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 SS 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 Jnanapitha (Delhi) for their permission to reproduce part of a diagram from Ksu. Jinendra Varni's Jainendra Siddhanta Kosa (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 Ay Studies I, pp. 47-9.

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28 Klaus Bruhn 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 << Erlosungsreligion >> (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 (avataras in Vaisnavism, lambhas in the Brhatkatha). 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 <> 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. SS 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 Jnatadharmakathah II (8,5 pp., 0,34% of the canon) 7 Upasakadasah (34 pp., 1,38%) 8 Antaksddasah (29,5 pp., 1,20%) 9 Anuttaraupapatikadasah (7,5 pp., 0,30%) 11 Vipakasutra (46 pp., 1,86%) 2. Access to relevant topics has been facilitated due to the Mythologie des Indischen Buddhismus by GUNTER GRONBOLD (Worterbuch der Mythologie, ERNST KLETT VERLAG, Stuttgart). The character of the Worterbuch made a compact treatment of earlier and later mythological matter compulsory.

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Repetition in Jaina narrative literature 29 upanga 8 Nirayavalikah (15 pp., 0,61%) 9 Kalpavatamsikah (2 pp., 0,08%) 10 Puspikah (15,5 pp., 0,63%) 11 Puspacalikah (2,5 pp., 0,10%) 12 Vrsnidasah (4 pp., 0,16%). The total of upangas 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 upangas as complete sets. <> 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 SS 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: cliches are used freely (<< varnaka-repetition >>), the same names occur in more than one varga text, and u pangas 8-12 are traditionally considered to form one block (upangas 8-12 = Nirayavalikasrutaskandha, vargas 1-5). We have to distinguish between the extant Varga Literature and Varga titles (works, chapters) mentioned in traditional lists (Sthana, Nandi). These lists (compare SS 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 Suttagame Edition (32 suttas and parisittha 1, 30 lines per page). For the importance of quantitative data refer to BRUHN, Av Studies, I, p. 40, point 7. [Our Suttagame 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, Naya, 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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30 Klaus Bruhn SS 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 SS 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 <> 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 SS 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 (Gottingen, 1913), pp. L, LXXVI. W. GEIGER, Pali, 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 (Gottingen, 1923, 2. Aufl.), pp. 154-56. H. OLDENBERG, Buddha (Stuttgart und Berlin, 1921, 8-9. Aufl.), pp. 200 foll. PTS Pali-English Dictionary (peyyala). D. SCHLINGLOFF, Die altindische Stadt (Wiesbaden, 1969), pp. 6-9, SCHUBRING, Naya., p. 7. J.S. SPEYER, Avadanasataka (reprint: 's-Gravenhage, 1958), pp. XVI-XVIII, XXV, C. B. TRIPATHI, Funfundzwanzig Sutras des Nidanasamyukta (Berlin, 1962), p. 12. E. WALDSCHMIDT, Das Mahaparinirvanasutra, Teil I-III (Berlin, 1950-51), pp. 517-18. E. WALDSCHMIDT, Von Ceylon bis Turfan (= Kleine Schriften), Gottingen, 1967, pp. 279-82. WEBER, Bhag., I, pp. 379-83. WEBER, Ind. Stud., 16, pp. 231-32. E. WINDISCH, Mara und Buddha (Leipzig, 1895), pp. 37-39. M. WINTERNITZ, A History of Indian Literature, II (Calcutta, 1933), pp. 280-81 (on the Avadanasataka).

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Repetition in Jaina narrative literature 31 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 cliche can be used for Campa, Rajagrha, Sravasti 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 <> and the << target-passage >>, the former supplying the << varnaka >> needed to fill the latter (which otherwise would remain a mere torso). The varnaka 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 java, evam, etc.). From the point of view of abstract logic, hero-variation is the very opposite of varnaka-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 varnaka-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 Pancatantra. Descriptive formulas such as nila-jimuta-samkasa (epic) and ksut-ksama 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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32 Klaus Bruhn kantha (Pancatantra) 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 Vyakhyaprajnapti) 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. SS 4. Conversion Stories The heading of this section is derived from the title of SS 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-moksa. Here << conversion >> is understood in its narrowest sense or in the sense of << viraga-shock >>. Abhiniskramana 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 Mahavira) 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 Vyakhyaprajnapti on the other 16. B. Bhatt stresses inter alia the relationship between Vyakhyaprajnapti phrases such as <<< dukkhanam antam karehiti >> 17 and the title of the 8th anga (<< Antakrd-dasah >>). SS 5. Antakrddasah We have selected the 8th anga Antakrddasah in order to demonstrate the main types of repetition (SS 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 SS 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, SS 46 (paragraph on Ant.).

