Samay Sunder and his Sanskrit Works

Author(s): Satyavratsinh
Publisher: Z_Vijyanandsuri_Swargarohan_Shatabdi_Granth_012023.pdf
Catalog link: https://jainqq.org/explore/250288/1

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SAMAYASUNDARA AND HIS SANSKRIT WORKS SATYA VRAT A celebrated monk of the kharatara gaccha, an offshoot of the Svetambara branch of the Jaina faith, Samayasundara was, by all accounts, one of the most prolific writers that the Jainistic tradition has ever known. His initiation into the monastic order by Jinacandrasuri marked the beginning of what subsequently turned out to be an extremely rewarding and chequered career, though some aspects there of are shrouded in ambiguity, the profusion of sources not with standing. As affirmed by him and some of his pupils?, he was born at Sanchor in Marwar. M.D. Desai's suggestion that he was born in V.S. 1620,though smugly espoused by subsequent writers, does not stand a close scrutiny. By the time he wrote his first work, the Bhavasataka, in V.S. 1641, he had not only delved into the intricacies of the concept of Dhvani, as propounded by Mammata in his magnum opus, the Kavyaprakasa, which he sought to present concisely therein, he had also earned by then the respectable rank of gani. In view of the canonical injunction that the title was not to be bestowed on anyone unless he had been trained for about a decade, following his initiation, and the fact that Samayasundara joined Samayasundara And His Sanskrit Works 21

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the church quite late, in the prime of his youth, probably at the age of twenty, it would be sound to hold that he was ordained into monkhood some time in V.S. 1631 which would convincingly push his birth back to about V.S. 1610 (1553 A.D.) Though Sakala Candra Gani died soon after the young monk was assigned to him for proper training and education, it is a measure of Samayasundara's devotion to his erst while preceptor that he continued to honour his memory with reverential allusions to him, in almost all his writings. Samayasundara had joined the church almost as an illiterate villager, but his training under the Argus eye of his new teachers. Mahimaraja and Somaraja, turned him into a versatile poet and scholar well versed in various branches of learning including grammar, poetics, lexicography and canonical literature besides many languages. His works, on a wide variety of subjects vouch for it in an abundant measure. Samayasundara seems to have been extra ordinarily sharp and prolific in literary output. His academic equipment and meticulous adherence to religious pursuits earned him quick elevation in the heirarchy of the gaccha. It was nothing short of a feat that even before he came to compose his first work, the Bhavasataka, he had been honoured with the cherished title of Gani? The coincidence that the rank was conferred on him along with his teacher, in V.S. 1640, speaks volumes of Samayasundara as a monk and a potential literary prodigy. Other titles followed him in succession. The combined testimony of Karmacandravamsaprabandha (KVP) and Jainarasasamgraha (JRS) leaves little doubt that Samaya sundara graduated as a Vacaka not long there after. It happily synchronised with the comferment of the rank of Acarya on his teacher at Lahore in V.S. 1649, on the second day of the bright half of Falguna. While Rajasoma is unequivocal in stating that Samayasundara earned the title of upadhyaya (Pathaka) at Lavera (Jodhpur) from Jinasimhasuri, one of his teachers, he is enigmatically silent on the date of the event. However, his writings reveal it beyond cavil that a long interlude of over twenty two years intervened before Samayasundara could secure the coveted title. The VisesaSataka, written in V.S. 1672, is the first work to refer to him as Pathaka (upadhyaya)". The colophon to the Rsimandala Vrtti, assigned to the same year, also serves 22 Shri Vijyanand Suri Swargarohan Shatabdi Granth

