Rai Paseniya Suttam Part 01

Author(s): Hiralal B Gandhi
Publisher: Hiralal B Gandhi
Catalog link: https://jainqq.org/explore/023121/1

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9838 rAyapaseNiyasutta FIRST PART EDITED WITH Introduction, Translation, Exhaustive Notes and Model Questions with Answers BY Hiralal B. Gandhi, M. A. Ardha-magadhi Scholar, University of Bombay, Formerly Fellow, Wadia College, Poona and Professor of Ardha magadhi, M. T. B. College, Surat. 1938 CITY CHEST 293

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rAyapaseNiyasutta FIRST PART EDITED WITH Introduction, Translation, Exhaustive Notes and Model Questions with Answers BY Hiralal B. Gandhi, M. A. Ardha-magadhi Scholar, University of Bombay, Formerly Fellow, Wadia College, Poona and Professor of Ardha-magadhi, M. T. B. College, Surat. 1838

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Can be had from:Hiralal 'B. Gandhi, SHANTI VILLA, GOPIPURA, SURAT. FIRST EDITION Printed mat"the" Jashwantsinh Printing Press, Limbdi.

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PREFACE In the present edition of the first part of Raypaseniya-Sutta, I have presented, as clearly as possible, the text, translation, notes of almost all words and expressions with their Sanskrit renderings. As there was no authoritative text, I had to depend on the text of Aginodaya Samiti and Raypaseniya-Sutta published by Ray Dhanpatsingh. Though my path was beset with pitfalls, yet being imbued with the idea of presenting an accurate text, I have tried my level best to judge the correctness of every form. Due to very short span of time and being placed amidst a multitude of other avocations, I was but compelled to entrust most of the press work to my friend, as a result of which some mistakes might have crept in. But if this edition, in its present form, meets the requirements of the students, I shall consider my labours fully repaid, and will be refreshed to devote my time, to the service of Ardhamagadhi literature. I must record my thanks to the proprietor of the Jashwantsinh printing press for completing the work in time with utmost care. Shanti Villa, 2 Gopipura, Surat 10-6-38. H. B. Gandhi.

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Preface Introduction Text Translation Notes CONTENTS iii V-xxxvii 1-64(c) 65-192(j) 193-280

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rAyapaseNiyasutta 1 teNaM kAleNaM teNaM samaeNaM AmalakappA nAmaM nayarI hotthA, riddhasthimiyasamiddhA jAva pAsAdIyA darisaNijjA abhirUvA pddiruuvaa| . 2 tIse NaM AmalakappAe nayarIe bahiyA uttarapurasthime disIbhAe aMbasAlavaNe nAma ceie hotthA, porANe jAva paDirUve / __3 asoyavarapAyavapuDhavisilAvaTTayavattavayA oghavAiyagameNaM neyaa| . 4 seo rAyA, dhAriNI devI, sAmI samosaDhe, parisA niggayA, jAva rAyA pajjuvAsai / / . 5 teNaM kAleNaM tega samaeNaM sUriyAbhe deve sohamme kappe sUriyAbhe vimANe sabhAe suhammAe sUriyAbhasi sIhAsaNasi cauhiM sAmANiyasAhassIhiM cauhiM amgamahisohiM saparivArAhiM tihiM parisAhiM sattahiM aNiyAhiM sattahiM aNiyAhivaIhiM solasahiM AyarakkhadevasAhassIhiM annahiM ya bahUhiM sUriyAvimANavAsIhiM vemANiehiM devehiM devIhiM ya saddhi saMparikhuDe, mahayA'ihayanagIyavAiyataMtItalatAlatuDiyaghaNamuiMga. paDuppavAiyaraveNaM divAI bhogabhogAI bhuMjamANe viharai / imaM ca NaM kevalakappaM jaMbuddIvaM dIvaM viuleNaM ohiNA AbhoemANe 2 pAsai / tattha NaM samaNa bhagavaM mahAvIraM jaMbuddIve bhArahe vAse AmalakappAe nayarIe bahiyA aMbasAlavaNe ceie a

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rAyapaseNiyasutta hApaDirUvaM umgahaM uggiNhittA saMjameNaM tavasA appANaM bhAve. mANaM pAsai / pAsittA haTTatuTThacittamANadie nadie pIimaNe paramasomaNassie harisavasavisappamANahiyae vikasiyavarakamalanayaNe payaliyavarakaDagatuDiyakeuramauDakuMDalahAravirAyataraiyavacche pAlaMbapalaMbamANagholaMtabhusaNadhare sasaMbhamaM turiyacavalaM suravare ( jAva) [sIhAsaNAo abbhuTTei, 2 pAyapIDhAo paccoruhai, 2 egasADiyaM uttarAsaMgaM karei,2 sattaTupayAI titthayarAbhimuhe aNugacchA,2 vAmaM jANu aMcei,2 dAhiNaM jANuM dharaNitalaMsi nihaTTa tikkhutto muddhANaM dharaNitalaMsi nivesei, 2 IsiM paccuNNamai.2 karayala pariggahiyaM dasaNahaM sirasAvatta masthae. aMjaliM kaTTa evaM vayAsI ___"namo'tthu NaM arihaMtANaM bhagavaMtANaM AigarANaM titthagarANaM sayaMsaMbuddhANaM puriseottamANaM purisasIhANaM purisavarapuMDarIyANaM purisavaragaMdhahatthINaM loguttamANaM loganAhANaM logahiyANaM logapaIvANaM logapajjoyagarANaM abhayadayANaM cakkhudayANaM mamgadayArNa jIvadayANaM saraNadayANaM bohidayANaM dhammadayANaM dhammadesayANaM dhammanAyagANaM dhammasArahINaM dhammavaracAu. raMtacakavaTTINaM apaDihayavaranANadasaNadharANaM viyadRchaumANaM jiNANaM jAvayANaM tiNNANa tArayANa buddhANaM bohayANa muttANaM moyagANaM savaNNUNaM savadarisINaM sivamayalamaruyamaNaMtamakkhayamavvAbAhamapuNarAvattagaM siddhigaiNAmadhejaM ThANaM saMpattANaM, namo'tthu NaM samaNassa bhagavao mahAvIrassa jAva saMpAviukAmassa, vaMdAmi gaM bhagavantaM tatthagayaM iha gae. ] pAsau me bhagavaM tattha gae iha gaya" tti kara vaMdai namasai / vaMdittA namaMsittA sIhAsaNavaragae. puvAbhimuhaM sannisaNNe /

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rAyapaseNiyasutta 6 tae NaM tassa sUriyAbhassa ime eyArUve abhathie ciMtie maNogae saMkappe samupajitthA ___ "evaM (seyaM ) (me) khalu samaNe bhagavaM mahAvIre jaMbuddIve dIve bhArahe vAse AmalakappAnayarIe bahiyA abasAlavaNe ceie ahApaDirUvaM umgaha umgiNhittA saMjameNaM tavasA appANaM bhAvemANe viharai / taM mahAphalaM khalu tahArUvANaM bhagavaMtANaM nAmagAyassavi savaNayAe kimaMga puNa ahigamaNavaMdaNanamaMsaNapaDipucchaNapajjuvAsaNayAe ? / kimaMga puNa egassavi Ayariyassa dhammiyassa suvayaNassa savaNayAe? / kimaMga puNa viulaaTThassa gahaNayAe ? / taM gacchAmi gaM samaNaM bhagavaM mahAvIraM vadAmi namasAmi sakkAreme sammAmi kallANaM maMgalaM ceiyaM devayaM pajjuvAsAmi / eyaM me peccA hiyAe suhAe khamAe nisseyasAe ANugAmiyattAe bhavissai" ttikaTTa evaM saMpehei / evaM saMpehittA Abhiyogiedeve sahAvei / 2 evaM vayAsI / __ 7 " evaM khalu devANuppiyA! samaNe bhagavaM mahAvIre jaMbuddIve dIve bhArahe vAse AmalakappAe nayarIe bahiyA aMbasAlavaNe cehae ahApaDirUvaM uggahaM umgiNihattA saMjameNaM tavasA appANaM bhAvemANe viharai / taM gacchaha gaM tubbhe devAguppiyA! jaMbuddIvaM dIvaM bhArahaM vAsaM AmalakappaM nayariM aMbasAlavaNaM ceiyaM samaNaM bhagavaM mahAvIraM tikkhutto AyAhiNapayAhiNaM kareha / karettA vaMdaha namasaha / vaMdittA namaMsittA sAiM sAI nAmagoyAI sAheha / sAhittA samaNassa bhagavao mahAvIrassa ( sabao samaMtA) joyaNaparimaMDalaM jaM kiMci taNaM vA pattaM vA kaTuM vA sakaraM vA asuI acokkhaM vA pUraaM dunbhigaMdha savaM AhuNiya AhuNiya egate eDaha / eDettA naccodagaM nA.

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rAyapaseNiyasutta imaTTiyaM paviralapapphusiya rayareNuviNAsaNaM divvaM surabhi gaMdhodayavAsaM vAsaha / vAsittA nihayasya naTurayaM bhaTTaraya uvasaMtagyaM pasaMtaraya kareha / karittA jalathalayabhAsurappabhUyassa biTaTThAissa isaddhavaNNassa kusumassa jANussehaMpamANamitta ohiM vAsaM vAsaha / vAsittA kAlAgurupavarakuMdurukkaturukkadhvamaghamaghaMtagaMdhudayAbhirAmaM sugaMdhavaragaMdhiyaM gaMdhavaTTibhUyaM divyaM suravarAbhigamaNajogaM kareha, kAraveha / karittA, ya kAravettA ya khippAmeva (mama ) eyamANattiyaM paccappiNaha" / - 8 tae NaM te AbhiyogiyA devA riyAbheNaM deveNaM evaM vuttA samANA haTTa tuTTa jAva hiyayA karayalapariggahiyaM (dasanaha) sirasAvattaM matthae aMjaliM kaTTa "evaM devo taha" tti ANAe viNaeNa vayaNaM paDisuNaMti / "evaM devo taha " tti ANAe viNaeNa vayaNaM paDisuNettA uttarapurasthimaM disibhAgaM avkmNti| uttarapurasthimaM disibhAgaM avakkamittA veubdhiyasamugdhAraNa smohnnNti| 2 saMkhejAI jAyaNAI daMDaM nissarati / taM jahA--- ___ rayaNANa, vayarANaM, veruliyANaM, lohiyakkhANaM, masAragallANaM, haMsaMgambhANaM, puggalANaM, sogaMdhiyANaM, joirasANaM, aMjaNapulagANaM, aMjaNANaM, rayayANaM, jAyarUvANaM, aMkANaM, phalihANaM, rihANaM ahAbAyare puggale parisAuMti / 2 ahAsuhume puggale pariyAyati / 2 doccaM pi veuvviyasamugyAeNaM samohaNati / 2 uttaraveudhiyAI rUvAI viuvvati / 2 tAe. ukiTTAe ( pasatthAe) turiyAe cavalAe caMDAe jayaNAe sigyAe udhdayAe divAe devagaIe tiriyamasaMkhejANaM dIvasamudANaM majhaM majjheNaM vIIvayamANe 2 jeNeva jaMbuddIce dIve, jeNeva bhArahe vAse, jeNeva AmalakappA nayarI, jeNeva abasAlavaNe ceiya, jeNeva samaNe bhagavaM mahAvIre,

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rAyapaseNiyasutta teNeva uvaagcchti| 2 samaNaM bhagavaM mahAvIraM tikkhutto AyAhiNapayAhiNaM kreNti| 2 vaMdati namasaMti / 2 evaM vayAsI.. "amhe NaM bhaMte ! sUriyAbhassa AbhiyogiyA devA devANupiyANaM vadAmo namasAmo sakAremo sammANemo / kalANaM maMgalaM devayaM ceyaM pajjuvAsAmA / " 9 devAi samaNe bhagavaM mahAvIre devA evaM vayAsI / - " porANameyaM devA ! jIyameyaM devA ! kiJcameyaM devA ! karaNijameyaM devA ! AiNNameyaM devA ! abhaYNNAyameyaM devA! jaMNaM bhavaNavazvANatarajoisiyavemANiyA devA arahaMte bhagavaMte vadati nmsNti| 2 tao sAI sAI nAmagoyAI sAhati / taM porANameyaM devA ! jAva abhaYNNAyameyaM devaa!"| 10, tae NaM te AbhiyogiyA devA samaNeNaM bhagavayA mahAvIreNaM evaM vuttA samANA haTTa jAva hiyayA samaNaM bhagavaM. vaMdati namasaMti / 2 uttarapurasthima disIbhArga avakamati / 2 veughiyasamugghAraNaM samohaNaMti / 2 saMkhejAI joyaNAI daMDaM nissaraMti / taM jahArayaNANaM jAva riTThANaM ahAbAyare poggale parisAiMti / 2 doccaMpi veubviyasamugyAeNaM samAhaNaMti / 2 saMvaTTavAe viuti / se jahA nAmae bhaiyadArae siyA taruNe jugavaM balavaM appAyaMke [ thirasaMvayaNe] thiraggahatthe paDipuNNapANipAyapiTuMtaroru-[saMghAya]pariNae ghananiciyavaTTavaliya(valiyava)khaMdhe cammedRgardughaNamuTTiyasamAhayagatta urassabalasamannAgae talajamalajugala-[phali. hanibha bAhU laMghaNapavaNajaiNapamahaNasamatthe chee dakkhai paTe kusale mehAvI niuNasippovagae egaM mahaM daMDasaMpucchaNi vA salA. gAhatthagaM vA veNusalAiyaM vA gahAya rAyaMgaNaM vA rAyatepuraM vA

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rAyapaseNiyasutta devaulaM vA sabhaM vA pavaM vA ArAma vA ujANaM vA aturiyamacavalamasaMbhaMte niraMtaraM suNiUNaM savvoo samaMtA sNpmjjejaa| evAmeva te 'vi sUriyAbhassa devassa AbhiyogiyA devA saMvaTTavAe viuvvti| 2 samaNassa bhagavao mahAvIrassa savao samaMtA joyaNaparimaMDalaM jaM kiMci taNaM vA pattaM vA taheva savaM AhuNiya 2 egate eDeMti / 2 khippAmeva uvsmNti| 2 doccapi veubviyasamugghAeNaM samAhaNaMti / 2 abbhavaddalae viuvvaMti / se jahAnAmae bhaiyadArae siyA taruNe jAva sippovagae ega mahaM dagavAragaM vA dagathAlagaM vA dagakalasaga vA dagakuMbhaga vA ArAma vA jAva pavaM vA aturiya jAva sabao samaMtA aavrisejaa| evAmeva te ' vi sUriyAbhassa devassa AbhiyogiyA devA abbhavaddalae viuvvati / 2 khippAmeva payaNutaNAyanti / 2 khippAmeva vijjuyAyati / 2 samaNassa bhagavao mahAvIrassa savvao samaMtA jAyaNaparimaMDalaM naccodagaM nAiTTiyaM taM paviralapapphusiyaM rayareNuviNAsaNaM divvaM surabhigaMdhodagaM ( vAsaM )vaasNti| 2 niyaraya naTTaraya bhaTTaraya uvasaMtaraya pasaMtaraya kareMti / 2 khippAmeva uvasAmati / 2 taccapi deubviyasamugghAeNaM samohaNaMti / 2 pupphavaddalae viuvvNti| se jahAnAmae mAlAgAradArae siyA taruNe jAva sippovagae ega mahaM puSphapaDalagaM vA puSphacaMgeriyaM vA puSphachajiyaM vA gahAya rAyaMgaNaM vA jAva savao samatA kayamgAhagahiyakarayalapabbhavippamukkeNaM dasaddhavaNNeNaM kusumeNaM mukkapupphapuMjAvayArakaliyaM krejaa| evAmeva te sUriyAbhassa devassa AbhiyogiyA devA pupphavaddalae viuvvNti| 2 khappAmeva payaNutaNAryAnta / 2 jAva joyaNaparimaNDalaM

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rAyapaseNiyasutta jalathalayabhAsurappabhUyassa biTaTThAissa dasaddhavaSNakusumassa jANussehapamANamettiM ohivAsaM vAsaMti / 2 kAlAgurupavarakuMdurukaturukadhUvamaghamaghatagaMdhudhyAbhirAmaM sugaMdhavaragaMdhiyaM gaMdharvATTabhUyaM divyaM suravarAbhigamaNajogga kati kaaryNti| karettA ya kArayettA ya khippAmeva uvasAmaMti / 2 jeNeva samaNe bhagavaM mahAvIre teNeva uvAgacchati / 2 samaNaM bhagavaM mahAvIraM tikkhutto jAva vaMdittA namaMsittA samaNassa bhagavao mahAvIrassa aMtiyAo aMbasAlavaNAo ceiyAo. paDinikkhamaMti / 2 tAe ukkiTThAe jAva vIIvayamANe 2 jeNeva sohamme kappe jeNeva sUriyAbhe vimANe, jeNeva sabhA suhammA, jeNeva sUriyAbhe deve, teNeva uvAgacchaMti / 2 sUriyAbhaM devaM karayalaparimgahiyaM sirasAvatta matthae aMjaliM kaTTa jaeNaM vijaeNaM vaddhAti / 2 tamANattiyaM paJcappiNaMti / 11 tae NaM se sUriyAbhe deve tesiM AbhiyogiyANaM devANaM aMtie eyamaTuM socA nisamma haTTatuTTa jAva hiyae pAyattANiyAhivaI devaM saddAvei / 2 evaM vayAsI -"khippAmeva bho devANupiyA ! sUriyAbhe vimANe sabhAe suhammAe meghogharasiyagaMbhIramahurasa joyaNaparimaMDalaM sussaraghaMTaM tikkhutto ullAlemANe 2 mahayA 2 saddeNaM ugrosemANe 2 evaM vayAsI / ___ "ANavei gaM bhI sUriyAbhe deve, gacchai gaM bho sUriyAbhe deve, jaMbuddIve dIve bhArahe vAse AmalakappAe nayarIe aMbasAlavaNe ceie samarNa bhagavaM mahAvIra abhivaMdara tumbhe 5 vi gaM bho devANuppiyA! sabiTTIe jAva nAiyaraveNaM niyagaparivAlasaddhiM saMparikhuDA sAI sAI jANavimANAI durUDhA samANA akAlaparihINaM ceva sUriyAbhassa devassa atiyaM paaumbhvh"|

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rAyapaseNiyasutta 12 tae NaM se pAyattANiyAhivaI deve suriyAbheNaM deveNaM evaM vRtte samANe haTTatuTTa jAva hiyae "evaM devA ! taha" tti ANAe viNayeNa vayaNaM paDiluNei / 2 jeNeva suriyAbhe vimANe, jeNeva sabhA suhammA, jeNeva meve gharasiyagaMbhIramahurasaddA jAyaNaparimaMDalA susarA ghaMTA, teNeva uvAgacchai / 2 taM megheAgharasiyagaMbhIra mahurasa jAyaNaparimaMDalaM sussaraM ghaMTaM tikkhutto ullAle / tara NaM tIse meghAgharasiyagaMbhIra mahurasaddAe jAyaNaparimaMDalAe sussarAe ghaMTAe tikkhutto ullAliyAe samANIe se sUriyAbhe vimANe pAsAyatrimANaNikakhuDAvaDiyasaghaMTApaDiyAsaya sahassa saMkule jAe yAci hotthA / taya NaM te sUriyAbhavimANavAsINaM bahUNaM vaimANiyANaM devANaM ya devINaM ya eyaraipasattanicca pamattavisaya suhamucchiyANaM sussaraghaMTAravaviulabola - (turiyacavala ) - paDivohaNe kae samANe ghosaNakouhalAdinakanna egaggacittauvauttamANasANaM se pAyattANIyA hivaI deve taMsi ghaMTAsi nisaMtapasaMtaMsi mahayA 2 saddeNaM ugghosemANe ughosemANe evaM vayAsI | "haMta ! suNaMtu bhavaMtA sUriyAbhavimANavAsiNo bahave vemANiyA devA ya devIo ya sUriyAbhavimANavaraNo vayaNaM hiyasuhatthaM ANavaNiyaM / bho ! sariyAbhe deve gacchaha, NaM bho sUriyAbhedeve jaMbuddIvaM dIvaM bhArahaM vAsaM AmalakaNaM nayariM aMbasAlavaNaM ceiyaM samaNaM bhagavaM mahAvIraM abhivaMda, taMtubhe'vi NaM devANupiyA savviddIpa akAlaparihINA ceva sUriyAbhassa devassa aMtiyaM pAubbhavaha" / 13 tapa NaM te suriyAbhavimANavAsiNo bahave bemANiyA devA devIo ya pAyattANIyA hivaissa devassa atie eyamaThThe soccA nisamma haTTatuTTa jAva hiyayA / appegaiyA vaMdaNavattiyAe,

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rAyapaseNiyasutta appegaiyA pUyaNavattiyAe, . appegaiyA sakAravattiyAe, evaM saMmANavattiyAe, kouhalavattiyAe " appegaiyA asuyAI suNi. ssAmo, suyAI aTThAI heUI pasiNAI kAraNAI vAgaraNAI pucchissAmo, appegaiyA sUriyAbhassa devassa vayaNamaNuyattamANA, appegaiyA annamanamaNuyattamANA, appegaiyA jiNabhattirAgeNaM, appegaiyA dhammotti, appegaiyA jIyameyaM' tti kaTTa saviDIe jAva akAlaparihINA ceva sUriyAbhassa devassa atiyaM pAubhavati / 14 tae NaM se sUriyAbhe deve te sUriyArbhAvamANavAsiNo bahave vemANiyA devA ya devIo ya akAlaparihINA ceva aMtiyaM pAumbhavamANe paasi| 2 haTTatuTTa jAva hiyae Abhiyogiya devaM sddaavei| 2 evaM vayAsI-"khippAmeva bho devANuppiyA! aNegakhaMbhasayasanniviTuM lIlaTTiyasAlabhaMjiyAgaM IhAmiyausamaturaganara'magaravihagavAlagakiMnararurusarabhacamarakuMjaravaNalayApaumalayAtticittaM khaMbhugayavaravairaveiyAparigayAbhirAmaM vijjAharajamalajuyalajaMtajuttapiva accIsahassamAliNIya rUvagasahassakaliya bhisamANa bhibhisamANa cakkhulloyaNalessaM suhaphAsa sassirIyaruvaM ghaMTA. valicaliyamahuramaNaharasaraM suhaM kRtaM darisaNijjaM NiuNociyamisimisiMtamaNirayaNaghaMTiyAjAlaparikkhittaM joyaNasayasahassavicchinnaM divvaM gamaNasa sigghagamaNaM nAma divvaM jANaM (jANavimANaM) viuvvAhi / viuvittA khippAmeva eyamANattiya pnycppinnaahi"| 15 tae NaM se Abhiyogie deve sUriyAbheNaM deveNaM evaM vutte samANe haTe jAva hiyae karayalapariggahiyaM jAva paDimuNei jAva paDisuNettA uttarapurathima disImAgaM avakkamai / 2 veunviya..

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10 rAyapaseNiyasutta samugghAeNaM samohaNai / 2 saMkhejAI joyaNAI jAva ahAbAyare poggale samohaNai / 2 ahAsuhume poggale pariyAei / 2 doccapi veubviyasamugghAeNaM samohaNittA aNegakhaMbhasayasanniviTuM jAva divvaM jANavimANaM viuvviuM pavatte yAvi hotthA / tae NaM se Abhiyogie deve tassa divvassa jANavimANassa tidisiM tao tisovANapaDirUvae viuvyi| taM jahA-purasthimeNaM dAhiNeNaM uttareNaM / tesiM tisovANapaDirUvagANaM ime eyArUve vaNNAvAse paNNatte / taM jahA-vairAmayA nimmA riTTAmayA pATANA veruliyamayA khaMbhA suvaNNaruppamayA phalagA lohiyakkhamayAo sUio vayarAmayA saMdhI nANAmaNimayA avalaMbaNA avalaMbaNabAhAo ya pAsAdIyA jAva paDirUvA / tesiM gaM tisovANapaDirUvagANaM purao toraNe viuvvai / toraNA [tesi NaM] nANAmaNimaesu thaMbhelu uvaniviTThasaMniviTTavivihamuttarovaciyA vivihatArArUvovaciyA jAva paDirUvA, tesiM gaM toraNANaM uppi aTTamaMgalagA paNNattA / taM jahA-sotthiyasirivacchaNaMdiyAvattavaddhamANagabhaddAsaNakalasamacchadappaNA' jAva paDirUvA / tesiM ca NaM toraNANaM uppiM bahave kiNhacAmarajjhae jAva sukillacAmarajjhae acche saNhe ruppapaTTe vairAmayadaMDe jalayAmalagadhie suramme pAsAdIe darisaNijje abhirUve paDirUve viuvvai / tesiM the toraNANaM upi bahave chattAichatte ghaMTAjugale pRDAgAipaDAge uppalahatthae kumudaNaliNasubhagasodhiyapoMDarIyamahApoMDarIyasayapattasahassapattahatthae sabarayaNAmae acche jAva paDirUve viubaha / tae NaM se Abhiyogie deve tassa divvassa jArNAvamANassa. aMto bahusamaramaNijjaM bhUmibhAgaM viuvvai /

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rAyapaseNiyasutta se jahAnAmae AliMgapukkhare i vA, muiMgapukkhare i vA, sarayale. i vA, karayale i vA, caMdamaMDale i vA, sUramaMDale i vA, AyasamaMDale i vA, urabbhavamme i vA, ( vasahacamme i vA), varAhacamme i vA, sIhavamme i vA, vagghacamme i. vA, migacamme i vA, chagalacamme i vA, dIviyacamme i vA, aNegasaMkukIlagasahassaviyae nANAvihapaMcavaNNehi maNIhi uvasohie AvaDapaJcAvaDaseDhipaseDhisotthiya-(sovatthiya )-pUsamANaga-(vaddhamANaga) macchaMDagamagaraMDagajArAmArAphullAvalivapaumapattasAgarataraMgavasaMtalayApaumalayAbhatticittehiM sacchAehiM sappabhehiM samarIiehi saujjoehiM nANAvihapaMcavaNNehi maNIhiM. uvasohie hiM taM-jahA kiNhehiM nIlehiM lohiehiM hAliddehi. sukkillehiM / tattha NaM je te kiNhAmaNI tesiM.NaM maNINa ime eyArUve vaNNAvAse paNNatte / se jahAnAmae jImUyae ivA, aMjaNe i vA, khaMjaNe havA, kajale i vA, gavale i vA, gavalaguliyA i.vA, bhamare 6 vA, bhamarAvaliyA i vA, bhamarapataMgasAre i vA, jaMbUphale ivA, adAriTTe i vA, parahue i vA, gae i vA, gayakalabhe ivA, kiNhasappe i vA, kiNhakesare ivA, AgAsathiggale i vA, kiNhAsee ivA, kiNhakaNavIre i vA, kiNhabaMdhujIve i vA, bhave eyArUve siyA ? / No igaTTe samaDhe, ( ovamma samaNAuso!) te NaM kiNhAmaNI itto iTTayarAe ceva kaMtayarAe ceva maNAmayarAe ceva maNuNNayarAe ceva vaNNeNaM pa-.. paNattA / tattha NaM je te nIlAmaNI tesiM NaM maNoNaM ime eyA-. rUve vaNNAvAse paNNatte / se jahAnAmae bhiMge i vA, bhiMgapatte i vA, sue i vA, suyapicche / vA, cAse i vA, cAsapicche ivA, nIlI i vA, nIlIbhee ivA, nIlIguliyA i vA

Page #17
rAyapaseNiyasutta sAmA i vA, uccante i vA, vaNarAI ivA, halaharavasaNe i vA, moraggIvA i vA, ayasikusume i vA, bANakusume i vA, aMjaNakesiyAkusume i vA, nIluppale i vA, nIlAsoge i vA, nIlabaMdhujIve i vA, nIlakaNavIre i vA, bhaveyArUve siyA ? / No igaTe samaThe, te NaM nIlAmaNI etto iTTayarAe ceva jAva vaNNaNaM pnnnnttaa| tattha NaM je te lohiyagAmaNI tesiM gaM maNINa imeyArUve vaNNAvAse paNNatte / se jahAnAmae urabharuhire i vA, sasarUhire i vA, nararUhire i vA, varAharuhire i vA, [ mahisahahire i vA, ] bAliMdagove i vA, bAladivAyare i vA, saMjhabbharAge i vA, guMjaddharAge i vA, jAsumaNakusume i vA, kiMjayakusume i vA, pAriyAyakusume i vA, jAihiMgulae i vA, silapavAle i vA, pavAla aMkure i vA lohiyakkhamaNI i vA, lakkhArasage i vA, kimirAgakaMbale i vA, cINapiTTarAsI ivA, rattuppale i vA, rattAsoge i vA, rattakaNavIre i vA, rattabaMdhujIve i vA, bhaveyArUve siyA ? / No iNaDhe samaDhe, te NaM lohiyAmaNI itto iTTayarAe ceva jAva vaNNeNaM paNNattA / tattha NaM je hAliddAmaNI, tesiM NaM maNIrNa imeyArUve vaNNAvAse paNNatte / se jahANAmae caMpe i vA, caMpachalli ivA, [caMpagabhee i vA. ] halidA i vA, haliddAbhee i vA, haliddAguliyA i vA, hariyAliyA i vA, hariyAlabhee i vA, hariyAlaguliyA i vA, ciure i vA, ciuraMgarAe i vA, varakaNage i vA, varakaNaga. Nihase i vA, [suvaNNasippAe i vA, ] varapurisavasaNe i vA, allakIkusume i vA, caMpAkusume i vA, kuhaDiyAkusume i vA, taDavaDAkusume i vA, ghosADiyAkusume i vA, suvaNNakusume i vA, suhiraNNakuplume i vA, koraNTavaramalladAme i vA, bIyo-( bIya

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rAyapaseNithasutta .. 13 kusume ) i vA, pIyAsoge i vA, pIyakaNavIre i vA, pIyabaMdhujIve i vA, bhaveyArUve siyA? / No iNale samaDhe, NaM haliddAmaNI etto. iTTayarAe ceva jAva vaNNeNaM paNNattA / tattha NaM je te sukillAmaNI tesi NaM maNINaM imeyArUve vaNNAvAse paNNate / se jahAnAmae aMke i vA, saMkhe i vA, caMde i vA, kuMde i vA, daMte i vA, (kumudodakadayarayadahiyaNasAragokkhIrapUra) haMsAvalI i vA, koMcAvalI i vA, hArAvalI i vA, caMdAvalI i vA, sAraiyabalAhae i vA, dhaMtaghoyaruppapaTTe i vA, sAlipiTTarAsI i vA, kuMdapuSpharAsI i vA, kumudarAsI ivA, sukkacchivADI i vA, pihuNamijiyA i vA, bhise i vA, muNAliyA i vA, gayadaMte i vA, lavaMgadalae ivA, poMDariyadalae i vA, seyAsoge i vA, seyakaNavIre i vA, seyabaMdhujIve i vA, bhave. yArUve siyA ? / No iNaTe samaTe, te NaM sukillAmaNI etto iTTayarAe ceva jAva vaNNeNaM paNNattA / .. tesiM NaM maNINaM imeyArUve gaMdhe paNNatte / se jahAnAmae koTapuDANa vA, tagarapuDANa vA, elApuDANa vA, coyapuDANa vA, caMpApuDANa vA, damaNApuDANa vA, kuMkumapuDANa vA, caMdaNapuDANa vA, usIrapuDANa vA, maruyApuDANa vA, jAipuDANa vA, jUhiyApuDANa vA, malliyApuDANa vA, hANamalliyApuDANa vA, ketagi. puDANa vA, pADalipuDANa vA, nomAliyApuDANa vA, agurupuDANa vA, lavaMgapuDANa vA, kappUrapuDAga vA, vAsapuDANa vA, aNuvAyasi vA, obhijamANANa vA, koTTijamANANa vA, bhaMjijamANANa vA, ukirijamANANa vA, vikkirijamANANa vA, paribhujamANANa vA, paribhAijamANANa. vA, bhaMDAo vA bhaMDaM sAharijamANANa vA, orAlA maNuNNA maNaharA ghANamaNAna iqarA

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rAyapaseNiyasutta savvao samaMtA gaMdhA abhinissarvati, bhaveyArUve, siyA ? / No iNane samaTe, te gaM maNI etto iTTayarAe ceva gaMdheNaM pnnnnttaa| tesi maNINaM imeyArUve phAse paNNatta, se jahAnAmae AINe i vA, rUe i vA, bUre i vA, navaNIe i vA, haMsagambhatUliyA i vA, sirIsakusumanicaye i vA, bAlakumudapattarAsI i vA, bhaveyArUve siyA? / No iNaDhe samatu, te NaM maNI etto iTTayarAe ceva jAva phAseNaM paNNatA / tae NaM se Abhiyogie deve tassa divvassa jANavimANassa bahumajjhadesabhAe ettha NaM mahaM picchA. gharamaMDavaM viughi| aNegakhaMbhasayasanniviTuM abbhuggayasukayavaraveiyAtoraNavararaiyasAlabhaMjiyAgaM susiliTTavisiTThalaTThasaMThiyapasatthaveruliyavimalakhabhaM nANAmaNi [ kaNagarayaNa] khaciyaujalabahusamasuvibhattadesabhAie IhAmiyausabhaturaganaramagaravihagavAlagakinnararurusarabhacamarakuMjaravaNalayApaumalayAbhatticittaM kaMcaNamaNirayaNathUbhiyAga nANAvihapaMcavaNNaghaMTApaDAgarimaMDiyaggasiharaM cavalaM marIikavayaM viNimmuyaMta lAulloiyamahiyaM gosIsa(sarasa)rattacaMdaNadaddaradinnapaMcaMgulitalaM uvaciyacaMdaNakalasaM caMdaNaghaDasukayatAraNapaDidubAradesabhAgaM AsattosattaviulavaTTavagdhAriyamalladAmakalAvaM paMcavaNNasarasasurabhimukkapupphapuMjovayArakaliyaM kAlAgurupavarakuMdurukkaturukkadhUvamaghamaghaMtagaMdhudRyAbhirAmaM sugaMdhavaragaMdhiyaM gaMdhavaTTibhUyaM divyaM tuDiyasahasaMpaNAiyaM accharagaNasaMghavikiNNaM pAsAIyaM darisaNijaM jAva paDirUvaM / tassa NaM picchAgharamaMDavassa bahusamaramaNijabhUmibhAga viubai jAva maNINaM phAso / tassa NaM pecchAgharamaMDavassa ulloyaM viubvai paumalayabha-tticittaM jAva paDirUvaM / tassa NaM bahusamaramaNijassa bhUmibhA

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rAyapaseNiyasutta gassa bahumajhadesabhAe ettha NaM mahaM egaM vairAmayaM akkhADagaM viughaDa / tassa NaM akkhADayassa bahumajjhadesabhAe. ettha NaM mahega maNipeDhiya viuvvada / aTTajAyaNAI AyAmavikkhaMbheNaM cattAri jAyaNAI bAhalleNaM savvaM maNimayaM acchaM sahaM jAva pddiruuvaa| tIse gaM maNipeDhiyAe uvari ettha gaM mahega sIhAsaNaM viughaDa / tassa NaM sIhAsaNassa imeyArUve vaNNAvAse paNNatte / - tavaNijamayA cakalA, rayayamayA sIhA, sorvANayA pAyA, nANAmaNimayAI pAyasIsagAI, jambUNayamayAI gattAI, vaharAmayA saMdhI, nANAmaNimaye vezce / se NaM sIhAsaNe IhAmiyausabhaturaganaramagaravihagavAlagakinnararurusarabhacamarakuMjaravaNalayApaumalayAbhatticittaM sArasArAvaciyamaNirayaNapAyavIDhe accharayamiumasUragaNavatayakusaMtalimbakesarapaccatthuyAbhirAme suviraiyarayattANe uvaciyAmadugullapaTTapaDicchAyaNe rattaMsuasaMvue suramme AINagarUyabUraNavaNIyatUlaphAse maue pAsAIe 4 / / __ tassa NaM sIhAsaNassa uvari ettha NaM mahegaM vijayadRsaM viucara / saMkhaMka(saMkha)kuMdadagarayaamayahiyapheNapuMjasaMgigAsaM sabarayaNAmayaM acchaM sahaM pAsAdIyaM darisaNijjaM abhirUvaM paDirUvaM / tassa NaM sIhAsaNassa uvari vijayadUsassa ya bahumajhadesabhAe ettha NaM (mahega) vairAmayaM aMkusa viuvvA / tassi ca NaM vairAmayaMsi aMkusaMsi kuMbhikke muttAdAma viubi| se NaM kuMbhikke muttAdAme annehiM cauhiM addhakuMbhikkehi muttAdAmehiM tada duzcattapamANehiM savao samatA saMparikkhitte / te NaM dAmA tavaNijalaMbUsagA suvaNNapayaragamaMDiyaggA nANAmaNirayaNavivihahAraddhahArauvasohiyasamudAyA IsiM aNNamaNNa

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16 rAyapaseNiyasutta masaMpattA vAhiM puvyAvaradAhiNuttarAga pahi. maMda maMda ejamANANi 2 palaMbamANANi 2 pejaMja [pajjhuMjha] mANANi 2 : urAleNaM maNunneNaM maNahareNaM kaNNamaNajigyuikareNaM saddaNaM te parase saba samatA ApUremANA sirIpa aIva 2 ubasohemANA ciTThati / tara se Abhiyeoie deve tassa sohAsaNarasaavaruttareNaM uttareNaM uttarapuratthimeNaM ettha NaM sUriyAbhassa devassa caunhaM sAmANiyasAhassINaM cattAri bhaddAsaNasAha-sIo viuvva / tassa NaM sIhAsaNassa puratthimeNaM ettha NaM sUriyAbhassa devassa caunhaM aggamahisINaM saparivArANaMcattAri bhaMddAsaNasAhassIo viuvvara | tassa NaM sIhAsaNassa dAhiNapuratthameNaM ettha NaM sUriyAbhassa devassa abhiMtara parisAe aTThaNhe deva sAhasIM sAhassIo viubvai / evaM dAhiNeNaM majjhimaparisAe. dasahaM devasAhassINaM dasabhaddA saNasAhassIo viuvvara / dAhiNapaJccatthimeNa bAhiraparisAe bArasahaM devasAhassINaM bArasabhaddA saNasAhassIo viuvvai / paJccatthimeNa sattaNhaM aNiyAhivaINaM sattabhaddAsaNe viuvvai / tassa NaM sIhAsaNassa caudisiM ettha NaM sUriyAbhassa devassa solasahaM Ayarakkhadeva sAhassINaM solasabhaddAsaNasAhasIo viuvva / taM jahA - purasthameNaM catArisAhasIo, dAhiNeNa cattArisAhassIo, paJccatthimeNaM cattArisAhassIo, uttareNaM cattArisAhassIo / aTThabhaddAsaNa | tassa divvassa jANavimANassa imeyArUve vaNNAvAse paNNatte / se jahAnAmae aihaggayassa vA hemetiyabAliyasUriyassa vA khayariMgAlA vA rattiM pajjaliyANa vA jAvAkusumavaNassa vA kiM yavaNassa vA pAriyAyavaNassa vA savvao samatA saMkusu

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rAyapaseNiyasutta miyarasa, bhaveyArUve siyA ? | jo iNaTThe samaTThe, tassa NaM divvassa jANavimANassa etto iTThayarAe ceva jAva vaNNeNaM paNNatte, gaMdho ya phAso ya jahA maNINaM / taNaM se Abhiyogie deve divvaM jANavimANaM viuvvai / 2 jeNeva sUriyAbhe deve teNeva uvAgacchA, 2 sUriyA devaM karayala pariggahiye jAva paJcaNi / 16 tara NaM sUriyAbhe deve Abhiyogassa devassa atie eyama soccA nisamma haTTu jAva hiyae divyaM jiNidAbhigamaNajogaM uttaraveuvtriyarUvaM viuvvara / 2 cauhi aggamahisIhi. saparivArAhiM dAhiM ajIehi, taM jahAM gaMdhavANIraNa ye naTTANIpaNa ya saddhi saMparivuDe taM divyaM jANavimANaM agupayAhiNIkaremANe 2 puracchimilleNaM tisAvA parUvaNaM durUha / 2 jeNeva sIhAsaNe teNeva uvAgacchai / 2 sIhAsa gae purasthAbhimuhe sannisaNNe / tae NaM tassa sUriyAbhassa devassa cattAri sAmANiyasAhassIo taM divvaM jANavimAnaM aguvayAhiNI karemANA uttarilleNaM tisAvANapaDirUpaNaM dururhati / durUhittA, patte va 2 puvvatyehiM bhahAsaNehiM nisIyaMti / avasesA devA ya devIo ya taM divvaM jANavimANaM jAva dAhiNi leNaM tiseAvANapaDirUvaeNaM durudeti / durUhittA patteyaM 2 puvvatthehiM bhahAsaNehiM nisIyaMti / tae NaM tassa sUriyAbhassa devassa taM divvaM jANavimANaM durUDhassa samANassa aTTamaMgalagA purao ahANupubvIra saMpatthiyA, taM jahA sotthiyasirivaccha jAva dappaNA / tayANaMtaraM ca NaM puNgakalasabhiMgAradinA ya chattADAgA sacAmarA daMsaNaraiyA AloyadarisaNijjA vAudhyavi jayavejayaMtIpaDAgA UsiyA gagaNata

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rAyapaseNiyasutta lamagulirhati purao ahANuputrIe saMpatthiyA / tayANaMtaraM ca NaM veruliyabhisaMtavimaladaMDaM palaMba kAraMDa malla dAmova sAhiyaM caMda maMDalanihaM samussiyaM vimalamAyavattaM pavarasIhAsaNaM ca maNirayaNamatticittaM sapAyapIDhaM sapAuyAje yasamA uttaM bahukiMkarAmaraparigahiyaM purao ahANuputrIe saMpatthiyaM / tayANaMtaraM caNaM vairAmayavaTTalaTThasaMThiya susiliTThaparighaTTamaTThasupaiTTie visiTTe agavara paMcavaNNakuDabhIsaharassie [ parimaMDiyAbhirAme ] vAudhyavijaya ve jayaMtI paDAgacchattAichattakalie tuMge g2agaNatalamagulita sihare joyaNasahassamasie mahaimahAlae mahiMdajjhae purao ahAgupuvIe saMpatthie / tayAnaMtaraM ca NaM surUvaNevatthaparikacchiyA susajjA savvAlaMkArabhUsiyA mahayA bhaDacaDagarapahakareNaM paMcaaNIyA hivinne| purao ahAgupuvIe saMpatthiyA / ( tayAnaMtaraM ca NaM vahave AbhiyogiyA devA devIo ya saehiM 2 rUvehiM, sarahiM 2 visesehiM, sarahiM 2 videhiM saehiM 2 nejjApahi saehiM 2 nevatthehiM, purao ahANuputhvIpa saMpatthiyA / ) tayANaMtaraM ca NaM sUriyAbhavimANavAsiNA bahave vemANiyA devA ya devIo ya sabbiDIe jAva ruveNaM sUriyA devaM purao pAsao ya maggao ya samanugacchati / 18 17 tae NaM se sUriyAbhe deve teNaM paMcANIyaparikkhitteNaM varAmayavaTTalasaMThieNaM jAva jAyaNasahassamUsieNaM mahaimahAlayeNaM mahiMdajjhaNaM purao kahijamANeNaM cauhiM sAmANiyasahassehiM jAva seAlasahiM Ayarakkha devasAhassIhiM annehiM ya bahahiM sUriyAbhavimAnavAsIhiM vaimANirahiM devehiM devIhiM ya saddhi saMparivaDe savviDie jAva reveNaM sohammassa kappassa majjhamajjheNaM taM divyaM viddhiM divyaM devajuI divvaM devANubhAva uvadaMsemANe 2

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rAyapaseNiyasutta paDijAgaramANe 2 jeNeva sAhammakappassa urille nijANamagge teNeva uvAgacchai / 2 joyaNasayasAhassiehi vigahehiM ovayamANe vIIvayamANe tAe ukkiTThAe jAva tiriyamasaMkhijANaM dIvasamudANaM majjhamajheNaM vIIvayamANe 2 jeNeva naMdIsaravaradIve, jeNeva dAhiNapuracchimille raiyarapavvae, teNeva uvAgacchai 2 taM divvaM devir3i jAva divvaM devANubhAvaM paDisAharemANe 2 paDisaMkhevemANe 2 jeNeva jaMbuddIve dIve, jeNeva bhArahe vAse, jeNeva AmalakappA nayarI, jeNeva aMbasAlavaNe ceie, jeNeva samaNe bhagavaM mahAvIre, teNeva uvAgacchada / 2 samaNaM bhagavaM mahAvIraM teNaM diveNaM jANavimANeNaM tikkhutto AyAhiNaM payAhiNaM karei / 2 samaNassa bhagavao mahAvIrassa uttarapuracchime disibhAe taM divvaM jANavimANaM IsiM cauraMgulamasaMpattaM 'dharaNiyalaMsi Thavei / 2 cauhiM aggamahisIhiM saparivArAhiM dohiM aNIyAhiM, taM jahA-gaMdhavANIeNa ya naTTANIeNa ya saddhiM saMparikhuDe tAo divAo jANavimANAo puracchimilleNaM tisovANapaDirUvaeNaM paJcorUhai / tae NaM tassa sUriyAbhassa devassa cattAri sAmANiyasAhassIo tAo divvAo jANavimANAo uttarilleNaM tisovANapaDirUvaeNaM paccAruhaMti / avasesA devA ya devIo ya tAo divAo jANa - vimANAo dAhiNilleNaM tisovANapaDirUvaeNaM paJcoruhati / tae NaM se sUriyAbhe deve cauhiM aggamahisIhiM jAva solasahi AyarakkhadevasAhassIhiM annehiM ya bahUhiM sUriyAbhavimANavAsIhiM vemANiehiM devehiM devIhiM ya saddhiM saMparivuDe saviDIe jAva nAiyaraveNaM jeNeva samaNe bhagavaM mahAvIre teNeva uvAgacchaha / 2 samarNa bhagavaM mahAvIraM tikkhutto AyAhiNaM payAhiNaM kareha / 2

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20 rAyapaNiyasutta vaMda namasaha / 2 evaM vayAsI-"ahaM gaM bhaMte sUriyAbhe deve devANuppiyANaM vaMdAmi namasAmi jAva pnyjuvaasaami"| ... 18 sUriyAbhA i samaNe bhagavaM. mahAvIre sUriyAbhaM devaM evaM vayAsI-"porANameyaM sUriyAbhA! jIyameyaM sUriyAmA !, kiJcameyaM sUriyAbhA ! karaNijameyaM sUriyAbhA! AiNNameyaM sUriyAbhA! ambhaNuNNAyameyaM sUriyAbhA! je NaM bhavaNavaivANamaMtarajAisavemANiyA devA arahaMte bhagavaMte vaMdati namasaMti, vaMdittA namaMsittA, tao pacchA sAiM sAI nAmottAI sAhiti, taM porANameyaM sUriyAmA : jAva abbhaNunAyameyaM suuriyaabhaa!"| 19 tae NaM sUriyAbhe deve samaNeNaM bhagavayA mahAvIreNaM evaM vutte samANe haTa jAva samaNaM bhagavaM mahAvIraM vaMdai namasaMha 2 nacAsanne nAidare sussUsamANe namasamANe abhimahe viNayeNaM paMjaliuDe pjjuvaasi| 20 tae NaM samaNe bhagavaM mahAvIre sUriyAbhassa devassa tIse ya mahaimahAliyAe parisAe jAva parisA jAmeva disi pAunbhUyA tAmeva disi paDigayA / 21 tae NaM se sUriyAbhe deve samaNassa bhagavao mahAvIrassa atie dhamma seoccA nisamma haTatuTra jAva hayahiyae uThAe uTreDa / 2 samaNaM bhagavaM mahAvIraM vaMdai nmsi| 2 evaM vayAsI "ahaM NaM bhaMte ! sUriyAbhe deve kiM bhavasiddhie abhavasiddhie ? sammaTTiI micchadiTTI ? parittasaMsArie aNaMtasaMsArie ? sulabhabAhie dulabhabAhie ? ArAhae virAhae ? carime acarime ?" sUriyAmA i samaNe bhagavaM mahAvIre sUriyAbhaM devaM evaM vayAsI-"sUriyAmA ! tumaM NaM bhavasiddhie, no abhavasiddhie jAva carime, no acarime" /

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rAyapaseNiyasutta 22 tae NaM se sUriyAbhe deve samaNeNaM bhagavayA mahAvIreNaM evaM vutte samANe haTTatuTTha-cittamANadie paramasomaNasse samaNaM bhagavaM mahAvIraM vaMdai namasai / 2 evaM vayAsI "tumbhe gaM bhante ! savvaM jANaha, sanvaM pAsaha, [savao jANaha, savvao pAsaha,] savvaM kAlaM jANaha, savvaM kAlaM pAsaha, save bhAve jANaha, savve bhAve pAsaha / jANaMti NaM devANuppiyA mama puvi vA pacchA vA mameyArUvaM divvaM deviDDUi dibdhaM devajuiM divvaM devANubhAvaM laddhaM pattaM abhisamaNNAgayaM / taM icchAmi NaM devANuppipANaM bhattipudhagaM gAyamAiyANaM samaNANaM niggaMthANaM divaM deviDiM divvaM devajuI divvaM devANubhAvaM divvaM battIsaibaddhakaM naTTavihi uvadaMsittae" / 23 tae NaM samaNe bhagavaM mahAvIre sUriyAbheNaM deveNaM evaM vutte samANe sUriyAbhassa devassa eyamaDheM nA ADhAi no pariyANA tusiNIe saMciTThai / tae NaM se sUriyAbhe deve samaNaM bhagavaM mahAvIra doccApa evaM vayAsI "tubbhe NaM bhaMte! savvaM jANaha, jAva uvadaMsittae" tti kaTTa, samaNaM bhagavaM mahAvIraM tikkhutto AyAhiNaM payAhiNaM karei / 2 vaMdai namasai / 2 uttarapuracchima disIbhArga avakamai / 2 veubviyasamugdhAraNa samohaNai / 2 saMkhijAI jAyaNAI daMDa nissarai / 2 ahAbAyare0 2, ahAsuhume02 doccaMpi veubviyasamugdhAeNaM jAva bahusamaramaNijjaM bhUmibhAgaM viuvaha / se jahANAmae AliMgapukkhare i vA jAva maNINaM phAso tassa NaM bahusamaramaNijassa bhUmibhAgassa bahumajhadesabhAe picchAgharamaMDavaM viuvvai / aNegakhaMbhasayasaniviTTha vaNNao bahusamaramaNijabhUmibhAga viubbi| ulloyaM akkhADaga ca maNipeDhiyaM ca viuvh| tIse NaM maNipeDhiyAe uri

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22 rAyapaseNiyasutta sIhAsaNaM saparivAraM jAva dAmA ciTThati / tae NaM se sUriyAbhe deve samaNassa bhagavao mahAvIrassa Aloe paNAmaM karei / 2 "aNujANau me bhagavaM" tti kaTTa sIhAsaNavaragae titthayarAbhimuhe snnisnnnne| tae NaM se sUriyAbhe deve tappaDhamayAe nANAmaNikaNagarayaNavimalamaharihaniuNovacimisimisiMtaviraiyamahAbharaNakaDagatuDiyavarabhUsaNujalaM povaraM palaMba dAhiNaM bhuyaM pasArei / tao NaM sarisayANaM sarittayANaM sarivvayANaM sarisalAvaNNarUvajovvaNaguNovaveyANaM egAbharaNavasaNagahiyaNijjoyANaM duhaosaMvaliyaggaNiyatthANaM AviddhatilayAmelANaM piNiddhagevijakaMcuyANaM uppIliyacittapaTTapariyarasapheNakAvattaraiyasaMgayapalaMbavatthaMtacittacillaganiyaMsaNANaM egAvalikaMTharaiyasobhaMtavacchaparihatthabhUsaNANaM aTThasaya naTTasajANaM devakumArANaM nigacchai / tayANaMtaraM ca NaM nANAmaNi jAva pIvaraM palaMbaM vAma bhuyaM pasArei / tao NaM sarisayANaM sarittayANaM saribbayANaM sarisalAvaNNarUvajAvaNaguNovaveyANaM egAbharaNavasaNagahiyanijjoyANa. duhaosaMvelliyagganiyatthINaM AviddhatilayAmelANaM piNaddhagevejakaMcuINaM nANAmaNirayaNabhUsaNavirAiyaMgamaMgANaM caMdANaNANaM caMdaddhasamaniDAlANaM caMdAhiyasomadaMsaNANaM ukkA iva ujjovemANINaM siMgArAgaracAruvesANaM hasiyabhaNiyaciTTiyAvalAsa-- saliyasalAvaniuNajuttovayArakusalANaM gahiyAujANaM aTThasayaM naTTasajANaM devakumAriyANaM niggacchai / tae NaM se sUriyAbhe deve aTThasayaM saMkhANaM viubvai / aTThasayaM saMkhavAyANaM viubvai / aTThasaya siMgANaM viuvvai / aTTasayaM siMgavAyANaM viuvvai / aTThasayaM saMkhiyANaM viuvvai / aTThasayaM saMkhiyavAyANaM viuvvai / aTThasayaM kharamuhI. viuvvai / aTThasayaM kharamuhivAiyANaM