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Repetition in Jaina narrative literature 33 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 SS 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; . Gajasukumara (III, 8) mother (Devaki) separated from her children, trial-story (Gajasukumara), Krsna and the brick-carrier; Padmavati (V, 1) prophecy (Krsna's future, destruction of Dvaravati); Arjunaka (VI, 3) man (Arjunaka) possessed by a yaksa, 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 (upavasa arithmetics). $ 6. General Analysis of Antakyddasah Before starting our exposition we have to warn the reader that Antakrddasah 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, Naya., p. 12, lines 21 foll.; p. 15, lines 13 foll. (parallel version in Jnatpdharmakathah I, 1). 22. SCHUBRING, Worte, p. 19 (parallel version in the Vyakhyaprajnapti: DELEU, Viy., V, 4, 3).

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34 Klaus Bruhn 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 - varnaka-repetition (vadegREP 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 (sutras 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 SS 3, we shall first of all isolate nine << narrative units >>: I, 1: Gautama 9-35 42-55 III, 1: <<< Aniyasa >> III, 8: Gajasukumara 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: Kali 449-453 463-497. Five of these nine stories have already been mentioned in SS 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-Antakrddasah and Anuttaraupapatikadasah published together.

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Repetition in Jaina narrative literature 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 >, which were originally distinct phenomena, tend to converge (not, however, to the point of producing borderline cases). Some of the varnakas are quite large (no longer cliches of limited size but considerable portions of a story), and some have their source-passage in Ant. itself. Again some of the variation units present a scattering of text. (ii) In Ant., each case of variation counts as one adhyayana. But these figures (contained in the text and not in doubtful colophons) do no justice to the literary form of Ant. and produce << adhyayanas >> which consist sometimes only of a single name. Ant. has single, self-contained cases of variation and series of variations (difference in the text form). We consider a series as one block (not numbered but treated as such in the conspectus). Therefore, the number of our blocks (narrative units and variation units taken together) is much smaller than the number of adhyayanas. Ant. IV, 1 is one block and Ant. IV, 2-10 another block. . We can now return to the panels of the conspectus. The second line of the upper panel to the left mentions the lines of our edition where the <> occurs. << Karika >> 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 karikas appear at the beginnings of the eight vargas (Varga I: lines 8-9 = Arya <>). 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). SS 7. Specifications vis-a-vis SS 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'REP, e.g. << vadegREP (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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36 Klaus Bruhn may cover several folios (see SS 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 kalenam (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 Mahavideha. The two formulas are not restricted to Ant. 25 There existed << moksa-accounts > with two allomotifs: (i) liberation in this existence, (ii) reincarnation as a god and liberation in Mahavideha. 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?). SS 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 sutras. The rationale of sutra-division is a more general problem. For the adhyayanas we refer the reader to SS 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 SS 4.

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Repetition in Jaina narrative literature 37 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 Mahavira - stays near the city of Campa. There he is questioned by his disciple and spiritual successor Jambu about the work to be narrated (Jnatrdharmakathah, Antakrddasah, 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 uddesaka 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 (Sukali, Mahakali, etc. besides Kali or no. 1). Otherwise we mentioned the names only in the case of the narrative units (see the list in SS 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. SS 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 Svetambara works with reference to the UH. 26. A. WEBER, Uber das Catrunjaya Mahatmyam (Leipzig, 1958), pp. 4-5. A. WEBER, Ind. Stud., 16, pp. 306-7. SCHUBRING, Worte, p. 8. SCHUBRING, Doctrine, s 22, DELEU, Nir., pp. 78-9. PPN I, p. 270.

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38 Klaus Bruhn 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 (Svetambara 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 Svetambara 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 sarpini and to our continent (Bharataksetra, the southernmost continent of Jambudvipa). 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 (Worterbuch 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, Vasudevas and Prativasudevas. The collective term for the first two categories is dasarha. The members of the last category may or may not be counted as mahapurusas 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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Repetition in Jaina narrative literature 39 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 varsa-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 mahapurusas 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 (SS 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 Avasyaka cluster. Our fig. 8 is based on the table found on p. 251 of the edition of Jnanasagara's Avacurni (DLJP 108). << Narayana>> (third column) is another name of Laksmana. 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. Rsabha's life-span was << 84 purva-laksah>> (84 laksa-purvani) or << 84 x 100.000 x 8.400.0002 >>.

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40 Klaus Bruhn 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. Silanka, who lived before Hemacandra and beside him was the sole Svetambara 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 avatara doctrine as the easiest way of demonstrating what is meant. SS 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, Silankas Cauppannamahapurisacariya, Hamburg, 1954, pp. 134-35.