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to uphold it. As the senior most monk and scholar in the gaccha, after the death of his teacher Jinasimhasuri in V.S. 1680, Samayasundara was automatically elevated to the high pedastal of Mahopadhyaya in accordance with the established practice. Harsanandana has actually hailed him as Mahopadhyaya in his gloss on the Uttaradhyayanasutra (Srisamayasundara mahopadhyaya caranas a roruhabhyam namah). Samayasundara was a widely travelled person. In the absence of definite evidence, it is difficult to ascertain his itinerary prior to V.S. 1644. He seems to have spent this formative period of his career in the vicinity of his teachers that served to equip him tremendously for the literary spree that followed. Thereafter his writings seem to form a reliable index to his widely diffused journeys. Their religious importance apart, these visits opened new vistas to the monk who had limited notions of the land and people. He came abreast of the rich variety that characterised the different regions of the country and, in the process, picked up quite a few of the regional languages. All this combined to make him a fuller and wiser man. By virtue of his manifold attainments he came to carry considerable weight with influential people in some of the regions and had been instrumental in securing ban on animal slaughter and excess on some segments of the population. Though. as stated earlier, his travels were widely dispersed, he seemed to have chiefly concentrated on his home state Rajasthan and the neighbouring Gujrat. It was there that most of his works were composed or brought to conclusion. Samayasundara had special fascination for Ahmedabad. He spent quite a few caturmasas there, which, as borne out by his writings composed there, were literarily highly productive. He visited Ahmedabad several times between V.S. 1687 to 1696. By 1696 (V.S.), being eighty-six, he had become a physical decrepit. Unfortunately, it turned out to be the most trying period of his life. His physical infirmities were exacerbated by severe mental agonies. While in V.S. 1686 he had to succumb to the stubbornness of his pupil Harsanandana which led to a schism in the church, the next year, when he was stationed at Ahmedabad, Gujrat was struck by a terrible famine. The famine broke out with such ferocity that the entire social and moral fabric was sapped dry. It took an extra-ordinarily heavy toll of life. Samaya sundara himself was reduced to such dire straits Samayasundara And His Sanskrit Works 23

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that he had to sell out his books, utensils and other articles of daily use, otherwise something abhorring for a monk to do. His misery was gravely compounded by the perfidy of his pupils who, though deeply indebted to him for their manifold attainments, deserted him when he needed them most to relieve the rigours of the old age. Samayasundara has drown a moving account of the havoc the famine spelled all aromd and the ingratitude and treachery of his disciples which even now sends shudder down to one's spine. The two combined to deal a deadly blow to him. He died in V.S. 1703 at the ripe age of ninety three, a broken man, indeed a painful antithesis to his otherwise smooth and respectable career. Samayasundara was indeed a versatile genius. He is the sole jaina author who can be termed as the nearest approach to the legendry Hemacandra in literary output and spiritual input. The plethora of his writings in diverse languages attests to it in an ample measure. He was equally at home in grammar, poetics, prosody, linguistics, logic, astrology and canonical and ritualistic literature. While he is credited with a large number of works in Rajasthani, which compel revision of some of the notions smugly clung to so far, he made substantial contributions to sanskrit by his abundant and diversified writings. Some of his Sanskrit works can assuredly be claimed to be unparalled in the domain of literature, which combine to establish him as a mighty scholar and a gifted poet. An in-depth study of his Sanskrit works could have been rewarding at any point of time. This is what is sought to be attempted here. Samayasundara imparted new dimensions to the sataka genre of literature. What was intended to enrobe the erotic or gnomic poetry, has been turned by him into an effective medium of sastric lore. His Bhavasataka, known through its solitary codex deposited with the L.D. Institute of Indology, Ahmedabad, thus seeks to detail the various divisions and subdivisions of the Dhvani form of poetry which rests on the preponderance of the suggested sense as ably propounded by Mammata in his magnum opus." What the author of the Kavyaprakasa had presented in detail, stretching it beyond imaginable bounds, Samayasundara has reduced to a tiny volume, obviously to facilitate a clearer and quicker understanding of the concept. The Bhavasataka bespeaks the zeal of the young author to delve deep into the intricacies of 24 Shri Vijyanand Suri Swargarohan Shatabdi Granth

