Repetition In Jaina Nrative Literature

Author(s): Klaus Bruhn
Publisher: Klaus Bruhn
Catalog link: https://jainqq.org/explore/269673/1

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KLAUS BRUHN
REPETITION IN JAINA NARRATIVE LITERATURE
§ 1. Introduction 1
By using the word « repetition » in the title of the present paper we do not want to indicate that we are concerned with a well-defined phenomenon. As a consequence, no systematic presentation or classification can be envisaged. We can also not claim to have come across specific repetition phenomena which have not been noticed previously. What we propose to do is this: In order to understand repetition in Jaina narrative literature (mainly but not exclusively narrative repetition) we shall study certain sections of the literary material where repetition is an important element. Our approach is therefore midway between strategies which emphasize the « general » (general theories) and strategies which focus attention on the « particular » (particular pure and simple, particular in the sense of « irregular »).
The paper is specialized in character but not isolated. Several points were discussed with colleagues (B. Bhatt, M. Pfeiffer, C. Tripathi), and the publications mentioned include a few titles which do not belong to the field of Indology (and which are concerned with theory). In one or two cases express acknowledgement has been postponed to a later occasion. We are grateful to the Bharatiya Jñānapītha (Delhi) for their permission to reproduce part of a diagram from Ksu. Jinendra Varni's Jainendra Siddhānta Kosá (fig. 8). C. Schlieker has prepared the typed sheets and helped us in finalizing the English text.
Repetition is found in narrative and non-narrative literature, and as a structural factor it is common to Jaina and Buddhist tradition. But if we compare repetition in Jaina literature with repetition in Buddhist literature, we cannot fail to notice differences in the character
1. For abbreviations refer to $ 21 and to Āy Studies I, pp. 47-9.

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of the phenomena as well as differences of emphasis (« former Jinas >> more important than « former Buddhas »). It would also appear that in modern research Buddhism was mainly studied as an « Erlösungsreligion » (dhamma) and as a subject of interest to historians (Buddha, sangha), whereas Jainological studies — though still in a less advanced stage — were free from such factors. Thus the Universal History (with its repetitions) played right from the beginning an important part in all surveys of Jainism whereas in the study of Buddhist literature the more extravagant forms of religious imagination received less attention 2.
Repetition is also found in Brahmanical literature (avatāras in Vaisnavism, lambhas in the Brhatkathā). But there it is less pronounced. Here and elsewhere we have an especially close connection between Jainism and Buddhism, a fact which is not always easy to describe in historical terms (mutual influence? early contacts? common Indian heritage? common «Māgadhan >> heritage?).
We cannot include such a wide field of issues in our present survey. As indicated above we shall concentrate on certain sections of Jaina literature where repetition is of special importance. On the one hand we have to consider « Varga Literature » (canonical), on the other the « Universal History » or « history of the sixty-three great men » (partly canonical and partly later than the canon). See S$ 2-8 and 9-15. respectively.
§ 2. Varga Literature in General
In the present context it is convenient to isolate a certain section of canonical literature and to employ for the works concerned the general term « Varga Literature ». This comprises the following works (or rather « texts »): anga 6 Jñātādharmakathāh II (8,5 pp., 0,34% of the canon)
7 Upāsakadaśāḥ (34 pp., 1,38%) 8 Antakṣddaśāḥ (29,5 pp., 1,20%) 9 Anuttaraupapātikadaśāḥ (7,5 pp., 0,30%) 11 Vipākasūtra (46 pp., 1,86%)
2. Access to relevant topics has been facilitated due to the Mythologie des Indischen Buddhismus by GÜNTER GRÖNBOLD (Wörterbuch der Mythologie, ERNST KLETT VERLAG, Stuttgart). The character of the Wörterbuch made a compact treatment of earlier and later mythological matter compulsory.

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upānga 8 Nirayāvalikāḥ (15 pp., 0,61%)
9 Kalpāvatamsikāḥ (2 pp., 0,08%) 10 Puspikāḥ (15,5 pp., 0,63%) 11 Pușpacālikāḥ (2,5 pp., 0,10%)
12 Vrsņidaśāḥ (4 pp., 0,16%). The total of upāngas 8-12 is 39 pp. (1,58%), the total of all the texts is 164,5 pp. (6,66%) 3. Varga texts show similarities in content, structure, and vocabulary (details below). This was the guiding principle for the ancient redactors when the canon was arranged in its present form. However, similarity exists only to some extent, and proximity in the canon does not mean that all the ten texts form one single block (see above). Nor can we speak of an « arrangement of the texts ». This could create the impression of true works which already existed but had, at a certain point of time, to be integrated into the set-up of the canon. Only in some cases is this valid, while in other cases literary material of the varga type had to be utilized or even enlarged in order to obtain twelve (eleven) angas and twelve upāngas as complete sets. «Varga » stands for « chapter and is frequently used in Varga Literature. Only for this reason do we employ « Varga Lit. » as a generic term (thereby following W. Schubring, see § 3 infra, end).
Varga Literature is narrative with a scattering of dogmatical matter. Its main peculiarity is the casual and sketchy repetition of stories. Any given story may be multiplied by the instruction to repeat it in full with a few minor changes (name of the hero etc.). Thus we have side by side genuine stories, hypothetical stories, and intermediate cases. Such stories often form chains of ten. This uniformity is reinforced by other factors: clichés are used freely (« varņaka-repetition »), the same names occur in more than one varga text, and u pāngas 8-12 are traditionally considered to form one block (upāngas 8-12 = Nirayāvalikāśrutaskandha, vargas 1-5). We have to distinguish between the extant Varga Literature and Varga titles (works, chapters) mentioned in traditional lists (Sthāna, Nandī). These lists (compare § 17 on « ancient criticism ») reflect an early stage in the development of Varga Literature. The texts and the manuscript material have been studied by A. Weber, W. Schubring, H.R. Kapadia, J. Deleu (systematic study), C. Tripathi, and K. K. Dixit
3. Calculation on the basis of the Suttāgame Edition (32 suttas and parisittha 1, 30 lines per page). For the importance of quantitative data refer to BRUHN, Āv Studies, I, p. 40, point 7. [Our Suttāgame total: 2469 lines.)
4. A. WEBER, Ind. Stud., 16, pp. 306-26, 335-41, 418-25. A. WEBER, Verzeichnis, 1988, nos. 1792-1814, 1818-1821, 1854-1860. W. SCHUBRING, Worte, pp. 5-8. W. SCHUBRING, Doctrine, p. 79, lines 2-14; p. 82, lines 2-5; SS 46, 49. W. SCHUBRING, Nāyā, pp. 7-9, 78-9 (78-9 = supplement by J. DELEU). H. R. KAPADIA, Cat. BORI, 17, 1, nos. 124-158, 173-181, 255-265. J. DELEU, Nir., passim et pp. 149-50 (English Summary). C. TRIPATHI, CIMS, ser. nos. 1-6, 9-10. K.K. DIXIT, EJ, pp. 62-75 (points of contact with our discussion). Individual works have also been scrutinized by other scholars.

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§ 3. Varnaka-Repetition and Hero-Variation
Repetition in Indian literature can be studied in more than one way. Scholars have made numerous observations in different parts of Indian literature, narrative and non-narrative, which demonstrate the enormous role played by repetition. But it is difficult to arrange the material in a rational manner, and we have collected observations (and comments) on repetition in a footnote 5 without precisely being able to state what we have included and what not. On the whole we have included cases of non-stylistic repetition, cases which have been labelled by the scholars as « endless (tedious, etc.) repetitions ». Refer also to § 15 for the academic milieu which appreciated such developments.
Under the circumstances it would seem advisable to concentrate on specific literary genres as limited and uniform sections of the material. On a « subdivisional »> level typology should be easier than on a «regional >> level. Instead of a great variety of developments we have a limited number of structural factors. Also, the uniformity within the genre offers certain advantages which are of practical importance: identity of the language, recurring names in stories, similar form (verse, prose; prolix style, condensed style), similar phrases, and so on — i.e. identity in one or more respects. It is for these reasons that we concentrate in the present paper on the two genres mentioned in § 1: Varga Literature and Universal History.
In the case of Varga Literature we are concerned with two types of repetition as indicated in the above title. Both types contain a more general element, and there may be distant analogies even in modern books (quotations etc.). However, we shall not try to coordinate in a systematic manner the phenomena in Varga Literature with developments outside it.
For the description within the genre we may choose between different levels of abstraction. We shall first define the phenomena (describing them as « ideal types », but not in detail) and afterwards
5. BHATT, Ni., p. XV. DELEU, Nir., pp. 90-1, 91-5. R. O. FRANKE, Dighanikaya (Göttingen, 1913), pp. L, LXXVI. W. GEIGER, Pāli, Literatur und Sprache (Straßburg, 1916), p. 8. J. GONDA, Stylistic Repetition in the Veda (Amsterdam, 1959), pp. 37-8, 315. H. JACOBI, ZDMG, 34, 1890, p. 179. LEUMANN, Aup., pp. 21-31 (see « Anmk. »> on p. 21). A METTE. WZKS, 17, 1973, pp. 21 foll. H. OLDENBERG, Die Lehre der Upanishaden (Göttingen, 1923, 2. Aufl.), pp. 154-56. H. OLDENBERG, Buddha (Stuttgart und Berlin, 1921, 8-9. Aufl.), pp. 200 foll. PTS Pali-English Dictionary (peyyāla). D. SCHLINGLOFF, Die altindische Stadt (Wiesbaden, 1969), pp. 6-9, SCHUBRING, Nāyā., p. 7. J.S. SPEYER, Avadānaśataka (reprint: 's-Gravenhage, 1958), pp. XVI-XVIII, XXV, C. B. TRIPĀȚHĪ, Fünfundzwanzig Sūtras des Nidānasamyukta (Berlin, 1962), p. 12. E. WALDSCHMIDT, Das Mahäparinirvāṇasūtra, Teil I-III (Berlin, 1950-51), pp. 517-18. E. WALDSCHMIDT, Von Ceylon bis Turfan (= Kleine Schriften), Göttingen, 1967, pp. 279-82. WEBER, Bhag., I, pp. 379-83. WEBER, Ind. Stud., 16, pp. 231-32. E. WINDISCH, Māra und Buddha (Leipzig, 1895), pp. 37-39. M. WINTERNITZ, A History of Indian Literature, II (Calcutta, 1933), pp. 280-81 (on the Avadānaśataka).

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supply the details (conspectus and commentary). The last step in this direction (maximum of concretion) would be a new edition of a text. The selection and combination of the three procedures is not subject to any general rule but depends on the circumstances.
A varnaka shall be defined as a description of a typical object or person or event. Such varnakas can be used again and again as the objects etc. (e.g. cities) occur repeatedly in the stories. One and the same cliché can be used for Campā, Rājagrha, Srāvastī etc. Since this varnaka-repetition is a regular feature of our texts we require an adequate vocabulary to analyse the situation. We have to distinguish between the «source-passage » and the « target-passage », the former supplying the « varnaka » needed to fill the latter (which otherwise would remain a mere torso). The varņaka may be short or long, the source-passage can be in the same work (nearby or at some distance) or in some other work. Again we have to distinguish between the actual text (complete or not) and reference devices (such as jāva, evam, etc.).
From the point of view of abstract logic, hero-variation is the very opposite of varņaka-repetition. We are not told what is to be repeated but we are advised what is to be changed. A story is narrated (= « narrative unit »), and afterwards we are told that this very story is to be repeated a certain number of times with other names substituted for the hero (= « variation unit », i.e. instruction for variations). The sum of repetitions is not uniform, and the changes may affect more than one detail (e.g. name of the queen in addition to the name of the king). And although we have strictly speaking only the variations (new names for the hero but not a word of the story) we must include this technique amongst the various forms of repetition.
Whereas varņaka-repetition exists also outside Varga Literature, we find only few instances of hero-variation which do not belong to this literary field. It is therefore the latter phenomenon (hero-var, plus/minus decadic subdivision) which leads us to the establishment of the genre. Refer for Varga Literature to W. Schubring 6 and J. Deleu? (both scholars use the expression « vagga texts »). For the technique of herovariation refer to A. Weber 8, W. Schubring', and J. Deleu 10. For nonnarrative passages which are in their structure related to hero-variation refer to J. Deleu 11.
Varnakas occur in various Buddhist works (fn. 5: E. Waldschmidt et alii), but there are no traces of them in the epic or in the Pañcatantra. Descriptive formulas such as nīla-jīmūta-samkāśa (epic) and kşut-kşāma
6. SCHUBRING, Doctrine, p. 82, lines 2-5 ($ 42). 7. DELEU, Nir., p. 149, paragraph 6. 8. WEBER, Ind. Stud., 16, p. 312 (anga 6), etc.
9. SCHUBRING, Worte, pp. 5-7; SCHUBRING, Doctrine, p. 90, lines 8-13 (8 46, beginning).
10. DELEU, Nir., p. 83. 11. DELEU, Nir., p. 83, fn, 19; DELEU, Viy., pp. 260-62.