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Repetition in Jaina narrative literature 41 << 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 . . . . . . . . . Rsabha Ajita parents of the Jina . . . . . . . . Nabhi and Marudevi Jitasatru and Vijaya royal residence. . . . . . . . . Ayodhya Ayodhya Typical of slot-filler repetition is the sastraic 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 Mahapadana Sutta of the Dighanikaya. Slot-filler repetition corresponds to hero-variation in Varga Literature. The next type of repetition in UH literature - standard episodes -- is the counterpart to varnaka-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 SS 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. SS 11. The Universal History in Samavaya It seems that speculation on additional sarpinis started early. An old formulaic line (je ya aiya, je ya paduppanna, je ya agamissa arahanta 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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42 Klaus Bruhn 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 Samavaya 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, Airavata) 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 Samavaya (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 Samavaya (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) mahapurusas. 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, SS 13 (in combination with $$ 119-120). PPN s.v. <> etc. S. JHA (fn. 27), pp. 62-87.

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Repetition in Jaina narrative literature (inter alia 41 names of Kulakaras and 174 names of mahapurusas) 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. SS 12. The Universal History in the Kalpasatra The Kalpasutra (<< Bhadrabahu's KS >>) contains a block of UH material which can be summarized as follows: (1) Mahaviracarita (cf. Acaranga II, 15) (2) Parsvacarita (3) Nemicarita (4) Jinantarani (Jinas nos. 21 to 2) (5) Rsabhacarita 43 729 lines 39 71 >> 52 47 >> 76 >> 975 lines The Kalpasutra is not the dawning of literary activities centred around the UH. Its Mahaviracarita consists of original (non-repetitive) matter, fillers (i.e. fillers in text form accompanied by stylistic elaborations), and standard episodes. The biographies of Parsva, Nemi, and Rsabha 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 varnaka-repetition 40. The section on the jinantaras 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 nirvana and the nirvana 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, Harivamsapurana, 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 SSSS 10 and 14. 41. Taken from AvCu, ed. Anandasagarasuri, RKSS, Ratlam, 1928-29, part I, p. 218. We have removed some redundant figures.

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44 Klaus Bruhn Jina. Thus the first box should be read: << Rsabha (no. 1) attained nirvana 50 lakhs of crores of sagarOpamas before the nirvana of Ajita (no. 2)>>. A sagaropama consists of 10 15 palyopamas. 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 palyo 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 << Parsva >> should appear in the lower line, and the name << Mahavira >> should appear in brackets. SS 13. The Universal History in the Avasyaka Tradition The Avasyaka tradition consists mainly of the Avasyaka Sutra and its various commentaries. We employ for such sutra-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, curnis, 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 <> whereas another similar work is a << bhasya >>), 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 curnis 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 <>. 42. VON GLASENAPP, Jainismus, p. 155. Fig. 4 should be read along with pp. 270-301 of the Jainismus. 43. In Ay Studies I, SS 6, we have used the term << cluster >> for both << vertical >> relationship (sutra-commentary systems) and << horizontal >> relationship (e.g. sutrasutra constellations such as Varga Literature).

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Repetition in Jaina narrative literature 45 We can call those who subscribe to the three theses << realists >> and those who take up a waiting attitude << nominalists >> (<< curni >>, << 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 Avasyakaniryukti, Avasyakacurni, and Avasyakatika (mainly with reference to AvNi) we need not, and cannot, explain <> etc. because this is no longer a term but merely the final member of the title of a work 44. AvNi, AvCu, and AvTI have a section on the UH (on the whole parallel in all the three works), although AVSu 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. AvNi 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. AvNi has just like the Kalpasutra) 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 Rsabha) and incomplete account of Mahavira (previous existences and biography up to the enlightenment and samavasarana). Both portions are connected because Mahavira 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 Avasyaka 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 Avasyaka tradition. Our fig. 5 is mainly concerned with the interlacement of the Rsabhaand Mahavira-biographies (and not with details concerning Rsabha alone or Mahavira 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, Bhasyas, etc. would be facilitated by a (tentative) descriptive model. 45. See Av Studies I, SS 16-17.