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Dhvani and perpetuate its tradition, though bitterly threatened by a vast array of critics. Written in V.S. 1641 (sasisagararasabhaitalasamvati vihitam ca Bhavasatakamidam), it is believed by common consensus to be his first work. The Samacari sataka, on the other hand, is concerned with the Jaina ethics. It was intended to meet the offensive viciously launched to denigrate the jaina faith in general and the kharatara gaccha in particular. It forms part of the tradition represented by such notable writings as Padavyavastha, kulaka of Jinacandra suri, Vidhiprapa of Jinaprabhasuri and Acaradinakara of Vardha mana suri. While stoutly repudiating the blashphemous charges of Dharmasagara and others of his ilk, the author has discreetly refrained from hurling counter accusations. The Samacari ka seeks to resolve one hundred controversial issues pertaining to ethics and to establish, in the process, the compatibility of the Kharatara gaccha with the canon. Samayasundar has backed up his views, almost invariably, with canonical precepts, though he is not oblivious of his limitations. The Samacari Sataka is divided into five chapters (Prakasa) which are further sub-divided into uneven sections (Adhikaras) that add up to a century to justify the title of the work. Each adhikara is addressed to resolve a particular issue. In the absence of the Prasasti to the work, it is difficult to ascertain the date of its composition. On the basis of a verse, not found in the printed text, is the samacarisataka is believed to have been concluded in V.S. 1672 at Medata (Jodhpur), though it was started at Siddhipuri in Sindh and a part there of was written at Multan in V.S. 1669. Written in the same year, at the same venue, the Visesa Sataka seeks to resolve one hundred doctrinal or ritualistic problems posed by an inquisitive pupil. In consonance with his known style, the author has educidated each issue in a lucid language, on the basis of the authoritative texts. In a bid to facilitate a clearer understanding of the canonical excerpts, he has rendered in simple phraseology such of them as he deemed hard for the reader to grasp. The pieces culled from the sutras, attest to the author's unquestioned insight in those texts. Some of the questions discussed in the Sataka are interesting and deserve attention. It Samayasundara And His Sanskrit Works 25

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is concluded, for instance, in the fourth Prakarana that Jamali would attain liberation after fifteen births. The author has upheld it on the basis of Hemacandra's Mahaviracarita. The Vicaras'ataka also addresses itself to explain and solve a century of issues pertaining to Jaina philosophy, in a style not dissimilar from that of the preceding Sataka. Samayasundara meticulously adheres to the tested method of upholding the elucidation with scriptural texts. It has, however, resulted in an overabundance of doctrinal terminology creeping into the work. The Sataka consists of 100 Prakaranas with each section dealing with one problem, though some of the problems spill over in more than one Prakarana. The Prasasti proves it beyond doubt that Medata again formed the venue of its composition, attempted two years subsequent to the Visesasataka, in 1674." The Visamvada Sataka locates and enlists one hundred of such of the topics in the Canonical texts that are marked by bewildering inconsistency and contradiction. The author has wisely desisted from the frustrating task of explaining them away or otherwise smoothening them. The Visamvada Sataka is known to have been composed in V.S. 1685. The only known manuscript of the sataka, written in V.S. 1889 and preserved in the Abhaya Jaina Granthalaya, Bikaner, is unhappily corrupt and illegible. Astalaksi or, Artharatnavali is undoubtedly the most pedantic work of Samayasundara and has been chiefly instrumental in ensuring him abiding glory. It represents an acme to the literary feat of multiple interpretation which has a long tradition in Sanskrit. Stung by the unkind charge, voiced at Akbar's court, that the Jaina sutras are imprecise to the extent of being liable to manifold interpretation, Samayasundara embarked upon the frightening task of proving its veracity, in true perspective, by extorting more than ten lakh meanings from the innocuous jumble of syllables. 21-571-7-3-3----(TGT C en) However, on subsequent scrutiny, two lakh twenty thousand, four hundred and seven meanings were discarded as untenable, leaving the remaining eight lakh to impart the work the alternative appellation, it bears till date. Such literary gymnastics have doubtless fascinated the scholarly poets, but even the most erudite authors of the Samdhana kavyas tend to pale into insignificance before Samaya sundara's stupendous tour de force. On the author's own 26 Shri Vijyanand Suri Swargarohan Shatabdi Granth

