kumudavat kairavavat yadvA kuH bhUmiH tasyA muddhaharSaH tayeti kumudena vAnarasenApatinA ca setuH prAkRtakAvyapaMthaH setuzca. and not Nisargastravamsasya as the Calcutta Ed. has. But the ve here does not connect this verse with the verse immediately preceding (the Bhasa verse), and still less of course with the verse preceding that, which we are now considering. It resumes the whole argument, as to the fame of the true poet of which Kalidasa's glory is one of the last examples cited. "How Pravarasena distinguished himself we are no longer informed. Among the various kings so called were two of Kashmir, the former of whom was grandfather of the second. The latter, according to Kalbana, dethroned, and afterwards rebabilitated Pratapasila or Siladitya, son of Vikramaditya. Raja. tarangni, chap. 3, el. 332 and 333, p. 33 of the Calcutta edition. But the time and country of this Siladitya are still to be determined. If his paternity is rightly stated by Kalbana he was not of Gujerat. That he ruled over MAlava is very much more likely."-Hall, Introduction to Vasavadatta, p. 14.

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( 117 ) Bhasa's fate has been a cruel one. Referred to here as the chief, if not the first, of the illustrious line of Indian dramatists, and looked up to by Kalidasa himself as his master, he has left not a line of his writing-unless we admit his authorship of a few verses attributed to him in the Sarngadhara Paddhat i, and other late anthologies, which has survived. It is as if Chaucer were known to us only as the poet whom Spencer called, 'the well of English undefiled,' or as if Shakespeare's fame rested on Milton's sonnet. I wish to suggest that the manner in which the natakas of Bhasa are characterised in the verse may perhaps point to the conclusion that Bana recognised these compositions as novelties, in the revival of Sanskrit letters which he is celebrating. The argument is not one that can be pressed, since the significance of the epithets may spring rather out of the desire to justify the simile employed: but the point is perhaps worth consideration. Weber has already suggested that it may possibly have been the representation of Greek dramas at the courts of the Grecian kings in Bactria, in the Panjab, and in Guzerath which awakened the Hindu faculty of imitation, and so gave birth to the Indian drama. On this theory the introduction of the technical terms which Bana uses here, must have been contemporaneous with, or followed closely upon, the introduction of the drama itself. But that is what we should expect in the aesumed case of the introduction from abroad by a coterie of learned men of a foreign kind of literature. And the difficulty which has always been felt of explaining the technical terms of Hindu dramatic criticism may be due to the fact that these early pedants went, for a terminology of the new art, to the text-books of an art that had existed from time immemorial-the art of building. The sutra dha ra of the drama is not to be explained by conjuring up an earlier form of plays in the shape of puppet-shows, the strings of which were pulled by him, or even, with Webert and Lassen, by referring the title to the work of erecting Sankara's note on the Kalidasa verse is as follows: nirgatA uccAritamAtrA: AstAM tAvadarthAvagatiH ApAta eva gatidhvanivat kimapi zrotrahAriNyaH yaduktaM aparyAlocitepyarthe baMdhasauMdaryasaMpadA / gItavaddhRdayAhAraM tadvidAM vidadhAti yat tatkAvyamityAdi tathA nirgatAH sarvadezapratItAH anyatra nirgatAH abhinavodbhinnAH na vA kasyetyanenaitaduktaM AstAM tAvatkAvyatatvavidaH sahRdayAH vivekkAro yepi zAstrAprahitabuddhayo durdurUDhamatsaraprAyAH teSAmApe yA hRdayamAlhAdayaMti tathA cotaM aNi paramathANa [ matthANa] vi harei vAA maNaM kainmANaNa / aNANaNa [aNNA ] ja kuvalabhavaNaM aladdhagaMdhANa vi suhAi || iti madhurAzca tAH sArdrAH sarasAH anyatra madhunA makaraMdena kiMjalkena rasena cArzaH sugaMdhayaH History of Indian Sanskrit Literature; note on p. 275.