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kantha (Pañcatantra) are very short and belong to a different milieu. Hero-variation is isolated as a literary development but it can be connected with Jaina scholasticism (dialectics of the Vyakhyāprajñapti) and with the structure of the folktale (changing heroes, identical events). The comparison with an earlier contribution 12 shows that an accurate description of repetition phenomena is more difficult than would appear at first sight.
§ 4. Conversion Stories
The heading of this section is derived from the title of § 19 in Deleu, Viy. It seems practical, and this has been indicated by J. Deleu himself 13, as well as by K. K. Dixit 14, to employ the term so as to include all stories about conversion-and-mokṣa. Here « conversion » is understood in its narrowest sense or in the sense of « viraga-shock ». Abhinişkramana and upasarga motifs may or may not form part of the sequence of events. Many of these numerous stories show little imagination, but it seems necessary to study not only the great biographies demonstrating this pattern (Gautama Buddha, Vardhamana Mahāvīra) but the poorer specimens as well. Also it should be possible to classify the material by establishing a motifeme sequence or motifeme sequences 15. The Varga Literature consists mainly though not exclusively of conversion stories, and these form also the link between Varga Lit. on the one hand and the Vyakhyāprajñapti on the other 16. B. Bhatt stresses inter alia the relationship between Vyakhyāprajñapti phrases such as «< dukkhāņam antam karehiti » 17 and the title of the 8th anga (« Antakṛd-daśāḥ »).
§ 5. Antakṛddaśāḥ
We have selected the 8th anga Antakṛddaśāḥ in order to demonstrate the main types of repetition (§ 3) as found in Varga Literature. Ant. has been studied by A. Weber 18 and W. Schubring 19. The translation by
12. K. BRUHN, OLZ, 70, 1975, columns 499-500 (review of DELEU, Nir., DELEU, Viy., and of a third publication by J. DELEU).
13. DELEU, Viy., pp. 40 foll.: enumeration of various stories some of which are not (or not in the first place) « conversion-stories » in the strict acceptance of the term.
14. K. K. DIXIT, Sambodhi, 1, 1972, p. 71 (review article on DELEU, Viy.).
15. A. DUNDES, Analytic Essays in Folklore (The Hague, 1975), pp. 61-72. 16. DELEU, Viy., pp. 42-3.
17. See also infra, B. BHATT § 4.
18. WEBER, Ind. Stud., 16, pp. 319-23 (English translation in « Indian Antiquary >> 20, 1891, pp. 19-21). « 93 » (= ajjhayana total) is a misprint for «< 90 >>.
19. SCHUBRING, Worte, pp. 6-7 (especially p. 6, lines 25 foll.). SCHUBRING, Doctrine, § 46 (paragraph on Ant.).

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L. D. Barnett (Barnett, Ant.) was to a large extent the basis of our analysis. For the Digambara concept of ten antakrts (appearing under each of the 24 Jinas) refer to the dictionaries 20.
Ant. is a work of Varga Literature, and as such has been introduced by our observations on this genre in SS 2-4. The works or texts of the Varga Lit. are not as uniform in character as one might expect, and a certain lack of uniformity is also observed if we compare the eight chapters or vargas within Ant. in relation to one another. There is a dichotomy of « narrative units » and « variation units », as mentioned in § 3 supra. But some narration units are more original than others. Likewise some variation units are more detailed than others (differences which are irrelevant if taken by themselves but which cannot be ignored in an analysis). Here we mention only the more noteworthy motifs from the narrative units:
Gautama (I, 1)
parents want to see their son at least one
day in royal state 21; . Gajasukumāra (III, 8) mother (Devakī) separated from her children,
trial-story (Gajasukumāra), Krsna and the
brick-carrier; Padmāvati (V, 1) prophecy (Krşņa's future, destruction of
Dvāravati); Arjunaka (VI, 3) man (Arjunaka) possessed by a yakşa, trial
story (again Arjunaka); Atimukta (VI, 15) boy-friar (Atimukta) 22.
The eighth and last varga differs in its structure from the rest and is mainly concerned with dogmatical matters (upavāsa arithmetics).
$ 6. General Analysis of Antakyddaśāḥ
Before starting our exposition we have to warn the reader that Antakrddaśāh is a work where « understanding » (Verstehen) is not to be used in the usual sense. We have to disentangle a literary composition which is (along with others) exceptional even by ancient Indian standards.
20. JSK I, p. 2, JSK IV, p. 68*. JLA I, pp. 83-4.
21. SCHUBRING, Nāyā., p. 12, lines 21 foll.; p. 15, lines 13 foll. (parallel version in Jnātpdharmakathāh I, 1).
22. SCHUBRING, Worte, p. 19 (parallel version in the Vyākhyāprajñapti: DELEU, Viy., V, 4, 3).

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Along with our text the reader will have to use not only figs. 1-2, but also the translation (Barnett, Ant.) and an edition, preferably the pothi edition used by us 23. The terms - varņaka-repetition (va°REP in figs. 1-2), hero-variation (hero-VAR, heroine-VAR), narrative unit, variation unit will be useful, although some of the structural features are not fully covered by them.
As Ant. consists of eight vargas we have divided the conspectus (figs. 1-2) into eight boxes (III and VIII divided for technical reasons). Details on the vargas as such are found in the inserted panels (three in each box, see below). We have presented the text of Ant. as a sequence of units, described in an abbreviated manner and preceded by the numbers of the lines in our pothi edition (p. 1a = lines 1-5, p. 1b = lines 6-15, ...). Thus the first unit appears on lines 1-3, and the last unit on lines 578-583.
In each box, the panel in the right hand corner mentions the pages of the pothi edition, the pages of the translation, and the sutras (sūtras according to the pothi ed.). The upper panel to the left always has two lines, of which the first reads as follows: « varga I, adhyayanas 1-10: pp. 5-37 of the pothi ed. ». Before explaining the rest of the panels we have to direct our attention to the sequence of units.
Following the distinction introduced in § 3, we shall first of all isolate nine « narrative units >>:
I, 1: Gautama
9-35
42-55
III, 1: «< Aṇīyasa >> III, 8: Gajasukumāra V, 1: Padmavati
59-219
237-294
VI, 1: « Mankai »
305-311
VI, 3: Arjunaka
311-404
414-448
VI, 15: Atimukta VI, 16: « Alakkha >> VIII, 1: Kālī
449-453
463-497.
Five of these nine stories have already been mentioned in § 5. Whatever the reader may feel about the originality of the individual accounts, the literary substance of Ant. is contained in this group of nine stories (and nine adhyayanas). Also the series has a common negative factor: The stories quote from other works (varnaka-repetition), but they are no devices for the repetition of textual elements in Ant. itself.
23. AgS 23, 1920: Srimad-Antakṛddaśaḥ and Anuttaraupapātikadaśāḥ published together.

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This is the function of the remaining part of the text which consists of mere « variation units » (hero-variation). The picture is blurred by two factors. (i) < Varnaka-repetition > and > is the expression used by A. Weber 24 for the enumeration of the names of the heroes (heroines) as given in the various adhyayanas. The kārikās appear at the beginnings of the eight vargas (Varga I: lines 8-9 = Āryā «Goyama Samudda Sāgara Gambhire ceva hoi Thimie ya / ... »). The lower panel to the left shows the internal organization of the varga. Figure « 1 » stands either for a narrative unit or for a simple variation unit (single case of variation). Higher figures (« 4 », «5», etc.) stand for complex variation units (series of 4, 5, etc. cases).
§ 7. Specifications vis-à-vis § 6 (and figs. 1-2)
(Narrative units:) Our analyses (in parentheses) of the nine narrative units of Ant. do not refer to their contents but to the works which are required to fill the gaps. These works are enumerated after the abbreviation va'RĘP, e.g. « va°REP (Ant., ...)». The titles are abbreviated and appear in alphabetical order. If the varnaka to be supplied is very short, we put the title of the work in square brackets; if it is very long, we mark this by underlining. Our data is perhaps not very accurate, but it gives an impression of the situation. Again the three types (square brackets, no symbol, underlining) are not to be understood as an attempt at classification, but as a cautious hint. In the case of underlining, the varnaka is only a varnaka by name: actually the text to be inserted
24. A. WEBER, Ind. Stud., 16, pp. 320 and 322.

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may cover several folios (see § 6 on « large varnakas »). Varnaka-repetition in Ant. is no uniform strategy.
(Variation units:) Here we distinguish between three different types which are marked by raised figures (hero-VAR 1-2-3). Figure 1 means that only the name of the hero is given in the text. Figure 2 refers to the technical instruction to repeat the story with a new name for the hero and with some additional substitution: evam (follows the new name for the hero), navaram (follows the additional substitution). Figure 3 says that initially the semblance of a true story is created: tenam kālenam (follow a few words of text). However, there is no complete story, and what matters are only the instructions for repetition (with substitution) which appear at the end of the unit. There are also intermediate cases, but instead of employing double or triple figures we have used in all these cases figure 2 (which is thus slightly ambiguous).
On the whole, the persons designated by us as heroes (heroines) are in the centre of the stories. But the main point is that these heroes or pseudo-heroes (Gautama etc.) reach salvation. This happens either in this existence or (Varga I) after an intermediate divine existence in Mahāvideha. The two formulas are not restricted to Ant. 25 There existed « mokşa-accounts > with two allomotifs: (i) liberation in this existence, (ii) reincarnation as a god and liberation in Mahāvideha.
All references contain the risk of chain formations (text A refers to text B, and text B to text C). The problem becomes acute when we have to say « which » story is to be repeated according to the instructions of a variation unit. There is sometimes an element of double referencing when a series of variations follows after a single case (e.g. compare lines 223-224: repetition of III 9? of I 1?).
§ 8. Further Specifications
Before concluding the treatment of Ant. we have to mention a few points which are not (or not directly) connected with repetition.
The work consists of vargas, adhyayanas, and sūtras. The rationale of sütra-division is a more general problem. For the adhyayanas we refer the reader to § 6, fig. 2 (right hand side), and to the end of the present section. Here we shall merely discuss the varga division. One might expect that each varga consists of one narrative unit followed by variation cases (i.e. 1+Nadhyayanas). This, however, is not the case, as made clear by figs. 1-2. The jai-phrases form a technical detail which is connected with the vargas. Ant. as such, all of its eight vargas, and all the initial adhyayanas (I, 1; II, 1, etc.) are introduced by jai-phrases. (We will ignore one or two possible irregularities in the case of the
25. See infra, B. BHATT § 4.

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adhyayana introductions.) We have marked in figs. 1-2 the lines with the varga introductions (11. 5, 37, 40, etc.) with a single asterisk (see the panels), anl the line with the introduction to Ant. (1. 3) with a double asterisk. The jai-phrase for Ant. is preceded by a stereotype introduction, the so-called « Ajja Suhamma frame »: Sudharman — fifth ganadhara and spiritual successor of Mahāvīra – stays near the city of Campā. There he is questioned by his disciple and spiritual successor Jambū about the work to be narrated (Jñātrdharmakathāh, Antakrddaśāh, etc.) 26. In his translation, L. D. Barnett has supplied the varnakas for the initial portion of the frame (sources in this case not given in our conspectus). The concluding portion of the frame is found in lines 578-579. This contains one varnaka which is found on p. 11 of the translation. The colophon (lines 579-582) gives the adhyayana totals for the eight vargas found in Ant. — but there is a minor discrepancy between the extant text and the colophon: varga II has 8 adhyayanas in the text and 10 according to the colophon. Besides that, the colophon uses the term uddeśaka instead of adhyayana.
Varga VIII (10 heroines) employs the patterning of hero-variation for the exposition of ten different modes of fasting. Thus the variation units are more substantial than in the previous cases. We have therefore given the names of the heroines (Sukālī, Mahäkälī, etc. besides Kālī or no. 1). Otherwise we mentioned the names only in the case of the narrative units (see the list in § 6 and the conspectus). The numbers for adhyayanas VIII, 2-10 have been added.
A few proper names (in quotation-marks) have been given in their original Prakrit form.
§ 9. The Universal History
Literature on the Universal History is different from Varga Literature in so far as the latter potentially carries possibilities of endless variations whereas the former is concerned with a definite mythological subject, the history of the sixty-three great men. However, in terms of complexity and quantity we can hardly compare one with the other. The Universal History produced a literature in its own right whereas our so-called « Varga Literature » is a very limited development.
Both literary genres demonstrate systematic forms of narrative repetition. Whe shall, however, not start by mentioning the points of contact. We shall first of all describe the Universal History as a mythological theme which underlies various literary works (S$ 9-10). In the five sections that follow (88 11-15) we shall try to analyze some of the more important Svetāmbara works with reference to the UH.
26. A. WEBER, Uber das Catrunjaya Māhātmyam (Leipzig, 1958), pp. 4-5. A. WEBER, Ind. Stud., 16, pp. 306-7. SCHUBRING, Worte, p. 8. SCHUBRING, Doctrine, ş 22, DELEU, Nir., pp. 78-9. PPN I, p. 270.