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testimony, the Astalaksi was blessed by Emperor Akbar while he was camping at Lahore, en route to Kashmir, on the thirteenth day of the bright fortnight of Sravana in V.S. 1649. The endless interpretation of the brief sentence presupposes the author's profound equipment in Sanskrit grammar and lexicography. Samayasundara was indeed well-versed in both H mentioned the eight lexicons that he had mastered prior to setting himself on the prohibitive task. Queer break up of the sentence, followed by equally startling meanings of the various units thereof has enabled the author to put incredible intepretations on it. The following renderings sufficiently reflect the poet's expertise in the art. 1. rA AjA no adadata Isokhyam / rA paryAyeNa zrIH / 'a: zive kezave vAyo' iti vizvazambhUvacanAd a vAyu ati zriyati gata bhakSa (ya) tIti avi Aja: sarpastaMna A zobhA yasya sa AjAH / zrI (rA) parvaka: AjA: zrI (rA) AjA:-zrI pArzvanAtha:sarpalAJchanAt / sa naH asmAkaM Isokhyam adadata / iti catartho'thI: srve| 2. lA ja / A no dadate sokhym| 'lA ca lakSmIlamambare' iti vizvazambhu- (zloka 104) vacanAt lA lakSmIH / he ja / he jetRpuruSa / A iti smbodhne| na: asmabhyaM 1 asmAkaM 2 vA sokhyam asokhya vA 2 dadate / idaM bhoginA yoginAM ca vacanama / srve| 3. R-A-ajA no dadate asokhyam / __ RmeSastam A sAmastyena ajanti kSipantIti ratve kRte rAjA: sihAdayaH naH asmAkam asAMkhya dadate / idaM mRgANAM vacanam / / Some of his shorter works, especially the stotras, also bring out in relief, Samayasundara's equipment in literary gimmicks, not precluding yamaka, slesa and samsyapurti. The stotras are mostly addressed to Parsvanatha, though his devotion to Rsabhadeva and Mahavira, as attested by his other writings is beyond dispute. Quite a few of Samayasundara's stotras are infested with Yamakazu of various hues, while some others have been pressed into service to parade his expertise in handling the slesa. Samayasundara could also not resist the temptation of succumbing to the various bandhas, 22 inherent in the citrakavya, howsoeverodd they may seem in devotional hymns. Whatever their worth as an index to the poet's pedantry, these literary gymnastics combine to turn the stotras into an exercise in artificiality, which otherwise Samayasundara And His Sanskrit Works 27