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rAyapaseNiyasutta viuvvai / aTTasayaM peyANaM viuvvai / aTTasayaM peyAvAyagANaM viubvai / aTTasayaM pIripIriyANaM viuvvai / evamAiyAI egUNapaNNaM AujavihANAI viuvvai / 2 tae NaM te bahave devakumArA ya devakumAriyAo ya saddAvei / tae NaM te bahave devakumArA ya devakumArIo ya sUriyAbheNaM deveNaM sadAviyA samANA haTTa jAva jeNeva sUriyAme deve teNeva uvAgacchanti / 2 sUriyAbhaM devaM karayalapariggahiyaM jAva vaddhAvittA evaM vayAsI / "saMdisaMtu NaM devANuppiyA! ja amhehiM kaayvvN"| tae NaM se sUriyAbhe deve te bahave devakumArA ya devakumArIo ya evaM vayAsI-"gacchA NaM tumbhe devANuppiyA ! samaNaM bhagavaM mahAvIraM tikkhutto AyAhiNaM payAhiNaM kareha / karittA vaMdaha namasaha / vaMdittA namaMsittA goyamAiyANaM samaNANaM niggaMthANaM taM divvaM deviDiM, divvaM devajuI, divvaM divANubhAvaM, divvaM battIsaibaddhaM, naTTavihiM uvadaseha / uvadaMsittA khippAmeva eyamANattiya paJcappiNaha" / tae NaM te bahave devakumArA devakumArIo ya sUriyAbheNaM deveNaM evaM vuttA samANA haTTa jAva karayala jAva paDisuNaMti / 2 jeNeva samaNe bhagavaM mahAvIre teNeva uvAgacchanti / 2 samagaM bhagavaM mahAvIra jAva namasittA, jeNeva goyamAiyA samaNA niggaMthA teNeva uvAgacchanti / tae NaM te bahave devakumArA devakumArIo ya samAmeva samosaraNaM karenti / 2 samAmeva paMtIo baMdhati / 2 samAmeva paMtIo namasaMti / 2 samAmeva paMtIo avaNabhaMti / 2 samAmeva unnamati / 2 evaM sahiyAmeva oNamati / evaM sahiyAmetra unnamati / 2 thimiyAmeva ogamati thimiyAmeva unnamaMti, saMgayAmeva oNamati, saMgayAmeva unnamaMti / 2 samAmeva pasa

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rAyapaseNiyasutta raMti, 2 samAmeva AujavihANAI geNhaMti / samAmeva pavAeM su, pagAiMsu, paNaJcisu / kiM te ? / ureNa maMdaM sireNa tAraM. kaMTheNa vitAraM tivihaM tisamayareyagaraiyaM guMjAvakakuharovagUDhaM rataM tiThANakaraNasuddhaM sakuharaguMjatavaMsataMtItalatAlalayagahasusaMpauttaM mahuraM samaM salaliya maNoharaM miuribhiyapayasaMcAraM suraI suNaI varacAharUvaM divvaM naTTasajjaM geyaM pagIyA vi hotthaa| kiM te ? / uddhammaMtANaM saMkhANaM siMgANaM saMkhiyANaM kharamuhINaM peyANaM pIripIriyANaM, AhammaMtANaM paNavANaM paDahANaM, apphAlijamANANaM bhaMbhANaM hAraMbhANaM, tAlijjaMtANa bherINaM jhaluroNaM, vahINaM, AlatANaM (murayANaM) muiMgANaM naMdimuiMgANaM, uttAlijjatANaM AliMgANe kutuMbANaM gomuhINaM maddalANaM, mucchi jaMtANaM vINANaM vipaMvINa vallakINa, kuTTijaMtANaM mahaMtINaM kacchabhINaM cittavI. jANaM, sArijaMtANaM baddhosakANaM sughosANaM naMdighosANaM, phuTTijaMtIgaM bhAmarI chambhAmarINaM parivAyaNINaM, chippaMtINaM tUNANaM tuMbavINANaM, AmoDijaMtANaM AmoyANaM jhaJjhANaM naulANaM, acchi jaMtINaM muguMdANaM huDukANaM vicikkINaM uttAlijaMtANaM karaDANaM DiDimANaM kiNiyANaM kaDaMbANaM, vAijaMtAgaM dadaragANaM dadariyANaM kutuvANaM kalasiyANaM maDDayANaM, AtADijaMtANaM tAlANaM [talatAlANaM] kaMsatAlANaM, ghaTTijantANaM girisiyANaM lattiyANa magariyANaM susumAriyANaM, phUmijaMtANa vaMsANaM velUNaM (veNUNaM) cAlINaM parilINaM pavvagANaM / tae NaM se dive gIe, dive naTTe, dive vAie, evaM adhbhue siMgAre urAle maNuNNe maNahare gIe, maNahare naTTe, maNahare vAie, uppiMjalabhUe kahaka habhUe dive devaramaNe pavatte yAvi hotthA / tae NaM te bahave devakumArA ya devakumArIo ya samaNassa bhagavao mahAvIrassa

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rAyapaseNiyanutta sotthiyasirivacchaNaMdiyAvattavaddhamANagabhaddAsaNakalasamacchadappa - NamaMgalabhatticittaM nAma divvaM naTTavihi uvadaMseMti / . 24 tae NaM te bahave devakumArA ya devakumArIo ya samAmeva samosaraNaM karenti / 2 taM ceva bhANiyanvaM jAva dive devaramaNe pavatte yAvi hotthA / tae NaM te bahave devakumArA ya devakumArIo ya samaNassa bhagavaMo mahAvIrassa AvaDapaJcAvaDaseDhipaseDhisAthiyovatthiapUsamANagamacchaMDamagaraMDajArAmArAphullayAvalipaumapattasAgarataraMgavasaMtalayApaumalayAbhatticittaM nAtaM divvaM naTTavihiM uvadaMsati / evaM ca ekiyAe naTTavihIe samosaraNAiyAM esA vattavayA jAva dibve devaramaNe pavatte yAvi hotthA / tae Na te bahave devakumArA ya devakumAriyAo ya samaNassa bhagavao mahAvIrassa IhAmiyausamaturaganaramagaravihagavAlagakiMnararurusarabhacamarakuMjaravaNalayApaumalayAbhatticittaM nAmaM divaM naTTavihiM uvadaMseMti 3 / egaovakaM duhao vakra [egao khuhaM duhao khuhaM ] egao cakavAlaM duhao cakavAlaM cakavadhAlaM nAmaM divaM naTTavihiM ubadasaiMti 4 / caMdAvalipavibhattiM ca valiyAvalipavibhattiM ca haMsAvalipavibhattiM ca sUrAvalipavibhattiM ca egAvalipavibhattiM ca tArAvalipavibhatti ca muttAvalipavibhattiM ca kaNagAvalipavibhattiM ca rayaNAvalipavibhattiM ca nAma divvaM naTTavihiM uvaseMti 5 / cadumgamaNapavibhattiM sUraggamaNapavibhattiM ca uggamaNuggamaNapavibhattiM ca nAma divvaM naTTavihiM uvadaseMti 6 / caMdAgamaNapavibhattiM ca sUrAga. maNapavibhattiM ca AgamaNAgamaNapavibhattiM ca nAma divvaM naTTavihiM uvadaMseMti 7 / caMdAvaraNapavibhattiM ca sarAvaraNapavibhattiM caM nAma divvaM naTTavihiM uvadaseMti 8 / caMdatthamaNapavibhattiM ca sattha

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26 rAyapaseNiyasutta maNapavibhattiM ca atthamaNa'tthamaNapavibhattiM nAmaM divvaM naTTavihi uvadaMseMti 9 / caMdamaMDalapavibhattiM ca sUramaMDalapavibhattiM ca nAgamaMDalapavibhattiM ca jakkhamaMDalapavibhattiM ca bhUyamaMDalapavibhatti ca [ rakkhasa0 mahAraga0 gaMdhavvamaMDalapavibhattiM ca] maMDalapavi bhati nAmaM divvaM naTTavihiM uvadati 10 / usalaliyatra taM sIhalaliyavataM hayavilaMbiyaM gayavilaMbiyaM mattahayavilaMbiya mattagayavilaMbiyaM duyavilaMbiyaM nAmaM divvaM naTTavihiM vadati11. sAgarapavibhattiM ca nAgarapavibhattiM ca sAgaranAgarapavibhattiM ca nAmaM divvaM naTTavihi uvaseMti 12 / naMdApavibhattiM ca caMpApavibhatti ca naMdAcaMpApavibhattiM ca nAmaM divvaM naTTavihi uvaseMti 13 / macchaMDApavibhattiM ca mayaraMDApavibhattiM ca jArApavibhattiM ca mArApavibhattiM ca macchaMDAmayaraMDAjArAmArApavibhattiM ca nAmaM divvaM naTTavihiM uvadaMseMti 14 / kattikakArapavibhattiM ca khattikhakArapavibhattiM ca gattigakArapavibhatti ca ghattidhakArapavibhattiM ca GattiGakArapavibhattiM ca kakArakhakAragakAraghakAraGakArapavibhattiM ca nAmaM divvaM naTTavihiM uvaseti 15 / evaM cakAravaggovi 16 / TakAravaggovi 17 / takAravaggovi 18 / pakAravaggovi 19 / asoyapallavapavibhatti ca aMbapallavapavibhattiM ca jaMbUpalavapavibhattiM ca kAsaMbapallavapavibhattiM ca pallavapallavapavibhattiM ca nAmaM divvaM naTTavihi uvaseMti 20 / paumalayApavibhattiM ca jAva sAmalayApavibhati ca layAlayApavibhattiM ca nAmaM divyaM naTTavihi uvadaMti 21 / duyanAmaM naTTavihiM uvadati 22 / vilaMbiyaM nAmaM naTTavihiM 23 | duyavilaMbiyaM nAmaM naTTavihiM 24 | aMciyaM 26 / ribhiyaM0 26 / aciyaribhiyaM0 27 / abhiDa0 28 /

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rAyapaseNiyasutta bhasolaM0 29 / ArabhaDabhasolaM 30 / uppayanivayapavattaM saMkuciyaM pasAriyaM riyAriyabhaMta saMbhaMtanAmaM divvaM naTTavihi uvadaMseti / tae NaM te bahave devakumArA ya devakumAriyAo ya samAveva samosaraNaM kareMti jAva divve devaramaNe pavatte yAvi hAtthA | tae NaM te bahave devakumArA ya devakumArIo ya samaNassa bhagavao mahAvIrassa puvvabhavacariyanibadhddhaM ca ( devaloyacariyanibadhdaM ca ) cavaNacariyanibadhddhaM ca saMharaNacariyanibadhdaM ca jammaNacariya nibadhdaM ca abhiseyacariyanibadhdaM ca bAlabhAva - cariyanibadhddhaM ca jeovvaNacariyanibadhddhaM ca kAmabhogacariyanibadha ca nikkhamaNacariyanibadhdaM ca tavacaraNacariyanibadhdaM ca (nANupyAyacariyanibadhdaM) ca titthapavattaNacariyanipparinivvANaca riyanibaddhaM ca carimacariyanibadhddhaM ca nAmaM divvaM nahavihiM ubadaMseMti 32 / tae NaM te bahave devakumArA ya devakumAriyAo ya caugvihaM vAitaM vAeMti, taM jahA-tataM vitataM ghaNaM jhusiraM ca / tae NaM te bahave devakumArA ya devakumArIo ya cauvvihaM geyaM gAyaMti, taM jahA - ukkhittaM payattaM maMdAyaM roiyAvasANaM ca / tae NaM te bahave devakumArA ya devakumAriyAo ya caDavvihaM naTTavihi uvadeseMti, taM jahA aMciyaM, ribhiyaM, ArabharDa, bhasolaM ca / tae NaM te bahave devakumArAya devakumAriyAo ya cavvihaM abhiNayaM abhiNayeMti, taM jahA ditiyaM pADitiyaM sAmantAvaNivAiyaM anteomajjhovasANiyaM / tae NaM te bahave devakumArA ya devakumAriyAo ya goyamAiyANaM samaNANaM niggaMthANaM divvaM deviDiM divvaM devajuI divyaM devANubhAgaM divvaM battIsaibaddhakaM nADayaM uvadaMsittA samaNaM bhagavaM mahAvIraM tikkhutto Ayahi payAhiNaM kareMti / 2 vaMdeti namasaMti / 2 jeNeva sUriyAMbhe

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28 rAyapaseNiyasutta deve teNeva uvAgacchanti / 2 sUriyAbhaM devaM karayalapariggahiya sirasAvattaM matthae aMjali kaTTa jaeNaM vijaeNaM vaddhAti / 2 evamANattiyaM paJcappiNati / 25 tae NaM te sUriyAbhe deveM taM divvaM deviDiM divaM devajuI divvaM devANubhAvaM paDisAharai / 2 khaNeNaM jAe ege, egabhUe tae NaM se sUriyAbhe deve samaNaM bhagavaM mahAvIraM tikkhutto AyAhiNapayAhiNaM karei, vaMdai, namasai / 2 niyagaparivAlasaddhiM saMparikhuDe tAmeva divvaM jANavimANaM durUhai / 2 jAmeva disiM pAumbhuyA tAmeva disi paDigayA / ___ 26 "bhaMte!" tti bhagavaM goyame samaNaM bhagavaM mahAvIraM vaMdai namaMsaha / 2 evaM vayAsI-"sUriyAbhassa NaM bhaMte! devassa esA divA deviDDI, divvA devajuI, divve devANubhAve kahiM gae kahiM aNupaviDhe ?" / "gAyama ! sarIraM gae sarIraM aNupaviTTe" / "se keNa?Na bhaMte ! evaM vuzcai,-sarIraM gae sarIraM agupaviThU ?" - "goyama ! se jahAnAmae kUDAgArasAlA siyA duhao littA, duhao guttA, guttaduvArA nivAMyA nivAyagaMbhIrA tIse NaM kUDAgArasAlAe adUrasAmaMte ettha NaM mahege jaNasamUhe ciTThai / tae NaM se jaNasamUhe ege mahaM abbhavaddalagaM vA vAsavaddalagaM vA mahAvAyaM vA ejamANaM pAsai / 2 taM kUDAgArasAla aMto aNupavisittA NaM ciTui / se teNaTTeNaM gAyamA ! evaM vuzcai-sarIraM annupvitte"| 27 , " kahiM gaM bhaMte ! sUriyAbhassa devassa sUriyAbhe nAma vimANe patte ? " /

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rAyapaseNiyasutta 29 " goyamA ! jaMbuddIve dIve maMdarassa pavvayassa dAhiNeNaM imI se rayaNapabhAe puDhavIra bahusamaramaNijA bhUmibhAgAo urdU caMdimasUriyagahagaNana kvattatArArUvANa bahUI joyaNAI bahUI joyagasayAI bahUI joyaNasahassAI bahuI jAyaNa saya saya sahassA iM bahUIo joyaNako DIo bahUIo joyaNasaya sahassakoDIo. u dUraM vIIvattA ettha NaM sohamme-kappe nAmaM kappe pannatte / pAIpa DIAyae udINadAhiNavicchiNNe addhacaMdasaMThANasaMThie accimAlibhAsarAsivaNNAbhe asaMkhejAo joyaNakoDAkoDoo - AyAma vikkhaMbheNaM asaMkhaMjAo joyaNakoDAkoDIo parikkheveNaM, ettha NaM sohammANaM devANaM battIsaM vimANAvAsasayasahassAI bhavatItimakkhAyaM / te NaM vimANA savvarayaNAmayA acchA jAva paDirUvA / tesiM NaM vimANANaM bahumajjhadesabhAe paMcavarDisayA paNNattA, taM jahA - 1 asAyavarDasae 2 sattavaNNavaDisae 3 caMpakavaDisae 4 cUyagavaDisae 5 majhe samvaDisae | te NaM vaDiMsagA savvarayaNAmayA acchA jAva paDiruvA / tassa NaM sohammavADeMsagassa mahAvimANassa puracchimeNaM tiriyamasaMkhejAiM joyaNasaya sahassAI vIIvaittA ettha NaM sUriyAbhassa devarasa sUriyA nAmaM vimANe pannatte / addhaterasa jAyaNasahassAI AyAmavikkhaMbheNaM guNayAlIsaM ca sayasarassAI bAvannaM ca sahassAI arddha ya aDayAle jeoyaNasae parikakhetreNa se NaM egeNaM pAgAreNaM savvao samatA saMparikkhitte / se NaM pAgAre tiNi joyaNasayAI uDDuM uccatteNaM, mUle egaMja - yasa vikkhaMbheNaM, majjhe paNNAsaM jAyaNAI vikkhaMbheNaM, upi paNavIsaM joyaNAI vikkhaMbheNaM, mUle vicchinne, majjhe saMkhitte, utira gopuccha ThANasaMThie savvakaNagAmae acche jAva

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30 rAyapa seNiyasutta 'paDirUve / se NaM pAgAre nANA [maNi] vihapaMcavaNNehiM kavisIsaehi use hi taM jahA - kiNhehiM nIlehiM lohipa hi hAlidehi sukillehiM kavisIsarahiM / te NaM kavisIsagA evaM joyaNaM AyAmeNaM, addhajeoyaNaM vikkhabheNaM, desUNaM joyaNaM uDe uccatteNaM, savvamaNi ( rayaNa) mayA acchA jAva paDiruvA / sUriyAbhassa NaM vimANassa egamegAe bAhAe dArasahassaM 2 bhavai ti akvAyaM / te NaM dvArA paMcajeoyaNasayAI uDe uccatteNaM, aDDAjAI jAyaNasayAI vikkhaMbheNaM, tAvaiyaM ceva paveseNaM seyA varakaNagathUmiyAgA IhAmiyausabhaturaganara magara vihagavAlaga kinnararurusarabhacamarakuMjaravaNalayApaumalayAbhatticittA khaMbhuggayavaravayaraveiyA parigayAbhirAmA vijAharajamalajuyalajaMtajuttapiva aczcisahassamAliNIyA rUvagasahassakaliyA bhimANA bhibbhisamANA cakkhullAyaNalessA suhaphAsA sasirIyarUvA vaNNA dArANaM tesiM hoi / taM jahA - vairAmayA nimmA, riTThamayA 'paDDANA, veruliyamayA sUIkhaMbhA, jAyarUvAvaciyapavara paMcavaNNamaNirayaNAmitalA, haMsagambhamayA eluyA, gomejamayA iMdakIlA 'lohiyakhamaIo dAraceDIo, joIrasamayA uttaraMgA, lohiyakkhamaIo sUIo, vayarAmayA saMdhI, nANAmaNimayA samuggayA, vayarAmayA abhgalA aggalapAsayA, rayayAmayAo AvattaNapeDhiyAo aMkuttarapAsagA, niraMtariyaghaNakavADA bhittI ceva bhittiguliyA chappannA tiSNi hAMti gomANasiyA, taiyA nANAmaNirayaNavAlarUbagalIlaTThiasAlabhaMjiyAgA, kuDDA, rayayAmayA ussehA, savvatavaNijjamayA ullAyA, nANAmaNirayaNajAlapaMjara maNivaM sagalA hiyakkhapaDivaMsagarayayabhAmA, aMkAmayA pakkhA pakkhabAhAo, joirasamayA vaMsA vaMsakavellu vayarAmayA

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rAyapaseNiyasutta 31 yAo, rayayAmayAo paTTiyAo, jAtarUvamaIo, ohADaNIo, vairAmaIo uvaripuMchaNIo, savvaseyarayayAmayAcchAyaNe, aMkAmayA kaNagakUDatavaNijathUbhiyAgA seyA saMkhatalavimalanimmaladadhighaNasAragokhIrapheNarayayaNigarappagAsA tilagarayaNaddhacaMdacittA nANAmaNidAmAlaMkiyA aMto bahiM ca sahA tavaNijavAluyApatthaDA suhaphAsA sassirIyarUvA pAsAIyA darisaNijA abhirUvA pddiruuvaa| 28 tesiM NaM dArANaM ubhao pAse duhao nisIhiyAe solasa 2 caMdaNakalasaparivADIo pannattAo / te NaM caMdaNakalasA varakamalapaiTTANA surabhivaravAripaDipuNNA cadaNakayacaJcagA AviddhakaMTheguNA paumuppalapihANA savvarayaNAmayA acchA jAva paDirUvA mahayA 2 iMdakuMbhasamANA pannattA / samaNAuso! tesiM NaM dArANaM ubhao pAse duhao nisIhiyAe solasa 2 nAgadaMtaparivADIo pannattA / te NaM nAgadaMtA muttAjAlaMtarusiyahemajAlagavakkhajAlakhikhiNI-(ghaMTA)-jAlaparikkhittA a. bhugayA abhiNisiTThA tiriyasusaMpaggahiyA ahepannagaddharUvA pannagasaMThANasaMThiyA sabavayarAmayA acchA jAva paDirUvA mahayA mahayA gayadaMtasamANA pannattA / samaNAusA ! tesu NaM nAgadaMtaelu bahave kiNhasuttabaddhavavagghAriyamalladAmakalAvA, nIlaM', lohiyaM', haliI, sukillasuttavaTTavagdhAriyamalladAmakalAvA, te NaM dAmA tavaNijalaMbUsagA suvaNNapayaramaMDiyagA jAva kannamaNaNitruikareNaM saddeNaM te paese saghao samaMtA ApUremANA 2 sirIe aIva 2 uvasAhemANe ciTThati / tesiM NaM nAgadaMtANaM uvari annAo seolasa selasa nAgadaMtaparivADIo pnnttaa| te NaM nAgadatA taM ceva jAva mahayA 2 gayadaMtasamANA pnnttaa|

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32 rAyapaseNiyasutta / samaNAuso ! tesu NaM nAgadaMtaesu bahave rayayAmayA. sikkagA pannattA / tesu Na rayayAmaesu sikaesu bahave veruliyAmaIyo dhUvaghaDIo pnnttaa| tAo gaM dhUvaghaDIo kAlAgurupavarakuMdurukaturukkadhUvamaghamaghantagaMdhubhyAbhirAmAo sugaMdhavaragaMdhiyAo gaMdhavaTibhUyAo orAleNaM maNuNNeNaM maNaheraNaM ghANamaNicuikareNaM gaMdheNaM te paese sabao samaMtA jAva ciTThati / tesiM NaM dArANaM ubhao pAse duhao nisIhiyAe solasa solasa sAlabhaMjiyAparivADIo pnnttaa| tAo NaM sAlabhaMjiyAo lIlaTTiyAo supaTTiyAo sualaMkiyAo nANAviharAgavasaNAo nANAmallapiNaddhAo muTThigijjhasumajhAo AmelagajamalajuyalavaTTiyaabbhunnayapINaraiyasaMThiyapIvarapaoharAo rattAvaM. gAo asiyakesIo miuvisayapasatthalakkhaNasaMvelliyaggasirayAo IsiM asogavarapAyavasamuTTiyAo vAmahatthaggahiyaggasAlAo IsiM addhacchikaDakkhaciTThieNaM lUsamANIo viva cakkhullAyaNalessehi annamana khijamANIo (viva) puDhavipariNAmAo sAsayabhAvamuvagayAo caMdANaNAo caMdavilAsiNIo caMdaddhasamaNiDAlAo caMdAhiyasomadaMsaNAo ukkA (viva ujjovemANAo) vijjughaNamaricisUradippaMtateyaahiyatarasannigAsAo siMgArAgAracAruvesAo pAsAdIyA darisaNijA abhirUvA paDirUvA ciTThati / 29 tesiM NaM dArANaM ubhao pAse duhao nisIhiyAe solasa-solasa-jAlakaDagaparivADIo pannattA / te NaM jAlakaDagA sanvarayaNAmayA acchA jAva paDirUvA / tesi NaM dArANaM ubhao pAse duhao nisIhiyAe solasa-solasa ghaMTA parivADIo pannattA / tAsiM gaM ghaMTANaM imeyArUve vaNNAvAse

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rAyapasegiya sutta 33 pannatte, taM jahA jaMbUNayAmaIo ghaMTAo, vayarAmayAo lAlAo, nANAmaNimayA ghaMTApAsA, tavaNijamaiyAo saMkhalAo, raya yAmayAo rajao / tAo NaM ghaMTAo ohassarAo mehassa. rAo sIhassarAo duMduhissarAo kuMcassarAo naMdissarAo dighosAo maMjussarAo maMjughosAo sussarAo surasaranigdhosAo urAleNaM maNuNNeNaM maNahareNaM kaNNamaNaNivuikareNaM saddega te paese sabao samaMtA ApuremANoo 2 jAva ciTThati / tesiM NaM dArANaM ubhao pAse duhao nisIhiyAe: seolasa-solasa-vaNamAlAparivADIo pnnttaa| tAo NaM vaNamAlAo nANAmaNimayadumalayAkisalayapallavasamAulAo chappayaparibhujamANA seAhatasassirIyAo pAsAIyAo 4 / teti NaM dArANaM ubhao pAse duio nisIhiyAe selasasolasapagaMThagA pannattA / te NaM pagaMThagA aDrAijAI jAyaNasayA AyAmavikhaMbheNaM; paNavIsaM joyaNasayaM bAhalaleNaM, sabbavayarAmayA acchA jAva paDirUvA / tesiM NaM pagaMThagANaM uvari patteya 2 pAsAyavaDiMsagA pannattA / te pAsAyaDiMsagA adAijAI jAyaNasayAI uI uccatteNaM, paNadhIsaM jAyaNasayaM vikhaMbheNaM, adhbhuggayamusiapakSasiyA iva vivihamaNirayaNabhatticittA vAuduyavijayavejayaMtapaDAgachattAicchattakaliyA tuMgA gagaNatamaNulihaMtasiharA jAlaMtarayaNapaMjarummiliyaba maNikaNagA. bhiyAgA viyasiyasayavattapoMDarIyA tilagarayaNaddhacaMdacittA nANApaNidAmAlaMkiyA aMto bahiM ca saNhA tavaNijavAluyApatthaDA suhaphAptA sassirIyarUvA pAsAdIyA darisaNijjA jAva dAmA uvAre pagaMThagANaM jhayA chattAicchattA / tesi NaM dArANaM ubhao pAse selisa-solasa-toraNA pannattA nANA

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34 rAyapaseNiyasutta maNimayA, nANAmaNimapsu khaMbhesu uvaNiviTThasanniviTThA jAva paumahatthagA / tesiM NaM tAraNANaM purao do do sAlabhaMjiyAo pannattAo, jahA heTThA taheva / tesiM NaM toraNANaM purao nAgadaMtA pannattA, jahA heTThA jAva dAmA / tesiM NaM toraNANaM purao do do hayasaMghADA gayasaMghADA narasaMghADA kinnarasaMghADA kiMpurisaghADA mahAragasaMghADA gaMdhavvasaMghADA usahasaMghADA savvarayaNAmayA acchA jAva paDirUvA / evaM vIhIo paMtoo mihuNAI / tesiM NaM toraNANaM purao do do paumalayAo jAva sAmalayAo niccaM kusumiyAo savvarayaNAmayA acchA jAva paDirUvA / tesiM NaM toraNANaM purao do do akkhaya- (disA ) - sAvatthiyA pannattA / savvarayaNAmayA acchA jAva paDirUvA / tesi NaM toraNANaM purao do do caMdaNakalasA pannattA / te NaM caMdaNakalasA varakamalapaiTTANA taheva / tesi NaM toraNANaM odo dA bhiMgArA pannattA / te NaM bhiMgArA varakamalapaTTANA jAva mahayA mattagayamuhAkiisamANA pannattA / samANAuso ! tesiM NaM toraNANaM purao do do AyaMsA pannattA / tesiM NaM AsANaM imeyArUve vaNNAvAse pannatte / taM jahA - tavaNijamayA pagaThagA vehaliyamayA thaMbhayA vaharAmayA dovAraMgA nANAmaNimayA maMDalA agugdhasiyanimmalAe chAyAe samaNubaddhA caMdamaMDalapaDiNikAsA mahayA addhakAyasamANA pannattA / samaNAuso ! tesiM NaM toraNANaM purao do do varanAbhathAlA pannattA / acchaticchaDiyasAlitaM dulaNahasaMdaTThapaDipuNNA iva ciTTheti savyajaMbUNayamA jAna paDirUvA, mahayA 2 rahacakkavAlasamANA pannattA / samaNa use ! tesiM NaM toraNANaM purao do do pAIo, tAo NaM pAIo acchodgaparihatthAo nANAmaNipaMcavaNNarasa phalahari

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rAyapaseNiyasutta 35 yagassa bahupaDipuNNAo vivaM ciTuMti / savvarayaNAmaIo acchA jAva paDirUvA, mahayA mahayA gokilaMjayacakkasamANIo pnnttaao| samaNAuso ! tesiM gaM toraNANaM purao do do supaTTA pannattA / nANAvihabhaMDaviraiya iva ciTuMti sabarayaNAmayA acchA jAva paDirUvA / tesiM gaM toraNANaM purao do do maNaguliyAo pannattA / tAsu NaM maNaguliyAsu bahave suvaNNaruppamayA phalagA pnnttaa| telu NaM suvaNNaruppamaesu 'phalagelu bahave vayarAmayA nAgadaMtayA pannattA / tesu NaM vayarAmaelu nAgadaMtelu bahave vayarAmayA sikagA pannattA / telu NaM vayarAmaelu sikkagelu kiNhasuttasikkagavacchiyA nIlasuttasikagavacchiyA lohiya uttasikagavacchiyA hAlihasuttasikagavacchiyA sukillasuttasikagavacchiyA bahave vAyakaragA pannattA / samve veruliyamayA acchA jAva paDirUvA / tesi gaM toraNANaM purao do do cittA rayaNakaraMDagA pannattA / se jahAnAmae rano cAuraMtacakavaTTissa citte rayaNakaraMDae veruliyamaNilihapaDala'paJcoyaDe sAe pahAe te paese savao samatA obhAsai ujjovei tavai bhAsada evAmeva te vi cittA rayaNakaraMDagA sAe pabhAe te paese savao samaMtA obhAsaMti ujjeoveMti tavaMti pgaasNti| tersi NaM tAraNANaM purao do do hayakaMThA gayakaMThA narakaMThA kinna - rakaMThA kiMpurisakaMThA mahoragakaMThA gaMdhavakaMThA usabhakaMThA saJavayarAmayA acchA jAva paDirUvA / tesu NaM hayakaMThae su jAva usa. bhakaMThaesu do do pupphacaMgerIo (mallacaMgerIo) cuNNacaMgerIo (gaMdhacaMgerIo) batthacaMgerIo AbharaNacaMgerIo siddhatthacaMgerIo lomahatthacaMgerIo pnnttaa| sabarayaNAmayAo acchAo jAva pddiruuvaao| tAsuM NaM puSphacaMgerIyAsu jAva lomahatthacaMge

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36 rAyapaseNiyasutta rItu do dA puSphapaDalagAI jAva lAmahatthapaDalagAI sancarayaNAmayAI acchAI jAva paDirUvAI / tesiM the toraNANaM purao do do sIhAsaNA pnnttaa| tesiM gaM sIhAsaNANaM vaNNao jAva dAmA / tesiM gaM toraNANaM purao do do ruppamayA chattA pnnttaa| te chattA veliyavimaladaMDA jaMbUNayakaNNiyA varasaMdhI muttAjAlaparigayA aTTasahassavarakaMcaNasalAgAdaharamalayaptugaMdhI samvouyasurabhI sIyalacchAyA maMgalabhatticittA caMdAgArovamA / tesiM NaM toraNANaM purao do do cAmarAo pnnttaa| tAo NaM cAmarAo caMdappabhaveruliyavaranANAmaNirayaNavaciyacittadaMDAo) nANAmaNikaNagarayaNavimalamaharihatavaNijjujalavicittadaMDAo valliyAo saMkhaMkakuMdadagarayaamayamahiyapheNapuMjasannigAsAo suhumarayayadIhavAlAo sanvarayaNAmayAo acchAo jAva paDirUvAo / tesiM NaM toraNANaM purao do do tellasamuggA kATThasamuggA pattasamuggA coyagasamuggA tagarasamuggA elAsamuggA hariyAlasamuggA hiMgulayasamuggA maNeAsilAsamuggA aMjaNasamuggA sagharayaNAmayA. acchA. jAva paDirUvA / - 30 sUriyAbhe NaM vimANe egamege dAre aTTasayaM cakkajhayANaM aTThasaya miyajjhayANaM garulajjhayANaM chattajjhayANaM picchanjhayANaM sauNijjhayANaM sIhajjhayANaM usahajjhayANaM aTThasayaM seyANaM cauvisANANaM nAgavarakeUNaM evAmeva sapucAvareNaM sUriyAbhe vimANe egamege dAre asII keusahassaM bhavai tti akkhAyaM / sUriyAbhe vimANe pannardi pannaTTi bhegamA pannattA / tesi NaM bhAmANaM bhUmibhAgA ulloyA ya bhANiyabvA / tesiM NaM bhomANaM ca bahumajjhadesabhAe patteyaM

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rAyapaseNiyasutta pattayaM sIhAsaNe, sohAsaNavaNNao saparivArAo, avasesesu bhomesu patteyaM patteyaM bhaddAsaNA pannattA / tesiM NaM dArANaM uttamAgArA solasavihIhiM rayaNehiM uvasohiyA, taM jahA rayaNehi jAva riTThehiM / tesi NaM dArANaM upiM aTThaTThamaMgalagA sajjhayA jAva chattA icchattA, evAmeva saputrAvareNaM suriyAbhe vimANe cattAri-dArasahassA bhavaMti tti akkhAyeM / asogavaNe sattavaNNavaNe pagavaNe cUyagavaNe, suriyAbhassa vimANassa cauddisiM paMcajoyaNasayAI abAhAe cattAri vaNasaMDA pannattA / taM jahApuracchimeNaM aseogavaNe, dAhiNeNaM sattavaNNavaNe, paJcatthimeNaM caMpagavaNe, uttareNaM cUyagavaNe / te NaM vaNasaMDA sAiregAI addhaterasa joyaNasayasahassAiM AyAmeNaM, paMca-joyaNasayAI vikkhaMbheNaM, patteyaM patteyaM pAgAraparikkhittA kivhA kiNhAbhAsA ghaNasaMDavaNNao / 37 31 tesiM NaM vaNasaMDANaM aMta bahusamaramaNijA bhUmibhAgA, se jahA nAmae AliMgapukkhare ti vA jAva nANAvipaMcavaNNehiM maNIhiMya taNehiM ya uvaseohiyA / tesi NaM gaMdhA phAso nevA hakkama | "tesiM NaM bhaMte! taNANaM ya maNINaM ya puvvAvaradAhiNuttarApahi vAehiM maMdANaM eiyANaM veiyANaM kaMpiyANaM cAliyANaM phaMdiyANaM ghaTTiyANaM khohiyANaM udIriyANaM kerisae sadde bhava ? | goyamA ! se jahA nAmae sIyAe vA saMdamANIe vA rahassa vA sachattassa sajjhayassa saghaMTassa sapaDAgarasa satAraNavarassa sanaMdighAsassa saMkhikhiNihemajAlaparivittassa hemavayacittatiNisakaNagaNijjuttadAkhyAyassa susaMpi "" 88 ddhAragamaMDaladhurAgassa kAlAyasasukayaNemijaMtakammassa AiNNacaraturagasusaMpauttassa kusalanaraccheya sArahisusaMparaMga hisse sarasayabattIsa toNaparimaMDiyassa sakaMTakAvayaMsagassa sacAvasa

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rAyapaseNiyasutta rapaharaNAvaraNabhariyajujjhasajassa rAyaMgaNaMsi vA rAyateuraMsi vA rammasi vA maNikuTTimatalaMsi abhikkhaNaM abhighaTTijamANassa vA niyaTTijamANassa vA orAlamaNoNNA kaNNamaNanivvuikarA sadA savao samaMtA abhiNissavaMti, bhaveyArUve siyA ? / no iNa? sasama / se jahANAmae veyAlIyavINAe uttaramaMdAmucchiyAe aMke supaiTTiyAe kusalanaranArisusaMparigahiyAe caMdaNakANapariyaTTiyAe pudharattAvarattakAlasamayaMsi maMda maMda veiyAe paveiyAe cAliyAe ghaTTiyAe khobhiyAe udIriyAe orAlA maNuNNA maNaharA kaNNamaNanivvuikarA saddA savao samatA ahiNissarvati, bhaveyArUve siyA ? / yo iNa? samaTe / se jahANAmae kinnarANa vA kiMpurisANa vA mahAragANa vA gaMdhavvANa vA bhaddasAlavaNagayANaM vA naMdaNavaNagayANaM vA somaNasavaNagayANaM vA paMDagavaNagayANaM vA himavaMtagacchaMgayamalayamaMdaragiriguhAsamannAgayANaM vA egao sannihiyANaM samAgayANaM sannisaNNANaM samuvaviTThANaM pamuiyapakkIliyANaM gIyaraigaMdhavahasiyamaNANaM gajja pajja katthaM geyaM payabaddhaM pAyabaddhaM ukkhittAyaM payattAyaM maMdAya roiyAvasANaM sattasarasamannAgayaM chadAsavippamukaM ekkArasAlaMkAraM aTTaguNovaveyaM guMjaMtavaMsakuharovagUDhaM rattaM tiTThANakaraNasuddhaM sakuharaguMjaMtavaMsataMtItala. tAlalayagahasusaMpauttaM mahuraM samaM sulaliyamaNoharaM mauyaribhiyapayasaMcAraM suNati varacArurUvaM divvaM narse sajjaM geyaM pagIyANaM, bhaveyArUve siyA ?" "haMta siyA !" / 32 tesiMNaM vaNasaMDANaM tattha tattha tahiM tahiM dese dese bahUo khuDDAkhuDDiyAo vA vAvIyAo pukkhariNIo dIhiyAo guMjAliyAo sarapaMtiyAo bilapaMtiyAo acchAo sahAo

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rAyapaseNiyasutta rayayAmayakUlAo samatIrAo rayayAmayapAsANAo tavaNijatalAo suvaNNasubbharayayavAluyAo - veruliyamaNiphAliyapaDalapaJcoyaDAo suoyArasuuttArAo nANAmaNisubaddhAo caukoNAo agupuvasujAyagaMbhIrasIyalajalAo saMchannapattabhisamuNAlIo bahuuppalakumuyanaliNasubhagogaMdhiya poMDarIyasayavattasahassapattakesaraphullovaciyAo chappayaparibhujamANakamalAo acchavimalasalilapuNNAo appegaiyAo AsavoyagAo, appegaiyAo kheoroyagAo, appegaiyAo ghaoyagAo, appegaiyAo khIroyagAo, appegaiyAo, khAroyagAo, appegaiyAo uyagaraseNa paNNattA pAsAdIyA darisaNijA abhirUvA paDirUvA / tAsiM NaM vAvINaM jAva bilapaMtINaM patteyaM 2 caudisiM cattAri tisevANapaDirUvagA pnnttaa| tesiM NaM tisAvANapaDirUvagANaM vaNNao, toraNANaM jhayA chattAicchattA ya neyvvaa| tAsuM gaM khuDDAkhuDDiyAsu vAvIsu jAva bilapaMtiyAsu tattha 2 dese bahave uppAyapavvayagA niyaipavvayagA jagaipavvayagA dArui. japabvayagA dagamaMDavA dagaNAlagA dagamaMcagA usaDDA khuDDakhuDDagA aMdAlagA pakkhadAlagA savvarayaNAmayA acchA jAva pddiruuvaa| telu Ne uppAyapanvaesu jAva pakkhaMdolaesu bahUI hasAsaNAI kAMcAsaNAI garulAsaNAI uNNayAsaNAI paNayAsaNAI dIhAsaNAI pakkhAsaNAI bhadAsaNAI usahAsaNAI sIhAsaNAI paumAsaNAI disAsevitthiyAsaNAI savvarayaNAmayAiM acchAI jAva pddiruuvaaii| telu NaM vaNasaMDesu tattha tattha tahi tahiM dese dese bahave AligharagA mAliyagharagA kayaligharagA layAgharagA acchaNagharagA picchaNagharagA maMDaNagharagA pasAhaNagharagA gabbhagharagA mohaNagharagA sAlagharagA jAlagharagA cittagharagA kustumagharagA gaMdhagharagA

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rAyapaseNiyasutta AyaMsagharagA savvarayaNAmayA acchA jAva paDiruvA / tesu NaM Aligharagesu jAva gaMdhavvagharagesu tahiM 2 gharapasu bahuI haMsAsaNAI jAva disAseAvatthiyAsaNAI savvarayaNAmayAI jAva paDaruvAI | tesu NaM vaNasaMDesu tattha tattha dese 2 tahi 2 bahave jAimaMDavagA jUhiyamaMDavagA navamAliyamaMDavagA vAsaMtimaDavagA sUramalliya maMDavagA dahivAsuyamaMDavagA taMbolImaMDavagA muddiyA maMDavagA nAgalayAmaMDavagA aimuttayalayAmaMDavagA akAvagAmAlayAmaMDavagA acchA savvarayaNAmayA jAva paDirUvA / te NaM jAimaMDavapasu jAva mAnuyAmaMDavesu bahave puDhavisilApaTTagA haMsAsaNasaMThiyA jAva disAsAvatthiyAsaNasaMThiyA aNNe ya vahave salaghuvisisaThANasaMThiyA puDhavisilApaTTagA pa NNattA / smnnaause| ! AINagarUyabUraNavaNIyatUlaphAsA savvarayaNAmayA acchA jAva paDirUvA / tattha NaM bahave vemANiyA devA ya devIo ya Asayati sayaMti vidveti nisIyaMti tuyati hasaMti ramaMti lalaMti kIlaMti kiti moheMti purA porANANaM suiNNANa supaDikaMtAna suhANa kaDANa kammANa kalANANa kallANaM phala vivAyagaM paJcaNuJbhavamANA viharati / 1 33 tesiM NaM vaNasaMDANaM bahumajjhadesabhAe patteyaM 2 pAsA - yavaDiMgA paNNattA / te NaM pAsAyavaDisagA paMcajeAyaNasayAI uDDa uccateNaM, aDDAijjAI jAyaNasayAI vikkhaMbheNaM abbhugayamUsiyapahasiyA iva / taheba bahusamaramaNijabhUmibhAgo ullAo sIhAsaNaM saparivAraM / tattha NaM cattAri devA mahiDiyA jAva palaovamaTTi * iyA parivasaMti, taM jahA - asoe sattapaNe caMpae cUe / suriyAbharasaNaM devavimANassa aMtA bahusamaramaNije bhUmibhASa paNNatte / taM jahA vaNasaMDaviNe jAva bahuve vemANiyA devA devIo ya A 40

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rAyapaseNiyasutta - saMyaMti jAva viharati / tassa NaM bahusamaramaNijassa bhUmibhAgassa bahumajjhadese ettha NaM mahege uvagAriyAlayaNe paNNatte / egaM joyaNasayasahassaM AyAmavikkhaMbheNaM, tiNijeoyaNasaya sahassAI solasaharasAI doNi ya sattAvIsaM jAyaNasae tiNi ya kAse aTThAvIsa ya dhaNusayaM terasa ya aMgulAI arddhagulaM ya kiMcivisesUNaM parikkheveNaM, jeoyaNabAhalleNaM, savvajaMbUNayAmae acche jAva paDirUve | 41 34 se NaM egAe paumavaraveiyAe egeNa ya vaNasaMDeNa ya savvao samatA saMparikkhitte sA NaM paramavaraveiyA addhajoyaNaM u uccatteNaM paMcadhaNusayAI vikkhaMbheNaM uvagAriyAleNasamA parikkheveNaM / tIse NaM paumavaraveiyAe imeyArUve vaNNAvAse pa te / taM jahA vayarAmayA nimmA, riTThAmayA paTTANA, veruliyAmayA khaMbhA, suvaNNappamayA phalagA, lohiyakkhamaIo sUIo, nANAmaNimayA kaDevarA, nANAmaNimayA kaDevarasaMghADagA, nANAmaNimayA rUvA, nANAmaNimayA rUvasaMghADagA, aMkAmayA pakkhabAhAo, joirasAmayA vaMsA vaMsakavellugA, rayayAmaIo paTTayAo, jAyarUvamaI ohADaNI, vairAmayA uvaripuMchaNI, savvarayaNAmaI acchAyaNe / sA NaM paumavaraveiyA egamegeNaM hemajAleNaM gavakkhajAleNaM khiMkhiNIjAleNaM ghaMTAjAleNaM muttAjAleNaM maNijAleNaM kaNagajAleNaM rayaNajAleNaM paumajAleNaM savvao samaMtA saMparikkhittA / te NaM dAmA tavaNijalaMbUsagA jAva ciTTheti / tIse NaM paumavara vezyAe tattha 2 dese 2 tarhi 2 bahave hayasaMghADA jAva usahasaMghADA savvarayaNAmayA acchA jAva paDirUvA pAsAdIyA 4 jAva vIhIo paMtIo mihuNANi layAo / " se keNaTTeNaM bhaMte ! evaM uccai - paumavara vezyA 2 ? 2.9 "go 1

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42 rAyapaseNiyasutta yamA ! paumavaraveiyA NaM tattha 2 dese 2 tahiM 2, veiyAsu veiyAbAhAsu ya veiyAphalaesu ya veiyApuDataresu ya khaMbhesu khaMbhabAhAsu khaMbhasIsesu khaMbhapuDataresu sUIsu suImuhesu suIphalaesu suIpuDaMtaresu pakkhesu pakkhabAhAsu pakkhaperatesu pakkhapuDaMtaresu bahuyAI uppalAI paumAiM kumuyAI naliNAI subhagAI segiMdhiyAI puMDarIyAI mahApuMDarIyANi sayavattAI sahassavattAI savvarayaNAmayAI acchAI paDirUvAI mahayA vAsikachattasamANAiM paNNattAI / samaNAuso ! se eeNaM aTreNaM gAyamA ! evaM uccai paumavaraveiyA 2 / " "paumavaraveiyA NaM bhaMte ! kiM sAsayA0 ?" " goyamA ! siya sAsayA siya asaasyaa|" " se keNadeNaM bhaMte ! evaM vuccai-siya sAsayA siya asAsayA / ? " " gAyamA ! davaTTayAe sAsayA, vaNNapajavehiM gaMdhapajavehi rasapajavehiM phAsapajavehiM asAsayA / se teNaTeNaM gAyamA ! evaM buccai-siya sAsayA siya asaasyaa|" " paumavaraveiyA NaM bhaMte ! kAlao kevaciraM hAi ?" "goyamA ! na kayAvi nAsi na kayAvi natthi na kayAvi na bhavissai, bhuvaM ca havai ya bhavissai ya, dhuvA niiyA sAsayA akkhayA avvayA avaTiyA niccA pumvrveiyaa"| se NaM vaNasaMDe desUNAI do joyaNAI cakavAlavikkhaMbheNaM uvagAriyAleNasame parikkheveNaM vaNasaMDavaNNao bhANiyavvo jAva viharati / tassa Na uvagAriyAleNassa cauhisiM cattAri tisAvANaDarUvagA paNNattA, vaNNao toraNA jhayA chattAicchattA / tarasa NaM uvagAriyAlayaNassa uvariM bahusamaramaNije bhUmibhAge patte jAva maNINaM phAso / 35 tassa NaM bahusamaramaNijassa bhUmibhAgassa bahumajjhadesabhAe ettha NaM mahege pAsAyacaDiMsara paNNatte / seNaM pAsAyaDiM

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rAyapa seNiyasutta 43. sarapaMca joyaNasayAI uhUM uccatteNaM aDDAijAI jAyaNasayAI vikkhaMbheNaM abbhuggayamUsiya vaNNao / bhUmibhAgo ullAo sIhAsaNaM saparivAraM bhANiyavvaM aTThaTThamaMgalagA jhayA chattA icchattA / se NaM mUlapAsAyavaDisae aNNehiM cauhiM pAsAyavaDisaehiM tayaduccattappamANamettehiM savvao samatA saMparikkhittA / teNaM pAsAyavarDisagA aDDA ijAI jAyaNasayAI uDUM uccatteNaM paNavIsaM joyaNasayaM vikkhaMbheNaM jAva vaNNao / te NaM pAsAyavaDiMsayA aNNehiM cauhiM pAsAyavaDisaehi tayaduccattappamANamettehiM sao samaMtA saMparikkhittA / te NaM pAsAyavaDiMsayA paNavIsaM jAyaNasayaM uhUM uccattaNaM, bAvaTThi jAyaNAraM addhajeoyaNaM ca vikkhabheNaM adhbhumAyamUsiya vaNNao / bhUmibhAge ullAo sIhAsaNaM saparivAraM bhANiyavvaM, aTThaTThamaMgalagA jhayA chattAhacchattA / te NaM pAsAyavaDiMsagA aNNehiM cauhiM pAsAyavaDiMsAhiM tayaduccattappamANamettehiM savvao samatA saMparikkhittA / te NaM pAsAyavarDisagA bAvaDiM jAyaNAI addhajeoyaNaM ca uDa uccattaNaM ekatIsaM joyaNAI kAsaM ca vikkhaMbheNaM vaNNao / ullAo sIhAsaNaM saparivAraM pAsAyauvariM aTThaTTamaMgalagA jhayA chattAicchattA / - 36 tassa NaM mUlapAsAyavaDisayassa uttara puracchimeNaM. ettha NaM sabhA suhammA paNNattA / egaM jAyaNasayaM AyA meNaM, paNNAsaM jAyaNAI vikkhaMbheNaM, bAvantariM joyaNAI uDDa uccateNa, agakhaM bhasayasanniviTThA abbhugayasukayavayara veiyAtAraNava rarayasAlabhaMjiyA jAva accharagaNasaMghaviSpakaNNA pAsAIyA 4 / sabhAe NaM suhammAe tidisiM tao dvArA paNNattA / taM jahA

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rAyapaseNiya sutta purasthimeNaM dAhiNeNaM uttareNaM / te NaM dArA selasajAyaNAI uI uccattaNaM, aTTajoyaNAI vikkhaMbheNaM, tAvazyaM ceva paveseNa seyA varakaNagathUbhiyAgA jAva vaNamAlAo / tesi NaM dArANaM uvari aTTamaMgalagA jhayA chttaaicchttaa| tesi NaM dArANaM purao patteyaM 2 muhabhaMDavA paNNattA / te NaM muhamaMDavA ega joyaNasayaM AyAmeNaM, paNNAsaM jAyaNAI vikkhabheNaM, sAiregAI solasa jAyaNAI uI uccatteNa, vaNNao sabhAe sriso| tesiM NaM muhamaMDavANaM tidisi tao dArA paNNattA, taM jahA-purasthimeNaM dAhiNeNaM uttareNaM / te NaM dArA selisa joyaNAI uDDU uccattaMga, aDDa. joyaNAI vikhaMbheNaM, tAvaiyaM ceva paveseNaM seyA varakaNagathUbhiyAgA jAva vnnmaalaao| tesiM NaM muhamaMDavANaM bhUmibhAgA ullaayaa| tesiM NaM muhamaMDavANaM uvariM aTThamaMgalagA jhayA chattAicchattA / tesiM NaM muhamaMDavANaM purao pattatha 2 pecchAgharamaNDave paNNatte, muhamaMDavavattavayA jAva dArA bhUmibhAgA ullAyA / tesiM gaM bahusamaramaNijANaM bhUmibhAgANaM bahumajjhadesabhAe pattaya 2, vairAmae akkhADae paNNatte / tesiM NaM vairAmayANaM akkhADayANaM bahumajjhadesabhAe patteyaM 2 maNipeDhiyA paNNattA / tAo NaM maNipeDhiyAo aTThAyaNAI AyAmavikkhaMmeNaM, cattAri jAyaNAI bAhalleNaM, savvamaNimaIo acchAo jAva pddiruuvaao| tAsiM NaM maNipeDhiyANaM uvari pattaya 2 sIhAsaNe paNNatte / sIhAsaNavaNNao saparivAro / tesiM NaM pecchAgharamaMDavANaM purao patteya 2 maNipeDhiyAo pnnnnttaao| tAo NaM maNipeDhiyAo seolasajAyaNAI AyAmavikkhaMbheNaM aTThajoyaNAI bAhalleNaM savvamaNimaIo acchAo jAva pddiruuvaao| tesiM NaM uvari patteyaM 2 thUbhe paNNatte / te NaM thUbhA selisa