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46 Klaus Bruhn 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 Mu(la)Bha(sya) refer to layers within AvNi (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 AvNi), 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 Rsabha's prophecy. Further to the right, the reader will find a panel which indicates the position of the section in the RsabhaMahavira concatenation (Mahavira to the left, Rsabha 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 Mahavira, panels with cross-hatching in all the other cases) and in numerical terms (<< 6 vss. >> etc.). The total of verses is 679 50 SS 14. Hemacandra's Version of the Universal History Hemacandra's Trisastisalakapurusacaritra 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 Avasyaka 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, Cauppannamahapurisacariyam (Prakrit Text Society 3, Ahmedabad and Varanasi, 1961), p. 20 of the << Introduction >> (same graph as in the 1954 publication). 47. See Av Studies I, p. 49. 48. Trisastisalakapurusacaritra 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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Repetition in Jaina narrative literature 47 serial number of the respective grha (in square brackets), additional indication of quantity (black panel), name(s) of the mahapurusa(s) within each unit (for the full names refer to von Glasenapp's Jainismus, p. 261), and number(s) of the mahapurusa(s) in the respective series. Mahapurusas who were contemporaries (same <> 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 mahapurusas (Munisuvrata/Mahapadma, Nami/Harisena) 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 Trisastisalakapurusacaritra and also in the BharataRsabha-biography of Hemacandra's own commentary on his Yogasastra. << 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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48 Klaus Bruhn 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 samavasarana; description of the first samavasarana; mentioning (our letter <>) of the first, description of the second samavasarana. For an evaluation of the figures it is important to know that the Svetambara 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 Trisastisalakapurusacaritra 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. SS 15. Somatilaka's Saptatisatasthanaprakarana 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 <> stands for << slot >>. It has, however, no analytical function but is basically used in the same manner as in the Sthanamga. As usual, the slots are not uniform in character (see categories A-B-C in SS 11 supra). The name of the Jina is not designated as a sthana. The fixing of the exact number of sthanas 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 Kalpasutra edition 53 contains sixteen tables for the 170 sthanas (1-13, 14-25, etc.). Each table covers two pages and considers 51. Sri-Somatilakasuri-viracitam Saptatisatasthanaprakaranam, 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): Atmananda 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-Kalpasutram (with Vinayavijaya's Subodhika), Baroda, 1954, pp. 605-36.

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Repetition in Jaina narrative literature 49 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 aryas (vss. 4-19) which enumerate the 170 sthanas: bhava (1), diva (2), khitta (3), / tad-disi (4), vijaya (5), puri (6), nama (7), rajja (8), guru (9), suttam (10) // jina-heu (11), sagga (12), aum (13), / terasa shanai puvva-bhave // [4] Sthanas 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 Kalpasutra edition (fig. 9). The first sthana 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 SS 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 purvabhava for the previous existences). Sthana 1 refers to the totals, while sthanas 2-11 and 12-13 are concerned with purva-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 (Rsabha) No. 8 (Candraprabha) No. 16 (Santinatha) No. 20 (Munisuvrata) No. 22 (Aristanemi) No. 23 (Parsvanatha) No. 24 (Mahavira) Nos. 2-7, 9-15, 17-19, 21

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50 Klaus Bruhn 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 sthana 1 to sthanas 2-6 we quote verse 20 from Somatilaka's prakarana. This verse gives the number of sthanas enumerated in each of the sixteen preceding verses (4-19). The reading is << verse 4 enumerates 13 sthanas, verse 5 enumerates 12 sthanas >>, and so on. Verse 20 demonstrates the sastraic 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 sthanas 1-125 >>). The second line says in the same manner that stanzas 15-19 mention sthanas 126-170. We shall now explain sthanas 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 Rsabha). Name (Vajranabha) and status (Cakravartin) are given under sthanas 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: sthana 2: The continent! Jambudvipa. In fig. 10 we have marked the periphery with two arrows. sthana 3: The continentII Purvavideha. 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). sthana 4: The continentIII Sitottara 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 Sitottara Dik. It is marked by the nail-headed line. sthana 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. Mahavideha (Purva- and Apara-Videha, Uttara- and Deva-Kuru) is an << intermediate >> member between Jambudvipa on the one hand and 54. JSK, Bhaga 3, opp. p. 460 (s.v. Loka: Jambudvipanirdesa). 55. The line is interrupted in the centre (area of Mt. Sumeru).

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Repetition in Jaina narrative literature 51 the four parts of Mahavideha (e.g. Purvavideha) on the other 5%. In the sthana scheme, Mahavideha has been eliminated in order to bring Purvavideha 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 / diva cau cau jinana puvva-bhave // . The continents! Jambudvipa, Dhatakikhanda, 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). SS 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, SS 115 (Mahavideha). W. KIRFEL, Die Kosmographie der Inder (1920, repr. Hildesheim, 1967), pp. 229-42 (Mahavideha). 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 Visesavasyakabhasya: P. DEUSSEN, Sechzig Upanishad's des Veda, Leipzig, 1921, pp. 62-5; LEUMANN, Ubersicht, columns 45b-48b.

