Sambodhi

Author(s): Dalsukh Malvania, H C Bhayani, Nagin J Shah
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/014027/1

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SAMBODHI
(QUARTERLY)
VOL. 9
APRIL 1980 - JANUARY 1981
Nos. 1-4
EDITORS DALSUKH MALVANIA DR. H. C. BHAYANI NAGIN J. SHAH
L. D. INSTITUTE OF INDOLOGY AFMEDABAD-9

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CONTENTS
Page
Haribha dunia Synthesis of Yoga Shantilal M. Desai The Buddhist and Jaina Concepts of Man and Society as Revealed in Their Religious Literature Padmacabh S. Jaini Haoma as a Plant in The Avestan Text " S. N. Ghosal
The Main Features of Mahāvira's Conuibutions Suzuko Ohira
A Note on Āyāramga-Sutta 1.2.6.3 Michihiko Yajima Uttarajjhayana and Socio-Religious Formalism Ram Prakash Poddar Ājñāpatra and Sanskrit Works on Polity-A Comparison 85 Ganesh Thite Some Special Aspects of Jaina Philosophy as a School 92 of Indian Philosophy Arvind Sharma
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A P2 aibāra Sculpture in the British Museum : Vāgdevi or Yakshi Ambikā? Kit Mankudi

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HARIBHADRA'S SYNTHESIS OF YOGA
Shantilal M. Desai
Vyāsa the great seer and the sage taught his son śukadeva all the scriptures but for the final exhortation he sent him to king Janaka. When Sukadeva approached the king he asked Sukadeva to bring a gift that would be useless. After a long search Sukadeva saw that it was the ego that is useless! He ran and went straight to the king Janaka and offered his own ego as a present to the Guru. Janaka was very much pleased and gave him the final benediction and blessed him and said, “The root of all knowledge too is in the ego if it is sublimated and integrated into superconsciousness."
This epic story is full of meaning and suggests that seeds of true integration lie in the evolution of mind and the personality and its final summit rests in the Superconscious. All the attempts in this direction are true efforts for synthesis and Haribhadra has done an unique task in the field in the beginning of the middle age. It is interesting to see how Haribhadra prepares a philosophic background for his synthesis and how he adopts and interprets different yogic concepts. In a way his was the first attempt for the synthesis of yoga and that too so early as in the eigthth century and naturally the effort cannot be expected to be a complete and final synthesis.
Haribhadra's Integral Approach
The kārikās of Haribhadra make it quite clear how he has approached the yoga systems of yoga and how he has tried to come to an integrated thesis of yoga. They are the Kārikas 524, 525, 526 of Yogabindu and 207 of Yogaděştisamucchya. In the last one he emphatically says that he has gleaned yoga concepts from different scriptures for the sake of refreshing his own smộti (-awareness). Here the word smsti does not mean more mental refreshing of thought but to rise above mind and stay in his own Atman or the Self. In short like any great genius, he frankly says that the greatest benefit in writing books on yoga is to himself. But he does not rest content with only his own benefit. He knows too that there are aspirants to whom these books or this integrated approach is equally useful. He makes such a recommendation to them in Kārikā 524 of Yogabindu to adopt a similar integral approach to yoga knowledge for their own benefit. Those who are prepared for their own good (svahitod yataih)
Sambodhi IX(1)

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should adopt such an approach and that is why we too do likewise in accordance with Haribhadra's behest and study his work in the same manner.
We can see eight stepts or eight aspects of his integral approach. These can well be gleaned from these above-mentioned Kārikās. More Kārikās can be added to this list but these above sufficiently clear these aspects.
According to Haribhadra the wise man should not have any distinction like one's doctrine or other's doctrine. The doctrine or the established truth (siddhānta) should never be a matter of one's like or dislike or of one's whim. It must be above one's prejudices. It must be judged on own merit. Truth stands above everything and it cannot be grasped if viewed with attachment or indifference. It should not be a matter of a secterian faith. One should have to rise above one's faith and should judge the established truth and accept it whether it is ordained by his faith or whether it belongs to another faith. Truth itself is its awn criterion. This is the first requirement for a synthesis. The second factor or aspect follows from the first. The doctrine or truth must be logicaily sound and rational. It should be established by reason and logic and should not go against the testimony of observation and inference. It must be Yukta i.e. well-reasoned and well established by logic. Such a truth alone must be acceptable. No doctrine which cannot pass the test of reason and higher reason and intuition can be acceptable to the wise. The term covers a wide meaning and cap include higher reasoning and even intuition of the seers.
The next factor for synthesis is naturally the outcome of the first two factors. Such truth-seeking and rational approach to truth is possible only if one adopts an impartial attitude. Any judgement to be true and faithful should be completely impartial and objective. Haribhadra calls such impartiality as Madhyasthatā. It is suggestive of balanced and detached approach and still there must be an eagerness to see the truth. Such an impartial observer of truth must be well versed in scriptures and a knower of the essence of truth i.e. Tattvajña. This term leads to the next requirement of synthesis. The word Yukta and Tattvajña include in themselves three more factors for the recognition of truth. They suggest, first, that the seeker after truth must be very eager to know the truth, he must be yearning for truth. Without keenness for truth, no truth can be seen. This is suggested by the word Svahita i.e. one's own good. These are the words used by Haribhadra in the Karikās 524 in Yogabindu. The aspirant should try and try again and constantly search for truth and nothing but the truth and such intense yearning alone can lead to the knowledge of truth. But this too is not sufficient. The searcher must have the capacity to examine

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truth and must be able to distinguish between the truth and the untruth, between truth and half-truths. It requires discrimination and that alone can enable him to find out the truth from the chaff of half-truths or partial truths. But this too is not enough. One may be able to see truth but cannot grasp it or cannot adopt it. This is well illustrated by the wellknown confession by the evil genius of Duryodhana in the greatest epic of th- Mahābhärata. He says that he knows Dharma (truth) but cannot follow it; he equally knows the untruth but he cannot eschew it. Such a tragic condition was not his alone but of the many even today and of all of us to a greater or lesser extent. Truth only seen and not grasped is almost useless as it is well shown by the same character of Duryodhana. Truth can be proved to be benevolent only if it is grasped and followed in action. This is not an easy task. It requires moral courage and unequivocal love for the truth to practice it. Action is the right test of truth. This is the last and best test for the right internal approach to truth. In short the eight factors for integrational approach are : (1) detachment (2) impartiality (3) keenness (4) right examination of truth (5) discrimi. nation between truth and untruth (6) acceptance of truth and rejection of untruth (7) the moral courage to grasp the truth (8) concomitance with the truth. The first four factors are specifically stated by Haribhadra and the last four ones are natural deductions from them. Haribhadra's integral approach consists of all the eight aspects examined above. With such an attitude he picked up the drop of yoga from the ocean of yoga-texts, as as he himself states in the Kārikā 526 of Yogabindu. In Yogadęstisamu. ccaya he makes a similar statement in Karika 207, His primary aim is for his own spiritual upliftment but as a writer he hopes that his yoga-works should make the people and especially the readers and students of these books yoga-eyed. This is suggestive of his service motive as well as his desire for propagation of yoga.
Such an integral approach gradually grew in the life of Haribhadra. In the beginning of his career as a Jain Ācārya he stuck to the newly accepted meanings of the traditional terminology. Dr. Zaveri has rightly quoted the word Sarvajñatva in this regard and she has shown that in Dharmasangrahani he too followed Jain äcāryas like Siddhasen and others in interpreting this word. It is the Jain traditional belief that Sarvajñatva was gained only by Jain Tirthankaras like Mahavīra and others and not by Kapila and other non-Jain seers. But when Haribhadra takes up yoga works he changes his opinion and unequivocally declares that the savants who attain to nirvāņa attain Sarvajñatva or omniscience. From this and other instances it is seen that he grew out of secterianism gradually and at last even from secterianism of his accepted Jain religion. He had a frec

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mind that could not be limited by any narrowness whether such limiting
rces came in the name of religion. That is why Haribhadra finds his real self in his yoga works and finds too the right and free expression of his independent spirit in the field of Yoga.
Three Stages of Synthesis
Not only the meaning of synthesis widened with the growth of his life and personality but the usage of the word got extended with its usage. The growth can be shown in three stages (1) In the first stage he tried to see and understand different view-points on a particular problem and to place them in such a way that there would not be seen any conflict amongst them. In doing so he tried to see each in their proper perspective and see the underlying meaning behind each one of them and never discarded any one of them. Behind such an attempt the influence of Syādvāda can be clearly seen. (2) But in the second stage of synthesis he went one step further and tried to see different view points by interpreting and adding meanings to the prominent words in each of them. This is not an arbitrary interpretation but he tried to strech the meaning of such words as far as possible in order to have a sound synthesis of all view-points on a particular problem or a question. (3) In the third stage he tried to go even beyond this and went to the core of each of the view-point and tried to catch the essence of their prominent words so that such words and their meanings can be interpreted for a real synthesis of all the view-points. The second and third stages of synthesis are creations of Haribhadra's own method of integration. By such a sound method he tried to interpret different words like 'Isvara', *Praksti', 'Advaita', Vijñāna', 'Sunya' and other words in such a fashion that the gap among different philosophers could be lessened 2. Similarly, he interpreted words like 'Mukta', 'Buddha', 'Arhat' etc. in a like manner and considered them to mean the same Siddhapuruşas who are all omniscient.3
Haribhadra is conscious enough to see that no overdoing be done in the name of synthesis and he takes care to see the opponent's arguments with regard to such integral interpretation of different prominent words and vādas. The opponent would argue and ask why each vāda has used different terms and different concepts. Haribhadra anticipates such an argument and tries to answer it. Sages and seers gave expression to the same truths but they differed in their exposition in the different context of their terms. Moreover they had to see the difference of their respective audience and the difference of fitness or qualifications of the disciples too. So the difference in context of time, of the audience and the fitness of the dieciples are the main reasons for the difference in their respective expositions.

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Haribhadra's Synthesis of Yoga
We add to these arguments and say that the difference in the tradition, the language and the background and the development of each Vada and the difference and uniqueness of the growth of each savant or the seer also played a great part in their respective exposition of the same truth. In short it can be seen that Haribhadra endeavoured to establish the age-old saying that truth is one and seers express it in many ways.
Haribhadra never rests content with synthesis of thought or philosophy. He did well in this field in his works on philosophy. What he really wanted was synthesis in life and he desired integration in the life as a whole and in the society too. Naturally his yearning for an all-round integration led him to yoga because he could see in metaphysical works that the ultimate problem could be rightly understood and fully solved only by superconscious knowledge and on a transcendental level of higher consciousness. Such knowledge and such bigher level of life and consciousness is only possible by yoga and yoga-practice. Yoga alone would lead to yogi-jñāna and yogi-jñāna alone can satisfy the inquisitive and aspiring mind like that of Haribhadra. So his turning to yoga was a natural outcome of his persistent efforts for the true knowledge throughout his life. He felt sure that the ultimate questions of omniscience, Mokşa, Karma etc. can only be solved by yogijñāna and this he makes clear in Kārikā 143 of Yogadsstisamuccaya. Any other attempts except Yogijñāna are useless and lead to mere wranglings in metaphysics. This is his considered view after a life-time of efforts in writing philosophic books. His view is fully supported by seers of all ages and all religions all over the world,
The natural and logical corollary of such a vision is that one should strive hard to have yogijñāna. It is only possible by sincere and honest practice of yoga. Yoga and hard practice of yoga alone can lead to yogijñāna and that is why Haribhadra eulogises yoga untiringly. In Karika 37 and 38 of Yogabindu he compares yoga with the wish-tree or the wishdiamond. Yoga to him is the chief among all religions or dharmas and yoga is success itself. Yoga alone can lead to the ultimate reality. This was Haribhadra's considered opinion which was not merely a matter of belief but the essence of a life-time of a scholarly and religious pure life.
Yogabindu and Yogad rstisamuccaya and General Review
It is quite pertinent now to take up the last and the best yoga-works of Haribhadra. Haribhadra is at his best in these two works and more so in the last work i.e. Yogadrstisamuccaya. These books are in verses written in Sanskrit. Both of them show his mastery over the language and display the clarity of his style. He uses new words to suit his meanings. He uses