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45 rAyapaseNiyasutta . jAyaNAI AyAmavikkhabheNaM, sAiregAI selasajAyaNAI ur3a uccattaNa, seyA saMkhakakuMdadagarayaamayamahiyapheNapuMjasaMnigAsA savarayaNAmayA acchA jAva paDirUvA / tesiM NaM thUmANaM uri aTTamaMgalagA jhayA chattAicchattA / tesiM NaM thUbhANaM caudisiM pattaya 2 maNipeDhiyAo paNNattAo / tAo NaM maNipeDhiyAo aTTajAyaNAI AyAmavikkhaMbheNaM, cattAri joyaNAI bAhalleNaM savvamaNimaIo acchAo jAva paDirUvAo / tesiM gaM maNipeDhiyANaM uvariM cattAri jiNapaDimAo jiNussehapamANamettAo saMpaliyaMkanisannAo thUbhAbhimuhIo sannikkhittAo cittuNti| taM jahA-usabhA 1, vaddhamANA 2, caMdANaNA 3, vAriseNA 4 / tesiM NaM thUbhANaM purao patteyaM 2 maNipeDhiyAo pnnnnttaao| tAo NaM maNipeDhiyAo solasajAyaNAI AyAmavikkhaMbheNaM, aTThajoyaNAI bAhalleNaM sabamaNimaIo jAva paDirUvAo / tAsi NaM maNipeDhiyANaM uvari pattaya 2 ceiyarukkhe paNNatte / te NaM ceiyarukkhA aTTajoyaNAI uI uccattaNa, aTThajoyaNAI uvveheNaM, do joyaNAI khaMdhA addhajAyaNaM vikkhaMbheNaM chajoyaNAI viDimA bahumajhadesabhAe aTThajoyaNAI AyAmavikkhaMbheNaM sAiregAiM aTThajAyaNAI savvaggeNaM paNNattA / tersi NaM ceiyarukkhANaM imeyArUve vaNNAvAse paNNatta / taM jahA-cayarAmayA mUlA, rayayasupaiTThiyA suviDimA, riTAmayaviulA kaMdA, veruliyA ruilA khaMdhA, sujAyavarajAyarUvapaDhamagA visAlasAlA, nANAmaNimayarayaNavivihasAhappasAhaveruliyapattatavaNijapattabiMTA jaMbUNa yarattamauyasukumAlapavAlasobhiyA varaMkuraggasiharA vicittamaNirayaNasurahikusumaphalabhareNanamiyasAlA ahiyaM maNanayaNanivvuikarA amayarasasamarasaphalA sacchAyA sappabhA sassirIyA sau

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46 rAyapaseNiyasutta jjoyA pAsAIyA 4 / tesi NaM ceiyarukkhANaM uri aTramagalagA jhayA chttaahcchttaa| tesi NaM ceiyarukkhANaM purao pattaya 2 maNipeDhiyAo paNNattAo / tAo NaM maNipeDhiyAo aTThajoya. NAI AyAmavikkhaMbheNaM, cattArijAyaNAI bAhalleNaM, savarmANamaIo acchAo jAva paDarUvAo / tAsi NaM maNiDhiyANaM uvariM pattaya 2 mahiMdajhayA paNNattA / te NaM mahiMdajjhayA saTTijAyaNAI urdU uccatteNaM, joyaNaM uvveheNaM, joyaNaM vikkhaMbheNaM, vairAmayAvaTTalaTThasusiliTThaparighaTTamaTTasupaiTTiyA visiTTA aNegavarapaMcavaNNakuDabhisaharasaparimaMDiyAbhirAmA / vAuduyavijayavejayaMtIpaDAgA chattAicchattakaliyA tuMgA gayaNatalamabhilaMghamANasiharA pAsAIyA 4 / aTThamaMgalagA jhayA chttaaicchttaa| tesiM NaM mahidajhayANaM purao patteya 2 naMdApuSakhariNIo paNNasAo / tAo NaM puriNIo egaM jAyaNasayaM AyAmeNaM pannAsaM jAyaNAI vikkhaMbheNaM dasajAyaNAI uvveheNaM acchAo jAva vaNNao / egaiyAo udgaraseNaM paNNattAo patteyaM 2 paumavaraveiyAparikkhittAo patteyaM 2 vnnsNddprikkhittaao| tAsi NaM naMdApukkhariNINaM tidisiM tisovANapaDirUvagA paNNattA / tisovANapaDirUvagANaM vaNNao, toraNA jhayA chattAicchattA / sabhAe NaM sohagmAe aDayAlIsaM maNAguliyAsAhasIo pnnnnttaao| taM jahA-pucchimeNaM solasa-sAhassIo, paJcasthimeNaM seolasasAhassIo, dAhiNeNaM aTusAhassIo, uttareNaM atttthsaahssiio| tAsu NaM moguliyAsu bahave suvaNNaruppamayA phalagA pnnnnttaa| tesa NaM suvaNNaruppamapasu phalagesu bahave vairAmayA nAgadaMtA paNNattA / tesu NaM vairAmaesu nAgadaMtaesu kiNhasuttavaTTavagdhAriyamalladAmakalAvA ciTuMti / sabhAe NaM

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rAyapaseNiyasutta sAhammAe aDayAlIsaM gAmANasiyAsAhassIo paNNattAo, jA moguliyA jAva nAgadaMtagA / telu NaM nAgadaMtaesu bahave rayayAmayA sikagA paNNatA / tesu NaM rayayAmaesu sikagesu bahave veruliyAmaIo dhUvaghaDiyAo paNNattAo / tAo NaM dhUrvavaDiyAo kAlAgurupavara jAva ciTuMti / sabhAe NaM suhammAe aMtA bahusamaramaNije bhUmibhAge paNNatte jAva maNIhiM uvasAbhie maNiphAseA ya ulloyao ya / tassa gaM bahusamara. maNijassa bhUmibhAgassa bahumajjhadesabhAe ettha NaM mahegA maNipeDhiyA paNNattA / selasajAyaNAI AyAmavikkhaMbheNaM, aTTa. jAyaNAI bAhalleNaM, savamaNimaI jAva pddiruuvaa| tIse gaM maNipeDhiyAe uvariM ettha NaM mANavae ceiyakhaMbhe paNNatte / saTTi joyaNAI ur3e uccatteNaM, jAyaNaM uvveheNaM, joyaNaM vikkhaMbheNaM aDayAlIsaM asie,aDayAlIsaikADIe aDayAlIsaittimgahie / sesaM jahA mahiMdajjhayassa mANavagassa NaM ceiyakhaMbhassa uvariM bArasajAyaNAI ogAhittA heTTAvi bArasajoyaNAI vajjettA majhe battiptAe jAyaNetu ettha gaM bahave suvaNNaruppamayAphalagA paNNattA / tesu NaM suvaNNaruppamaesu phalaema bahave vairAmayA nAgadaMtA paNNattA / tenu NaM vazrAmaesu nAgadaMtesu bahave rayayAmayA sikagA paNNattA / tesu NaM rayayAmaesu sikaepsu bahave vairAmayA gAlavaTTasamuggayA paNNattA / tesu NaM vArAmae lu golavaTTasamuggae su bahave jiNasakahAo saMnikkhittAo ciTThati / tAo NaM sUriyAbhassa devassa annesiM ca bahaNaM devANa ya devINa ya accaNijjAo jAva pajjuvAsaNi. jAo mANavagassa ceiyakhaMbhassa uvariM aTThamaMgalagA jhayA chttaaicchttaa|

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rAyapaseNiyasutta 37 tassa mANavagassa ceiyakhaMbhassa puracchimeNaM ettha NaM mahegA maNipeDhiyA paNNattA / aTThajoyaNAI AyAmavikkhaMbheNaM, cattArijoyaNAI bAhalaleNa, sambarmANamaI acchA jAva paDirUvA / tIse NaM maNipeDhiyAe uvari ettha NaM mahege sIhAsaNa0 va. paNao saparivAro / tassa NaM mANavagassa ceiyakhaMbhassa paJcasthimeNaM ettha NaM mahegA maNipeDhiyA paNNattA, aTTajoyaNAI AyAmavizkhaMbheNaM, cattArijoyaNAiM bAhalleNaM, savvamaNimaI acchA jAva paDirUvA / tIse NaM maNipeDhiyAe uvari eratha NaM mahege devasayaNijje paNNatte / tassa NaM devasaNijassa imeyArUve vaNNAvAse paNNatta / taM jahA-nANAmaNimayApaDipAyA, seAvaNNiyApAyA, nANAmaNimayAI pAyasIsagAI, jaMbUNayAmayAI gattagAI, nANAmaNimae vicce,rayayAmayA tUlI, tavaNijamayA gaMDAvahANayA, lohiyakkhamayA bibbAyaNA, se Na sayaNijje ubhao bibboyaNaM duhao uNNae majjhe nayagaMbhIre sAliMgaNavaTTie gaMgApuliNavAluyA uddAlasAlisae suviraiyarayattANe uciyakhAmadugullapaTTapaDicchAyaNe rattaMsuyasaMvue suramme AINagarUyabUraNavaNIyatUlaphAse maue / 38 tassa NaM devasayaNijassa uttarapuracchimeNaM mahegA maNipeDhiyA pannattA / aTThajoyaNAI AyAmavikkhaMbheNaM, cattArijAyaNAI bAhalaleNaM, savamaNimaI jAva-paDirUvA / tIse NaM maNi. peDhiyAe uvariM ettha NaM mahege khuDDae. mahiMdajjhae pannanne / sarTi joyaNAI uI uccatteNaM, joyaNaM vikhaMbheNaM, vairAmayAvaTTalaTTasaMThiyAlusiliTTA jAva paDirUvA / uvari aTTamaMgalagA jhayA chattAicchattA / tassa NaM khuDDAgamahiMdajjhayassa paJcatthimeNaM ettha NaM sUriyAbhassa devassa coppAle nAma paharaNakAse pannatte,

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rAyapaseNiyasutta savvavairAmae acche jAva paDirUve / tattha NaM sUriyAbhassa devassa phaliharayaNakhaggagayAdhaNuppamuhA bahave paharaNarayaNA saMnikkhittA ciTrati / ujjalA nisiyA : sutikkhadhArA pAsAdIyA 4 / sabhAra NaM suhammAe uvariM aTThamaMgalagA jhayA chattAicchattA / 39 sabhAe NaM suhammAe uttarapuracchimeNaM ettha NaM mahege siddhAyataNe pannatte / ega jAyaNasayaM AyAmeNaM, pannAsa jAyaNAI vikhaMbheNaM, bAvattari jAyaNAI uI uccattaNa, sabhAgameNaM jAva gomANasiyAo bhUmibhAgA ullAyA taheva / tassa gaM siddhAyataNassa bahumajjhadesabhAe ettha NaM mahegA maNipeDhiyA pannattA / selasajAyaNAI AyAmavikkhaMbheNaM aTTajoyaNAI baahlennN| tIse NaM maNipeDhiyAe uvari ettha NaM mahege devachaMdae pannatte / seolasajAyaNAI AyAmavikkhaMbheNaM sAiregAiM seolasajoyaNAI uDU uccattega, savarayaNAmae jAva paDirUve / ettha NaM aTTasayaM jiNapaDimANaM jigussehappamANamittANaM saMnikvittaM saMciTThanti / tAsiM NaM jiNapaDimANaM imeyArUve vaNNAvAse pnntte| taM jahA-tavaNijamayA hatthatalapAyatalA, aMkAmayAiM nakkhAI, aMtolohiyakkhapaDisegAI, kaNagAmaIo jaMghAo, kaNagAmayA jANU, kaNagAmayA UrU, kaNagAmaIo gAyalaToo, tavaNijamayAo nAbhIo, riTThAmaIo rAmarAIo, tavaNijamayA cucuyA tavaNija mayA sirivacchA, silavAlamayA oTTA, phAliyAmayA daMtA tarvANajamaIo jIhAo, tavaNijamayA tAlayA, kaNagAmaIo nAsigAo, aMtolohiyakhapaDisegAo, aMkAmayANi a. cchINi, aMtolohi yakvapaDisegANi, riTTAmaIotArAo, riTThAmayAgi acchipattANi, riTTAmaIo bhamuhAo, kaNagAmayA kolA, kaNagAmayA savaNA, kagagAmaIo niDAlapaTTiyAo, vairAmaIo

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rAyapaseNiyasutta sIsaghaDIo, tavaNijamaIo kesaMtakesabhUmIo, riTTAmayA uvari muddhayA / tAsiM NaM jiNapaDimANaM piTrao pattaya 2 chattadhAragapaDimAo pannattAo / tAo NaM chattadhAragapaDimAo himarayayakuMdeMduppagAsAI sakAraMTamalladAmAI dhavalAI AyavattAI salIlaM dhAremANIo 2 citi / tAsiM NaM jiNapaDimANaM ubhao pAse patteyaM 2 cAmaradhArapaDimAo paNNattAo / tAo NaM cAmaradhArapaDimAo nANAmaNikaNagarayaNavimalamahariha jAva salIlaM dhAremANIo 2 ciTuMti / tAsiM NaM jiNapaDimANaM purao do do nAgapaDimAo bhUyapaDimAo jakkhapaDimAo kuMDadhArapaDimAo savvarayaNAmaIo acchAo jAva ciTThati / tAsiM. gaM jiNapaDimANaM purao aTThasaya ghaMTANaM aTThasayaM kalasANaM aTThasayaM bhiMgArANaM evaM AyaMsANaM thAlANaM pAINaM supaiTThANaM moguliyANaM vAyakaragANaM cittagarANaM rayaNakaraMDagANaM hayakaMThANaM jAva usabhakaMThANaM puSphacaMgerINaM jAva lomahatthacaMgerINaM pupphapaDalagANaM tellasamuggANaM, jAva aMjaNasamuggANaM aTThasayaM dhUvakaDucchuyANaM saMnikkhittaM ciTThati / siddhAyataNassa NaM uvariM aTThamaMgalagA jhayA chattAicchattA / 40 tassa NaM siddhAyataNassa uttarapuracchime NaM ettha NaM mahegA uvavAyasabhA paNNattA / jahA sabhAe suhammAe taheva jAva maNipeDhiyA aTThAyaNAI devasayaNijjaM taheva sayaNijavaNNao, aTTamaMgalagA jhayA chttaaicchttaa| tIse NaM uvavAyasabhAe uttarapuracchimeNaM ettha NaM mahege harae paNNatte / egaM jAyaNasayaM AyAmeNaM, pannAsaM jAyaNAI vikkhaMbheNaM, dasajoyaNAI unheNaM, taheva / tassa NaM harayassa uttarapuracchime NaM ettha NaM mahegA

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rAyapaseNiyasutta abhisegasabhA paNNattA / suhammAgamaraNaM jAva gomANasiyAo maNipeDhayAo sIhAsaNaM saparivAraM jAva dAmA ciTTheti / tattha NaM sUriyAbhassa devassa bahuabhiseyabhaMDe saMnikkhitte ciTTha aTTamaMgalagA taheva / tIse NaM abhisegasabhAe uttarapuracchimeNaM thaNaM alaMkAriyasabhA paNNattA / jahA sabhA suhammA, maNipeDhiyA, aTTajeoyaNAI sIhAsaNaM saparivAraM / tattha NaM sUriyAbhassa devassa subahu alaMkAriyabhaMDe saMnikkhitte ciTThA, sesaM tava / tIse NaM alaMkAriyasabhAe uttarapuracchime NaM ettha NaM mahegA vavasAyasabhA paNNattA, jahA uvavAyasabhA jAva sIhAsaNaM saparivAraM maNipeDhiyA aTThaTThamaMgalagA' / tattha NaM sUriyAbhassa devarasa ettha NaM mahege potthayarayaNe saMnikkhitte ciTThA / tassa NaM potthayarayaNassa imeyArUve vaNNAvAse paNNatte / taM jahA - rayaNAmayAI pattagAI, riTThAmaIo kaMbiAo' tavaNojjamae dore, nANAmaNimae gaMThI, veruliyamae lippAsaNe, riTThAmae chaMdaNe, tavaNijjamaI saMkalA, riTThAmaI masI, vaharAmaI leNI, riTThAmayAI akharAI dhammie satthe / vavasAyasabhAe NaM uvariM aTTamaMgalagA / tIse NaM vavasAyasabhAe uttarapuracchimeNaM ettha NaM naMdA putrakhariNI paNNattA, harayasarisA / tIse NaM naMdAe pukkhariNIe uttarapucchimeNaM maheMge balipoDhe paNNatte, saccarayaNAmae acche jAva paDirUve | 51 41 teNaM kAleNaM teNaM samarpaNaM suriyAbhe deve ahuNAvavanamitta ceva samANe paMcavihAra pajattIe pajjattibhAvaM gacchai / taM jahA - AhArapajjattIe sarIrapajattIe iMdiyapajattIe ANapANapajjattIya bhAsAmaNapajattIe / tae NaM tassa sUriyAbhassa devarasa paMcavihAra pajjattIe pajjattibhAvaM gayassa samANassa

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52. rAyapaseNiyasutta imeyArUve abbhathie ciMtie pathie mogae saMkappe samupajitthA-" kiM me pubdhi karaNija ?, kiM me pacchA karaNijja ? ki me pubi seyaM ? kiM me pacchA seyaM ? kiM me puvipi pacchAvi hiyAe suhAe khamAe nissesAe aNugAmiyattAe bhavissai? " / tae NaM tassa sUriyAbhassa devassa sAmANiyaparisAvavannagA devA sUriyAbhassa devassa imeyArUvamabhatthiyaM jAva samuppannaM samabhijANittA jeNeva sUriyAbhe deve teNeva uvAgacchanti / sUriyAbhaM devaM karayalapariggahiyaM sirasAvattaM matthae aMjaliM kaTu jaeNaM vijaeNaM vaddhAventi / vaddhAvittA evaM vayAsI-"evaM khalu devANuppiyANaM sUriyAbhe vimANe siddhAyataNaMsi jiNapaDimANaM jigussehapamANamittANaM aTThasayaM saMnikkhittaM ciTuMti / sabhAe NaM suhammAe mANavae ceie khaMbhe vairAmaesu golavaTTasamuggaesu bahUo jiNasakahAo saMnizvittAo ciTThati / tAo NaM devANuppiyANaM aNNesiM ca bahUNaM vemANiyANaM devANa ya devINa ya accaNijAo jAva pajjuvAsaNijAo / taM eyaM NaM devANuppiyANaM pudhi karaNijjaM, taM eyaM NaM devANuppiyANaM pacchA karaNijjaM, taM eyaM NaM devANupiyANaM pudhi seyaM, taM eyaM NaM devANupiyANaM pacchA seyaM, taM eyaM NaM devANuppiyANaM puvipi pacchAvi hiyAeH suhAe khamAe nissesAe aNugAmiyattAe bhvissi"| 42 tae NaM se sUriyAbhe deve tesiM sAmANiyaparisovavanagANaM devANaM aMtie eyamaDhe soccA nisamma haTTatuTTha jAva hayahiyae sayaNijAo abbhuTTeDa / sayaNijAo abbhuttA uvavAyasahAe puracchimilleNaM dAreNaM niggacchai / jeNeva harae teNeva uvAgacchai / 2 harayaM aNupayAhiNI karemANe karemANe

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rAyapaseNiyasutta puracchimilleNaM toraNeNaM aNupavisai / 2 puracchimilleNaM tisevANapaDirUvaeNaM paJcoruhai / 2 jalAvagAhaM jalamajjaNaM karei / 2 jalaki9 karei / 2 jalAbhiseyaM karei / 2 AyaMtecokkhe paramasuibhUe harayAo paJcottarai / 2 jeNeva abhiseyasahA, teNeva uvAgacchai / 2 abhiseyasabhaM aNupayAhiNI karemANe karemANe puracchipilleNaM dAreNaM aNupavisai / 2 jeNeva sIhAsaNe teNeva uvAgacchai / 2 sIhAsaNavaragae purasthAbhimuhe sannisaNNe / tae NaM sUriyAbhassa devassa sAmANiyaparisAvavanagA devA Abhiyogie deve sadAveMti / 2 evaM vayAsI"khippAmeva bhI devANuppiyA ! sUriyAbhassa devassa mahatthaM, ma. haggha, maharihaM viulaM iMdAbhiseyaM uvttveh"| tae NaM te AbhiyogiyA devA sAmANiyaparisAvavannehiM devehiM evaM vuttA samANA haTThA jAva hiyayA karayalapariggahiyaM sirasAvattaM matthae aMjaliM kaTTa " evaM devo! taha " tti ANAe viNaeNaM vayaNaM paDisugaMti / 2 uttarapuracchimaM disibhAgaM avakamaMti / 2 veubviyasamugdhAeNaM samAhaNaMti / 2 saMkhejAI joyaNAI jAva doccapi veuviyasamugghAeNaM samANittA aTTasahassaM sAvaNiyANaM kalasANaM, aTThasahassaM ruppamayANaM kalasANaM 2, aTThasahassaM maNimayANaM kalasANaM 3, aTThasahassaM suvaNNaruppamayANaM kalasANaM 4, aTTha. sahassaM suvaNNamaNimayANaM kalasANaM 5, aTThasahassaM ruppamaNi. mayANaM kalasANaM 6, aTTasahassaM suvaNNaruppamaNimayANaM kalasANaM 7, aTrasahassaM bhAmijANaM kalasANaM 8, evaM bhiMgArANaM, AyasANaM, thAlINaM, pAINaM, supaiTThANaM, rayaNakaraMDagANaM, pupphacaMgerINa jAva lomahatthacaMgerINaM, puSphapaDalagANaM jAva lomahattha. paDalagANaM chattANaM cAmarANaM telsamuggANaM jAva aMjaNasamuggANaM

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54 rAyapaseNiyasutta aTTasahasaM dhUvakaDucchuyANaM viubbati / 2 te sAbhAvie ya - veuvie ya kalase ya jAva kaDucchue ya giNhati / 2 sUriyAbhAo vimANAo paDinikkhamaMti / 2 tAe ukiTTAe cavalAe jAva tiriyamasaMkhejANa jAva vIIvayamANe 2 jeNeva khI. rodayasamudde teNeva uvAgacchati / 2 khIroyagaM giNhanti, jAI tatthuppalAI tAI giNhanti, jAva sayasahassapattAI giNhaMti / 2 jeNeva pukkharodae samudde teNeva uvAgacchaMti, 2 pukkharodayaM giNhaMti, 2 jAI tatthuppalAI sayasahassapattAI tAI jAva giNhanti / 2 jeNeva samayakhette, jeNeva bharaheravayAI vAsAI, jeNeva mAgahavaradAmapabhAsAiM titthAI teNeva uvAgacchati / 2 tityodagaM giNhaMti, 2 titthamaTTiyaM giNhati / 2 jeNeva gaMgAsiMdhurattArattavaIo mahAnaIo teNeva uvAgacchati / 2 salilodagaM giNhaMti, 2 ubhaokUlamaTTi ginnhNti| 2 jeNeva cullahimavaMtasiharIvAsaharapanvayA teNeva uvAgacchaMti, 2 dagaM giNhanti / sanghatuyare, savapupphe, savvagaMdhe, sabamalle, samyosahisiddhatthae giNhanti / 2 jeNeva paumapuMDarIyadahe teNeva uvAgacchanti, 2 daheAdagaM giNhanti, 2 jAI tattha uppalAI jAva sayasahassapattAI tAI geNhanti / 2 jeNeva hemavayaeravayAI vAsAI, jeNeva rohiyarohiyaMsApnuvaNNakUlAruppakUlAo mahAnaIo teNeva uvAgacchanti / 2 salilodagaM giNhaMti, 2 ubhaokUlamaTTiyaM giNhaMti / 2 jeNeva sadAvaiviyaDAvaipariyAgA. vaTTaveyaDapabayA tegeva uvAgacchanti / 2 sanvatuyare taheva jeNeva mahAhimavaMtapivAsaharapancayA teNeva uvAgacchati / taheva je-- Neva mahApaumamahApuMDarIyaddahA teNeva uvAgacchaMti, 2 dahAdarga giNhanti / taheva jeNeva harivAsarammagavAsAI, jeNeva harikaMta

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rAyapaseNiyasutta 55 nArikatAo mahAnaIo teNeva uvAgacchati / taheva jeNeva gaMdhAvaimAlavaMtapariyAyA vaTTaveyaDUpavvayA teNeva, taheva jeNeva nisaDhanIlavaMtavAsaharapavyayA, taheva jeNeva tigicchikesariddahAo teNeva uvAgacchanti / 2 taheva jeNeva mahAvidehe vAse, jeNeva sItAsItAdAo mahAnaIo teNeva, taheva jeNeva savacakavaTTi vijayA jeNeva sandhamAgahavaradAmapabhAsAI titthAI teNeva uvAgacchaMti / 2 titthodagaM giNhanti, 2 samvantaranaIo jeNeva sadhavakkhArapavvayA teNeva uvAgacchati / savatuyare taheva jeNeva maMdare pavvae, jeNeva bhaddasAlavaNe, teNeva uvAgacchati / savvatuyare savvapuSke sabamalle samvosahisiddhatthae ya gihanti / 2 jeNeva naMdaNavaNe teNeva uvAgacchati, 2 savatuyare jAva samvosahisiddhatthae ya sarasagAsIsacaMdaNaM giNhanti / 2 jeNeva somaNasavaNe teNeva uvAgacchati / savatuyare jAva sa. vvosahisiddhatthae ya sarasagAsIsacaMdaNaM ca divyaM ca sumaNadAma daddaramalayasugaMdhie ya gaMdhe giNhanti / 2 egao milAyati, 2 tAe ukiTTAe jAva jeNeva sAhammekappe, jeNeva sUriyAbhe vimANe jeNeva abhiseyasahA, jeNeva sUriyAbhe deve teNeva uvAgacchanti / 2 sUriyAbhaM devaM karayalapariggahiyaM sirasAvattaM matthae aMjaliM kaTTa jaeNaM vijaeNaM vaddhAti / 2 taM mahatthaM mahagdhaM maharihaM viulaM iMdAbhiseya uvaTThati / tae NaM taM sUriyAbhaM devaM cattArisAmANiyasAhassIo aggamahisIo saparivArAo tinni parisAo sattaaNiyAhivaiNo jAva annava bahave sUriyAbhavimANavAsiNo devA ya devIo ya tehiM sAbhAviehi ya veu. viehi ya varakamalapaiTTANehi ya surabhivaravAripaDipuNNehiM caMdaNakayacacciehiM AviddhakaMTheguNehiM paumuppalapihANehi sukumAla

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rAyapa seNiyasutta komalakarayala parigahiehiM aTTasahasseNaM seAvaNiyANaM kalasANaM jAva aTThasahasseNaM bhAmijANaM kalasANaM savvAdarahiM savvamaTTi yAhi santuyarehiM jAva sAsahisittharahiM ya sabbiDDIe jAva vAiraNaM mahayA 2 iMdAbhisevaNaM abhisiMcaMti / tae NaM tassa sUriyAbhassa devassa mahayA 2 iMdAbhise vaTTamANe apegaiyA devA sUriyAbhaM vimANaM naccAyagaM nAimaTTiyaM paviralapaphusiyaraya reNuviNAsaNaM divvaM surabhigaMdhodgaM vAsaM vAsaMti / appegaiyA devA hayarayaM naTTarayaM bhaTTharayaM uvasaMtarayaM pasaMtarayaM kareMti / appegaiyA devA sUriyAbhaM vimANaM AsiyasaMmajiovalittaM suisemaratthaMtarAvaNavIhiyaM kareMti / appegaiyA devA suriyAbhaM vimANaM maMcAimaMcakaliye kareMti / appegaiyA devA sUriyA vimANaM nANAviharAgosiyaM jhayapaDAgAipa DAga maMDiyaM kareMti / adhpegaiyA devA sUriyAbhaM vimANaM lAullAiyamahiye gosIsasarasarattacaMdaNadaddaradinna paMcagulitalaM kareMti / appegaiyA devA sUriyA vimANaM avaciyacaMdaNakalasaM caMdaNaghaDa sukayateAraNapaDiduvAradesabhAgaM kareMti / appegaiyA devA sUvimANaM AsattAsattaviulabaTTabagghAriyamalladAmakalAvaM kareMti / agaiyA devA sUriyAbhaM vimANaM paMcavaNNasurabhimukka. puSkapuMjovayArakaliye kareMti / appegaiyA devA sUriyAbhaM vimANaM kAlAgurupavarakuMdurukka turukadhUvamaghamaghaMta gaMdhuddhayAbhirAmaM kareMti / adhyegaiyA devA sUriyAbhaM vimANaM sugaMdhagaMdhiyaM gaMdhavaTTibhUyaM kareMti / appegaiyA devA hiraNNavAsaM vAsaMti, suvaNNavAsaM vAsaMti, rayayavAsaM vAsaMti, vairavAsaM pupphavAsaM phalavAsaM mallavAsaM gaMdhavAsaM cuNNavAsaM' AbharaNavAsaM vAsaMti / appegA devA hiraNNavihiM bhAenti, evaM suvaNNavihiM bhAranti, riyA 56 0 o

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rAyapaseNiyasutta rayaNavihi, puSphavihi, phalavihiM, mallavihi, cuNNavihi, vatthavihi, gaMdhavihi, bhAeMti / tattha appegaiyA devA AbharaNavihiM bhAeMti / appegaiyA devA caunvihaM vAiyaM vAeMti taM jahAtataM vitataM ghaNaM jhusiraM | appegaiyA devA cauvihaM geyaM gAyaMti, taM jahA-ukkhittAyaM payattAyaM maMdAyaM roiyAMvasANaM / appegaiyA devA duyaM naTTavihi uvadaMsenti / appegaiyA vilaMbiyanaTTavihiM uvadaMseMti / appegaiyA devA dutavilaMbiyaM naTTavihiM uvadaMseMti / evaM appaMgaiyA aMciyaM naTTavihiM uvadaMseMti / appegaiyA devA ArabhaDaM bhasAlaM ArabhaDabhasolaM uppayanivayapamattaM saMkuciyapasAriyaM riyAriya bhaMtasaMbhaMtanAma divvaM naTTavihiM uvadaMseMti / appegaiyA devA cauvihaM abhiNayaM abhiNayaMti, taM jahA-diTTatiyaM pADitiyaM sAmaMtovaNivAyayaM logaaMtAmajhAvasANiyaM / appegaiyA devA bukkAti, appegajhyA devA piNeti, appgaiyA lAseMti, appegaiyA nukAti, appegaiyA taMDaveMti, apaaigaiyA vargati, appoDeti, apaaigaiyA, apphoDeMtivagaMti, appegajhyA tivaI chideti / appegaiyA hayahe. siyaM karoti, appegaiyA harithagulagulAI kati. appegaiyA rahaghaNaghaNAI kareMti, are gaiyA hayahesiyahatthigulagulAiyarahaghaNaghaNAiyaM kareMti / agaiyA ucchati, apraMgaDyA pAcchalaMti, appegaiyA ukiTTiyaM karoti, apreMgaiyA ucchalaMtipocchalaMti appegagaiyA tignivi / apregaiyA uppayaMti, apagaiyA nivayaMti appegaiyA parivayaMti, aMaigaiyAtinivi / are gaDyA sIhanAyaMti, apdaigaiyA daddarayaM kareMti, apdaigaiyA bhUmicaveDa dalayaMti, appegaiyA tinnivi / apregaiyA gajjati, apdaigaiyA vijjuyAyaMti, appegaMiyA vAsaM vAsaMti, appegaiyA tinnivi

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rAyapaseNiyasutta kareMti / appegaiyA jalaMti, appegaiyA tavaMti appegaiyA pataveMti, appegaiyA tinnivi / appegaiyA hakkAroti, appegaiyA thukkAroti, appegaiyA dhakkAreMti (pukAreMti ), appegaiyA sAiM 2 nAmAI sAheti, appegaiyA cattArivi / appegaiyA devA devasannivAyaM kareMti, appegaiyA devujjoyaM karoti, appegaiyA devu. kaliyaM karoti / appegaiyA devA kahakahaga kareMti, appegaiyA devA duhaduhagaM kareMti, appegaiyA celukkhevaM karoti / appegaiyA devasannivAyaM devujjoyaM devukaliyaM devakahakahagaM devaduhaduhagaM celukkhevaM karoti / appegaiyA uppalahatthagayA jAva syshstpttitthgyaa| appegaiyA kalasahatthagayA, jAva dhUvakaDucchuyahatthagayA haTTatuTa jAva hiyayA savao samatA AhAvaMti, paridhAvaMti / tara NaM taM sUriyAbhaM devaM cattArisAmANiyasAhassIo jAva solasaAyarakkhadevasAhassIo aNNe ya bahave sUriyAbharAyahANivatthayA devA ya devIo ya mahayA 2, iMdAbhisegeNaM abhisiMcaMti / 2 pattaya 2 karayalapariggahiyaM sirasAvattaM matthae aMjali kaTTa evaM vayAsI-"jaya 2 naMdA jaya 2 bhaddA, jaya jaya naMdAbhadA te ajiyaM jiNAhi, jiyaM ca pAlehi, jiyamajhe vasAha, iMdA iva devANaM, caMdo iva tArANa, camarA iva asurANaM, dharaNA iva nAgANaM, bharahA iva maNuyANaM, bahUI pali. ovamAI bahUI sAgarAvamAI, bahUI paliovamasAgarAvamAI cauNhaM sAmANiyasAhassINaM jAva AyarakkhadevasAhassINaM sUriyAbhassa vimANassa annesiM ca bahUNaM sUriyAbhavimANavAsINaM devANa ya devINa ya AhevaccaM jAva mahayA 2 karemANe pAlemAge viharAhi" ti kaTTa jaya jaya sadaM puNjNti| tae NaM se sUriyAbhe deve mahayA 2 iMdAbhisegeNaM abhisitte samANe

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rAyapaseNiyasutta abhiseyasabhAo puracchimilleNaM dAreNaM nigacchai / 2 jeNeva alaMkAriyasahA teNeva uvAgacchai, 2 alaMkAriyasabhaM aNupayAhiNI karemANe, 2 alaMkAriyasabhaM puracchimilleNaM dAreNaM agupavisai / 2 jeNeva sIhAsaNe teNeva uvAgacchai, sIhAsa. Navaragae puratthAbhimuhe sannisaNNe / tae NaM tassa sUriyAbhassa devassa sAmANiyaparisevivannagA alaMkAriyabhaMDa uvaTThati / tae NaM se sUriyAbhe deve tappaDhamayAe pamhalasumAlAe surabhIe gaMdhakAsAie gAyAiM luuhei| 2 saraseNaM gAsIsacaMdaNeNaM gAyAI aguliNpi| 2 nAsAnIsAsavAyavAjhaM cakkhuharaM vaNNapharisajuttaM hayalAlApelavAtiregaM dhavalaM kaNagakhaciyaMtakamma AgAsaphAliyasamappabhaM divvaM devadRsajuyalaM niyaMsei / 2 hAraM piNaddhei, 2 addha. hAraM piNaddhai, 2 egAvali piNaddhei,2 muttAvali piNaddhai, 2 rayaNAvaliM piNaddhei,2 evaM aMgayAiM keyUrAiM kaDagAI tuDiyAI kaDisuttaga dasamudANaMtaga vatthasuttagaM muraviM pAlaMba kuMDalAiM cUDAmaNi mauDaM pinnddhei| 2 gaMthimaveDhimapUrimasaMghAimeNaM cauviheNaM malleNa kapparukkhagaM piva appANaM alaMkiyavibhUsiyaM karei / 2 daddaramalayasugaMdhagaMdhiehiM gAyAI bhukhaMDei, divvaM ca sumaNadAma pinnddhei| 43 tae NaM se sUriyAbhe deve kesAlaMkAreNa mallAlaMkAreNa AbharaNAlaMkAreNa vatthAlaMkAreNa caviheNa alaMkAreNa alaMkiyavibhUsie samANe paDipuNNAlaMkAre sIhAsaNAo abbhuTei / 2 alaMkAriyasabhAo puracchimilleNaM dAreNaM paDinikkhamai / 2 jeNeva vavasAyasabhA teNeva uvAgacchai, vavasAyasabhaM aNupayAhiNIkaremANe 2 puracchimilleNaM dAreNaM aNupavisai, 2 jeNeva sIhAsaNavaragae jAva sannisaNNe / tapa NaM tassa sUriyAbhassa

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rAyapaseNiyasutta devassa sAmANiyaparisAvavannagA devA potthayarayaNaM uvaNeti / tae NaM se sUriyAbhe deve * potthayarayaNaM giNhai, 2 potthayarayaNaM muyai, 2 potthayarayaNaM vihADei, 2 potthayarayaNaM vAei / 2 dhammiyaM vavasAyaM giNhai 2 potthayarayaNaM paDinikkhivai / 2 sIhAsaNAo abbhuTei, 2 vavasAyasabhAo puracchimilleNaM dAreNaM paDinikkhamai / 2 jeNeva naMdA pukkhariNI teNeva uvAgacchai 2 naMdApukkhariNINaM puracchimilleNaM toraNeNaM puracchimilleNaM tisAvANapaDirUvaeNaM paccoruhai / 2 hatthapAyaM pakkhAlei, 2 AyaMte cokkhe paramasuibhUe egaM mahaM seyaM rayayAmayaM vimalaM salilapuNNaM mattagayamuhAgiikuMbhasamANaM bhiMgAraM pageNhai / 2 jAI tattha uppalAI jAva sayasahassa. pattAI tAI geNhai 2 naMdAo pukkhariNIo pacoruhai 2 jeNeva siddhAyataNe teNeva pahArettha gamaNAe / 44 tae NaM (taM sUriyAbhaM devaM ) cattAri ya sAmANiyasAhassIo jAva solasa AyarakkhadevasAhassIo anne ya bahave sUriyAbha jAva devIo ya appegaiyA devA uppalahatthagayA jAva sayasahassapattahatthagayA sUriyAbhaM devaM piTTao 2 samaNugacchati / tae NaM taM sUriyAbhaM devaM bahave AbhiyogiyA devA ya devIo ya appegaiyA kalasahatthagayA jAva apagaiyA dhUvakaDucchayahatthagayA haTTatuTTa jAva sUriyAbhaM devaM piTTao samaNugacchati / tae NaM se sUriyAbhe deve cauhiM sAmANiyasAhassIhiM jAva annehi ya bahUhi ya sUriyAbha jAva devehi ya devIhi ya saddhiM saMparibuDe saviDIe jAva nAiyaraveNaM jeNeva siddhAyataNe teNeva uvAgacchai / 2 siddhAyataNaM purathimilleNaM dAreNaM agupavisai, 2 jeNeva devacchaMie, jeNeva jiNapaDimAo, teNeva

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rAyapaseNiyasutta 61 uvAgacchai / 2 jiNapaDimANaM Aloe paNAmaM karei, 2 lomahatthagaM giNhara, 2 jiNapaDimANaM lomahattharaNaM pamajjai / 2 jiNapaDimAo surabhiNA gaMdhAdapaNaM NhANei 2 saraseNaM gosIsacaMdaNaM gAyAI aNuliMpai, 2 surabhigaMdhakAsAieNaM gAyAI laheina 2 jiNapaDimANaM ahayAI devadUsajuyalAI niyaMsei 2 puSkAruNaM mallAruhaNaM gaMdhArahaNaM cuNNAruhaNaM vaNNAruNaM vatthAruhaNaM AbharaNa/ruhaNaM karei / 2 AsattosattaviulavaTTavagghAriyamalladA kalAvaM karei, 2 kayaggAhagahiyakarayala panbhaTTavipamukkeNe. dasaddhavaNeNaM kusumeNaM mukapuSkapuMje vayArakaliyaM karei / 2 jiNapaDimANaM purao acchehiM sahehiM rayayAmapahiM accharasataMdulehiM aTTamaMgale AlihA, taM jahAM - sotthiya jAva dapaNaM / tayANaMtaraM ca NaM caMdapabharayaNavaharave ruliyavimala daMDaM kaMcaNamaNirayaNabhatticittaM kAlAgurupavarakuMdurukka turukka dhUvamaghamaghaMta gaMdhuttamANuviddhaM ca dhUvavahiM viNimmutaM veruliyamayaM kaDucyaM paramahiya payateNaM dhUvaM dAUNa jiNavarANaM aTTasaryAvasuddhagandhajuttehiM atthajutte hiM apuNaruttehiM mahAvittehi saMthuNai / 2 sattaTThapayAI pazccosakara, 2 vAmaM jANuM aMce, 2 dAhiNaM jANuM dharaNitalaMsi nihaTTa tikkhutto muddhANaM dharaNitalaMsi nivADe, 2 IsiM paccannamai / 2 karayalaparigahiyaM sirasAvattaM matthae aMjali kaTTu evaM vayAsI - " namotthu NaM arahaMtANaM jAva saMpattANaM " tti kaTTu vaMdas namasara, 2 jeNeva devacchaMdae jeNeva siddhAyayaNassa bahumajjhadesabhAe teNeva uvAgacchai / 2 le mahatthagaM parAmusas, 2 siddhAyayaNassa bahumajjhadesabhAgaM lomahattheNaM pamajai / di. aare dagadhArAe abbhukkhera, saraseNaM gosIsacaMdaNeNaM paMcaMgulitalaM maMDalagaM Alihai / 2 kayaggAhagahiyaM jAva pujovayA

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62 rAyapaseNiyasutta rakaliyaM karei 2 dhUvaM dalayai / 2 jeNeva siddhAyaNassa dAhijilale dAre teNeva uvAgacchai, 2 lomahatthagaM parAmusai, 2 dAraceDIo ya sAlabhaMjiyAo ya vAlarUvae ya lomahatthaeNaM pamajai, / 2 divvAe dagadhArAe abbhukkhei, 2 saraseNaM gosIsacaMdaNeNaM caccae dalayai / 2 puSphAruhaNaM mallA jAva AbharaNAruhaNaM karei, 2 Asattosatta jAva dhUvaM dlyi| 2 jeNeva dAhiNille dAre muhamaMDave, jeNeva dAhiNillassa muhamaMDavassa bahumajjhadesabhAe teNeva uvAgacchai / 2 lomahatthagaM parAmusaha, 2 bahumajjhadesabhAgaM lomahattheNaM pamajai, 2 divvAe dagadhArAe abhukkhei, 2 saraseNaM gosIsacaMdaNeNaM paMcaMgulitalaM maMDalagaM Alihai, 2 kayaggAhagAhaya jAva dhUvaM dalayai / 2 jeNeva dAhiNillassa muhamaMDavassa pacathimille dAre teNeva uvaagcchaa| 2 lomahatthagaM parAmusai, 2 dAraceDIo ya sAlabhaMjiyAo ya vAlarUvae ya lomahattheNaM pamajai / 2 divAe dagadhArAedeg saraseNaM gosIsacaMdaNeNaM caccae dalayai, 2 pupphAruhaNaM jAva AbharaNAruhaNaM karei / 2 Asattosattadeg kayaggAhagahiyaM dhUvaM dalayai / 2 jeNeva dAhiNillamuhamaMDavassa uttarillA khaMbhapaMtI teNeva uvAgacchai, 2 lomahatthagaM parAmusai / 2 thaMbhe ya sAlibhaMjiyAo ya vAlarUvae ya lomahatthaeNaM pamajaideg jahA ceva paJcasthimillassa dArassa jAva dhUvaM dalayai / 2 jeNeva dAhiNillassa muhamaMDavassa purathimille dAre teNeva uvAgacchai, 2 lomahanthaga parAmusai / dAraceDIo taM ceva savaM, jeNeva dAhijillassa muhamaMDavassa dAhiNille dAre teNeva uvAgacchai / 2 dAraceDIo ya taM ceva savaM, jeNeva dAhiNille pecchAgharamaMDave, jeNeva dAhiNillassa pecchAgharamaMDavassa bahumajjhadesabhAe, jeNeva

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rAyapaseNiyasutta vaharAmae akkhADae, jeNeva maNipeDhiyA, jeNeva sIhAsaNe, teNeva uvAgacchai / 2 lomahatthaga parAmusai, 2 akkhADagaM ca maNipeDhiyaM sIhAsaNaM ca lomahatthaeNaM pamajai / 2 divAe dagadhArAe jAva saraseNaM gosIsacaMdaNeNaM saccae dalayai, puSphAruhaNaM jAva AsattosattaM jAva dhUvaM dlyi| 2 jeNeva dAhiNillassa pecchAgharamaMDavassa paJcasthimille dAre taM ceva, uttarille dAre taM ceva, (jaM ceva) purathimille dAre taM ceva, dAhiNaNille dAre taM ceva, jeNeva dAhiNille ceiyathUbhe teNeva uvAgacchai / 2 thUbhaM ca maNipeDhiyaM cadeg divAe dagadhArAe abhukkhai / saraseNa geAsIsacaMdaNeNa caccae dalei 2 pupphAruhaNaM Asattosatta jAva dhUvaM dalei / jeNeva paJcasthimillA maNipeDhiyA, jeNeva paJcathimillA jiNapaDimA taM ceva, jeNeva uttarillA jiNapaDimA taM ceva sanvaM, jeNeva purathimillA maNipeDhiyA jeNeva purathimillA jiNapaDimA, teNeva uvAgacchai 2 taM ceva, dAhiNillA maNipeDhiyA dAhiNillA jiNapaDimA taM. ceva, jeNeva dAhiNille ceyarukkhe teNeva uvAgacchai / 2 taM ceva, jeNeva mahiMdajjhae, jeNeva dAhijillA naMdApukkhariNI teNeva uvAgacchai / lomahatthagaM parAmusai, toraNe ya tisovANapaDirUvae sAlabhaMjiyAo ya vAlarUvae ya lomahatthaeNa pamajai, divvAe dagadhArAedeg saraseNaM gosIsacaMdaNeNaMdeg puSphAruhaNaMdeg AsattosattaMdeg dhUvaM dalayai / siddhAyayaNaM aNupayAhiNIkaremANe jeNeva uttarillA naMdApukkhariNI teNeva uvAgacchai, 2 ta ceva jeNeva uttarille ceiyarukkhe teNeva uvAgacchai, jeNeva uttarille ceiyathUbhe taheva, jeNeva paJcasthi. millA peDhiyA, jeNeva paJcasthimillA jiNapaDimA, te ceva, uttarille pecchAgharamaMDave teNeva uvAgacchai / 2 jA ceva dAhi

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64 rAyapaseNiyasutta jillavattavvayA sA ceva savvA purathimille dAre dAhiNillA khaMbhapaMtI taM ceva savvaM / jeNeva uttarille muhamaMDave jeNeva uttarillassa muhamaMDavassa bahumajjhabhAe, taM ceva savaM / paccathimille dAre teNevadeg uttarille dAredeg dAhiNillA khaMbhapaMtI, sesaM taM ceva savaM, jeNeva siddhAyayaNassa uttarille dAre taM ceva, jeNeva siddhAyayaNassa purathimille dAre teNeva uvaagcchi| 2 taM ceva, jeNeva purathimilale muhamaMDave, jeNeva purathimillassa muhamaMDavassa bahumajjhadesabhAe teNeva uvAgacchai / 2 taM ceva, purasthimillassa muhamaMDavassa dAhiNilale dAre, paJcasthimillA khaMbhapaMtI, uttarille dAre taM ceva, purathimille dAre taM ceva, jeNeva purathimille pecchAgharamaMDave, evaM thUbhe jiNapaDimAo ceiyarukkhA mahiMdajjhayA naMdApukkhariNI taM ceva jAva dhUvaM dalei, 2 jeNeva sabhA suhammA teNeva uvAgacchai / 2 sabhaM suhamma purathimilleNaM dAreNaM aNupavisai, 2 jeNeva mANavae ceiyakhaMbhe, jeNeva vairAmae golavaTTasamugge teNeva uvAgacchai / 2 leAmahasthagaM parAmusai, 2 vairAmae golavaTTasamuggara lomahattheNaM pamajai, 2 vairAmae golavaTTasamuggae vihADei, 2 jiNasakahAo lAmahattheNaM pamajai, 2 surabhiNA gaMdhodaeNaM pakkhAlei / 2 aggehi varehiM gaMdhehi ya mallehi ya accei, dhUvaM dalayai / 2 jiNasakahAo vairAmaesu golavaTTasamuggae paDinikkhivai, mANavarga cezyakhabhaM lomahatthaeNaM pamajai, divvAe dagadhArAedeg saraseNaM gosIsacaMdaNeNaM caccae dalayai, puSphAruhaNaM jAva dhUvaM dalayai / jeNeva sIhAsaNe taM ceva, jeNeva devasayaNijje ta ceva, jeNeva khuDDAgamahiMdajjhae taM ceva, jeNeva paharaNakAse coppAlae teNeva uvAgacchai / 2.lomahatthaga parAmusai, 2 paharaNakAsaM cAppAlaM

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rAyaseniyasutta 64 (a) lAmahatthavaNaM pamajjai, 2 divvAe daMgadhArAedeg saraseNaM gosIsacaMdaNeNaM caccara dalei, puSphAruhaNaM AsattosattaM jAva dhUvaM dalayA / jegeva sabhAra summAe bahumajjhadesabhAe jeNeva maNipeDhiyA jeNeva devasayaNijje teNeva uvAgacchai / 2 lomahatthagaM parAmusaI, devasayaNijjaM ca maNipeDhiyaM ca leomahatthapaNaM pamajjai jAva dhUvaM dalaya6 / 2 jeNeva uvavAya sabhAe dAhiNille dAre taheva abhiseyasabhAsarisaM jAva purathimillA naMdApukkhariNI jeNeva harae teNeva uvAgacchacha / 2 toraNe ya tiseAvANe ya sAlibhaMjiyAo ya vAlarUvae ya taheva, jeNeva abhiseyasabhA teNeva uvAgacchai / 2 taheva sIhAsaNaM ca maNipeDhiyaM ca sesaM taddeva AyayaNasarisaM jAva puratthimillA naMdApukkhariNI jeNeva alaMkAriyasabhA teNeva uvAgacchacha / 2 jahA abhiseyasahA taheva sa, jeNeva vavasAyasabhA teNeva uvAgacchara, 2 taheva lAmatthayaM parAmusa / potthayarayaNaM lomahatthapaNaM pamajjai, 2 divAe dagadhArAe' agohiM varehiM ya gandhehiM mallehiM ya acce / 2 maNipeDhiyaM sIhAsaNaM ca sesaM taM ceva jAva purasthimillA naMdA pukkhariNI, jeNeva harae teNeva uvAgacchara 2 toraNe ya tiseAvANe ya sAlibhaMjiyAo tava / jeNeva balipIDhaM teNeva uvAgacchara, 2 balivisajjaNaM karei, Abhiyeogie deve sahAve / 2 evaM vayAsI- "khippAmeva bho devAgupiyA ! sUriyAbhe vimANe siMghADapasu tirasu causu cazcaresu caumuhesu mahApahesu pAgAresu aTTAlaesu cariyAlu dAre gopurelu toraNesu ArAmesu ujjANesu vaNesu varAI kANage vaNasaMDesu aJcaNiyaM kareha, azcaNiyaM karetA evamANattiyaM khiyAmeva pacappaNa " / tara NaM te AbhiyogiyA o ya vAlarUvae ya 0

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64 (b) rAyapaseNiyasutta devA sUriyAbheNaM deveNaM evaM vRttA samANA jAva paMDisujittA sUriyAbhe vimANe siMghADaesa tirasu caukkeSu caccarelu caumuhesu mahApahetu pAgAresu aTTAlaesu cariyAlu dAresu gopuresu toraNetu ArAmesu ujjANesu vaNesu vaNarAIsu kANaNesu vaNasaMDesu accaNiyaM karenti / 2 jeNeva sUriyAbhe deve jAva paccaviti / tapa NaM se sUriyAbhe deve jeNeva naMdA dukkhariNI teNeva uvAgacchadda, 2 naMdA pukkhariNi purathimilleNaM tisAvANapaDirUvaNaM paJcoruhai, 2 hatthapAe pakkhAlei, 2 naMdAo pukkhariNIo paccuttarai, 2 jeNeva sabhA suhammA teNeva pahArettha gamaNAe / tae NaM se sUriyAbhe deve cauhiM sAmANiyasAhassIhiM jAva solasahi AyarakkhadevasAhassIhiM aNNehiM ya bahUhiM sUriyAbhavimANavAsIhiM vaimANiyahiM devehiM devIhiM ya saddhiM saMparibuDe sabbiDDIe: jAva nAiyaraveNaM jeNeva sabhA suhammA teNeva uvAgacchacha / 2 sabhaM suhammaM purathimilleNaM dAreNa aNupavisa, 2 jeNeva sIhAsaNe teNeva uvAgacchara, 2 sIhA saNavaragae puratyAbhimudde sannisaNNe | 45 tae NaM tassa sUriyAbhassa devassa avaruttareNaM uttarapuracchimeNaM disibhAe NaM cattAri ya sAmANiyasAhassIo causu bhaddAsaNasAhassIsu nisIyaMti / tae NaM tassa sUriyAbhassa devassa purathimilleNaM cattAri aggamahisIo causu bhaddAsaNesu nisIyata / tae NaM tassa sUriyAbhassa devassa dAhiNapuratthimeNaM ambhitariyaparisAe aTThadeva sAhassIo aTTaSu bhaddAsaNasAhassInu nisIyaMti / tapa NaM tassa sUriyAbhassa devassa dAhiNeNaM majjhimAe parisAe dasadeva sAhassIo dasalu bhaddAsagasAhassIsu nisIyaMti / tae NaM tassa sUriyA