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52 Klaus Bruhn (4) Employment of examples, e.g. examples for the four elements of the << anuyoga >> (upakrama, niksepa, 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-gathas, instructions-for-repetition, etc. (7) Quoting pratikas. As long as we have no standard counting for niryukti-bhasya-verses, pratikas 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 Avasyaka and Pancatantra synopses: LEUMANN, Ubersicht, columns 35a-36a; J. HERTEL, Tantrakhyayika, Leipzig und Berlin, 1909 (repr. 1970), Erster Teil, pp. 100-26. 62. VON GLASENAPP, Jainismus; Ksu. Jinendra Varni, Jaina encyclopaedia in four volumes (JSK).

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Repetition in Jaina narrative literature 53 (12) Employment of special terms, symbols, and typographical devices, e.g. in discussing a subject like the niksepa 63. SS 17. Miscellanea In order not to overburden the footnotes we have reserved a few items for the present section. (1) The problem of <> 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, resumes, etc.) may be contained in the works themselves, e.g. in niryukti-bhasya 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 << mulasutra >> subdividing a work on one or more than one level). Refer also to SS 13 supra and to Av Studies I, p. 13, fn. 5. (2) We have tentatively introduced a distinction between << work >> and >. The former is a well-defined literary composition; the latter is a part of a work, an ad hoc compilation (Gebrauchsliteratur, etc.), or one of several different versions of a literary composition the exact form of which varies from case to case. In addition, << text>> can be used as a general term and also in the sense of << wording >>. Considerations of this type must be distinguished from the problem of manuscriptological units as being different from literary units 64. (3) Our typology of repetition phenomena does not consider the problem of de facto repetition (identical wording / similar wording / identical content) which belongs to a different parameter. In the case of varnaka-repetition it is for example possible that varnakas are actually repeated (completely or in part). 63. BHATT, Ni., pp. 143-47. 64. C. TRIPATHI, CJMS, 3. 4.

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54 Klaus Bruhn just as formulaic expressions in verse or prose are repeated. It is, however, more common that only a few aksaras (one to two words) from the beginning and the end of the varnaka 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 (SS 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: Trisasti and Svopajnavrtti on the Yogasastra, SS 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 niksepas 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. SS 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 (SSSS 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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Repetition in Jaina narrative literature 55 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 arthasastra and kamasastra, 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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56 Klaus Brumm 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 Mahavira (<< dieser kuhne 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 Mahavira's contribution: << Above all, however, the most versatile thinker we know of in ancient India (i.e. Mahavira) 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 Ausfuhrung hatte gestrichen und manche Tabelle, so sehr sie der Ubersichtlichkeit zu gute kommt (sic!), zu knapper Zusammenfassung oder zu einem blossen Hinweis hatte eingeschrankt werden konnen >> 69. In fact, W. Schubring practised what he calls << knappe Zusammenfassung >> in his condensed analysis of Antakrddasah 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 Mahavira, p. 43 (<< Zeitschrift fur Buddhismus >>, ca. 1921, also published separately). 68. SCHUBRING, Doctrine, SS 21 (p. 40); in a similar context, the Jaina doctrine is described as << das Werk eines grossen Systematikers >> (Doctrine, German version, SS 6, p. 12). For criticism of the canonical style - on A. WEBER's lines -- see Doctrine, SS 5 (p. 7); Naya (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. BATHIYA/CORADIYA, Kriya-Kosa, Calcutta, 1969, prakasakiya."

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Repetition in Jaina narrative literature 57 when he had to write an essay called <> 72. There he made the following remarks on the Svetambara Agama: <>. Earlier (1927), W. Schubring had himself demonstrated in the form of a translation) how he wanted to present the Agama 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 schematisme des nombres d'une scholastique d'une secheresse parfois presque insupportable mettra a rude epreuve la patience de celui qui les etudiera >> 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 Svetambara Agama 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 >. What matters in such cases is, the discovery of a question and a pointed answer (this does not 72. Contribution in C. M. SCHRODER, Die Religionen der Menschheit, Band 13. For bibliographical details (German and French version of W. SCHUBRING's essay) see W. SCHUBRING, K1. Schr., p. XI, nos. 20 and 22. 73. W. SCHUBRING, KI. Schr., p. 75. 74. L. ALSDORF, Les etudes Jaina, College de France, 1965, p. 93. 75. WM. TH. DE BARY, Sources of Indian Tradition, Columbia University Press, New York, 1958 foll., p. 55. 76. We mention only his observations on the (post-canonical) niksepa and on the caturbhanga.. (caturbhanga): L. ALSDORF, The Arya Stanzas of the Uttarajjhaya, Wiesbaden, 1966, pp. 186, 179-200, especially pp. 186-87. On pp. 183-84, L. ALSDORF refers to the intricate technicalities... which have partially baffled Jacobi and Charpentier >>. (niksepa): L. ALSDORF, Kl. Schr., pp. 257-65. See also the last paragraph (pp. 264-65) where ALSDORF indicates that the ancient commentators must have experienced difficulties in defending the niksepa method << against the criticism of more progressive rival schools >>.