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are supposed to exude warmth and devotion. It however, goes to his credit that, more often than not, he has not over stepped the bounds of moderation. Some of his stotras are characterised by an admixture of sanskrit and Prakrit, as a feat also exploited by others. Samayasundara has tried his hand at the popular feat of samasyapurti as well. In the Jinasimhasuri padotsave-kavya, he has sought to incorporate the last quarter of each verse of Raghuvamsa, Canto Three, in the body of his poem to describe the function, arranged with fanfare by Prime Minister Karmacanda Bacchavat, to celebrate the elevation of his teacher Jinasimhasuri to the rank of Acarya. Even while describing an event, so distinctlyapart from the original, the beauty of Kalidasa's lines has been retained, almost intact. A transcript of the poem is said to exist in the Abhaya Jaina Granthalaya, Bikaner. The Rsabha-bhaktamara stotra (RBS)25, though written by way of samasyapurti of Manatunga's famed hymn, the Bhaktamara, represents a pole apart from the literary trickery. Despite the constraints of the samasyapurti, the RBS is distinguished by pleasing lucidity and deep religious fervour that seems to set at naught all else, howsoever attractive and appealing that may be. The similarity of theme has been instrumental in securing the warmth of devotion that pervades the stotra. It reads like a spontaneous outpoouring of an emotionally surcharged heart. Sweet phraseology, repeatedly enlivened by Anuprasa, serves to assure it a high place in the galaxy of devotional hymns. The verses, instanced below, would testify to its veracity. namendravandra kRtabhadra jinendra candre HTHGY-FEL-Fargu-fall tvamUrtirartiharaNI taraNI manojJe vAvalambana bhavajale patatAM janAnAm // 1 // bhAsvadguNAya karaNAya mudoraNAya vidyAcaNAya kamala prtimekssnnaay| sallakSaNAya janatAkRtarakSaNAya tubhyaM namo jina ! bhavodadhizoSaNAya // 26 // Written in V.S. 1653 at Idar (Gujrat) for his pupil, the Mangalavada 28 Shri Vijyanand Suri Swargarohan Shatabdi Granth

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seeks to examine the objectives of the benediction (mangalacarana) from the standpoint of Nyaya philosophy. The detailed evaluation led the author to conclude that the mangalacarana was of three types - physical, oral and mental. The absence of benediction in Kesavamisra's Tarkabhasa is explained on the ground that it is the mental benediction that has supplanted the formal mangala here. Though the work is concerned with neo-nyaya which is notorious for toughness, the presentation is throughout lucid and precise, shorn of unnecessary accretions or details. One of its codices forms part of the treasure of rare manuscripts in the Abhaya Jaina Granthalaya, Bikaner. Samayasundara did not mean to overburden his writings with abstruse grammatical forms : However, his firm grounding in grammar is evident from his references to the Astadhyayi, Hemacandra's Linganusasana, Kalaparyakarana and Visnuvartika. Sarasvata-vyakarana-rahasya (SVR) and Sarasvate-sabda- rupavali (SSR), that forms a sort of supplement to the former, bear testimony to his equipment in the Sarasvata system of grammar. The initial and concluding parts of the SVR indicate that the author had herein dealt with the Sarasvata vyakarana in its entirety but the known segment is confined to the verbal forms alone, albeit in all the tenses and sub-divisions. One of its MSS is known to exist in Jinanarivihara, Palitana. The autnorship of the SSR has been disputed, though a verse, 26 quoted by Vinayasagara, unmistakably attributes it to Samayasundara. The Kalakacarya-Katha (KK) forms an important contribution to the story - literature. The story of Kalaka has exercised powerful influence on the jaina society to the extent that it led to the emergence of no less than thirty works of uneven worth and girth. Samayasundara's KK occupies a high place in the series of similar works, attempted earlier. It is still known through its manuscripts which are deposited with some of the Bhandaras at Bikaner, Calcutta etc. The KK was written in V.S. 1666 while Rawal Tejsi was ruling at Vikramapur.' One Kathakosa is also attributed to Samayasundara though it is not clear whether it was an original work or a mere collection of earlier stories. A MS of the Kathapatrani, written at Jalore in V.S. 1695, by the author in his own hand, contains 114 stories. The Visesa-Samgraha, intended to be a guide to the young Samayasundara And His Sanskrit Works 29