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rAyapaseNiyasutta 64 (c) bhassa devassa dAhiNapazJcatthimeNaM bAhiriyAe parisAe bArasadeva sAhasIo bArasasu bhaddA saNasAhassIsu nisIyaMti / tapa NaM tassa sUriyAbhassa devassa paJcatthimeNaM sattaaNiyAhivaraNo sattanu bhaddAsaNeSu nisiiyNti| tapa NaM tassa suriyAbhassa devarasa cauddisiM solasaAyarakkhadeva sAhassIo solasasu bhaddA saNasAharusI lu nisIyaMti / taM jahA - purathimilleNaM cattArisAhassIo, dAhiNeNaM cattArisAhassIo, paJccatthimeNaM cattArisAhassIo, uttareNaM cattArisAhassIo / te NaM AyarakkhA sannaddhabaddhavammiyakavayA uppIliyasarAsaNapaTTiyA piNa vijA baddhaAviddhavimalavaraciMdhapaTTA gahiyAuhapaharaNA tiNayANi tisaMdhiyAiM vayarAmayAI kADINi dhaNUraM pagijjha pariyAiyakaMDakalAvA nIlapANiNo pIyapANiNo rattapANineo cAvapANiNa cArupANiNo cammapANiNo daMDapANiNo khaggapANigA paaspaannige| nIlapIyarattacAvacArucammadaMDakhaggapAsadharA AyarakkhA rkkhe| vagayA guttA guttapAliyA juttA juttapAliyA patteyaM / 2 samayao viNayao kiMkarabhUyA ciTThati / "" paNNattA, 46 " sUriyAbhassa NaM bhaMte! devassa kevaiyaM kAlaM ThiI paNNattA ? " / 'goyA ! cattAripalio mAI ThiI 66 I sUriyAbharasa NaM bhaMte ! devassa sAmANiyaparisAvavaNNagANaM devANaM kevaiyaM kAlaM ThiI paNNattA ? " / goyamA ! cattAri palio mAI ThiI paNNattA, mahiDDIe mahajjuttIya mahambale mahAjase mahAsokkhe mahANubhAge sUriyAbhe deve" " aho NaM bhante ! sUriyA deve mahiDDIya jAba mahAgubhAge " / 66 46

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RAYPASENIYA SUTTA. TRANSLATION. (1) In those days and in that epoch, there was a city named Amalkappa (which was) prosperous, peaceful, rich [upto] charining (or. having many mansions) worth seeing, enchanting, and splendid. (2) Outside the Amalkappa city, to the north-eastern direction, there was an ancient [down to] charming, holy place hamed Ambsal vana. (3) The description of an excellent Agora tree and a slab of stone is to be understood according to Ov-vaiya-sutta). (4) There was Seya King, 'Dharini queen, Lord (Mahavira) arrived, congregation, went forth (as usual there was a religious sermon.... .......upto) the King was waiting upon (the Lord). (5) In that age, and at that time, the god Suriyabha; (seated) on Suriyabha throne, in Sohamma assembly hall, (situated) in Suriyabha abode, in Sohamma heaven, encircled by four

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66 Raypaseniya-sutta. thousand Samaniya gods, four chief queens with their retinue, three congregations, seven (types ) of military forces, seven (types ) of commanders, sixteen thousand celestial beings as body-guards and many other gods and goddesses of Vemaniya class ( heavenly beings ) residing in Suriyabha abode, was passing his time in enjoying divine pleasures with the sound that was produced due to the beating of excellent drums by experts, and which was accompanied by (constant staging of thirty-two kinds of) dramas, singing, playing upon musical instruments, lutes attuned with clapping, and blowing of musical instruments such as 'pipes, lutes etc. He was observing the whole of the Jambuddiva (continent) by the application of his Ohinana. There he saw ascetic "Lord Mahavira: accepting suitable place of residence, and purifying his soul by self control; in the sanctuary attached to the Ambsalvana (park), situated out side the city Amalkappa, in Bharat country and in Jambu continent; having seen that he was delighted, pleased, gladdened at heart, filled with joy, affection, and noble feelings. His heart was expanding due to the influence of rapture, and the eyes

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67 were blooming like excellent lotuses. The valuable bracelets of gold, armlets, bracelets Worn on the fore-arms, diadem, ear-pendants, and necklaces, which were well arranged, and bedecking his chest, were heavily moved. The ornaments which he had put on were hanging, pendulous, and moving to and fro. With conconfusion he got up from his throne hastily; having done so, he got down from his foot stool; having done so, he wrapped a scarf round his face; having done so, he went seven or eight steps forward, towards the prophet: having done so, he bent his left knee; having done so, he placed his right knee on the ground, and touched his head thrice to the ground; having touched, raised it a little bit; having raised, joining the palms, and the ten nails, and bringing the folded hands towards the head, said thus "Salutations to the revered sages, blessed prophets, bridge makers (to cross the wordly ocean) self enlightened ones, the best among men, lions among men, excellent lotus flowers among men, noble elephants amidst worldy people, foremost among men, masters of the world, and those who are beneficial to the mass, light to the mob, enlighteners of the world, Translation. v

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68 Raypaseniya-sutta. givers of security from danger, vision, life, resort, knowledge, and religious precepts, propounders of religion, leaders of religion, charioteers in driving the chariot of religion, excellent universal monarchs, possessed of highest kind of unin peded knowledge and perception, transcended delusion, victors, or conquerors of passions, who have crossed the ocean of worldly existence, saviours of the world, enlighteners of others, liberated from the whirl-pool of the world, liberators of others, omniscients, omnipresents, who have attained the place known as perfection which is blissful permanent, free from physical weaknesses and illness, infinite, imperishable, free from distress and whence there is no return. I pay my homage from this very place to the blessed ascetic Lord Mahavir (who is ) desirous of attaining beatitude, (and is now) halting there (in Amalkappa). Let the Lord take into cognizence remaining there (the homage paid by me from this place). Thus saying he saluted, paid obeisance, and having paid homage he took his seat on the throne facing to the east. (6). Then there arose this sort of inner thoughts, faucies, determinations, and reflections, {

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Translation. . . + 69 in the mind of Suriyabha god. "Indeed ascetic Lord Mahavira having accepted suitable place of residence and purifying his soul by self control, stays in the sanctuary attached to the Ambsalvana ( park ) situated outside the city Amalkappa in Bharat country in Jambuddiva continent. Oh really it bears great fruits even - in hearing the name and family name of the prophets of this sort (like Lord Mahavira), then what to talk of approaching, "paying homage, asking questions, and waiting upon them? It is really fruitful to hear the best words of even oue religious preceptor then what to talk again of grasping the full meaning and sense ?" Therefore I will go to ascetic Lord Mahavira pay homage, obeisance, honour, and respect to him. I shall wait upon the holy auspicious, and blessed deity. This will in next incarnation enhance my happiness, prowess, bliss, and lead to a safe path." Having said so, he medi. tated over it; having meditated, sent for the servile gods; having done so, ordered thus:-:. (7) "Verily indeed oh beloved of the gods ! blessed ascetic Lord Mahavira having accepted suitable place of residence and purifying his soul by self control stays in the shrine

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7Q Raypaseniya-sutta. attached to the Ambsalvana (park). situated outside the city Amalkappa in Bharat country and in Jambu continent. Therefore oh beloved of the gods ! you go to the shrine attached to Ambsalvana (park), in Amalkappa city in Bharat country and in Jambu continent. Circumambulate blessed Lord Mahavir thrice. Having done so, pay, salutations, bow down; having bowed down and paid homage, narrate your names and family names respectively; having narrated collect from all sides whatever grass, leaf, wood, pebble, dirt, dung, filthy substance and stinking things (lying on the ground) having the circumference of one Yojana; having collected, carry them to a solitary place; having done so, sprinkle sprays of fragrant and scented divine water (capable of), pacifying (putting down) dust and sand, without creating inud or water on the ground. Having showered, subside, remove, pacify, destroy and calm down the dust; having done so shower by heaps to the height of knees five coloured abundant and lustrous: flowers growing on water and earth, with their stems; having done so, make the ground befitting for the arrival of celestial beings, by turning it into. fragrance incarnation (just like a fragrant pill); and (make it) charming by means

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Translation.. 71 of spreading the fragrance emitting from exce llent types of Turukka, and Kundrukka incense and black agallochum; having done so, and having executed by means of others immediately convey" back the report. (8) Then those servile gods being ordered in this way were delighted, pleased [upto] at heart, having joined the palms of the hands (with ten nails) and touched the folded hands to the head, and saying "Yes, my Lord" accepted with due courteousness, and obedience; having done so, they went to the north-eastern direction .......... emanated' soul particles from the body at the creation of a fluid form; having done so, they issued forth a stick of numerable Yojanas in length. They cast aside the gross atoins like that of sixteen types of jewels. Those are of gems, adamants, Veruliyas Lohiyakkhas, Emeralds, Hanshgagabbhus, Puggals, Sogandhiyas, Joirasas, Anjanpulagas, Anjanas, Rayayas, Jay. ruvas, Ankas, Falihas (crystals), and Ritthas. Having done so grasped the subtle atoms; hav. ing done so for the second time emanated the soul particles from the body; having done so, adopted the final fluid form; having done so, with charming, auspicious, majestic, swift, in

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72 Raypaseniya-sutta. volving no strain, of highest type, like the motion of the dust clouds in the sky, heavenly, quick; and divine gait, travelling through the midst of innumerable human continents and oceans, approached to the place where Lord Mahavir was in the sanctuary attached to Ambsalvana in Amalkappa city in Bharat country, and in Jambu continent. Having gone there, circumambulated Lord Mahavira thrice; paid homage and salutations; having paid obeisance and respect addressed him thus, Oh revered sir! we are tlie servile celestial beings of Suriyabha god. We bow down, salute, pay respect, homage and wait upon holy, divine and blessed sanctuary. 66 (9) Ascetic Lord Mahavira said to the gods thus, "Oh, celestial beings it is ancient practice! Oh gods it is the usage! Oh heavenly beings it is a worthy action! Oh superhuman beings it is duty! Oh supernatural beings this has been practiced! Oh inhabitants of heaven this has been approved, because the Residential Peripatetic, Stellar, and Heavenly, (these four) types of Devas pay salutations and bow down. Having done so (they) narrate their own names and family names respectively. This is a quite ancient usage [upto] this has been approved."

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73 Translation. (10) Then those servile gods being thus addressed by ascetic Lord Mahavira were delighted [upto] at heart. (Then they) saluted, bowed down to the ascetic Lord................having paid homage went to the north-eastern direction; having gone, by the emanation of soul particles from the body at the creation of a fluid form they emanated (atoms); having done so, issued forth a staff of numerable Yojanas, (by means of it) they cast aside the gross atoms of gems [down to] Rittha; having done SO for a second time by emanation of soul particles, emanated their bodies, having done so, they created a terrific hurricane. Just as a certain son of a servant (sweeper), young, not degraded by the flaws of time, possessing prowess, not affected by disease, strong in the structure of bones, with well built fore-arms, having no defect in hands, feet; spinal column, chest, with well developed (bones), equipped with well built shoulders that were extremely piled up and enclosed with muscles, having limbs beaten by a club at the time of taking exercise, with a hammer and fist, possessing energetic heart, having both of his hands long like the branches of "Tala' tree and of equal

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Raypaseniya-sutta. size: appearing like crystal capable of powdering, leaping, jumping, having quick speed; learned in seventy-two arts, circumspect, clever in forwarding arguments, expert, intelligent; proficient in architecture, taking a big broomi fastned to a bamboo stick or a brocm prepared from the small chips of bamboos, would cleanse the ground from all sides, the courtyard of royal palace, harem, temple, congregation-hall, garden, park, or a place where water is distributed to travellers, with dexterity, without being confused, not hastily, without hurry and for a long time, in the same way those servile celestial beings of Suriyabha god created a terrific hurricanes having done so, they accumulated whatever little grass, leaf, etc. was lying there in the circle of one Yojana round about Lord Mahavir; having done so, carried it to a solitary place; having done so, they stopped it (terrific hurricane ) immediately. Having done so, they emanated soul particles from the body for the second time; having done so, they created clouds filled with water. Just as a certain son of a servant young, [upto) possessed of dexterity, taking a small jar of water, or a bronze vessel full of water or a.

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Translation. 75 pitcher of water, or a water pot, would shower in the park on all sides {until]: a place where water is distributed to travellers, without haste: etc. in the same way those servile gods of Suriyabtia Deva created clouds full of water;having done so, they created thundering noise immediately; having done so instantly they produced flashes : of lightning; having done so, they showered divine fragrant scented water, (capable of) pacifying dust particles, (at the same time) neither creating mud nor producing collections of water on the ground, but producing (the effect) like that of the sprinkling of water in the circle of one Yojana round about ascetic Lord Mahavir. Having done so, they put down,, destroyed, removed, pacified and calmed down the dust particles; having done: so, they stopped it quickly. Having done it, they emanated soul particles for the third time;' having done so, they created showers of flowers. Just as a certain son of a gardener young (upto] skilful in fine arts, taking a cloth bag for the collection of flowers, a satchel or a flower basket, would make the court-yard of royal palace [upto] all sides equipped with heaps of flowers that were showered there; which were:

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76 Raypaseniya-sutta. of five colours and spread like those, that are fallen from the hands while holding the braid of hair of a young lady, in the same way the servile celestial beings of Suriyabha god created showers of flowers. Having done so, they immediately produced a roaring noise; having done so [upto] they showered in heaps five coloured flowers with their stems to the extent of knees, dazzling with brilliance, born and brought up on water and soil. Having done so, they prepared the ground and got it prepared, befitting for the arrival of celestial beings by turning it into fragrance incarnation (just like a fragrant pill) and charming, by spreading the fragrant smell, issuing forth from the excellent types of Turukka' and 'Kundurukk"-incense, and black agallochum. Having done so, caused others to do it instantly. They stopped it; having done so, they approached to the place where ascetic Lord Mahavir was; having gone, there, circumambulating Lord Mahavir thrice [upto] having paid homage and salutations, from the vicinity of ascetic Lord Mahavir, and the shrine attached to Ambsalvana (park), they started forth; having started with charming gait (until] proceeding and going to. Sohamma heaven where

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Translation. there 77 was Sariyabha abode, Suhamma congregation-hall, and Suriyabha god. They approached there; having done so, they joining the palms of the hands and bringing the folded hands near the head congratulated Suriabha god with the (shouts) of victory and success, having done so, they reported back the execution of his order. (11) Then that Suriyabha god having heard and listened this in the vicinity of his servile gods, was delighted, pleased [upto] at heart, sent for the commander of an infantry, having called addressed him thus "Oh beloved of gods! instantly in the Sohamma congregation-hall, in Suha mma Sabha, beating again and again thrice the bell of one Yojana in circumference, giving out agreeable gingling sound at the same time pro bucing the sweet and deep resounding noise like the clouds, with loud words proclaiming repeatedly you address (to residential gods) thus, "Oh beloved of the gods! god Suriyabha is proceeding to the shrine attached to Ambsalvana in Amalkappa city in Bharat country and in Jambu continent in order to pay homage. It is ordered that you too, with all your pomp and prosperity [upto] with much din and cry, ac---

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78 Raypaseniya-sutta. companied by your own paraphernalia and having mounted on the celestial vehicles without delay be present in the vicinity of Suriyabha god, * (12) Then that celestial commander of an infantry being addressed thus by Suriyabha god, Was delighted, pleased [upto] at heart with due courteousness and obedience saying "Yes, my Lord" accepted his words; having done so, lie went (to the place) where: (there) was Suriyabha abode, Suhamma congregation-hall, and where there was the bell of one Yojana in cir. cumference, giviug out agreeable and gingling sound (at the same, time) producing deep and sweet" resounding noise like the thundering of the clouds; having gone ( there ), he struck thrice the bell of one yojan in circumfer nice giving out agreeable and gingling sound and (at the same time) capable of producing sweet and deep noise like the thundering of the clouds. Then as the bell of one Yojana in circumference, giviug out sweet sound and which was capable of producing sweet and deep noise like the thuudering of the clouds 'was beaten thrice, that Suriyabha abode was filled with hundreds and thousands of echoes of the sound, that was falling on the mansions and pleasure hills of

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Translation... 79 Sohamma heaven. The multitudes of gods and goddesses, who were the iababitants of Suriyabha Vimana, and who were deeply addicted to the pleasures of senses, attached to sexual intercourse, at solitary places, and thereby who were for ever wanton, being elevated by the loud noise of the bell, producing sweet sound, their minds were attached, hearts were concentrated, and ears were directed, due to the curiosity of the procla: mation that had arisen. That commander with great and loud voice, when the echoes of the ringing bell were completely stopped and pacified, proclaimed thus "Oh you multitudes of gods and goddesses residing in the Suriyabha abode please pay attention to the words of the Lord of the Suriyabha abode, for happi. ness and benifit." Oh beloved of the gods! it is ordered that you too, without delay and with all your pomp be present in the vicinity of Suriyabha god as Suriyabha god himself is proceeding to ascetic. Lord Mahavir. (who is halting in) the shrine attached to Ambsalvna (park), in Amalkappa city, in Barat country, and in Jambu continent in order to pay homage." (13) Then those multitudes of gods and

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Raypaseniya sutt goddesses, inhabitants of Suriyabha abode having listened, and heard the royal proclamation from the celestial commander of infantry, were. delighted, pleased, [upto] at heart. Some with the inclination of paying homage, some for the sake of worship, some with the idea of paying reverence, some out of curiosity, some with the idea "we shall hear what is unheard and put forth quarries concerning explanations, causes, questions, fundamental principles and meanings of the things that are already heard," some following the words of Suriyabha god, some as servile imitators (blind followers), some out of love and devotion towards Jina, some thinking it to be religion (duty) and some: considering it to be an usage with all their pomp [upto] without delay presented themselves in the vicinity of Suriyabha God. 80 3 (14) Then Suriyabha God observed that multitudes of gods aud goddesses residing in Suriyabha abode, without delay were coming in his vicinity. Having seen, was delighted, pleased, (until) at heart, sent for the servile god; having called the servile god said thus "Oh you beloved of gods! erect immediately one divine celestial vehicle Shighragamana (of

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Translation. quick speed) by name, supported by many hundreds of pillars, having wooden dolls set. sportively, painted with variegated pictures of wolf, bullock, horse, man, shark, bird, snake (leopard), Kinnar, deer, grass hopper (Sharabheight footed animal), yak, elephant, creeper in general and lotus creeper, adorned by encircling adamantine excellent altar, raised upon pillars, equipped with a machine containing a rotating pair of Vijjaharas, shining with thousand rays of the sun, furnished with thousands of silver coins, dazzling the eyes at the very sight, illuminat ing, possessing graceful form, very delightful to touch, giving out highly pleasing sweet sound due to the series of pendant bells, charming, auspicious, encircled by multitudes of small bells which were studded skilfully with precious stones and brilliant jewels, having the expanse of one lac Yojanas and which is ready for starting. Having created it instantly convey back the report of the execution of my order". 81 * (15) Then that servile god being addressed thus by Suriyabha Deva was delighted [upto] at heart, joining the palms of the hands [upto] accepted; having accepted, went to the nc

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82 Raypaseniya-sutta. rth-eastern direction; having done so, emanated soul particles from the body at the creation of Auid form; having done so (cast a staff of) numerable Yojanas [ upto ] gross particles of matter; having done so, invested subtle atoms within himself; having done so emanated soul particles from the body for the second time, and began to erect celestial vehicle supported by many hundreds of pillars [upto] divine. Then the servile god erected three beautiful staircases on three sides of that divine vehicle to wit-to the eastern, southern and northern sides. The description of those three charming staircases is narrated in this way, viz. -its boundary was made of adamant, its prop was of Rittha jewel, pillars were of lapsis lazuli (. Veruliya jewel ) steps of gold and silver, bars of Lohiyakkha, joints of adamant charming [ upto ] splendid. In front of these staircases up-right arches were set up. Those arches were on pillars of variegated jewels and the middle parts of these arches were studded with various sorts of interwoven and intermingled pearls and were furnished with various stars to beautify them. [ They were painted with variegated pictures of wolf, bullock, horse, man.

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Translation. . 83 shark, bird, snake ( leopard ); Kinrar, deer, grass hopper ( Sharabha ), yak, elephant, creeper in general, and lotus creeper, adorned by encircling an excellent admantine altar raised upon pillars, equipped with a machine' containing a (rotaing) pair of Vijjaharas, shining with thousand rays of the sun, furnished with thousands of silver coins, dazzling the eyes at the very sight, illuminating, possessing graceful form, very delightful to touch, and enchanting ] [ until ] splendid. It is narrated that, on those arches there were eight auspicious marks, a to wit-Sotthiya, Sirivachchha, Nandiyavatta, Va. ddhamapag, Bhaddasana. ( auspicious seat) Kalasa ( pitcher ), Matchchha ( fish ), and Dappana (mirror ), [ upto-splendid ]. The erected multitudes of flags were furnished with black chowries, [ upto ] banners decked with white chowry, having crystal-like "pure and smooth strap of silver equipped with the staff of adamant, made fragrant with the scent of the flowers growing in water, charming, pleasing, worthseeing, enchanting and splendid. On those arches he set multitudes of up-right umbrellas over umbrellas, pair of bells, banners over banners, multitudes of lotuses and quite

Page #93
Raypaseniya-sutta. a good number of night lotuses, blue lotuses, white lotuses, evening blooming lotuses, white lotuses of noble type, hundred petalled lotuses, and thousand petalled lotuses etc.. pure like crystal [ upto ] splendid. Then that servile god prepared an extremely splendid ground in the interior part of that divine vehicle. It was just like the leather of tabor (Muraj by name), the leather of timbrel, the surface of the lake filled with water, the surface of the palm, the surface of the mirror, the leather of sheep, pig, ram, or leopard, which was dragged with many a thousand of small nails and painted. with variegated figures of circles and, cross. circles, lines and cross lines, Sotthiya Pusmanag, Vaddhamanang, egg of fish, egg of shark, aquatic animal, series of flowers, lotus leaves, waves of the ocean, creepers of vernal season lotus creeper, and decked by the variegated crystal-like pure, brilliant glittering jewels. emitting series of rays on all sides. Those are black, blue, red, yellow and white in colour. Following type of description is stated for black coloured jewels whatever were there. Those were black like the cloud heavy with rain, collyrium, soot, lamp-black (collyrium), 84.

Page #94
Translation. 85 the horn of a buffalow (wild buffalow ), pill of collyrium, bees, series of bees, or the internal part of the wing of a bee, Jambu fruit, offspring of a cow, cuckoo, elephant, black cobra, black Bakula flower, the portion of the sky made black by thickly set clouds, black Asoya tree, black Kanvira tree or blackBandhujiva (tree). ! 1 (2.) Were those black jewels exactly like the above given similies? (Ans.) No. It is not correct. (Oh! long lived ascetic! After all those are analogical similies but) those black jewels were more agreeable, lovely, charming, and pleasing in colour. Following type of description is stated for blue coloured jewels whatever were there. Those were blue like a certain bee, a wing of a bee, parrot, feather of a parrot, blue jay, the feather of the jay, the indigo plant, the part of the indigo plant, the pill of indigo, Priyangu tree, disease of teeth, the thickest grove, the garment of Balibhadda, the neck of a peacock, the flower of hemp, the flower of Bana, the flower of Anjana-Kesiya, blue lotuses, blue Asoya, blue Bandhujiva, or blue Kanavira.

Page #95
86 Raypaseniya-sutta. (2.): Were those blue jewels exactly like the above given similies? ::. (Ans.) No. It is not correct (Oh ! long lived ascetic !: After all those are analogical similies, but) those blue jewels were more agreeable, lovely, charming, and pleasing in colour. Following type of description is stated for red coloured jewels whatever were there. Those were red like blood of a ram, the blood of a rabbit, the blood of human being, the blood of wild swine, the blood of a buffalow, small Iydragop insect, the sun in the early morning, twilight colour, the complexion of the halk part of Gunja: fruit or Jasmine : flower Kimsuya flower, Parijatak flower, the best quality of vermilion, coral, off-shoot of .coral, red Akkha jewel, the juice of lac, the blanket prepared from the spit of a worm, the heaps of red lead, red lotuses, red: Ashoka, red Kanvira, or red Bandhujiva... . : ... (Q.) Were those red jewels exactly like the above given similies? :. (Ans.). No. It is not correct. (Oh!.. long lived ascetic! After all those are analogical similies, but) those red jewels were more agreeable, :lovely, charming, and pleasing in colour.

Page #96
- Translation. . 87 Following type of description is stated for yellow coloured jewels whatever were there. Those were yellow like Champa tree, the bark of Champa tree, the part of Champa tree, turmersc, the part of turmeric (root), pill of turmeric, yellow orpiment (or Durva plant), the part of yellow orpiment, the pill of yellow orpiment, Chikura, the colour of Chikura, excellent gold, the line of gold on touchstone, shell of gold, the garment of an excellent man (Lord Krishna ), Allaki flower, Champa flower, the flower of pumpkin gourd, the flower of Aval tree (Tadavada), the flower of Ghosadia, the flower of gold, the flower of unwrought gold, the garland of an excellent Korant flowers the flower of Bijak tree, yellow Asoya, yellow Kanvira, or yellow Bandhujiva. (Q.) Were those yellow jewels exactly like the above given similies? * (Ans.) No. It is not correct. (Oh! long lived ascetic ! After all those are analogical similies, but) those yellow jewels were more agreeable, lovely, charming, and pleasing in colour. Following type of description is stated: for white coloured jewels whatever were there.

Page #97
Raypaseniya-sutta. Those were white , like Anka jewel, conch, moon, lotus, teeth, drop of water on lotus, pure water drop, curds, camphor, the milk of a cow, the row of swans, line of herons, series of garments, series of moons, cloud in autumnal season, a silver strap purified by fire and earth, heaps of rice flour, dry pods of beans, moon like figure in the middle of a peacock feather, fibre of lotus, lotus stalk, tusk of an elephant, the flower of clove tree, petal of white lotus, white Ashok, white Kanvira, or white Bandhujiva. . (Q.) Were those white jewels. exactly like the above given similies ? . (Ans.). No. It is not correct (Oh!. long lived ascetic! After all those are analogical similies, but ) those white jewels were more. agreeable, lovely, charming, and pleasing in colour. Following type of fragrance of those jewels is stated. It was just like vessels made of leaves containing Kottha ( a fragrant substance,) Tagara (fragrant wood), Yela, Choya, Champa, Damana, vermilion, Sandal, Usira, ( fragrant grass), Marua, Jai, Jasmine, Mallika, Snanamallika, Ketaki, trumpet flower, Nav. malliya, flower, fragrant Aloe wood, camphor, fragrant camphor, or clove lying in open space

Page #98
Translation. where favourable wind is blowing, while being beaten into fine pieces or pounded, or turned into dust like particles, or diffused, or used, or smelt by the man standing in the nearhood, or being poured from one pot into another, the fragrance is scattered in all directions round about giving delight to the sense organ of smelling and mind, which was of excellent type, pleasing and charming. 89 (2.) Was that fragrance of the jewels exactly like the above given similies? (Ans.) No. It is not correct. (Oh! long lived ascetic! After all those are analogical similies, but) those fragrant jewels were more agreeable, lovely, charming, and pleasing in fragrance. The touch of those jewels is stated in the following terms. (It was) like (the sense of feeling created by the contact of) a of garment made black the leather of a antilope, cotton, a Bur (a kind of tender plant ), butter, a bed of tender cloth, a collection of Sirisa flowers, or the heaps of the leaves of tender lotuses. (9) Was that touch of the jewels exactly like the above given similies?

Page #99
90 Raypaseniya-sutta. (Ans.) No. It is not correct ( Oh! long lived ascetic! After all those are analogical similies, but) the contact of those jewels was more agreeable, lovely, charming, and pleasing in touch. Then that servile god erected a colossus theatre, exactly in the middle of that divine vehicle, supported by hundreds of pillars having excellent, protruding, and well arranged altars, decked with beautiful arches and puppets, (equipped with ) spotless, well adhered, pillars of particular beautiful shape, and studded with auspicious Veruliya jewels ( which was ) made dazzling by studding many varieties of jewels at quite different places, and painted with variegated pictures of wolf, bullock, horse, man, shark, (crocodile), bird, snake (leopard), Kinnar, deer, Sharabh, yak, elephant, creeper in general and lotus creeper, having the tope of it erected out of precious stones jewels and gold, (equipped with ) the top most peak encircled by small bells and five coloured banners of various fashions shooting forth host of rays, (having ) the ground of it besmeared by means of cow dung and plastered walls stamped by the palms of the hands with the fingers' be. smeared in the varieties of sandals, such as

Page #100
* Translation. . 91 Gosis, Rattachandana, and Daddar, (having ) set sandal pitchers, ( possessed of) the arches beautified by sandal jars kept on the entrance door, (having) the collection of long circular garlands and wreaths which were hanging up and down, (equipped with ) the heaps of five coloured flowers emitting excellent fragrance, ( which was ) made charming by spreading the fragrance emitting from excellent types of Turukka and Kundurukka incense and black agallochum, as if the ground was turned into fragrance incarnation, (it was ) resounding with the noise of heavenly drums (which were ) beaten, (where ) bands of celestial nymphs were dispersed here and there, (and which was ) pleasing, worthy to be looked at [upto] splendid. He prepard the floor of the theatre exceedingly charming [ upto ] the touch of the jewels, and erected the upper part of the theatre painted with ( the pictures of) lotus creeper [ upto ] splendid. Exactly in the middle part of that. execedingly charming ground of the theatre, he prepared one huge arena made of adamant. Almost in the middle part of that arena he erected a very huge altar of gems, eight Yojanas' in length and

Page #101
92 Raypaseniya-sutta. breadth, four Yojanas in thickness, the whole of it prepared out of jewels, chaste, smooth, { upto ] splendid. On that altar of gems he erected a very expansive throne. The descri. ption of that throne is stated in the following terms. The discs, the lions with golden feet, the upper part of the feet of the throne, the limbs, the joints, and the middle part of it were prepared out of gold, jewels, variegated jewels, Jambunaya, adamant, and numerable precious stones respectivaly. That throne was painted with various pictures ( such as ) wolf deer, bullock, horse, man, shark, bird, snake, ( leopard ) Kinnar, antilope, yak, elephant, wild creeper, lotus creeper, and the foot stool of which was studded with incomparable crest-jewels. The pillow on the foot stool was covered by smooth covering, the hanging skirt of which was as smooth and tender as the new skin, ends of Kush grass, filaments of flowers, having well arranged dirt remover ( on it ) and the latter covered with suitable cotton garment as a protector of the dust remover, ( being ) wrapped in a very charming red garment, exceedingly charming, and which was as delicate in touch as the skin of

Page #102
:: Translation. 93 a deer, cotton, Bur plant and butter, delicate, highly pleasing etc. On that throne he created a very geat Vijaya-dushya (.a particular kind: of garment ) which was resembling (in whi. teness ), the heaps of conches, Anka jewels, Jasmine flowers, the, drops of water, nector mist, and foam, the whole of it was interwoven. with jewels, chaste, smooth, pleasing, worthy to be looked at, charming, and splendid. Almost in the middle part of that Vijaya garment ( which was spread ) on the throne, he created an adamantine goad. In that: adamantine goad he placed ( lit. prepard ) a. garland of pearls as big as the earthern pitcher ( which was famous in Magadha country in ancient days ). That garland of pearls like the size of a jar was surrounded from all sides by the other garlands of pearls, the size of which was half of the pitcher, and the proportion of their length was half of it. Those garlands which were intermingled with: golden ornaments, having a ball like shape in. the middle, ( whose ) upper portion was decked by golden leaves, which were dazzling due to the lustre of variegated jewels, . different types of necklaces, small necklaces, precious stones,

Page #103
94 Raypaseniya-sutta. gems, and the parts of those ornaments being slightly touched by the wind blowing from the east, west, acrth and south, were moved, shaken, and waved to and fro slowly and slowly, giving out gingling sound which was great, highly pleasing, capturing the heart, producing feelings of joy in mind and ears, and pervading the whole of the space of that part by noise and shining with exceedingly charming glory. Then that servile god created four-thousand auspicious seats for four-thousand Samaniya celestial beings of Suriyabha god, to the western, northern, and north-eastern sides of that throne. He begetted four-thousand propitious seats, to the eastern direction of that throne, for four chief queens of Suriyabha god with their retinue. He produced there eight-thousand auspicious seats to the southeastern direction of the throne for eight-thousand celestial beings who were the members of internal-assembly of Suriyabha god. In the same way he created to the southern direction ten-thousand propitious seats for ten-thousand celestial beings who were the counsellors of middle-chamber, and to the south-eastern direction begeted twelve thousand auspicious

Page #104
4. Translation. 95 seats for the twelve-thousand heavenly beings. who were the members of the outer-chamber and to the western side seven propitious seats for seven commanders of armies. Moreover to the four directions of that throne he prepared .sixteen-thousand auspicious seats for the sixteen-thousand supernatural beings who were the body-guards of Suriyabha god. They ( sixteen-thousand auspicious seats) were arranged as follows:- four-thousand to the eastern direction, four-thousand to the southern direction, four-thousand to the western direction, and four-thousand to the northern direction, The particular colour of that divine vehicle is stated in the following terms. It was just like the colour of recently arisen autumnal young sun, the burning charcoal of the wood of Khadir tree, the forest of Chinarose inflamed at night, the part of Kimshuka flowers. or the garden of Parijatak all in all, and from all sides equipped with a good num. ber of excellent flowers. . (2) Is the colour of that divine vehicle exactly like the above given similies ? (Ans.) No. It is not correct ( Oh ! Longlived ascetic ! After all those are analogical

Page #105
96 Raypaseniya-sutta. similies, but ) the colour of the divine vehicle was more agreeable ['upto ] in colour: * The smell and the touch ( of that divine vehicle ) were exceedingly fragrant and very smooth ( respectively). Just as what we learnt about jewels. Then that servile god ( in this way ) prepared the divine vehicle; having done so, went to the place where Suriyabha god was; and having done so, joining the palms of the hands before Suriyabha god [ upto ] conveyed back the report of the execution of his order... (16) Than that Suriyabha god having listned and heard this ( the above stated information ) from the servile god, was delighted [ upto ] at heart, emanated soul parti. cles from the body at the creation of the fluid form, and formed the divine final fluid body, befitting for proceeding to the prophet; having done so, being encircled by four chief queens, with their paraphernalia, and with two types of bands of musicians, ( those are) to wit-the band of classical musicians, and the congregation of dancers, circumambulating that divine vehicle more than once, by the beautiful staircase of eastern direction climbed ( the

Page #106
Translation. . 97 divine vehicle); having done so, he weut to the place where the divine throne was; having done so, he took his seat on the excellent throne, facing to the east. Then those four-thousand Samaniya gods ( celestial beings. having the position of Indra ) of Suriyabha god, circumambulating that divine conveyance * climbed it by the beautiful staircase of northern direction; having done so, everybody of them took the auspicious seats which were already arranged. The remaining gods and goddesses went to that divine aeroplane [ upto ] by the beautiful staircase of southern direction mounted it; having done so, each of them took his seat on the auspicious seats which were already arranged. When that Suriyabha god mounted on that divine vehicle eight auspicious things proceeded before him, in due order ( those were ) viz. S@tthiya, Sirivachchha, [ upto ] Dappana ( mirror ). Then afterwards pitchers and jars filled with water ), divine umbrellas, flags, Chowries, ( Chammaras, which were ) pleasing to the sight, and banners Vijaya and Vejayanta by name, waved by the wind, lofty, (as if ) scratching the court-yard of the sky and worthy to be looked at, proceeded in due

Page #107
Raypaseniya-sutta. order. Thereafter spotless and dazzling staff of Veruliya jewel, chaste umbrella, rising upto a great height, resembling the halo of moon, decked with pendant garlands of Korant flowers, and an excellent throne beautified in different ways by studding jewels and precious stones equipped with feet and a foot-stool suitable for keeping sandals on it, and which was being carried by many servile gods (all these things), proceeded in due order. 98. Then immediately after that the great banner of the lord of celestial beings, which was well established, smooth, steadfast, beautiful in structure, and made of adamant rising up-right to the height of one thousand Yojanas, (as if) touching the surface of the sky, lofty, equipped with umbrellas over umbrellas and banners Vijaya, and Vejayanta by name, encircled by thousands of five coloured small banners waving high up in the sky, was carried forth in due order. Then afterwards five commanders of the army, girting up their loins with beautiful dress, ready, adorned with a good number of ornaments, and ( accompanied by the hoards and crowds of warriors), started forth in due order.

Page #108
Translation. [Thereafter many servile gods and goddesses with their own configurations, excellencies, crowds, retinues, and dresses, started forth in due order.] Then afterwards multitudes of residentlal gods and goddesses (who were ) the inhabitants of Suriyabha Vimana, with their pomp and splendour (upto) beauty, began to follow in front of, by the sides of, and (also) behind Suriyabha god. (17) Then that Suriyabha god surrounded by five (types) of armies, with a huge and great banner of Indra being dragged in front and which was formed of smooth circular adamant (upto) rising up-right to the height of one-thousand Yojanas, who was encircled by multitudes of residential gods and goddesses dwelling in Suriyabha Vimana and four-thousand Samaniya gods (upto) sixteen-thousand celestial beings as body-guards, with all pomp (upto) [creating great] noise, through the midst of Sohamma heaven, displaying respeatedly, divine prosperity of gods, supernatural illumination of celestial beings, divine glory of heavenly beings, with great vigilence and watchfulness went to the place where there was the fixed route of Sohamma heaven 99

Page #109
100 Raypaseniya-sutta. in the northern side ( to come down ). * Having done so, with the speed of one lac Yojanas descending and proceeding on with that excellent (gait) [upto ] travelled through the midst of innumerable continents and oceans of human regions; having done so, he went to ( the place )' where there was an excellent Nandisar continent, and Ratikar mountain in the south-eastern direction; having done so, he contracted and took back that divine splendour of celestial beings (upto) the heavenly glory of gods and shortening and drawing it to-gether (he) went to the place where Jambu. continent; where Bharat country; where Amalkappa city; where the sanctuary attached to Amb-salvana; and where blessed ascetic Lord Mahavir was; having done so, with his divine vehicle circumambulated blessed ascetic Lord Mahavir thrice; having done so, alighted that divine vehicle in the north-eastern direction of blessed ascetic Lord Mahavir, keeping four fingers away from the surface of the ground: having done so, he who was encircled by four chief queens with their paraphernalia and two bands of (gods) viz. the band of classical musicians, and the band of dancers, descended

Page #110
Translation. from that divine vehicle by the beautiful staircase of eastern direction. Then those fourthousand Samaniya celestial beings of Suriyabha god decended from that divine vehicle by the beautiful staircase of northern direction. The remaining gods and goddesses (also) descended from that divine vehicle by the incomparable staircase of the southern direction. Then that Suriyabha god surrounded by multitudes of gods and goddesses inhabiting the Suriyabha Vimana and his four chief queens [upto] sixteenthousand celestial beings as body-guards, with all his pomp [upto] [producing] great din and cry went to the place where there was blessed ascetic Lord Mahavir; having gone, circumambulated ascetic Lord Mahavir: having done so, bowed down and paid homage; having paid salutations and respects, said thus " Oh! revered Sir! I the Suriyabha god bow down and pay salutations to ye beloved of gods [upto] wait upon." 101 (18) Blessed ascetic Lord Mahavir said to Suriyabha god "Oh! Suriyabha it is the ancient custom! Oh Suriyabha it is the usage! Oh Suriyabha it is a bounden duty! Oh Suriyabha it is worthy to be performed! Oh

Page #111
102 Raypaseniya-sutta. Suriyabha it is put into practice! Oh Suriyabha it has been approved because Residential, Peripatetic, Stellar, and Heavenly these (four types of) gods pay salutations and homage to the prophet; having bowed down and paid respect, afterwards (they) narrate their OWIL names and family names respectively. Oh Suriyabha this is a quite ancient usage [upto] Oh Suriyabha this has been approved. (19) Then that Suriyabha god being addressed by blessed ascetic. Lord Mahavir was delighted [upto] saluted and paid homage to blessed ascetic Lord Mahavir; having paid. homage and bowed down, he began to wait upon the Lord, (remaining) neither very near nor at a long distance serving, saluting, and folding the palms of the hands in his presence.. (20) Then that blessed ascetic Lord Mahavir (gave a religious sermon) to that Suriyabha god, in that great and huge congregation [upto] the assembly returned to the very direction from which it had appeared. (21) Thereafter that Suriyabha god having listened and heard the religious sermon in the vicinity of blessed ascetic Lord Mahavir, was delighted, pleased, [upto] whose heart was cap **

Page #112
Translation. 103 tured, got up; having got up, bowed to and saluted him; and having done so he spoke thus "Oh revered Sir! am I-the Suriyabha god a Bhavya Jiva (a being for whom liberation is possible) or an Abhavya Jiva (a being for whom liberation is not possible). Am I, a being possessing right faith or heretic? Am I one whose journey in worldly transmigration is limited or one for whom infinite transmigration is destined? Am I a being easy to be enlightened or difficult to be elevated by knowledge? Am I aiming at salvation or indifferent to it? Is salvation attainable in the next incarnation or the adverse of it"? Blessed ascetic Lord Mahavir spoke thus "Oh Suriyabha, you are a being for whom salvation is possible and not of opposite type [upto] a being whose next incarnation is last one, but not the reverse of it." (22) Then that Suriyabha god being addressed thus by blessed ascetic Lord Mahavir, was delighted, pleased, jolly minded, jubiliant at heart; (he) bowed to and saluted blessed ascetic Lord Mahavir; having done so, (he) spoke thus Oh revered Sir, you comprehend everything and perceive all things, you know

Page #113
104 Raypaseniya-sutta. the whole of the time, you observe the whole of the time, you know all the inclinations, you perceive all dispositions, Oh beloved of the gods! you are quite aware of the fact that I, possess this sort of divine splendour of gods, heavenly brilliance of supernatural beings, celestial glory of superhuman beings, obtained; secured, and acquired formerly or afterwards. Therefore out of my devotion towards ye be: loved of the gods I long for displaying the dancing programme constituted by thirty-two types of dramas, (exhibiting) divine splendour of gods, heavenly brilliance of supernatural beings, and celestial glory of divine beings in the presence of the fetterless monks Goyama etc." (23) Then that ascetic Lord Mahavir being addressed in the above stated manner did not show favourable attitude for the staging of it nor consented for it but remained silent. Then that Suriyabha god for the second time spoke to ascetic Lord Mahavir thus, "Oh, revered Sir ! you comprehend: everything [ upto ] to exbibit." Addressing in this way curcumambulated ascetic Lord Mahavir thrice; having done so, bowed down

Page #114
Translation: 105 to and saluted: having done so, took himself to the northern direction; having done so, emanated the soul particles for the formation of a fuid body; having done so, extracted a staff of numerable Yojanas; having done so, the gross particles of matter,............. having done so, subtle atoms of matter............, having done so, second time by emanation for the forma: tion of fluid body [ npto ] made the surface of the ground exceedingly charming. It was just like certain leather of a tabor ( known as Muraj ). or [ upto ] the contact of jewels. Exactly in the middle part of that exceedingly. charming surface of the ground he ( Suriyabha god ) erected a pendal of the theatre supported by hundreds of pillars etc. (the desemiption) [upto] formed exceedingly charming floor. He begetted the upper part, the arena, and the altar of jewels. Ou that altar a throne with all paraphernalia [ upto ] garlands. Then that Suriyabha god paid homage to ascetic Lord Mahavir at the very sight ( of the Lord ): having done so, "Let the Lord permit me ! he uttered these words and took his seat on the excellent throne facing to the prophet: Then that Suriyabha god at first extended his well

Page #115
106 Raypaseniya-sutta. built and long right arm lustrous due to the ornaments such as girdle, armlet, and other costly ornaments studded with glittering, variegated jewels prepared out of pure and valuable gold and gems with great dexterity. Then he produced one hundred and eight young celestial beings for staging the performance; having similar pattern, complexion, and age, equipped with the same grace, beauty, youth, and virtues, decorated by the same sorts of garments and ornaments, worn on the outer garments covering both the sides of the shoulders, placed a mark on the forehead and a flower garland of a crown, ( who had) put or a necklace and an armour, (who had) worn painted and glittering garments, whose pendant skirts were well arranged and which were lightly fastened by putting on, painted bells which at the time of the turnings of the dance appeared like a foam and whose chests were beautified by abundant ornaments and a single string of pearls placed on necks. Then he extended his well built and long left arm. [ lustrous due to-upto ] jewels. Thereafter he produced one-hundred and eight young celestial lasses, ready for staging the performance,

Page #116
Translation. 107 having similar pattern complexion and age,.. equipped with the same grace, beauty, youth: and virtues, decorated by the same sorts of garme. nts, ornaments worn on the outer garment covering both the sides of the shoulders, having a mark on the forehead and a flower garment on the crown, ( who had ) put on necklaces and armours, (whose) limbs and the minor limbs were beautified by the ornaments studded with different types of jewels and gems, ( who were ) moon faced, whose forheads were like halfmoon, whose sights were more pleasing than the moon, and dazzling like the meteor ( a spark of fire ), (who had) put on charming dress which itself was (as if) an abode of erotic emotions, ( who were expert in befitting manners, well versed in conversation; gestures, standing, speaking, and smiling, and (who had) taken musical instruments ( in their hands ). Then that Suriyabha god produced one-hundred and eight conches, one-hundred and eight conch flowers, one-hundred and eight bugles, one hundred and eight bugle blowers, 'onehundred and eight small-conches, one-hundred and eight small-conch blowers, one-hundred and eight horns, one-hundred and eight horn pipers, one-hundred and eight big horns, one

Page #117
105 Raypaseniya-sutta. hundred and eight big-horn pipers, one-hundred and eight bamboo Autes, which give out PiriPiri' sound etc. In this way he begetted fortynine types of musical instruments and persons to play upon them; having done so, he sent for multitudes of celestial lads and lasses. Thereafter those multitudes of celestial lads and lasses when being called by Suriyabha god were delighted [ upto ] went to the place where there was Suriyabha god; having done so, joining the palms of the hands [ upto ] congratulating Suriyabha god spoke thus "Oh ! beloved of the gods! please order what should be done by us !" Then that Suriyabha god spoke thus to those multitudes of celestial lads and lasses. "Oh ! beloved of the gods'! you approach to ascetic Lord Mahavir, circumam. bulate him thrice; having done so, bow down to and salute; having done so, stage the dance constituted by thirty-two types of dramas exhibiting the divine splendour of gods, the celestial brilliance of supernatural beings. asid the celestial glory of superhuman beings to the fetterless ascetics such as . Goyama and others; having done so, immediately convey back the report of the execution of the order."

Page #118
Translation. 109 Then those multitudes of heavenly lads and lasses when being addressed thus by Suriyabha god were delighted [ upto ] palms of the hands [ upto ] accepted; having done, so, went to the place where blessed ascetic Lord Mahavir was; having done so........to ascetic Lord Mahavir [ upto ] having bowed down, went to the spot where fetterless ascetics such as Goyama and others were. Thereafter those multitudes of celestial lads and lasses to-gether begetted a divine arrangement of seats etc. ( Known as Samosaran ); having done so, arranged themselves in rows; having done so, they ( gods in rows ) bowed down simultaneously; having done so, they bent down to-gether in the same manner, they raised up to-gether in the same way; having done so, they bent. down steadfast and raised up erect, again they bent down all at the same time and raised up ( their heads ) to-gether; having done so, 'they advanced ( or dispersed ), simultaneously; having done so, all at the same time, took the musical instruments etc., and at the same time began to play upon ( those instruments ), sing, and dance. (Q.) "How was it?

Page #119
M:10 Raypaseniya-sutta. (Ans.) "Their music was of three fold nature at three different times e. g. starting from their chests with slow voice, reaching to its high' pitch when coming to head and again attaining sweetness' while reaching to the throat. The music of the dancers was like the humming noise contained in the cave which is favourable to singing, sing in tune, clear at three places (viz. chest, thrcat and head) and was harmonious with the tune of the lute and the fute, and the steps were in tuue with the sweet and husky (or grunting ) munner of singing (and was), pleasing to the mind, harmonious, graceful, charming, giving delight to the mind, melodious even in the end and exceedingly charming in its form. (Q.) How was it ? (Ans.) (When sweet and pleasing music . was going on ) the gods who were blowers of conches, small conches, bugles, horns, big horns, and bamboo flutes which give out the sound "Piri-Piri' began to blow these instruments; those who were beaters of small drums, and war drums began to beat them; 'Bhambhas' and 'Horambhas' ( kinds of drums) were being struck; kettle drums, cym

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Translation. . 111 bals and large kettle drums, were being beaten; Murajas ( kinds of drums ), drums, and big tabors were being repeactedly struck; Alingas (kinds of musical instruments ), Kutumbas, Gomuhis, and Maddalas ( wind instruments ) were being sounded out of tune; lutes, seven stringed harps, and guitars were being touched upon; lutes of hundred wires, Kachchhapis (best lutes) and wonderful guitars were being tweedled; Baddhisakas (musical instruments), bells named Sughosha and a chorus of the set of twelve kinds of musical instruments (Nandighos) were being chimed; Bhammaris (lutes); harps, Sitars were being struck ; Tunas, and lutes made of gourds were being winded; Amodas, Kumbhas and Nakulas (some kinds of musical instruments ) were being played upon; Mugundas, Hudukkas, and Vichikkis were being repeatedly struck; Kardas, Dindimas, Kinias and Kadambas, were being played upon; Daddargas, Daddarigas, Kutumbas, Kalasias, and Maddayas were being struck upon; clapping of hands, cymbals and cymbals made of bronze were being slightly beaten; Girisiyas, Lattiyas, cymbals, Magariyas, and Susumariyas were being played upon, flutes made of bamboos, Chalis, Parillis and

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112 Raypaseniya-s utta. Pavyagas were being blown; at that time, that divine. music and celestial dancing were performed. In this way the music which was extraordinary, full of amorous sentiments, great, pleasing to the mind, and bewitching the heart, the danciug which was attracting the mind, the drum beating which was fascinating and provoking to all, and the bustling noise (which was) divine and pleasing even to gods, began. Then those multitudes of celestial lads and lasses exhibited the performance of divine drama 'Mangal Bhatti Chitta' by name where eight auspicious figures were manifested such as Sotthiya, Sirivachchha, Nandiyavatta Vaddhmanag, Bhaddasana ( auspicious seat ) Kalasa. (pitcher), Machchha (fish), Dappana (mirror) in the presence of ascetic Lord Mahavir. (24) Then those multitudes of celestial lads and lasses all together begetted a Samosaran (the assembly hall erected hy divine beings where there is an arrangement for twelve type; of beings and where the prophet i. e. Tirthankar expounds the doctrine of Jainism); having done so..............all that is described in previous Sutra is to be inserted here, [up'o] divine, pleasing even

Page #122
Translation. . 113 to gods was going on. Thereafter these multitudes of divine lads and lasses exhibited in the presence of blessed ascetic Lord Mahavir the second type of performance of divine dance where variegated figures such as circles cross-circles, lines, cross-lines, Sotthiya, (Sirivachchha), Pusamanag, Vaddhmanag, the egg of fish, the egg of crocodile, aquatic animals, series of flowers, lotus leaves, waves on the ocean, Jasmine creeper, and lotus creeper were noticeable. In this way in every drama the whole description such as Samosaran etc; is to be inserted [upto] divine pleasing to gods was going on. Thereafter the multitudes of divine masters and damsels exhibited in the (vicinity) of ascetic Lord Mahavir third type of divine drama where variegated figures of wolf, bullock, horse, man, shark, bird, leopard, Kinnar, deer, grass hopper ( Sharabha ) yak, elephant, creeper in general and lotus creeper were clearly shown. Then they revealed the fourth type of divine drama where gestures were exhibiting articles which are crooked from one side, crooked from both the sides [goad shaped from one side, goad shaped from both the sides]; circular from one side, circular from both, the

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114 : Raypaseniya-sutta. sides, half circled, and full circled. Thereafter they staged the fifth divine drama where representations of the row of the moons, particular arrangements of Avalis (series), a row of swans, a row. of suns, a single string of beads, pearls, etc. row of stars, row of pearls, heaps of gold and a row of jewels were made. Then they displayed the sixth type of divine drama where rising scenes such as the rising of the moon and the rising of the sun were shown. Just after that they staged the seventh type of divine drama where the arrival scenes such as the arrival of the moon, and the sun were exhibited. Then they produced the eighth divine drama where eclipse-scenes such as the eclipe of the moon and the sun were presented. Then they manifested the ninth divine drama where the views of setting, such as the setting of the sun and the moon were revealed. Thereafter they forwarded the tenth type of divine drama where the halos viz. the halo of the moon and the sun, the halo of Naga type of celestial beings, the halo of demi-god, the halo of ghost, [the halo of monster, the halo of great serpent (or a type of god) and the halo of Gandharvas (divine musicians)] were exposed. Then they

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Translation. .. 115 displayed the eleventh divide drama where gaits viz. the beautiful gait of an ox, the gait of a lion, the gait of a horse, the gait of an elephant, the gait of an intoxicated horse, the gait of an intoxicated elephant, and the gait of a messenger were brought into view. Then they acted the twelfth type of divine drama where the scenes of oceans, the scenes pertaining to cities and mixed scenes of oceans and cities were set forth. Thereafter they produced the thirr teenth divine drama exhibiting Nanda, Champa, and Nanda-Champa both. Then they disclosed the fourteenth divine drama having special arrangements of eggs of fish, eggs of crocodiles, aquatic animals, animals living in water and ithe mixed arrangements of the eggs of fish, the eggs of crocodiles, aquatic animals, and animals living in water. Then they staged the fifteenth divine drama representing the shapes of the letters 'Ka', 'Kha', 'Ga', 'Gha' 'Na', and the mixed scenes of 'Ka', 'Kha', 'Ga', "Gha', and 'Na'. In the sixteenth drama in the same way the letters from 'Cha? group (were shown). The seventeenith drama was pertaining to the letters from "Ta' group, the eighteenth for "Ta' group and the nineteenth for 'Pa' group. They staged

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116 Raypaseniya-sutta. the twentieth type of divine drama presenting various leaves such as Ashok leaf, leaf of a Mango tree, leaf of a Jambu tree, and a leaf of Kosamba tree. Thereafter they brought forth the twenty-first divine drama, where scenes of creepers viz. the lotus creeper [upto] Sam creeper were manifested. Then they exhibited the twenty-second divine drama known as 'Duya'. Thereafter they staged the twenty-third type of divine drama which is known by the name "Vilambiya'. Then they revealed the twenty-fourth type of drama: named "Duyavilambiya'. The names of twentyfifth, twenty-sixth, twenty-seventh, twentyeighth, twenty-ninth, and'thirtieth, are 'Anchiya',. 'Ribhiya','Achiya-Ribhiya', * Arbhada', 'Bhasola', and' Arbhada-Bhasola' respy. Thereafter they presented thirty-first type of divine drama where gestures of ascending, descending, contracting, extending, walking, going, illusion and confusion, were produced. Those multitudes of divine youths. and damsels simultaneously erected Samosaran [uplo] it was divine and pleasing to celestial beings. Then those celestial lads and lasses set forth the thirty-second type of drama where scenes pertaining to the blessed ascetic Lord

Page #126
Translation. 117 Mahavir's life-story of previous incarnation, [history of his life-period in celestial region,] information about his dropping down (from heaven ), the account of the transference of the foetus (from Devananda's womb to that of Trisalladevi), the history of his birth, the story about the sprinkling ceremony (performed by the lords of Devas) biography of his childhood, account of the days of youth, life story of his enjoying the pleasures, information about his initiation, biography of his austerities, right conduct and ideal behaviour, [the account of acquiring omniscience,] the story of his propaganda and aquisition of the 'summum-bonum' i. e. salvation, and concerning his last days. Thereafter multitudes of divine youths and nymphs began to play upon four types of instruments (Those instruments) were as follows:The musical instruments e. g. tabor, drum, etc., non-stringed musical instruments e. g. flutes pipes etc. bronze musical instruments e.g. bells etc. and wind instruments e. g. conch, bugle etc. Then those multitudes of divine masters and maidens sang four types of songs. Those ( songs ). were as follows:- Ukkhitta. Payatta, Mandaya (in which the tune is sung

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118 Raypaseniya-sutta. slowly) and Roiyavasan (a song having desirable end). Thereafter the multitudes of divine lads and lasses brought into view four-fold: dancing. It was as follows:- 'Anchiya', 'Ribhiya", 'Arbhad', and 'Bhasol'. Then the multitudes of divine youths and dimsels displayed four types of gestures. Those were as follows:gestures pertaining to the parable, gestures about the manners and customs of the inhabitants of barbarian countries, gestures in general and gestures about the beginning, middle and: the end of the era. Thereafter the multitudes of celestial lads and lasses having presented the dance constituted by the thirty-two types of divine dramas exhibiting divine splendour of gods, celestial brilliance of supernatural beings and hevenly glory of superhuman beings, to the fetterless ascetics headed by Goyama etc.. (They) circumambulated ascetic Lord Mabavir thrice; having done so, bowed, down to and saluted; having done so, went to the place where Suriyabha god was; having done so, joi. ning the palms of the hands and bringing the folded hands near fore-head congratulated Suriyabha god with success and victory; having done so, conveyed back the report of the execution of the order.