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The Universal History is not isolated in the ancient Indian milieu. There are structural parallels and parallels of content in Buddhist mythology (8 1), and there are many parallel motifs in Brahmanical literature (even if we ignore all those Jaina narrations which did not belong to the nucleus of the UH but were included later). Some points of contact are less known than others, and publications of a more general character treat the three traditions separately. The UH has been studied by several scholars 27
It is difficult to say how the UH (Svetāmbara version) developed. We have earlier (canonical, post-canonical) and later sources, and taken in its entirety the material is of considerable extent. What strikes us is that on the one hand data in the canon is limited and somewhat scattered, while on the other hand fairly early canonical works (« middlecanonical ») already depict facets of the UH which presuppose a fairly advanced stage of its development. Thus we have no « proto-history ». On the whole we can divide the Svetāmbara literature on the UH into three sections: Hemacandra's encyclopaedic version (12th century), earlier versions (differing in date, size, character, and all incomplete), and later versions (incomplete, unoriginal).
The basic impression for the student of the UH is clarity. If there is anything « easy » in the vast domain of Jaina thought, it certainly is - or seems to be — the UH: a clear chronological background (« our » avasarpini with its six subdivisions). a limited number of well-defined series (24 Jinas, 12 Cakravartins, 9 Triads 28), and systematic repetition as the overriding principle: members of the same series have similar biographies. All this is summed up by H. von Glasenapp on p. 261 of his book on Jainism 29. There are, nevertheless complications and irregularities. We will try to enumerate such cases in a list 30. For simplicity's sake we shall introduce for our discussions on the UH the neologism << sarpini >> as a general term for both « avasarpini >> and << utsarpini».
(1) The system (63 great men) according to the table on p. 261 of von Glasenapp's Jainismus belongs ti our sarpiņi and to our continent (Bharataksetra, the southernmost continent of Jambūdvipa). But there are other systems (following the same pattern) in other sarpinis and/or
27. In the present context we mention the following: VON GLASENAPP, Jainismus, pp. 244-310. SCHUBRING, Lehre, $$ 12-15. J. DELEU, Die Mythologie des Jinismus (Wörterbuch der Mythologie, cf. fn. 2 supra). For details of the Digambara tradition refer to T. N. RAMACHANDRAN, Tiruparuttikunram and Its Temples (Madras, 1934), pp. 165-235, pp. iii-iv. For « Manus and their periods », « dynastic lists », etc. refer to S. JHA, Aspects of Brahmanical Influence on the Jaina Mythology, Delhi, 1978.
28. Baladevas, Vāsudevas and Prativāsudevas. The collective term for the first two categories is daśārha. The members of the last category may or may not be counted as mahāpuruşas so that the total is either 63 or 54.
29. See $ 27.
30. Some items of our list are also included in VON GLASENAPP's, Jainismus, although they could not be considered in the table of p. 261.

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on other continents. This means a multiplication not only of the figures within the series of one system but of the system as such.
(2) The 63 great men of our system are spread over 32 periods (so-called grhas) — a technical device for the organization of the narrative material within the avasarpini. For the exact distribution the reader is referred to fig. 8 31.
(3) Each great man is related to three dimensions and part of three series: systematic, genealogical, and karmic dimensions (Rsabha = 1st Jina / son of Nabhi / last member in a chain of reincarnations).
(4) An underlying principle (which is non-repetitive) is deterioration », the Golden Age at one end and the destruction of life at the other. This is seen inter alia as a regression in number, e.g. in the lifespan of the Jinas (fig. 8). The regression is irregular or semi-irregular (e.g. compare the varṣa-sahasra sequence in fig. 8).
(5) There are irregularities in the general structure which do not belong to the field of regression. Thus Jinas 16, 17 and 18- and only these three are Jinas and Cakravartins at the same time.
(6) The material of the UH is either repetitive or non-repetitive. In the former case, we have three main types of repetition: slot-filler repetition, repetition of stereotype episodes, repetition of tale-types (of motifeme sequences). The three categories of mahāpuruṣas are not uniform in this respect. Again the different biographies within one and the same series contain a varying amount of non-repetitive material (= original material). There are also fluctuations in the rendering of the stereotype episodes (§ 14).
(7) There are similarities between the Jina (« Dharmacakravartin >>), the Cakravartin, and the Vasudeva («< Ardhacakravartin »>).
Our list is analytical and abstract. It does, for example, not say (point 1) how many systems there are in all, nor does it indicate (point 3) whether the three dimensions are correlated in one way or the other.
Above, we have characterized the «< earlier versions » of the UH as << differing in date, size, and character, and all incomplete ». Here, and in the case of Varga Literature, it is problematic to explain away structural features by historical hypotheses. It can be argued that the present Varga Literature is a substitute for an earlier Varga Literature which
31. The table is part of the commentary tradition within the Avaśyaka cluster. Our fig. 8 is based on the table found on p. 251 of the edition of Jñanasagara's Avacurņi (DLJP 108). « Nārāyaṇa» (third column) is another name of Lakṣmaṇa. Due to the rapid regression, it was necessary for the ancient authors to use changing units (see columns 4 and 5 for height and life-span). A purva is 8.400.000. Rṣabha's life-span was « 84 pūrva-lakṣaḥ» (84 lakṣa-pūrvāņi) or « 84 x 100.000 x 8.400.0002 ».

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was lost. But although this may be correct it will never explain — as is intended in that line of argument — the peculiar character of the extant works. Even in ancient days there was a huge mass of narrative literature (always adaptable to catechetical requirements) which could have been used to replace what had been lost. Similarly it is quite possible that a complete version of the UH existed in earlier times but fell into oblivion for one reason or the other. But considering the fact that there were intense literary activities in the canonical and postcanonical periods it is surprising that during a thousand years or so no comprehensive version of the UH has been prepared. Sīlānka, who lived before Hemacandra and beside him was the sole Svetāmbara author who wrote a « complete » version of the UH, used it mainly as a frame for his literary activity and treated all those biographies which were of no interest to him in a superficial manner. Obviously, the UH was not en vogue during those centuries and things were left as they were. It can likewise be synchronically argued that the tabular matter was considered as the general background and that every author was free to relate selected portions in full.
Multiplication of mythological figures is common in Indian tradition. Whatever the historical roots, it is possible to multiply a figure, i.e. to transform an individual into a type. Normally, this procedure is connected with the fabrication of names and the construction of a chronological frame (different representatives of the type in different periods). Narrative elements are however no basic requirement. For us, the absence or presence of narrative elements (connected with each individual figure) is the criterion for using either the term « multiplication » or « repetition » (strictly speaking « multiplication plus repetition »). In the case of the UH (63 great men and 7 Kulakaras in « our >> system) we are concerned with « repetition ».
Another related phenomenon is what we would call « categorization ». Here the movement is in the opposite direction: different stories are made similar so as to form one category 32. Normally, stories combined in one « category » have intrinsic motifemic similarities, and this similarity can be reinforced by the generalization of certain features. Such developments are not missing in the UH. But as they are not part of our discussion we mention here only the Brahmanical avatāra doctrine as the easiest way of demonstrating what is meant.
§ 10. The Jinas in the Universal History
In the case of the 24 Jinas of our system we are mainly concerned with slot-filler repetition and standard episodes. The terms « slot >> and
32. The opposition has been emphasized in an earlier contribution on repetition in Jaina (etc.) narrative literature: K. BRUHN, Silānkas Cauppannamahāpurisacariya, Hamburg, 1954, pp. 134-35.

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« filler » have been used in linguistics and in folklore studies. Instead of an abstract definition we supply an example: SLOTS (all Jinas)
FILLERS (Jinas nos. 1-2) name of the Jina . . . . . . . . . Rşabha
Ajita parents of the Jina . . . . . . . . Nābhi and Marudevī
Jitaśatru and Vijayā royal residence. . . . . . . . . Ayodhya
Ayodhyā Typical of slot-filler repetition is the śāstraic precision and the dichotomy of narrative accounts and tabular accounts. The latter consist of shorter or longer series of slots. Each slot is followed by the respective fillers (names of the 24 Jinas, names of their 24 fathers, and so on). Tabular accounts naturally have the same number of fillers for each Jina, whereas narrative accounts may have varying numbers of fillers for different Jinas. See also figs. 4, 8, 9. The closest parallel to slot-filler repetition in the UH of the Jainas is found in the Mahāpadāna Sutta of the Dīghanikāya.
Slot-filler repetition corresponds to hero-variation in Varga Literature. The next type of repetition in UH literature - standard episodes — is the counterpart to varņaka-repetition. Standard episodes may be of considerable length (e.g. the janmabhiseka). The principle is « full text in the case of Jina no. 1 and condensed text in the case of the remaining 23 Jinas ». But the fact that complete versions are the exception rather than the rule (only Hemacandra being 100% complete) already indicates that this scheme was not often translated into practice. See also § 14.
The non-repetitive (original) elements in the Jina biographies are early or late, fully integrated or ad hoc additions. The distribution of non-repetitive matter over the 24 Jina biographies is very irregular. The greater part of the 24 biographies has no non-repetitive portions at all, in the remaining cases the proportion varies from case to case.
The terms used in the present section can also be employed for describing the biographies of the Cakravartins and of the Triads. It was, however, practical to consider in the present section only one category, viz. the Jinas 33.
§ 11. The Universal History in Samavāya
It seems that speculation on additional sarpinis started early. An old formulaic line (je ya aiyā, je ya paduppannā, je ya āgamissā arahantā
33. The subject of the different parts or contents in the Jina biographies has also been discussed in our thesis (fn. 32), p. 114. But the classification proposed at that time is not systematical.

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bhagavanto 34) is not very explicit but may imply something of that type. A rather advanced stage of the UH (different sarpinis, different continents) is depicted in the concluding portion of Samavāya 35. A. Weber's account of this tract 36 is not very favourable but the text seems to be old, and basically the treatment of the subject is systematic. Our fig. 3 shows that four sarpinis and two continents (Bharata, Airāvata) are considered, so that the system of the 63 great men could theoretically occur eight times 37.
In fig. 3 (designed by us) we have employed for each category (Triad = one category) one box. However, only 15 out of 32 possible series are given in Samavāya (and only 13 with names) so that 17 boxes remain empty. The 15 boxes with numbers stand for a greater or lesser amount of information as the case may be (details below). We have always (i.e. in 13 cases) entered the name of the first member of the series in the box. The order in Samavāya (our nos. 1-15) is not in keeping with the logic of the system. We can add that the relative density of data (varying extent of information) is not ruled by recognizable principles, while the distribution of the 15 series (full vs. empty boxes) is, on the whole, understandable.
In the following list, the fifteen series are arranged in groups (i-vi: from the minimum to the maximum of information, compare the text):
(i) Slots: 14-15. Several slots (S.I. p. 383, lines 8-15). (ii) Names: 1-2, 7-9, 13. (iii) Names and slots: 11-12. Several slots (S.I, p. 382, lines 15-16,
17-20). (iv) Names, names of wives: 3.
Names, names in the previous human existences ( 2), slots:
10. Six slots. (vi) Names (not in full) and fillers: 4-6. Many slots (with fillers) in
the case of 4, several slots (with fillers) in the case of 5-6. « Names >> refers to the names of the (7 or 10) Kulakaras and the (24-12-27) mahāpurusas. The number of the Kulakaras is not uniform in the various occurrences of the system. The total of names is considerable
34. SCHUBRING, Ac., p. 17, lines 16-17. This is what W. SCHUBRING calls « prosestyle » (ibid., p. 48, lines 16-19; p. 51, lines 19-21 on «4 A »). The passage appears on p. 13, line 27 of S.I.
35. SCHUBRING, Doctrine, 13. 36. WEBER, Ind. Stud., 16, p. 293.
37. For the various realizations (occurrences) of the system refer to the following: SCHUBRING, Doctrine, § 13 (in combination with $$ 119-120). PPN s.v. «Kulagara » etc. S. JHA (fn. 27), pp. 62-87.