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comparative method of synthesis and avoids controversies as far as possible because his main task is integration. In the first Karika of the introduction to Yogabindu he emphasises the Tattvasiddhi which is nothing but an integrated yoga. This he wants to do by impartial approach because in essence there is no conflict among the scriptures. The end is common to all though the manner of exposition may be different but that is immaterial says Haribhadra in the second and the third Kärikäs of Yogabindu.
The subjects treated in both these books vary to a great extent. In Yogabindu subjects like the unity of yoga, the greatness of yoga, Adhyatma, preliminary performance, deity worship, good conduct, penance, worldly bondage, spiritual enlightenment, categories of sadhakas like Apunarbandhaka and others, Japa, self assessment and introspection along with some basic philosophical questions like Mok şa, omniscience, soul and ultimate existence are discussed and expounded by Haribhadra. In Yogadṛṣṭisamuccaya, subjects like the types of yoga, eight dristis, scholasticism, logic chopping, treated. mokṣa, momentariness and absolute eternalism are Herein the main treatment is about the eight drstis which show Haribhadra's originality and the philosophical discussion receives subsidiary place. There is natural overlapping of some subjects in these two books but most of the subjects are supplementary.
Common Philosophic Concepts
Haribhadra's real art of synthesis lies in the fact that he first sought to find out the most common and most basic concepts in the philosophies of all the systems. Once the common ground is found, it is easy to fill up the gap in the rest. This is the only pragmatic way in bridging distance in any question. Haribhadra made a friendly and sympathetic approach in the field of philosophy. This was specially necessary at the time when Haribhadra sought to pacify the hard wranglings of scholasticism and secterianism. He could see well from his deep study of different philosophies that the goal of all of them is common to all. Mokṣa is the goal of all Indian philosophies. Their descriptions of Mokṣa may differ slightly and the terms used for it may vary but in essence the goal is the same in all of them. In Vedic philosophy and Jainism the common word is Mokṣa or Mukti though Sankhya uses a similar word like Kaivalya, Buddha uses Nirvana but in essence the meaning is the same. In this wise the first attempt and a great one is successful in seeking a common goal in Moksa, 'Well begun is half done' is well proven in the task of synthesis of yoga by Haribhadra. This first success leads to another and in a wise Haribhadra seeks to conquer the citadel of synthesis.
manner

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Haribhadra's Synthesis of Yoga
Haribhadra's practicality does not end in merely seeking the common goal. He desires to have some common features of the goal as well, He sought to establish by argumentation in these two yoga books i.e. Yogabindu and Yogadrstisamuccaya the omniscience in Moksa. He sought to prove too the eternity of Caitanya and m mentariness of matter. He held the Jain view in this regard to establish it in his own style. The feature of omniscience is not hard to prove as that too is common to all philosophies. The Vedic and the Jain systems already believe in the doctrine of Moksa and in Buddhism the very word Buddha is suggestive of the fact of omniscience of the Tathāgata. In this wiss unity is completely sought in the matter of goal by Haribhadra,
Once the common goal is established and a synthesis could be possi. ble, the question of the seeker of the goal arises. Who is the real seeker ? There too the Vedic and the Jain systems can readily agree on the sentient Ātman as the seeker. It is the common impression that the Buddhist do not believe in the Atman and that is why Anātmavāda was said to be popular among some section of Buddhism. Haribhadra has well tried to prove the doctrine of the soul. We can well add to his arguments and say that the great Buddha himself has declared this doctrine of the soul. He himself has said that he took many births as a Bodhisattva, and his last birth was that of a Buddha Gautama. As we have said before it is not our task to go into arguing and establishing philosophic truth in our lectures. Our task is to see how Haribhadra sought bis synthesis of yoga. Suffice it to say here in brief that in Buddhism too the doctrine of soul was upheld but in its own negative style.
But what comes in the way of the soul to seek the goal of Moksa ? It is klesa or karmāśaya. On this point too all the philosophies have a common view though their expositions are in their own respective style. Similarly, all agree that kleśas beget duhkha and this world is miserable because of the prominence of duhkha everywhere.
As to the remedy of duḥkha, all of them agree invariably and say that by efforts and intense action in the right direction duḥkha can be got rid of. All Indian philosophies are fully optimistic and make man selfrelient, by establishing the doctrine of self-help. The problem of fate in contrast to effort is well solved by them all and they declare unhesitatingly that fate is the outcome of man's efforts, and nothing more and that is why it can be altered by efforts alone. Haribbadra has well established the supremacy of human efforts in the Kārikās 324 and 325 in Yogabindu. Thus Haribhadra could seek common ground in the matter of the seeker, the kleśas, duḥkha and in the importance of human efforts and

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thus covered four more factors. Haribhadra describes the worldly life as a terrible disease (Mahāvyādhi) after the fashion common to all Indian philosophies in Karikas 188 of Yogadşştisamuccaya.
It is a great wonder that there is the greatest majority of people who are prone to enjoy this world though they find it miserable ! Not only the philosophies and religions of the world declare the worldly life to be mise
but even the common experience of the people at large has the same say. The duhkha is not a subject of guessing but a hard fact of human experience and even then most of the common men seek worldly enjoyment and that is the greatest of human paradox. Very few people seek the human goal of Mokşa eventhough all the people know of it. The question why for such a dichotomy is an age-old question. It can be answered successfully by philosophy that could only be solved by yoga. Haribhadra describes such men as are after the worldly enjoyments as Bhavābhinandi in Kārikās 75, 76 of Yogad ştisamuccaya and rightly too. All systems of yoga readily agree on this apparent fact of the tendency on the part of common man to enjoy life. In this wise Haribhadra has covered the seventh common factor for his synthesis. And the last and not the least, he seeks a common ground in the matter of the means to get rid of all the obstacles coming in the way of the realization of the goal. Right faith, right knowledge and right conduct are the most common ground as far as the means to the common end is concerned. All philosophies, all religions and all systems of yoga and sādhanā unreservedly prescribe these threefold means for the realization of the spiritual goal. There is hardly any difference even in the expression and content of these threefold means. Dr. K.K. Dixit honestly doubts Haribhadra's attempts at seeking such a common ground in this threefold means because he feels that the core of faith, knowledge and conduct cannot be the same in all systems.5 But Haribhadra does not desire that the faith be in the same deity. He is content to see that the seeker has a higher faith. Content of all good faith is the higher aim. So is the case in the matter of knowledge and conduct. Full knowledge is possible only after the attainment of the goal. Even different categories of sādhakas cannot have the intensity of faith, the same depth of knowledge and the same purity of action. Even then all of them are bent on having right faith, right knowledge and right conduct. So Haribhadra to my mind has made a marvellous attempt in the matter of seeing the common ground as to the means of realizing the goal of Moksa. Thus Haribhadra covered seven common grounds of synthesis of yoga and they are in nutshell like this: (1) The goal of mok sa (2) The Soul, seeker of the goal (3) klesas, the obstacles (4) duḥkha in the world (5) the human efforts to get rid of the obstacles and duḥkha (6) the tendency of

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worldly enjoyments and the Bhavabhinandi (7) lastly the means of right faith, right knowledge and right conduct. In such a wise, Haribhadra has successfully covered the sevenfold common ground and thereby has laid down a firm foundation for building up the synthesis of yoga. There cannot be two opinions about this as it is an apparent and clear fact acceptable to all.
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Categories of Sadhakas
Once the common ground for the synthesis is found the next question would be of deciding the qualifications or the categories of the sadhakas. As it has already been mentioned that most of the common lot of the people at large is worldly-minded and Haribhadra has rightly called them Bhavabhinandi because they desire to enjoy the world as it is. Yoga requires some primary qualifications for its practice. Here to Haribhadra openly denounces secterianism and barren scholasticism because they too create obstacles in the path of yoga and they like narrowness of mind, dry logic chopping and attachment to half truths. They are no better than worldliness. The real danger of these hindrances lies in the fact that they lead the practitioner of yoga on a wrong path. Wrong practice of yoga is even more dangerous than even worldliness and Haribhadra considers it to be like a poison in Kārikā 155 of Yogabindu. The reason is not far to seek. Even an ordinary act like cooking or washing or digging becomes dangerous if done wrongly and would entail harm to the doer as he would burn himself or hurt himself by a wrong method in such daily simple works. Yogic practice becomes more and more subtle as it proceeds on higher and deeper levels of conciousness and therefore Haribhadra's precaution to avoid improper performance is not only timely and opportue but highly necessary.
In the Kärikäs 109 on wards in Yogabindu, he considers for preliminary actions and practices necessary for such preparation : (1) service of the elders and worship of the deities (2) gentlemanly conduct (3) penance and (4) non-antipathy towards Mokṣa. A man cannot qualify himself for yogic practice unless he does such a performance. He must be service-minded by becoming humble and should serve not only his parents but his Guru along with old people, preceptors and the like. Service makes a man humble, broader in views, unselfish and deligent. Mere lip-service is of no avail. Service must be actually carried out in practice and that would certainly make a man to give up lethargy and turn him into an industrious man. Detached activity is the first and the last requirement of yogasadhana. Mere mechnical service is not enough. It must be backed by gentelemanly behaviour and nobility. Not only at the time of service but at all times he must exhibit a gentleman's behaviour. This would stabilize Sambodhi IX(2)

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his virtues and make his character sound. Without such a noble character, no service would be useful. Penance too is a requirement at this preparatory stage and that alone would enable him to undergo higher and subtle types of penance at a later stage. Lastly he should have no anti-feeling for Mokṣa. He may not have any clear concept of Mokṣa in the initial stage and so he may not have an attraction for Mokṣa but in any case he should not have antipathy for the highest goal. If the preliminary performer has anti-feeling for the very goal of yoga, all his other preparation would be null and void. I would repeat here the first condition for the preliminary performance of worshipping the deities and elders. If he has patience enough to serve a deity or deities of his liking, he would naturally be guided to the clear concept of the goal of Mokṣa. Moreover Haribhadra rightly states in Kärikā 139 of Yogabindu that antipathy to Mokṣa prolongs the worldly existence and it goes against the very aim of the preparatory performance. Thus Haribhadra has proved beyond doubt the preliminary necessity of such preparatory practice for the initiation in the yogic practice proper.
Before the treatment of the categories of the sadhakas is taken up in some details it is necessary to understand that they are nothing but diffe rent categories of personality as can be explained in psychological terms. These categories of sadhakas are quite different from the eight Dṛṣṭis because the Drstis explain the eight stages of personality on the ladder of yoga. Haribhadra lays down a number of categories of sadhakas in these two books and Dr. K. K. Dixit has very well summarised them and compared them with different Gunasthanas i.e. Jain categories of sädhakas.
(1) The welcomers of worldly existence
(2) The Apunarbhandhaka
(3) The Samyagdṛṣṭi
(4) Caritrins :
(a) Deśaviratas (b) Sarvaviratas (c) Vītarāgas
(5) The Kevalins :
(a) Sayoga Kevalin (b) Ayoga Kevalin
It must be made clear here that the first category of the Bhavabhinandi or the welcomers of worldly existence is not cited as a sadhaka but as a personality under the base of the heirachy of sadhakas. Moreover for

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the comparison with the Guņasthānas too this personality is included. Real sādhanā starts from the stage Apunarbandhaka onwards and its higher stages are the real sādhakas. Dr. Dixit compares these categories with the fourteen Jain Gunasthānas thus : "Thus it is that he mentions the 'welcomers of the worldly existence and the Apunarbandhakas (both occupying the fourth Gunasthāna) the Cāritrins of the Deśaviratas type (occupying the fifth Guņasthāna), those of Sarvavirata type (occupying the sixth and the seventh Gunasthānas, those of the Ksapaka śreņi-ārohin type (occupying rather passing through the eigthth, ninth and tenth Guņasthanas) and those of Vitarāga type (occupying the twelfth Gunasthāna), the Sayoga Kevalin (occupying the thirteenth Guņasthāna), the Ayoga Kevlin (occupying the fourteenth Guņasthāna)” Thus all the fourteen Guņasthānas are covered up by these five main categories of personalities and in doing so Hari. bhadra has mostly used the terms of his own choice. In both these schemes of hierarchy of personalities the chief aim is to show the qualifications or the fitness of different categories of sādhakas. Here the eleventh-Guņasthāna is not considered because from that stage the sadhaka is not progressing upward but transcends everything.
These are the main categories of Sādhakas according to Haribhadra. It is an arbitrary categorization of sādhakas and is an outcome of prevatent conceptions of Haribhadra's times. It does not matter how the categories are construed. It only suggests that there is a hierarchy of sādhakas but it does not provide a hard and fast classification because the categories overlap in some of their characteristics.
Even then the concept of personality growth is quite clear in all yoga systems. Characterbuilding, cultivation of good habits and virtues, expansion of ego and consciousness are the main features of yogic method of personality-building. Modern psychology gives no better method than these and in a way they fall short because its emphasis is more on the ego than on the self.
It would not be out of place, nor would it be considered inappropriate if some adverse comments be made with regard to these Haribhadra's categories of sädhakas. He has devoted many Kārikās on these categories which are merely arbitrary constructions in accordance with the prevailing concepts. They may be his own concepts of different types of sädhakas. Their descriptions are unnecessarily lengthy and are overlapping too. There are avsidable repetitions which do not lend any charm to their descriptions but on the contrary they are sometimes boring. Similarly his classifications of yoga in different ways too are repetitive and are overlapping too. The arrangements of subjects and subtopics do not seem to be very systematic.