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Translation... 119 (25) Then that Suriyabha god contracted ( took back ), that divine splendour of gods, celestial brilliance of supernatural beings and heavenly glory of superhuman beings; having done' so, in a moment he became one (i. e. all atoms were contracted within him). There-after that Suriyabha god circumambulated ascetic Lord Mahavir thrice, paid salutations and honoured; having done so, being surrounded by all his retinue mounted on that divine vehicle and having done so, went back to the direction from which he had appeared. (26) Blessed ascetic Goyama bowed down to and saluted the blessed ascetic Lord Mahavir; having done so, spoke thus " Ob! revered Sir ! where this divine splendour of gods, heavenly brilliance of supernatural beings and celestial glory of super-human beings of Suriyabha god has gone and entered".! "Oh ! 'Goya. ma it has gone and entered into the body." "Oh! revered Sir ! what do you mean by this ( or How is this ? ) that you say it has gone and entered into the body ? "Oh! Goyama, suppose there is a certain house carved out or situated on a mountain peak, besmeared with cow. dung, protected from two sides by ramparts in two

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120 Raypaseniya-sutta. ways, having the closed doors in which air cannot penetrate and which is very grave and severe due to (the scarcity of) the wind. Not very far from that house carved out or situated on a mountain peak there is standing a very huge crowd of people. That crowd of people observed a very great hurricane, heavy rain fall, and violent wind blowing. Having noticed that they enter into the house carved out or situated on a mountain peak and wait there. Oh! Goyama (these people remain there in the same way) it is stated that (all the atoms of Suriyabha god's soul) entered into his body." as << (27) "Oh! revered Sir where is the Suriyabha abode of Suriyabha god?" Goyama! in this very Jambu continent to the southern side of Mandar mountain, having gone many, hundreds, thousands, lacs, crores, and lac-crores of Yojanas upwards, from the extremely char. ming surface of the ground of Rayanppabha hell, the moon, the sun, the groups of planets; constellations, and stars. there comes the heaven known as 'Sohamma kappa'. It is east to west in length, north to south in breadth, half moon size in structure, dazzling with the lustre of the thousands of rays of the sun,

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: Translation. . 121 innumerable crores of Yojanas in length and breadth and innumerable crores of Yojanas in circumference. It is stated that there are thirty-two lacs of abodes of Sohamma gods. Those celestial abodes, wholly made of jewels, are excellent [upto] splendid. Exactly in the middle part of those celestial abodes there are five lofty mansions. Those (five mansions) are as follows:Asog mansion. Sasttavanna palace, Champak Villa, Chuyaga: castle; and in the middle Schamma banglow. All those mansions are erected out of precious stones and are superfine (upto] splendid. It is expressed that hav. ing gone innumerable lacs of Yojanas in ablique direction to the eastern side of great abode (named) Sohamma palace ( one comes across ) Suriyabha abode of Suriyabha god. It is twelve and half lacs. of Yojanas in length and breadth, thirty-nine lacs fifty-two thousand eight hundred forty-eight (and a little bit more ) in circumference. It is surrounded from all sides by one rampart. That rampart is three hundred Yojanas in height, the extension is hundred Yojanas at its base, fifty Yojanas in the middle and twenty-five Yojanas at the top. It is expansive at the base, diminished

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122 Raypaseniya-sutta. in the middle and thin at the top. Its structure is like that of the tail of a cow made wholly of gold and superfine [upto] splendid. That rampart . is decorated by the cornicesprepared out of five-coloured variegated jewels. Those ('five cornices ) are as follows-black, blue, red, yellow, and white. Those cornices are one Yojana in length, half Yojana in breadth, a little bit less to one Yojana in height, and all in all made of precious stones superfine [upto] splendid. It is expressed that there are one-thousand entrances to each of the sides of the abode of Suriyabha god. Those doors are five-hundred Yojanas in height, twohundred and fifty Yojanas fin breadth. The same (two hundred and fifty Yojanas ) is the size of entrances. Those ( doors ) are white. The peaks on them are made of gold. Those peaks are painted with variegated pictures of wolf, bullock, horse, man, shark, bird, snake (leopard), Kinnar, deer, Sharabha (fabulous animal having eight feet ), yak, elephant, the creeper in general and lotus creeper. The altars on their pillars are made of adamant: which are spread all over with beauty, equipped with the rotating machine of the pair of Vijja--

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Translation. 123 haras, dazzling with thousands of rays of sun,. possessed of thousand silver coins, brilliant, shining, giving delight to the eye-sight, pro-ducing rapture in touch, and having exceedingly charming structure. The description of those doors is as follows:-The part rising from the surface of the ground (under the frame of the door) is made of adamant, the foundation: is that of Rittha jewels, the pillars which are joined by the nails are of Veruliya jewels, their base is prepared out of gold studded with fivecoloured excellent gems, the threshold is made of Hansgabbha jewels, the bolts (kept) for fastening the two doors are of Gomejjak jewel, planks of the doors are of Lohiyakkha jewel,. the arches surmounting the frame of the door are of Joiras jewel, the nails are of Lohiyakkha jewels, the joints are of adamant, the tops of the nails are of different jewels, the bars for fastening the doors and their pipes are prepared out of adamant, the receptacles of the bolts of the doors are of jewels, the upper noose is of Anka jewel, the doors are strong and jointless,. on both the sides of the walls of the doorsthere are one-hundred sixty-eight platforms, and the same number of beds. There are set

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124 Raypaseniya-sutta. up small sportive puppets made of variegated jewels and precious stones. The walls are of adamant, and the peaks are of silver. The ceiling is wholly made of gold. The cage like windows prepared out of various sorts of jewels and gems, are jutting out from the main building, the bars are of precious stones, the cross bars are of gems known as 'Lobit, and the storey is prepared out of silver, the roof and the sides of the roof are of Anka jewels. The bamboos and the chips of the bamboos slantingly placed on both the sides of the roof are of Joirasa jewels, and the boards on them are that of silver, the thin mat to cover ( those boards ) is made of gold, the covering of thin grass over the mat is that of adamant, and extremely white covering of silver over it. Its golden peaks and small peaks are studded with Anka jewels, which are diversely engraved with the figures such as mark on the forehead and the half-moon, whose lustre is as pure and white as that of the upper part of the conch, the heaps of curds, the foam of the milk of the cow, and the mass of silver and (which are) decked with the necklaces of variegated jewels, extremely smooth from outside

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Translation.. . 125 as well as inside. On them, golden dust is spread everywhere. They are very delightful to touch possessed of superfine beauty, pleasing to look at, worthy to be seen, enchanting, and splendid. (28) On those both the seats of the two sides of the doors, there are series of sixteen sandal pitchers. The sandal jars have got excellent lotuses as their bases, and are filled with extremely fragrant water, smeared with sandal paste, fastened with the strings on their necks, white lotuses used as their coverings (i. e. lids), made of jewels all in all, superfine [upto] splendid, and just resembling the big and huge pots (Indakumbha). Oh ! long lived ascetic on those both the seats of the two. sides of the doors, there are series of sixteen tusks of elephants. Those tusks are surrounded on all; sides by the collection of the garlands of small bells, the wreaths (of particular kinds of jewels) having the structure of windows, and pearl garlands, the intervening space of which is occupied by the pendant necklaces of gold, rising high up, protruding upper part coming forward: to a great extent ( from the wall ), downward part : like the half serpent, the structure rese.

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1-26 Raypaseniya-sutta. mbling the half serpent, wholly admantine, superfine [upto] splendid, and like the tusks of huge elephants. Oh ! long lived ascetic in those (series of) tusks there are multitudes of the clusters of garlands, circular, pendant, and bound with black thread..........blue thread....... ...red thread..........yellow thread. There are also multitudes of the clusters of garlands, pendant, circular, and bound by white thread. Those wreaths are (like the) dazzling golden Lambusag ( i. e, an ornament of necklace pattern) the back side of which is studded with golden plates [upto] pervading the whole of the space from all sides by the sound giving delight to the ears and mind, ard highly shining due to their glory. On those series of the tusks of the elephants, it is stated that there are another series of sixteen tusks. Those tusks of elephants.......... [all the above stated description ...........upto] are just resembling the tusks of huge elephants. Oh! long lived ascetic on those tusks there are multitudes of Toops (swings, to suspend articles ) made of gold. In those loops of gold, there are many vessels prepared out of Veruliya jewels for burning incense. By those. vessels for burning incense, the whole

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Translation. 127 of the part ( from all sides ) is filled with the fragrance which is charming, pleasing, giving, delight to the sense of smelling and mind, of superfine quality, ( which was ) emitted from the excellent Kundurukka', and 'Turukka' incense, and black agallochum and (which) turned the space into fragrance incarnation. On both the seats of the two sides of the doors, there are series of sixteen dolls. Those dolls are set in sportive manner, well established, well decorated by the garments of variegated colours, (having ) put on multitudes of wreaths, the middle part (of which) is beautiful, which could be grasped by the fist, whose pair of breasts are well built, naturally strong, round, well placed, the nipples of which are protruding forward the inner portion of whose eyes are red and black hair. The hair on whose head are curly at the top, very tender, pure, equipped with the characteristics such as untraceable ends and excellence etc. Those dolls are just placed on the excellent Ashok tree, (who are) holding the ends of the branches by their left hands, as if captivating the hearts by casting coqnettish glances, afflicting each other by their piercing (eyes), and [though] prepared out of

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128 Ray.paseniya-sutta. egath, (yet) obtained the changeless status They are woonfaced, gracefub like moon; having, the forehead resembling the half moon, swpassing the moon.in - pleasing"; sight and dazzling like the , meteor: Their brilliance is superior to that of the shining of the sun, and the thick line of lightning. Those dolls are putting, on beantiful dress (which is) the abode of amorous sentiments, pleasing, worthy to look at, charming, and splendid.is **** (29) "On those both the seats of the two sides of the doors there are series of sixteen lattices made of jewels all in all superfine [upto] splendid. On those both the seats of the two sides of the doors there are series of sixteen bells. The description of those bells is expressed in the following terms, to wit-the bells. are made of Jambuoak jewels, the ball pendant inside the bell is of adamant, the sides of the bells are studded with variegated jewels, the chain is prepared, out of gold, and the chord is of silver. * Those bells : are pervading the whole of the part from all sides, producing rapture in ears and mind, attracting the heart, pleasing to the mind and great, by their con

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;- Translation, i 129 tinuous noise, just like the thundering of the clouds, roaring of the lion, sound produced by the breating of drums, - voice of the heron, harmonious sound of twelve' types of musical * instruments, mixed noise of twelve kinds of musical instruments, sweet sound; sweet noise, pleasing voice, and fascinating sound. Above those both the seats of the two sides of the doors there are sixteen series of garlands reaching the ankles. Those garlands are thickly set with blossoms, and leaves, of the trees and creepers (which are) of variegated jewels, and (which are) enjoyed' by the bees, and adorned due to the eminent beauty and pleasing sights. On both the seats of the two sides of the doors there are series of sixteen square platforms. Those square platforms are two-hundred-fifty Yojanas in length and breadth, one hundred twenty-five Yojanas in thickness, wholly adamantine, and extremely pure [upto] splendiu. On each of those square platforms there are lofty mansions. Those lofty mansions are two-kundred fifty Yojanas in height and one-hundred twentyfive Yojanas in breadth, (they are) lofty, expansive, shining, , and their painted walls

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130 Raypaseniya-sutta. are prepared out of different types of jewels and precious stones, equipped with umbrellas over umbrellas and Vijaya and Vejayanta banners moved by the wind, very lofty, and their peaks are as if scratching the surface of the sky, the small peaks made of gold (studded with) jewels, are shining just like the bulging gems studded in the intervening parts of the cage-like windows (lattices), possessing hundred petalled blooming white lotuses, painted with the figures such as the mark on the fore-head the half-moon, and decked with the wreaths. prepared out of multitudes of jewels, very smooth, internally and outwardly. On it the golden dust is spread everywhere, very delightful to touch, equipped with extra-ordinary beauty, producing delight in the mind, worthy to look at [upto] above those square platforms, wreaths, banners, and umbrellas over umbrellas. Above those two sides of the doors there are series of sixteen arches. Those are of different types of jewels and (are) supported by the pillars of variegated jewels [ upto ] clusters of white lotuses. In front of each of those arches there are two puppets. Their description is the same as that of the puppets of the downward part.

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Translation. 131 In front of those arches there are tusks of elephants. The description is the same as that of the downward part [upto] wreaths. Opposite to each of those arches there are pairs of horses, elephants, men, Kinnaras, Kimpurisas, great serpents (Mahorag type of Devas), Gandharvas and bullocks, wholly prepared out of jewels, extraordinary [ upto ] splendid. In this way there are series, ranges and couples. Just opposite to each of those arches, there are two lotus creepers [upto] Sama creepers (which are) always flowery, wholly made of jewels, and extremely pure [upto] splendid. In front of every arch there are two eternal 'Disa-Sotthiya' wholly prepared out of jewels, superfine [upto] splendid. Just opposite to each of the arches there are two sandal pitchers whose bases are (of) excellent lotuses, (the rest of the description is to be understood in the same way). At the forepart of every arch there are two jars. Those jars are based on excellent lotuses [upto] has the structure resembling the intoxicated elephant's mouth. Oh! long lived ascetic! on the foreground of each of those arches there exist two mirrors. Following type of description of the mirrors is expounded. To

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132 Raypaseniya-sutta. with their frames are of-gold, pillars are of Veruliya jewels, handless (of the mirrors) are of adamant, the circular mirrors are studded with variegated. jewels, though uncleansed they are thoroughly equipped with brilliance, resembling the halo of moon, and having half the size of the body (god's body). Oh! long lived ascetic before each of those arches there are two big dishes having the adamantine navals. Those dishes are appearing as if filled with pure and white rice pounded thrice by means of a pestle, are wholly prepared out of Jambunak jewels [upto] splendid, and their size. is similar to the wheels of a chariot. Oh ! long lived ascetic !. in the forepart of each of those arches there are two bowls. Those bowls are completely filled with clear water and are as if abundantly supplied upto the brim, with fruits of five coloured variegated jewels. They are wholly made of gems and are extraordinary [upto] splendid, and are just like huge circular baskets from which cows are fed. Oh! tong. lived ascetic ! in front of each of those arches there are two peculiar types of vessels filled with different kinds of precious things and wholly prepared out of jewels, extremely pure

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Translation.. . 133 { upto ] splendid. On the fore-gronnd of each of those arches there are two square platforms. It is stated that, in that square platform there are many planks of gold and silver. It is expressed that on those planks of gold and silver, there are many adamantipe tusks of elephants, and multitudes of loops made of adamant. In those adamantine loops there are multitudes of empty jars covered with black, blue, red, yellow, and white curtains of threads. All those empty jars are prepared out of Veruliya jewels, and are extraordinary [ upto ] splendid. In front of each of those arches there are two caskets of jewels decked with pictures, shining, brightening, dazzling, and glittering the whole of the part from all sides, with their own lustre. Just as a certain casket of precious stones of the sovereign prince, whose kingdom is extending upto the ocean in four sides, beautified by the pictures and covered with the thin plates or layers of crystal and Veruliya jewels, shines, brightens, dazzles, and glitters the whole of the part from all sides with its own lustre. Before each of those arches there are two necks of horses, elephants, men, Kinnaras, Kimpurisas, Mahorag

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134 Raypasepiya-sutta. gods, Gandharvas, and bullocks. They are all in all made of adamant and are superfine [ upto ] splendid. In those necks of the horses [ upto ] bullocks, there are baskets of flowers, ( garlands ) powders ( fragrant substances ), garments, ornaments, mustard-seeds, and mops made of peacock feathers. All those are wholly prepared out of precious stones and are extremely pure [upto] eminent. In each of those baskets of flowers [upto] the baskets of mops of peacock feathers, there are two coverings. of flowers. [.upto ] two coverings of mops. They are wholly made of jewels and are excellent [upto] eminent. Before each of those arches there are two thrones (the, description of those thrones [ upto ] garlands). In front of each of those arches it is expressed that there are two umbrellas having chaste sticks made of Veruliya jewels. The inner part of the umbrella is made of Jambunak jewels, the joints are of adamant surrounded by the net of pearls, equipped with one-thousand and eight excellent thin golden bars, made fragrant with the sandal of Malaya mountain, having the fragrance of a garden blooming in all, seasons, giving cool shade, painted with variegated

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Translation. . 135 auspicious figures and moon: like in shape. Id front of each of those arches there are two Chammaras (chowries). : Those chowries have [painted handles studded with variegated ex: cellent jewels and precious stones, such as Veruliya etc, ( lustrous like the moon ), ] brilliant handles made of chaste and costly gold, studded with variegated jewels and precious stones with creepers engraved on them, and resembling in whiteness the heaps of conches, Anka jewels, jasmine flowers, drops of water, foam obtained after the churning of nector and have long, fine, silvery hair. Those are prepared out of jewels all in all and are excellent [upto] eminent. Before each of those arches there are two tins of oil, Kostha (fragrant substance.), Tamal leaves, Choyak fruits, Tagara plant, cardmum, yellow orpiment, vermilion, red arsenic, and collyrium. All thoae are prepared out of jewels and are superfine [upto]: splendid... isso, (30) On each and every door of Suriyabha abode there are one-hundred and eight banners having insignia of a wheel, and other banners marked with deer, eagle, umbrella, feather, bird, lion, bullock, and each of them is one

Page #145
Raypaseniya-sutta. hundred and eight in number. Moreover there are also one hundred and eight flags on which the figures of excellent elephants having four tusks, are painted. It is stated that, in this way in Suriyabha abode from one end to the other on every door there are one-thousand and eighty flags. In Suriyabha abode there are sixty-five types of floors (for each and every door). The description of the surface of those floors and the ceiling above them is to be inserted (as it is given formerly). Exactly in the middle parts of those floors there is one throne at every place (the description of the throne with all paraphernalia is to be uuderstood here). On the remaining parts of the ground there are everywhere auspicious seats. The upper portions of those doors are decorated by sixteen types of jewels. Those (sixteen types of jewels) are as follows:- gem [upto] Rittha jewel. Above each of those doors there are eight auspicious banners [upto] umbrellas over umbrellas. In this way in Suriyabha Vimana it is expounded that there are four-thousand doors from one end to the other. On the four sides of Suriyabha abode. there are four forest-groves, five hundred Yo t 136

Page #146
: Translation. 137 janas away from it (Vimana). Those forestgroves are as follows:--to the eastern side Ashok, to the southern side, Satta-vanna to the western side Champak, and to the northern side-Mango grove. These forest- groves are a little bit more than twelve and a half lacs of Yojanas in length, five-hundred Yojanas in breadth, and each , of them protected by rampart, black and appearing black (The description of the forest grove)... ; (31) The inside ground of those forestgroves is extremely charming. It is just like the leather of tabor ( known as Muraj ) or I upto ] decorated by different types of five coloured jewels, and grass. Their fragrance and contact are to be understood in due order [ as it has been stated ).., "Oh! revered sir, what sort of noise is created by the grass and jewels slowly moved, shaken, trembled, throbbed, quivered, caused to collide, agitated, caused to move heavily by the breezes blowing from the eastern, western, southern and nonthern directions ?" "Oh! Goyama just as a certain palanquin, litter, or chariot equipped with the umbrellas, banners, bells, flags, exceHent arches, the harmonious sound of twelve

Page #147
138 . Raypaseniya-sutta. types of musical instruments, and encircled by nets of small gingling bells made of gold, and which are prepared out of the excellent wood of Tinish ( tree growing on Himalaya mountain ) and inlaid with gold. The series of the spokes and the yoke of which are well fastened, the felly of the wheel is well set up and made of iron, to which excellent horses of noble breed are yoked, which is well controlled by the charioteer who is the best among dextrious persons, which is encircled. by thirty-two quivers each containing hundred arrows, having a thorny head ornament. as an armour, which is ready for the battle being equipped with bows, arrows, weapons and armours, oft and often driven fast in court-yard of the royal palace or royal barem, or extremely beautiful floor studded with gems and! jewels, or brought back from those places, pervades the whole of the part by the sound, pleasing to the ears and mind, enchanting, and extra-ordinary. (2) Is the above stated description correct? (Ans.) No it is not correct (it is far more surpassing than what has been described in the

Page #148
Translation... 139) above stated words). Just as a certain Veyaliya lute augmenting the first note of Madhyama scale, well established on Anka jewel, taken and tweedled by dexterious men and women, whose key note, made of sandal, is wounded and well arranged, at mid-night slowly and slowly played, struck, moved, tweedled, heavily struck, strongly moved, and thereby giving out the sound pleasing to the ears and the mind, enchanting fascinating, and extraordinary, pervades the whole of the part. (Q.) Is the sound just like the above stated terms ? (Ans.) No it is not correct (the sound is far more superior than the above stated description). Just as Kinnaras, or Kimpurisas or Mahorag gods, or Gandhavvas, of certain names who have gone to the park named Bhaddasala or the Nandan grove, or Somanas garden, or Pandag forest, or in the caves and dens of Himalaya, Malay, and Mandar, gathered in congregation, took their seats, and sat to-gether, jubiliant, sportive, singing, enjoying, playing upon musical instruments, laughing, narrating prose passages, narrating songs, meter. verses, stories

Page #149
140 Raypaseniya-sutta. containing historical matters, metrical poems, particular songs sung with high pitch, equipped with modulated voice, having the songs ending in comedy, possessing seven types of notes, devowed of six flaws, having eleven poetic ornaments, equipped with eight types of metrical virtues, and resembling the music of the dancers which itself is like the humming noise contained in the cave which is favourable to singing, sung in tune, clear at three places (viz. chest, throat, and head), and is harmonious with the tune of the lute, and the Aute and the steps are in tune with the sweet husky [or grunting] manner of singing (and is pleasing to the mind, barmonious, graceful, charming, bewitching the mind, melodious in the end and exceedingly charming in its form). . (Q.) Is the sound just like the above stated terms ? ...(Ans.) Yes it is just like that ( the above stated description). i :. (32) In those forest-groves here and there at various places there are multitudes of small wells, wells, lotus-pools, oblong wells (straight rivers) zigzag rivers, series of lakes and well arrang

Page #150
- Translation.. 141: ed rows of small wells. Those are extraordinary and superfine. They have the banks made of silver and their margins are of equal level (without pitfall etc.). They have slabs of stones made of adamant, at the base the ground prepared out of gold, and golden and silvery sand. They are covered by thin layers of crystal and adamant, comfortable to enter and very easy to come out, well studded with variegated jewels, possessed of four corners, and well built up in due order. They are filled with unfathomable cold water, covered with lotus leaves, fibers and stalks, equipped with good deal of blooming lotuses, night lotuses, blue lotuses, white lotuses, Songandhiya lotuses, Pondariya lotuses, lotuses of hundred petals, and lotuses of thousand petals with their filaments, possessed of lotuses which are enjoyed (sucked up) by the bees, and completely filled with pure excellent water; It is stated that some are filled with water which is resembling spiritual liquor, some with milky water some with saltish water, some with the water appearing like Ghee, some with the water resembling sugar-cane juice and some with natural water. Those are charming pleasing.

Page #151
142 Raypaseniya-sutta. to the mind, beautiful, and eminent. It is expounded that on those four sides of each of those wells (upto) rows of small wells, there are three-fold'excellent stair-cases (the description of those three staircases): It is to be understood that on those staircases there are arches, flags, and umbrellas over umbrallas. In those small wells (upto) series of well arranged wells, there are a good deal of mountains, Uppaya, Niyai, Jagai and Daruijja by name, bowers in which sprays of water dripple down (or the crystalline bowers), mansions prepared out of crystals, Sofas made of crystals, lofty, very low, swinging beds and oscillating beds which could be used by birds too. They are made of jewels all in all and are extraordinary (upto) splendid. On those Uppaya mountain (upto) oscillating beds which could be used by the birds also, there are many seats having the shapes of swans, herons, eagles, seats rising up, very low seats, oblong seats, seats resembling the shapes of birds, auspicious seats, seats' like the shapes of bullock, lions, lotuses and the figure of 'Disa-sotthiya'. Those seats are made of precious stones all in all and are supper-fine (upto) eminent. In those forest.

Page #152
. Translation. .. 143 groves there are here and there at every place multitudes of the bowers prepared out of Ali plant, the enclosures erected from Mali plant plaintain bowers, creeper bowers, recesses of garders from which spectacle or show can be easily observed, bowers meant for toilet and decoration, enclosures having the shape of the cellar, fascinating bowers for romance, recesses prepared out of Sala tree, net houses, bowers possessing paintings, enclosures having abundant flowers, bowers emitting fragrance and mirror houses. They are wholly studded with precious stones and are superfine (upto ) splendid. In those bowers made of Ali plants (upto) enclosures emitting fragrance, there are number of seats having the form of birds (upto) seats having the shape of 'Disa-sotthiya' All those are wholly made of jewels and are extraordinary (upto) splendid. In those forestgroves there are at every place multitudes of bowers of Jai flowers and Jui flowers, enclosures of Navmaliya creeper recesses of Vasanti (vernal) creeper, enclosures of Surmalliya creeper, pandals made from Dahi-Vasuya plants, bowers of bettle plants, enclosures prepared out of creepers of grapes, the recesses of

Page #153
144.. Raypaseniya-sutta. : Pepper-bettle, the bowers of Atimuktak creeper, and enclosures intermingled with strong cr... eepers such as Affovaga and Maluya creepers.All those are extraordinary and made of jewels all in all [ upto ] splendid. In those bowers of Jai flowers [ upto ] enclosures of Ma. luya creepers (a kind of creeper the fruit of which coptains stones), there are many slabs of stones and well arranged seats having the shape of swans ['upto ] seats having the shape of Disa-sotthiya'. It is also stated that there are many other slabs of stones having excellent shapes and which are soft and smooth.' Ob ! long lived ascetic those are very smooth just like the contact of the hide of deer, cotton fibre, 'Bur' plant, butter, and excellent cotton. All these are made of precious stones and are extraordinary [ upto ] eminent. There, multitudes of residential gods and goddesses sit, liedown, stand, sleep, ease, laugh, play, fondle, relax (recline) pastime, enjoy sensual pleasures and experience the blessed consequences and fruits of glorious, and meritorious actions of previous birth and of ancient time, which were: well accomplished and achieved.

Page #154
Translation. 145 .. (33) Exactly in the middle part of each of those forest-groves, there are lofty palaces. Those stately mansions are five-hundred Yojanas in height, two-hundred ' fifty Yojanans in breadth, gone high up, rising up-right, and dazzling ( the description of the extremely beautiful even floors, ceiling, throne aud all other retinue is to be understood here ) in the same way (i. e. as is already given ). Four types of celestial beings, greatly prosperous [upto] whose maximum duration of life is one Paliovama stay there. Those (four types of gods) are as follows:-(Superhuman beings living in ) Asoya palace, Satta-vanna villa, Champak castle and Chuyag palace (or Asoya, Satta-vanna, Champak and Chuyag classes of gods.) The eminently charming surface of the ground of the internal part of the abode of Suriyabha, is described as follows:- It is devoid of forest-groves [upto] multitudes of residential gods and goddesses sit [uplo] wander there. It is expounded that exactly in the middle part of that eminently charming even floors, there is a raised square at the gate of the palace, kept for entrance, (Uvgariyalayan) whose length and breadth are one lac Yojanas, and

Page #155
146 Raypaseniya-sutta. the circumference is three lac-sixteen-thousandtwo-hundred-twenty-seven Yojanas, and more over three Kosas, one-hundred-twenty-eight Dhanus, thirteen and half fingers, and a little bit more, and its thickness is one Yojana. It is wholly made of Jambunaya jewel and is extraordinary [upto] splendid. (34) That abode is surrounded on all sides by the allar named Paumvar and the latter is surrounded by one forest-grove. That Paumvarveiya is half Yojana in height, five-hundred Dhanus in breadth, and the circumference is the same as that of the square kept at the entrance. The following type of description of that Paumvarveiya is stated. Its foundation is of adamant, the base is of Rittha jewels, pillars are of Veruliya jewels, planks are of silver and gold, the nails are of Lohiyakkha jewels, the physical bodies are of variegated jewels, the pairs of corporal forms are of various types of jewels, (representations of) fascinating pictures are of different types of jewels, 'the pair of ( representations of ) the pictures are of variegated jewels, the projecting eaves of the altar are of Anka jewels, the chips of bamboos and bamboos slantingly placed on

Page #156
Translation. both the sides of the roof are of Joirasa jewels, the strips of silver and mats to cover the roof are of gold, the strong covering of straws over the mattress ceiling is of adamant, and the covering upon it is wholly made of jewels. That Paumvarveiya is encircled on all sides by the collection of wreaths made of gold kept in pendant posture, by the heaps of garlands having the shape of windows, garlands possessing small bells, series of big bells, recklaces of pearls, gems, gold, jewels, and white lotuses. Those wreaths are like the golden Lambusag ornament [ upto ] they are set up. On that Paumvarveiya here and there at every place there are a good deal of pairs of horses upto ] pairs of bullocks. All those are completely begetted from jewels, and are superfine [ upto ] eminent, and worthy to be looked at [upto ] series, rows, pairs and ranges. 147 (Q.) "Oh revered Sir? what is the reason of entitling it as Paumvarveiya ?" (Ans.) "Oh Goyama on this Paumvarveiya here and there, at all places, (viz.) on the sides of the altar, on the boards of the altar, in the

Page #157
148 Raypaseniya-sutta. intervening space between tao altars, pillars, the sides of the pillars, the tops of the pillars, connecting parts of the pillars, nails, the tops of the nails, the boards where the nails are thrust, the portion between two nails, the sides of the boards, and the cavities between two sides of the boards, there are many lotuses, white lotuses, night lotuses, blue lotuses, superfine lotuses, Sogandhiya lotuses, Pondariya lotuses, Maha-Pondariya lotuses, hundred petaled lotuses and, thousand petaled lotuses. All these are wholly prepared out of jewels and precious stones, extraordinary [upto ] splendid, and it is narrated that they are similar in size to the big umbrellas used in rainy season. Oh ! long lived Goyama for this. reason it is entitled as Paumvarveiya." "Oh revered Sir! Is the Paumvarveiya permanent or impermanent ?! "Oh Goyama ! ( from one point of view ) it is permanent and also (from another point. of view) it is impermanent." "Oh revered Sir ! why it is called permanent as well as impermanent ?" "Oh Goyama ! from substantial point of view it (the Paumvarveiya) is permanent, and

Page #158
Translation. . . 149 impermanent from the modificatory point of view, i. e. modifications pertaining to its colour, smell, taste, and contact: Oh Goyama ! for this reason it is stated that the Paumvarveiya is chang'eless, as well as changeable.': "Oh revered Sir ! how long that Paumva- . rveiya will exist ?". : "Oh Goyama ! neither it was in non-existence, nor it is in negativeness, nor there will be its extinction. It was in actual existance, it is in sober reality, and it will be a matter of positiveness. It has continuous sameness of existence, it is destined (steady), without decay, without exhaustion, and (is) eternal." The diameter of that forestgrove ,,is something less than two Yojanas, the circumference is the same as that of the square at the entrance, the description of that forestgrove is to be inserted here [ upto ] the gods and goddesses, wander and recline. It is stated that on the four sides of that square kept at the entrance, there are thres ,excellent staircases (its description [ upto ] arches; flags, and umbrellas over umbrellas is to be understood). It is expounded that the extremely,

Page #159
Raypaseniya-sutta. charming and even surface of the ground of that square placed at the entrance is [ upto ] the contact of precious stones. (35) Exactly in the middle part of that exceedingly charming and even surface of the ground, there is a spacious and towering palace. That magnificent and lofty palace is five-hundred Yojanas in height, two-hundred-fiftyYojanas in breadth, gone high up, and lofty (its description.............[ upto ] the floor the ceiling, and the throne, with paraphernalia is to be understood). Above ( the palace) there are (everywhere) eight auspicious flags, and umbrellas over umbrellas. That prominent and colossus palace is surrounded on all sides by other four lofty mansions, the heights of which, are half in proportion to that of the former one.. Those lofty mansions are two hundred-fifty Yojanas in height, one-hundred-twenty-fiveYojanas in breadth [ upto their description ]. Those lofty mansions are again encircled on: all sides by other four lofty villas, the heights: of which, are half in proportion to that of the former ones. Those lofty villas are dred-twenty-five Yojanas in height, and half Yojanas in breadth, gone one-hun sixty-two high up,, 150 *

Page #160
Translation. 151 and reaching up-right, to a great extent in the sky (their description..........upto..........the floor, the ceiling, and the throne with retinue is to be understood). Above those villas there ara eight auspicious banners and umbrellas over umbrellas. Those lofty villas are again surrounded on all sides by four lofty banglows, the heights of which are half in proportion to that of the former ones. Those lofty banglows are sixty-two and half Yojanas in height, and thirty-one Yojanas and one Kosa in breadth (their description... ... ...upto.........the ceiling, the throne with paraphernalia is to be inserted here). On those lofty banglows there are eight auspicious flags and umbrellas over umbrellas. (36) It is stated that, on the north-eastern side of that prominent and lofty "palace there is S@hamma assembly-hall. It is one-hundred Yojauas in length, fifty Yojanas in breadth, seventy-two Yojanas in height, supported by numerous hundreds of pillars, decked by wellformed lofty adamantine altars, arches and well set up dolls [upto] where the crowds of celestial damsels are scattered here and there; enchanting, pleasing, charming, and worthy to be looked at. On the three sides of that

Page #161
152 Raypaseniya-sutta. . Sohamma assembly-hall there are three doors. They are as follows:- On the eartern, southern, and northern sides. Those doors are sixteen Yojanas in height, eight Yojanas in breadth, and the entrances are of the same size They are white and equipped with small peaks prepared out of excellent gold (upto....... decked by) wreaths. On each and every door there are eight auspicious flags and umbrellas over umbrellas. In front of every door there is a platform. Those platforms in front are one hundred Yojanas in length, fifty Yojanas in breadth and a little bit more in height (their description is the same as that of the congregation hall). On the three sides of each of those platforms there' are three doors. They are as follows:- On the eastern, southern, and northern sides. Those doors are sixteen Yojanas in height, eight Yojanas in breadth, and the entrances are of the same size. They are white and equipped with small peaks made of excellent gold (upto...decked by) wreaths. "The surface of the ground of those platforms and the ceiling ( is to be described in the same way ). Above each of those platforms there are eight auspicious banners and umbrellas

Page #162
Translation... : 153 over umbrellas. In front of each and every platform there is a theatre ( its description is to be understood on the same line as that of the platforms.........upto ......... the doors, the surface of the ground, and the ceiling ). Exactly in the middle part of each of those exceedingly charming and even surface of the ground there is an adamantine arena (a verandah) for spectators. It is stated that there is a pedestal of precious stones, exactly in the middle portion of each of those arenas prepared out of adamant Those pedestals made of precious stones are eight Yojanas in length and breadth, four Yojanas in thickness, studded with jeweis all in all and superfine [ upto ] splendid. On each of those pedestals of precious stones there is a throne ( the description of the throne with its paraphernalia ). Above each of those bowers meant for theatrical purposes, there are eight auspicious flags, and umbrellas over umbrellas. In front of each of those 'bowers meant for theatrical purposes, there is a stage (foundation) of precious stones. Those stages of precious stones are sixteen Yojanas in length and breadth, eight Yojanas in thickness, and are wholly prepared out of

Page #163
154 Raypaseniya-sutta. gems, jewels, and are extraordinary [ upto ] eminent. Op each and every foundation, a mound is erected. Those erected mounds are sixteen Yojanas in length and breadth, and a little bit more than sixteen Yojanas in height, and ( they ) are resembling in wbiteness to the ( heaps of ) conches, Anka jewels, jasmine flowers, drops of water, the collection of the foam obtained at the churning of nectar, wholly prepared out of precious stones, and extra-ordinary [ upto ] eminent. On each of those mounds there are eight auspicious flags and umbrellas over umbrellas. On each of the four sides of those mounds, there is a stool made of precious stones. Those stools prepared out of precious stones are eight Yojanas in length and breadth, four Yojanas in* thickness, wholly made of jewels, and superfine [ upto ] splendid., On those foundations ( stools ) of precious stones there are four images of Jinas having the same proportion of height (as they had), located in Paliyank' posture, facing to those mounds and installed there. Those ( idols of the Jinas) are as follows:- Usaha, Vaddhamana, Chandanana, and Varisena. Just in front of each of those mounds, there is a

Page #164
Translation. 155 pedestal made of precious stones. Those precious stoned pedestals are sixteen Yojanas in length and breadth eight Yojanas in thickness, and wholly studded with jewels [upto] splendid. On each of those precious stoned pedestals there is a holy tree. Those holy trees are eight Yojanas in height, eight Yojanas in depth, having the trunk of two Yojanas, half Yojana in circumference, main branches shooting forth from the trunks are of six Yojanas ( in length ), and exactly in the middle portion they are eight Yojanas in length and breadth, and a little bit more than eight Yojanas from top to bottom. The following type of description of those holy trees, is stated : To wit:-- their roots are of adamant, the main branch shooting forth from the trunk is well placed in silver, the bulbs are of adamant and Rittha jewels, the charming trunk is of Veruliya jewels, the magnificent ( huge), main branches are begetted from excellent gold. The various small branches and twigs are of different types of precious stones and jewels, the leaves are of Veruliya jewels, the stalks of the leaves are of gold, decked with extremely delicate, dainty, and rosy blossoms.

Page #165
Raypaseniya-sutta. of Jambunaya jewels, having excellent tops of sprouts, (whose ) branches are bending down due to the great load of fruits and fragrant flowers made of variegated jewels and gems, producing feelings of rapture ( delight) to the mind and the eyes to a great extent, equipped with the fruits having the juice just resembling the nectar, giving cool shade, brilliant, possessed of glory and lustre, worthy to be looked at [ charming, pleasing, and enchanting ]. On each of those holy trees there are eight auspicious banners and umbrellas over umbrellas, and in front of them (holy trees) there are precious stoned pedestals. Those precious stoned pedestals are eight Yojanas in length and breadth, four Yojanas in thickness, wholly prepared out of precious stones, and superfine [ upto ] eminent. Above each of those precious stoned pedestals, there is a huge banner (known as Mahindazaya). Those Mahinda banners are sixty Yojanas in height, one Yojana in depth, one Yojana in circumference, firmly established, very smooth due to rubbing, exceedingly charming due to the roundness of their form, made of adamant, of particular pattern, made charming being encircled by a 156

Page #166
Translation. number of thousands of excellent five-coloured small flags, equipped with Vijaya and Vejayanta banners which are moved by the wind,. possessed of umbrellas over umbrellas, with very lofty peaks as if transgressing the courtyard af the sky, worthy to be looked at etc. and above those Mahinda banners there are]] eight auspicious flags, and umbrellas over umbrellas. In front of each of those Mahinda banners there is Nanda lotus-pond. Those lotus-ponds are one hundred Yojanas in length, fifty Yojanas in breadth, ten Yojanas in depth, and extremely pure (.........upto..........the description..............down to.........some are filled with natural water). Every lotus-pond is encircled by Paumvarveiya and the latter by a forestgrove. On the three sides of those Nanda lotus-ponds, there are three excellent staircases (the description of those three excellent staircases............upto...........arches, flags, and umbrellas over umbrellas ). It is stated that in this Sohamma assembly-hall there are forty-eightthousand seats. They are as follows:-Sixteen thousand to the eastern, sixteen-thousand the western, eight-thousand to the southern, and eight-thousand to the northern sides. On 157 to

Page #167
158 Raypaseniya-sutta. those seats there are many boards prepared out of gold and silver. On those golden and silvery boards there are multitudes of adamantine tusks of elephants. On those adamantine tusks of elephants there are collections of circular, and pendant wreaths and garlands woven in black threads. In Sohamma assembly-hall there are forty-eight-thousand extraordinary places of beds ( their description is the same as that of the seats..........[upto............tusks of elephants ). On those tusks of elephants there are a gocd deal of silvery loops. In those silvery loops there are many vessels made of Veruliya jewels for burning incense. Those vessels for burning incense (possess) excellent black agallochum [upto] decked with garlands of black threads). Inside that Sohamma assem. bly-hall the surface of the ground is exceedingly charming and even, [upto] decked with jewels ( the description of the contact of jewels and the ceiling). Exactly in the middle portion of the exceedingly charming and even surface of the floor, there is a magnificent precious stoned pedestal, which is ten Yojanas in length and breadth, eight Yojanas in thickness, and wholly prepared out of precious stones [upto]

Page #168
2..Translation. . 159 eminent. On that precious stoned pedestal there is a Manvag sacred pillar which is sixty Yojanas in height, one Yojana in depth, one Yojana in circumference, equipped with fortyeight corners, forty-eight edges, forty-eight planes [ sides ] (the rest of the description is the same as that of the great Mahinda banner). From the top of Manvag sacred pillar having descended twelve Yojanas and having left twelve Yojanas of the downward part ( one comes across ) the remaining thirty-two Yoja. nas of the middle part ( containing ) many golden and silvery bzards. On those boards of gold and silver there are many adamantine tusks of elephants. On those adamantine tusks of elephants there are multitudes of silvery loops. In those loops made of silver, there are small circular cases (boxes ) made of adamant. In those adamantine, round, and circular boxes there are located, a number of bones of the thighs of the prophets. Those are worthy to be worshipped (... ... ....upto....... ....waited upon ) by Suriyabha god, and multitudes of gods and goddesses. Above that Manvag sacred pillar there are eight auspicious flags and umbrellas over umbrellas,

Page #169
160 Raypaseniya-sutta. (37) It is stated that on the eastern side of that Manvag sacred pillar there is a magnificent precious stoned pedestal, which is eight Yojanas in length and breadth, four Yojanas, in thickness, wholly prepared out of jewels, and extra-ordinary [ upto ] splendid. On that precious stoned pedestal there is one colossus throne (the description with its paraphernalia). On the western side of that Manvag sacred pillar there is one magnificent stage (pedestal). of precious stones, which is eight Yojanas in length and breadth, four Yojanas in thickness, studded with jewels all in all, and superfine [upto] eminent. On that precious stoned pedestal there is a spacious bed for celestial being ( the following type of description of that celestial bed is narrated ). Its props are studded with variegated jewels, feet are of gold, tops of the feet are set with numerous jewels, limbs are of Jambunaya jewels, che middle part is of diverse types of jewels, the bed ( filled with cotton ) is of silver, the pillows meant for cheeks are of gold, cushions are of Lohiyakkha jewels, and on both the sides there are cushions ( due to which ), it is raised on two sides, bent down and deep in

Page #170
Translation. .. 161 the middle. Its size is the same as that of the ( god's ) body, and is just like the sand of the Gauges which goes down as soon as one steps on it. There is a ..well arranged dust absorber on it, which is covered by a red sheet of cotton. garment embroided in particular fashion, charming, and the contact of which is as smooth as the touch of the hide of deer, cotton fibre, Bur plant, butter, and seedless cotton. (38) It is stated that on the north-eastern side of that celestial bed there is one, colossus precious stoned pedestal which is eight Yojanas in length and breadth, four Yojanas in thickness, and wholly made of gold [ upto ] splendid. On that pedestal of precious stones there is one magnificent small Mahinda banner which is sixty. Yojanas in height, one Yojana in breadth, adamantine, circular, charming and well established [: upto ] eminent. Above it, there are eight auspicious banners and umbrellas over umbrellas. On the western side of that small Mahinda banner..there is one storeroom for weapons and missiles of Suriyabha god, known by the name Choppal? which is wholly prepared out of adamant, and (which is)

Page #171
162 Raypaseniya-sutta. extraordinary [ upto ] splendid. There, numerous excellent weapons are stored, the prominent of which are:--best shields, swords, maces, and bows. Those are dazzling, brandished, sharp-edged, charming, pleasing, worthy to be looked at, and enchanting. Above that Sohamma assembly-hall there are ( groups of ) eight auspicious banners and umbrellas oyer umbrellas. (39) It is expounded that on the northeastern side of Sohamma congregation-hall, there is a spacious temple of Siddhas (liberated souls) which is one hundred. Yojanas in length, fifty Yojanas in breadth, seventy-two Yojanas in height (the description is the same as that of the congregation-hall [ upto ] beds, exceedingly charming and even surface of the ground, and ceiling of the same pattern). Exactly in the middle of the temple of perfect beings, there is a magnificent precious stoned stage ( pedestal ), which is sixteen Yojanas in length and breadth, and eight Yojanas in thickness. It is expounded that above the pedestal of precious stones, there is a colossus raised place for the installation of images which is sixteen Yojanas in length and breadth, and a little bit more than sixteen Yojanas in height, and

Page #172
Translation. , 163 wholly prepared of precious stones [ upto ] splendid. Here (in this temple ) are consecrated, one hundred-eight idols of the prophets having the same proportion of height ( as they actually had ). The following type of description of those idols of the prophets is stated. To wit:-the palms of the hands and the soles of the feet are of gold, nails are of Anka jewels, the delicate portion under nails is of Lohiyakkha jewels, the shanks ( of the leg from the ankle to the knee ) are of gold, knees are of gold, thighs are of gold, the limbs of the body ( hands and feet ) are of gold, navels are of lustrous gold, the series of small hair on the body are of Rittha jewels, the nipples of the chest are of shining gold, the Sirivachchha mark on the chest is of brilliant gold, lips are of coral, teeth are of crystals, tongues are of glittering gold, palates are of dazzling gold, nostrils are of gold, the inner part of the nose is of Lohiyakkha jewels, eyes are of Anka jewels, the internal delicate portion of the eyes is of Lohiyakkha jewels, the retinas are of Rittha jewels, eye lashes are of Rittha jewels, eye brows are of Rittha jewels, the cheeks are of gold, ears are of gold, the fore.

Page #173
164 Raypaseniya-sutta. heads are of gold, the bones of the head are of adamant, the skin from which the roots of hair grow is of shining gold, and the hair areof Rittha jewels. It is ( further ) stated that: at the back of each of those idols of Jinas (conquerors ), there are idols of umbrellaholders. Those images of umbrella-holders, are gracefully holding the white umbrellas, wreaths and garlands of Korant flowers, having the extremely white lustre like that of the snow, silver, Jasmine and moon. It is expounded that on both the sides of each of those prophets, there are located, idols of the holders of 'Chammaras ( chowries ) holding there, the . Chammaras' made of costly and chaste gold, studded with multifarious types of jewels and precious stones. In front of each of those idols of prophets, there are two Naga images, Bhuya ( a type of demi-god ) images, Jakkha (demi-god ) images, Kuudadhar images, and all of them are made of precious stones and superfine [.upto ] are installed there. In. front of those idols of prophets, there are one hundred eight bells, one-hurdred eight pitchers, one-hundred eight jars, and the same number of mirrors, dishes, particular types of dishes,

Page #174
Translation. 165 well located seats, empty jars, jars painted with pictures, boxes of jewels, necks of horses [upto] necks of bullocks, caskets of flowers, [upto ] baskets of mops of peacock feathers, bags pieces of cloth as coverings) of flowers, tins of oil [ upto ] tins of collyrium and one hundred eight vessels for burning incense. On those temples of liberated souls, there are groups of eight auspicious banners and umbrellas over umbrellas. (40) It is stated that on the north-eastern side of that temple of liberated souls, there is a magnificent assembly-hall, where celestial beings are instantaneously born. Its description is the same as that of the Sohamma assembly-hall [upto] precious stoned pedestal, which is eight Yojanas [in length and breadth, four Yojanas in thickness......upto.........on it] and there is a very spacious celestial bed [its description is the same as that of the celestial bed in Sohamma hall] and above it there are eight auspicious banners and umbrellas over umbrellas. On the north-eastern side of that hall, where instantaneous births take place, there is a spacious lake which is one-hundred Yojanas in length, fifty Yojanas in breadth, ten 1.

Page #175
166 Raypaseniya-sutta. Yojanas in depth, (the same description). In the north-eastern direction of that lake there is a magnificent hall meant for sprinkling, ceremony [its description is to be taken on the same line like the Sohamma hall......upto...... beds (long verandah), precious stoned pedestal throne with paraphernalia ...... upto...... decked by garlinds]. There, all materials for the bath of Suriyabha god are well arranged, and there are eight auspicious things, (the description in the same way ). On the north-eastern side of that hall for taking bath, there is the chamber meant for the decoration of the body (saloon). It is the same as Sohamma hall, having preci. ous stoned pedestal of eight Yojanas in length ............throne with its * paraphernalia. There all sorts of materials and articles for the decoration of Suriyabha god are set in order (the remaining description is the same). On the north-eastern side of that chamber meant for decoration (saloon), there is a magnificent hall for business purposes (its description is the same as that of the hall where instantane. ous births of celestial beings take place ........... upto...........throne with its retinue, precious sfoned stage and eight auspicious things "etc.).