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58 Klaus Bruhn 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 <> 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 mahasattra's << hier versteigt sich Mythus und Phantasie der Yajnika's zu den sechsunddreissigjahrigen Opfern der Saktya's, den hundertjahrigen der Sadhya's, den tausendjahrigen 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). SS 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 Av 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 <> 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 SS 20 with << life vs. overabstraction > (fn. 93, ibid.).

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Repetition in Jaina narrative literature 59 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 Jambudvipa. Most impressive is the dvipa-sagara-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 (paryayas) in Niryukti-Bhasya literature 87 (8) Niksepas in Niryukti-Bhasya 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, SS 176. K. VERCLAS, Die Avasyaka-Erzahlungen uber die Upasargas... (doctoral thesis), Hamburg, 1978 (see in particular the catalogue on pp. 270-71). K. BRUHN, fn. 32, pp. 102-3. Ay Studies I, p. 35, fn. 30. 83. M. BLOOMFIELD, The Life and Stories of the Jaina Savior Parcvanatha, 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, Budhasvamin's Brhat kathaslokasangraha, 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. BOLLEE, Studien zum Suyagada, Wiesbaden, 1977, pp. 207-8.

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60 Klaus Bruhn 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 lesyas, 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. SS 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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Repetition in Jaina narrative literature 61 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, kavya 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-Ramayana 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 rhetorique), 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 SS 13 on << clusters >> and to SS 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 demesure, tel est l'imperialisme, tel fut l'empire de la rhetorique >>>. 92. The basic aspects of the present section have been discussed with M. PFEIFFER.

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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. <> is the common denominator of >. For this reason and on account of its connotations we have used it as the title for the present section. A few details on the usefulness of zones (fields and zones) may be added. As far as the treatment of dogmatic concepts is concerned we can supply the following paradigma: (i) karma in Indian religion, (ii) karma in Jainism, (iii) karma in the Vyakhyaprajnapti and in related works, (iv) karma in the earliest canonical texts (K. K. Dixit). It is doubtful whether (i)-(ii) can be recommended from the viewpoint of research. The emphasis on (iii)-(iv) has both theoretical and practical advantages. Further, the advantage of fields and zones is clearly seen if we focus attention on the generally used techniques and categories. The meaning of << critical edition >> varies from genre to genre and from work to work. The same applies to translation >> (which is quite a different matter). Studying metre in kavya literature is not the same as studying metre in the Jaina canon. Some literatures require mainly synchronic studies (e.g. kavya), some mainly diachronic studies (e.g. dharmasastra). Although, in its present form, our enquiry is rather abstract, it is. obvious that concentration on zones (mainly genres) helps to avoid the risk of overabstraction. Genres are uniform (see the list in the first paragraph of this section). Beyond that they help in a general manner to focus attention on the milieu, atmosphere, and general character of different parts of the literary material. << Seven Buddhas >> are legend, << twenty-four Jinas >> are science. The account of the Janmabhiseka of the Jina is baroque, the description of the hardships (upasargas) suffered by Mahavira is asceticism, and the repetition technique is intellectual mannerism. Hemacandra's Mallinathacaritra is composed in elegant style, but the style of the Mallijnata is dry and originated in circles which mixed << fiction >> 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 <> (M. HARRIS, Cultural Materialism, in <>, New York, 1980, pp. 35-6).

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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 Svetambaras 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 Kalpasutra and the Mallijnata 94 which are both earlier than the Avasyakaniryukti. 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 Brahmanas. 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-Jnata, 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 Eigentumlichkeiten 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 SS 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.