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(inter alia 41 names of Kulakaras and 174 names of mahāpuruṣas) 38. The slot-filler technique is most developed in the series of box 4. Roughly speaking we can distinguish between three cases: (A) 1 slot = 24 fillers, (B) 1 slot = several fillers, (C) 1 slot 1 filler. Case (A) is inevitable as far as names of persons are concerned. An instance of (B) is the << height of the caitya-tree » in box 4. Here we have three different fillers (one measurement for Jina no. 1, one for no. 24, one for nos. 2-23). Case (C) is the translation of a standard episode (or any standard feature) into tabular form. Thus we are told in the context of the tabular account that all Jinas (savve vi) wore one piece of garment when they renounced the world.
§ 12. The Universal History in the Kalpasatra
The Kalpasūtra (« Bhadrabahu's KS ») contains a block of UH material which can be summarized as follows:
(1) Mahāvīracarita (cf. Acaränga II, 15)
(2) Pārśvacarita
(3) Nemicarita
(4) Jinântarāni (Jinas nos. 21 to 2) (5) Rṣabhacarita
43
729 lines 39 71 » 52
47 >>
76
>>
975 lines
The Kalpasūtra is not the dawning of literary activities centred around the UH. Its Mahāvīracarita consists of original (non-repetitive) matter, fillers (i.e. fillers in text form accompanied by stylistic elaborations), and standard episodes. The biographies of Pärśva, Nemi, and Rṣabha obviously contain no original matter. They have merely fillers and standard episodes. However, the latter are not given in condensed form but in the more archaic form of varṇaka-repetition 40. The section on the jinântaras is only concerned with two slots: the names of the Jinas and the duration of the periods between the Jinas.
We have included (fig. 4 41) a table mentioning the antaras for the 24 Jinas of our system. Each box contains the name of a Jina along with the time-interval between his nirvāņa and the nirvāņa of the following
38. The Jaina authors fabricated names in great numbers whenever this seemed to be necessary for one reason or the other. E.g. compare L. ALSDORF, Harivamsapurāna, Hamburg, 1936, p. 44 (fn. 1) and p. 80 with fn. 2.
39. Lines of the Suttagame edition.
40. The later « remedies » for varnaka-repetition are (i) short description of a standard episode, (ii) mere mentioning of a standard episode as a fact. See §§ 10 and 14.
41. Taken from AvCu, ed. Anandasāgarasūri, RKSS, Ratlam, 1928-29, part I, p. 218. We have removed some redundant figures.

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Jina. Thus the first box should be read: « Rşabha (no. 1) attained nirvāna 50 lakhs of crores of sāgarÔpamas before the nirvāņa of Ajita (no. 2)». A sāgarôpama consists of 10 15 palyộpamas. The palyopama is the lowest figure in the field of speculative figures 42, and here calculation depends to some extent on subtraction (the expression « one palyô pama minus a specified period » cannot be replaced by a non-speculative figure). There are 23 antaras in all so that one of the 24 boxes in fig. 4 had to remain blank. In the last box, the name « Pārsva » should appear in the lower line, and the name « Mahāvīra » should appear in brackets.
§ 13. The Universal History in the Avaśyaka Tradition
The Āvaśyaka tradition consists mainly of the Āvaśyaka Sūtra and its various commentaries. We employ for such sūtra-commentary systems the term « cluster >> 43. The current view concerning the commentaries is as follows. There are different types of commentaries, and all the clusters consist of the same types (although the number of types found in the clusters varies). In other words: Before we study a particular cluster we already know that a commentary of type X has other features than a commentary of type Y (and these features are also known). Transformed into a systematical presentation, the « current view >> would amount to the following (point 1 more general than points 2-3): (1) The commentaries developed on certain lines, i.e. certain types
of commentaries (niryuktis, cūrnis, etc.) were institutionalized. It may be necessary to regard with suspicion certain assertions of ancient critics (e.g. that there were « ten niryuktis », that a certain work is a «niryukti » whereas another similar work is
a « bhāşya »), but on the whole the types were a reality. (2) Works belonging to the same type have a set of features in
common. Thus niryuktis are metrical whereas cūrņis are in prose (and so on). Works belonging to the same type have the same « exegetical position ». The shortest possible definition of this term takes the form of a fourfold question: does the work comment upon another work, and if so, on what type of work? Is the work explained by some other work, and if so by what type of work? An example for (3) would be the assertion that «a cūrņi comments upon a niryukti as well as on a bhäsya ».
42. VON GLASENAPP, Jainismus, p. 155. Fig. 4 should be read along with pp. 270-301 of the Jainismus.
43. In Āy Studies I, § 6, we have used the term « cluster >> for both « vertical >> relationship (sūtra-commentary systems) and « horizontal » relationship (e.g. sūtrasūtra constellations such as Varga Literature).

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We can call those who subscribe to the three theses « realists » and those who take up a waiting attitude « nominalists » (« cūrni », « niryukti », etc. being mere nomina or names). The three theses cannot be altogether wrong, but they misrepresent the situation to a greater or lesser extent.
We would prefer under the circumstances the nominalistic attitude, and this means that we say very little about the works within a cluster before we have studied them as members of the cluster. And if we say that we study the UH with reference to Āvasyakaniryukti, Āvaśyakacūrņi, and Āvasyakațīkā (mainly with reference to ĀvNi) we need not, and cannot, explain «niryukti » etc. because this is no longer a term but merely the final member of the title of a work 44.
ĀvNi, AvCū, and ĀvȚI have a section on the UH (on the whole parallel in all the three works), although AVSū supplies no basis for the inclusion of such material. The inclusion of the UH into the commentaries is justified by far-fetched logical combinations which need not concern us in the present context. ĀvNi has 2386 verses, and more than 600 deal with the UH. A major handicap in the study of the work is the absence of a generally accepted verse counting and of a rigorous chapter-division 45.
ĀvNi has just like the Kalpasūtra) a non-tabular and a tabular section on the UH, the latter being embedded into the former. The nontabular or narrative section consists of the following: complete accounts of Rsabha and Bharata (including Kulakaras and previous existences of Rşabha) and incomplete account of Mahāvīra (previous existences and biography up to the enlightenment and samavasarana). Both portions are connected because Mahāvīra was in an earlier existence (incarnation as Marici) the grandson of Rsabha. The tabular section is incorporated into Rsabha's biography (near the end). It is difficult to assess the status and character of the Āvasyaka version of the UH. On the one hand, the entire composition shows a semi-systematic touch. On the other hand, we must assume (unless there is evidence to the contrary) that the connection between the first and the last Jina had other ends than systematization and existed prior to the realization (i.e. partial realization) of the UH in the Avaśyaka tradition.
Our fig. 5 is mainly concerned with the interlacement of the Rşabhaand Mahāvīra-biographies (and not with details concerning Rşabha alone or Mahāvīra alone). The study of a repetitive text (or of a text where the underlying concept is repetitive) is by itself not necessarily a study in repetition. Conversely we need our fig. 1 because any study of a genre (literature on the UH in our case) is made more concrete by a demon
44. Studies in Niryuktis, Bhāşyas, etc. would be facilitated by a (tentative) descriptive model.
45. See Āv Studies I, SS 16-17.

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stration of selected specimens 46. In our graph, we have divided the UH material into 12 sections which differ in size and character but present, on the whole, a chronological sequence. Each section is represented by a horizontal box. If we read the boxes from left to right we are supplied with the following details:
Each box starts with a twofold quotation (H for Haribhadra, B for Berlin 47). The abbreviated terms pra(ksipta), Bha(sya), and Mü(la)Bhā(sya) refer to layers within ĀvNi (i.e. to layers as known to ancient tradition). Below the quotations is a caption where we try to summarize the contents of the relevant section. For the contents of section 6 (only a few verses of ĀvNi), the reader is referred to Hemacandra's version 48. In the centre of each box we quote the beginnings and ends of the sections (pantham...). A peculiarity of the UH tradition is the frequent deviation from the real or chronological order (flash-backs, prolepses in the form of prophecies) 49. We have marked such cases in the boxes 7-8 and 10-12: two prophecies, Bharata's prophecy being the full version of the last part of Rşabha's prophecy. Further to the right, the reader will find a panel which indicates the position of the section in the RşabhaMahāvīra concatenation (Mahāvīra to the left, Rşabha to the right). The quantitative statements which follow (as we proceed from left to right) are given in the form of panels (black panels for Mahävīra, panels with cross-hatching in all the other cases) and in numerical terms (« 6 vss. » etc.). The total of verses is 679 50
§ 14. Hemacandra's Version of the Universal History
Hemacandra's Trişastiśalākāpuruşacaritra was composed between A.D. 1160 and 1172. It is the only truly complete version which we possess (and which we know of). It cannot be said which material Hemacandra had at his disposal, but he followed the Āvaśyaka tradition where it was available. There are some differences in the form but hardly any in contents.
Our figs. 6-7 combine features of the grha table (fig. 8) with information about the internal structure of the work and the relative sizes of the biographical units. Figs. 6-7 supply (from top to bottom) the following data: number of verses in the parvans, reference to parvan and sarga (10 parvans, 82 sargas), number of verses within each unit,
46. The graph of fig. 5 is an improved version of an earlier graphic rendering: K. BRUHN (fn. 32), p. 41. See also Pt. A. M. BHOJAK, Cauppannamahāpurisacariyam (Prakrit Text Society 3, Ahmedabad and Varanasi, 1961), p. 20 of the « Introduction » (same graph as in the 1954 publication).
47. See Āv Studies I, p. 49. 48. Trişastiśaläkāpuruşacaritra I, 6, 189-256. 49. K. BRUHN, fn. 32, pp. 133-34.
50. Here the ganadhara account (not narrative in the strict sense) has been included into the UH, whereas it was excluded in Av Studies I (S 16, 1).

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serial number of the respective grha (in square brackets), additional indication of quantity (black panel), name(s) of the mahāpuruşa(s) within each unit (for the full names refer to von Glasenapp's Jainismus, p. 261), and number(s) of the mahāpurusa(s) in the respective series.
Mahāpuruṣas who were contemporaries (same «grha » in fig. 8) have been treated together by Hemacandra: their biographies form one biographical unit, the connection being close in some cases and loose in others. As a consequence the number of units should be identical with the number of grhas (our square brackets). But in two cases (grhas 25 and 27), Hemacandra has used two separate sargas for two different mahāpurusas (Munisuvrata/Mahāpadma, Nami/Harişeņa) without, however, sacrificing the synchronism which is expressly mentioned. We have in both cases used double-columns for the grhas.
In a complete version of the UH as supplied by Hemacandra, repetition is more pronounced than in other versions. We are virtually given 24 Jina-biographies: not only fillers (most of which change from one Jina to the next), but continuous text. Thus the same skeleton occurs over and over again. In particular, the same standard episodes appear in all the 24 biographies. Hem. could have reduced the episodes in 2-24 to a minimum (mere mention = one verse or less than one verse; or, rigid condensation = three to four verses). It would, however, appear that Hemacandra had made it a point to create a work of extraordinary size. And this had to be achieved on the foundations of tradition rather than by the inclusion of new narrative material. His main strategies for extending the size were apparently the standard episodes and the stotras.
Below we give the extent of the samavasarana descriptions (one of the more important « standard episodes ») as found in the 24 Jina-biographies of the Trisastiśalākāpuruşacaritra and also in the BharataRsabha-biography of Hemacandra's own commentary on his Yogaśāstra. « Samavasarana » stands for three items: description of the architectural scheme, entering of the Jina, entering of the congregation. These are the figures: *Jina no. 1: 55, 34
13: M , 4 2: 28
14: M, 4 3: 21
15: M, 4 4: 5
16: 12 17:
18: 7: 8
19: 4 8: 5
20: 3 9: 3
21: 4 10: 4
22: 5 11: M, 23 23: 6 12: M, 4 24: M, 6
Total: 259
5: 6:
33 own oo ni wa
an Aw Awar33

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To the total of 259 verses (0.83% of the work) we have to add the 22 verses of the auto-commentary which deal with the same subject. The building of the samavasarana by the gods is no singular event. The main emphasis is no doubt on the samavasarana built for the first sermon of the Jina, but the 24 biographies are not uniform in this respect. Hemacandra uses three different « formulas »>:
Jina no. 1:
nos. 2-10, 16-23:
nos. 11-15, 24:
description of the first and last samavasaraṇa; description of the first samavasarana;
mentioning (our letter «M») of the first, description of the second samavasaraṇa.
For an evaluation of the figures it is important to know that the Svetāmbara samavasarana is less complex than its Digambara counterpart. We shall, however, not go into any details as we are not concerned with the subject of the samavasarana as such but with repetition. In this connection it must be remembered that the Trisaṣṭiśalākāpurușacaritra is not only a history of the Jinas. The 259 verses form 0.83% of the entire work. But in relation to the Jina material alone the percentage would be higher.
§ 15. Somatilaka's Saptatiŝatasthänaprakaraṇa
In the literature around the UH (as elsewhere) more encyclopaedic and more specialized works exist side by side. A work of the latter. category is Somatilaka's prakarana (A.D. 1330) 51. The term «sthāna >> stands for « slot ». It has, however, no analytical function but is basically used in the same manner as in the Sthānāṁga. As usual, the slots are not uniform in character (see categories A-B-C in § 11 supra). The name of the Jina is not designated as a sthāna. The fixing of the exact number of sthānas is, no doubt, a matter of discretion. Somatilaka obviously chose « 170 » because this was a sacred figure (maximum number of simultaneously existing Jinas) 52. If we want to calculate the total of fillers, we must consider each slot separately.
Somatilaka's work on the slots has also been transformed into graphic tables. One Kalpasūtra edition 53 contains sixteen tables for the 170 sthānas (1-13, 14-25, etc.). Each table covers two pages and considers
51. Sri-Somatilakasuri-viracitam Saptatiśatasthānaprakaraṇam, Vijapur (Gujarat), sam. 1990. I owe my copy of this edition to the kindness of Prof. A. M. Upadhyay, Ahmedabad. There is also an earlier edition (with Devavijaya's commentary): Atmānanda Jaina Sabha, Bhavnagar, sam. 1975. Somatilaka's work has been used by CH. KRAUSE in the Introduction of her book on Ancient Jaina Hymns (Ujjain, 1952). 52. CH. KRAUSE, fn. 51, p. 7.
53. Sri-Kalpasütram (with Vinayavijaya's Subodhikā), Baroda, 1954, pp. 605-36.