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more
Their order could have been far better and the same material could have been arranged in a sequential manner so that one topic would naturally follow from the former. Had he devoted more space for the synthesis of yoga systems in a better order and more systematic manner, the impact on the reader could have been much more intense, more specific and clear. The same comment applies to the different yoga topics he has treated in these two works but we have to glean them togather as they are scattered all over them. These drawbacks may be due to the fact that he was a poet too.
Important Yoga-Concepts
Haribhadra has described some basic yoga-topics and put enough emphasis on them for yogic sadhana. Such a treatment of these topics lay before us some yoga-concepts which are fundamental and seem to be the pillar of the edifice of an integrated yoga system. Patanjali too has very clearly stated such yoga concepts. Haribhadra is conscious of the necessity of these yoga-concepts and has set them in the treatment of yoga-principles wherever he felt them to be opportune: These yoga-concepts are
like this:
(1) Self-assessment (2) Introspection (3) Human efforts v/s fate (4) Adhyatma (5) Satsang or the good company (6) Faith (7) Deity-worship (8) Japa (9) Tapa or penance (10) Bhāvanās (11) Dhyana and (12) Prajñā.
Let us now take these topics one by one and see what Haribhadra has to say about each of them in turn. It is intended to compare the same with Patanjali's exposition on them and find out whether more light is shed in understanding and grasping the true meaning and purpose behind them all. At the first glance, it can be seen that these topics are important assets to the yoga systems in general and they convey fundemental psychological truths. Without them no psychosynthesis is possible nor can a system of yoga be built.
It is Haribhadra's pragmatic genius that could see the first necessity of self-assessment in the way of yogic life. Without the urge to assess onself no self-development can proceed. One has to find out where one is and what he is before he starts his journey on the way to self-realization. Haribhadra places self-assessment first and rightly too as it is the primary requirement and the first step for yogic life. In the Karikas 389, 390, 391 of Yogabindu, he has well described self-assessment and lays down the methods for the same. They are three in number (1) One should see one's mental and physical operations, see how they are performed. This is a sort of watching one's activities going on inside the mind as well as outside on

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the physical plane (2) the next method is to listen to the comments made by others on oneself and see whether there is any truth in thein. It is worthwhile to understand at least the reaction of the people around on one's actions. These reactions may be due to likes and dislikes, due to prejudice and selfishness but there might be some grain of truth in them and would surely be helpful in one's own assesement of the self. (3) The third method is looking at the signs or omens. This is not seeing the good or bad omens in the popular way alone, but to me it seems that they mean the general signs of the time and place and the general reactions thereof in the society. Patañjali has used a very broad word like Svādhyāya which can cover not only the meaning of self-assessment but the study of one's self as well as one's spiritual study inside and outside and the study of one's scriptures. He included the meaning of introspection also in this term ie. Svadhyāya. Patanjali has used a special word for introspection and that is Pratyakcetanābhigama in sutra 29 of the first pada of Pātañjala Darsana. Haribhadra too lays down that introspection is necessary but he rightly points out that it can be fruitful only after proper religious performance. Otherwise the danger lies in the probability that the sādhaka would judge himself wrongly and unnecesssarily aggrandize himself instead of cultivating humility. Without purity of mind by pure actions and religious life, introspection would be of no avail. Patañjali too says that introspection is the outcome of Japa and pure Bhāvanās. Introspection is an art and can be performed only after a strenuous training of looking inside one's mind by rigorous religious life. Haribhadra covers three yoga concepts in one stride i.e. self-assessment, introspection and religious performance and are all included in one term Adhyātma 9 He gives a similar description of self-ascertainment in another context. This is something different from self-assessment. It can be said without any exaggeration that self-ascertainment is the result of selfassessment. The factors of self-ascertainment are also similar and they are (1) self-introspection (2) perceptor's certifying statement to such an effect and (3) watching appropriate omens or signs as explained above. Selfascertainment is a three-fold Pratyaya or self-conviction. Haribhadra says that such a pratyaya is a messanger of Mokşa and gives a firm selfassurance for the task of yogic sādhanā.10 In psychological parlance, it can be said that these primary yoga concepts convey thiee or more inicial steps (1) Self-examination, self-study and self judgement (2) Introversion and extroversion at the same time and study of one's being from inside as well as outside (3) Self-judgment and self-confidence as well as selfassurance. These are the basic necessities for yogic psychosynthesis. They are the first steps without which no further step can be taken. They are in a way easy because one has to depend on oneself for ali these three steps but they are equally hard enough because of that very reason. Human

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mind is the greatest asset for man's spiritual progress but it is the greatest creator of illusions too. Unless the mind is made pure concentrated, and prone to spirituality, it would do more harm than good. That is why Haribhadra prescribes these primary yoga-steps and describes yoga-concepts as Adhyatma as is mentioned above. Adhyatma ineans the progress towards spirituality and should be prone to it alone and then alone can he said to be firmly set on Adhyatma. It requires a constant aspiration for spiritual upliftment. Haribhadra's linking together of self-assessment, self-introspection and religious performance under the general term of Adhyatma is significant as these practices are interlinked by their very nature. One cannot be performed without recourse to the other. This sort of Adhyatma is for the beginner as it provides proper and first means for the spiritual end says Haribhadra in Karikas 68, 69, 70 of Yogabindu. It is of such great importance by its very function that it is useful to the very end i.e. the achievement of Mokṣa. And this is very apparent because self-assessment, introspection as well as religious performance are useful at all stages of spiritual growth.
It
Modern Psychology rejected introspection as a psychological tool. has no clear concept of introspection as yoga-systems in India had. Introspection can be useful only after primary steps of purification and others. Humanistic psychology again sees great potentialities in introspective methods. It is a good augury if it is adopted on yogic lines.
The three-fold first steps of Adhyatma convey the importance of human efforts. The performance of religious duties is nothing but human efforts towards achieving the goal. Nothing can be achieved in yoga without human efforts. Yoga is the science based on the right human efforts in the field of spirituality. Haribhadra has discussed the subject of fate and human efforts and their inter-relations. Treading the traditional path in Indian Philosophy, in general he asserts that human effort is the seed and fate is its outcome or the result.11 Efforts is human in hands and not the fate. To control fate one has to control one's actions and efforts. It is the law of nature that good efforts lead to good results and bad works to a bad end. This is a universal law and that works in the yogic field too. Yoga is the science of life and its dynamics lies in the intensity and purity of human efforts. The efforts here are mainly on the mental and spiritual planes and so yoga is rightly called psycho-dynamics too. Life is nothing but activity as seen on material and mental plane. Right activity and efforts lead to the right goal. In short, efforts alone has been given an important central place in yoga and fate is given a secondary place and that too for its alteration and transformation into a spiritual concept of grace.

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All the emphasis on efforts is appropriate because the goal in yoga is very difficult to achieve and most intense strivings alone can lead man swiftly on the spiritual path. But the efforts must be in the right direction and precaution is to be taken at every step. One step missed and there would be a disaster. What would then save the initiate on his very difficult journey ? It is satsanga which can be a sure guide to him. All scriptures prescribe this basic measure to all the aspirants. Haribhadra cannot overlook this useful measure and he suggests this remedy to get out of the worldly attachment and atmosphere by means of satsanga or the company of good and saintly persons and in their absense to have satsanga with high thoughts in the scriptures. He describes such contacts with saintly persons and scriptures as a sort of yoga in Kārikā 85 of Yogadrstisamuccaya. The merit of satsanga is great because by good company man has before him a direct example of good conduct; he thinks good thoughts and is inspired to higher life and does not have any chance for unholy thoughts or actions. This is a matter of day-to-day experience of every man that good company has a very healthy influence on man and specially the sādhaka. Satsanga means the contact with the ultimate Truth and this is the true meaning of this word. The use of good company is also for the contact of the good and true which reside in all of us. Moreover satsanga can be readily available. It can be had in the form of reading good books too. Thus satsanga plays a great part in the day-to-day prac. tice of yoga.
But satsanga can be useful only if the sādhaka is sincere to the core and is ready to throw off all that he finds in himself faulty and perverse. He must confess at least before his Guru or a worthy person his sins and vices in order to get rid of them all and nip them in the bud. Haribhadra knows the true value of remorse for and confession of sins and this can well be seen from such of his remarks in Kārikā 17 of Yogadřstisamu
This practise of remorse for one's sins is an established principle even in the modern abnormal psychology. It leads man to accept himself as he is and by such confession and remorse alone he can cleanse himself. This practice found place in every religion because it is psychologically a sound principle. After such cleansing of his heart and mind if the sādhaka ta es resort to satsanga it surely would have a marked effect on him in no time.
The next and perhaps equally important yoga concept is that of śraddhā or faith. Faith can be generated by satsanga. Bhagvat Gitā declares without any hesitation that the man b-comes what faith he holds, his being is made of faith.12 Inversely it can be said that a man's actions

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generate a similar faith i.e. goood actions generate good faith and wrong actions a wrong faith. Faith and actions and one's being can never be seperated and they make a whole. Haribhadra recognises this principle and makes a similar statement in Karika 227 of Yogabindu. From the discussion uptil now of these yoga-concepts, it can be well seen that they are all interrelated and one is related to another in a subtle way. These yogaconcepts are not mere concepts but they are principles of yoga and as they are psychologically sound, they are the principles of psycho-psyn
thesis too.
Faith has been very well upheld by Patanjali in his unique and pithy style. He recommends it to the common man who desires to tread the path of yoga. As is his style, he gives only one sutra consisting of only eight words but he has couched in it a volume of subtle and far-reaching meaning.
In the sutra 20th of the first Pada he says that the path of yoga for an average inan can be built on the firm foundation of faith or śraddha. How is this possible? He says that energy and enthusiasm are begotten from faith. This in turn begets self-consciousness i.e. the conciousness of the self, the higher self or the core of consciousness. Consciousness leads to concentration and that in turn leads to Prajñā or the highest knowledge. This statement would seem to be fictitious if seen casually. But it is pregnant with a meaning and that can be grasped only by its application in the form of an example. But before we take up such an examination of the statement about faith by Patañjali, it can be asked how such faith can be generated? The inquirer may first doubt the very statement and even if he accepts it, he would ask how an ordinary man can have such a faith. Is it a gift of God or boon of nature? All these doubts can well be answered only by a simple and day-to-day experience. Let us take an example of a novice in a smithy workshop. The novice does not know even the ABC of the smithy work. The black-smith introduces him first with work of the hammer and anvil. Slowly the novice begins to learn one process after another and in a few years becomes a blacksmith and going further in the line, he becomes a technician. He had no confidence in the beginning in even holding the hammer but in a few years he becomes a technician. How is this every-day miracle performed? It is the work of faith but the faith is generated by practice. As is the practice, so is the faith. The novice gained faith as his practice increased and the higher and subtler the practice, the higher and firmer his faith becomes. So Patanjali is right in making the statement that faith would certainly make an ordinary man an adept in the path of yoga if he practices yoga methods. If a novice becomes

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a technician by practice, a novice in yoga path can be adept by successive stages. His practice of yoga would create faith in it and create faith in himself and his real self because the practice of yoga is pertaining to one's mind and self. Faith in the self would create energy and enthusiasm for the further and subtler search of the self. This brings on more and more self-awareness. Such self-awareness naturally creates self-concentration which would be easy and natural and not strained. This sort of natural and matter of course self-awareness and self-stabilization would result in Prajñā which is the highest knowledge. Such is the marvelous work of faith and is open to experience to all as it is so in work-a-day life every. where at all times. It proves also the dictum of Gitā that man is what his faith is. It is psychologically sound too. The psychological process generated by faith can well be understood in the example of the novice and it creates identification with the object of knowledge as well as the knowledge thereof. Self-confidence brings forth energy, energy in turn gives more insight. The same process takes place with regard to the practice of
and here the last stage of insight in the subject is called insight of the self which is nothing but Prajñā.
This is the reason why Haribhadra repeatedly insists on the practice rather than argumentation. The latter is futile because it leads nowhere or leads to wranglings. Practice alone is the true source of all faith and all knowledg: and all yoga. But practice must be rightly followed. Right practice generates a right sort of faith and firm faith leads one to the highest goal of Moksa.
Faith needs an object on which it can hang. To rise higher the object must be a higher one. A model is the prerequisite of faith. In the instance given above the novice has the blacksmith as his model and keeping his art before him he learns smithy and in due time becomes a blacksmith; then the object again changes and he keeps a technician before his eyes as a model and becomes a technician. So in the case of sādhaka, he must keep an ideal object before him. That is why Haribhadra recommends deity-worship to a sādhaka. The deity is a model and it provides an ideal image in whose likeness the sādhaka moulds his life. In Jainism, worship of the Tirthankaras. Haribhadra brings the concept of deity-worship only because it seems useful to him in sādhanā. He defends this concept in Kārikā 297 of Yogabindu. He recommends it in Kārikā 397 of the same book. What is the criterion of a deity worthy to be proved ? The common features of all deities according to him is their capacity to grant favour. People should not quarrel with regard to the choice or the preference of one's deity. Such recommendation of Haribhadra for a deity-worship
Sambodbi IX(3)