Page #176
Translation. . 167 There, a voluminous excellent book of that Suriyabha god, is kept. The following type of description of that excellent volume, is stated. To wit-its leaves are of precious stones, rods are of Rittha jewels, the striugs are of glitter : ing gold, the knot is of various jewels, inkstand is of Veruliya jewel, its lid is of Rittha jewel, the chain is of dazzling gold; ink is of Rittha jewel, pen is of adamant, letters are of Rittha jewels, and it is the most sacred scriptural volume. Above that chamber meant for business purposes there are eight auspicious flags and umbrellas over umbrellas. On the north-eastern side of that business chamber there is a Nanda lotus-pond (it is just like the lake previously described). On the north-eastern side of that Nanda lotus-pond, there is a colossus oblation altar, which is wholly prepared out of precious stones, and superfine [upto] eminent. (41) In that age, at that time when Suriyabha god recently took instantaneous birth, accomplished five types of capacities to develop fully the characteristics of the body. into which it incarnates. Those are off.ve kinds viz. (1) The capacity of taking the molecules to make the body, (2) development of the

Page #177
168 Raypaseniya-sutta. body (3) development of sense organs (4) development of raspiratory organs and (5) the development of the organs of speech and mind. Thereafter when Suriyabha god accomplished five types of developments, the following sorts of inner thoughts, ponderings, reflections, deep-inward musings and conceptions arose "what is my prior duty? what is my subsequent mission? what is antecedently beneficial to me? what is subsequently beneficial to me? what will be antecedently and subsequently beneficial, for happiness, development of the mind, blessed condition ( salvation) and continuity of meritorious actions?." Thereafter the celestial beings of Samaniya class of that Suriyabha god; having comprehended, those thoughts, ponderings [upto] arose in the mind of Suriya. bha god, approached to the place where Suri. yabha god was. They having joined the palms of the hands and touching the folded hands to the fore-head, congratulated Suriyabha god with victory and success. Having done so, they spoke thus" Verily ! indeed Oh! beloved of the gods, in Suriyabha abode, in the temples of perfect beings, there are consecrated one hundred and eight idols of Jinas ( Prophets )

Page #178
Translation.. . 169 having the same proportion of height (as they .actually had). In Sohamma congregation-hall, there is Manvag sacred pillar upon which in round and circular adamantine boxes, multitu-- des of' bones of the thighs of the prophets are kept. Sir! those are worthy to be worshipped * (.......upto........waited upon) by you Oh! beloved of the gods, and innumerable residential gods and goddesses. Oh ! beloved of the gods this is your prior duty. This is also to be accomplished subsequently by you, who are beloved of the gods. This is antecedently beneficial to you: oh! beloved of the gods. Oh! beloved of the gods it is beneficial afterwards also, oh! beloved of the gods it will be antecedently and subsequently beneficial for happiness, development of mind, blessed status, and the continuity of meritorious deeds. (42) Thereupon Suriyabha god having heard and listened this explanation (advice) in the vicinity of celestial beings who were the members of the Samaniya congregationi, was delighted, and pleased [upto] whose heart was attracted got up from the bed; having done so, he went out by the eastern direction of Uvavaya hall (which is meant for the instantaneous

Page #179
170 Raypaseniya-sutta. births of celestial beings). He approached to the place where there was the lake; having done so, circumambulated the lake again and again and entered into it by the eastern arch; having done so, he got down (into the lake) by the exceedingly charming eastern staircase; having done so, plunging in water began to take bath; having done so, he sported in water; having done so, he sprinkled water over him; having done so, he rinsed his mouth and highly purifying himself came out of the lake; having come out he went to the place where the coronation hall was; having gone there and circumambulating that installation hall again and again entered it by the eastern door, having done so, approached to the place where there was the throne; having done so, he climbed on that excellent throne and took his seat facing to the east. Then the members of the Samaniya congregation of Sariyabha god sent for the servile celestial beings; havipg called, they spoke tus "Oh beloved of the gods ! make preparations for the costly, precious, exorbitant, and magnificent installation of Surijabha god.' Then those servile gods being addressed by the cele

Page #180
Translation. stial beings who were the members of the Samaniya congregation, were pleased, [ upto ]| delighted at heart and joining the palms of the hands and bringing the folded hands near forehead, Yes sir, alright " with these words, obediently and courteously accepted the order; having done so, they took themselves to the north-eastern direction, having done so, they by the emanation of soul particles at the time of the creation of fluid form emanated (gross). atoms; having done so, (they cast a staff of) innumerable Yojanas [ upto ] having for the second time emanated. They begetted one thou sand and eight golden pitchers, one thousand and eight jars of silver, one thousand and eight jars of precious stones, one thousand and eight jars of gold and silver, one thousand and eight pitchers of gold studded with precious stones, one thousand and eight vases of silver set with gems, one thousand and eight vessels of gold, silver, and precious stones, one thousand and eight earthen pots, and (the same number of) particular shaped vases (Guj. <Page #181
172 Raypaseniya-sutta. I upto ] the satchels of the mops of peacock feathers, umbrellas, Chammaras (chowries), tins of oil [. upto ..) the tins of collyrium and one thousand and eight vessels for burning incense; having prepared they took with them the arti. ficial and natural articles such as pitchers [upto] vessels for burning incense, having done so, they started forth from the Suriyabha abode; having done so with that excellent and rapid gait (upto........... travelling through) innumerable continents [ upto ] journeying further and further approached to the place where there was Khirodaya ocean ( the ocean of milk ) having done so, they took milk-like water, and lotuses [ upto ] one lac petaled lotuses that were ( growing ), there; having done so, they went to the place where Pukkharodaya sea was; having done so, they picked up lotu. ses [ upto ] one lac petaled lotuses that were ( growing ) there; having done so, they went to the regions where there were Samayakhetta, Bharah, Aravaya etc. continents, and all holy places such as Magaha, Vardam, Pabhas etc. having done so, they took holy water; having done so, they picked up the holy earth; having done so, they went to the region

Page #182
Translation. . 173 where there were big rivers such as Gariga, Sindhu, Ratta, Rattvai etc; having done so, they took water; having done so, they picked up the earth from both the banks; having done so they went to the part where there were moun:: tains such as Chulla-himvant and Sihari; having: done so, they took water, all sorts of pulses, flowers of all pattern, all types of fragrant things, garlands of all varieties, all sorts of medicinal herbs and rape-seeds; having done so, they went to the place where there were Pauma and Pondariya lakes; having done so, they took lake-water; having done so, they grasped lotuses [upto] one lac petaled lotuses; having done 'so, they went to the regions where there were continepts such as Hemavaya, Aravaya etc. and big rivers such as Rohiya, Rohiyansa, Suvannakula- and Ruppakala and took water; having done so, they picked up the earth from both the banks; having done so, they went to the regions where there were mountains such a's Saddavai, Viyadavai, and Vatta-veyaddha; having done so, they took all sorts of pulses (. the rest of the description is : same ). They went to the place where there were mountains such as Mahahimvant and

Page #183
174 .. Raypaseniya-sutta. Ruppi ( the rest is same ). They went to the place where there were Maha-pauma and Maha-pondariya lakes; having done so, they took lake-water ( the remaining is to be understood on the same line). They went to the part where there were continents such as Harivas Rammavasa etc. great rivers Harikanta and Narikanta ( the rest is same ). They took themselves to the mountains such as Nisadha and Nilvant ( the remaining is same ). They approached to the lakes viz. Tigichchhi and Kesari ( the rest is same..). They went to the places where there were Mabavideha continent, and rivers such as Sita, Sitoda ( the remaining is same ). They approached to the regions where there were all the particular territories of sovereign prince and all holy places such as Magah, Vardam, Pabhas etc; having done so, they accepted holy water; having taken it from all the rivers situated in the interior, went to the place where there were Vakkhar mountains (and took) all pulses ( the rest is same ). They went to the part where there was Mandar mountain, and Bhaddasalvana and took all pulses, flowers of all pattern, all types of fragrant things, garlands of all

Page #184
1 Translation. 175 varieties, all kinds of medicinal herbs and rapeseeds; having done so, they went to the region where there was Nandan forest; having done so, (they took) all pulses (upto] all kinds of medioinal herbs, rape-seeds, and fresh Gosis sandal (which was) full of juice; having done so, they went to the part where there was Somanas forest and (took) all pulses [ upto ] all medicinal herbs, rape-seeds fresh Gosis sandal full of juice, divine garland of flowers and fragrant powders, highly scented with Daddar sandal from Malaya mountain; having done so, they gathered together; having done so with that excellent gait [upto ] approached to the place where there was Sohamma heaven, Suriyabha athode, coronation hall, and Suriyadha god; having done so, joining the palms of the hands and touching the folded hands to the forehead congratulated him with victory and success; having done so, they made preparations for that costly, precious, exorbitant and magnificent installation. Thereafter four-thousand gods of Samaniya class, chief queens with their paraphernalia, three congregations, seven commanders of the armies [ upto ] multitudes of other residential gods and goadesses dwelling in

Page #185
176 Raypaseniya-sutta. Suriyabha abode, with those i natural and arti.. ficial things and one-thousand and eight goldeir pitchers [upto] one-thousand and eight earthen pots and jars placed on excellent lotuses, filled to the brim with fragrant water, besmeared with sandal paste, (whose) necks were fastened. with thread, closed with white and blue lotuses; and which (jars ) were taken in the tender and delicate palms of the hands of ( celestial beings) and with all sorts of water, earth, pulses [ upto ] all kinds of medicinal herbs rape-seeds and with all pomp [upto] with great beating of musical instruments sprinkled coronation water over Suriyabha god. When that sprinkling ceremony of Suriyabha god was going on, some celestial beings showered fragrant and divine water over ( the court-yard of ) Suriyabha abode which was capable of pacifying dust and small particles of sand without creating much water and mud. Some celestial beings destroyed, removed, demolished, pacified, and put down the dust particles. Some heavenly beings sprinked water, cleansed and plastered the Suriyabha abode, cleaved and freed from dust the streets in the Bazzar and royal roads. Some celestial beings equipped that Suriyabha

Page #186
Translation. abode with raised seats one above the other (i. e. gallery ). Some divine beings decked the Suriyabha abode with flags, banners over banners painted with diverse colours. Some heavenly beings plastered the ground of Suriyabha abode with cow-dung, white washed the walls, and imprinted them by the palms of the hands with fingers besmeared in Gosis and red, juicy, Daddar sandal. Some celestial beings decorated the part of the entrance door of Suriyabha abode with sandal jars well-attached to the arches. Some divine beings beautified the Suriyabha abode with the clusters of abundant wreaths and garlands (which were ) circular, pendant, and extending from top to toe. Some heavenly beings equipped the Suriyabha abode with five-coloured fragrant flowers cast in heaps. Some divine beings made the Suriyabha abode charming, by the fragrant smell that was emitting from the 'Kundurukka' and 'Turukka' incense and black agallochum. Some celestial beings turned the Suriyabha abode into fragrance incarnation (like the pill of fragrance). Some celestial beings showered unwrought gold, wrought gold, silver, adamant, flowers, fruits, garlands, perfumes powders, and ornaments. 177

Page #187
Raypaseniya-sutta. 178 Some heavenly beings distributed the heaps of unwrought gold. In the same way they distributed heaps of wrought gold, jewels, flowers, fruits, wreaths, powders, garments, perfumes etc. There, some divine beings shared the collections of ornaments. Some celestial beings began to play upon four types of musical instruments. Those (four types of musical instruments) are as follows: non-stringed instruments such as drums, tabors etc., stringed instruments such as Sitars, lutes etc., bronze metalled instruments viz. cymbal, bell, gong etc., wind instruments viz. conches, bugles etc. Some heavenly beings began to sing four types of songs. Those (four types of songs). are as follows:- Ukkhitta (the beginning of which is in high tone), Payatta (versified song,) Manday (which is sung in low voice) and Roiyavasan (the song ending in comedy). Some celestial beings displayed dramatic performance (known as ) Duya. Some revealed Vilambiya dramatic performance. Some heavenly beings set forth Duya-Vilambiya type of drama. In the same way some forwarded Anchiya drama. Some celestial beings performed divine dramas (such as ) Arbhad, Bhasol, Arbhad-Bhasol,

Page #188
Translation. . 179 Uppaya-Nivaya-Pamatta, Sankuchiya, Pasariya, Riyariya, and Bhant-Sambhant, Some divine beings displayed four types of gestures. Those (four types of gestures) are as follows:- Ditthantiya ( gestures indicating an analogical pre-cept), Padiyantiya, Samantovanivaiya, and Logantomazavasaniya. Some celestial beings began to shout. Some divine beings became fat. Some performed wild dance accompanied by instrumental music and singing. Some began to produce the sound expressing contempt. Some performed a frantic or violent dance. Some began to leap and clap. Some clapped and jumped. Some broke into three-step dance. Some began to neigh. Some produced the gargling sound of an elephant. Some began to produce the tinkling sound of a chariot. Some produced the mixed sound of neighing of the horse, gargling of an elephant, and the tinkling of the chariot. Some began to jump. Some began to leap high up. Some broke into joy. Some did all the three (things). Some began to bound up. Some sprang down. Some walked hastily. Some did the three (things). Some roared like lion. Some produced the pattering sound made by the feet. Some began

Page #189
Raypaseniya-sutta. to slap the ground. Some did the three (things).. Some gave out thundering noise. Some caused lightning. Some began to shower rain. Some did the three (things). Some began to burn. Some began to heat. Some heated (themselves), exceedingly. Some did the three (actions). Some called out. Some uttered the word fie upon. Some hooted out (or exclaimed). Some gave out their own names respectively. Some did the four (actions). Some began to gather the groups of gods. Some exhibited divine lustre.. Some produced inaudible sound of divine beings.. Some gave out bustling sound. Some celestial beings began to exclaim 'Duha-Duha'. Some sho wered clothes (or waved the garments in the sky). Some held lotuses in their hands [upto] grasped lac petaled lotuses in the hands. Some gripped pitchers in the hands upto.......stood ) with their hands engaged in holding the vessels for burning incense (and were) delighted, pleased [upto ] at heart began to slide and glide here and there (i. e. in all directions ). Then those four-thousand Samaniya types of Devas [ upto ] sixteen-thousand celestial beings as body-guards and multitudes of other gods and goddesses residing in the capital of Suriyabha, 180

Page #190
Translation... . .181 sprinkled coronation water over Suriyabha god and performed his installation ceremony ); having done so every-body of them joining the palms of the hands and touching the folded hands to the fore-head spoke thus "Let victory and success come to you oh prosperous one!. Be triumphant and crowned with success oh You auspicious one ! Oh You, who are prosperous and auspicious, be at home in good fortune and ascendancy, you conquer what is unconquered, rule over (protect) the captured and stay among the conquered (celestial beings ). You who are like Indra (lord of the heaven) among the celestial beings, the moon amongst the stars; Chamar in Asuras, Dharan amidst Nagas, (sovereign king) Bharah among 'human beings, ( enjoy the life period of ) numerous Paliovamas, a number of Sagarovamas, a number of Paliovama-Sagarovamas, ruling over four-thousand Samaniya gods (upto........ ....sixteen) thousand celestial beings as bodyguards and many other gods and goddesses residing in the Suriyabha abode ( upto......... exhibiting the ) great splendour and ( also ) retaining it, pass the days.". Addressing in this way they exclaimed shouts of victory and

Page #191
182 Raypaseniya-sutta. success. Thereafter that Suriyabha god when his great installation ceremony was performed by sprinkling the coronation water quitted the anointing hall by the eastern door; having done so, he went to the place where there: was decoration chamber ( saloon ); having done so, circumambulating again and again entered into the saloon ( Alankariya Sabha ) by the eastern door; having done so, he marched forth to the place where there was the throne and ascending over it (he) took his seat facing to the east. Then the celestial beings who were the members of Samaniya-congregation made preparations for the decoration materials. Thereafter that Suriyabha god first of all, with a delicate, scented and coloured wooly garment (towel specially prepared for wiping the body) began to wipe his limbs; having done so, he daubed (besme. ared) the parts of his body with juicy Gosis sandal; having done so he put on a pair of divine and celestial garments having the complexion of sky and crystal, interwoven with gold, (extremely ) white, surpassing the saliva of the horse in softness, equipped with (both) (excellent) colour and (soft) touch, (which were) bewitching the eyes, and could be easily carried

Page #192
Translation. 183 away by breath; having done so, he put on the necklace of eighteen strings, having done so, he wore the necklace of nine strings; having done so, he decked himself with a necklace of various gems (of one string); having done so, he wore a pearl-necklace; having done so, in the same way he put on ornaments of the hands, ornaments worn on arms, bangles, armlets, ornamental belt for the waist, a particular type of ring, an ornamental string for the waist, Murvi ( a kind of ornament ), a long rosary to be worn in the neck, ear-rings, diadem, and crown; having done so, he decked and beautified himself by the four types of wreaths such as Ganthim, Vedhim, Purim, and Sanghaim like the wish grantitg tree (Kapparukkha -); having done so, he besmeared his limbs with the fragrant Daddar sandal of Malaya mountain, and put on divine garland of flowers. (43) Then that Suriyabha god when beauti. fied himself with four types of ornaments (such as ) the ornaments of hair, wreaths as ornaments, decorative ornaments, garments as ornamen ts, and when the whole decoration work

Page #193
Raypaseniya-sutta. was accomplished got up from the throne; having done so, he left the saloon ( decoration-hall ) by the eastern door; having done so approached to the place where there was business chamber and again and again circumambulating the business chamber entered into it by the eastern door; having done so, (he marched forth towards the place) where there was the throne [ upto ] took his seat. Thereafter that Suriyabha god held that excellent scriptural volume; having done so, he loosened (the string of) [or placed on the lap or on the stool that excellent book; having done so, he comprehended the religious topics (i. e. matter); having done so, he replaced the excellent volume; having done so, he got up from the throne; having done so, he left the business chamber by the eastern door; having done so went to the part where there was Nanda lotus-pond; having done so, he descended by the excellent eastern three-fold staircase situated by the eastern side of the arch of Nanda lotus-pond; having done so, washed his hands and feet; having done so, he made himself exceedingly pure and clean by sipping water and took a particular shaped jar which was white, colossus, silvery, 184

Page #194
Translation. 185 chaste, filled with water, having the size of an intoxicated elephant's mouth and resembling the frontal globe on the head of an elephant (or a large water-pot ); having done so, he plucked the lotuses [upto] lac petaled lotuses which grew there; having done so climbed up from the Nanda lotus-pond; having done so, he started forth towards the temple of the perfect souls. (44) Thereafter those four-thousand celestial beings of Samaniya class [ upto ] sixteenthousand divine beings as body-guards and multitudes of other gods and goddesses [....upto ....... residing in] Suriyabha abode and some of the heavenly beings holding lotuses in their hands upto] gripping lac petaled lotuses began to go after Suriyabha god. Then multitudes of servile gods and goddesses and some holding pitchers in their hands [upto] some having in their hands vessels for burning incense, delighted and pleased, [upto] proceeded behind Suriyabha god. Then that Suriyabha god surrounded by the four-thousand Samaniya gods [upto] multitudes of other gods and goddesses (residing in ) Suriyabha abode, and with all pomp and splendour [upto] with great din

Page #195
Raypaseniya-sutta. and cry went to the place where there was the temple of liberated souls. Having gone there entered into the temple of Siddhas ( liberated souls) through the eastern door; having done so, he approached to the part where there was the pedestal for the installation of images and the idols of the prophets; having done so paid homage at. the very sight of the images of the prophets; having done so, he took the mop of peacock feathers (or the broom); having done so, he wiped those images of Jinas with that mop of peacock feathers (or broom); having done so, he gave bath to those idols of the prophets, with scented fragrant water; having done So, he plastered (besmeared ) the limbs 186 (of the images) by juicy Gosis sandal; having done so, he wiped the bodily parts (of the idols) by highly scented and coloured garment, having done so, he put, the pairs of sound and divine garments; on the idols of the prophets, having done so, he offered flowers, garlands, perfumes, powders, colours, (or paints), garments, and ornaments; having done so, he prepared the clusters of circular, pendant, wreaths and garlands extending from top to toe; having done so, he equipped it

Page #196
Translation. . . 187 ( the ground ) with the heaps of five coloured flowers strewn and spread like those that are fallen from the hands while holding the braid (in amorous sport); having done so; he dreweight auspicious marks in front of the idols of the prophets with excellent, subtle, silvery, and charming grains of rice. Those (eight auspicious ) marks were as follows: Sotthiya [upto] Dappana (mirror). Immediately after it he, taking a vessel" for burning incense (which was) made of adamant, (whose) stainless (clean) handle was of Chandappabha jewel, ada. mant, and Veruliya, variegated with various pictures (prepared out) of gold, gems, and precious stones, completely pervaded the whole space with the excellent fragrance emitted by the burning 'Kundurukka'and 'Turukka' incense (of best. type ) and black agallochum, which gave out the line of fragrant smell, offered incense to the great prophets and praised them with one hundred and eight clear stanzas which were packed with great meanings, and where there was no repetition; having done so, he went seven or eight steps forward; having done so, he bent his left knee; having done so, he, placing his right knee on the surface of the

Page #197
188 Raypaseniya-sutta. ground touched the head to the floor thrice; having done so; he raised (it) a little bit; having done so joining the palms of the hands and bringing near forehead spoke thus:"Salutations to the prophets ! ( upto those ) who have attained (liberation )" with these words he bowed down to and saluted; having done so, he proceeded to the place where there was the pedestal for installing the idols......... and exactly the middle part of the temple of liberated souls; having done so, he picked-up (lit. touched) the mop of peacock feathers (broom); having done so, he cleaned ( wiped ) the middle portion of the temple of the perfect souls. Then he scattered in drops, divine water and drew a circle by imprinting the palm of the hand with five fingers ( besmeared in ) juicy Gosis sandal; having done so, he equipped the ground with the heaps of flowers (upto ............ like those that are fallen from the hands while) holding the braid (in amorous sport); having done so," he offered incense; having done so, he proceeded to the place where there was the southern door of the temple of liberated souls; having done so, he took the mop of peacock feathers;

Page #198
Translation. 189 having done so, he wiped the frame of the door, small puppets and, statues with the mop of peacock feathers; having done so, he washed them with a continuous line of divine water; having done so, he besmeared them with: juicy Gosis sandal; having done so, he offered flowers garlands [ upto ] ornaments; having done so, he encircled them with ........... wreaths extending from top to toe [ upto ] offered incense; having done so, he proceeded to the part where there was the bower..at the entrance attached to the southern door and ( where there was ) exactly the middle part of that southern bower ( at the entrance ); having doue so, he picked up the mop of peacock feathers; having done so, he cleansed that middle portion by the mop of peacock feathers; having done so, he washed them with continuously drippling divine water; having done so, he marked out a circle by imprinting the palm of the hand (with five fingers besmeared in) juicy Gosis sandal; having done so, he ( spread the flowers like those that are fallen from the hands while ) holding the braid [ upto ] offered incense; having done so, he approached to the place where there was

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Raypaseniya-sutta. the western door of that southern bower at the entrance, having done so, he picked up the mop of peacock feathers; having done so, he cleansed the frame of the door, puppets and small statues; having done so (washed them) with a continuous line of divine water..... plastered with the layers of juicy Gosis sandal; having done so, he offered flowers [ upto ] ornaments; having done so......... wreaths extending from top to toe........while holding the braid...........offered incense; having done so, he approached to the northern series of pillars of that southern bower at the entrance; having done so, he picked up the mop of peacock feathers; having done so, he wiped the pillars, puppets and small statues by the mop of peacock feathers and performed the same rites as he had (done) at the western door [ upto ] offered incense; having done so, he went to the place where there was the eastern door of the bower at the entrance (situated on the) southern side; having done so, he gripped the mop of peacock feathers,..........the frame of the door.......... performed all those things. Thereafter he went to the place where there was the southern gate of that bower at the entrance 190

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Translation. 191 (situated on the ) southern side; having done so .........frame of the door............ did all those things. Then he proceeded to the place where there was theatrical bower of southern side, adamantine stage, precious stoned pedestal and the throne, located exactly in the iniddle part of that theatrical bower of southern side having done so, he held in his hand the mop of peacock feathers; having done so, he cleaned the stage, precious stoned pedestal and the throne by the mop of peacock feathers, having done so, he ( washed them ) with a continuous line of divine water [upto] plastered with the layers of juicy Gosis sandal, and offered flowers [upto] wreaths extending from top to toe [upto] offered incense; having done so, he went to the place where there was the western door of the theatrical-hall ( amphi-theatre ) [situated on the] southern side...... ...northern door ........... [the same thing is to be repeated as in the case of the eastern door]...........and the same about the southern door. He proceeded to the place where there was the holy mound ( situated on the ) southern side; having done so, he sprinkled a continuous line of divine water over that mound and precious stoned

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192 Raypaseniya-sutta. pedestal and plastered them with the layers of juicy Gosis sandal; having done... S0; he offered flowers...........wreaths extending from top to toe [upto] offered incense. (Then ) he went to the place where there was the precio ous stoned pedestal on the western side and the idols of the prophets ( situated on the ), western side ( performed the usual rites ]: He went to the images of the prophets situated in the northern direction ( and performed the same rites ). Thereafter he proceeded to the precious stoned pedestal ( situated on the ) eastern side and the idols of the eastern direction; having gone there (did the same thing). He acted in the same way ( in the cases of ) precious stoned pedestal of southern side and the idols of the prophets installed in the southern direction. Thereafter he approached to the place where there was the holy tree of southern direction; having done so, he followed the same procedure. Then he procceded to the places where there was the great Makinda banner and Nanda lotus-pond situated on the southern side. He took the mop of peacock feathers and wiped the arches, excellent three -fold staircase, puppets and statues, with the

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Translation. (a) mop of peacock feathers, and washed them with a continuous line of divine water........... with juicy Gosis sandal................Offered flowers ... ... ....Wreaths extending from top to toe....... ....Offered. incense. He, circumambulating the temple of Siddhas ( liberated souls) proceeded to the region where there was the Nanda lotus-pond; having done so, he followed the same procedure as he had ( done ) formerly. Thereafter he approached to the place where there was the holy tree of the northern side, and the holy mound (for keeping sacred relics) situated on the northern side ( the rest is the same ). He proceeded to the place where there was the western pedestal and idols of the prophets installed in the western direction (the remaining is the same). Thereafter he approached to the place where there was the theatrical bower situated on the northern side, having done so............ ( here everything is to be inserted as is given in the case of southern direction ). Then he approached to the eastern door............rows of pillars of the southern side ( the same ). Thereafter he proceeded to the bower at the entrance situated on the northern side, and the middle part of the

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(b) Raypaseniya-sutta. northern bower at the entrance (rest is same). Then he went to the western door............ northern door.......... .rows of pillars of southern side........ (the rest is the same) ....where there was the northern door of the temple of Siddhas (perfect souls) [the rest is same]. He approached to the eastern door of the temple of Siddhas (liberated souls); having done so, ......(the rest is same). He marched to the place where there was the eastern bower at the entrance and the middle portion of the eastern bower; having done so.............(the remaining is same), He approached to the southern door of the eastern bower at the gate and the series of pillars of western side............northern door ..(rest is same)............eastern door.......... (the same). Then he proceeded to the place where there was the bower for theatrical purposes (situated on the) eastern side. In the same way he (proceeded to) the mound, idols of the prophets, holy tree, great Mahinda banner, and Nanda lotus] pond (the same........upto ........) offered incense; having done so, he went to the place where there was Sohhama congregation-hall; having done so, he entered into the Sohamma congregation-hall through (its)

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(c) A eastern door; having done so, he proceeded to the place where there was Manvag sacred pillar and (where there was) adamantine, circular and round box; having done so, he picked the mop of peacock feathers, having done so, he wiped that adamantine, circular, and round box by the mop of peacock feathers, having done so, he opened that adamantine, circular, and round box, having done so, he cleaned the bones of the thighs of the prophets, by the broom (mop of peacock feathers ); having done so, he washed them with highly scented water; having done so, he worshipped them with excellent and choicest perfumes, wreaths, and offered incense; having done so, he replaced those bones of the thighs in those adamantine, circular, and round boxes, wiped that Manvag sacred pillar by the mop of peacock feathers, washed with a continuous line of divine water, plastered it by the layers of juicy Gosis sandal, and offered flowers [ upto ] incense. Thereafter he approached to the place where there was the throne...(the same). where there was the celestial bed... (tde same)... and where there was the small Mahinda banner ..........(the same). Then he approached to the Translation.

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(d) Raypaseniya-sutta. place where there was, " Choppal" the storehouse of weapons; having done so, he took in. his hand the mop of peacock feathers; having done so, he cleaned " Choppal" the store-house of weapons, having done so, he washed it with. a continuous stream of divine water and plastered it with the layers of juicy Gosis sandal, offered flowers.......and wreaths extending from top to toe [ upto ] incense. Then he went to the part where there was exactly the middle portion of Sohamma congregation-ball, the precious stoned pedestal, and the celestial bed; having done so, he held in his hand the map of peacock feathers and wiped that precious stoned pedestal, and the celestial bed [ upto ] offered incense; having done so, he went to the place where there was the southern door of Uvavay-hall [did the same thing as in the case of anointing hall [ upto ] Nanda lotus-pond situated on ] the eastern side. Then he approached. to the place where there was the lake; having done so........the arch, three-fold staircase, puppets, and small statues....... ( the rest is same ). Thereafter he went to the part where there was the anointing-hall; having done so, he did. the same in case of the throne and precious

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Translation.. . les stoned pedestal ( the rest is same as is in case of the temple...... [upto ].....the eastern. Nanda lotus-pond ). Then he came to the place where there was the decoration-hall; having done so ( everything is to be reproduced word to word about the anointing-hall ). Thereafter he went to the place where there was the business chamber; having done so, he took the mop of peacock feathers as usual, wiped the scriptural volume by the broom (mop of peacock feathers); having done so, he sprinkled a continuous line of divine water, worshipped with the excellent and choicest perfumes and wreaths; having done SO........ precious stoned pedestal, and throne........ [ the rest is same....(upto)....the eastern Nanda lotus-pond ). Afterwards he went to the part where there was the lake; having gone there ( he acted ) in the same way with the arch, three-fold staircase, puppets, and small statues. Then he approached to the part where there was the place for offering oblation; having done so, he offered oblations and sent for the servile gods. Having called them lie spoke thus " Oh beloved of the gods ! immediately perform worship in Suriyabha abode, open spaces, where three roads meet, where four roads meet, sque

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(f) Raypaseniya-sutta. ares, from where four roads start, royal roads, ramparts, quarters of the servants on ramparts, the roads eight cubits in breadth (between the rampart and the city), doors, gates of the ramparts, arches, parks, gardens, forests, groves, jungles, and forests having different kinds of trees; having done so, convey back the report of the execution of the order." Thereupon those servile gods when being addressed in this way. by Suriyabha god ( upto...................courteously accepted ); having done so, they accomplished the worship, in Suriyabha abode, open: spaces, where three roads meet, where four roads meet, squares, from where four roads start, ramparts, quarters for the servants on ramparts, the roads eight cubits in breadth (between the rampart and the city), doors, gates of the ramparts, arches, parks, gardens, forests, groves, jungles, and forests having different kinds of trees.: Having done so they (returned ) to the place where there was Suriyabha god [ upto ] conveyed back the report of the execution of the order. Afterwards Suriyabha god proceeded to the place where there was Nanda lotus-pond; having done so, he descended in the Nanda. lotus-pond by the three-fold

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* Translation. (g) excellent eastern staircase; having done so, he washed his hands and feet; having done so, he came out of that Nanda lotus-pond. Having come out, he proceeded to the place where there was Sohamma congregation-hall. Thereafter that Suriyabha god with all pomp and encircled by four-thousand Samaniya gods [upto] sixteen-thousand celestial beings as body-guards and multitudes of other residential gods and goddesses dwelling in Suriyabha abode [upto] producing great din and cry approached to the place where there was Sohamma congregation-hall; having done So, he entered into the Sohamma congregation-hall through the eastern door; having done so, he marched towards the place where there was the throne; having done so, he climbed on that excellent throne and took his seat facing to the east. (45) Then those four-thousand Samaniya gods located themselves on four-thousand auspicious seats by the north-western and north eastern sides of Suriyabha god. Afterwards those four chief queens took their seats on four auspicious thrones. Then eight-thousand

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(h) Raypaseniya-sutta. celestial beings who were the members of internal-chamber vested themselves in eightthousand propitious seats by the south-eastern side of Suriyabha god. Afterwards ten-thousand heavenly beings who were the members of the middle-assembly placed themselves on tenthousand auspicious seats situated to the south of Suriyabha god. Then twelve-thousand celestial beings who were the members of the outer-chamber vested themselves in twelvethousand auspicious seats located in the south -western direction of Suriyabha god. Afterwards seven commanders of the armies occupied seven propitious seats to the west of Suriyabha god. Thereafter those sixteen-thousand heavenly beings who were his body-guards took sixteen-thousand auspicious seats on the four sides of Suriyabha god. Those (sixteen thousand auspicious seats) were arranged) as follows:- four-thousand to the east, fourthousand to the south, four-thousand to the west, and four-thousand to the north. Those body-guards had put on fastened armours for protection, bound fast their arm-guards for the bows, put on and fastened their taintless and excellent tablets of insignia, wore necklaces,

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Translation. equipped themselves with their arms and missiles, gripped the bows whose tips ( i, e. top most parts ) were of adamant, which were bent at three places, and joined at three places (viz. at the top, in the middle, and at the end). They had good deal of arrows. The hands of some of them were appearing blue, yellow, and red (on account of the respective colour of arrows), and Charus (a kind of weapon), leather handgloves, a club, sword, and a net. ( In fine ) those body-guards whose hands were appearing blue, yellow, red, and who were holding Charus, leather hand-gloves, staff, sword, and a snare (and who were ) intent upon guarding, not revealing the secrets of the god, not allowing others to enter there, equipped with the due qualities of servants, whose limits were not very far from each-other, and who with due courteousness and obedience, stayed there acting like servants. (46) << Oh revered sir ! Of what extent is the life period of Suriyabha god ? " "Oh Goyama! It is stated that his life period is of four Paliovams." "Oh revered Sir ! what is the life period

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(j). Raypaseniya-sutta. of the celestial beings who are the members of Samaniya congregation of Suriabha god? >> "Oh Goyama! It is stated that their life duration is of four Paliovamas. Oh Goyama ! that Suriyabha god possesses great prosperity, lustre, prowess, far fetched fame, happiness, and dignity.". "Oh revered Sir! really, marvellous is the great prosperity upto ] dignity of Suriyabha god. dw

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NOTES. :: rAyapaseNiyasutta-rAjapraznIyasutra--- A book embodying the questions of a King. The title has been explained in : the introduction. [N. B. The references are to the paragraphs.] (1) Summary-Here Amalkappa city is referred. According to the usual practice the description of the city is ayoided by means of the method of abbreviation, effected by the use of the word nie, with first and last words in order to denote the intermediate : portion. These set passages of descriptions. recur. every-where with mathematical regularity, and for which the curious reader has to refer to some other book, e. g. here the student of ancient culture may naturally desire to have an inkling of ancient cities, but his curiosity is marred down by this method of abbreviation, and either he has to leave off everything' to his imagination or to refer to other Sutras. __(1) teNaM kAleNaM teNaM samaeNaM IN THAT TIME, IN THAT EPOCH, The Instrumental sing. is used for Locative sing. Or according to the text of SAMATTUA Afa, a dira etc. may be taken

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Raypaseniya-sutta. in the Locative, NaM being explained as vAkyAlaMkAra ( an expletive ). hotthA ( was ) Past tense 3rd pers. sing. of ho (bhU to be), riddhatthimiyasamiddhA (RddhA) prosperous + (stimitA) peaceful + (samRddhA) rich. jAva ( yAvat ) [ Ind.] until; upto; as far as; till; down to pAsAdIyA - prAsAdIyA ( prAsAda bahulA ) having many mansions : Or prAsAditA charming; pleasing; nice; delightful. darisaNijA ( darzanIyA) draSTuM yogyA worth seeing. abhiruvA (amirUpA) charming, enchanting. paDirUvA (pratirUpA ) splendid, prati each and every, pratirUpA pleasing to the eye of each and every guest. 194 Com. - RddhA bhavanaiH paurajanaizcAtIva vRddhimupagatA / stimitAsvacakraparacakra taskara DamarAdisamutthabhayakallolamAlAvivarjitA / samRddhA - dhanadhAnyAdivibhUtiyuktA / ( tataH padatrayasya vizeSaNasamAsa: ). (2) Summary-Particular feature of town planning is noteworthy. In the north-eastern direction of a city there used to be a fine garden attached to a sanctuary of a demi-God, and frequented by bands of monks. (2) bahiyA (bahi:) outside, out of uttarapuratthime disIbhAra ( uttarapaurastye - IzAnakoNe, digbhAge) in the north-eastern_direction; Locative sing. ceia (caitya - vyantarAyatana ) a shrine, sanctuary. porANa (purANa) ancient; old.

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Notes. 195 (3) Summary-Here we are asked to refer Ovvaiya-sutta for the description of Ashok tree, and a slab of stone. It is available in Sutta No. (5) and (10) according to the edition of Arhatmat Prabhakar Karyalaya. (3) Tatuatuagefafaragua Papit sitera 184Thuj openi (Com. 37271aataraqet grote TATSITEERIT ET antar sitaatfato TrentCATTO ART 1] the descriptions (vaktavyatA) of an excellent Ashok tree and a slab of stone are to be understood (52) according to aupapAtikasutra (The first upAMga). (4) Summary--The atmosphere here appears that formerly the religion of the King was blindly followed by people. As soon as the news of the arrival of a sage was broken by the gardener to the King, the latter by means of proclamation through streets and highroads, used to inform the people the same and (proceeding in congregation accompanied by them ) wait upon the Lord with them. (4) ST (saa:) name of the king, Nom. sing. Frat (FIAT) Lord. AHHT (FAX:) arrived. fcal (afina) assembly, congregation, Consonant without a vowel is not allowed at the end of a word, therefore vowel is added. FOTOT (AT+TA) started off. Tale "Cafe+39 +3717) qere to wait upon.

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196 Raypaseniya-sutta. (5) Summary-God Suriyabha in Sohamma heaven: with all his paraphernalia and celestial splepdour was abserving once the Jambudvip. He comprehended the whereabouts of Lord Mahavira. The very idea of the Lord created in him feelings of rapture and with due procedure and courtsey he paid homage to the Lord repeating almost all set words of praise, such as namo'tthu NaM ArihaMtANaM bhagavaMtANaM AigarANaM........etc.In the end he requested the Lord to take into cognizance the salutations paid by him from a long distance. Here the student of Jain philosophy should note that gods and hellish beings are possessed of Ohinana (supernatural knowledge), from their very birth. , [avadhi: bhavapratyayo nArakadevAnAm-ta0 sU0] ___ (5) sohamma (saudharma)-name of the heaven.. According to Jain Geography it is the first heaven. It is also spelt as suhamma. cauhi sAmAgiya sAhassIhiM--(catusahastrasAmAnikaiH) in the company of four-thousand celestial beings Instr. plural. sAmAnikadeva-Gods having the same position as Indra. ___Com. mAtRpitRgurUpAdhyAyamahattaravatsUryAbhasya puujniiyaaH| ___ aggamAhisI (agramahiSI-kRtAbhiSekA devI) chief queen. aNiya (anIka-sainya) army. Also it is spelt as: aNIya. Ayarakkhadeva (AtmarakSakadeva) a deity protecting the body or body-guard. saddhiM (sArdham) with... mahayA'hayanagIya....etc. (mahatA+ahat+nATya+gIta+ vAdita+tantrI+tala+tAla +truTita+ghanamRdaGga + paTu+pravAdita+rava),

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Notes. 197 the sound (ta) that was produced due to the beating (pravAdita) of excellent drums (ghanamRdaGga) by experts (98) and which was accompanied by constant ( 37 without break ) staging of the thirty-two kinds of dramas (or dancing and singing als) singing' (ta), playing upon musical instruments (atfa), playing upon lute (aratt), attuned with clapping (ar), and blowing of musical instruments, such as pipes, lutes, etc. (Stor). [Here the reading faca (heavily beaten) instead of 367 is also accepted]. Pasar (Fot) divine. *T ( FoellerFEST) complete. fases (fage) farsato abundant, plentiful, ample. ilfe (stars ) knowledge acquired without the help of the senses within a limited sphere. This is the third type of knowledge. TCATO (3713pinta-Rhraga) seeing; knowing; applying. Presnt participle. sterf het. ( Terafaha) suitable; appropriate; proper. JME ( Steak ) place of residence. Fogprof. TATO [SICHT Praca ]' purifying his soul.. ostaa. [ee (being delighted) + (pleased)+fal qarabara (gladdened at heart)]. OPEN (afaa:) very much pleased. brandt (ofttimanaH) with an affectionate feeling. paramasomaka feer (CADA ferr.) with noble inclinaions

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198 Raypaseniya-sutta. of mind. harisavisampamANahiyae (harSavazavisarpat+hRdaya:) due to the influence of joy (harSavaza) whose heart (hiyaya) was expanding (visarpa-spreading). vikasiya-(vikasita) blooming. payaliyavarakaDa etc. (pracalitavarakaTakatruTitakeyUramukuTa etc.) excellent (vara) bracelet of gold (kaTaka), armlet (truTita) bracelets worn on the upper arms (keyUra), diadem (mukuTa), ear-pendant (kuMDala), necklace (hAra), which was well arranged (racita), and bedecking. (virAjamAna), the chest (vakSasa), were heavily moved (pracalita). pAlaMbapalaMbamANagholaMtabhUsaNadhare [pralaMba+pralaMbamAna gholadu+bhUSaNadharaH] who was putting on (dhara:) ornaments (bhUSaNa) which were hanging (pralaMbamAna ) pendulous and moving to and fro. (pralaMba). sasaMbhama (sasaMbhrama) with confusion; being confused. turiyacavala (tvarita+capala) immediately, hastily. abbhuiH (pirfagfa) gets up; rises up; rises to greet. pAyavIDha (pAdapITha) foot-stool. paJcoruha (prati+ava+ruha) to. get down, to descend, to dismount. egasADiyA (ekazATikA): A web of cloth not bearing any dividing line upon it (caused by stiching another piece of cloth). uttarAsaGga (uttara+AsaGga) wrapping of the scraf round the face; placing on one side. sattaTupayAI . (saptASTapadAni) seven. or , eight steps. abhimuha towards, vAma left; jANu knee. , aMca to bend. dAhiNa, (dakSiNa) right, tikkhutto (trikRtvas)

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Notes. 199 thrice. Multiplicatives are formed by adding khutto to the numbers. muddhANa (mUrdhan) head. Isi (ISat ) & little bit. The consonant without a vowel at the end of a word is dropped and heart is added. pracunnama (prati+ut+nama) to raise up. karatalapariggahiyaM (karatalaparigRhita) joining the palms. dasanaha ( dazanakhAni) ten nails. aMjalI folded hands. Namo'tthu (namaH astu) salutations to; homage to. arihaMta (ahata) the revered sages, those who are worthy of worship. It is also spelt as arahaMta. bhagavaMta (bhagavat) blessed, glorious one. Adigara (Adikara) first founder of the faith; the first propounder of the doctrine. titthagara (tIrthakara) bridge maker; prophet; [ the maker of the path to cross the worldly ocean.] sayaMsaMbuddha (svayaMsatuddha) self enlightened. puriseottama (puruSottama) the best among men. purisasiMha (puruSasiMha ) lion among men. siMha, vRSabha, ratna etc. are affixed to the nouns in order to express their excellent quality. purisavarapuMDarIya the excellent lotus flower among men. purisavaragaMdhahatthi just as T&fea is best among elephants so he is titled as an excellent elephant amidst worldly people. loguttama (lokottama) foremost among men. loganAha (lokanAtha) the Lord of the world... logahia (lokahita) beneficial to the people... logapaIva

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.200 Raypaseniya-sutta. (lokapradIpa) light to the mass. "logapatoyagara (loka . pradyotakara) enlightener of the world. abhayadaya ( abhaya dAyakaH) giver of security. from danger.. cakkhudaya .(cakSudAyakaH ) bestower of vision. maggadaya (mArgadAyakaH ) conferer of the path i. e. who shows the way. jIvadaya (jIvadAyakaH) giver of life. saraNa (zaraNa) resort; protection; shelter. bohi (bodhi) knowledge; enlightenment. STEA ( FA ) doctrine; religious precept, dhammadesaya (dharmadezaka) propoun. der of religion. dhammanAyaka (dharmanAyaka ) the leader of religion. dhammasArahI (dharmasArathI) the charioteer in driving the chariot of religion. dhammavaracAuraMta cakavaTTI (dharmavaracaturantacakravarti) the excellent universal sovereign (cakravarti) or the emperor of the earth bounded by four oceans (caturanta ) in the form of religion (dharma). apaDihayavaranANadasaNadhara (apratihatavarajJAnadarzanadharaH) possessed of (dharaH) the highest kind (vara) of unimpeded or unobstruct. ed ( apratihata ) knowledge (mAna) and perception (darzana). viyadRchauma (vivRttachama) who has transcend. ed (vivRtta). delusion or infatuation (chama); free from delusion; this phrase is also used as viyachaumastha i.e. One who has trausgressed the limit of fourth type of knowledge and obtained the fifth one (kevalajJAna). jiNa (jI to conquer) one who has. vanquished sense .organs; conqueror;

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___Notes- 201 victor. - jAbaya (yApaka) conqueror of passioris. favor (ata) one who has crossed the ocean of 'worldly existence. Past passive participle di'rectly received from Sk. form. tAraya (tAraka) saviour. buddha enlightened one. bohaya (bodhaka) *enlightener of others. mutta (mukta) one who is liberated from worldly existence. moyaga (mocaka) the liberator of others. savvannu (sarvajJa) all knowing, perfect, omniscient. It is also spelt as savaNNu. savvairasI (sarvadarzI) all seeing. sivamalayamaruyamaNaMta etc. (zivaM+acalaM + aruja + anantaM+ avyAbAdha+ apunarAvartakam +siddhigatinAmadheyasthAna +saMprAptAnAM ) those who liave attained (marcarai) the place ( FOTTH) which is known as ferrfa ( perfection ) and which is blissful (zivam ), changeless (acala) free from weakness and illness of bodily existence (arujam ), infinite (ananta), imperishable (akSaya), free from distress (avyAbAdha) and whence there is no return (apunarAvartakam ). saMpAukAma (saMprAptukAmaH) desirous of attaining. tatthagaya (tatra gata) existing there. ihagae [ihagata] remaining here. sanisaNa (satriSaNNaH ) sat; took his seat. (6) Summary-The mind of noble Suriyabha god was harboured by religious thoughts. After a little bit thinking he came to the conclusion that to wait upon Lord Mahavira was his first and foremost duty for

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202 Raypaseniya-sutta. the enhancement. of his . . spiritual welfare. Then he sent for his servile gods. ___(6) eyArUve (etadrUpa:) of this sort. ambhatthie adhyAtmika:) inner thoughts. citie (cintitaH) idea; fancy. mogae-(manogata:) imagination; determination. saMkappe (saMkalpa:) reflection. samupajitthA (samupadyata) arose; harboured. Past tense 3rd person sing. seyaM (zreyasa) beneficial. gAya (gotra) family name. savaNa (zravaNa) hearing; listening to. kimaMgapuNa what to talk again. ahigamaNa (abhigamana) proceeding. paDipucchaNA (pratipranchanA) asking; putting a question; making an inquiry. aTTa (artha) meaning; sense. kallANa (kalyANa) good. maMgala auspicious. ceiya (caitya) holy. devaya (daivata) deity. . peJcA (pretya) future; in next incarnation. khama (kSama). powerful, able; capa- ble. . . nisseyasa (nizreyas ) . salvation; beatitude: eminence. aNugAmiyattA (anugAmikatA) in order to. follow; to trace; to go behind safely. saMpeha (saMpraIikSa) to observe or comprehend by intellect. Abhioge deve (AbhiyAgikAn devAn) servile gods. Com. Abhimukhyena yojanaM Abhiyoga:-preSyakarmasu vyApArya: mANatvaM, abhiyogena jIvantItyAbhiyogikAH / (7) Summary.-Those servile gods were ordered by Suriyabha to approach Lord Mahavira, pay homage, inform their own names and afterwards to cleanse the ground of one Yojana in circumference by supernatural powers, by showering scented water, by casting hea.n

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Notes. 203 of fragrant flowers and by burning incense, in order to turn the ground, in fragrance incarnation, so that it would be befitting for the arrival of celestial beings. The fundamental underlying idea is that the strong. stink of human world is disagreeable and offensive to heavenly beings. (7) AyAhiNapayAhiNa (AdakSiNa+pradakSiNa) going round (a person or an object) keeping (it) to. one's right; circumambulating. sAi (svAni) own. sAha (katha) narrate; to tell. joyaNaparimaMDala (yojanaparimaNDala) one Yojana in circumference (circle or ground). sakkara (zarkarA) pebble, sand, small stone; gravel. asui (azuci) foul, dirt. acokkha (acokSaapavitra) unclean (Guj: yomu.). pUia (pRyita-kuthitam)putrid. dubhigaMdha (durabhigandha) ill smelling; bad odour; stink. AhuNiya (Ahatya) having collected. Past passive participle. egaMte eDaha (ekAnte apanayata) carry it to a solitary place. : Imp. 2nd person Plural. navodgaM nAimaTTiyaM (nAtyudakaM nApyatimRttika) neither with . much water nor earth. paviralapapphusiya (pravirala+praspRSTa) just touching the ground. They sprinkled water without creating mud or collections of water. rayareNuviNAsaNaM (rajareNuvinAzanaM) destroying dust and sand i. e. pacifying or putting down. surabhigandhodayavAsa (surabhigandhodakavarSe) sprays of fragrant scented water. vasaha (varSata). sprinkle; shower. Imp. 2nd pers. plu. Fakat

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Raypaseniya-sutta. ( nihatarajaH) dust was subsided. maTTha ( naSTa ) vanished.. bhaTTa (bhRSTa ) removed. uvasaMta ( upazAnta) pacified. pasaMta (prazAMta ) calmed down. jalathalayabhAsurapabhUyaM ( jalaja+sthalaja+bhAsvara + prabhUtaM ) abundant (prabhUta) and lustrous ( bhAsvara ) [ flowers ] growing on water ( jalaja) and soil ( sthalaja). biTaTThAi ( vRntasthAyin ) with stems. jANussehapamANamittaM (jAnU tsedhapramANamAtra) to the height (utsedha) of knees. ohiM (oghena ) by heaps, mass, multitude. kAlAgurupavarakuMdurukka turukka dhUvamaghamaghaMta. gaMdhuddhayAbhirAma [kAlAguru+pavara kuMdurukka+turukka+dhUpa + mathamaghAyamAna + gam + udbhuta + abhirAma (i.e. ramaNIya ) ], charming (abhirAma) due to the spreading (uDuta) of fragrance emitting (maghamaghAyamAna) from the excellent types of turUka, kuMdurukka (incense), and black agallochum. (kAlAgurU). gaMdhavaTTibhUyaM (gandhavartibhUrta -gaMdhaguTikAkAra) as if becoming a pill of fragrance; fragrance incarnation. joga (yogya) befitting; suitable; appropriate khippAmeva (kSiprameva) immediately; quickly. ANasiyA (AjJatikA) order. paJcaSpiNa (pratyarpaya) to return to; to convey back; to report. 204 (8) Summary-With greatest pleasure those servile celestial beings accepted the order of Suriyabha god. They by super-natural gift known as Vaikriyikruddhi (emanation of soul particles from the body at the creation of a fluid from) changed their forms and with incomparable celestial gait proceeded to Lord Mahavira. After reaching there they paid homage,

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...Notes. 205 narrated their names, : and expressed their desire to wait upon the sanctuary.. Here we come across a. dogma viz. the celestial and hellish beings have Vaikriyik type (fluid type) of body. [kiyazarIramaupapAtikaM bhavati / nArakANAM devAnAM ceti / ta0 sU0 bhASya ] ... (8) paDisuNa (prati+zru) accept; promise; listen.. avakkama. (apa+krama) to run away; to go.. swiftly.. veubdhiyasamugdhAraNa (vaikriyikasamudyAtena) by the emanation of the soul particles in the form of a stick at the creation of a fluid form (vaikriyika).. samohaNa (samavahanana) emanation of soul particles: from the body. saMkhyeya numerable. nissarati (nisRjanti i.e. niSkAzayanti) cast aside . The sixteen types of jewels are 1 ratna, (gem: jewel, precious stone) 2. vajra (adamant) 3 vaiDUrya 4 lohitAkSa 5 masAragalla (emarald ) 6 haMsagarbha 7. pudgala 8 sugaMdhika .9 jyotIrasa 10 aJjanapulaga 11 aJjana 12 rajata 13 jAtarUpa 14 aMka 15 sphaTika (crystal) 16 riSTha. Here these gems are referred for the sake of simile only and it does not mean that they cast aside actually the atoms of these gems, but removed the particles of soul, resembling them. bAyara (bAdara) gross. suhumaH (sUkSma) subtle. pariyAya (paryAya) form. ukiTThA (utkRSTA) a kind of quick gait of gods; charming gait. pasatthA (prazastA) majestic gait of gods.... turiyA

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206 Raypaseniya-sutta. * ( svaritA ) swift gait of gods. cavalA (capalA ) impa tient gait of gods. 1 (031) a sort of gait of gods involving no strain. jayaNA ( jayanA) the gait; the speed of gods which is highest of all. far (ita) a quick gait of gods. 3gar (sayar) speedy gait resembling the motion of dust clouds in the sky. fear (four) divine; heavenly; best. tiriyamasaMkhejjadIvaM innumerable ( asaMkheya ) human continents ( tiryakadvIpa). vIIvayamANe crossing; traversing; Present participle of atkau (sufa+ag) (9) Summary-When the Abhiyogik Devas "(Servile gods) of Suriyabha god expressed their ardent desire of waiting upon the sanctuary, Lord Mahavir approved their action on the former usage and custom. In Jain mythology we get everywhere reference to the fact that four types of Devas wait upon the prophet. (9) (a) conduct; usage. kiJca ( kRtya ) action. karaNiz2a (karaNIya) worthy to be done. Ainna ( AcIrNa) practiced; performed. bhavaNavaivANamaMtara - joisiyavemANiyAdevA the celestial beings (deva) are of four types (1) af Residential (2) - maMtara Peripatetic ( 3 ) jyeotiSka Stellar (4) vaimAnika Heavenly. abbhuNNAya (abhyanujJAta) permitted; allow* ed; consented. (10) Summary.-When Lord Mahavir approved the action of Abhiyogik-devas the evidence of On

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Notes. 207 ancient usage, they changed their bodies and by creating a terrific hurricane did the work of a sweeper. Moreover they sprinkled water by showers of rain and created heaps of flowers by strewing them to the height of knees (i. e. did the work of a gardener). They burnt fragrant incense, made the place worthy for the arrival of god Suriyabha, and returning to their desti. nation conveyed back the report of the execution of the order of Suriyabha god. 10. HETIT (haahara) a terrific hurricane: FET FIAT (TOT ATA#:) of unmentioned. name, of certain name ( TATATAT:) Here typical description of an ideal youth who is well trained and well accomplished both physically and intellectualy, is given. U&ITT ( fara:) son of a servant. FETT (Fra) perhaps, is, exists. att (a Eft:) young. gna (rar) not degraded by the flaws of time. balavaM (balavAn ) possessing prowess. 3TOMAT ( 3724+3718 ) not affected by desease. Here 3729 is used in order to denote the non-existence of desease. [ 3739-ATTI T ATA or 3rmarat). Percuzco (PEBICHETA ) strong structure of the bones. To is a. Desi word. ForTMENT (FESTCHAEFA) a well built forearm. ofegoorfor etc. (afaqa+orfor+ar&+qgiat+36) complete and without any defect in hands, feet, back and chest. Groot (afroa:) developed.