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all the 24 Jinas (first table, first page = Jinas 1-9, first table, second page = Jinas 10-24). We have reproduced the first page of the first table (fig. 9).
At the beginning of the prakarana we are given 16 āryās (vss. 4-19) which enumerate the 170 sthānas: bhava (1), dīva (2), khitta (3), / tad-disi (4), vijaya (5), puri (6),
nāma (7), rajja (8), guru (9), suttam (10) // jina-heu (11), sagga (12), āum (13), / terasa shāņāi puvva-bhave // [4]
Sthānas 1-13 are all concerned with the previous existences of the Jinas. They form a block so to say and all appear in the first table of the above-mentioned Kalpasūtra edition (fig. 9). The first sthāna is bhava, i.e. « number of all existences mentioned in the biography of the respective Jina — last existence as Jina included ». In many cases the bhavafigure is « 3 » (see fig. 9), and this is also the minimum. It seems that moksa accounts (see § 7 supra) favour such a triple patterning:
(a) flash-back: human existence
(-2) name ex. as a god
(-1) no name human ex., last ex. = present ex. (-0) name (b) prophecy: human ex.= present ex.
(+0) name ex. as a god
(+ 1) no name human ex., last ex.
(+ 2) name optional Our tabular accounts can be seen in the context of formula (a), because the present existence is the starting point (hence the term pūrvabhava for the previous existences). Sthāna 1 refers to the totals, while sthānas 2-11 and 12-13 are concerned with pūrva-bhavas « -- 2 » (human existence) and « 1» (existence as a god) respectively. The bhava totals for the 24 Jinas are as follows:
13 bhavas
No. 1 (Rşabha) No. 8 (Candraprabha) No. 16 (Sāntinātha) No. 20 (Munisuvrata) No. 22 (Ariştanemi) No. 23 (Pārsvanātha) No. 24 (Mahāvīra) Nos. 2-7, 9-15, 17-19, 21

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All bhavas preceding «2» are omitted from the tables, i.e. they are merely contained in the bhava total of column 1. Before proceeding from sthāna 1 to sthānas 2-6 we quote verse 20 from Somatilaka's prakarana. This verse gives the number of sthānas enumerated in each of the sixteen preceding verses (4-19). The reading is « verse 4 enumerates 13 sthānas, verse 5 enumerates 12 sthānas », and so on. Verse 20 demonstrates the śāstraic aspirations of some UH experts:
TI (thirteen: verse 4), DU (twelve: 5), IGA (eleven: 6), DU 'HIYA DAS' (twelve: 7), ATTHA YA (eight: 8), / CAUDASA (fourteen: 9), DUSU GARA (eleven and eleven: 10-11), DASA (ten: 12), CAUDDA (fourteen: 13), NAVA (nine: 14) / ...
This is the first line of the arya («< stanzas 4-14 mention sthānas 1-125 »). The second line says in the same manner that stanzas 15-19 mention sthānas 126-170.
We shall now explain sthānas 2-6 with reference to Jina no. 1. The respective fillers describe (a maiore ad minus) the position of the residence of Vajranabha («2» existence of Rṣabha). Name (Vajranabha) and status (Cakravartin) are given under sthānas 7-8. We explain the five fillers with the help of fig. 10 54. Instead of « continent »>, << subcontinent », etc. we invariably use « continent » with progressing index figures:
sthāna 2: The continent! Jambudvipa. In fig. 10 we have marked the periphery with two arrows.
sthāna 3: The continentII Pūrvavideha. This is the area to the right of our right-hand vertical line (Aparavideha to the left of the left-hand vertical line, Uttarakuru above the horizontal line 55, Devakuru below the horizontal line).
sthāna 4: The continentIII Śītôttarā Dik. This is the northern part of Purvavideha (the area above the broken line).
sthana 5: The continentIV Puskalavati. This is the easternmost part (vertical oblong) of Sitôttarā Dik. It is marked by the nail-headed line.
sthäna 6: Pundarikini, the capital of Puskalavati and the royal residence of Vajranabha (during his period of life). The nail-headed line points to the minute horizontal oblong which indicates the residence.
Mahāvideha (Pürva- and Apara-Videha, Uttara- and Deva-Kuru) is an << intermediate » member between Jambudvipa on the one hand and
54. JSK, Bhāga 3, opp. p. 460 (s.v. Loka: Jambudvipanirdeśa). 55. The line is interrupted in the centre (area of Mt. Sumeru).

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the four parts of Mahāvideha (e.g. Pūrvavideha) on the other 5%. In the sthāna scheme, Mahāvideha has been eliminated in order to bring Pūrvavideha etc. in line with Bharata etc.
If we want to << reconstruct » the text of the prakarana from the table we have to read the table (fig. 9) vertically. As a specimen we quote the first line of vs. 35:
Jambu, Dhaiya, Pukkhara / dīva cau cau jiņāna puvva-bhave //
. The continents! Jambudvipa, Dhätakikhanda, Puskaradvipa go with the << -2 » existences of four Jinas respectively » (they are the continents of the « — 2 » existences of Jinas nos. 1-4, 5-8, and 9-12 respectively). Refer to fig. 9 (for Jinas nos. 1-9).
§ 16. Writing and Reading
Both general reasons and the special position of Jainology within Indology lend importance to the problem of making Jainological writing more easily accessible to non-Jainologists. Problems of this type cannot be solved by common sense («< changed ways of writing ») and mechanical aids (reference books etc.) alone.
It seems also necessary to consider the structure of modern literature in a particular field of research. This takes us to the issue of << rules », and a tentative list of such rules will be found below. They are arranged according to the alphabetical order of the catchwords. Although selected with due regard for the specific situation in Jaina literature they are fairly general in character. It would, however, not be difficult to prepare a more detailed and comprehensive list for practical purposes.
(1) a minore ad maius patterning, e.g. introducing the context, the chapter, and the work to which a relevant passage belongs.
(2) Conspectuses (analyses of individual works)",
(3) Systematic study of divisions (chapters, etc.). This includes a comparison of traditional divisions and divisions appearing in modern publications.
56. SCHUBRING, Doctrine, § 115 (Mahāvideha). W. KIRFEL, Die Kosmographie der Inder (1920, repr. Hildesheim, 1967), pp. 229-42 (Mahāvideha). VON GLASENAPP, Jainismus, pp. 225-31 (Madhyaloka in general). C. CAILLAT, Cosmologie Jaina (Paris, 1981), pl. 79 etc.
57. E.g. compare P. DEUSSEN's conspectus of the Brahmanas of the Samaveda and E. LEUMANN's conspectus of Jinabhadra's Viseṣāvaśyakabhāṣya: P. DEUSSEN, Sechzig Upanishad's des Veda, Leipzig, 1921, pp. 62-5; LEUMANN, Übersicht, columns 45b-48b.

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(4) Employment of examples, e.g. examples for the four elements
of the « anuyoga » (upakrama, nikṣepa, anugama, naya). There
exists also the more general problem of the number of examples to be given (one or more than one for each category?) 58. (5) Preparation of a list of important publications (including texteditions), following the arrangement of ABCIM 59 by K. L. Janert. From our present point of view, such a list is not in the first place necessary as an instrument for tracing published material but as a technical aid which helps both the author (who does not have to give long bibliographical references) and the reader (who does not have to face the problem of incomplete quotations). A generally accepted list cannot be written overnight, as is demonstrated inter alia by a bibliography prepared in connection with the Berlin Concordance 60. Abbreviations present an additional problem: standardized abbreviations or ad hoc abbreviations?
(6) Quotation of original text in order to demonstrate (i) syntax, style, terminology, phraseology, etc. and (ii) mangalas, colophons, dvara-gathās, instructions-for-repetition, etc.
(7) Quoting pratikas. As long as we have no standard counting for niryukti-bhāṣya-verses, pratīkas are safer than mere numbers. They are also easier to remember (in certain cases this will be an advantage).
(8) Quantitative statements. Even approximate figures are useful for the reader.
(9) Complete references to publications. This refers merely to the non-technical aspect of the matter: systematic rather than casual references to earlier publications.
(10) Synopses for the comparison of works",
(11) Tables for the presentation of dogmatical matter and cosmographical maps. Material of this type is already found in ancient manuscripts.
58. For a discussion on « the number of examples » refer to E. GEROW, A Glossary of Indian Figures of Speech, Mouton, 1971, p. 54.
59. K. L. JANERT, An Annotated Bibliography of the Catalogues of Indian Manuscripts, part 1, Wiesbaden, 1965.
60. C. TRIPATHI, The Jaina Concordance in Berlin, a bibliographical report (L. Alsdorf Com. Vol., pp. 301-29).
61. E.g. compare Avaśyaka and Pañcatantra synopses: LEUMANN, Übersicht, columns 35a-36a; J. HERTEL, Tantrakhyāyika, Leipzig und Berlin, 1909 (repr. 1970), Erster Teil, pp. 100-26.
62. VON GLASENAPP, Jainismus; Kşu. Jinendra Varni, Jaina encyclopaedia in four volumes (JSK).

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(12) Employment of special terms, symbols, and typographical
devices, e.g. in discussing a subject like the niksepa 63.
§ 17. Miscellanea
In order not to overburden the footnotes we have reserved a few items for the present section. (1) The problem of «niryuktis » etc. focusses attention on the
difference between « ancient works >> and « ancient accounts on ancient works ». A perusal of A. Weber's survey of the canonical literature (Ind. Stud. 16-17) will demonstrate the importance of such accounts. These, whether speculative (18 infra) or realistic, legendary or historical, erroneous or correct, are a factor to be reckoned with. It must be added that secondary elements (announcements, résumés, etc.) may be contained in the works themselves, e.g. in niryukti-bhāsya texts. For the secondary works, secondary texts, and secondary elements we use the term « criticism » (« writing about other works »). Accordingly, we can describe the issue as the field of ancient « critical activities » as well as of the « interaction of writing and criticism ». Furthermore we have to distinguish between descriptive and normative criticism, between long expositions and minimal statements (« 10 niryuktis »), between discussions and redactional or organizational activities (labelling a work as a « mūlasūtra » subdividing a work on one or more than one level). Refer also
to § 13 supra and to Āv Studies I, p. 13, fn. 5. (2) We have tentatively introduced a distinction between « work »
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just as formulaic expressions in verse or prose are repeated. It is, however, more common that only a few akṣaras (one to two words) from the beginning and the end of the varṇaka are given and that the rest has to be supplied from the sourcepassage. Only in the case of the << standard-episodes » has the problem of actual repetition come into the picture (§ 14: samavasarana).
(4) Our typology is synchronic and not diachronie. In the case of the UH as a literary corpus, actual repetition is largely diachronic and external. The internal repetition (more << structural » than << actual ») is reinforced by the parallelism of works treating the same subject and following the same conventions. If there is a very close connection between two different works belonging to the UH (e.g. same author) we get a border-line case between synchronic and diachronic repetition (e.g. compare Hemacandra: Triṣaști and Svopajñavṛtti on the Yogaśāstra, § 14 supra).
(5) A major aspect of our paper is the emphasis on detail: i.e. not on detail in the usual sense, but on structural detail. As thoroughness is not disputed in philology we can easily point out that structural study (however tedious for the author and the reader in cases like repetition) is necessary for the general progress of Jainological studies. It has, for example, been emphasized by L. Alsdorf that we have to study the nikṣepas simply on account of their « key position in early scholastic literature >>65. It would nevertheless be encouraging for all studies. in structural factors if they were recognized as an end in itself, so that the problem of the « purpose » (which is always an extraneous purpose) does not arise.
§ 18. Scholasticism
In order to demonstrate that repetition is no isolated phenomenon in Indian thinking we introduce the subject of « scholasticism ». The character of this category and its connection with repetition will become clearer in the next sections (§§ 19-20).
There is a tendency in ancient Indian intellectual pursuits which has been labelled by scholars as «.scholasticism », « dogmatism »>, << sophistry », « casuistry » (to mention only the more common etiquettes). German Indologists occasionally used the expression « Schematisierungs- und Klassifizierungssucht der Inder ». The general character of
65. L. ALSDORF, Kl. Schr., p. 257.