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may seem to be a sort of secterian impress on him but it is not so at all. He has very well grasped the psychological import of deity-worship and that is the reason for his insistense for it. As a practical man he could well set that man cannot rise at once to grasp the highest goal of the supreme state of Moksa nor can he imagine it; the novice can only keep a concrete image before his eyes. That is why he advises not to quarrel about the choice of a deity. Patanjali too makes soch an exception and brings in God for the purpose of Japa.
This brings us to the yoga principle of Japa. Japa is the best means of worshipping a deity. It is a grzat invention in the science of religion all over the world. The practice of Japa seems to be a universal principal common to all religions in one form or the other. This is because it expounds a deep psychological principle. It seems that the subtle and fundamental principle underlying Japa has wrought wonders in the history of man. Not only its universality makes it important but its subtlty also seems to be wonderful. The great saints all over the world have used this means of sādhana and they have had great influence on the masses. Buddhism could react far and wide and even to distant lands not by sword but by merely the charming three-fold sutra of surrender to Buddha, Dharma and Sangha. The repetition of the name of the deity or the mantra creates in him a power which he realizes in due course. Haribhadra describes the merits of Japa and its methods in Kārikās 381 to 387 in Yogabindu. He cleariy states that Japa is Adyātm, it removes sins as medicine removes poison. His main emphasis is on the concentration of the meaning of the mantra in Japa. That alone is useful because mere recitation of the word would lead to hypocracy. He suggests that one should give up Japa for a while when one is disturbed but even then he should try to concentrate on the meaning. Patañjali too has laid down thir principle of Yoga and his very definition of Japa describes the importance and the manner of Japa in sutra 28 of the first Päda. Japa is the repitition and meditation by Bhāvanā in the meaning of the mantra Aum. Meaning is all important in Japa. Mere oral repitition of a mantra is of no avail. It is the meaning that seems to be the most important in all walks of life. The same name has different import for different people. That is why Patañjali has rightly emphasised the essence of Bhāvanā in Japa. The incaning of Mantra and the Bhāvanā are not the same. Both are psychological in nature but their import is not the same. That is why in all yoga treatises Bhāvanā is given an independent place because it has importance of its own.
So the topic of Japa leads us to the topic of Bhāvanā. But what is exactly meant by Bhāvanā ? It is indeed difficult to describe Bhavana in a

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few words, and no definition is provided in the yoga works. Even then it is worthwhile to grasp the import of the word Bhāvanā. Haribhadra has well endeavoured to describe it in the Karikā 28 of the Yogadrstisamuccaya. It means writing worshipping, offering a gift, listening to, reading, duly grasping, publicizing, studying, pondering over, imbibing the spirit of the Mantra. These are all the forms of Bhāvanā in daily worship. The last adjective "imbibing the spirit" is perhaps the most important. It alone gives out the core meaning and it leads us to the four well-known Bhāvanās of Maitri, Muditā, Karuņā and Upek sā. Jainism describes twelve Bhāvanās. Jainism shows great insight into detailed descriptions of the subtle nature not only in this regard but into all concepts whether they are religious or yogic. Suffice. it to understand these four Bhāvanās enumerated above, because they sufficiently cover the whole ground. Maitri Bhāvanā prepares the mind of the sādhaka to keep a friendly attitude to the happy ones. It debarrs to have any illwill or jealousy towards them because that is the general tendency in all men.
The second Bhāvanā is Karuņā. It is compassion for the uphappy. There is misery all around in the world and most of the people are unhappy in one way or the other and every unhappy man expects sympathy. So it is ordained for the sādhaka to have compassion for the unhappy. The third Bhāvanā is Muditā and it is to be happy on seeing the righteousness in others. Righteousness is the best merit for which one should feel happy. The riches, power or the worldy happiness are not the objects for which the sadhaks should feel happy but it is only the righteousness in man that he should feel joy. The last but not the least, he should keep an emotional indifference towards the evil. This does not mean that he should not see the evil as it is but he should have complete non-cooperation with all that is evil. These four Bhāvanas not only purify the citta of the sādhaka but they provide the best motive power for his spiritual work. The Bhāvanās as they are described are more related to the emotional aspect of man's mind and emotions provide the motive power for mental activities. It is said that Bhāvanās alone are the source of man's capacity and ability.
On having a restrospective glance on Japa and Deity-worship along with the Bhāvanās it can easily be seen now that the deity-worship provides the sādhaka an ideal image for his spiritual upliftment. Japa strengthens the image by thinking on the meaning behind the image and the Mantra suggestive of the image and Bhāvanās provide the best and pure motive power for the attainment for the goal.
All these steps and concepts and the principles of yoga seem to be complete in themselves but even then the task of sādbanā does not seem

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to be easy. It is a common experience of the sādhakas all over the world that they feel temptation at every step of their march towards the goal and most of them are enticed and beguiled in one way or the other and are confounded a number of times before they make any advancement. The masters of yoga were aware of this great and constantly lurking danger of enticement and they found out the remedy for this greatest of all dangers. They knew by experience that it is only by constant Tapas that the sädhaka can save himself from any lapse in Sadhanā. Tapas is the only remedy for any such danger at any time and it can save him from any lapse always. The value of Tapas is so great and its importance is so immence that in ancient times in the Jain tradition yoga was called Tapas. As a matter of fact too, Tapas is of the utmost importance in yogio Sadhanā. It can be said that nothing worthwhile is gained without Tapas. Tapas has a very wide and deep meaning and it means in short the capacity to take pains for the achievement of a higher goal. In the worldly life too the parents have to undergo Tapas for the children, the student has to take pains to achieve higher learning, the scientist has to make immense efforts to find out truth in nature. Anything done with intence efforts for a good motive can be called Tapas. Those who do not care to perform Tapas have to undergo Tāpa or the heat of the adverse situation and untoward reactions. The Bhogi or the enjoyer of worldly objects have to reap the bitter fruits of their lowly joys and suffer from various diseases. This is nothing but Täpa or heat of the reactions of their base enjoyments. There are only two alternatives for every man and that is the choice for Tapas or the choice for Tāpa. The wise choose Tapas and willingly undertake it in order to avoid Tāpa, That is why Haribhadra like all other propounders of yoga describes Tapas as the destroyer of the evil. In the Kārikā 131 of Yogabindu, he recommends Tapas to be performed in accordance with one's ability. One should not strive for anything beyond one's capacity oterwise it creates such reactions which are worse than the evil. Haribhadra seems to be fully conscious of the reactions of Tapas if undertaken beyond one's capacity and measure. To be free from such dangers from overdoing in Tapas and its reactions, Tapas must be by Dhyāna. Dhyāna is the true test of Tapas. If Tapas does not end in concentration of the mind it would either be futile or would lead to reactions. The very purpose of Tapas is the purification of the mind and a purified mind is at once prone to concentration. It is the unclean mind that runs after worldly objects and is diffused. So true Tapas must lead to purification of the mind and consequently conceneration on the goal. It must show the signs of Samatā too because concentrated mind leads to a balance of mind. All this is inade quite clear by Haribhadra in the Kärikā 362 to 364 of Yogabindu because concentration,

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samata and purification of the mind are the natural concommitants of true Tapas.
as
Haribhadra shows his deep insight in the subject of yoga and yogic experiences when he describes such a higher stage of concentration Dhyanarasa. The sadhaka has the real joy of concentration only when he identifies completely with it. In the Karika 412 in Yogabindu he uses this compound word Dhyanrasa and it means that the sädhaka finds real interest in dhyana. In the same fashion he uses a similar word or perhaps coins it in his own style and describes the Sadhana for yoga as Yogabhyasarasa. Not only the state of concentration gives real Rasa but the very Sadhana for it gives true Rasa. Such supreme Rasa alone can make Tapas enjoyable and that alone can keep the Sadhaka safe from any enticement on his way to the supreme goal. In Kärikä 412 in Yogabindu, Haribhadra has shown the real key to yoga-Sadhana. He suggests by these two words i.e. Dhyanarasa and Yogabhāyasarasa that Tapas or even the yoga practice as a whole is not dry but generates such a Supreme Rasa which is conducive to Mokṣa and before which worldly enjoyments are trash and are like the figments of imagination.
There is much more meaning in such a description of Dhyana which is one of the highest yoga-concept or Yoga-principle. Such Dhyana leads to Prajñā says Haribhadra in the same Karika. If accompanied by the knowledge and right inference, Dhyana would surely engender Prajñā in the Sadhaka in course of time. When the Sadhaka reaches the stage of Prajñā he gets the highest type of Buddhi, Jñana and Asammoha. This means he attains such Buddhi which can penetrate any object; he would get to such a jñāna which would pervade anywhere and he would be in such a subtle frame of mind that nothing can entice him. Such a threefold higher stage when achieved is conducive to take the sadhaka above all actions. Haribhadra describes this threefold stage in Karikās 120 onwards in Yogadṛṣṭisamuccya and thereby states that it would lead to the highest stage of Mokşa.
Thus we have covered all the main Yoga-concepts or pillars of yoga and therein it can be seen that Haribhadra shows a keen insight in the description of the each one of them. This subject now leads us on the subject of the eight dṛṣṭis of Haribhadra.
The Eight Drstis
Polarity is the universal law of existence. Life too manifests this law everywhere and at all stages of its growth. Life is purposive and the

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object of the purpose stands for one pole and the stage of life is another pole. In man's life his Jivātmā or his personality shows one pole and his goal of life is another pole. His efforts to reach his goal is his very lifeprocess. As the man grows, his personality develops and along with his growth his goal also widens and rises higher and consequentty his life-process too changes accordingly. Such is the polarity of life seeo everywhere in human society. But the polarity of a sādhaka's life differs to a great extent. His goal is fixed and so one pole of his life becomes stable. This is not so in the case of an ordinary man because his pole of the goal too changes from time to time. Today his goal is power next day or in a few years the goal is money and this process of change goes on from his youth till the end of his life and even from life to life in sequential rebirths. But happy and blessed is the sādhaka that he is in a position to fit the pole of his goal. This makes a very great difference in the sādhaka's life and puts his life on a firm polarity. As one pole is fixed the polarity of his life process assumes a new and easy formation. Now arises the question of the pole of his present stage of existence. No two persons or the sādhakas are on the same plane of consciousness; even the same person lives on different levels of consciousness as he progresses or regresses. Still however, as the growth of an ordinary man and even a sadhaka is generally very slow, his pole of existence can be marked out roughly and can be described by his general characteristics. As the stage of personality growth changes his life proces too changes accordingly. But for the Sādbaka the process becomes easier as the pole of his goal is already fixed. He has to march towards and the change in his life-process solely depends on the speed of his race towards the goal. As soon as he reaches the goal and makes himself stabilized on the fixed pole of his goal the two poles become one and the life process of such a Mukta Sadhaka becomes one with the process of the universal ultimate consciousness.
From the polurity principle, it is easy to understand the different categories of Sādhakas like the Apurnabandhaka and others. These categories are the general descriptions of the different levels of consciousness wherein different Sadhakas have their standing. These are the general exposition of the focal points of some of the main personalities. All of them have the same goal but all of them stand on different levels of consciousness and growth. The Sadhakas of each category may be said to be standing on one common level but each of them may have varied degrees thereto. This can be compared to the sun and its sattelites like the Mars. Farth Jupiter, Saturn and others. They are moving in the same zodaic but each one of them has its own revolutionary movement round the sun.