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208 Raypaseniya-sutta. ghananiciyaSavaliyakhaMgha (dhamanicitavalitavRtta skandha): well built shoulders which are extremely (FA) piled! up (fafaa) and enclosed (sisa) with muscles. cammedRgadhaNamuTTiyasamAhayagatta (carmeSTakadrughanamuSTikasamAhata. gAtra) whose limbs are beaten by a club (carmeSTa samAhatagAtra) a hammer. (drughana) and fist (muSTi) at the time of taking exercise. [TAsz is a kind of mace having a stone wrapped in leather ]. urassapalasamannAgae (urasyabalasamanvAgata:) who is equipped with energetic heart; who has acquired a strong chest. talajamalajugala-[ phalihanibha ]-bAhU(talayamalayugalabAhuH) both of his hands ( are ) long: like the branches of Tala tree and of equal" size.. phalihanibha-(sphaTikasaMnibha) just like crystal. It is also spelt as phaliya. laMghaNapavaNajaiNapamahaNasamatthe (laMghanaplavanajavanapramardanasamartha:). capable of crushing (pramardanasamartha) leaping (laMghana) jumping (plavana) and having quick speed (javana). chea (cheka) learned in seventy two arts. dakkha (dakSa) vigilant; circumspect. paTTa (praSTa) clever in forwarding arguments; talkative. kusala (kuzala) proficient in all activities; expert.. mehAvi (medhAvin ) intelligent; endowed with the niuNasippovagaa (nipuNa zilpopagata ) having achieved proficiency in architecture or in fine arts. mahaM (mahat) big. daMDasaMpucchaNi ( daNDayuktA sanmArjanI) a broom attached to.. a bamboo stick.. veNusalAiye

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Notes.. . 209 salAmAhatthagaM (veNuzalAkAmayI saMmArjanI) a broom prepated from the small chips of bamboo. (hatthaga: a, broom, salAgA=chip, veNu-bamboo). rAyaMgaNa (rA jAGgaNa) a court-yard of the palace. rAyatepura (rAjAnta:pura) .royal harem. devaula ( devakula) temple. It is also spelt as deula. sabhA 'an assembly-hall. ArAma a garden situated outside the city where ladies and gents pay their visit. gar (991) a place where water is distributed. to travellers. niraMtaraM (nirantaraM ) for ever. saMpamaja (sampra+mRta) to wipe off; to cleanse. saMvaTTavAe (saMvartakavAyu) a terrific hurricane. .viuba (vikurvana) diffusing: creating. AhuNa (A+dhU) to shake. abbhavaddalaa (abhravAdalaka) clouds filled with water. dagavAraga (udakavAraka) a small earthen jar of water. [mRtikAmayabhAjanavizeSa dagasthAlaga. (udaka: sthAlaka) a bronze vessel full of water. dagakalasaga (udakakalazaka) a. pitcher full of water. dagakuMbhaga (udakakumbhaka) water pot; a jar to keep water. . Avarasa (A+vRSa) to shower water; to sprinkle water. pataNa (pra+stana) to roar: to thunder. vijaya (vidyat) lightning. puSphavaddalae (puSpavArdalakAni) clouds for showering howers. pupphapaDalaga (puSpapaTalaka) a garment for covering the flowers. chajiyA (chAdhikA) a cloth used for spreading over flowers. caMgeri ( Desi word ) flower basket. kayaggAhagAhayakarayalapabbhaviSyamuka (kacagraha grahIta+

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* 210 Raypaseniya-sutta. karatala + pra + vipramukta) the flowers that are spread like those that are fallen from the hands while holding the braid of hair of a young lady (at the time of sexual intercourse). dasaddha ( dazArtha ) five. mukapuSkapuMjovayArakaliya (mukta + puSpa+ puMja + upacAra+ a) equipped with the heaps of flowers that were showered there. vaddhAva ( vardhApaya ) to congratulate. (11) Summary-After hearing the report from Abhiyogik Devas, Suriyabha god ordered his commander of infantry to ring the bell of fabulous size, hanging in Suhamma congregation-hall, in order to draw the attention of residential gods, to the royal proclamation concerning the proceeding of his majesty Suriyabha and his dependants to the human regions, to pay homage to Lord Mahavir. (12) Summary-According to the order of Suriyabha God, the commander of an infantry rung the bell thrice and made the royal proclamation for the presence of residential divine beings in the vicinity of Suriyabha god. pAyattANiyAhivara (padAtyanIkAdhipati) the commander; the leader of an infantry [aNiya or aNIya = army ]. megheorasi gaMbhIra mahurasadda - (meghaughara sitagaMbhIramadhurazabda ) producing the sweet and deep resounding noise like the clusters of clouds. jeoyaNaparimaMDala (yojana pari 3) having the circumference of one Yojana.

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Notes. 211 susaraghaMTA (susvaraghaMTA) bell giving out agreeable and gingling sound. ugghosemANe (ud + ghoSaNAM kurvan) pro.claiming ullAlemAge (ullAlayan ) beating ( Present participle.) nAiyaraveNa (nAditaravena) with the echo of the sound which is continued after the ringing of the bell; with din and cry. akAlaparihINaM without delay. pAubbhavaha (prAdurbhavata) arrive; come; be present; Imperative second person plural of pAudabhava ( prAdu+bhU ). pAsAryAcamANaNika khuDAvaDiyaghaMTApaDi suyAsaya sahassasaMkule - (vimAnaprAsAdaniSkuTApatitaghaNTAprati zrutAzatasahastra saMkula :) filled with hundreds, and thousands of echoes of the sound of the bells, which were falling on the mansions, and pleasure hills of Suhamma heaven. forge A certain mountain.' egaMtaraipasattaniccappamattavisayasuhamucchiya-. [ekAMtaratiprasakanityapramattaviSaya sukhamUcchita]. deeply addicted to the pleasures of the senses, attached to sexual intercourse at solitary places and thereby who are for ever wanton. at sound; noise. ghosaNA uhala dinakRSNa gaggacittauvauttamANasANaM- ( ghoSaNakutUhaladattakarNa+ ekAgracitta + upayuktamAnasAnAM) those whose minds are attached, hearts are concentrated, and ears directed, due to the curiosity that had arisen by the proclamation. nisaMta (nizAnta) quiet pasaMta ( prazAnta) tranquil; absolute silence. hiya hatthe ( hitArtha sukhArthaca) for the happiness and benefit.

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Raypaseniya-sutta. ... (13) Summary. On hearing the proclamation the residential divine beings with different attitudesand inclinations e. g. servile imitating, real devotion. and loyalty towards Suriyabha etc. with all their pomp and splendour presented themselves in the vicinity of Suriyabha god without delay. 212 1 2 13 appegaiyA ( api + ekakA) some. baMdaNavattiyAe (a) with the inclination of paying homage. it is also explained as for paying homage. pUyaNavattiya ( pUjanapratyaya) for the sake of worship [ pUjA is a particular way of paying homage by offering fragrant things, flowers, garlands etc.] saMmANa ( sanmAna ) reverence. ke uhala.. ( kutUhala ) curiosity. it is also spelt as ke uhalla, kuUhala, keAUhalla and ke Uhala. asuyAI ( azrutAni ) never heard things. () cause; object; motive. pasiNa ( prazna ) question. kAraNa ( kAraNa ) reason. vAgaraNa (vyAkaraNa) explanation. aNuyattamANA ( anuvartamAnA) following. jiNabhattirAgeNa (jinabhaktirAgena) with the devotion towards Jinas. (f) purport; meaning. () respect. (14) Summary-When the inhabitants of Soha mma heaven having girted up their loins came in the vicinity of Suriyabha god, the latter asked to prepare one divine, celestial vehicle having the expanse of one lac Yojanas. In this Sutra, a glowing, graphic and pictorial description of that divine conveyance is painted..

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Notes. 213 14 aNegakhaMbhasayasaMniviTTa [ aneka + stambha + zata+sanniviSTa ] supported by many hundreds of pillars. lilaTThiyasAlabhaMjiyA (lIlAsthita + zAlabhaJjikA ) wooden dolls set sportively. sAlabhaMjiyA means statues or puppets. Here different reading is also available viz. sAlibhaMjiyA. IhAmiyausabhaturaganaramagaravihagavAlagakinararurusarabhacamarakuMjaravaNalayApaumalayAbhatticittaM [which was painted with variegated ( bhakti ), pictures (citra), of wolf (IhAmRga), bullock ( RSabha ), horse ( turaga), man (nara), shark or crocodile (makara), bird (vihaga), snake or leopard (vyAla), Kinnar ( kinara) ruru), grass hopper ( zarabha ), yak ( camara ), elephant (kuMjara), creeper (vanalatA) and lotus creeper (padmalatA ). Sharabha is also the name of a fabulous animal said to have eight legs and stronger than lion. khaMbhuggayavaravara veiyA parigayAbhirAmaM which is adorned (abhirAma), by encircling (parigatA), 'adamantine (vajra ), excellent (vara), altar (vedikA), raised upon (udgata), pillars (stambha). vijAharajamala juyalajaMtajutta equipped with (yukta), a machine (yaMtra), containing a ( rotating ) pair of ( yamala yugala), Vijjaharas. ( vidyAdhara). accisahassamAliNIya shining with (mAlinIya), thousands of (sahasra ), rays of the sun. (arci :). rUvagasahassakaliyaM furnished with (kalitaM), . thousands of (sahastra), silver coins (rUpaka). bhisamANa (dIpyamAna), illuminating; shining. bakkhulloyaNalessa

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214 Raypaseniya-sutta. dazzling the eyes at the very sight. GEHIA (sukha sparza or zubhasparza) pleasing to touch; delicate in touch.. sassirIyarUyaM (sazrIkarUpaM ) with graceful form. ghaMdAvalicaliyamahuramaNaharasara charming (manohara), and sweet (), sound (T), of the series (afs), of pendant (calita), bells (ghaMTA). niuNociyamisimisiMtamaNirayaNaghaTiyAjAlaparikkhittaM encircled by (parikSipta), the multitudes of (jAla), small bells (ghaMTikA), which were studded(fanfa=afaafa), skilfully (nipuNa), with brilliant (dedIpyamAna ), jewels and precious stones ( maNiratna) jeoyaNasayasahastravicchiNNaM having the expanse ( vistIrNa), of one lac ( zatasahastra), Yojanas (yojana). gamaNasajaM (gamanasaja) ready for starting. (a) vehicle; aeroplane. sidhagamaNaM nAma (zIghragaman2anAmadheya ) Sigghagaman by name. It was properly named, as it had very rapid and quick speed. (15) Summary-According to the order of the Lord of Suriyabha abode, the servile god prepared a divine vehicle, one lac Yojanas in expanse, adorned with numerable gems and jewels, and furnished with all sorts of arrangements. It had got three beautiful staircases, pointing to three directions. The floor inside it, was decked with five coloured glittering jewels and painted with variegated figures. The colour, the smell, the touch and the appearance of the jewels, that were studded in the floor, were so exceedingly charming that our vocabulary falls short, even in describing.

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Notes. 215 it in general form. In the middle of that vehicle there was a great and colossus theatre supported by hundreds of pillars and almost formed out of veriegated jewels, painted with thousands of pictures, equipped with aus: picious marks and turned into fragrance incarnation. Exactly in the middle of that arena there was a very huge altar of gems, thirty two Yojanas in area and prepared out jewels. On that altar there was a very expansive throne, to the four sides of which thousands of seats were arranged for the four chief queens of Suriyabha god, seven commanders and sixteen-thousand body-guards, Samaniya gods, residential gods and god. desses, and servile gods. The whole of the Sutra is devoted to a very glowing description of various parts and a number of materials used for its preparation. 15. fafafa (fsfera in three directions, THTHUIFFETT (F#alqlarfaET*179 ) three beautiful (frafasta), staircases (para ). In every direction there were three eminent staircases: gfEgH (OTCFT ) East. It is also spelt as gcfia. great caret) South. gremot is also rendered as au aflau (FAOI) made of adamant. In this book we come across two forms vara and vayara used oft and on. jimmA (ne. FA or hat ) ring or felly of a wheel; circumference; boundary. riTrAmayA (riSThamayA) made of Rittha jewel agro ( fagra) prop; foundation, basis, foot. fo. (apai) 'lapsis lazuli, a kind of jewel. phalaga (phalaka) plank, or steps. lohiyakkha

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216 Raypaseniya-sutta. (strcare) a kind of jewel. : (at) bars. T ( FAST) joints; soldering. 37asaor ( 37 ) support. 377 TUTTIET ( 3720alg) prop by the side of a staircase; side walls helpful in ascending and descending; a railing. gesit (gra:) in front. atco (attur) arch; festoon. galatazafafagfafanusatiafan the middle part ( star), was studded with (39fara ), various sorts of (fafara), interwoven ( #fafae), and intermingled (39fafag), pearls (ger). faragartraatafaur furnished with (39faar), various stars (fafamarti), in order to beautify (EYSTIT HTT). ufca (59) upon; on; above. EZHNETT (TE+ 3TO+ANEFT) eight auspicious marks. Generally these eight figures are drawn on the flags and banners in Jaiu temples.' Alfett ( Fafe )" auspicious figura. (iii) L A symbol indicatJust like this, fig. (ii). * * ing the four stages It is also spelt as of (i) Samsar ', Afy or tafiera. (ii) path of salvation and (iii) the abode of perfection. I T streaza fig. is also drawn like this. 4:

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.. Notes.... .. 217 sirivaccha (zrIvatsa) It is on the chest of the image of the prophet. NaMdiyAvatta (naMdikAvarta) it contains nine turnings and generally accompanies Faffaqi. vaddhamANaga (vardhamAnaka) These are the aus. bhahAmraNa (bhadrAsaNa) picious figures. Jains kalasa (kalaza) consider them to ' be maccha (matsya) of great importance dappaNa (darpaNa) . j while carving out the images. kiNhacAmarajjhae (kRSNacAmaradhvajA) flags fur. nished - with black chowries. sukilla (zukladeg) of white colour. It is a possessive adjective formed by adding illa termination. acche (acchA -AkAzasphaTikavadatinirmalA:). crystal like pure. ruppapaTTe (rupyapaTTaH) straps of silver. jalayAmalagaMdhie (jalajAmalagaMdhika:) fragrant with the scent of the flowers growing in water e. g. lotus etc. (TAJE unmixed). chattAtichatte (chatrAtichatrANi) umbrella over umbrella. paDAgAipaDAge (patAkAtipatAkA.) lags over flags. uppalahatthae (utpalahastaka:) multitudes of lotuses (hasta-samUha) kumudaNaliNasubhaga night lotus (kumada), blue lotus (nalina), white lotus (subhaga), evening blooming lotus (saugandhika), white lotus (padma), hundred petaled lotus (zatapatra), thousand petaled lotus (sahastrapatra) etc. AliMgapukkhara the leather (puSkara), of tabor by name "Muraj". muiMgapukkhara (mRdaGgapuSkara) the leather of timbrel: saratala (sarastala)

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218 Raypaseniya-sutta. the surface of the lake filled with water. karatala (karatala) the surface of the palm. AryasamaMDala (AdarzamaNDala) the surface of the mirror. urabhacamma (urabhracarma) leather of sheep. varAha (varAha) swine, pig. chagala (chagala) ram. dIviya (dvIpI) Chitta (citraka:): agega. saMkukIlagasahassavitae which was dragged (stretched) with (vitataM), many a thousand small nails (anekaza kukIlakasahastra). AvaDapazcAvaDaseDhipaseDhi-etc. which was painted with variegated figures (bhaktyAcitram ), of circles and cross-circles. (AvarttapratyAvarta), lines and cross-lines (forgafo), Svastik ( Faffa# ), Pushp-manak (puSpamAnaka), Vardhmanak (vardhamAnaka), egg. of fish (matsyAMDaka), egg of shark (makaraMDaka), aquatic animal (jArAmAra), series of flowers (puSpAvali), lotus leaves (padmapatra), waves of the ocean (sAgarataraMga), creepers of vernal season (bAsaMtIlatA), and lotus creeper (padmalatA). sacchAe (sacchAyA:) with pure lustre. sampabhehi (satprabhAbhiH ) with brilli. ance. samarIiehiM (samarIcikaiH) with series of rays scattered on al! sides. saujjoehiM (sodyotai:) with glitterings; with light. lohia (lohita) rosycoloured. hAlida (hAridra) yellow. jImUtae (jIsto ) black cloud (i. e. balAhakaH) name of a particular cloud which keeps the soil wet for ten years as a result of one down-pour only. aMjaNa' (aJjana) collyrium. khaMjaNa (khaMjana) soot, (i.e. dIpamallikAmala:).

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Notes. 219 kajjala (kajjala) lamp black, considered to be collyrium and applied to the eye-lashes. gavala ( gavala ) wild buffalo; the horn of a buffalo. gavalaguliyA ( gavalaguTikA) a pill of collyrium. bhamarapataMgasAre (bhramara-pataGgasAra:) the internal part of the wing of a bee. jaMbUphala ( jambUphala ) Jambu fruit black in colour. addAriTTe (ArdrAriSThaka: i. e. keAmalakA : ) tender crow; off-spring of a crow parahue (parabhRta i. e. kokila) cuckoo. It is a belief that the young ones of cuckoo are fed up by crows, mistaking them. to be their own. kalabha (kalabha) young one of an ele phant. kiNhakesara (kRSNakesara i. e. kRSNabakUla) black Bakula flowers. AgAsathiggala (com. zaradimegha vinirmuktaAkAzakhaNDa) portion of the sky appearing black being freed from the clouds of autumn. asoe ( azoka :) Ashok-tree. kaNavIra name of a tree. iTTe samaGke (nAyamarthaH samarthaH) no, it is not correct. ovammai ( aupamyaM i. e. upamAmAtram ) it is to be taken simile and not in the strict sense of the words. samaNAuso (he zramaNa AyuSman) Oh! long lived ascetic. iTThatarAe (iSTatarakA :) more agreeable. tarAa is the termination of comparative form. kaMta ( kAMta ) lovely. maNAma charming, pleasing. maNuNNa (manoza) agreeable. bhiMga (bhRGga) bee. bhiMgapata ( bhRGgapatra ) wings of a bee. sue (zukaH) parrot sukhapiccha (zukapakSa). feather of a parrot bAse (bASa) a blue jay.. as a. 3

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220 Raypaseniya-sutta. cAsapiccha (cASapakSa) the feather of jay. NolI (nolI) the indigo plant. nIlIbhede (nIlIbhedaH) part of an indigo. plant. nolIguliyA (nIlIguTikA) pill of indigo. FTAT (TAT) Kasturi; Priyangu-vraksha a name of a plant; a kind of corn. uccante (dantafror:) disease of teeth. its proper spelling "seems uzcantaya. vaNarAi (vanarAji) the grove; long track of forests., haladharavasaNe (haladharavasana) the garment of Balibhadra. : It is a mythological belief that Balibhadra used to put on jet-black garment. moraggIvA (mayUragrIvA.) the neck of a . peacock. ayasIkusuma (atasIkusuma) the flower of hemp. atasI common flex, hemp, linseed. bANa it is a kind of lower bearing tree. aMjaNakesiya (ajanakesika) a; name of a plant. (the proper "spelling of kesiya is kAsiya)..unmaruhira. (urabhrarudhira) blood of a ram. sasaa (zazaka) rabbit; hare. bAliMdagAva (bAleMdragopaka:) a small Indragop' insect red in colour. saMjhabbharAga (saMdhyAghrarAga) twilight; the scene at the time of the setting of the sun. guMjaddharAga (guJjArdharAga) the complexion of the half part of Gunja' fruit. jAsumaNa (japAkusuma) Jasmine flower. kiMya (kiMzuka) a kind of tree having beautiful red blossoms but without any .odour. pAliyAya (pArijAta) 'Parijatak' it is also spelt as pAriya. jAihiMgula (jAtyahiGgula) the best

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Notes.. 221 quality of vermilion.: silappavAla (zilApravAla) coral. pavAlaaMkura (pravAlAGkara) blossom of coral. lakkhArasaga (lAkSArasa) the juice of lac. kimirAgarattakaMbala (kRmirAgaraktakambala) a blanket prepared from the blood coloured spit of a worm brought up by supplying blood; a blanket of crimson colour. cINapiTTarAsI (cInapiSTarAzi): the heaps of red lead; the heaps of vermilion... caMpA (campaka) Champa. tree. caMpachallI (campakatvaka). the bark of Champa tree. caMpagabhee (campakabheda:) the part of Champa tree. hariyAliyA (haritAlikA) yellow orpiment or (Durva plant). ciura (cikura) a particular kind of substance from which yellow colour is extracted. (Com. rAgadravya vizeSa:). ciuraraMgarAe (cikuraraMgarAgaH) colour of 'Chikur'. (com. cikurasaMyoganirmitA vastrAdaurAgaH) nighasa (nigharSa) a line of excellent gold on touchstone; If its Sk. equivalent is taken as facit means touch-stone. suvaNNasippA shell of gold. varapa-. risavasaNa (varapuruSavasana) the garment of an excellent man (i. e. kRSNa). Here varapuruSa refers to vAsudevas as they put on yellow garment.. allakIkusuma flower of Allaki'. kuhaMDI (kUSmANDI) a pumpkin gourd. taDavaDA (AulI-vRkSa) a tree; 'Avala' tree. It is also spelt as taDauDA (taTapuTA Sk.). ghosADiyA (ghoSAtakI) a kind of plant (vegetation). suvaNNa (suvarNa) gold; : pure gold. hiraNa (hiraNyaH) silver; unwrought..

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**222 Raypaseniya-sutta. a gold. koraMTavaramaladAma wreaths (malu ), and garlands (dAma), of excellent (vara), Koranta flowers ( koreMTa ). bIyar ( bIjaka) a tree by name 'Biyak'. pIyAsAga (pItAzoka) yellow 'Ashok ' caMda (caMdra) Moon. kuMda (kunda) lotus, a fragrant oleander daMta kumudo rahisAra kabIra (white drop of water on lotus ( kumudodaka ), pure water drop (udakaraja), curds (idhi), camphor (ghanasAra), milk of a cow. (gokSIra ). kAMca ( krauJca) heron, curlew. sAraiyabalAhaa ( zAradikabalAhaka ) cloud in autumnal season. dhaMtadhoyaruppapaTTe ( dhmAtadhautarUpyapaTTa :) a silver strap which is purified by fire and earth. (mAta agnisaMparkeNa nimalIkRto). sAlipiTTarAsI (zAlipiSTarAzi:) heap of rice flour. sukacchavADI dry pods of beans (vAsa) pihuNamiMjiyA moon like figure in the middle of a peacock feather. (com. peDuNaM - mayUrapicchaM, tanmadhyavartinI micikA, sA cAtizukleti) bhise (bisa) fibre of lotus; lotus filament. muNAliyA (mRNAlikA) a lotus fibre; lotus stalk. gayadaMta (gajadanta) teeth of an elephant, tusk. lavaMgadalae ( lavaMgadala ) flower of clove tree. paDariya ( puNDarIka ) white lotus. seya (zveta) white. koTTapuDa (koSThapuTa) a vessel made of leaves containing fragrant substance. tagara (gandhadravyaM) a kind of fragrant wood or plant. usIra ( uzIra) fragrant grass. ( Guj vAjA ). coya (gandhadravyaM) bark; skin. marua (maruka ) one kind of (daMta) teeth. like )

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Notes. 223 tree by name maruA, maruvA jAi (jAtI) flowers of 'Jai'. jUhiyA ( yUthikA ) a kind of Jasmine flower. malliyA (mallikA) a particular creeper known as 'mAlatI'. pANama ( snAna ma) Jasmine plant. kegI (ketakI) name of a plant pADalI ( pATalI ) trumpet flower; rosy flower. NomAliyA (navamAlikA) a plant of the Jasmine species. aguru (aguru ) fragrant aloe wood; agallochum. lavaMga ( lavaGga ) - clove, kappUra ( karpUra ) camphor. vAsakarpUra (vAsakarpUra) fragrant camphor. aNuvAya (anuvAta) favourable wind. obhijamANa ( udbhidyamAna) being beaten into fine pieces. mANa and anta are the terminations used in forming present participles. koDijamANa * ( kuzyamAna) being pounded. bhaMjijamANa ( zlakSNakhaNDIkiyamAna) being turned into small pieces. uktirijamANa * ( utkIryamAna ) being turned into dust like particles. vikirijamA (vikIryamAna ) being diffused paribhujamA ( paribhogAya upayujjamAna ) being used paribhAijamA while being distributed to the persons. bhaMDAo ( bhANDAt ) from a vessel; Ablative sing. sAharijamANa (saMhiyamAna) being carri.ed, or poured. orAla (udAra) great; prominent, extensive, maNunna ( manojJa) pleasing. maNahara ( manohara) charming. ghANamaNanivbuiyara-giving delight (nirvRtikara), to the sense organ of smelling (ghrANa ) and mind ( mana ). abhinissarvati scatters towards the

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224 Raypaseniya-sutta. man who smells, (fagatata faenapa). Sargot ( a) garment made form the leather of a black antelope; skin; leather. Com. ZAADTE Free (ET) cotton. (T) a kind of tender plant. Fauiter (eta) butter. AMHats (grafes:) a bed of tender and soft cloth. FACTAREAfaaru collection of (faerzt), Sirisa flowers (foretaEA). arg 9 7treft (aromathT:) the heap of the leaves, of tender lotus... FIA (af) touch, contact. agarani (azaziorat) exactly in the middle portion (part). f9EBIETET (GSTITEHUSN) theatre; place for spectators to sit. It is also spelt as pecchAhara. anbhuggayasukaya etc:-protruding and well arranged excellent altars (abhyudgatasukRtavaravedikA) decked with trata), excellent (art), arches (arco), and puppets or statues (ITISH FAT). efafsefarag etc.-spotless pillars (ASFH), well adhered (Efeze), having particular beautiful shape and studded with auspicious Vaidurya gems. ( garea ). Afatiga-etc.-It was made dazzling (JETJ) by studding (erga), many varieties of jewels (Tatafo), at quite different places ( E H LAHIO). TETIT ( Faraat) a monument, a kind of tope; small peak; summit. TEMI (qar#1) banner. 37037FART (TATTET) topmost part of the peak; crest of the peak. 795

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Notes- . 226 (capala) moving, swift, active, impatient. marIikavaye. (marIcikavaca) a host of rays; a collection of rays. viNimmuyaMta (vinirmuJcat ) shooting forth; releasing. lAulloiyamahiyaM-besmearing the ground by means of cow-dung, and. * plastering the walls too. gosIsasarasaratta etc. stamped (datta), by the palm of the hand with fingers besmeared in the varieties of sandals such as 'Goshirsh, Rakt-chandana, and Dardar.' (gozISaraktacaMdanadardarada. ttapaJcAMgulitalaM ). uvaciya (upacita) set, fixed. caMdaNaghaDasukaya etc.-the arches beautified. (sakRtatoraNa), by the sandal pitchers (candanaghaTa), kept on the entrance door (pratidvAradezabhAga). Asattosattaviula etc. (Asattosatta+vipula+vRtta+pralambita+mAlya+dAma+kalAvaM) the collection of long circular * garlands and wreaths extending from top to toe puSphapuMjovayArakaliyaM (puSpa+puJja+upacAra+kalitam ) equip. ped with the heaps of flowers. tuDiyasahasaMpaNAiyaMresounded with (sampraNAditaM ), the noise of the beating of heavenly drums and blowing of the trumpets (divyatruTitazabda). accharAgaNasaMghavikiNNa the bands of heavenly nymphs (3TCATTITUTAF), dispersed here and there (vikIrNam ). ulloya (ulloca) upper portion, a cloth-ceiling. akkhADaga (akSavATa) arena, wrestling ground, gymnasium, a verandah for spectators, a place where festival

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Raypaseniya-sutta. is held. mahega (mahati) a great maNipeDhiyA ( maNipIThikA) altar of gems AyAmavikkhaMbha (AyAma + viSkaMbha) length and breadth. bAhallA ( bAhalya) thickness. tavaNijjamayA ( tapanIyamayA) golden. cakalA - discs. sIha (siMha) lion. pAyasIsaga ( pAdazIrSaka) The upper part of the feet of the throne. gata ( gAtra ) limbs. vecca (vyUta) a strap for interweaving the middle part of the couch, (Desi word ( vartman ) the middle part). sArasAra or saMsArasAra the essence; cellent. pAyavIDha (pAdapITha) foot stool. accharagamiumasUra etc.-[astaraka+mRdu+masUraka+navatvak + kuzAnta + limba (komala) ex kezara+pratyavastRta +AvaraNa] the pillow on the foot stool was again covered by smooth covering (pratyavastum) and the hanging skirt of it was smooth and tender like the new skin, ends of Kush grass, and filaments of flowers. suviraiyarayattANewell arranged (suviracita), dirt absorber or 'dirt remover ( rajastrANa ). uvaciyakhoma dugUla paTTapaDicchAyaNa [ upacita+kSauma + dukUla + paricchAdana ] covered with suitable cotton garment as a covering of dirt absorber. rattaMsuasaMvue - covered with (saMvRta ), a very charming red garment ( rattAMzuka ). AiNagarUyabUraNavaNIya etc. which is as delicate in touch ( sparza ), as the skin of deer, cotton, Bur plant, and butter ( ajinaka+rUta+bUra + navanIta etc. ). maue (mRdukaH ) smooth; delicate; soft. vijayadusa ( vijaya 226 -

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Notes. dRSya) a particular kind of garment saMkhaMkakuMdadaga etc. - (zaMkha+kuMda+udakaraja+amRtamathitaphenapuMjasannikAza) resembling (sannikAza), in whiteness to the conch (zaMkha), jasmine flower ( kuMda ), a drop of water ( udakuraja ), or the collection of ( puMja), foam (phena), formed by the churning ( mathita), of the water of white ocean (amRta-kSIrodaddhijala; mathita). aMkusa (aMkuza ) goad; hook. just like an earthen pitcher (i. e. of the same size. ), A standard measure Magadh country. muttAdAma ( muktAdAma ) necklace of pearls tadduccattapamANa (tadadhecityapramANa) its height was half in proportion to saMparikhitta (samparikSipta ) encircled; surrounded. laMbUsaga (laMbUsaka) a cluster of garlands tavaNijalaMbUsagA ( tapanIyalaMbUsagA) a kind of golden ornanament having a ball like shape in the middle. suvaNNapayaragamaMDiyagga ( suvarNapratarakamaMDita ) the upper portion of it decked by golden leaves. hAra and addhAhAra ( hAra and ardhahAra) a necklace having eighteen series and a necklace having nine series. IsiM ( ISat - manAk ) a little. aNNamaNNama saMpatta ( anyo'nya + asaMprApta ) not reaching or touching each other. vAehiM ( vAtai: ) by the wind. puvvAvaradAhiNa etc. (pUrvAparadakSiNottarAgataiH ) coming from east (pUrva), west (apara), south (dakSiNa), and north (uttara). ejamANa ( kaMpamAna ) trembling palaMbamANa (pralaMbamAna) hanging pejaMja or pajjhuMja ("pejja 227

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228 Raypaseniya-sutta. ja" iti zabdAyamAnAni ) it is an onomatopoetic .. word. sirI (zrI) splendour; glory. By the plilological phenomenon known as Anaptyxis. or svarabhakti the conjunct is softened. kaNNamaNaNicuikara (karNa+mana+nirvRtikara ) giving delight (nivRtikara), to the mind (mana), and to the ears (karNa ). avaruttara (apara+uttara) north-west. aggarmAhasI (agramahiSI) chief queen. saparivAra-with all paraphernalia. bhaddAsaNa (bhadrAsana) auspicious seat. abhitaraparisA (abhyaMtarapariSada) the internal-assembly. aTTaNhaM (aSTAnAM) of eight. The cardinals from eka to aTThArasa take N& as the termination of Genitive plural. bArasa (dvAdaza) twelve. aNiyAhivai (anIkAdhipati) the commander of an army. Ayarakkha (AtmarakSaka) body-guard. aiggaya (acirodta-kSaNamAtramudbhata) recently arisen. hemaMtiyabAliyasUriya (haimantikabAlasUrya) young autumnal sun. khayariMgAla (khadirAGgAra) burning charcoal of the wood of 'Khadir' tree. rattim (rAtrau ) at night. pajaliya (prajvalita) entiamed; burning. jAvAkusuma (japAkuluma) Chinarose. saMkusumiyA (saMkusumita-samyakkusumita) equipped with a good number of excellent flowers. ... (16) Summary:-Suriyabha god formed the fluid body by his supernatural capacities and with his chief queens, musicians, and dancers, took his seat on the ex.

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... Notes.. . 229 cellent throne in the Shigra-gaman Vimana with due procedure. In the course of time the Samaniya gods, and remainining gods and goddesses occupied the auspi. cious seats which were already arranged there. There after eight auspicious things-viz, pitchers, umbrellas, flags, chowries, banners-Vijaya and Vejayanta by name, an excellent throne, Mahendradhvaj, five commanders of armies and multitudes of servile gods and goddesses started forth in due order. And other remaining residential gods began to follow in front of, by the sides, and (also) behind him. 16 farfuramfHTACITIHT (fanfATETSZ) befitting for the occasion of approaching the conqueror (prophet) sarasaachet (sacharti) the form of the body contracted or expanded at any time to any size at one's sweet will by the supernatural power known as " Vaikriya power." igarota (sitafat*) the band of musicians ii e. Gandharva gods. tiugeat (penggat) in due order; in due course, in serial order. There (Afafferal) started. anfaar (atacfart) pleasing to the sight. Stretaitafori (Tintaiatar) worthy to be looked at. vAuddhaya (vAtodbhuta) waved by the wind; shaken. Sfaut (exar-gatasar) raised up. styfoe (hafse) to touch; to scratch. AgFATI (AYT) rising up-right to a great height. Agama (FAS+129) chaste um

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230 Raypaseniya-sutta. brella. ECIATES etc.--ahragaafegaga -.. zliSTaparighRSTasupratiSThita)-( the banner of Indra which was) well established (@afarga), smooth afrye), steadfast (erine), beautiful in structure (59 ftra), circular (age) and made of adamant (agaz). KEHTEE FEFEAT (FEHERE Jepara ) thousands of small banners were waving high-up (in the sky). So-lofty. Gaiet (@tqzcz) garment; dress. parikacchiya (parikakSita) put on; worn. nejAparaphernalia; retinue. E31 (grala:) on both the sides. A10377 (Arria:) behind. (17) Summary-Thereafter Suriyabha god with all his pomp and splendour, with the speed of one lac Yojanas, descending and proceeding on, travelled through innumerable human continents and oceans of the mortal world, and reached to the Nandiswar continent and Ratikar mountain. There he contracted the divine splendour and proceeding further, finally arrived to the holy place where Lord Mahavir had put up. He circumambulated thrice with his vehicle and alighted it in the north-eastern direction of the Lord. In due procedure all of them approached in the vicinity of the Lord, paid homage and brought it to his notice. 17. FSHATOT ( FTAT ) dragging forth. Carrara (Calgara) the splendour of celestial being; FASTIOTAHT ( farzfurari) fixed route; exit. Ferme ( farap ) the speed. The com. explains it TH

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Notes. 231 by the word (step) but as they were not walking it is inappropriate. ovayamANe (avapatan ) descending. vIzvayamANe ( vyativrajan ) going, travelling. raddakarapavvapa ( ratikaraparvataH ) the name of a montain. paDisAharemANe ( pratisaMharan ) contracting, taking back. paDisaMkhevemANe ( pratisaMkSipan ) shortening, to drag back. cauraMgulamasaMpattaM (caturaMgulamasa ) not touching to the ground i. e. remaining up at a distance of four fingers. paccoruhai (ra) gets down. (18) Summary-When Suriyabha paid salutations, narrated his own name, and began to wait upon the Lord, the latter approved the action of the former on the evidence of usage and custom viz. four types of Devas paying their obeisance and at the same time narrating their names in the vicinity of the prophet (Tirthankar). (19) Summary-The divine being Suriyabha, heard the religious sermon expounded by the Lord and began to wait upon him (Mahavir) with due courtesy and politeness. ( 19 ) nazvAsana ( nAtyAsanna ) not very near. susamANe ( zuzrUSayan or zrotumicchan ) waiting upon; anxious to hear. (20) Summary-At the end of the religious sermon delivered by Lord Mahavir the huge congregation went back from where it had appeared.

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232 Raypaseniya-sutta. (20) AEFTAEIPE (STFATTIAAECAT ). very great. (21) Summary.-When Suriyabha god heard the religious sermon, propounded by Lord Mahavir in that assembly (Samosaran), was filled with rapture and put forth a question with politeness in order to know what type of being (Jiva ) he was-whether a soul having the possibility of attaining beatitude or of reverse type etc. Lord Mahavir there upon assured him that he was first type of Jiva. Here we are reminded of a very strange type of religious dogma. According to Jain philosophy, all worldly (Sansari ) beings are divided in two-fold divison. viz. Bhavya (a being having the latent capacity of attaining emancipation) and Abhavya (a being having no potential capacity of acquiring salvation). If the first type of Jivas do not attain the summum-bonum of life in near future, atleast there is some ray of hope for them, but for the latter it is destined that they are to be eternally restrained in the whirl pool of Sansar. (21) 5gr TT rose from his seat and stood up; Its an oft repeated peculiar phrase used in Jain canon; seq=3FQTT (Indeclinable past par. ticiple ) having got up. HafAfgC (Hafare:) =452:-a being for whom liberation is possible. HAFTETO (AFTIT Ef*:) possessing right faith. According to Jainas the path of salvation is constituted by right faith, right knowledge, and right conduct. By right faith they under

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Notes. n . 233 stand the unflinching and well adhered belief in nine categories of Jainism. micchadiTTo (miSyrefe) heretic; possessing wrong faith. oftaHAIRT (GEFATSATTA:) one having limited journey in worldly transmigration. Hangg (sulabha bodhikaH) easy to be enlightened... ArAhae ( 3TITTER: ) aiming at salvation. ForceTC (fact**:) indifferent to salvation. aftA (ETA) last. a soul that has its body for the last time i. e. one going to attain beatitude without being reborn. (22) Summary-When Suriyabha god came to know the nature of his soul he became jubilant at heart, praised the omniscience and infinite conation power of the Lord and asked the permission for displaying the dancing programme constituted by thirty-two types of dramas in order to exhibit celestial glory. (22)* TTAFIATFA (QTARAFT ) jubilant. 963 (q a) afterwards; later on. ( Guj401). Ha a term of address to monks; it is used by a god or a layman in addressing a monk, or by a monk while addressing his preceptor or senior; It means "sir' " revered sir. TAIG ( Caguig) of this sort. Hfergaze ( 17fegart ) with devotion. atitas ( Erfrangi) of thirty-two kinds. uvadasittae (upadarzayitum ) to

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234 Raypaseniya-sutta. perform; to stage. Infinitive formed by adding $to the root gaan. (23) Summary.-Lord Mahavir did not show any favourable attitude towards the staging of thirty-two kinds of dramas by Suriyabha god. Even then suriyabha god by his super-natural lore erected a pavilion of the theatre and paid homage at the very sight of the Lord. Then he took his seat on the excellent throne, facing the prophet and produced one hundred and eight celestial lads and lasses from each of the hands, who were ready to exhibit thirty-two types of dramas. Thereafter he begetted, forty-nine kinds of musical instruments each being one hundred and eight in number, and the persons to play upon them. Then he ordered them to pay homage to the Lord and stage thirty-two types of dramas. They did accordingly and began to play upon those instruments, sing and dance. Here an attempt is made to give an idea of the nature of the dance and their procedure before the setting: forth of the dramas. 23. 3TITIE (Stiga) minds; pays attention. pariyANai (parijAnAti) consents; approves. tusiNIe (Etusta:) silent. A fac (#4+F271) to remain. quoret (set passages of descriptions). Most of these varNakas are given in details in aupapAtika. The reader is either supposed to have read it before. or he should just refer to those rubrics omitted by the author.: Jata ( 371 Jan ) at the sight;:

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:: Notes. . 235 in the presence of. nANAmaNikaNaga. etc.-Lustrous (ujvala), due to the ornaments such as bracelet (kaTaka), armlet (truTita-bAhurakSaka), and other costly ornaments (mahAbharaNa), studded with glittering variegated jewels ( TOTTAFO ), and formed out of pure valuable gold and gems with great dexterity (kanakaratnanipuNopacitAni ). pIvara (pIvara ) well built. palaMba (pralamba ) long. bhuyA (bhujA) arms. sarisayANaM (sadRzakANaM) of the same pattarn. sarittayA (sahak+tvacA) having similar complexion. sarivvayA (sahaka+vayAH) having the same age. 'nijoa (niryoga) arragement. duhaosaMvalimgaNiyatthANaM (dvidhAto+saMvRtta+ agra+nivasitAnAM). who had put on an outer garment covering both the sides of the shoulders. AviddhatilayAmelANaM who had put on (Aviddha),a mark on the forehead (fast), and a flower garland of a crown (ApIDa). piNiddhagevijakaMcuyA-who had put on (pinaddha), a necklace (praiveya), and an armour (kaMcukA). uppIliyacittapaTTa etc.-[ utpIDita+citrapaTa+ parikara+saphenakAvarta+racita saMgata+pralaMba+vastrAnta+citra (cilalaga-dedIpyamAnaM )+nivasanaM ] who had put on, painted and glittering garment whose pendant skirts were well arranged and which was tightly fastened by girdling a painted belt which at the time of turnings of the dance appeared like foam. egAvalikaMTharaya etc. (ekAvalI+kaMTha+racita+zobhamAna

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236 Raypaseniya-sutta. +yakSa+paripUrNa bhUSaNa), whose chest was beautified (zobhamAnavakSa), by the abundant. ornaments (paripUrNa bhUSaNa), and a single string of pearl beads (ekAvalI), placed on the neck (kaMTharacita). caMdANaNa (caMdra+ Anana) Moon faced. caMdaddhasamaNiDAla (caMdra+adha+sama: lalATa) whose forehead was like half moon. ukA (ulkA ) a meteor; . a spark of fire. siMgArAgAracAra etc. (zaMgAra+AgAra+cAru+veSa) who had put on charming dress which was as if an abode of erotic emotion. hasiya bhaNiyaciTriya etc.-(hasita+Nita+tiSTita+vilAsa+salalita+ saMlApa+nipuNa+yukta+upacAra+kuzala)-who were expert (kuzala ), in befitting manners (yuktaupacAra ), well versed in (nipuNa.), graceful conversation (salalita saMlApa), gestures (vilAsa), standing(tiSTita), speaking (bhaNita), and smiling (hasita ).. gahiyA. uja (gRhita+Atodya) * who had taken musical instruments such as lute etc. saMkha (zaMkha) conch. saMkhiyA (zaMkhikA) small-conch. siMga (zaMga) bugle. kharamuhI (kharamukhI kAhalA) horn. peyA (mahatI kAhalA) a big horn. paNava (paNava) a musical instrument of a baffoon; a drum. piripiriyA ( piripirikA) a bamboo flute which gives out the sound 'Piri' 'Piri'. eguNapaNNa (ekonapazcAzat ) forty nine. saMdisaMtu (saMdizaMtu) please order; show; command. kAyavva (kartavya) worthy to be done; what is fit or

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Notes. 237 ought to be done. 3TZA ( 39+75T to show;. to manifest ) Imperative II person plural: FAIETOT ( FATETO) coming of a Tirthanker and an assemblage of twelve kinds of audience; A divine arrangement of seats etc. in a place where Bhagvan sits. ifa. (ofito ) series. FATHE (FAF57 ) simul-. taneously. avanamaMti (avanamanti) they bend down. Taifa (sanfra) they raise up. FTAT (feafaa ) erect; stead-fast, motionless. ATTT (Ara ) together. qaliebegan to beat or play upon. qie-began to sing. org--began to dance. GT (GTA) breast; bosom. #7 ( #) slow. ari ( ari ) shrill. Fara Ariano (FAATaffea) The music arranged at three different times viz. (1) starting from the chest (2) reaching to the head, and (3) coming to the throat, in three particular successions of notes such as slow, shrill and sweet (according to the science of music). LIFTTHETIT (IFT+370+eT+39TE) the sound was like that possessed by the cave, which is favourable to singing. T ( #) attached. fastrated (freetracy) pure or clear at three places viz. chest, throat and head. Hetjsa ect. (AHETTE Taiatadatogu DEEAY)-equipped with the music which was

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238 Raypaseniya-sutta. harmomious with the tune of the lute, the melody of the fute and the clapping of the hands. miuribhiyapayasaMcAra (mRduribhitapada. saMcAra) the steps were intune with the sweet and husky or grunting manner of singing. geya (geya) song. pagIyA (pragItA) resonant with singing. uddhamaMta (uddhmAyamAna) blowing e. g. conch etc. uddhamANa (uddhmAna) sounding of a conch etc. by the mouth. paDaha (paTaha) war drum; big drum. 3764FSSTATOT being beaten; Present passive participle from apphAla-(A+sphAla). bhaMbhA (bhaMbhA) a particular musical instrument. horaMbha (horambha) a kind of rum. tAlijaMta (tADayan ) beating. bherI (bherI) a kettle drum. jhallarI (jhallarI) a cymbal. duMdubhi (duMdubhi) a large kettle drum. muraya (muraja) a kind of drum. muiMga (mRdaGga) tabor. naMdImuiMga (naMdI. mRdaMga) a big tahor. uttAlijaMta (uttAlana) being sung out of tune--Present passive participle from uttAla. AliMga (AliGga) a kind of drum. kutuMba (kustumba) a kind of musical instrument. gomuhI (sitget) a kind of wind instrument e. g. bugle etc. mahalA (mardalA) a kind of instrument. mucchijaMta) being played upon.. vipaMcI (vipaJcI) a seven stringed harp. vallakI-lute; guitar. kuTTijaMta ( kuTTanaM) being: beaten; . being struck. mahatI (mahatI.) a. lute of hundred wires. kacchabhI (kacchapI

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Notes. 239 a kind of lute.. cittavINA ( citravINA ) a wonderful guitar with six strings. sArijata ( sAryamAna ) being played upon. baddhIsaka a musical instrument. sughosA ( sughoSA ) a bell so named. naMdighosA (naMdighoSA ) a chorus of a set of twelve kinds of musical instruments. phuTTijata-being beaten. bhAmarI (bhrAmarI) a lute. chabhAmarI (SaDbhrAmarI) a harp parivAiNI ( parivAdinI) a lute of seven wires. chipatI- a musical instrument which gives out tunes in rapid succession (Here different reading is also available. chippatUra). tUNA ( tUNA) a kind of musical instrument. tuMbavINA (tuMbavINA) a lute made of gourd. AmoDijaMta (AmoDyamAna ) being twisted a little. Amoya (Amoda), kuMbha (kuMbha) and naula ( nakula ) - some kinds of musical instruments. acchijjaMtINaM-being played upon mukuMda ( mukuMda ) a divine musical instrument. huDukkA --a parti - cular musical instrument. fafarent-a musical instrument. bAijjeta ( vAdyamAna ) being played musical kiNiyA upon.. karaDa ( karaTa ) a kind of instrument. DiMDima a kind of drum. (kiNikA) musical instrument. kaDaba musical instrument. daddaraga ( dardaraka) a kind of musical instrument daddarigA (dardarikA) a kind of musical instrument. kalasiyA ( kalazikA ) some kind of drum maDDaya ( maDuka ) a kind of drum: AvaDi jaMta

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Raypaseniya-sutta. being beaten heavily. tala--clapping of hands. a cymbal. kaMsatAla ( kAMsyatAla ) cymbals made of bronze. ghaTTa - to touch, to give motion. fuftfaar (fift) a musical instrument. lattiyA ( lattikA ) cymbal magariyA ( makarikA ) a kind of musical instrument. phUmijjata ( phUma = vIj) being blown. vaMsa (vaMza) flute. (a) a flute made of bamboo. cAlI - musical instrument parilI a sort of musical instrument baddhaga ( baddhaka ) musical instrument. abbhuya ( adbhuta ) one of the nine sentiments viz. sentiment of wonder. f ( uptijalabhUta ) troubled; distracted in mind. kahakaha bustling noise. pavatta ( pravRta ) proceeded; 240 (24) Summary-In this Sutra the description of the dance constituted by thirty-two types of dramas is forwarded in glowing terms. This Sutra is very important as it throws search light on, the problems concerning the list of the instruments, and peculiar types of dramas of the bygone days. Scholars should here consult old Indian musicians and find out equivalent terms. (Due to very short span of time I was not able to carry it out). The thirty second type of drama is concerning the whole of the biography of Lord Mahavir from his last but one incarnation to his obtaining the summum-bonum of life. Here students are advised to go through the biography of Lord Mahavir. In fine

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Notes: 241 those celestial beings displayed heavenly brilliance, glory and splendour in the presence of Goyama and others, by revealing those dramas. Afterwards they : conveyed back the report of the execution of the order, to Suriyabha god. 24 A sta yrforeront ( a faqzi') all that is described before is to be inserted here. AvaDapaJcAvaDaseDhipaseDhi - (Avarta+pratyAvarta+zreNiprazreNi) circles, cross-circles, lines and cross-lines. T arg ( +9#ftaa) in each and every. a (vakra) crooked. khuhaM goad shaped. cakavAla-a wheel of a cart; a stand or base for the throne to rest upon. agrafs fauf-a drama representing a row of moons. af FTS go-a drama with a particular arrangement of 'Avlis'. etraf qoa drama representing a row of suns.. gorafes ( T OT) a single string of beads, pearls etc. ACHAT (35+3547 ) rising of the moon. ( 7 ) sun. TITAO (371TAA ) appearance. 3707gamaNa (anAgamana) disappearance. AvaraNa-covering; obstructing; eclipsing. 37TAO ( 3TFAHA ) setting (of the sun). 45% (#55 :) halo. RETTA ( HETTO) type of celestial beings; great sepent; [a kind of serpent whose least length is one finger and at most, is one thousand Yojanas. (one yojana= eight miles). It is born on land, outside the

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242 Raypaseniya.sutta. region of men but even moves in water]. usabhalaliyavikkata ( RSabha + lalitavikrAnta) possessing a beautiful gait like that of an ox. hayavilaMbiya-- the gait of a horse. matta--intoxicated. dUta -- messenger. sAgara pa0 - a drama having scenes of seas. caMpA pa0 - a drama in which the beautiful bazzar of campA is exhibited. macchaMDa - a drama having a special arrangement of eggs of fish. jArA -- a class of aquatic animals. kattikakAra and khatikhakAra pao the dramas representing the shapes of the letters ka and kha. ghattitrakAra, GasiGakAra, gattigakAradramas exhibiting the shapes of the letters gha, Ga and ga respy. (In the same way other dramas exhibiting the letters, 1, and were enacted.) asoyapallava pa0, aMbapallava pa0, kosaMba pa0 dramas exhibiting (a bower; sprout etc.) of the leaves of Ashok, Mango, and Koshamba trees respe ctively. aMciya, ribhiya, aMciyaribhiya, ArabhaDa, bhasola, ArabhaDabhasola, these are the names of 25th, 26th, 27th, and_28th dramas respy. [ ribhiya-Com. yatra svaro'kSareSu gholanA svaravizeSeSu ca saMcaramANo raMgatIva pratibhAsate sa padasaMcAra: ribhita, ucyate / ] uppayanikrya ( utpAta + nipAta) ascending and descending; a kind of drama. saMkucita - contracting prasArita - extend - ing. bhaMtasaMbhaMta (bhrAMta saMbhrAMta) illusive. cavaNacariyanibaddhaM ( cyavana + [+ caritra + nibaddhaM ) pertaining to the life

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...Notes. p. 243 period of dropping down from heavenly region. saMharaNa (saMharaNa) removing from one place to another or from one womb to another. e. g. Lord Mahavir was removed to treats womb from varazs, a Brahmin lady. fatex ( faca AUT) renouncing the world and entering an order. orgcore ( 19+377ra ) the production of knowledge, (omniscience). facengalao (ateigada) estahlishing the four-fold order viz. monk (Arg), nun ( Frat), layman (97197 ); and laywoman ( STIFT). Jainas believe that their religion is enternal, but at times when it is on the point of extinction, are appears and revives the faith by re-establishing the four-fold order. This act is termed as ateigada. facaftfaranno ( atatiaator ) the last occasion of life on this mortal world i. e. the time of attaining #tan. 2157 (atfs) musical instrument. aa (aa) stringed musical instruments. e.g. lute etc. Farca (feraa ) a non-stringed musical instrument e.g. drum tabor etc. Tot ( a ) bronze metalled instruments, [*fAsif ). AT (Erni) wind instruments e. g. conch, bungle. 3f4ea (3a) a song sung in high pitch. 77 (ogia) the second of the four varieties of songs; versified song. maMdAya (maMdAka) a tune which is slowly

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244 Raypaseniya-sutta. . sung. TEATEAM (taa+TATA) having desirable end. spratorer ( 1177 ) dramatic gestures; acting. diTuMtiya (dAntika ) gestures pertaining to the parable. gfecran (gratis) gestures about manners and customs of barbarian countries. sAmantovaNivAiya gestures in general. antoAFETTETfurt ( sta+AT+370TFTA) gestures about the beginning, middle and an end of the era. (25) Summary-Then Suriyabha god contracted all divine splendour and atoms within himself, paid homage to the Lord and getting in that divine vehicle went back to his destination. | 25 TEATET ( afas+E) to take back; to contract within oneself. eur ( 70 ) moment. CAT (9a:) became one. farofalg ( fastan TaiTASA) with all his retinue. . (26) Summary-Curious Goyama the first disciple of Lord Mahavir asked where the celestial glory of Suriyabha god had gone? Thereupon Lord Mahavir answered that it was contracted by Suriyabha god. Goyama not being satisfied by this meagre explanation, Lord Mahavir gave the following analogical, precept. Just as a crowd of persons at the time of hurricane goes to the Kudagarshala, in the same way all the paraphernalia begetted by Suriyabha god for the dance bas again gone back in his body. This analogical precept is not satisfactory.