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-2/+2 Allomotif Ant. Av Studies I BARNETT, Ant. Cluster DELEU, Nir. DELEU, Viy. DIXIT, EJ Hero-Variation Jnata. JSK L. Alsdorf Com. Vol. LEUMANN, Aup. Motifeme Narrative Unit PPN Sarpini SCHUBRING, Ac. SCHUBRING, Naya. SCHUBRING, Worte 1978. Filler = See SS 10. VON GLASENAPP, Jainismus H. VON GLASENAPP, Der Jainismus, Berlin, 1925 (repr. Grha Slot Standard Episode Sthana Tabular Presentation Repetition in Jaina narrative literature Text Triad UH Varga Literature Variation Unit Varnaka-Repetition WEBER, Bhag. Work SS 21. Abbreviations and Terms == See SS 15. See << motifeme >>. Antakrddasah. = K. BRUHN, Avasyaka Studies, I (L. Alsdorf Com. Vol., pp. 11-49). L. D. BARNETT, The Antagada-Dasao and AnuttarovavaiyaDasao, London, 1907. = See SS 13 (and fn. 43). = J. DELEU, Nirayavaliyasuyakkhandha, in <>>, 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 SS 9 (2), SS 14, and fig. 8. See SS 3. = 65 Jnatadharmakathah. KSU. JINENDRA VARNI, Jainendra Siddhanta Kosa, Jnanapitha Murtidevi Granthamala (four parts), Samskrta Grantha 38, 40, 42, 44, Bharatiya Jnanapitha Prakasana, Dilli-Varanasi, 1970-73. Studien zum Jainismus und Buddhismus (Gedenkschrift fur Ludwig Alsdorf), Wiesbaden, 1981. E. LEUMANN, Das Aupapatika Sutra, Leipzig, 1983 (Abh. fur die Kunde des Morgenlandes 8, 2), repr. 1966. See SS 4, fn. 15. = See SS 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 SS9 (first part; Sanskrit term formed by us). = W. SCHUBRING, Acaranga-Sutra, Erster Srutaskandha, Leipzig, 1910 (Abh. fur die Kunde des Morgenlandes 12, 4), repr. 1966. = W. SCHUBRING, Nayadhammakahao, Mainz, 1978. W. SCHUBRING, Worte Mahaviras, Gottingen und Leipzig, 1926. See << filler >> (SS 10). See SS 10. See SS 15. This term refers to the enumeration of fillers (SS 10) in verses or (more rarely) in prose. See especially SS 15. = See SS 17, paragraph 2. See SS 9, fn. 28. Universal History, see SS 9. = See SS 2. = See << narrative unit >>>. = See << hero-variation >>. A. WEBER, Uber 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.

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1-10 : 5'-37 LINES pp. 19-39. Barnett pp. 1-61, su 1-2. LINES 223-224 adhyayanas III 10-13. L 66 karika 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. Jnata., Raja., (Upas. ]). adhyayanas I 2-10. hero VAR' vis-a-vis I 1. 35-37 adbye Karika 810) 37-40 adhyayanas II 1-8. hero VAR vis-a-vis I 1 (frame), hero VAR' (names). Klaus Bruhn Padmavati - carita (V 1). varEP (Ant. I 1, Jnata.). 11T Barbet ..5- +++ LE AL "Apiyasa" - earita (III 1). va REP (Ant. I 1, Aupapatika, Bhagavati). vis-a-vis IIT 1. Gajasukumara - carita (111 8). va REP Ant. I 1, Ant.III 8, Bhag., jnata., Upas.). M.BR 253 P = 303-305 "Mankai" - carita (VI 1). va REP Ant. I 1, Bhag.). Fig. 1: Antakrddasah I-VI 1.

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LINES LINES adhyayana Y1 2 hero VAR vis-a-vis $12-314 $15-530 $30-339 39-550 Krapa (). Sukrsna (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-a-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 (Suttagame lines) Antakyddasah 874 Ant. III 8 160 (Jnata. I 5244) (jnata. II 255) RAE vis-a-vis VII 1 /V ITALIS VI L-10460237 1+1+1+1+1+1 463-497 Kali (1). VaREP (Bhag.). 1 Sukali (2). 67 498-504 Fig. 2: Antaksddasah VI 2 - VIII.

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

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koDilakkha 50 usama koDINa paratisahassA kohi lakkha 5 abhinaMdana kosIo gati caMdappama sAgara 30 sumati supAma koDi laksa 30 / koDilaksa 10 / . ajita saMbhava koDINa va sahastA koDINa gavasayAI paumappaha koDI uNAya 100 | 6626007 sAgara54vari0 sItala senjaMsa mAgara4 sAgara3 jaNAI paliyacaumbhAga i3 aNaMtaha dhammassa palita caubhAoraDaNau vAsakoDi1] vAsa koDi 1 koDio Nava puSpadaMta sAgara 9 vAsupujja vimala palitaddhaM 12 maMti bAsa lakakha muNisu. vAsa lakkha 54 malissa bAsasayA 250 pAtha vardhamAna. Repetition in Jaina narrative literature UMyussa barisalakkha 5 namisma, vAsa sahassA 83750 missa Fig. 4: Antaras (see $ 12 and fn. 41 ibid.).

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(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 'datthuna kiramanim 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 diksa). (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 'Ikkhagakule jao' [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 (Avasyakaniryukti) 6-799. 232 1(2) 12(13) (2) (3) (4) (5) (6) 679 VSS (8) (9) (10) (11) (12) 70 Klaus Bruhn

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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 Rsabha dna Superival Candra Sitala Sanato 16.J. Bharata Sagara Trio Dvio Sva Bha Pu Su Puo Syo Fig. 6: Trisastisalakapurusacaritram IV (Jinas 1-16).

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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: Trisastisalakapurusacaritram VI-X (Jinas 17-24).