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In short, every Sadhaka in each category has his own focal-point though the general level or the features may appear to be the same.
Categories are all arbitrary constructions for the sake of understanding the general features of a sadhaka and to know where he stands in his personality growth or spiritual growth. As soon as the Sadhaka knows his level of consciousness by self-assessment and self-introspection as well as by general omens and comments of others he can find out where exactly he stands and comparing and measuring the distance roughly, he can gauge how far has he to reach the goal of Mokşa, Thus the Sadhaka fixes his own personality-pole. The only task though a very different one is to traverse the distance between the focal point of his personality and the already fixed point of his goal i.e. Mokşa. As he treads this path and traverses the distance there is a change in his personality growth and so changes his life-process accordingly. The speedier his march towards his goal, the faster is his personality growth. He has with him the means of Yoga to traverse this distance. He knows very well that yoga provides the shortest cut to reach the goal. Yoga is equally graceful towards all as God is but it depends on the Sadhaka to utilize it. It depends on his capacity to utilize yoga and his will to ride the yoga-vehicle that he reaches the goal earlier or later than his expectations.
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This question of traversing the distance between one's own self and the goal by means of yoga reminds me an epic story which can quite aptly be applied to it. Once the Gods had a fancy that amongst them all must be worshipped first by men. Men cannot decide whom to worship first: so the Gods went to Śiva and Parvatī to give their choice for the God to be worshipped first. Śiva said that he would not give an arbitrary judgment without knowing the respective worth of every God. So he suggested that one who would take one round of the universe at the highest speed and come to them first would be the chosen God for being worshipped first among them all. Thereupon all the Gods ran as they could on their respective vehicles like Hamsa, Vimana, horse or an elephant. Ganapati has only the mouse as his vehicle and it is an impossibility for him to go round the Universe even in ages to come. But intelligence incarnate as he was he wrote the sacred word 'Aum' on the ground and went round it in no time on his mouse and then sat at the feet of the Siva and Parvati. Soon the Gods began to return one by one and assembled there after going round the Universe. Some came almost at the same time and began to argue about their returning first. All the while Śiva and Parvati were smiling and on being asked for their judgment they said that Gaṇapati was the first-comer and the winner of the race! All began to laugh at the

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judgment as they thought it was a joke at the expence of Ganapati. When Śiva seriously stated that it was the fact, they began to ask the reason. They were told that Ganapati having a large head used the high intelligence inside it and he went round the symbol of the universe the Aum and that was the reason for his winning the race for being worshipped first. Thereafter Gaņa pati is always worshipped first among all Gods and even before Śiva and Parvati on all auspicious occasions. The purport of the story lies even deeper still. As Aun is the symbol and the substance of the universe so was Ganapati the possessor of all virtues as his very name suggests. He had no outward speed but had the capacity to traverse the universe mentally and spiritually in no time because on the superconscious level, all the universe is one.
Like unto Gods, sādhakas too are many and are on different levels of consciousness and have different vehicles though the vehicles are apparently yogic. It is not the vehicles alone that matters, it is the speed that matters.
speed in the wrong or long direction is not useful as speed on the shortest road. It is the capability like the Ganapati that is the efficient means for Yoga and that alone provides the highest speed to the sadhaka. But speeds of the Gods varied from god to god even though they were on the same path. imilarly the speeds of Sādhakas vary in accordance with their yoga-Sädhanā. Such speeds can be as many as are the Sadhakas. Haribhadra recounts only the three categories of such yoga speeds. He calls them three yogas but looking to their descriptions they are three general categories of yoga-speeds discussed till now. Haribhadra describes them in the thrse name of yogas like Icchā-yoga, śāstra-yoga and Samarthyayoga, in the Kârikās 2 to 5 in Yogadsstisamuccaya. By the first he means 'the yoga by intention', second, the yoga by scripture' and the third 'yoga by exertion'.
He describes the yoga by intention and says that this type of yoga mainly shows the intensity of the intention or the keeness of the sādhaka. The keener the intention the speedier is he on his way to the goal. The second category of the yoga by scripture mainly shows the intensity of the sādhaka to follow the scriptures but had no insight of his own. He is not self-dependent in the matter of reaching the goal nor has he the insight for it. But in the third type of Yoga by exertion' the sādhaka achieves such immence capability that he like Ganapati can reach the goal in no time. Like Ganapati he gains an insight which sheds new light on even the scriptures and illumines his path for the realization of of Moksa. .. Patañjali has given a very rational exposition of this concept of speedy traversing of yoga-path. He says the speed depends on the Tivra-Samvoga

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i.e. the intensity of the yogic Sadhanā and not on anything else. There are three categories of such speed i.e. mild, medium and intense and there can be more combinations out of these three intensities for Sadhanã. In the sūtras 21, 22 of Pātañjaladarśana he states that very intense Samvega brings forth the desired result at once and takes the sādhaka to the threshold of the goal of Self-realization. But all cannot have the same intensity and some have mild and some have medium sort of intensity and so the realiza. tion of the goal also slows down accordingly. It seems to me that Haribhadra has taken up the clue from these sutras and has expressed the same con. cepts in his own style in the three forms of yoga of different intensities. His way of such expression seems to be practical enough. From different sorts of Sădbakas and their observation, he could see that some Sādhakas have good intentions for the practice of yoga but they are not implemented in practice. Some Sādhakas follow scriptures but they have not the insight into their details. Only the Sadhakas of intense self-activity alone can have a speedy progress towards the goal. In short, my surmise is that this classification of the three yogas is not a new classification at all nor does it present any new types of yoga but they are the three categories of the intensity of Samvega for the attainment of the goal. This is fully supported by the above comparison with Patañjali's sūtras.
The word Tivrasamvega is pregnant with meaning and covers all the three categories or aspects enumerated by Haribhadra. Intention, study of scriptures and insight with self-exertion are all included in this word Tivrasamvega and it leads to what Haribhadra calls a Drişti. The defipition of Dristi is very similar to the meaning of Tīvrasamvega. In the Karikā 17 of Yogadşstisamuccaya Drsti is defined like this : "By viewpoint (i, e.. Yoga view -point) we mean here that type of understanding which is coupled with right faith and which as a result of annihilating unwholesome tendencies is conducive to a state of mind characerised by wholesome tendencies”. Dșşti covers understanding based on right faith and it destroys wrong tendencies and fosters good ones. Reverting to our concept of polarity it becomes easy to understand Dșsti as well as Tivrasamvega which is nothing but Haribhadra's three yogas combined into one i.e. Yoga by intention, yoga by scriptures and yoga by exertion and insight. As already seen above, Tīvrasamvega represents the highest movement of the Sādhaka to his goal. This is completely ad operational concept. Haribhadra like Patañjali desires to express this straight movement into eight natural stages.
The eight stages are not arbitrary but are suggestive of eight aspects of increasing, changing and accelerative movement towards the goal. Each stage represents a novel aspect of the movement, a new acceleration and
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an addition of a new operation. All this happens in the personality of the Sādhaka and naturally his personality grows fast and each stage assumes a new form and gets a new movement, and a new operation. He has to give up the wrong tendencies as he progresses and rises higher in the personality growth, and gets on new and healthy tendencies by addition of new psychic operations at each stage of his very fast evolution. His faith in the good increases at every stage and his faith in himself becomes stronger too. In this wise at each stage he assumes a new and a higher and a more integrated personality. The eight Drstis thus represent eight stages of personality growth. If the Sadhaka's effort really assume Tivrasamvega he gets to the soul in no time, says Patañjali. Swami Vivekanand says that such a Sadhaka can become a perfect yogi in eight months. Such is the capacity of Tivrasamvega which is the sole capital of a true sādhaka.
Dr. K. K. Dixit has rightly stated at the very start in his introduction to Yogadrstisamuccaya, that Haribhadra mainly discusses the problem of an ideal personality in this book, Pandit Dalsukhbhai Mālavnia in his preface has suggested that Haribhadra divides spiritual evolution of a Sadhaka into eight stages i.e. eight drstis, The Sadhaka achieves new vision on each stage of the evolution and that is why Haribhadra seems to have named them as Drstis. As suggested by Pandit Malvania Haribhadra seems to have adopted the word Drsti from the Buddhist doctrine of eight Drstis but he seems to have worked them out in accordance with Patanjali's scheme of eight yogāngas or eight Yogafactors. These eight Dșstis form the main architectonic not only of Yogadrstisammuccaya but all the yoga-concepts of Haribhadra. They form into one body of Yoga and represent his whole concept of yoga, Other concepts on the Yoga are the aids and work as pillars to this main body of Yoga. It is worthwhile to see how Haribhadra treats each of the Drstis. I have thought it fit to compare each of them with the corresponding Yoga-limb of Patañjali. Before that, it is useful to glance at and study the comparative limbs of yoga in different Yoga-systems.
Haribhadra's Dșstis 1. Mitrā
Patañjalis Yogāngas
Yama
Bhadanta Bhāskara's List A-kheda (Non-Weariness) Anudvega (Non-disgust)
2. Tara
Bhagavaddatta's
List Adveșa (Non-antipathy) Jijñāsā (Keen desire to know) Susrūşā (Desire to listen)
Niyama
3, Balā
Āsana
A-Kșepa (Non-distracţion)

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4. Diprā
Prāņāyāma
5. Sthira
Pratyāhāra
Śravaņa (Listening) Bodha (understanding) Mimāņsă (Cogitation)
6. Kāntā
Dhāraņā
An-utthāna (Non-interruption) Abhrānti (Non-illusion) An-anyamud (not finding pleasure in anything else) A-ruk (Non-ailment) An-āsanga (non-attachment)
7. Prabha
Dhyāna
Pratipatti (Acceptance) Pravrtti (Implementation)
8. Parā
Samādhi
The study in comparison of these four corresponding stages in personality of the growth of a Sadhaka, reveals that Haribhadra is very much influenced by Patañjali in this regard. The other two gradations roughly correspond to eight Drstis but not to an exact measure. Bhāgayaddatta's expression of the stages is in positive terms while Bhadant Bhāskara's presentation is in negative terms as is the convention in the whole Buddhist tradition. We have chosen therefore to compare and explain the two corresponding stages in Haribhadra's and Patañjali's Yoga works. It can be seen from such a comparative study that though Haribhadra tries his best to go deep into the concepts of these stages and attempts to describe them to the best of his ability he seems to lack the subtlety and cogency of Patañjali's exposition. That is why I have thought it desirable not only to compare their corresponding stages of yogic evolution but to suggest and point the subtlety of Patañjali's exposition wherever necessary. Haribhadra states in the biginning that the first four stages are liable to degeneration while tho others are not. All the stages remove the veil of ignorance and as the Sadhaka rises higher the veil begins to disappear or fall down. Yoga is described as Jyoti in Yoga literature and Haribhadra too compared it to Kalpataru or Wishfulfilling tree. It is an interesting work to study yoga and comparison becomes more interesting and edifying.
Now let us take the Drstis presented by Haribhadra and compare and expound them one by one in their sequence.
Mitra and Yama
It is generally remarked that the scheme of eight Drştis is a novel one. It is so if it is seen from the Jain point in view as there is no such parallel, in Jainism, but as is already remarked, Haribhadra follows Patañjali's eight Yogāngas in this regard and so there is no novelty as seen from the evolution of yoga as such. Now let us take up the first Drsti Miträ. Haribhadra characterises each Dịști by the general features of each one. In

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Mitra the Sadhaka accumulates the seeds of Yoga and having a high regard for Tirthankaras offers prayers to them. He marches towards the Granthibheda and his soul's capacity to receive matter-particles is being gradually diminished till at last he reaches the state of Caramavarta. It is the well known philosophical concept in Jainism that a Jivātmā generally is in the midst of a whirlpool of matter-particles and as he rises higher spiritually his capacity to receive such matter particles diminishes till he reaches Caramävarta which is the last round of matter-reception. In Mitra Drşti the reception of matter particles begins to diminish. Moreover he pursues good acts thinking to be desirable and supresses demerits called different Sanjñās. According to Jainism there are ten Sañjñās or defects of character (1) anxiety for food (2) fear (3) Sex-passion (4) attachment for worldly possession (5) anger (6) pride (7) deceiptfulness (8) greed (9) mentality for the mob (10) desire for flattery from the people. In Mitra Dṛṣṭi these defects are to be got over. There is a natural feeling for disgust for the worldly existence and an inclination for good acts like writing, worshipping, offering as a gitt, listening and reading scriptures, grasping their meaning, their publicizing, studying and imbibing their spirit and such others. He likes the contact of saintly persons.
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This description of Mitra Dṛṣți sums up the vows to be performed in Yama. Yamas are five in number: non-violence, truthfulness, non-stealing, continence and non-receiving according to Patanjali. By proper observation of these basic vows, the Sadhaka lays the firm foundation of his yoga-sadhanā. Patanjali starts with the psychic foundation and formulation first. These Vows are interrelated and one leads the Sadhaka to another. Non-violence means universal love and without such love no sadhaka can start well. When the mind is full of love and permeated with love alone, the Sadhaka can see truth. His love must gradually rise to such an intensity that in his presence even the wild animals would give up their cruelty. Truthfulness leads to such a psychic power that it all happens as the Sadhaka utters. Such other powers accrue on full observance of these vows. These vows are to be observed at all times and at all places i.e. everywhere. Then alone can they endow psychic powers, to the Sadhaka. These powers are essentially spiritual in nature and are not merely psychic powers. Yama thus lays down the urm foundation of Yoga-Sadhana. They are the first requisites for spiritual polarization. Once they are made part of one's being, the rest of the yoga-work becomes comparatively easy. Haribhadra includes these five vows in his description of Mitra by including in it the conquest of ten sañjñās.
His expression is in negative terms but Patñjali puts forth the basic yogic vows in positive and clear terms. Haribhadra tries to interpret them