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( 118 ) the theatre, a work which we have no reason to suppose was actually laid on the sutradhara of the stage. The term, with others, was taken orer bodily from one art into the other : and in its new acceptation applied to that one among the actors who was to the production of a play what the real sutradhara was to the building of a house. Sankara's note on the Bhasa verse is as follows: satradhAraH pUrvaraMgasya pravaktA sthApakaH sthapatizca bhUmikAH pAtrANi rAmAdyanakAryAvasthAbhamayaH upabho. ganimittAnyutpatti (uparyupari?) sthAnAni patAkA arthaprakRtiH uktaM ca bIjaM biMdu: patAkA ca prakarIkAryameva ca arthaprakRtayo hyetAH paMca sarvaprayogagA iti yana tu parAye syAtpradhAnasyopakAraka pradhAnavaca kalpeta sA patAketi kIrtyate vaijayaMtIca patAkA. Next comes Kalidasa : nirgatAsu na vA kasya kAlidAsasya sUktiSu / prItirmadhurasArdAsu maJjarISviva jAyate / / " And so soon as Kalidasa's sweet sayings went forth from him, was there any one who did not rejoice in them as in honey-laden flowers." The colourless character of the description here given of Kalidasa's works is much to be regretted. But the negative evidence of the verse as it stands is not unimportant. It is difficult for us now to imagine a time when the supremacy that has for a thousand years been assigned to Sakuntala among India's dramatic works was withheld from, or only grudgingly bestowed on, Kalidasa. A poet, however, like a prophet, is not honoured in his own country or in his own time; and we have it on Kalidasa's own authority that his plays were received with a certain amount of prejudice by the literary critics, who, in those days as ever, loved to say that the old is better.'* There is a good deal of other evidence for the comparatively late date now sought to be assigned to Kalidasa; and on a review of that evidence it is difficult to resist the conclusion that the explanation of the nature of Bana's references to the younger poet, and to Bhasa respectively, is that at the time he wrote Kalidasa's plays had either not been written, or were still far from occupying the prominent place in the nation's literature they * sUtra | abhihitosmi pariSadA kAlidAsagrathitavastumAlavikAgnimitra nAma nATakamasminvasantotsave prayoktavyamiti tadArabhyatAM saMgItakam / pAri0 mA tAvat prathitayazasA bhAsakavisaumillakavimizrAdInAM prabandhAnatikramya vartamAnakaveH kAlidAsasya kriyAyAM kathaM pariSado bahumAnaH / sUtra | ayi vivekavizrAntamAbhihitam | pazya / purANamityeva na sAdhu sarva na cApi kavyaM navamityavadyam / santaH parIkSyAnyataradbhajante mUDhaH parapratyayaneyabuddhiH //

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( 119 ) afterwards attained. When the inherent excellence of these compositions is remembered, I think it must further be granted that the second of these alternatives is equivalent to saying that Kalidasa was either a contemporary of our author, or was his elder by little more than a generation. This is an hypothesis to which I shall recur after offering remarks on the last of the works to which Bana refers :-- samuddIpitakandarpA kRtagaurIprasAdhanA / * haralIleva no kasya vismayAya bRhatkathA / Soma deva, the author of the Kath d-8 arit-s agara (about the beginning of the 12th century), and Kshe mendra, the author of a Vrihatkat ha (the second and third quarters of the 11th century), both tell us that their works are abridgments and translations into Sanskrit of the Vtihatkatha of Gun d dh ya. This last work has not yet been foundt extant. For long the only evidence that it had ever existed was Somadeva's assertion, which was, however, it may be pointed out in passing, clearly entitled in itself to greater weight than scholars like Wilson, Brockhaus and Lassen were disposed to attach to it. If there is one matter more than another in which the personal statement of an author deserves implicit credence, it is surely where we find him acknowledging his indebtedness to an earlier work, which he could have had no conceivable notice for inventing. Wilson was misled by the unmistakable signs of relationship between certain tales in the Katha-sarit-sdgara and independent works which it was impossible to place later than Somadeva. As Weber first pointed out, * The noto here is : bRhatkathA kasya na vismayAyApi tu sarvasyaiva garvavinAzAya bhavatItyarthaH adbhutakathAvarNanAdvA AzcaryAya samuddIpito vRddhi nIta: kaMdarpo yasyAM kAmajananAnAM bahUnAM vRttAMtAnAM varNanAt udbodhitaH smaro yayati vA kAvyasevayA hi zRMgArarasaH samudbhavati tathA cokaM RtumaalyaalNkaarpriyjngaaNdhrvkaavysevaabhiH| upavanagamanavihAraiH zRMgArarasaH samudbhavati // yadvA samuddIpitaH prakAzitaH khyAti nItaH kaMdo naravAhanadatto yasyAmiti sa hi kAmAMza ityAgamaH kRtaM gaurya vidyAbhedasyArAdhanaM yasyAM sA hi naravAhanadattenezArUpArAdhitati yadA gaurI prati pUrayati gaurIprasAdhanaM parikarabaMdhaH yathA prastAro yasya gaurIpreritena hi hareNa tayA tasyAM parikarabaMdhaH kRto yathA sAtIva pipriye haralIlApi samut saharSA dagdhakAmA ca kRtaM gauryAH prasAdhanaM maMDanaM yasyAM va kAmaM prati tAdRgdveSaH kva ca kAMtAM prati prasAdhanAmiAta kRtvA vismayamAzcaryam. + I had written that the original Vrihatkhatha of Gunadhya, in the Paisacha dialect "was not extant," but, as these sheets are passing through the press I learn from Bhandarkar that word of the existence of a copy has been brought to him, and that he hopes soon to secure it. 1 Indischen Streifon, Vol. I., p. 358.