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the discourse is described as «< arid », « dry », « artificial », and << unproductive ». This scholasticism is certainly not a well-defined tendency, but research cannot ignore phenomena of this type simply because they are indistinct: « ancient Indian pessimism » also has more than one form, and it is also reflected in more than one genre. Indistinct phenomena are not necessarily ghost-phenomena.
That this scholasticism has so far not been studied systematically, is in the first place a Denkarten problem 6, and problems of definition are only one aspect beside others. « Scholasticism » is not absolutely vague, but neither is it clearly perceptible. It is more than a bundle of mental habits, and it is less than a philosophy. It is more than hairsplitting and less than logic. It is connected more with form than with content, and thus considered as hollow rather than as solid. Above all it has little limitation in terms of traditions, disciplines, and genres. It is found in Jainism and Buddhism, in arthaśāstra and kāmaśāstra, in fiction and non-fiction. It is not ubiquitous, but there is hardly any place where we can be absolutely sure that it will not surface.
The consequences can hardly be called surprising. For the student scholasticism must appear like a ghost who materializes and dematerializes according to the circumstances. We cannot say that scholasticism has not been studied: the relevant works have been edited and translated. We cannot say that this subject has been ignored in monographs and surveys: there are passing references besides incisive remarks. Nor would it be possible to ignore scholasticism. In spite of its aridity it is, in the case of India (and elsewhere), interwoven with the history of ideas. But it never attained the status of a « subject ». There are countless observations on the Indian belief in reincarnation and on the cyclic world-view of Indian thinkers, but nowhere even one whole paragraph on scholasticism. Whatever the character of the statements, they are invariably very short. Furthermore, there is the problem of quotations. In order to demonstrate scholasticism's full extent one has to quote at least a full page from a particular text. Quotations of this length could easily be accommodated in compilations of « source readings ». But editors are expected to escape from such matter rather than to get entangled in it.
Amongst the more noteworthy responses to scholasticism is the liberal use of metaphors. Scholasticism is one of the many << facets >> of Indian culture. It is the « chaff » which has to be sifted from the wheat. It is the << wrapping » which conceals the more valuable contents. It does not follow the main-road of Indian thinking but it is a « dead end ». It is
66. M. SCHELER. Die Wissensformen und die Gesellschaft, 2. Aufl., Bern, 1960, p. 171. It is possible to fit the opposed views on Indian scholasticism (casual treatment vs. systematic treatment) into SCHELER's well-known scheme. There is, however, also the possibility of preparing further Denkarten catalogues (sociological or not) for different fields of knowledge.

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a « marginal » development, reflecting the idiosyncrasies of isolated academic circles, and not part and parcel of Indian philosophy.
Below we quote a few scholars on Jaina scholasticism. We have to add that in Jainism scholasticism is connected with a' peculiar scientific bias and a passion for presenting a systematic and detailed view of the entire universe. A more penetrating assessment (which cannot be attempted here) would distinguish between the bed-rock of Jaina dogmatics and the more peripheral and pseudo-philosophical developments which are the basic issue of the present enquiry.
Criticism of scholastic tendencies is occasionally found in A. Weber's studies. However, this was little more than an occasional expression of the irritation which this scholar experienced while ploughing his way through the enormous manuscript material he had before him. E. Leumann, though in a similar situation, sensed the huge potential of Jaina literature in matters of dogma and philosophy. He praised Mahāvīra (« dieser kühne Systematiker, dieser Diktator des Denkens >> 67). H. Jacobi was, in his Jainological studies, more interested in true philosophy than in the endless field of scholasticism-dogmatics-philosophy so that we cannot expect from him any critical observations on our problem. W. Schubring followed E. Leumann in his very positive assessment of Mahāvīra's contribution: « Above all, however, the most versatile thinker we know of in ancient India (i.e. Mahāvīra) had a liking for figures and arithmetic, that characterizes his speeches most extraordinarily » 68. At the same time much of what is found in Jaina cosmography did not evoke Schubring's interest. While reviewing W. Kirfel's book on Indian cosmography, he observed, « daß auf Grund strenger Scheidung des Wesentlichen vom Unwesentlichen manche Ausführung hätte gestrichen und manche Tabelle, so sehr sie der Übersichtlichkeit zu gute kommt (sic!), zu knapper Zusammenfassung oder zu einem bloßen Hinweis hätte eingeschränkt werden können » 69. In fact, W. Schubring practised what he calls « knappe Zusammenfassung » in his condensed analysis of Antakrddaśāh 70. It should be added that even in Jaina circles the extent of cosmographical specialism caused some reservation when priorities of research had to be considered 71. That a scholar continuously studying Jaina texts cannot escape from the problems of scholasticism is demonstrated by the fact that W. Schubring returned to the problem in 1964
67. E. LEUMANN, Buddha und Mahāvira, p. 43 (« Zeitschrift für Buddhismus », ca. 1921, also published separately).
68. SCHUBRING, Doctrine, § 21 (p. 40); in a similar context, the Jaina doctrine is described as « das Werk eines großen Systematikers » (Doctrine, German version, § 6, p. 12). For criticism of the canonical style - on A. WEBER's lines — see Doctrine, § 5 (p. 7); Nāyā (n. 5 supra), pp. 7-8.
69. W. SCHUBRING, K1. Schr., p. 415. 70. SCHUBRING, Doctrine, S 46 (pp. 93-4); German version, p. 66. 71. BĀTHIYĀ/CORADIYĀ, Kriyā-Kośa, Calcutta, 1969, prakāśakiya."

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when he had to write an essay called «Der Jinismus » 72. There he made the following remarks on the Svetāmbara Agama: «Der Kanon der Svetāmbaras, im ganzen betrachtet, verbirgt hinter einer oft formal abschreckenden Gestalt den reichen Inhalt, den eine Sonderkultur im Rahmen der gemeinindischen notwendig haben muß. Seine Gesamtausgabe, welche die seinerzeit zu einem bunten Mosaik vereinigten Bausteine kritisch sichtet und die meist monströse Gestalt lesbar gestaltet, bleibt eine unabweisbare Forderung des wissenschaftlichen Ordnungsbedürfnisses ». Earlier (1927), W. Schubring had himself demonstrated in the form of a translation) how he wanted to present the Āgama to modern readers 73. L. Alsdorf noticed the problem on more than one occasion (see below), but what impressed him most were the great Digambara works on karma theory: « le schématisme des nombres d'une scholastique d'une sécheresse parfois presque insupportable mettra à rude épreuve la patience de celui qui les étudiera » 74
For the general reader the matter has been summed up by A. L. Basham in a well-known presentation of selected Indian texts. He writes of the Svetāmbara Āgama inter alia: «... the passion for tabulation and classification, which can be detected in much Indian religious literature, is perhaps given freer rein here than in the scriptures of any other sect » 75.
In the relevant texts, some problems are less clearly perceptible than others. After everything has been done in the matter of edition, translation, etc., a feeling of uneasiness may remain. This uneasiness has to do with syntax and semantics in some cases, with the rationale and logic of the matter in others. In such a case we want to know « what is really going on », « what it is all about », and « why the whole thing ». L. Alsdorf often expressed his dissatisfaction in such idioms, and on more than one occasion he successfully tried to describe what was really meant 76. Perhaps, we can use for such initiatives the expressions « specification > and Page #32

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always necessitate extensive research-work) 7. Such descriptions are more relevant than anything else if we want to delve deeper into Indian scholasticism.
Analogies to scholasticism can be found in the field of ritual. In a recent article on «The Meaninglessness of Ritual » 78, F. Staal refers to the « increasing systematization of the ritual », to its « myriad ramifications », and to the role played in ritual by « theoretical constructs >> (op. cit., p. 5). He feels that a systematic theory of ritual would require « myriad rules » (p. 22) and observes that « meaninglessness » has been « detected by modern scholars but not recognized as the « essence >> of ritual (p. 10). F. Staal also quotes A. Hillebrandt who wrote in his Ritual-Litteratur 79 in connection with the mahāsattra's « hier versteigt sich Mythus und Phantasie der Yājñika's zu den sechsunddreißigjährigen Opfern der Sāktya's, den hundertjährigen der Sādhya's, den tausendjährigen der Visvasrj ».
Ancient criticism ($ 17, para 1) is by definition « secondary literature » written by ancient authors. This writing should not be equated with speculation, but it is the habitat of numerous speculative concepts.
Whenever scholasticism gains influence in religion we have to study its relation (conflict, interaction, or isolation) to the religious life of the pious 80. Thus the twenty-four Jinas (it takes some time to memorize just the names) could not be assimilated easily by the religious mind. Oneness, plurality, and infinity are easily absorbed (« one god », « one god and its different aspects », « thousand Buddhas »), but the figure twenty-four was unusual in connection with such eminent figures as the Jinas, and later Jainism is to some extent characterized by the adjustments made in this respect (e.g. worship of local Jinas).
§ 19. Phenomena as Units
The term « repetition » can be made more concrete and less general if we use restrictions of one type or the other: Repetition is < stylistic >> or « non-stylistic », and in the latter case we may be concerned with « narrative » or « dogmatical » texts. Again there are different « zones >> such as Jaina literature, Buddhist literature, etc. Through a combination of such restrictions we can proceed from the general term, which is
77. See also Āv Studies I, p. 37, text and fn. 50. There we tried to put the issue in a wider context.
78. F. STAAL, The Meaninglessness of Ritual, in «Numen >> 26 (1979), pp. 2-22. The article was brought to my attention by R. STEINMANN (Heidelberg).
79. A. HILLEBRANDT, Ritual-Litteratur, Vedische Opfer und Zauber, Strassburg, 1897, p. 158. Quoted by F. STAAL on p. 5.
80. Here we are concerned with « life vs. scholasticism», in § 20 with « life vs. overabstraction > (fn. 93, ibid.).

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heuristic and conceptual, to a concrete phenomenon. Such a phenomenon is not identical with a topic of dogmatics or a specific concept. It is a unit in its own right, and it may be useful to bring together further units of the same type. Below, the reader will find a list of nine items which are as units related to this paper's subject: (1) Multiplication of segments in cosmography. This is a parallel
to narrative repetition. Emphasis is on series-cum-subseries (subdivision as a form-element) rather than on long and coherent series: e.g. compare the subdivisions of the seven continents of Jambūdvīpa. Most impressive is the dvīpa-sāgara-series (see
Kirfel's cosmography for names and speculative features 81). (2) Tale-types or motifeme sequences. This does not refer to com
pact series where the same type occurs over and over again (a form of narrative repetition, see 9 supra, point 6), but to wide-spread types such as conversion stories (8 4 supra) and
trial stories 82 :) « Bloomfield motifs », e.g. princess-and-half-the-kingdom and
overhearing motif 83. (4) Flashback and prolepsis, e.g. prolepsis through prophecy 84. (5) Current figures (« 7 », « 12 », etc.) and sequences of figures 85. (6) Pairs and chains of synonyms in pre-scholastic literature. The
members of the chains were often « differentiated » (W. Schubring) by the scholastics 86. Systematic chains of synonyms (paryāyas) in Niryukti-Bhāşya
literature 87 (8) Nikṣepas in Niryukti-Bhāşya literature 88. (9) Comparisons and allegorical modes 89.
81. W. KIRFEL, fn. 56, pp. 242-61 (p. 261, lines 16-18 on the multiplication of the inner sequence).
82. SCHUBRING, Doctrine, § 176. K. VERCLAS, Die Āvasyaka-Erzählungen über die Upasargas... (doctoral thesis), Hamburg, 1978 (see in particular the catalogue on pp. 270-71). K. BRUHN, fn. 32, pp. 102-3. Āy Studies I, p. 35, fn. 30.
83. M. BLOOMFIELD, The Life and Stories of the Jaina Savior Parçvanātha, Baltimore, 1919. Most of the motifs, including the majority of the examples given, show the same mode (as opposed to other modes such as « motifeme sequence »).
84. See K. BRUHN, fn. 32, pp. 133-34. E. P. MATEN, Budhasvāmin's Brhat kathāślokasangraha, Leiden, 1973, pp. 67-8.
85. « Sequence.» refers to progressions and regressions (fig. 8). See K. SAGASTER, Zur Zahlensymbolik im mongolischen Epos (Fragen der mongolischen Heldendichtung, Teil I, hrsg. von W. HEISSIG, Wiesbaden, 1981).
86. See Av Studies I, p. 36 (fn. 35) and p. 34 (lines 15-17). 87. See METTE, Oha., pp. 11 and 14-18 (Synonymenliste, Synonyma). 88. See L. ALSDORF, KI. Schr., pp. 262-64. 89. See W. B. BOLLÉE, Studien zum Süyagada, Wiesbaden, 1977, pp. 207-8.