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by describing some common features in order that they can be understood even by a common sādhaka and no commentry be needed for him. It must
made clear here that the styles of Haribhadra and Patañjali are quite different because they have before them different sorts of readers. Patañjali's style is epigrammatic while Haribhadra writes in a style which would be understood even by a common man.
Tära and Niyama
By this drsti the sādhaka achieves some new features and characteristics. He now gets an intense liking for discourses on Yoga, has great reverence for the Yogis, serves them with faith, gets rid of minor disturbances and his conduct becomes cultured. He is no more fearful, does good deeds with ardour, and is above improper actions and follows the injunctions of those who are authority in this field.
Tārā is the parallel concept of Niyamas in Patañjaladarśana. There are five Niyamas : internal and external purification, contentment, mortification, self-study and worship of God or the deity. These are the rules for conduct for day to day practice and are based on the five yamas, Cleanliness can lead to Godliness. There must be internal as well as external purification. Purification is then the first sign of Sadhanā. Sādhaka should purify his mind and he should always remain contented with whatever he gets or in whatever condition he finds himself. Tapas is needed too and the more psychic it is, the more beneficial it becomes. Self-study means study of the Self and study by the self and study for the self, Surrender to God is no less prerequisite as by such surrender alone the Sādhaka can become carefree and completely detached in every way.
Herein too Patanjali is more specific and states the subject in direct and straightforward manner. More important is his remedy for the distractions which might upset these yamas and niyamas. The real remedy for them is Vipakşabhāvanā i.e. the Sadhaka sould think contrary thoughts when inimical thoughts arise in the mind. When ideas of sex, untruth, violence, impurity etc. arise in the mind the sadhaka should begin to think of the contrary thoughts and ponder that such evil thoughts would lead to misery ultimately. Doing so he must think of positive thoughts. Patañjalı lays down a great law on the Psychic level that bad thoughts
urned into good thoughts by imagining the stark result of improper thoughts. Psychologically too this principle seems to be enough. The energy that is there behind the evil thoughts can be channelized into good thoughts, because psychic energy is the same in their formulations. This law of Vipaksabhāvanā shows that it is the psychic that is behind the

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formulation of both the good and evil thoughts and by this Bhāvanā it can very well be sublimated. This is a great law of sublimation and transcendence.
Bala and Asana
In Balā the Sadhaka is 'getting seated in one's nature.' His attachment to the worldly things begins to vanish. His sitting posture becomes firm. His style of working is without haste and disturbance is eliminated. His desire for the knowledge of scriptures gets keener and he can continuously harbour good thoughts. There are no more distractions in his spiritual endeavour. The parallel concept of Āsana is described as a posture which is firm and pleasant. Here the posture does not merely mean the physical posture but mental equilibrium also. When the mind is self-stabilized and is ease, the real posture is attained. The two sutras related to this are more important. Such a posture can be achieved by relaxation and concentration of the mind on the Infinite. These two processes must go together because they are fully interlinked. Relaxation leads to concentration and concentration on the Infinite can give relaxation. The relaxation must not merely be pbysical but also of the whole nervous system along with all
muscles and eventually it must result in mental ease too. By such relaxation the mind can easily be concentrated. Concentration must be made on anything that is infinite. Such a simultaneous double process would give a firm posture - mental as well as physical. By such a posture the Sadhaka can transcend all qualities and he is not affected by any of them. These qualities may be physical as heat and cold or mental like happiness or unhappiness or spiritual like sin or virtue.
Herein too Patañjali is more specific and clear in his statements. He provides a sound psychological principle by describing Asana. It is the principle of the simultaneous use of relaxation and concentration on the infinite. It is a matter of common experience that when one sees the vast expanse of the sea or looks up at the infinite sky he finds an inscrutable peace dawning on his mind and the whole of his being. He then feels a a sort of relaxation which cannot be achieved by any other means. The same principle of relaxation-cum-concentration is seen working behind this common experience. This principle has a great experiential as well as existential value and deserves to be applied in a variety of ways in sādhanā as well as in day-to-day life.
Diprā and Prāņāyama
The fourth stage is Diprā or Prāņāyāma. In this stage the sādhaka begins to consider religion dearer than his very life. He would give up life

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but not his religion. He knows that the man's religion is the real companion from life to life. He gets pleasure in devotion and begins to have a vision of his goal.
Patañjali describes this stage as Prāņāyāma. It simply means the control of the breath if only its literal meaning is taken. But in Sanskrit, Prāna means not only the breath but also the physical, psychic and spiritual energy. Prāņāyāma therefore means the control of all such energy. The word Ayāma meaning control deserves some attention on our part. It means a willing control, it does not mean inhibition at all. Inhibition generates reactions but control gives command over all the energies and their functions. In sādhanā as well as in the life of the common man, energies play an important role. Most of the problems of abnormalities are due to the lack of control of the energies in man. The energies are like fire: if they are mastered they are useful but if they become the master they play havoc.
If prānāyāma is well secured it removes all the obstacles and the inner lighit begins to shine and illumines the mind. This too is a matter of common observation. When a man is self-controlled he is self-stabilized and his mind works efficiently but when his mental and physical energies are diffused, he cannot use even his common sense. Such common experience suggests too that the control of energies is the most important task even in day to day life. For the Sadhaka, such a control alone can lead him to spiritual concentration. That is why Patañjali states that Prāņāyāma alone makes the mind steady and also ready for concentration. The art and the beauty of the style of Patanjali lies in the fact that he expresses great and experiential truths along with operational methods very succinctly and still very clearly. The truths reveal themselves as the methods are followed in practice sincerely and correctly and they lead the sādhaka to the next higher stage. Such a sādhanā is self-revelationary and if correctly followed leads him from step to step and from level to level uptil the highest stage.
Vedyasamved yapada and Siddhatma
This term is introduced by Haribhadra in the transitory stage and suggest thereby that unless the sādhaka attains to 'such a resting place where the knowables are known', he cannot progress further. This is an inner state of consciousness wherefrom the sādhaka can know all that is knowable. Even the knowledge of the scriptures is poor guide when compared to such a knowledge gained from an inner resting place. Haribhadra bas elaborated on this subject perhaps too much but his purpose seems to

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be to suggest that the inner assurance, stability and knowledge from inside is far superior to all knowledge gained from outside or by the senses or the mind. The opposite of Vedyasamvedyapada is Asamvedyapada which is quite opposite in nature. I presume from the description of these two terms that Haribhadra wants to convey by them the meanings of antaranga and bahiranga terms used by Patanjali. Patañjali uses these very terms exactly at the middle juncture of his descriptions of the eight limbs of Yoga. Haribhadra too does the same and wants to suggest that the first four Dṛṣṭis are bahiranga or the outer portion or the exterior aspect of yoga and that is why it is Asamvedyapada because there is no stable resting place there of any true knowledge. True knowledge can be gained only by the next four Drṣtis alone. And thus he uses the terms similar to bahiranga and antaranga used by Patañjali. Haribhadra's two terms are descriptive of the stage of the evolving personality and the growing stability of his inner resting place. Patanjali has his own judgment in this matter. He considers first five factors or limbs of yoga as constituting the outer aspects of yoga and the last three only as the inner aspects. Therein too he suggests that resting place is not at any stage in yoga-sadhana but it is only in the realization of the Self alone. This is the subtle difference between them. Whatever it may be, Haribhadra intends to convey by this term that the sādhaka can find a resting place inside from which he can know all that is knowable and at this point both the view-points very well converge.
Patanjali does not want to convey any separate term for such a restting place from which all knowable are known. He has already conveyed such an inner stable-state by two terms like Svadhyaya and Isvarapraṇidhāna. In Svadhyaya the 'Sva' means the soul or the Puruşa and by constant study of the Self one gets an inner stability of the Self. Similarly by the term Isvarapraṇidhāna, the sadhaka surrenders everything, even including his very Self to God and tries to find a resting place in the Soul and in the God who is nothing but the Purusa-višesa. There cannot be any better resting place for knowledge than this because Purusa and Purușa-Viseșa are not only the resting place of knowledge but He is the very embodiment of all knowledge. The sadhaka does not at once get at this highest stage but he finds at least a resting place there and once he gets such a stability inside, his climbing the next steps or the stages of the ladder of yoga becomes smoother. As soon as the outer stages are got over the Sadhaka invariably finds such stable insight inside and then after his evolution to the next higher stages becomes smoother.
Sadhaka gets his final resting place in the final stage of Siddhātmā. Haribhadra has shown his real genius in the synthesis of the concept of

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the final stage of yoga He makes a definite and unequivocal statement in Kārikā 130, 131 in YogadȚştisamuccaya that the words Sadāśiva, Brahma, Siddbātmā, Tathatā and even Nirvāṇa convey the one and the same meaning and the same concept of the final stage of evolution of the Sadhaka. The names are different but the meaning is the same He is even sure that these words can be made to mean the same thing even by etymological derivations. Haribhadra insists that wise persons should not quarrel about how one expresses his faith or loyalty to the same truth. Life is replete with variety and expressions also vary not only among men but in the same man as he evolves. The real truth can be only experience and the final reality can be grasped only by inner experience. Reverting to concept of polarity it can be said that the reality can be grasped only after the focai point of the Sadhaka merges with the fixed polar point of the highest goal or the reality itself. Then alone the two poles merge and then alone the one and final reality can be known.
Sthira and Pratyahara
The fifth stage of the personality growth is Sthiră according to Hari. bhadra and Pratyāhara according to Patañjali. This stage as its very nomenclature suggests is the stage of the experience of the first glimpse of the permanence. The untying of the knot of ignorance can be in the process here and the worldly happenings appear to be the children's play as it were. The world begins to appear like a jaggler's trick or a mirage or a dream. It is this stage from where the world shows its real nature of its transcience. Here the sādhaka begins to have light of discriminatory knowledge and naturally now he is on such a stand that he is free from the disturbances from the outside as well as from the inside. Eventually he can be free from such worldly enjoyments which are the fruits of good works done by him. Haribhadra gives a very good similie by saying that sandalwood fire also burns. Sandalwood is like the merits of virtuous deeds and fire is the enjoyment thereof. Fira is fire after all and en ioyment of the fruits of good deeds also should be eschewed even as the fire of even the sandalwood is to be kept apart. It is like the taking of the burden of Karma from one shoulder to another. The burden is to be thrown off completely and that is possible only by Sthiră Drsti and the drstis that follow this stage.
Pratyahāra is a very beautiful word and equally suggestive of its preg. nant meaning with its manifold sub-meanings. It suggests the withdrawal of not only the senses but also the mental tendencies. But where are they to be withdrawn ? As it is already stated in the foregoing comments on the inner resting place, the sădhaka by the process of Pratyāhāra with
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draws not only the psychic energies but also all the mental tendencies from their going outward to the objects of senses and thus draws-in all the senses too and stabilizes them in the inner calm of the Self. Here he begins to feel stability of the Self more solidly and entrenching himself on this firm foundation he draws in the psychic energies at a time and stores them as it were in that inner solidality. Patañjali does not rest with mere such statement of withdrawal of the senses in the inner resting place but also describes new formation or the change in the nature of the senses. He says that in Pratyābāra, the senses begin to change in the likeness of true nature of the Self. This description too is not a make-believe but an experiential hard truth open to all sādhakas if the conditions of Pratyābāra are fulfilled.
The meanings of both Sthirā Drşti and Pratyāhāra are almost the same but Patañjali's short and sweet and grand sūtra expresses and sheds light on the process of sublimation on all planes in the description of Pratyāhāra. Sublimation is a psychological process recognised even by Freud but the concept is not clear even to the present growing Humanistic psychology. It is a matter of great satisfaction that humanistic psychology has begun to explore the field of inner experience but it has not reached the stage wherefrom it can shed light on the most important concept of sublimation. Freud had a meagre idea of sublimation and it was beyond his area of psychoanalysis because of the very fact that sublimation is the process not of analysis of the psyche but the synthesis of the psyche. I shall discuss this process in the third lecture but suffice it to say here that the process of pratyahāra is the process of sublimation and by that alone can one get the key of the supreme act of sublimation. It is sublimation of man's nature at all stages and planes that is necessary today and that alone can show him the method of psychosynthesis.
Kānta and Dharana
The next stage is Kāntā according to Haribhadra and he equates it with Dhāraņā of Patanjali. Haribhadra is fully conscious that the descriptions of different Dęstis or the stages of the speedy personality growth of the Sādhaka is a continous process and that is why he states that in Kāntā Dșsti the process uptil now continues further on. There is real concentration at this stage of the process and the Sādhaka does not feel any pleasure in anything else. This is a very true description of the work done in the process of Kāntā Dșsti. The Sadhaka's conduct becomes completely pure and the mind is fiixed on the religious truths, he stays in the inner stability with pleasure and without any wavering and so he is free from delusion.