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students, adds up, in all essentials, to a selection of excerpts from ancient text and their commentaries, on a wide variety of subjects. The excerpts are properly referenced to facilitate quick location in the originals. The selection is a virtual boon to the researchers, the like of which is hard to come across. The Visesa samgraha was written at Lunakarnasara (Bikaner) in V.S. 1685. 28 Some of Samayasundara's works deal with Jaina rituals and other religious observances. Caturmasa Vyakhyana (V.S. 1665), Sravakaradhana (V.S. 1667) and Diksa-pratistha suddhi (V.S. 1685) belong to this class. The last work is distinguished by a profound discussion on astrological matters. Samayasundara was brilliantly helped in its composition by his grand pupil Jayakirti, who was well-versed in astrology. 29 His Kharataragaccha-pattavali (KP) seeks to trace the genealogy of the pontiffs of the Kharatara-gaccha, right from Ganadhara Gautama, the first disciple of Lord Mahavira. Its value is immensely enhanced by the life accounts of the different Acaryas, appended to the tables. Samayasundara wrote the work at Khambat in VS. 1690. The well-known Abhaya Jaina Granthalaya of Bikaner is said to be in possession of one of its MSS Trnastaka, Rajustaka, Udgacchatsurya bimbastaka and Samasyastaka are some of the minor works of Samayasundara that are available in print." 31 Besides these original writings on a wide variety of subjects. Samayasundara has to his credit an equally large number of commentaries on ancient texts, both sacred and profane, that serve to establish him as a scholiast of no mean order. His commentaries concern themselves, not unlike his original works, with diverse disciplines. These seem to have been spurred by the keenness to meet the requirements, of his pupils in the monastry. In view of their succintness, most of the commentaries are appropriately called Vrttis. Only a few of them are available in prints, the other being scattered in various Bhandaras in the form of manuscripts which are hard to be secured for proper evaluation. Of the non-jaina works Samayasundara has chosen for elucidation, Kalidasa's Raghuvamsa and Kumara sambhava deserve special attention. Shri Vijyanand Suri Swargarohan Shatabdi Granth 30 30

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The two poems have indeed been worthy games for many a jaina scholiast. Samayasundara's vrtti on Raghuvamsa, aptly named arthalapanika, seeks to resolve the text in a simple language with particular stress on dissolving the compounds, At places the author has offered fresh interpretation of the well known verse or parts thereof. The compound parvatiparamesvarau in 1.1, for instance has been interpreted as paravatipasca Ramesvaras'ca iti (Sivakes'avau) Pitaprati baddhavatsam (11.1) has likewise been given a new rendering as : pitah sankurudahrta ityuktatvat pite sankau pratibaddho vatso yasyat tam. A copy of the Arthalapanika is preserved in the Jaina Bhawan at Calcutta It consists of sixty seven folios. According to Vinayasagara ji, it was written at Khambat. in V.S. 1692. A similar pattern of interpretation is witnessed in the vrtti on kumarasambhava. The Jinanarivihara of Palitana (Gujrat) is in possession of a MS of the commentary which attests to its having been written in V.S. 1679. Samayasundara's gloss on the Vrttaratnakara reflects his deep grasp of the science of prosody. By virtue of its manifold merits it commands a high place in the mass of commentaries it has evoked, down the years. Composed of six Chapters, the vrtti is known to have been concluded in V.S. 1694 on the auspicious day of Dipavali." Three of its manuscripts are deposited with the Jaina Bhawan, Calcutta Samayasundara is credited with the commentaries on Meghaduta and the third canto of Maghakavya also. The latter is known through its solitary MS preserved in the Surana library at Churu (Raj). His Tika on Vagbhatalamkara of Vagbhata is intended to unravel the essence of Sanskrit Poetics, as it is propounded in the work. The commentary is marked by a pleasing clarity and performs well the purposu it was expected to discharge. While elucidating the various concepts discussed by Vagbhata, the commentator has not shunned to evaluate the views enunciated on the subject by the other writers. That invests the commentary with a critical flair. It was primarily meant to serve as a guide to the author's pupil Hari Rama in prosecuting his studies in Poetics. It is known for certain to have been composed in V.S. 1692.34 Samayasundara And His Sanskrit Works