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( 120 ) Kadambart itself is another example of the same phenomenon. I have shown that the author of the Sahityadarpana knew that Kadambari was a redaction into prose of a tale already existing in a material form, and it is clear now that the coincidences Wilson has the credit of first observing should have been accepted by that scholar as supplying corroborative evidence of the truth of Somadeva's assertion. He preferred, however, to believe that Somadeva had borrowed from these earlier prose-writers, and that his assertion about a Vsihatkatha, presumably prior both to him and to them, was intended to conceal his debt; and in this he was followed by other eminent scholars. The utmost respect for one of the most honoured and honourable pioneers in these studies need not prevent the obvious moral being pointed that it may sometimes be the safer course to accept statements like that made by Somadeva until their inaccuracy can be demonstrated, instead of regarding them from the beginning as tainted with fraud. In a list of Sanskrit works prepared for Captain Wilford, and presented by him through Colebrooke to the Asiatic Society, there is an entry with regard to the Vsihatkathe by Kshemendra. This work Buhler had the good fortune to recover ;* and to him we owe the discovery that Kshemendra, like Somadeva, calls his work a traslation into Sanskrit of a work written in the Paisacha language by Gunadhya. "Sarva proclaimed it first : Kanabhati heard it from the Gana (Pushpadanta-Vararuchi), and told it to Gunadhya, who delivered it in his turn to his pupils and to Satavahana. The story which had thus come to be written in the Paisacha language, gave trouble to the readers. For this reason it has been rewritten in Sanskrit."+ While as yet uncertain as to Kshemendra's date, Buhler was able to show from a comparison of the two books, whose contents are identical, that it was extremely improbable that the one was, in any way, & modification of the other, and that therefore the only reasonable supposition was that both really drew, as they said they did, from an older work in one of the low vernaculars. In the course of his brilliant researches in Kashmir, Buhler was later, able to fix Kshemendra's date as prior, by some seventy years, to that of Somadeva. He had already argued that it was impossible to admit that "the connected and clear story" given by Somadeva had been constructed out of the "short and undefined outlines," found in Kshemendra ; and, it being now clear that Kshemendra in his turn could not have copied from a poet who flourished two generations later than himself, no doubt remained as to the existence in the tenth century of a Vpihatkatha by * There is a copy of part of the work in the Bhao Daji collection. + Indian Antiquary, Vol. I., p. 307. Buhler's Kashmir Tour, p. 47.

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( 121 ) Gunadhya. Is this the work to which Bana refers P* It appears to me that there are strong reasons for holding that it is, and that the reference is made to an almost contemporaneous redaction by Gunadhya of stories that for many centuries previous had been more or less current. To connect the Vsihatkatha of Gunadhya with Bana's reference all that is required is to show that Bana was familiar with that collection of tales.f But & comparison of the tale taken from Gunadhya by Somadeva with Bana's version is sufficient to corroborate, in the fullest manner, the theory to which all the external evidence already points, namely, that we have in it the original from which Bana took his plot, reserving to himself the poet's right to make such modifications as he thought fit. No reason can be assigned why the dry and colourless narrative of the fablists should have deviated as they do from the tale that had entranced the world in Kadambari,' if we embrace the old hypothesis of the relation between the two. And the differences are of the kind which genius imposes on the stuff it is working in. They correspond to the changes made in popular legends, to suit their immediate purpose, by the Greek dramatists. It would be as reasonable to see in the few lines in which Homer lightly touches on tales known, as he has them, to all men, an abridgment, notwithstanding the sigual discrepancies, of the Agamemnon of AEschylus, or the Electra of Sophocles, as to contend that Somadeva has wilfully altered the features of the work which must, on any other hypothesis, be presumed to have been serving him for model. I And the same observation will, I am confident, be found to apply equally to the work of Kalidasa. * " Gunadhya's Vrihatkatha goes back to the first or second century of our era " Buhler's Kashmir Tour, p. 47. "Tbe Vrihatkatha of Gunadhya belongs to about the sixth century."