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Patañjali describes this stage only in four words and says that Dhār. aņā is the holding of the miod in the Deśa. Now Deśa can be interpreted in more than one way. The very word Deśa suggests stability. It is the inner stability of the Self that is meant here but it can mean the fixation of the mind on any object of concentration also. The word Bandha too is suggestive of the stabilization of the mind. The mind now begins to rest in an easy style on the inner self-stability.
One practical instance can shed more light on this stage than any comments thereof. Ramana Maharshi was a symbol of the great Vedic Rşis of ancient India. His life was an open book and he was one of the greatest savants of this contury who only gave up his physical life in 1950. I had the good fortune to visit him and sit in his benign presence and talk to him on more than one occasion. There is one experience related in his biography that when as the runaway lad he went to Tiruvallamalaya he used to sit in front of the temple and meditate. But the urchins all around did not allow him to do so and they began to pelt him with stones on him. Ramana, the young chap hardly about sixteen years thereupon went to underground the temple-cellar and began to meditate. The place was unused and there were insects too. Now instead of the urchias the insects began to attack his legs and blood began to ooze from their bites. But Ramana was quite unaware of these highly disturbing physical pains because he was steadfast in his inner self-stability and very much engrossed in the joy of the elixir of inner life. Such is the joy, the supreme joy of the concentration due to Dhyana. It is truly the existential and experiential joy.
Prabha and Dhyana
The stage of Prabhā is the same as Dhyāna of Patañjali according to Haribhadra's description of the process of speedy evolution ka's personality. The main features of this stage are the inner feeling of complete calm, correct inner position, intense liking of concentration, conquest of sex, detachmend in actions and calm and steady inner flow of the psychic energies and bliss.
Dhyāna too is described by Patañjali in four words. It is the same process of Dhāraņā but the intensity is very great and the concentration is far greater. The concentration becomes one-spotted and the inner stability increases. The inner joy becomes the inner Rasa by repetitive or concentrative process of Dhāraņā. Haribhadra as we have already mentioned before, talks of Dhyāna-Rasa and Rasa signifies intense interest and joy by carvanā of the inner Bhāva. It is the bliss of the inner self and it

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cannot be compared to any other Rasa in literature or life. It is the conglomoration of all Rasas. It has no parallel similie outside because it is a psychic and experiential stage of inner process of not only self-stabilization but of the psychosynthesis.
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Para and Samadhi
The last but not the least but the uppermost stage is Para stage according to Haribhadra and he equates it with Samadhi of Patanjali. Reaching the goal as it were in this eighth stage and the final one the Sadhaka is now free from all attachments and is far above likes and dislikes. He surpasses all codes of conduct because he stands far above all the processes and is fully self-stabilized. He is in a state from where he can renunciate all virtues. Haribhadra gives out a fine similie of this state of such existence. The pure soul now stands comparison to the moon, consciousness is like the moonlight and the veil obsuring the consciousness is compared to the clouds which are far below on the earthly matter and that too is pervaded by the moonlight of conciousness. He now becoines Omniscient and possesses all that is worthy of attainment, can bestow benefits to others as he has reached the culmination of yoga. The bodily and mental operations can be ceased at this stage at will and so there can be no ailment whatsoever and can attain Mokṣa in no time. It is the complete freedom that is the nature of this Para stage and this very word Para is suggestive of the transcendenal supreme stage of complete bliss and freedom.
Patanjali describes this stage in two ways i.e. as a final process as well as the final stage. Patanjali has shown his keen insight in such a double description of Samadhi because it has in fact such a double aspect. As the last stage of the process of self-stabilization it is still a process of the concentration of all psychic energies and forces in the self and so it is the last process of psychosynthesis. But the proces of psychosynthesis ends in the complete realization of the self. At the end of this process of Samadhi alone, self-realization becomes an estabished fact but not till then. So Samadhi has double aspect of the final stage process of yoga and the endproduct of such process in the form of complete selfstability which is nothing but Mokṣa. Herein the process of polarization comes to an end and the two poles become one i. e. the pole of the focal point of the Sadhaka's fast evolving personality coincides with the supremely stable fixed pole of the goal of Mok şa. Then on the life of the samadhistha mukta sadhaka becomes concentric cycle free from all worldliness and even detached from his own psychic forces and energies.

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Haribhadra's Synthesis of Yoga
Vịttisaksaya and Samprajñāta Haribhadra has taken care to state the main yoga-concepts given by Patañjali and expressed in such a style that they can be appreciated by even an initiate in the field of Yoga. Sometimes Haribhadra is cursory in the treatment of such higher conepts of yoga while Patañjali is thorough althroughout. Haribhadra has no doubt mentioned the last three stages of yoga i. e. Dhāraṇā, Dhyana and Samādhi but Patañjalı does not rest content with mere descriptions of these stages. He goes deeper into the last processes and says that these when combined into one is called Samyama. Such Samyama can be used both ways i. e. in the external objects as well as on the self. If utilized inside it can lead to Mok sa and when applied to external objects it would lead to the complete knowledge of that external object from such Samyama various objects and psychic powers can be gained. He even enumerates the ways of the utilization of Samyama on various important objects and the process thereof and the Siddhis and psychic powers gained therefrom. But he wards at the same time that such powers are obstacles to Samprajñāta state of being or to the complete Self-stabilization and Mokşa.
Though the utilization of Samyama for objective and psychic knowledge is not debarred but the use of Siddhis is prohibited. It must be utilized for the knowledge of the self or for the higest consciousness. Haribhadra has given a cursory treatment to the process of reaching the Samparajñāta stage. He tries to allude to this process in the concept of Vrttisankşaya. It is in short the elimination of the soul's capacity to get connected with Karma. It is by the study of the scriptures, inference and Dhāraņā alone that the Sadhaka can get rid of such capacity of the soul. Haribhadra tries to explain this process of Vșttisamkşaya in the Kārikās 405 to 417 of Yogabinda; he gives the appropriate simile of the frog-bits and the frog-ashes in comparison to Samprajñāta and Asamprajñāta Samādbis respectively. In this way Haribhadra has not at all left out any important yoga-topics in these two books. They are fully and scientifically treated as by Patanjali. Let us now see how Patañjali has given the treatment to these last stages of Yoga.
Patañjali defines Samprajñāta in the Sūtra 17 of the first Pāda thus : "Samprjñāta Samādhi or the concentration called the right knowledge is that which is followed by reasoning, discrimination, bliss and qualified egoisın.” This is the free translation given by Swami Vivekananda. Samprajñāta is the concentration by transformation and sublimation of the modifications of the mind, in successive stages of Vitarka, Vicāra, Ananda and Asmitā and then to Svarūpa. This needs some preliminary explanation

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38
Shantilal M. Desai
of some of the basic terms like Vitarka and others and the process of Vrtti itself. A Vịtti is the modification of the mind from the moment to moment. On seeing any object for instance, a Vịtti arises. But a Vștti is not simple but a complex operation of the mind. There are at least four layers or levels in each Vịtti which like the wave arises and falls down and again merges in other waves. Each wave or Vștti, then consists of four layers or levels and they are the Vitarka, Vicāra, Ananda and Asmitā and finally they can be merged in the Svarūpa by the Sadhaka by Samprajñāta Samādbi. But in the ordinary mind the first four levels of a Vștti submerge again and again.
On seeing an object the first operation in a Vrtti that arises is Vitarka ie, image of the object in the mind. The second layer or level is Vicāra i.e. the images of the relations of the different aspects of the object. The third level is about the corcommitant feeling of pleasure (or pain) and the last layer is the cognition of the ego or the modification of the ego in consequence of the impact of these three former layers. Thus every Vrtti has a four-fold impact on the mind at four different levels. Vitarka has an impact on an image and so it affects the imagination of the mental Visualization. Vicāra affects the capacity to relate different aspects of the object and thus it bas an impact on the thinking power. Ananda affects one's affective capacity of pleasure and pain and the Asmitā bas an impact on the evolving ego of man. The Svarūpa is always unaffected but in the Samprajñāta the sādhaka can merge the Vịtti in Svarūpa after sublimating and transforming it by process of Samyama. But in ordinary mind only the four layers can be observed by self-introspection alone because they form a complex. All these layers arise as a complex Vștti and merge again in the miod so quickly that untrained mind cannot see them in succession. But they are all there in every Vștti or the modifica. tion of the mind. Vșttis also arise so quickly and submerge also at once that they can also be observed only by self-introspection alone. Kishorlalbhai Mashru wala has explained this four-fold process in the last part of his wellknown book Jivanaśodhana very ably and I would say it is his original contribution in the field of yoga. I feel he has rightly interpreted this sutra on Samprajñāta. Sadhaka is for inner bliss alone and that is wby the third layer is named Ananda. But in the ordinary Vrtti this layer may consist of either pleasure or pain. But Patañjali here talks o the process af Samyama and is such a process this layer cooists of bliss and bliss alone.
When
When Samprajñāta stage is attained it is easy to understand Asampr. jañāta becausc therein the Soul is bereft of all connections of the Karma

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or matter in any form whatsoever and there is complete stability in the self alone Self stands Self-contained and there Caitanya alone exists.
At this last stage of the culmination of the personality of the Sadhaka, there is only Caitanya. Haribhadra clearly states in Karika 428 and Karika 445 of Yogabindu that true and final nature of the soul is Caitanya and in this complete, full and unattached stabilization there is Mokṣa: In this way Haribhadra has taken us to the highest stage of Mokṣa and shown us the complete process of Yoga and Psychosynthesis. He has finished his task very ably and has shown us the way for the Psychosynthesis. He has provided the key-word Caitanya too to formulate Paychosynthesis in the present context.
1 Yogasataka p. 63, 64
2 Ibid p. 66
References
3 Ibid p. 66
4 Samadarsi Acarya Haribhadra, p. 89
5 Yogabindu of Haribhadracarya : Edited by Dr. K. K. Dixit Published by L. D. Bhartiya Sanskriti Vidyamandir, Ahmedabad-9, 1968, p. I (Introduction)
6 Yogady stisamuccaya, p. 8 (Introduction)
7 Ibid p. 9
39
8 Raja Yoga by Swami Vivekananda, Published by Advaita Ashram, 5, Delhi, Entally Road, Calcutta 14, 12th Ed., 1962, p. 242 (Third Päda, sutra 11)
9 Yogabindu, pp. 102-03
10 Ibid: p. 60, 61, 62
11 Ibid: p. 83, 84, 85
12 Bhagavat Gita: Canto 15, Hymn 3
13 Raja Yoga, p. 86
14 Yogady stisamuccaya, p. 27

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THE BUDDHIST AND JAINA CONCEPTS OF MAN AND SOCIETY AS REVEALED IN THEIR RELIGIOUS
LITERATURE
Padmanabh s. Jaini
Buddhism and Jainism are the two heterodox religions of ancient India which have survived to the present day. Their heterodoxy lies in the fact that they both have claimed to be, and have been recognized as being, anti-Vedic systems The term Śramaņa, although it is originally found in the Upanişads, has come to be applied almost exclusively to the mendicants and teachers of these two religions, and it thus represents a complex of attitudes and ideas which are opposed to those referred to by the term brahmana.2 Although there have been many anti-Vedic or anti-Brahmanical movements throughout the course of Indian history which, bad they survived, could be labelled Sramana, all of the others for the most part have been assimilated into the Indian orthodox tradition and have ceased to maintain their existence as separate entities.
Three major departures from the Vedic and Brabmanical systems characterize Buddhism and Jainism. They reject the scriptural authority of the Vedas, Brāhmaṇas, Upanişads, Mahābhāruta (including the Bhagavadgita), Rāmāyana, and Dharmaśāstras; this body of literature has effectively governed Indian society throughout the ages. They deny the efficacy of sacrifice. And they refuse to acknowledge the divine status of either the Vedic gods or the Hindu trinity of Brahmā, Vişņu, and Siva as well as their great avatāras, which are depicted in the eighteen traditional Purāņas.
As the result of these departures the two heterodoxies developed as atheistic religions having only one thing in common with other Indian religions, their concern for the individual's salvation (mokşa). Salvation among the Indian religions is seen as total freedom from the cycle of birth and death, from the passions, desires, and the rest of the human condition. Unlike other Indian religions and, indeed, unlike other religions thr out the course of world history, Buddhism and Jainism consider such a salvation to be obtainable by the efforts of the individual alone, without the need for an external agency, such as God's grace. In ihis respect the two heterodoxies are very different from the Vedic tradition, in that the latter presupposes an ett rnally free God, who can save the world preciSely because of his freedom. Accoding to Jaina and Buddhist doctrines