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It is again to his keenness to minister to the needs of the students that his gloss on the Dasavalkalika sutra, one of the most sacred text of the Jainas, owes it origin. The Dasavaikalika sutra has been commented upon, down the years, by a large number of enlightened scholars including the polymoth Haribhadra Suri, whose commentary Samayasundara denounces as abstruse (visama) 36 Samayasundara has handled the Prakrit text with assured authority. The Dipika unmistakably betrays his deep grasp of the vast mass of canonical literature. His claim that the gloss, though not inexhaustive, is characterised by lucidity and ease, is not unjustified. It indeed serves to project the contents of the text in bold relief. On the author's own testimony, the gloss was written at Khambat, in V.S. 1691 (sasinidhisrngaramite varse). His commentary on Bhadrabahu's Kalpasutra, another equally sacred text, is aimed to serve a higher purpose, much beyond the academic needs of the monastic students. The Kalpasutra is known to have evoked, over the ages, as many as ninety commentaries. Samayasundara seems to have gone through at least a majority of them with a good sieve. He was justifiably convinced of the merits of his Kalpalata," which, he asserts, with an egoistic air, was sure to surpass the earlier glosses and commentaries. Though begun at Lunakarnasara, it was completed at Rinipura, some time between V.S. 1684 and 1685, when, as confirmed by Dwayarasamiravrtti and yati - aradhana respectively, Samayasundara was camping at Rinipura. Written at Ahmedabad in V.S. 1688, Samayasundara's gloss on Navatattvaprakarana, popularly known as Navatattva-vrtti (samvat-vasu-rasa -mite), has the undoubted merit of driving home, in lucid and simple phraseology, the essence of the nine tattvas, that form the core of the Jaina doctrine, and, as such, serves as a gateway to the abstruse tenets of the Agamas. The Dandakaprakarana of Muni Gajasara, consisting of 42 Prakrit stanzas, has also received Samayasundara's attention. The gloss seeks to explain each gatha concisely in a manner that the true import thereof is brought home without any ambiguity sticking to it. It was written at Ahmedabad in V.S. 1696. A MS of the gloss is deposited in the collection 32 Shri Vijyanand Suri Swargarohan Shatabdi Granth

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of the late Puran Chand Nahar of Calcutta. Himself a noted writer of devotional hymns, Samayasundara could have hardly ignored the stotras, which command as much reverence as the canonical texts, nay are more popular with the laity. He has indeed elucidated some of the more popular stotras with his glosses and notes. Besides the great Bhaktamara and Kalyanamandira, Samayasundara has commented upon Rsimandala, Saptasmarana, Duriyarasamira and Jayatihuna. While his glosses on the last three are available in print, those on Bhaktamara, kalyanamandira and Rsi-mandala are known to exist in the form of manuscripts only. Samayasundara is also stated to have commented upon Vimalastuti, Linganusasana, Anitakarika, Sarasvata-Vyakarana, Verayatha and Cattari paramangani which are scarce to obtain. The vrtti on Sandehadohavali of Jinadattasuri, a work on Jaina ethics, was written in V.S. 1693. Thus Samayasundara was a man of many parts. He embodied the tradition of sound and multi facet scholarship that has unfortunately faded out. The mere quantum of his literary output would do credit to the greatest author. And what has been revealed here pertains to one language only. His writings in Rajasthani form a formidable mass of literature. References 1. Sitarama caupati, 6.3.50, Bikaner, V.S. 20/9, 2 Naladavadanti-rasa, Ed. R.C. Shah, Bharata Prakasan, Ahmedabad, Appendix III, P. 137. 3. Anandakavya-mahodadhi, Part 7. Jaina Pastakoddhara Fund, Bombay, V.S. 1982. 4. Vyavaharasutra, Sanderva, 1980 A.D., 3.7, 10.24-27 5. navayauvana bhara saMgayama saMgrahyo / Harsanandana. 6. Darsavaikalika-vrtti, Prasasti, 2-3, Bhavasataka, 99 etc. 7. afogouf4444-GT NOTHT 1992 Thefaced i Bhavasataka, 99. 8. Tufa44444- Turait anahtaret KVP, 62. 9. 1046 Tufat4 73, 4414754 IJRS, Part III. 10. Naladavadanti-rasa, Appendix 3, Rajasoma's Samayasundaragitam, P. 133. 11. aroglu-HAUTE-24130hd Yadf464 | Viseasatakam, 4. Samayasundara And His Sanskrit Works