-Weber, English Translation of Sanskrit Literature, p. 213, note. I trust that discrepancies between ominont authorities of which this is only one of many examples it would be easy to give, may be some excuse if I am caught tripping, as I am painfully aware may at any moment bo my fate, in the course of this difficult excursion. + There follows in the Introduction to Kadambari a long extract from the Kathasaritsagara containing the same story, which is hore omitted. I Compare Somadeva's own words : yathA mUlaM tathaivaitantra mnaagpytikrmH| granthavistarasaMkSepamAtrabhASA ca vidyate / / I have printed r ear THTETET with the MS. in the Bhao Daji collection, and with Brocktaus. Hall reads "on the authority of a very exccllent manuscript" pula paraTa H ga; and translates.--"It is mere. ly an epitome of the larger work, and in the familiar languago." Buhler (Indian Antiquary, Vol. I., p. 303,) gives his support to this way of taking the passage. But it is surely doubtful whether, in Somadova's time, bha s lu could have the meaning here ascribed to it; and there seems no very good reason, in this 16

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( 122 ) Last in this passage comes the poet Adhyartija or Adyaraja, of whom nothing else appears to be known, and who is, I suspect, as much the fruit of a misapprehension as the Chaura of v. 5. Here Bina' says that the brave deeds of famous kings are in his heart, well remembered, but that on that very account, strange as it may seem (19), his tongue cannot sing forth their praises, being drawn back into his throat by the very recollection of his subject. Nevertheless, he will attempt to speak in prose of the deeds of Harsha, &c. There may be an intentional ambiguity in udhyaraja (adyaraja) as referring both to'kings of song' and to kings of the earth: but I doubt if the supposed reference to a poct called by that name has any foundation. I must be content with little more than a reference to other works that were either written by Bana, or have been ascribed to him. The Oh and i k d-data ka is a century of verses in honour of Chandika, which is referred to by certain Jain commentators on the Bhakt a marastotra of u anatunga, and a copy of which was discovered by Buhler.* That scholar has acutely pointed out a line in this composition which, as frequently happens, is in all probability the sole foundation for the ridiculous story of the Jain commentators with regard to its origin. The tradition, however, as handed down by these commentators, may, it is considered, preserve this much of sober fact, that the Chandik dia tak a of Bana, the Sar y a-s a ta ka of May ur a, and the Bh a k t a marastotra of Manatung a are three opposing poems written by devotees of one or other of the great forms of religion which flourished side by side under Harsha's protection.t In the third volume of the Indian Antiquary (p. 219), Telang has called attention to the close resemblance in subject matter, and occasionally even in expression between a drama styled Parvat iparinaya, which is ascribed to Bana, and parts of Kalidasa's Kum dras a m bh a v a. Telang "does not venture to ascribe the Parvatiparinaya to Kalidasa": and has considerable hesitation in accepting even as possible what he regards apparently as the only alternative, namely, that the author of the play took Kalidasa's poem as the basis for his own work. It will be a sincere gratification to me if a scholar who has done and will do so much for the elucidation of moot points in the history way of taking the passnge, why vidyate should be in the singular. With our own reading I shonld explain the word as meaning an exposition (perhaps a rendering or translation) of no more than an abridgment of the complete book.' * Hall, Introduction to Vasavadatta,' pp. 8 and 49. Buhler, On the Chandikasataka of Banabhatta in the Indian Antiquary, Vol. I., p. 111. + There are many references in the Harsha Charita to the worship of the sun. Mayura is among those mentioned there as the friends and coevals of Bana. It is not impossible that he may afterwards have given a daughter in marriage to his frieni washirbitavali by Vallabhadeva, which I acquired last year, then in verses attributed the joint authorship of Baga and Mayura.