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RSamaH marataH dhapi / pUrvalakSAH 84 kunthuH varSasahasrANi 95 sagaraH ajitaH / saMbhavaH abhinandanaH 10. puruSapuNDarIkaH 350 (mamA / sumaniH ... 25. malliH 55 papraprabhaH supAvaH candrapramaH sunataH nArAyaNaH suvidhiH H hariSeNaH zItalaH . zreyAMsaH baralakSA: tripRSThaH 81 varSazatAni . vAsupUjyaH vimala: manantaH pArthaH Repetition in Jaina narrative literature .. vIraH hassAH2varSANi puraSottamaH puruSamihaH 15 12 // maghavAn sanatkumAraH zAntiH zAntiH Avasyakaniryukti with Jnanasagara's Avacurni (DLJP 108. 1965), p.251. Fig. 8: Grhas (etc.) Jinas 1-16 and 17-24 (see $ 14). EL

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- jinanA-bhavAH pUrvabhava- pUrvabhava- kSetradizaH / pUrvabhava- pUrvabhavanagaryaH pUrvabhavanA- pUrvabhava pUrvabhava. pUrvabhava jinahe- pUrvabhava- / pUrvamavAyuH mAni hIpAH kSetrANivijayAH mAni rAjyama garavaH zrutam tavaH svargAH RSabhaH 113 jambUdvIpaH jaMbUpUrva- zItottarA puSkalAvatI puNDarIkigo vajranAbhaH cakra. vajrasenaH dvAda- viMza- sarvAthasiddhaH 33 sAgaro vartI zAGgItisthA0 / / pamAni ajitaH " , zItAdakSiNA vacchA susImA vimalavAhanaH rAjA aridamanaH ekAda- kanici vijayaH / zAGgI0 dvizakti -maMbhavaH , ramaNIyaH zubhApurI vipulabalaH saMbhrAMtaH , rapi veyakaH 29 sAgaroabhina pamAni , maMgalAvatI rakhasaMcayA mahAbalaH " vimalavA-, , jayantaH 33 sAgaro pamAni -sumatiH / dhAtakI-dhAtakIpU. zItottarA puSkalAvatI 'puNDarIkiNI anibalaH sImandharaH " " " " khaNDaH videhaH / padmaprabhaH "zItAdakSiNA vacchAsusImA aparAjitaH , pihitA. veyakaH 31 sAgaro - 1 1 1 11 111 - Klaus Bruhn -supArthaH candraprabhaH -suvidhiH ramaNIyaH zumApurI nandISaNaH maMgalAvatI. rakhasaMcayA padmaH puSkalAvatI. puparIkiNI mahApaH |, aridamanaH |, yugandharaH 3 puSkaravara-pukaravara-zItottarA dvIpaH pUrvavidahaH aveyaka: 28 sAgaropamA0 , vaijayantaH 33 sAgaropamA. mAnataH19 sAgaro. / pamAni , sarvajaga Fig. 9: Saptatisatasthanaprakarana (Jinas 1-9, sthanas 1-13). See $ 15 and fn.53.

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Repetition in Jaina narrative literature 75 "58 Roar 7 - -- - OTEL. HEEN HTRA - - -- - - - 4 HN-Hu .. . tI 44 BE ma MIRYAL LEMERICASHRESSESA ACC sarakAra ONO.PAGE R 1 . Myana kaLAyalA DImka (c)83-D pariNAma mam LE+ 750valima - myAkamA prajAsamo STOREAT / %3D/ MN kAmAsAna M L ThuiVAL Alor HTRAN sammAna gAra / 10. o NDEL. Man fhotn...0meter . - - Hrin.kr ANAGEELAMuna E vAra Fig. 10: Central portion of Jambudvipa (Mahavideha etc.). See SS 15 and fn. 54. t SEE Mi * * .. ......... .00 - - - - ... . . . .00........... - - - Ol ONE wr - . - , ..... ... .. .. 1 ... .. ... . ... in 1....parika .. . far rth Homww kina.ki.sa FO A AMIN ma NORLD ...N0000amt . pampa4 METALA maMgatar " la . an RAN 10 TAMIT HARD EO MERI SURESH mAlinI DaHEEEEEEEEEE kAma vi HERECUPERIES nhind. " Carsa JEETTET "PRIDE bApave CHER biyANe POHTMLA Cod. Ksudeg Jinendra Varni: Jainendra Siddhanta Kosa BI DFES. VIRALAVerma, NMMS -.. virA AMOMEN pavAhinI ATHI AENORLD e yAca ramyaka kSetra ELECT RUT APHE ATTA nIla parvata pavArae kaI niSadha DER ma taharivarva kSetra Dahale manca aant..