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12. (a) Satyasiya-duskala-Varnana-Chattisi (Rajarthani) Kusumanjali, Ed. Agarchand Nahta and Bhanwar Lal Nahta, 4, Jagmohan Mallik Lane, Calcutta-7, P. 501-512. (b) Guru-duhkhita-vacanam (sanskrit), Ibid. P. 417-419. 13. S h ira afiffa Hsi faca 141 vAcyAtizAyivyaGgayAn kavitvabhedAnahaM vacmi | Bhavasataka, 2. 14. Kusumanhali, Op. cit. Vinayasagara's introductry write-up, Mahopadyaya Samayaundara, P. 53, F.N. 14 15. Sri Jinadattasuri-Jnanabhandara, Bombay. V.S. 1993. 16. Kusumanjali, Op. cit., P. 53, F. N. 16. 17. Vicarosataka, Prasasti, 1. 18. Ed. Hira Lal R. Kapadia, D.L. Jaina Pustakoddhara. 19. Anikartha-ratna-manujsa, D.L. Jaina Purtakoddhara Fund, Bombay, V.S. 1989. P. 65 20 Sri Parsvanathayamaka-baddha-laghu-stavanam, Kusumanjali, op. cit. p. 187., Sri Parsvanatha yamaka-bandhastotram, Ibid, 192. Yamakamayam Parsvanatha-laghustavanam, Ibid, 621; Yamakamayam Mahavira-brham-stvanam, P. 622-623. 21. Sri Cintamani Parsvanatha-slesamaya-laghu-stavanam, ibid, P. 188; Nanavidha-slesamayam Sri-Adinatha-stotram, Ibid, 615. 22. Sri Parsvanathasya Sunkhalamaya-laghu-stavanam, Ibid, P. 189; Sri Parsavanathasrngatakakandha-stavanam, Ibid, P. 193 etc. 23. Sanskrit-Prakrit-khasamayam-Sri Parsvanatha-stakam, Obid, P. 196. 24. Get after bhavAntata: pUjyapadaM pralabdhavAn / prabho ! mahAmAtyavitIrNakoTiza: sudakSaiNAdo hada ! lakSaNaM dadhau / / 1 / / 25. Kusumanjali, Op. cit., P. 604-614. 26. Aries Hunfo danifica Fred ETT AT TISUT-17424 II SS'R, Prasasi, 1. 27. KK, Prasasti, 1. 28. Visesa-samgraha, Prasasti, 3-4 29. Diksa-Pratistha-suddha, Prasasti, 1-2 30. KP, Prasasti, 1. 31. Kusumanjali, Op. cit., P. 494-497. 32. Kusumanjali, Op. cit, his wrie-up, Mahopadhyaya Samayasundara, P. 51, F.N. 6. 33. Vrttaratnakara-vrtti, Prasasti, 2. 34 Shri Vijyanand Suri Swargarohan Shatabdi Granth

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34. Vagbhata lamkara-tika, Prasasti, 3. 35. mayA tu zIghraprabodhAya ziSyArthaM sugamA kRtA / 36. haribhadrakRtA TIkA vartate viSamA param / 37. Sri Jinadatta suri-jnana-bhandara, Bombay, V.S. 1996. .38. vakSye'haM kalyasUtrasya vyAkhyAni nava sphuTam / sumAni subodhAni nAnAgranthAnusArataH / / na sUtraM nAvacUrizca na vRttirnAnyapatrakam / grAhya vyAkhyAnavelAyAM pustake 'smin karasthite / Kalpalata, 2-3 39. Kalpalata, Prasasti, 17. Samayasundara And His Sanskrit Works 35