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( 123 ) of Sanskrit literature, shall find anything in the considerations I have urged in this paper to lead him to regard, with me, the undeniably close connexion, which he has the merit of having established between these two poems, as only another illustration of the fact that the brother poets of the golden age of letters in India, like the great dramatists of Greece, did not disdain to borrow in substance their plots from a common source. I venture also to think, though here there may be more reason for doubt, that the almost verbal coincidences which Telang has singled out go to show that the Parvatsparinaya was written while as yet the fame of the Kumarasambhava had not overshadowed the common original of the two works in other words, that Bana and Kalidasa were almost if not altogether contemporaries. Pandit Durga Prasada informs me that in a commentary by GuRavina ya gani on the Nalachampu, the following passage occurs in the sixth uchchhvasa : tadAha mukuTatADitakanATake bANa: // AzAHprojhitadiggajA iva guhAH pradhvastasiMhA iva droNyaH kRttamahAdrumA iva bhuvaH protkhAtazailA iva | bibhrANAH kSayakAlariktasakalatrailokyakaSTAM dazAM jAtAH kSINamahArathAH kurupaterdevasya zUnyAH sabhAH / / From this it would appear that a play by Bana, called M u ku t at u dita ka, may be still in existence. Lastly, there is a statement in the Kavya-Prakasa to the effect 'that for oue of his works Bana got from king Harsha neither fame, nor divine favour, but a third 'fruit' of poetry, namely, money; and on this ground Hall, followed by Buhler, would ascribe the Ratnavali, which professes to be the work of a king Harsha, to Bana. The hypothesis, it will be noticed, is a double one-first, that the statement in the KaryaPrakasa refers to the Ratnavali; and, secondly, that the statement is to be accepted. There appears to be a consensus of authority among the commentators of the Kavya-Prakasa as to the former point; a close comparison of the Ratna vali with Bama's other work would probably be conclusive as to the latter. Is it possible to form any conjecture as to what it was which, in the Oth-7th century, gave the impulse to the great burst of song,' the memory of which has never died out of the literary consciousness of the learned among the Hindus? Here I approach ground strewed with the ashes of smouldering fires and will walk warily. I have indeed only one argument to offer in this controversy : and will premise it with the remark that the most ardent patriotism need not, as it should not, make a Hindu scholar resolved to shut his eyes to anything tending to show that, notably at this time, some of his country's poets

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( 124 ) were touched, if no more than touched, by a live coal from off the altar which is the sacred birthplace of the poetry and philosophy of the whole western world. When down-trodden Greece made prisoner her conqueror she could boast that she carried the first seeds of literary culture to a rude and unlettered people, which, however far their own efforts in that field might carry them, must always trace their first beginnings in it to Athens. The India of the Rig Veda knows no such dependence on foreigners for the intellectual and spiritual life that flows through her frame. I cannot here enter into any detailed examination of the discussion as to the existence and extent of Greek influence in the works of such of tbe Indian mediaeval writers as have come down to us. I proceed to state very briefly reasons which appear to me to go to show that Bana was, in a fashion and to a degree which I cannot pretend to define, subject to an influence whose all-pervading power is, when we think of it, almost as much of a miracle as the spread of Christianity itself. In the first place, then, I do not think it is possible any longer to resist* the available proof that Indian astronomy as taught by Aryabhata (A.D. 476) and Varahamihira (died A.D. 587), and as known to Kalidasa and to Bana, is of Greek origin. That being taken for granted, it is clear that in the absence of direct evidence it is more probable than not that Greek influence, whether exerted directly or through some intermediate channel of communication, was not confined to that branch of literature where it has left traces of its presence too clear to be explained away, and that what might elsewhere have been explained away as mere coincidences may fairly, as the facts stand, be held to wear a very different aspect. Can we point to anything in our author which * If this position is premature it is time that some defender of the authochthonous origin of the system replied to the arguments of European scholars in the matter. But is it too much to say that Sh. Pandit, for example, virtually gives up the fight when he takes refuge in the hypothesis that diametron may be a Greecized from of jamitra. (Preface to Raghuvamsa, p. 43.) Is this not equivalent to playing with the two words as if they were two counters with regard to which nothing is known but their present form and the meaningless inscription they bear. Diametron is a pure Greek word, formed after the analogy of hundreds of other words, from a verb used by Homer, and itself occuring in the vocabulary of Plato and of Aristotle. In Sanskrit jamitra is a hybrid word, of no assignible origin within the language itself, and geen first in the works of these astronomers, unless we are to take its presence in Kalidasa as evidence that it had existed in Sanskrit for hundreds of years before. When Sh. Pandit then goes on to say that " whether however jamitra is obtained from diametron or diametron from jamitra, the two words having the same astrological sense must have had a common origin," he really concedes all that is asked. For it is quite certain that jamitra cannot be the origin of diametron. + "It was however Greek influence that first infused a real life into Indian astronomy. This occupies & much more important relation to it than has hitherto been supposed: and the fact that this is so of tself implies that Greek