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The list is not very homogeneous, but it supplies elements of a narrative and dogmatical grammar to which narrative repetition and related phenomena ultimately belong. We may add that (6)-(8) stand for a cluster of techniques which all produce what we would like to call « concatenation of terms >> (explicandum - explicans, definiendum - definiens, term - synonymous term, term - related term %, and so on). It is, however, difficult to define concatenation. One has to study the issue within the limits of a work or a group of related works (S 20) in order to ensure a minimum of cohesion.
What matters is not the specific form of the list items mentioned above) but the idea that a peculiar type of repetition is a member in a family of concepts, or a chapter of a book with more than one chapter. Apart from that we can relate repetition as studied in this paper to the subject of $ 18.
It has been emphasized more than once that repetition is a formelement in narrative literature (folktale etc.). But repetition as we find it in our texts clearly shows scholastic influence. Nor is this unexpected. In Jaina literature, there was often little difference between fiction and non-fiction, so that intellectual attitudes influenced narrative literature (and also hymnology). The Jaina doctrine favoured processes such as multiplication, repetition, classification, tabulation and explication. There were no limits to elaboration and inventiveness, and this produced numerous sub-doctrines within the doctrine (description of the world. theory of karma, theory of leśyās, etc.). The world was extended in the direction of the micro-cosmos and it was also extended in the opposite direction. Here then, was the speculative milieu which produced, in the course of an almost explosive process, also quasi-scientific forms of narrative repetition.
§ 20. The Concept of Frame
The study of an individual work or text has many advantages, and these are so obvious that it seems hardly necessary to go into details. There is uniformity (sometimes more, sometimes less) in language, in metre, in style, in syntax, in structure, in content, in topics, and in phraseological units. But even if a work stands alone, being not too closely connected with other works, one feels that there is some wider literary context which should also be considered. This consideration leads us to larger units such as genres and « literatures » e.g. Jaina literature or early Jaina literature. It is useful to study the vocabulary of a work, but it is still better to study the vocabulary of a genre or a literature.
90. D. ADOLF VON HARNACK, Dogmengeschichte, 7. Aufl., p. 465 (M. LUTHER's criticism of scholastic clusters such as iustificatio, sanctificatio, vivificatio, regeneratio, etc.).

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As long as such reflections are more casual, nothing else has to be added. It is also impossible to say that they are new thoughts: the trend towards specialization produces inevitably Jainologists, kävya specialists, etc. (and all handbooks follow these broad divisions). A conflict will, however, ensue as soon as genres and literatures are given additional responsibilities. Studies in such fields may assume a welldefined intermediate position between investigations in individual works and forms of general criticism, the former being specialized, the latter very general. The movement away from the particular involves extension of the scope (as just indicated). The movement in the opposite direction involves a departure from generalizing tendencies. It is this latter point which will engage our attention.
«
Let us begin with rhetoric. The study of rhetorical terms and the multiplicity of terms have come under heavy criticism "1. It may therefore be useful to consider the possibility of establishing rhetorical categories for a limited << zone » such as Mahabharata-Rāmāyaṇa or kavya or early Jaina prose. This would not produce a boundless increase of terms (numerous domains of terms instead of one empire de la rhétorique), because the new « terms » would not be more than means of orientation within the respective zones. The project would produce, in limited number, terms which make it easier to deal with the situation within the << zone ». Nor would such a strategy make a « general glos(universally recognized and unproblematic terms from the field of rhetoric etc.) superfluous. The glossary would, within certain limits, function side by side with the terms used for the individual zones.
What is true of rhetoric is not less true of other fields. The zones 92 help us to reduce the diversity in content and structure (etic and emic levels). The advantages are demonstrated by our paper: there was no alternative to the genrewise treatment of repetition (refer also to § 13 on << clusters >> and to § 19 on «< concatenation »>). Restriction is essential. Even if we wanted we could not study world-literature. It is only Western literature which appears as the subject of systematic dictionaries published in Western countries. It is quite logical to proceed from there to smaller and ever smaller areas not only in some respect (study of the area as such), but in all respects (study of the area, study of the method required for the area, study of ideas, motifs etc. within the boundaries of the area).
Here we have to distinguish between << fields » (literatures such as Jaina literature) on the one hand and « zones » (genres, works, texts) on the other. The field is fairly well-defined and supplies the general
91. Article on Rhetoric (by T. G. WILLY) in R. FOWLER, A Dictionary of Modern Critical Terms, Routledge & Kegan Paul. See p. 160 « marked paucity of [good] modern theoretical treatises ». Introduction (by G. GENETTE) to P. FONTANIER, Les figures du discours, Flammarion, Paris, 1977. See p. 17: « telle est la démesure, tel est l'impérialisme, tel fut l'empire de la rhétorique »>.
92. The basic aspects of the present section have been discussed with M. PFEIFFER.

Page #36

Klaus Bruhn
frame, the zones show overlapping, osmosis, internal division, etc. The zones are the actual research-units and supply the narrower frame, but they must always be viewed as parts of the fields. «Frame » is the common denominator of > with « non-fiction ». There is thus no danger of sacrificing detail and concretion in the study of structural factors 93.
93. F. UTLEY criticizes « overabstracting studies on the line of A. DUNDES (Life History vs. Structuralism, in « Varia Folklorica », ed. by A. Dundes, Mouton, 1978, pp. 1-22). M. HARRIS feels that for K. PIKE «etic units... were... necessary evils, mere steppingstones to higher emic realms » (M. HARRIS, Cultural Materialism, in «Vintage Books », New York, 1980, pp. 35-6).

Page #37

Repetition in Jaina narrative literature
63
On the whole, « genre » designates a homogeneous literary ensemble but as indicated already we should not overemphasize the aspect of uniformity. The Universal History of the Svetāmbaras includes at least two texts which deviate from the main stream in their treatment of the repetition issue (deviation in form but not in content). We are referring to the Kalpasūtra and the Mallījñāta 94 which are both earlier than the Āvaśyakaniryukti. Therefore, our description of « repetition in the UH >> (UH in the sense of « all ancient works on the UH » does not apply in all details to these two literary compositions.
The concept of « fields and zones » may give the impression that we are mainly concerned with the classification and arrangement of the literary material. This is, however, not the case. In the first place we want to focus, with the help of these terms, attention on distinct types of literary dynamism. This implies a tendency to introduce more and more categories (e.g. repetition) into the description of the texts.
Postscriptum
Most of the painstaking formal analyses presented in SS 1-15 answer to a specific situation in Indian literature. Over and over again we come across recurring structures peculiar to a smaller or greater number of works. These recurring structures are factors which determine the production of the literary material and which were employed more or less consciously by the ancient authors (who knew what they did and were no mere media). The structures may also be called generative principles. They are clearly set off against all categories imposed upon the works by modern authors. Martin Pfeiffer with whom we discussed the situation (and the problem of describing it) used the German expression Gebautheit to characterize the impression conveyed by many works.
This can be rendered as « state of being built or fabricated ». M. Pfeiffer had himself made similar observations in the field of the Brāhmaṇas.
The phenomenon (generative principles) is unmistakable but to isolate and identify it is not quite easy. A definition and a systematic survey is therefore not suggested. Rather should we start from the example given, viz. from « repetition ». Even if taken in a general sense, wide-spread repetition points to the existence of the said peculiarity. This is still more true of wide-spread « narrative repetition ». Ultimately we can isolate a « hard core » within Indian narrative literature which gives clear indications of generative principles (SS 1-15) and helps to establish the concept as such.
The phenomenon may also be called an intellectual habit or a mental disposition of the ancient Indian authors. This « habit > is in evidence
94. G. ROTH, Malli-Jñata, Wiesbaden, 1983.

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64
Klaus Bruhn
whenever our above terms (italics) strike the reader as appropriate. It is responsible for many if not all developments in the sense of the Eigentümlichkeiten und Besonderheiten der Texte noticed by German scholars.
Some cases may not fully answer to our description of generative principles so that it will become necessary to distinguish between a nuclear area and an « orbit » of merely related cases. In all these contexts, formal analysis is the key for a pointed description. However, << formal analysis »> is a very general term and it should not be connected with a specified range of phenomena.
As just mentioned it is difficult to define « generative principles », and it is as a consequence also difficult to distinguish them from related concepts (e.g. « scholasticism » as described in § 18). This shows that systematization is always difficult. It will nevertheless be useful for Jainological studies to establish head categories and to arrange them at least in a semi-systematic manner.

Page #39

-2/+2 Allomotif Ant.
Av Studies I
BARNETT, Ant.
Cluster
DELEU, Nir.
DELEU, Viy. DIXIT, EJ
Hero-Variation
Jñātā.
JSK
L. Alsdorf Com. Vol.
LEUMANN, Aup.
Motifeme
Narrative Unit
PPN
Sarpini SCHUBRING, Ac.
SCHUBRING, Nāyā. SCHUBRING, Wörte
1978.
Filler
= See § 10.
VON GLASENAPP, Jainismus H. VON GLASENAPP, Der Jainismus, Berlin, 1925 (repr.
Grha
Slot
Standard Episode Sthāna
Tabular Presentation
Repetition in Jaina narrative literature
Text Triad
UH
Varga Literature Variation Unit Varnaka-Repetition WEBER, Bhag.
Work
§ 21. Abbreviations and Terms
==
See § 15.
See « motifeme ».
Antakṛddaśaḥ.
= K. BRUHN, Avaśyaka Studies, I (L. Alsdorf Com. Vol., pp. 11-49).
L. D. BARNETT, The Antagada-Dasão and AnuttarovavāiyaDasão, London, 1907.
= See § 13 (and fn. 43).
= J. DELEU, Nirayavaliyasuyakkhandha, in «Orientalia Gandensia »>, 4 (1967), Leiden, 1969, pp. 77-150.
= J. DELEU, Viyahapannatti, Brugge (Belgie), 1970.
= K. K. DIXIT, Early Jainism, L.D. Series 64, Ahmedabad,
1964).
= See § 9 (2), § 14, and fig. 8.
See § 3.
=
65
Jñātādharmakathāḥ.
KṢU. JINENDRA VARŅI, Jainendra Siddhänta Kośa, Jñānapitha Murtidevi Granthamālā (four parts), Samskrta Grantha 38, 40, 42, 44, Bharatiya Jñānapitha Prakāśana, Dilli-Varanasi, 1970-73.
Studien zum Jainismus und Buddhismus (Gedenkschrift für Ludwig Alsdorf), Wiesbaden, 1981.
E. LEUMANN, Das Aupapätika Sutra, Leipzig, 1983 (Abh. für die Kunde des Morgenlandes 8, 2), repr. 1966. See § 4, fn. 15.
=
See § 3 (s.v. hero-variation).
- M. L. MEHTA and K. R. CHANDRA, Prakrit Proper Names (two parts), L.D. Series nos. 28, 37, Ahmedabad, 1970, 1972.
See §9 (first part; Sanskrit term formed by us).
= W. SCHUBRING, Acarânga-Sutra, Erster Śrutaskandha, Leipzig, 1910 (Abh. für die Kunde des Morgenlandes 12, 4), repr. 1966.
= W. SCHUBRING, Nāyādhammakahão, Mainz, 1978.
W. SCHUBRING, Worte Mahaviras, Göttingen und Leipzig, 1926.
See « filler » (§ 10).
See § 10.
See § 15.
This term refers to the enumeration of fillers (§ 10) in verses or (more rarely) in prose. See especially § 15.
= See § 17, paragraph 2.
See § 9, fn. 28.
Universal History, see § 9.
= See § 2.
= See « narrative unit »>.
= See « hero-variation >>.
A. WEBER, Über ein Fragment der Bhagavati, Teil I, Berlin, 1866; Teil II, Berlin, « gelesen » 1866.
= See text».
Abbreviations in figs. 1-10: see the sections where the graphs have been explained.