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Notes. 245 26 yurag (sagafae:) intermingled; entered. # (77 to speak ) passive base. FINTITATOI (FITAITIOT) a house carved out or situated on a mountain peak; a house having the shape of a mountain peak. fat (fscar) besmeared with (cow-dung etc.). Tar ( ya ) protected by (rampart etc.), having concealed doors. nivAya (nirvAta ) in which air cannot penetrate; place sheltered from wind. 375HCEST ( TTEC ) a tempest; hurricane; clouds filled with water. [3701 fazalfa II Titt-HERTO * ). alal (@af) rain. ISTAT (TT-) coming; (27) Summary-In this Sutra being questioned by Goyama Lord Mahavir describes the whole Suriyabha abode. On the southern side of Mandar mountain innumerable crores of Yojanas high up there is sohamina heaven. It is of fabulous size and contains one lac abodes of Sohamma gods. Exactly in the middle of it there are five lofty mansions viz:-Ashok, Saptparna, Champak, Chuyag, and Sohamma in the middle. On the eastern side, in oblique direction upright at a height of innumerable lacs of Yojanas, Suriyabha abode is situated. Its dimensions are lacs of Yojanas and it is surrounded by a very huge rampart, which is expansive at the base, diminished in the middle, thin at the top, and contains one thousand entrances on each side. Thereafter the description of those doors is given, the idea of which is very hard

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246 Raypaseniya-sutta. to be formed even by persons of high intellect. The walls, the ceiling, the roofs, the mats over the roofs, coverings over the mats, and various decorations are put forth. For the formation of every part nothing but variegated jewels are used. (27) 9 ( 9TA ) Expounded; propounded. atxaca (zraaffar ) having gone; having proceeded. Gerund of faca4. FEFACT ( Bistrica) Saudharma heaven. It is the first of the twelve heavens according to Shwetambar Jains and the first of the sixteen heavens according to Digambar Jains. pAINapaDINaAyata-the length (Ayata) [ beginning ] from east to west ( Trentara atata ). gaturanfgutfaragon-the breadth (faraitor ) [extending ] to north and south. HETO ( Fra ) form; specimen. azcimAlibhAsarAsivaNNAbhe dazzling with ( a t ), the lustre (HTEETTIT), of the othosands of rays [of the sun] (sferat ). office (oft819) circumference. EFT (3778 ) the celestial abode having the configuration of a crown. It is an affix applied to aerial abodes of divine beings e. g. rataftar Acourafwa, PT (mango tree) ao etc. fartu (fast) in slanting or oblique direction. addhatterasa ( ardhatrayodaza ) twelve and a half. guNayAlIsa ( ekonacatvAriMzat ) thirty nine. aDayAla (aSTacatvAriMzat ) forty-eight. vi. RAH ( CFTA) Breadth; extension. N a

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. Notes- . .. 247 ( paJcaviMzati ) twenty five. saMkhitta ( saMkSipta ) compressed; diminished. taNue (tanukaH) thin. kavisIsara (kapizIrSaka:) cornices or horizontal moulded projections crowning a building. kiNha (kRSNa) black. desUga (deza+Una) a little less. bAhA (bAhu) side. thUbhiyAgA ( stUpikA) small peak. koTTimatala ( kuTTimatala) the surface of the ground; the floor studded with gems and jewels. elaya (eluka) threshold. nimmA (jaima) the part of the wall rising from the surface of the ground under the frame of the door. gomejamayA (gomedamayA ) set thickly with Gomeda jewels. iMdakIla (iMdrakIla) a doorbolt fastening the two doors of a gate; a portion of a city gate. joirasamayA (jyotIrasamayA) made of Jyotirasa' jewel. uttaraMga (uttaraMga) an arch surmounting the door frame. agalA (argalA) a bolt; bar (for fastening a door); latch. A. vattagapeDhiyA (AvartanapIThikA) the receptacle of the bolt of a door. aMkuttarapAsaga (aMka+uttara+pAzaka) the upper noose or hatter of 'Anka' gem. faiariyavaNakavADA (niraMtarita+ghana+kapATA) strong and jointless doors. bhittiguliyA (bhittigulikA) a platform. gomAgasiyA (gomAnasikA) a bed; a long verandah. kuDDa (kuDya) a wall. nANAmaNirayaNa etc. (nAnAmaNiratnajAlapaMjara + maNivaMzakalohitAkhyaprativaMzaka+rajatabhaumAni) the cage like windows made of various sorts of THALIHITHHO

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* Raypaseniya-sutta. jewels and gems were jutting out from the main building, whose bars were of precious stones, the cross bars that of gems known as "Lohit" and the storey prepared out of silver. pakkha (pakSa) the roof of a house. vaMsakoluyA ( vaMza+kavelukA) bamboos slantingly placed on two sides of a roof; is also spelt as kavelUya. paTTiyA ( paTTikA) a wooden board; strip. ohADaNI ( avaghaTanI) a mat made of thin strips of wood knit together. uvaripuMchaNI ( uparipuMchinI ) a strong covering (made of straws) upon a mattress ceiling. the upper part of a gate; peak. saMkhatalavimala etc. - (zaMkha tala vimala nirmala+dadhidhana+gokSIraphena + rajatanikara+prakAza) whose lustre was as pure and white as that of the upper part of conch, the heaps of curds, the foam of the milk of cow, and mass of silver. farar ( tilakaratna+ardhacaMdra + citrA ) painted with various figures such as:-Mark on the forehead and half moon. tilagarayaNaddhacaMdawhich was 248 soft; greasy; glossy. or spread. saha ( zlakSNa) (a) stretched (28) Summary-The description of the very abode is continued here. On those both the seats of the two sides of the doors there are series of sixteen sandal pitchers, sixteen tusks of elephants containing

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Notes. 249 clusters of garlands bound by coloured threads. On these tusks, the same number of series of other types of tusks containing multitudes of loops with vessels for burning incense, are set up. By the burning of the incense the whole of the place is transformed into fragrance incarnation. Again on those both the seats of the two sides of the doors there are series of sixteen dolls decorated with innumerable ornaments, placed on Ashok tree casting coquettish glances, putting on beautiful dress and fascinating the eyes of everybody. (28) faxilizar (Mant) seat. Oftast (aft. aret) serial order; ( tradition; custom; way ). Tau (ataaf) smeared with sandal paste. 3rrfarandol-having put on a gold string used as an ornament for the neck. fagiot (fatta ) a cover; a lid. 16H ( - TATTARE IGOH: ) a big pot.. amia, (amia) a peg: like : tusk. JAFISAETAT etc. ( ITFILES +37at +SERHEASTSU TFT + fffOTTAEFIT + oftfea) which was surrounded on all sides (afereza), by the collection of garlands of small bells (fmfontSETATS ), the wreaths of particular kinds of gems having the structure of small windows ( Margar) and pearl garlands the intervening space of which was occupied by the pendant golden necklaces (muktAz2AlAMtarotsRtahema r.). Tanchal ( 37*1+ 3+591) whose;

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250 Raypaseniya-sutta. downward form was like half: serpent. vagvAriya (pralaMbamAna) Extended; elongated. [ Desi word ]. laMbUsaga (laMbUsaMka) a particular ornament; a cluster of garlands. suvaNNapayaramaMDiyA (suvarNaprataramaMDitA) the back side of which was studded with golden plates (or leaves). sikkaga (zikyaka) a loop or swing to suspend articles. dhUvavaDI (dhUpavaTI) a vessel in which incense is burnt. piNaddha (pinaddha) worn; put on. muTThigijjhasumajjha the middle part (madhya), was beautiful (su), and which could be grasped by the fist (grozala). Amelagajamalajuyala etc. (Amelaka+yamalayugala+vartita+abhyunata+pIna+racita+saMsthita+saMsthAna+payodharau) whose pair of breasts (payodharau), were well built (pIna), naturally strong (afara ), well placed (traa), and the nipples of which were raised up (abhyunnata AmelakA-zikhara: ). rattAvaMga (rata+apAMga) The corner of the eyes being red.. asiyakesI ( azvetakezA) of black hair. miuksiyapasatyalakSaNa etc. [mRdu+vizada (nirmala ) + prazasta+lakSaNa+saMvelitAgrazirojAH] the hair on whose head were curly at the top (saMvellitAprazirojA: ), very tender (mRdu ); pure (vizada), equipped with the characteristics such as:-untraceable ends and beautiful (prazastalakSaga): vAmahatthagasAlA (vAmahasta agrazAkhA) holding the ends of branches by the left hand. IsiM addhacchika.

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: : Notes. .. 251 grafaigto ( $qa+7+3fentiretalizar ) by casting coquettish glances. ASOT captivating the hearts. fEFTATOTT (fagarar) making love sick; afflicting the mind. HIAThrgang (grata Hattar ) attained permanence. glagfarar ( gferat OTHER ) made of earth, fa5TTOTARGETer etc. (faga+raztraueftetaasitaifa kattetarti) the brilliance of which was far more surpassing than that of the dazzling light of the sun, and a thick line of lightning." : (29) Summary-In this Sutra too, the same description is continued. On those both the seats of the two sides of the doors there are series of sixteen lattices, bells, garlands reaching the ankles and small verandahs. On each of those verandahs there are lofty mansions, two hundredefifty Yojanas in height and one-hundred-twenty five Yojanas in breadth. They are equipped with umbrellas, banners, and peaks as if suratching the surface of the sky: Above the two sides of the doors there are series of sixteen arches. In front of each of those arches there are two puppets, tusks, pairs of horses,' men..., lotus creepers, Sama creepers, DisaSotthiya, sandal pitchers, jars, mirrors, big dishes, bowls, vessels, square-platforms, caskets of jewels, necks of horses, men...... umbrellas, tins of oil, Tamal leaves, Choyak fruits, cardamoms etc. Here everything is made of variegated jewels and precious stones.

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252 Raypaseniya-sutta. .....(29) jAlakaDaga (jAlakaTaka) a wall etc. in which "windows are beautifully carved or engraved. lAlA (lAlA) a pendant ball inside a bell. ghaMTApAsA (ghaNTApAvaH ) sides of a bell. saMkhalA (zaGkhalA) chain. rajju (rajju) a cord; a rope. ohassarA ( oghasvarA) continuous noise or sound. mehassarA (meva+ svarA) thundering noise. maMju ( maJju) sweet; pleasing; handsome, beautiful. chappaya (chaTpada) bee. pagaMThaga (prakaNThaka ) a kind of small desk; seat. aDrAija (arva tRtIya) two and a half. abbhuggayamUsi. apahasiyA (abhyudgata+utsRta+prabhAsita) lofty, well spread, and shining. jAlaMtarayaNapaMjarummiliyabdha .(jAla+antara+ratna+paMjara+unmIlita+iva ) it was shining just like the bulging gems studded in the intervening parts of cage like windows. heTrA-below. saMvADa ( saMghATa) 'a' pair. mihu~Na (mithuna) a couple. akkhaya (akSaya) undecaying; imperishable. bhiMgAra (bhRGgAra) jar; pitcher. AyaMsa (Adarza) a. mirror; a looking glass, " AsamantAdRzyate yasmin sa Adarza: " thaMbhayA (staMbhakA) a mirror frame. dovAraMga (dvArAMga) handle of a mirror. aNogyasiyanimmalA ( ana + avagharSita + nirmalatA ) though uncleansed yet pure; ( naturally pure). chAyA-lustre; brightness. paDiNikAsa (pratini. kAza) similar to; like. vAranAbhathAlA- a big dish having the navel of adamant. 37a3fa

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Notes. 253 cchaDiya , etc.- (acchA+trichardita+zAlitaMDula + nakhasaM. diSTe: paripUrNA: iva)- appearing as if filled with pure and white rice which are pounded thrice by means of a pestle. pAI (pAtrI) a small pot or bowl. acchAdagaparihattha (i.e,. svacchapAnIyaparipUrNa:) completely illed with clear water. phalahariya (phalabharita) filled with fruits. goka. FOSFAATTI just like a big circular basket from which cows are fed. maNaguliyA. (manogulikA) a square-platform. gavaccha ( acchAdana ) covering; curtain. vAyakaraga (vAtakaraka) an empty pot of water. phalihapaDalapaJcoyaDe ( sphaTika+paTala+avacchAditaH) covered by a thin plate or layer of crystal. sAe pahAe-with one's own lustre. caMgerI-a hat. basket to keep the flowers in. cuNNa (cUrNa) a miraculous powder which subjugates a man when thrown upon him; powder; flour. siddhattha (siddhArtha) mustard. lomahattha (lomahasta) a mop made of peacock feathers. kaniyA (karNikA) the inner part of an umbrella., salAgA (zalAkA) thin bars. sambouyasurahI (sarva+Rtuka+surabhI) the fragrance of a garden blooming in all seasons. valliyA-creeper. suhumarayayadIhavAlA (sUkSma+rajata+dI+ vAlA) having long, fine silvery hair. telasamuggaya (taila+samudka) an oil-tin; a bottle of oil. koTTa (koSTha)

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254 Raypaseniya-sutta. a kind of fragrant substance. Int ( atte): a. kind of fruit. cor cardamom plant; cardamom. (30) Summary-In this Sutra the same description of Suriyabha abode is continued. There are one thousand and eighty flags of different types, and sixty-five kinds of floors decked by auspicious seats for every door. In fine there are four-thousand doors from one end to the other. On the four sides of Suriyabha abode there are four forest-groves such as-Ashok, Sapt-parna, Champak, and mango. Those forest groves are twelve and half lacs of Yojanas in length, fivethousand Yojanas in breadth, and protected by a rampart. 30 TE ( Taal ) a banner on which the figure of wheel of a chariot is painted. sto ( a ) a bird; sparrow. S TT ( TT+ featur) four tusks. amatas ( antarctare ) the flag on which the figure of the best elephant is drawn. Agoqrator (yatatu) with former and latter. HA ( HTA ) a piece of earth; a particular place. CTT ( 972 -*i*gatia ) every, qUEE a forest region where trees of different kinds grow. (31) Summary-The inside ground of the forest is extremely charming. The noise created by grass made of jewels, moved by the wind is described by analogical similies. First simile is of the sound created by the moving of chariots, litters etc. with their parapher

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Notes. 255 nalia, second is of Vaikalik lute played by dexterious persons and the third is of the noise produced by the celestial beings in Bhadrasalavana, Nandan grove, or. in the caves of Himalaya, Malaya, and Mandar mountains, when gathered in congregations, and singing dancing, playiflg upon musical instruments, according to their sweet will and with absolute freedom. Lord Mahavir explains that the first two similes are insufficient to give the correct idea of the noise, but the last one only serves the purpose. 31 jahakama (yathAkrama) In due succession; regularly. eiya (ejita ) quaked. vedaya (vyejita ) shaked; particularly. trembled. kaMpiya ( kaMpita ) trembled. cAliya (cAlita ) moved. phaMdiya (spaMdita) throbbed; quivered. ghaTTiya (ghaTTita) caused to collide; moved in such a way so as to cause friction. .khAbhiya (obhita) agitated; distracted. udIriyA (udIritA) caused to move. heavily. kerisae (kizaH ) of what sort or nature. sIyA (zivIkA ) a palanquin. saMdamANiA ( syaMdamAnikA) a palanquin as long as a man. sakhikhiNihemajAla. parikkhitta-sorrounded (parikSita ), by the golden ornaments ( hemajAla ), with small bells (sakiGkiNI) hemavayacittatiNisakaNagaNijjuttadAruya-(haimavata+citra tainiza+ kanakaniyukta+dAruka) made of the excellent wood of 'Tinish' tree growing on Himvata mountain, and inlaid with gold. susapiNaddhAragamaMDaladhurA the

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Raypaseniya-sutta. series of spokes ( ArakamaMDala ) and the yoke (ghurA) of which are well fastened ( susaMpinaddha). kAlAyasa - sukamitakammA (kAlAyasa + sukRta + nemi + yantra+karmA) the felly of the wheel is well set up and made of iron. AiNNatraraturagasaMpatta (AkIrNavaraturagasu saMprayukta) the excellent horses of noble breed are yoked. kusalaNaraccheya sArahi susaMpanga hiya ( kuzalanaracheka sArathi+susaMpragrahita ) well controlled by the charioteer who is the best among the dexteious persons. sarasayabattisatoNaparimaMDiya (zarazata + dvAtriMta+tUNa + maNDita) encircled by thirty two quivers each containing hundred arrows. sakaMTakAvayaMsaga ( sakaMTakAvataMsaka) a thoruy ornament as an armour over the head. sacAvasarapaharaNAvaraNabhariyajujjhasajja ready for the battle being equipped with (bharita), bows (cApa), arrows (zara), weapons (praharaNa), and armours. (AvaraNa) rAyaMgaNasi ( rAja + aMgaNe ) in the courtyard of the palace; Loc. sing. abhighaTTijamANa - going fast. niyaTTijamANa returning. veyAliya ( vaikAlika) the name of a lute. uttaramaMdA ( uttara maMdA ) one of the seven notes of Indian gamut; the first note of the Madhyama scale. pariyaTTa ( parivarta) change; alteration. keANa the key-note of a musical instrument puvvarataM etc. ( pUrvarAtra + apararAtra + kAlasamaye) at mid-night. this is an oft repeated phrase. veiya ( vyejita ) particularly trembling. katthageya (kathyageya ) 256

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Notes. r 257 narrative song. gaja (gadya) prose writing. paja (padya) metre verse. kattha ( kathya ) Naya and other scriptures including stories and historical matter payabaddha (padabaddha) metrical chadosaviSamukkaM (chadoSavipramukta) devoid of six flaws. ekArasAlaMkAra (ekAdaza + alaMkAra) eleven metrical ornaments. aTThaguNovatreyaM (aSThaguNopapetaM) possessed of eight qualities such as Com. qui rattaM ca alaMkiyaM ca vattaM tadeva avighuTuM / mahuraM samaM salaliye aDDa For Ziffa Haz || (1) singing in all terms of musical notes (q), (2) singing according to to the metre (T), (3) singing in distinct tunes(i), (4) singing in a distinct manner (), (5) singing without discordance (fay), (6) singing as sweetly as a cuckoo (t), (7) singing with a proper measure of time () and (8) enchanting (Hofsa). :: (32) Summary-In those forest-groves there are small wells, lotus-pools, zig zag rivers, having silvery banks of equal level, adamantine stone at the base, sand of gold and silver, and covered by thin layers of crystal, adamant, etc. They are filled with unfathomable cold water, lotus leaves, stalks and different types of lotuses. Further it is stated that some of them are filled with milky water, natural water and water resembling the spiritual liquor, sugar cane juice, Ghee, etc. On the four sides of those wells there are staircases. There are mountains viz. Utpata, Niyati

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258 ___Raypaseniya-sutta. etc.. bowers of various creepers and various types. In those bowers there are numerous seats of different shapes, and slabs of smooth stones having excellent shapes. There, multitudes of residential gods and goddesses, relax, play and enjoy the fruits of glorious and meritorious deeds, they have accomplished in the past incarnation. . 32 khuDDAkhuDDiyA (kSudrAkSudrikA ) small; very small. vAvI (vApI) well. pukkhariNI (puSkariNI ) lotus-pool; lake. dIhiyA ( dIrghikA ) oblong well; straight river. guMjAliyA (guJjAlikA) zig zag river. bilapaMti (bilapaMkti; here bila-kupa) well arranged series of small wells. kUla-a shore. tIra-bank. tala-surface. suoyArasuuttAra ( sukhAvatAra+sukhottAra) comfortable to enter and very easy to come out. facer (tIrtha) ford; passage; a descent into river. saMchanna (saMchanna) covered. AsavAyaga (AsavAdaka) the water resembling spiritual liquor. khIroyaga (kSIrodaka) milky water. khAroyaga (kSAra+udaka) saltish water. ghaoyaga (ghRtodaka) water appearing like Ghee. khoroyaga (kSoda-ikSurasa) the water like the sugar cane juice. uyagarasa (udakarasa) natural water. uppAyapavyaya (utpAtaparvata) name of a mountair where couples of divine beings of Vyantara class come and formulate vorious bodily figures to play. niyaipa0 the name of a mountain situated in Suriyabha forest. jagarapa0 a mountain in Suri

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Notes. 259 yabha forest. dAruija pa0 a mountain in the forest of Suriyabha Vimaua which is made of wood. dagamaMDava (dakamaMDapa daka = sphATika) crystalline bower; a particular bower in which sprays of water dripple down. dagamAlagA (dakamAlakA) the mansion prepared out of crystals. dagamaMcagA ( dakamaMcakA) a raised seat or sofa made of crystals. usaDDA (utsRtA) lofty; raised up. aMdolagA (AndolakA ) swinging beds. pakkhaMdolagA ( pakSyAndolakA ) oscillating beds which could be moved by birds also. uNya (unnata ) raised; elevated. paNaya ( praNata) stooping pakkhAsaNa ( pakSyAsana) seats having the form of birds. There were various kinds of seats having different shapes e g siMhAsana; garuDAsana, haMsAsana etc. disAsovatthiyA A0 ( dikU svastikAsana ) seats having the middle portion carved out or painted like 'Swastik' figure. Aligharaga ( AligRhaka) the bower prepared out of 'Ali' plant. mAli gha0 ( mAligRhaka) the enclosure erected from "Mali' plant. acchaNa gha0 ( avasthAna gR0 ) an arbour in the garden meant for rest picchaNa gha0 ( prekSaNa) the recess of a garden from which spectacle or show can be easily observed. pasAhaNa gha0 ( prasAdhanagR0 ) bower meant for toilet and decoration. gabha gha0 enclosure having the shape of a cellar. the

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260 Raypaseniya-sutta. dahivAsuyA ma0 (dadhivAsukA ma0) bower made fronr 'Dhdhivasuk' plant. taMboliya (tAmbUlI) betel plant. mohaNa gha0 (mohana gR0) bower meant for romance. muhiyA (mRdvIkA) creeper of grapes. sAlagharagA (sAla gR0) saloons of Sala. nAgalayA (nAgalatA) piper betle. jAlagharagA-bowers having small windows. aimuttayalayA (atimuktaka la0) A kind of creeper (mAdhavI, Mar. kusarI or kasturamogarA) represented as twisting itself round a mango tree. cittagharagA (citra gR0) enclosures which are prominently characterised by paintings. kusumagha0 (kulumagRha) arbour made of flowers. appheAvamaM0 a bower intermingled with a strong creeper; e.g. grape creeper; nAgalatA etc. gaMdhavagha0 (gaMdharva gRha) enclosure meant for musical performances.. AyaMsa gha0 (Adarza gRha ) bower as if made of mirrors. maMsalaghuvisiTTasaMThANasaMThiyA-( slabs of stones ) well established (saMsthitA), having excellent shapes. (viziSTa saMsthAna), soft (ghRSTA), and smooth (mAMsala). nisIya (niSIda) taking seat. Asaya to sit com.. fortably; to lie down. tuyaTTa (tvavartana) to recline. supaDikaMtANi (supratikrAMtAni) meritorious actions that. were performed. mAlugA (mA lukA) a kind of creeper, the fruit of which contains a stone. corar-name of a creeper.

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Notes. 261 (33) Summary--There are lofty and colossus palaces amidst those forest-groves, where Asoya, Sattavapna, Chamak and Chuyag types of Devas are residing. (Students should here note that:-the names of the forests, palaces and the types of Devas are same). At the entrance there are huge Uvagariya-layans. wholly made of Jambunaya jewels. (33) FESTTAFETT (TEETTAFET #r:) having the life period of palyorama. patya is a fabulous measurement of time. It is explained as--the time required for emptying a well ove Yojana in breadth and one Yojana in length which is filled to the brim with indivisible particles of hair, each to be taken out after hundred years. Janine (#1 1597) a raised square for the entrance at the gate of a palace. Tu ( )'a bow. It is a measument used for measuring the heights of mythical persons (in mythology); four cubits length. Pfafara ( fracturersta+59 ) a little bit less. A ut (saptaparNa ) name of a tree. (saptaparNI a sensitive plant. ) (34) Summary-Paumvarveiya is surrounded on all sides by one forest-grove whose parts and minor parts are prepared out of a good number of variegated jewels and is decked by different types of wreaths and garlands. It is entitled as Paumvarveiya because

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262 Raypaseniya-sutta. there are blue, white, hundred petaled and thousand petaled lotuses everywhere. Here Goyama puts a question to the Lord, concerning the nature of the altar. Thereupon Lord gave the explanation that it is both permanent and impermanent. This topic is vitally important in Jain philosophy as Jainas always consider a thing from two view points viz. substantial and modificatory. (34) Jan TOTAAT (5T FIFTAT TAFALAT) same in proportion like the square kept at the entrance. pATThANa (pratiSThAna ) foundation. kaDevara (Final ) body, physical body. #51577 (AFIZA) group of two; pair. 9781I. (Targ ) the projecting eaves of a house. 37153170 ( 37 193197 ) covering. puDaMtara (puTAMtara) a cavity between two 'evenly joined articles. HATG-the collection of wreaths made up of gold and kept in a pendant posture. TTT FETHIT (Taipi ) the heaps of garlands having the shape of windows. ferauit ( Faragott - Taifa) a smell bell. atfe (atter) series, rows, ranges. HEINE (FAHRTINE ) at the top of the pillars. EFRITTAAT (afinaSTAATT) like a big umbrella used in rainy season. fart (fata+fat i.e. ffriat folk ), how long; upto what period. ( 3*ZT) happened, occured, took place, irregular form of Past tense, derived from Sk. ya (at) permanent. facer (faqat or farrat) destined, steady, eternal.

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Notes. ; 263 37577 ( 37-791) without decay; not going out of existence. Stargar (stafferat) steadfast; unchanging. TRIOTTEH (aftio facit ) the diameter of a circle or of the wheel of a chariot. davvApa (dravyArthatayA) by substantial point of view. This is a particular view point of Jains. It provides only the knowledge of a substance without minding the modifications. According to this, every substance is indestructible and exists in one form or another. The various ornaments prepared out of gold can be transformed but the substance itself viz. gold ever remains unchanged. qrafe (qara:) by modificatory point of view. This point of view takes into consideration only the modifications of a substance without noticing the substantial nature. According to this view every substance is undergoing changes and therefore unreal. grareta 8The numerical figure % occurring after a word stands for three words, synonymous with the one which precedes it. Thus pAsAdIra 4 = pAsAdIe, darisaNija, abhirUve, paDirUve. (35) Summary-Exactly in the middle part of the surface of the square kept at the entrance there is a colossus palace. It is surrounded by four lofty mansions, which are again surrounded by lofty villas. Those villas are encircled by other four magnificent

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Raypaseniya-sutta. banglows. The proportion of all these banglows is half of the former one, taken in serial order i. e. The first four lofty mansions were half of the main palace and so on. ( 35 ) tayaddhuccattapamANametta ( tad + ardha + uccatva + pramANa+ mAtra ) the proportion of height was half of it. bAvaTThi ( dvASaSThi ) Sixty two. (36) Summary-In this Sutra, Sohamma assembly hall, the surrounding parts, doors, pedestals, theatrical bowers, Mahinda and other banners, Manvag sacred pillar, and Paumvarveiya, are described in glowing words. On Manavag pillar, the bones of the thighs of the prophets are kept in adamantine boxes which are worthy to be worshipped by Suriyabha god and other gods and goddesses. (36) sAirega (sa+atireka) a little bit more. tAvayaceva paveseNa ( tAvantyeva pravezena ) by the entrance of the same size. muhamaMDava ( mukhamaMDapa ) a platform in front of a temple or a house. thUbha ( stUpa) a mound erected for keeping sacred relics. maNipeDhiyA ( maNipIThikA) a stool made of gems.- jiNussehapamANamesa (jina + utse ha + pramANa + mAtra) having the same height (utseha) as that of the prophets.. sanikhitta (sanikSita) placed; installed sarpAlithaMkanisanna (sa+paryaGkAsana niSaNNaH ) sitting in paryaka posture. vaddhamANa ( vardhamAna) Lord Mahavir. He is known by different names viz. sammati; vIra, vardhamAna zramaNa, mahAvIra, etc. vAriseNa (vAriSeNa) the twenty fourth 264 *

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... .. Notes. . 265 Tirthankar born in Airavatakshetra in this very era. uvveha (udvedha) depth. caMdANaNa (caMdrAnana ) first Tirthankar appeared in Airavatkshetra. khaMdha (skaMdha) trunk. viDimA (viDimA) main branch shooting forth from the truuk. savvaMga-the whole; from top to bottom. mUlA-roots. kaMdA-bulbs. ruilA (rucirA) charming; pleasing; beautiful. sAlA (zAkhA) branch. sAhappasAhA (zAkhA +prazAkhA ) branches and sub branches. biMTa (vRta) stalk. varaMkuramgasiharA (vara+aMkura+agra+zikharA) tops of excellent sprouts. namiya-bent. mahiMdajjhayA (mahaMdradhvajA) the great banner. vairAmayavaTTalaTThasusiliTTa etc. (vajrAmaya + vRtta+laSTa + saMsthita+muzliSTa parighRSTa+mRSTa+ garafgar ) which were firmly established, very smooth due to rubbing, exceedingly charming due to 'roundness of their form, and made of adamant. kuDabhi-small flag. abhilaMghamANa ( abhilaMghamAna) transgressing. aDayAlIsa (aSTacatvAriMzat ) forty-eight. gomANasiyA (gomAnasikA) bed; a long verandah. maNoguliyA (manogulikA) a stool; a seat. aMsi (azri) corner. mANavae (mAnavaka:-caityastaMbhaH) the name of a pillar. aDayAlisaikoDIe and aDayAlIsaivimgahie-here com. is unable to explain and therefore states-, 'saMpradAyagamyaM' however it seems that these two expressions mean-fourty eight edges and fourty-eight planes (of: that

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266 Raypaseniya-sutta. sacred pillar). ogAhettA (avagAhya) having come or plunged down. asar (sfer) having left; having omitted. jinasakahAo (jinasakthIni) bones of the thighs of the propbet. N. The idea is very queer because when the phophet secures salvation on this mortal world nothing but bair and nails remain, and other parts of the body are as if evaporated or vanished like camphor exposed to air, due to the destruction of AIAFA. Naturally, it is very strange that the bones of the thighs of the prophets are secured by celestial beings and kept. azcaNijja (arcanIya) worthy to be worshipped. (37) Sunimary-On the western side of that Manvag pillar there is a colossus pedestal upon which there is a special bed for a celestial being. Here we come across the graphic description of that celestial bed. (37) Fafos (2727117) bed, couch. faz (D. varman ) the middle. paDipAyA-prop; base. tUlI (et) a bed filled with cotton. sista ETOTT (Togtqaram) pillow ineant for cheeks. fasatzpont ( 17%) pillow. Agite (aariante) bent down and deep.alfessoreriget ( area afara ) the bed having the size of the body. jorgfesor etc. ( forrgfcatala a +077 ) it was soft like the sand of the Ganges which goes down as soon as one steps on it.

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Notes. 267 (38) Summary-On the north-eastern side of that celestial bed there is a pedestal, where a small Mahinda banner beautified by auspicious umbrellas and flags, is erected. On the western side of that Mahinda banner, there is a store-room of weapons known as 'Choppal', where, sharp-edged, and brandished, swords, shields etc. are kept. ( 38 ) coppAla Name of kozAgAra paharaNakosa (a) a store-room of weapons. phaliha (fa) a stick or club studded or tipped with iron; an iron club in general. fafeur (fafuiar); sharp; brandished. (39) Summary-On the north-eastern side of Sohamma Sabha there is a specious temple of Siddhas, where one hundred and eight idols of the prophets are consecrated on a magnificent raised pedestal. (Each and every limb of those idols is described). At the back of those idols there are images of umbrella. holders, Nagas, Jakkas and others. the ( 39 ) siddhAyataNa ( siddhAyatana) temple of Jina.. devachaMda ( devachaMdaka: ) a raised place for installation of images. paDisega (pratiSeka) inner part of the t nose; delicate portion under the nails. ar (ar) shank; leg from the ankle. to the knee. jANu ( jAnu ) knee Uru ( Uru) thigh.. gAyalaTThi ( gAtrayaSTi ) limbs of the body. f is added to indicate the long parts of the body i.e. hands and feet.

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H 268 Raypaseniya-sutta. TIACTEseries of small hair on the body. U (TEA) the nipples or teats of the breast- [ also spelt as seen. ] facueres (faremaales) coral; a stone grant. argar (alget) palate. 3tfoss (972) eye. ariethe pupil of the eye; retina. logarfo (377erqarfa) eye lashes. HET (3) eyebrow. Dato (Fire) cheek. fors (sort) forehead. BASSI (avigazi) bones of the head. Tafa (hrania: LA) the skin from which the roots of hair grow.ggu (EF) hair (of the head). fag (Tg) back. fEATITE-etc. having the lustre (9737), like that of snow (FEA), silver (Ta), jasmine ($) and moon (). Birraa (3784) umbrella. YTT (ESTEETT) a celestial being; a type of god. Parot-holding; here Feminine gender is used instead of Masculine; it is the defect in Pra. of not observing gender strictly, (Com. after arcata). SIST (First) dish. aran (alakm), a kind of empty earthen pot. faatiot (fast) a pot painted with various pictures. agogo ( 79 557 ) a vessel in which incense is burnt; a laddle for incense. (40) Summary-On the north-eastern side of that temple of Siddhas there is Uvavaya hall. In the north eastern direction of which there is, a spacious lake,

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::Notes. 269 Alankariya Sabha, Abhiseya Sabha, Vavasaya Sabha and Nanda lotus-pond. Each of them is situated irr the north-eastern direction of the preceding one. Here we are told that in Vavasaya Sabha there is a scriptural volume whose letters, leaves, ink, strings etc. are of variegated jewels. 40 . 3 TEHT (5991H1) the assembly hall where celestial beings are instantaneously born. alaMkAriyasabhA (alaMkArasabhA) the hall meant for decorating one's body. TEREHT (CATEHT) a hall meant for business purposes. drietate ( g a ) the religious volume; fazti (Tamil) rod. if (af) knot. FSCOTETUT ( FESTA ) inkpot. ggaur (ga) the lid; a covering over an inkstand. A r (TEST) fetter; chain. HET (Hait) ink. agort (hent) pen. 3TFETIS (Tcia) words SFAST ( ) religious. Fiel (lascripture: AFCA (FET) just like, afsatz (afesoto) altar for. oblation. (41) Summary-Lord Suriyabha when took instantaneous birth in the Uvavaya hall, was overwhelmed by the dilemma, concerning his antecedent and subsequent missions. Thereupon Samaniya class of gods, having comprehended it approached near Suriyabha god and drew his attention towards the duty of paying homage to the bones of the thighs of the prophets, located on Manvag sacred pillar and the idols of Siddhas, with due procedure. .

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Raypaseniya-sutta. 41 aNAvavaNNa mitta (adhunA + upapanna + mAtra) recently born. qafa (qafat) completion. within one Antarmuhurta, the gaining by the soul of the capacity to develop fully the characteristics of the body into which it incarnates. The developments are of six kinds; 1st 4 only in one sensed souls; 1st 5 in 2, 3, 4, and 5 sensed souls without mind, and all the six in others. -in taking of the molecules to make the body. 2 To-development of the body. 3 To-development of sensed organs. 410-development of respiratory organs. 15 bhAsA pa0 - development of Vocal organs. 6-development of the organs of mind. () obtained; got; accomplished. Taa ( abhyarthita) desired. ciMtiya (cintita) thought. patthiya ( prArthita) longed maNeogaya ( manogata) pondered. saMkalpa (saMkalpa) inclnition. ajjhatthiya (AdhyAtmika) deep inward musing. seyaM (zreyas ) beneficial. NissesAya ( niHzreyasAya ) for blessed condition; for salvation. aNugAmiyattA (anugAmikatA) the happiness which accompanies continuously all incarnations. Hanna-having comprehended, Gerund. sirasAvatta ( zirasAvarta) taking the folded hands to the forehead.; turning the folded hands in circular way in front of the forehead. 270.

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Notes. 271 (42) Summary-When god Suriyabha was advised by Samaniya gods about his missions, he went to the Nanda lotus-pond and having sported in water approached to the Abhiseya-Sabha where coronation water was sprinkled on him, for which lotuses, medi - cinal herbs, rape-seeds etc. were brought by Abhiyogik gods from mountains, rivers, and holy places, situated in human regions. Thereafter he went to Alankariya-Sabha and decorated himself with various ornaments, clothes etc. In this Sutra the installation ceremony of Suriyabha god is described in a very graphic manner. ( 42 ) uvavannaga - one who is born. jalAvagAha-enter ing into the water. kiDDA (kriDA) sport; play; AyaMta ( AcAMta ) rinsing the mouth by sipping water; washing the hands and face with water. pacottara (prati + avatara) to come out. vayAsI - 'spoke'. Past tense of vaya (vaca or vad) for all persons and numbers. This appears to be the remnant of an Aorist form. bhomija (bhaumeya) earthen pot sAbhAviya (svAbhAvika) natural. ukiTTa (utkRSTa ) excellent. khorAda samuha (kSIrodakasamudra) name of ocean. [The oceans referred in Jain mythology are lavaNasamudra, kAlAdadhisa0 puSkaravarasamudra, vAruNIvara sa0, kSIravarasamudra, ghRtavara sa0, ikSuvara sa0, naMdIzvara sa0, aruNavarasamudra and svayaMbhUramaNasamudra ]. pukkharodaya sa0 ( puSkarodaka sa0 ) this very name is referred in Tatvartha Sutra as 'puSkaravara samudraH samayakhetta (manuSya kSetra) the mortal world

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272 Raypaseniya-sutta. where human beings live.... bharaheravayAI-bharata, haima, airAvata, hari, videha, ramyaka, and hairaNyavata-these are the seven divisions of Jamdudvip according to Jain geography. mAgahavaradAmapabhAsAI-holy. lands such as:-Magah, Vardam, and Pabhas. We are at loss to know that why the celestial beings were prompted to take the earth, water, and flowers from the mortal world, which is filled! with foul and nasty smell. facerrs--holy places: gaMgAsiMdhurattArattavaIo-gaMgA, siMdhu, rohita, rohitAsyA, harita, harikAntA, sItA, sItAdA, nArI, narakAntA, suvarNakUlA, rupyakUlA, raktA, raktodA-these are the fourteen rivers which flow in the seveu Kshetras of jambUdvIpa (two in each respectively). culahimavaMtasiharIvAsaharapanvayA-are fabulous mountains, the where abouts of which we cannot trace in the map of the modern world. savatuyara (sarvatuvara) all sorts . . of pulses. savosahi all sorts of medicinal herbs. siddhattha (siddhArthasarSapaka) rape-seed. . hemavayaeravayAI-himavaMta, airAvata etc.-are the continents in Janubudvip. rohiyarohiyaMsA etc. names of rivers. saddAvai, viyaDAvai vaTTaveyaDU, mahAhimavaMta-names of mountains. mahApauma, mahApuMDarIya names of the lakes. daha (hRda) lake (Interchange of syllables or Metathesis) afral

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Notes. 273 sarammagavAsAI (harivarSa, ramyakavarSa, etc.) names of continents." gaMdhAvaimAlavaMta-Gandhavai and Malvant mountains situated in Harivasa and Hiranyavasa respectively. nisaDhaNIlavAsaharapavvayA niSadha, nIla, himavAna, mahAhimavAn rukmI, zikharI-these six mountains are situated in Jambudvip by which it is divided into six parts. tigicchikesaridahAo-tigicchi, padma, mahApadma, kezarI, mahApuNDarIka, ard puNDarIka are the six lakes situated on the top of six prominent mountains of 'Jambudvip'. sItAsItodA-rivers in Videhakshetra. samvacakavaTTivijayA (sarva+cakravartin+vijayAH) all particular territories of a sovereign prince. savvaMtaraNaI (sarva+' antaranadI) all the rivers situated in the interior. vakhArapavvaya ( vakSaskAparvata ) Vakkhara mountain' situated like the shoulders of a horse. * bhaddasAlavaNa-the forest known as Bhadrasal situated in the valley of Meru montain. milAyaMti (mlai) assembled. AsiyasammajiolitaM (Asikta+sammA. rjita+avalita) (The ground ) sprinkled with water, cleansed and plastered with cow-dung. suisaMmaTTaratyaMtarAvagavIhi (zuci+saMmRSTa+rathyAntara+ApaNa. eftfer ) the roads in the bazzar and the royal roads were cleaned and freed from dust. AETTimaMca (maMcAtimaMca ) a raised seat above another; gallery. nANAviharAgosiya painted with diverse

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274 Raypaseniya-sutta. colours. lAulloiya (D) plastering the ground by cow-dung and white washing the walls. AbharaNa-- ornament. bukkAra - to shout. lAseMti ( lAsyarUpaM nRtyaM kurvanti) performed wild dance. A dance accompanied by singing and instrumental music, lAsya - a dance in which the emotions of love are represented by means of various gestures. pINa (pIna) to be fat NukAra to produce the sound expressing contempt. taMDaveMti - they performed dance. (tAMDava is the frantic of violent_dance of Shiva. ) vagga ( valga) to leap;. to kick the legs like a horse. anphoDa (A+ sphuT = sphAla ) to pat, to strike gently with the hand. faai fifa-broke into three-step dance. com. " tivaI' tti trayANAM padAnAM samAhAraH- tripadI-mallasyeva raGgabhUmau padatrayavinyAsI vizeSaH tAM chinatti, karoti, hayahesiya ( hayaheSitaM ) Neighing hatthigulagula (hastin + gulagula) gargling sound of an elephant. rahaghaNaghaNAiya ( rahaghanaghanAyita ) tinkling sound of a chariot.. ucchala( ut+chal ) to jump. pocchala ( prot+chalU ) to jump high up nivaya ( nipAta) falling from above. parivaya ( parivraja) to go to walk. uppaya ( utpAta ) leaping up. uktiTThi ( utkRSTi) a voice of joy. siMhanAya-roaring like lion daharaya ( dardaraka) patter - ing sound made by feet. bhUmicatreDA (bhUmi + capeTA) slapping the ground: gaja ( ga ) to roar; to *

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Notes. 275 thunder. fasgar-to produce lightning. Denominative from face-lightning. 516to burn. ja ( 79 ) to heat. a (ga) to heat exceedingly. #r--to exclaim "Fie upon. afstati ( Tara ) accumulation garcou ( aa+3 ) one kind of inaudible sound produced by di. vine beings. E (GECE ) saying "Duha Duha agrea ( +giata) the shower of clothes; waving of garments in the sky). ANTTEA-an imaginary division of time which is explained as:--ten (crore x crore ) paliovamas. This limitless and infinite number of years taken as a measurement of time which is beyond the scope of great mathemeticians, indicates exaggeration. TEGEHTC (TEASESATT ) delicate or soft garment, (TES-EAT= a wooly garment), M ihrg (149 :-) a fragrant or scented cloth used as a towel. We ( 7 ) to clean; to. wipe. aNuliMpa-to daub with. vojhaM (vAhya) fit to be carried. Potential passive participle directly received from Sk form. GET-(anything) that charms or delights - the eyes. hayalAlApelaarstit--exceeding (11927), the softness (169), of the saliva (lAlA), of a horse (haya). niyasa (fata) to cause to put on; EUTETER-neck. laces. com. 3TOTEETATEA of eighteen strings.

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276 Raypaseniya-sutta. navasarika: of nine strings. ekAvalI-a necklace of various gems com. Fara AFFIT. 3in1 (317) a bracelet worn on the upper arm; (Guj. e4l094E) Afsga (fast) an ornamental belt for the waist (Guj;-547421). GAHETU (Ergfc magy) a particular ring. Tilgai (TE-E ) an ornamental string for the waist. Ystafurcrown, diadem. finalTATTARTIKA-ATA=a garland of flowers etc. knit up with a thread; afga-a ball made of rags, flowers etc. Orca-wreaths made of flowers strung on a bamboo needle; AETAA-anything made by putting together small things e. g. a garland. Tee-besmear; apply, grear-a long rosary to be worn in the neck. (43) Summary-Having accomplished the decoration work, Suriyabha god went to the business chamber, read the scriptural. volume, comprehended religious topics, and after washing his hands and feet started forth towards the temple of Siddhas. (43) TTE-to place on the lap or on stool etc. (Compare:-Guj. 45g); or to loosen (the string ). Faxis (fa+gz) to open; to disclose. vAei . reads. pakkhAla (pra+kSAla) to wash. TETTE ( gauticaea) a thing resolved or decided. ( It is also spelt as detfr ).. (44) Summary-Thereafter Suriyabha god went to the temple of Siddhas, paid homage, with due procedure and repeated one hundred eight stanzes. Then he wiped all the prominent parts such as sacred

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Notes. 277 pillar, sacred tree, Mahinda banner etc. with the mop of peacock feathers, besmeared with sandal 'paste and offered flowers. In this way proceeding from place to place he went to the business chamber, paid homage to the religious volume and approaching to the oblation altar, offered oblations. Then he asked the celestial beings to perform worships at various places, they did according to his order. Then he with his paraphernalia went to Sohamma assembly-hall.. and took his seat facing to the east. This Sutra suggests the ritualistic nature of Jainas and according to some scholars, this has crept in, due to the influence of ether religions. (44) fagit (rea:) from the back. 313T COTTAT ( 37 gor #ttfa ) bowed down (to the image) at the sight of it. 3787 (3787) whole; sound: unbroken. gorague (g6q+3TITIED) offering flowers. 37589CH-very clean; transparent. 3yfare-pervaded. Aeneath (Allah:) with great and long metres. Agor (#4+ET.) to praise; to worship. Toathe (arta +60198 ) to descend. fake-having placed; Gerund. faars ( Farara) to cause to fall; to make to fall. Causal form. GTTELE (971+z) to touch, to grip; to hold. Soye ( 3771+387 ) to sprinkle with water. Aliha. (+likha) to draw a picture ag (h) to smear with sandal paste etc. or to worship. * (Tarta) sprinkling. Era Garazi) a door frame. Taa ( tau) a beautiful pillar situated on Aforenifotot and in the

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278 Raypaseniya-sutta. middle of a memorial tree and a particular house. jiNasakahA (jina+sakitha ) the molar of a Tirthankar. aggehi (apraiH) with best. varehi (varaiH) with choicest. coppAla-name of the weapon-house of Suryabha God.. AyayaNasarisa (AyatanasadRza) just like a temple. visajaNa (visarjana) offering; presenting. siMghADaya (zaMgATaka) open place. tiya (trika) where three roads meet. caukka (catuSka) where four roads: meet. caJcara (catvara) squares. caumuha (caturmukha) from where roads start to four sides. mahApaha (mahApatha) royal road. aTTAlaA (aTTAlaka-prAkArasyopari bhRtyAzraya vizeSA:) abodes meant for servants on the rampart. cariyA (carikA) the road eight cubits in breadth between the rampart and the city. gopura-gates of the rampart. kANaga-grove; forest. vaNasaMDa (vanakhaNDa) a forest having different kinds of trees. vaNarAi (vanarAji) a row of trees. of the same kind. ___ (45) Summary-Thereaftar four chief queens, members of the inner, middle, and outer chambers, seven commanders of the armies, and sixteen-thousand body-guards took their seats which were already arranged in that Sohamma assembly-hall; -- 45 abhitariya 50 ( abhyaMtarapariSad ) internal council. bAhiriya pa0 (bAhyapariSad) outer assembly. sannaddhavammiyakavayA (1) (sannaddha+baddhavarmita+kavaca), one

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Notes. .. 279 who has put on (sannaddha) fastened (baddha), armour (varmita), for protection (kavaca). (2). . ready with (sannaddha), mail (varmita) and armour (kavaca) tied on his body. uppIliyasarAsaNapaTTiyA (utpIDita+zarAsana+ paTTikA) (1) who has bound fast (utpIDita) his armguard for the bow. (zarAsanapaTTikA). (2) one who has tightly fastened a band of leather, to the bow. baddha AviddhavimalavaraciMdhapaTTA (baddha+Aviddha+vimalavara+ cihnapaTTaH) who has put on and fastened his taintless and excellent tablet of insignia. faru=faa=sign. piNaddhageveja (pinaddhapraiveyaka) who has put on (pinaddha) a necklace. (greveyaka). gahiyAuhapaharaNA (gRhIta Ayudha+ praharaNa:) who has eqipped himself (gRhIta), with his arms (Ayudha) and missiles (praharaNa).. tiNayANi (trinatAni) bent at three places such as:- at the top, in the middle, and at the end. tisaMdhiyAI (faretattfa) joined at three places such as:-at the top, in the middle, and at the end. koDi (koTi) the top most parts; tips; points. pariyAyakaMDakalAvA (paryAptakANDakalApA) holding enough number of arrows. nIlapANigo (nIlapANayaH) those whose hands are blue on account of bluish arrows. ratta pA0. (rakta pA0) those whose hands are appearing reddish. due to red coloured arrows. cAva pA0 (cApa pA0)a having bow in the hand. cAra pA0 (cAru91) holding a weapon by name 'Charu'. *

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280 Raypaseniya-sutta. (a) a leather covering the fiugers and the thumb. e. g. leather hand glove. 3 910 (3 010) holding a club. QIE (TIT) snare; net. T ITET (catriar:) engrossed in protecting, intent upon guarding. Tar--those who do not reveal the secrests of the Lord. Taqifsar (green47:) those who do not allow others to enter. gar (get) epuipped with the qualities of servant i.e. ideal servants. 493 (fra:=raita:) by bebaviour; with due courteousness. fraza ( a ). becoming servants. In heaven the survile gods. are not actual servants but they are regarded to be so. (46) Summary.--Here curious Goyama inquires from Lord Mahavir, the life-period of Suriyabha god and Samaniya gods. Thereupon Lord Mahavir answers that their life-duration is four Paliovamas. (46) TTT (F ET) how much. Toe (fferfa) life duration; period of existence. Startott ( 59977 ) : born; 39912--is a technical term specially used for the births of celestial and hellish beings. Afest ( ATT+FOTO) grert prosperity. AEIEE ( Aft+gfa) possessing great lustre. HET ( AETT ). great prowess. mahAyasa (mahAyaza) far-fetched fame. mahAFIRE (HETATET) great happiness. HETOHRT ( HETTHT) great diginity.

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