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( 125 ) must be regarded either as a fortuitous coincidence in style between two literatures that never really touched, or the effect, however remote, of the one upon the other ? Before setting out what appears to me to be something of the kind desiderated, I will make two preliminary re. marks. In the first place there is of course no question here of such a complete conquest by one literature of another, or rather complete trang, ference of one and the same breath of letters from one country to another as is presented in the familiar instance of Greece and Rome. Vyasa did not put together the Mahabharata because he had learned to know and admire the Iliad and Odyssey. Kadambari is not modelled on anything in Greek literature as the odes of Horace are modelled on the strains of Sappho or Alcaeus. The influence was partial and indirect, not direct and all-absorbing: and analogies to the Sanskrit romance are to be looked for not in the plays of AEschylus and Euripides, but in the Greek that was spoken and read and was popular, in the years that immediately preceded the final expulsion of the Greeks as a political power from the peninsula. In the second place, wherein does the difference lie between Kadambari regarded as a work of art, and the tale which we have seen good reason to believe is in one sense the source of the work. The one is a tale pure and simple, such as are to be found in all languages, existing only for itself, deriving all its interest from the rapid but at last extremely monotonous array of more or less extraordinary incidents. In our book these incidents, or such of them as did not seem unsuitable, are made the mere framework of a representation of human passion which for us is all that animates the superstructure on which it is based. These dry bones live; but it is because breath has entered into them, sinews and flesh have been laid upon them, and they have been covered up with skin. It is hard to put the difference in words: but if the reader will turn from the description in our book of Kadambari's love to the lines in which that subject is disposed of in the Katha-sarit-sagara, he will, I doubt not, feel it for himself. With this preface I proceed to select and translate from the popular Greek literature of the fourth and fifth centuries after Christ passages for whose resemblance in general tone, and sometimes even in expression to our book I ask the consideration of my fellow scholars. Let it be only further premised that if a resemblance which cannot be regarded as a mere coincidence is established, it does not appear to be open to argument that Greece is the debtor and not the creditor. The whole page of Greek literature from Homer to the Byzantine influence affected other branches of the literature as well, even though we may be unable at present to trace it directly elsewhere."-Weber's Indian Literature, p. 251.

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( 126 ) historians pleads against such an hypothesis. It is not of course questioned that in the country where men "spent their time in nothing else, but either to tell, or to hear some new thing," there were many curious enquiries into the wisdom and learning of the East. And with such help as the Greeks themselves give us, it is possible in their philosophy to put our finger on ideas that are non-Hellenic. But, these are details that do not affect the general question. From its glorious beginnings down to the time when it overflowed the boundaries of the Greek world, Greek literature was a purely native growth. The date assigned to Achilles Tatius is 450 A.D. In his romance containing the love story of Leucippe and Cleitophon, I have marked, on a cursory inspection, the following analogies to descriptions, sentiments, and ideas that are of constant occurrence in Bana, while no trace of them is found in the story of Kadambari as Bana read it in the Vrihatkatha of Gunadhya. I quote from the Trubner Edition of the Erotici Scriptores: "The maiden's chiton covered her breast down to her middle; the lower part of her body a chlaina concealed. The chiton was white, the chlaina purple, her body gleamed through her garments. Her breasts peeped forward but a little: the girdle that drew together her dress and breasts confined the two in such fashion that the dress became a glass for the body." (P. 39.)* "I looked at the Love who was represented as leading the bull,+ and said, Child as you are, you rule over heaven and earth and sea." " (P. 39.) "Her mouth a rosebud when the rose begins to open its petals. As I looked I was straightway undone : for beauty pierces sharper than any dart, and through the eyes finds its way into the heart. It is by the eye that the stroke of love enters. A tumult of emotions held me, praise, astonishment, fear, shame, boldness. I praised her, stature; stood awe-stuck at her beauty, feared her heart; gazed unabashed; felt shame to be so moved: fain would I have induced my eyes to turn away from the maiden; but they would not. They laid hold of the * atidhavalaprabhAparigatadehatayA sphaTikagRhagatAmiva dugdhasalilamagnAmiva vimalacelAMzukAntaritAmivAdarzatala saMkrAntAmiva zaradabhrapaTalA tara skRtAbhivA risphuTavibhAvyamAnAvayavAM.-(Kadambart, p. 128.) An interesting paper might be written on the conception of female beauty among Sanskrit medieval writers, in which it would not, I think, be difficult to trace a greater analogy between Greek and Sanskrit thought on that subject than can be easily explained by independent similar appreciation of an identical type in the two countries. + The subject is a picture of the rape of Europa.