Page #40

1-10 : 5'-37
LINES
pp. 19-39. Barnett pp. 1-61, su 1-2.
LINES 223-224
adhyayanas III 10-13.
L
66
kärikā
8-9
Hvis av 1
19
3"-5
31491
BD7B7BB.
9-35
"Ajja Suhamma".
va REP. Introductory passage for Antakyddasah. Gautama - carita (1 1).
va REP (Ant. I 1), Aup., Bhag.
Jnātā., Raja., (Upās. ]). adhyayanas I 2-10.
hero VAR' vis-à-vis I 1.
35-37
adbye
Karika
810)
37-40
adhyayanas II 1-8.
hero VAR vis-à-vis I 1 (frame), hero VAR' (names).
Klaus Bruhn
Padmavati - carita (V 1).
varEP (Ant. I 1, Jñatā.).
11T
Barbet
..5-
+++ LE
AL
"Apiyasa" - earita (III 1).
va REP (Ant. I 1, Aupapātika, Bhagavatī).
vis-a-vis
IIT 1.
Gajasukumāra - carita (111 8).
va REP Ant. I 1, Ant.III 8, Bhag., jñāta., Upas.).
M.BR 253 P = 303-305
"Mankäi" - carita (VI 1).
va REP Ant. I 1, Bhag.).
Fig. 1: Antakrddasah I-VI 1.

Page #41

LINES
LINES
adhyayana Y1 2
hero VAR vis-a-vis
$12-314 $15–530 $30-339 39-550
Krapa (). Sukrsnā (5) Mahakrapa (6) Virakrana (7)
311-405
va REP CATE
up
in
405-407
Adhyayana
Pituenak apa (2)
407-414
2-10 heroine VAR vis-à-vis
448
VIII 1.
Atimuktake carita
va REP (AntakyddaBab Bb
Upasakadasah
5478
"Ajja Suhamma" and Antakyddasah/end.
449-453
vati).
WINTERLIHAT
Repetition in Jaina narrative literature
adhyayana total:
10+8(10) +13 +10 +10 +16 +13 + 10
= 90(92)
Quantification (Suttāgame lines) Antakyddaśaḥ 874 Ant. III 8
160 (Jnātā. I 5244) (jñātā. II 255)
RAE vis-à-vis VII 1 /V
ITALIS
VI L-10460237
1+1+1+1+1+1
463-497
Kali (1).
VaREP (Bhag.). 1 Sukāli (2).
67
498-504
Fig. 2: Antaksddaśāḥ VI 2 - VIII.

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68
Kuldkaras
Trias
Kulakaras
JINA
Caterins
AVASARPINI
Sayu
1-10
UTSARPINI
Present!
AVASARPINTE
Klaus Bruhn
UTSARIT
Samaväys 1220
Sutt
LLL
Fig. 3: Kulakaras and Mahāpurusas (Samavāya).

Page #43

कोडिलक्ख ५०
उसम कोडीण परतिसहस्सा
कोहि लक्ख ५
अभिनंदन कोसीओ गति
चंदप्पम सागर ३०
सुमति
सुपाम
कोडि लक्स ३० । कोडिलक्स १० । . अजित
संभव कोडीण व सहस्ता
कोडीण गवसयाई पउमप्पह कोडी उणाय १०० | ६६२६००७ सागर५४वरि० सीतल
सेन्जंस मागर४ सागर३ जणाई पलियचउम्भाग ि३ अणंतह
धम्मस्स पलित चउभाओरडणउ वासकोडि१] वास कोडि १
कोडिओ णव
पुष्पदंत सागर ९
वासुपुज्ज
विमल
पलितद्धं १२
मंति बास लकख
मुणिसु.
वास लक्ख ५४
मलिस्स बाससया २५० पाथ
वर्धमान.
Repetition in Jaina narrative literature
ऊंयुस्स
बरिसलक्ख ५ नमिस्म,
वास सहस्सा ८३७५०
मिस्स
Fig. 4: Antaras (see $ 12 and fn. 41 ibid.).

Page #44

(1) 146-149
(2)
1478-1528
Marici:two previous existences. rebirth as Bharata's son 'Marici! 150-346 B
//153-384
(3)
7 kulakaras, Rsabha-Bharata-biography up to R.s samavasarana on Mt. A. - Tables (cf.7).
347" (ef.344") # 3853
Marici's diksa.
(4) pra-36(Bha) # 386-396
Bharata.
(5) 36 (Bha)-361" # 395-406
Marici's heresy
'pantham kira desitta'
(6) 362-366 #409-413
bhaktam ca Bharatananit
osappial inse
'datthūna kiramānim mahiz
Magaha-Yarad
(7) 367-421
Tables (fillers for all mahapurusas). (8) 44(GB)-432 #502-313
Marici's future (short description). (9) 433-436 514-518
Rsabha's biography completed, Bharata's biography continued (up to Bh.'s dikṣā). (10) 437-450 # 519-832
pucchantane kabe‡'
Bhavanavai-Vapamantara
Marici's future (present existence, future xistences) up to Maricd's incarnation as Mahavira. (11) 451-590 190# # 5535 // 533-747
451=
Mahavira's biography (incarnation up to (12) 591-659 #748-825 Mahavira's 11 gapadhares.
1aha bhagavam bhava-mahapo
'Ikkhāgakule jão'
[Rsabha's prophecy]
Anaya ca dasarapan
[Rsabha's prophecy supplemented]
ayomsa ghara-pavesa
'cakki-dugan, hari-papagam"
arihanta-siddha-pavayan
Bharata's prophecy
sauktie vi bhave [Bharata's prophecy, continued
tan divya-devagusny
avisam pasivagaya
oppery concluded
Marici Mahavira
Marici, Mahavira
Sealhe
Marici, Mahavira
Bsabha stor
Reabha
Marici, Mahavira:
Marici Mahavira
Mahavira's
gapadharas
Fig. 5: The Universal History (Avaśyakaniryukti)
6-799.
232
1(2)
12(13)
(2)
(3)
(4)
(5)
(6)
679
VSS
(8)
(9)
(10)
(11)
(12)
70
Klaus Bruhn

Page #45

2649
2041
7
IY 1-5
5041
308011484 I 1-5 II 1-6 III 1 5041 3080407177
[2] [3] [4]
233
406
2040
126908 [10] [111]
369 [12]
30B [14]
368 [15]
[5]
[6]
(9]
[13]
(16)
[17]
[18]
Repetition in Jaina narrative literature
Rşabha
dna Superival Candra
Sitala
Sanato
16.J.
Bharata Sagara
Trio
Dvio
Sva
Bha
Pu
Su
Puo
Syo
Fig. 6: Trişasțiśalākāpuruşacaritram IV (Jinas 1-16).

Page #46

1433
-
3891
46981597
3
245
21
31280
5213
2-
VI 1
131387 (19) [120]
VII
1-10 3718
13 VIII LX 1
1-12 2946980
X 1-13 Pra
sasti
9972
471110 21 [22]
[23]
[24]
[25]
[26]
127)
281
[30]
E[31]
[32]
Klaus Bruhn
Mallio
Ara
Subhume
Hari
Brahat
10
Na
RGO
Fig. 7: Trişaşțiśalākāpuruşacaritram VI-X (Jinas 17-24).

Page #47

ऋषमः
मरतः
धपि । पूर्वलक्षाः
८४
कुन्थुः
वर्षसहस्राणि
९५
सगरः
अजितः । संभवः अभिनन्दनः
१०.
पुरुषपुण्डरीकः
३५०
(ममा ।
सुमनिः
...
२५.
मल्लिः
५५
पप्रप्रभः सुपावः चन्द्रप्रमः
सुनतः
नारायणः
सुविधिः
H
हरिषेणः
शीतलः
.
श्रेयांसः
बरलक्षा:
त्रिपृष्ठः
८१
वर्षशतानि
.
वासुपूज्यः विमल: मनन्तः
पार्थः
Repetition in Jaina narrative literature
..
वीरः
हस्साः२वर्षाणि
पुरषोत्तमः पुरुषमिहः
१५
१२॥
मघवान्
सनत्कुमारः शान्तिः शान्तिः
Avasyakaniryukti with Jnānasagara's Avacūrni (DLJP 108. 1965), p.251.
Fig. 8: Grhas (etc.) Jinas 1-16 and 17-24 (see $ 14).
EL

Page #48

-
जिनना-भवाः पूर्वभव- पूर्वभव- क्षेत्रदिशः । पूर्वभव- पूर्वभवनगर्यः पूर्वभवना- पूर्वभव पूर्वभव. पूर्वभव जिनहे- पूर्वभव- । पूर्वमवायुः मानि हीपाः क्षेत्राणिविजयाः
मानि राज्यम गरवः श्रुतम् तवः स्वर्गाः ऋषभः 11३ जम्बूद्वीपः जंबूपूर्व- शीतोत्तरा पुष्कलावती पुण्डरीकिगो वज्रनाभः चक्र. वज्रसेनः द्वाद- विंश- सर्वाथसिद्धः ३३ सागरो
वर्ती शाङ्गीतिस्था० ।। पमानि अजितः " , शीतादक्षिणा वच्छा सुसीमा विमलवाहनः राजा अरिदमनः एकाद- कनिचि विजयः ।
शाङ्गी० द्विशक्ति →मंभवः
, रमणीयः शुभापुरी विपुलबलः संभ्रांतः , रपि वेयकः २९ सागरोअभिन
पमानि , मंगलावती रखसंचया महाबलः " विमलवा-, , जयन्तः ३३ सागरो
पमानि →सुमतिः । धातकी-धातकीपू. शीतोत्तरा पुष्कलावती 'पुण्डरीकिणी अनिबलः
सीमन्धरः " " " " खण्डः विदेहः । पद्मप्रभः "शीतादक्षिणा वच्छासुसीमा अपराजितः , पिहिता.
वेयकः ३१ सागरो
-
1 1 1 11 111
-
Klaus Bruhn
→सुपार्थः
चन्द्रप्रभः →सुविधिः
रमणीयः शुमापुरी नन्दीषणः मंगलावती. रखसंचया पद्मः पुष्कलावती. पुपरीकिणी महापः
|, अरिदमनः |, युगन्धरः
३ पुष्करवर-पुकरवर-शीतोत्तरा
द्वीपः पूर्वविदहः
अवेयक: २८ सागरोपमा० , वैजयन्तः ३३ सागरोपमा. मानतः१९ सागरो.
। पमानि
, सर्वजग
Fig. 9: Saptatisatasthānaprakarana (Jinas 1-9, sthānas 1-13). See $ 15 and fn.53.

Page #49
Repetition in Jaina narrative literature 75 "58 Roar 7 - -- - OTEL. HEEN HTRA - - -- - - - 4 HN-Hu .. . ती 44 BE म MIRYAL LEMERICASHRESSESA ACC सरकार ONO.PAGE R 1 . Myana कळायला DIम्क (c)83-D परिणाम मम् LE+ 750वलिम - म्याकमा प्रजासमो STOREAT / %3D/ MN कामासान M L ThuiVAL Alor HTRAN सम्मान गार / 10. o NDEL. Man fhotn...0meter . - - Hrin.kr ANAGEELAMuna E वार Fig. 10: Central portion of Jambudvipa (Mahavideha etc.). See SS 15 and fn. 54. t SEE Mi * * .. ......... .00 - - - - ... . . . .00........... - - - Ol ONE wr - . - , ..... ... .. .. 1 ... .. ... . ... in १....परिक .. . far rth Homww kina.ki.स FO A AMIN म NORLD ...N0000amt . पम्प4 METALA मंगtar " ल . an RAN 10 TAMIT HARD EO MERI SURESH मालिनी डHEEEEEEEEEE काम वि HERECUPERIES nhind. " Carsa JEETTET "PRIDE बापve CHER बियाणे POHTMLA Cod. Ksudeg Jinendra Varni: Jainendra Siddhanta Kosa BI DFES. VIRALAVerma, NMMS -.. विरा AMOMEN पवाहिनी ATHI AENORLD ए याच रम्यक क्षेत्र ELECT RUT APHE ATTA नील पर्वत पवारए कई निषध DER म तहरिवर्व क्षेत्र Dahale मन्च aant..