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( 127 ) tackle of beauty,* and by its help, offered a stout resistance: and, in the end they conquered." (P. 42.)+ ""How then,' said I, 'may I light upon this oracle: tell me how to begin: for you are one of the initiated while I am a novice; you have experience of the service of the god. What should I say? What do ? How can I obtain my love? I know not my way here.' 'Seek not,' said Clinias, instruction in this matter from another; the god is his own interpreter, and a cunning interpreter to boot. I Newborn infants need not to be taught to feed-of themselves they know what pleasing table is spread for them in their mothers' breasts. And the young man into whose heart the seed of love has for the first time dropped may be trusted to bring it to the birth without assistance.'" (P. 49.)S "Being then minded to incline the heart of the girl to love, I began to talk to Satyros, taking my cue from the bird. For my love chanced to be crossing at the moment with Kleio, and had stopped to look at * " She knows her man; and while you rant and swear, ____Can draw you to her by a single hair."-Dryden. + ucchasitaiH saha vismRtanimeSeNa kiMcidAmukulitapakSmaNA jimitataralatArasArodareNa dakSiNena cakSuSA saspRhamApibantIva kimapi yAcamAneva tvadAyattAsmIti vadantIva khaM hRdayamarpayantIva sarvAtmanAnupravizantIva tanmayatAmiva gantamIhamAnA manobhavAbhibhUtAM trAyasvati zaraNamivopayAntI dehi hRdayevakAzamityarthitAmiva darzayantI hAhA kimidamasAMpratamati hepaNamakulakumArIjanocitamidaM mayA prastutamiti jAnAnApyaprabhavantI karaNAnAM stambhiteva likhitevokIrNava saMyateva mUrchiteva kenApi vidhataiva niSpandasakalAvayavA tatkAlAvibhUtanAvaSTambhenAkathitazikSitenAnAkhyeyena svasaMveyena kevalaM na vibhAvyate kiM tadrapasaMpadA kiM manasA ki manasijena kimabhinavayauvanena kimanurAgaNevopadizyamAnA kimanyenaiva kenApi prakAreNAhamApi na jAnAmi kathaMkathamiti tamaticiraM vyalokayam-(Kadambare, p. 141.) gatvA ca pravizya kanyAntaHpuraM tataH prati tadviraha vidhurA kimAgatAsmi kiM tatraiva sthitAsmi kimekAkinyasmi kiM parivRtAsmi kiM tUSNImasmi kiM prasutAlApAsmi kiM jAgarmi kiM satAsmi ki rodimi kiM na rodimi kiMduHkhamidaM kiM sukhAmidaM kimutkaNTheyaM kiM vyAdhirayaM kiM vyasanamidaM kimutsavoyaM kiM divasa eSaH kiM nizeyaM kAni ramyANi kAnyaramyANIti sarva nAvAgaccham | avijJAtamadanavRttAntA ca ka gacchAmi kiM karomi kiM zRNomi ki pazyAmi kimAlapAmi kasya kathayAmi kosya pratIkAra iti sarvaM ca nAjJAsiSam-(Kadambart, p. 147.) More literally is (in each heart) a self-taught master of his craft. The Greek avrodidakros is the Sanskrit azikSita. idaM ca manasyakaravam / anekasuratasamAgamalAsyalIlopadezopAdhyAyo makaraketureva vilAsAnupadizati | anyathA vividharasAsaGgalaliteSvIdRzeSu vyatikareSvapraviSTabuddharasya janasya kata iyamanabhyastAkRtI ratirasanisyandamiva kSarantyamRtamiva varSantI madamukuliteva khedAlaseva nidrAjaDevAnandabharamantharatarattArasaMcAriNyanibhUtabhUlatolAsinI dRSTiH / kutazcedamatinaipuNyaM yacakSuSaivAnakSaramevamantargato hRdayAbhilASaH kathyate-(Kadambart, p. 143.)

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( 128) the peacock. And fortune willed it that just at that moment the bird should unfurl all his beauty, and spread the glorious' show of his plumage. This,' said I, the bird does not without a certain art of its own. It is a lover. When it wishes to attract its mate it bedecks itself thus. Look, there she is beside the plane tree,'and I pointed out the female bird - it is for her he now shows his beauty.' . . . Satyros perceived my intention and the drift of my words. 'Love truly has power,' said he, to send its flame even into the hearts of birds. Not only into the hearts of birds,' said I, it is no wonder that he can do that, since he himself has wings. But he darts his flame into the hearts of creeping things, plants, nay, as I think, even of stones. Does not the magnesian stone love iron. If she but see it she draws it to herself, as having within her something of the nature of love. Consider whether the coming together of the stone and the iron be not the kiss of the loved and the lover? As to plants, the children of the wise have a story which they would call a myth, if it were not that the children of husbandmen say the same thing. The story is this : Every plant loves some other plant, but on none does love lie heavier than on the palm tree.* They say that some palm trees are male, some females. The male then loves the female, and if she chance to be put far away in the order of planting the lover pines. The husbandman becomes aware of the sorrow of the tree, and mounting where he can see all around, he marks in what direction the palm tree bends. For it leans towards its love. Seeing this the husbandman cures the tree's complaint; he cuts the shoot from the female palm, and grafts it into the heart of the male. He thus refreshes the soul of the tree. Before it was ready to die, but now it takes fresh life and stands erect, rejoicing in the embrace of its love. This is the marriage of plants.'"+ (P. 56.) uts it into the hepaint; he cuts the neeing this * As certain of our own poets have said : and none more beautifully than Heine Ein Fichtenbaum steht einsam, Im Norden auf kabler Hoh'. Ihn schlafert: mit weisser Decke Umhullen ihn Eis und Schnee. Er traumt von einer Palme, Die fern im Morgenland Einsam und schweigend trauert Auf brennender Felsenwand. + nAsti khalvasAdhyaM nAma bhagavato manobhuvaH | kvArya hariNa iva vanavAsanirataHsvabhAvamugdho janaH / kva ca vividhavilAsarasarAzirgandharvarAjaputrI mahAzvetA | sarvathA na hi kiMcidasya durghaTaM duSkaramanAyattamakartavyaM vA jagati / durupapAdeSvartheSvayamavajJayA vicarati / nAyaM kenApi pratikUlayituM zakyate | kA vA gaNanA sacetaneSu | apagatacetanAnyapi saMghadRyitamalaM yadyasmai rocate | tatkamadinyapi dinakarakarAnurAgiNI bhavati / kamalinyapi zazikaradveSamujjhati |

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( 129 ) It would be easy to multiply examples from this author, and to add others, at least as striking from his contemporaries, but I hold my hand. The argument is not one which can be made any stronger by an indefinite multiplication of individual instances, if the first fail to convince. Nor indeed has it been my object to convince others of the truth of an hypothesis which is still to my own mind little better than an hypothesis that may be worthy of consideration. I have desired here merely to call attention to what appears to me to be a marked resemblance, and to the conclusion which it is possible to draw from that resemblance, if it be once granted, as I think it must, that the writers of the Indian renaissance period were not outside the all-embracing influence of Greek letters. nizApi vAsareNa saha mizratAmeti / jyotsnApyandhakAramanuvartate / chAyApi pradIpAbhimukhamavatiSThate / taDidapi jalade sthiratAM vrajati / jarApi yauvanena saMcAriNI bhavati / kiM vA tasya duHsAdhyamaparam |- (Kadambari, p. 157 . ) 17

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zrI jinazAsanA ya ho !!! II zrI gautamasvAmIna nama: II II zrI sudhamasviAmIne nama: II jinazAsananA aNagAra, kalikAlanA zaNagAra pUjya bhagavaMto ane jJAnI paMDitoe zrutabhaktithI prerAIne vividha hastalikhita graMtho parathI saMzodhana-saMpAdana karIne apUrvajahematathI ghaNA graMthonuM varSo pUrvesarjana kare che ane potAnI zakti, samaya ane dravyano savyaya karIne puNyAnubaMdhI puNya upArjana karela che. kALanA prabhAve jINI ane lupta thaI rahelA ane alabhya banI jatA mudrita graMtho paikI pUjya gurudevonI preraNA ane AzIrvAdathI I7/22 ( sI.205mAM pa4 grathono seTa naM-1 tathA sI.207mo 39 graMthono seTa nI 2 skena karAvIne maryAdita nakalI prInTa karAvI hatI. jethI ApaNo vyutavAraso bIjA aneka varSo sudhI TakI rahe ane abhyAsu mahAtmAone upayogI graMtho saraLatAthI upalabdha thAya, pUjya sAdhu-sAdhvIjI bhagavaMtonI preraNAthI jJAnakhAtAnI upajamAMthI taiyAra karavAmAM Avela purAkIno seTa bhinna-bhinna zaheromAM AvelA viziSTa uttama jJAnabhaMDArIne bheTa mokalavAmAM AvyA hatA. A badhAjapustako pUjyagurubhagavaMtone viziSTa abhyAsa-saMzodhanA mATe khubajarurI che ane prAya? aprApya che. abhyAsa-zodhanArthe jarUrI pustako sahelAIthI upalaLa banatImaja prAcIna mudrita pustakono vyuta vAraso jaLavAI rahe te zubha AzayathI A thIno jIrNoddhAra karela che. judA judA viSayonA viziSTa kakSAnA pustakonI jIrNoddhAra pUjya gurUbhagavatInI preraNA ane AzIrvAdathI amo karI rahyA chIe. to abhyAsa tathA saMzodhana mATevavazuupayoga karIne zrutabhaktinA kAryane protsAhana Apazo. lI.zAha bAbulAla saremA joDAvALAnI vedanA maMdiro jIrNa thatAM AjakAlanA somapurA dvArA paNa UbhA karI zakAze....! A paNa ekAda graMtha naSTa thatA bIjA kalikAlasarvajJa ke | mahopAdhyAya zrI yazovijayajI kyAMthI lAvIzuM...???