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Buddhist and Jaina Concepts of Man...
41
human beings are born endowed with the potential to realize perfection, in the form of omniscience and absolute purity, during the course of their lifetimes. The leading figure in each religion (the Buddha and Mahāvira) has obtained his perfection at a particular moment in history; he has risen beyond the human condition through his own efforts.
Although there are other Indian philosophical systems which are atheistic in theory, for instance, Mimāṁsaka, Samkhya, and Advaita Vedānta, these systems belong to the Vedic tradition in practice. The Mimāṁsakas believe in the absolute authority of the Vedas and in the efficacy of sacri,
. The Sāṁkhya maintains that an infinitely large number of puruşas are, in fact, eternally free from bondage, Monistic Vedānta, although atheistic, affirms the absolute and beginningless freedom from change of Brahman. Among these schools the Mimāṁsaka does not address itself to the problem of salvation, but it assigns the function of God to the Veda itself. For both the Samkhya and the Advaita Vedānta bondage is not a real state but rather an illusion.
The avowedly theistic schools, Nyāya-Vaiśesika, Višistādvaita and Dvaita Vedānta (the basis for Vaisnavism and Saivism), and Yoga, accept a real state of bondage, but they believe that salvation is possible only through grace. Therefore their practitioners are at the mercy of God and can be characterized as "devotees".
The orthodox systems of philosophy, it must be noted, do not comprise orthodox Indian religion, which basically consists of Vaişnavism and Saivism. In these religions the individual practitioner is a believer in God up until the moment of his salvation.
There is a dramatic contrast between the orthodox religions' emphasis on grace and the heterodox religions' insistence upon individual effort. In the orthodox system man lives according to the will of God, who creates, sustains, and destroys him. As it is set forth in the Puruşasūkta, the human being is a part, together with all others, of the cosmic design, and he is linked with the other components of the cosmos, as well as with its creator. The concept of the four varnas defines the human hierarchy with cosmos, and later texts, particularly the Epic (including the Bhagavad Gita) and the Dharma Sastra, outline for the individual his duties, privileges, and his identity with the group, as well as the reason for his particular activity (svadharma). The performance of duty, according to the Bhagavad Gitā, is the supreme means of attaining salvation, because it upholds cosmic law, does not transgress the individual's svabhāva (as defined by Sambodhi ix (6)

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caste, etc.), and most importantly, because it endears the individual to the Lord, who is the only arbiter of his destiny.
42
It is well known that Indian society has set forth four distinct goals which are worthy of human endeavour; these are dharma, artha, kāma, and mokşa. Mokṣa stands apart not only from artha and kama, but also from dharma, when dharma is taken in the sense of caste duties. In order to attain mokşa, the fourth goal of life, one must renounce artha and kāma, as well as the relevant portion of dharma. But Vedic theism, as it has been outlined above, has been able to remove, through the agency of scriptural texts such as the Bhagavad Gita, the conflict between the distinct goals of mokşa and dharma. The theistic religions have introduced devotion as a means of attaining to mokṣa, and by emphasizing that devotion consists of the performance of one's dharma, without in any way abnegating artha and käma, they have made the two goals of dharma and mokşa compatible and have given the individual justification for leading the worldly life. Thus they have sanctioned the individual's involvement with his family's welfare and with the society of which he is a part; whether as a warrior, a priest, a merchant, or a craftsman or laborer. This involvement with society rests on the idea that the individual is part of the same creation as all other beings, and that the creator wants him to reach his goal through his involvement.
Devotion, therefore, strikes at the very roots of asceticism, which is the chief characteristic of the Śramaņas. The śramanas have never attempted to define the svadharma of any human being: they have never contributed to the theory of the caste system; and they have rejected the notion of a three-fold prakṛti (sattva, tamas, rajas), the various mixtures of which are responsible for the caste system. The fact that Hinduism defines svadharma makes artha and kama acceptable goals, in that they are properly limited. In the absence of a notion of svadharma, however, artha and kāma are bereft of any redeeming qualities and cannot be turned into a means of
salvation.
Unlike the Hindu the Buddhist and Jaina cannot, therefore, assimilate the goal of mokṣa with the social responsibilities of production or distribution of wealth, sustaining the family, and propagating the race. In order to win salvation the śramana must renounce artha and kama in every respect; renunciation, itself, is his dharma. If indeed śramana is asked about a man's svadharma, he will be able to point to the examples of their great teachers' (the Buddha and Mahavira) lives and say that it is the very paths of these masters.

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Renuciation is not unknown among the Brahmanical schools. Indeed Yājñavalkya, the great teacher of the Upanişads and the supreme Brahmavādin, is portrayed as renouncing the world and his own immense wealth But one must remember that he had led a long householder's life, had had two wives, and had amassed a large fortune from his patron, King Janaka. His renunciation was seen as the natural culmination of a long, useful, active life, in which the other puruşārthas, artha and kāma, were fully realized. When he left home, he was able to do it with a clear conscience and in the open, saying farewell to his dear wife, Maitreyi.3 Compare this with the story of the Buddha's renunciation; when he was barely tbirty years old, Gautama shunned the worldly life and abandoned his wife and child in the middle of the night, not daring to announce his departure. Moreover he was not content to do this on his own, leaving bis aged parents and his young wife; he took with him into his so-called ''state of homelessness” thousands of other young people, whose motto was :
Full of hindrance is the household life, A path for the dust of passion. Free as the air is the life one, Who has renounced all worldly things.4
Contemporary records tell us that the women, when they saw these young men who had abandoned professions and homes and taken on the yellow robes of the monastic order, criticized and disparaged them, saying, “The recluse, Gautama, wants to make us childless. The recluse, Gautama, is bent on making us widows. The recluse, Gautama, gets on by breaking up families.”5
But the Buddha, we are told, assured his followers that the women's crying would subside after seven days and instructed them to respond by saying, “Verily, great heroes lead by the true dharma. Who will be jealous of the wise, led by dharma ?”f there is no doubt that by the word, dharma, we should understand not the Brahmanical svadharma but rather spiritual salvation, mokșa, nirvāṇa, the goal of the śramanas.
We find a similar situation when we turn to the career of the Jaina teacher, Mahāvīra. According to the Digambaras he never married, and so the question of his involvement with society can not even be addressed. According to the Svetāmbaras he married a princess and fathered a daughter, and, even while he was still in his mother's womb, he was sensitive enough to vow that he would not renounce the world until his parents had died and thus spare them the suffering of his leaving the householder's life.' Conveniently they died when he was about thirty years old. Although

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his feeling for his parents was admirable and sets him apart from Gautama, who had no such qualms, nevertheless the fact remains that, as in the case of the Buddha, his wife and young child were left to the care of society.
Furthermore we are told that soon after his enlightenment Mabāvira gathered around him five thousand Brahmans, all followers of the Vedic tradition. Following Mahāvīra they all renounced the world to lead the life of mendicants. Thus in the case of Mahavira, as in the case of the Buddha, a large body of parents, wives, and children were left at the mercy of society for their upbringing, welfare, and protection. Such a state of affairs could not have taken place if there had not been a Brahmanical society which would provide for the care of these abandoned people,
That the Buddha and Mahāvīra trusted society to take over where they had left off is shown by the fact that neither made an effort to legislate for the guidance of the lay people regarding their duties to their parents, wives, children, or society at large. The canonical texts of the Jainas and Buddhists are full of admonitions to the lay people to serve the old, to look after their dependents, etc., which message is repeated even in the celebrated Asokan edicts. But this type of admonition was secondary to the true teaching of these masters, namely the renunciation of the world through a progressive series of vows and restraints. But even these restraints, such as bags on killing, stealing, lying, improper sexual activity, and excessive cumulation of property, were not primarily devised for the benefit of the laymen. Rather they are watered-down versions of the true precepts and regulations which applied to the monks. Their intent was ultimately total renunciation (mahāvrata) rather than partial refraining from these acts (aņuvrata.)
When we consider the law books of these heterodox Indian religions, we are immediately reminded of those of Manu and Yajňavalk ya, who legislated the duties, punishments for transgressions of duties, condition of inheritance, etc., for the laymen. But we must bear in mind that these orthodox law books are significantly smaller in bulk than those of the Buddhists and Jainas such as the Vinaya pitaka or the Kalpa Sūtra. These latter, however, have no relevance for the layman, they are strictly for the guidance of those who have renounced the world.
One may find a few stray sermons of the Buddha, such as Sigalovāda Sutta9 or Rajovāda Jātaka,10 which deal with the virtues which are recommended to the lay people. But there is nothing in the Buddhist texts to define the duties of a warrior, or the codes by which he lives, or the

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Buddhist and Jaina Concepts of Man...
fruits of this life and the next that he may hope to enjoy as a engaging in warfare.
45
The Jainas may be said to have been a little more conscious of their duties to their lay people. Unlike the Buddhists, who produced only a single work addressed solely to the layman, an eleventh century Pali work, entitled Upāsakajanālankära,11 written by a Sinhalese monk in India, the Jain mendicant authors produced no fewer than fifty śravakācāras, or law books for laymen.12 But even these cannot really be compared with the law books of Manu or Yajnavalkya. The burden of the śravakacāras is to explain in full detail the various Vows and restraints a layman may progressively assume, and it provides a list of infractions demanding expiation; by means of these the lay person can prepare himself, in a graduated manner, to become a full-fledged monk or nun, who has completely renounced all property and civil obligations. In the case of the Digambara monk, this includes even his begging bowl and loincloth.
result o
Sustaining the monastic order was considered by both Buddhists and Jains as being the most important duty of the layman, and the Jainas have drawn up long lists of unacceptable professions in order to encourage lay support of the monks. Fifteen unacceptable professions include: obtaining a livelihood from charcoal, obtaining a livelihood by destroying plants, obtaining a livelihood from carts, obtaining a livelihood by demanding transport fees, obtaining a livelihood by hewing and digging, trade in animal products such as leather and ivory, trade in lac, etc., trade in alcohol and forbidden foods, trade in men and animals, trade in destructive items such as poison and gunpowder, etc., work involving milling, work involving mutilation, work involving the use of fire, work involving draining lakes, and work involving breeding and rearing animals, 13

It is obvious that these professions, forbidden to a Jaina on the grounds of being harmful to the subtle beings which the Jainas call "onesensed" (ekendriya) and of causing cruelty to men and animals, involve actions whose avoidance would be a worthy goal of any religion. But the question remains and must be asked of the Jaina as to whether some of these activities, such as destroying plants, driving carts, hewing and digging, using fire, etc., are not at times essential to the very survival of civilization. And if the Jaina does not undertake these professions, should we understand that those who do will incur the unwholesome karmic results of their actions, while the Jaina profits from their activities and is able to continue his employment in "acceptable" professions, such as commerce in grains, textiles, jewelry, and stock, in which there is no direct contact with raw material? A conscientious Jaina would probably answer that he

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Padmanabh S. Jaini
is party to the sins involved, but only indirectly, since his volitions are not involved. This is comparable to the claim that a Jaiaa mendicant who subsists on alms provided by laymen is not responsible for the actions of growing, procuring, and preparing the food.
Still the basic question is not answered, as to why a civilization should be maintained and who should maintain it. This question becomes even more pertinent when we turn our attention to those functions which
s a basic need of life, but which are still extremely important, namely the administration of justice, by which an evil man must be punished, and the defense of one's country in the face of an attack, What do the śramaņas think of what is conventionally known as justified war ?
The Buddhists seem to have paid no attention, whatsoever, to this problem, unless one considers that Emperor Asoka's celebrated admonition to his successors, that they not engage in warfare, is a Buddhist message.
The Jainas were associated with a large number of royal houses and have claimed several notable kings and dynasties as their own, particularly King Sreņika of Magadha, a contemporary of Mahāvīra, the Nanda dynasty, Candragupta, the founder of the Mauryan dynasty, King Khāravela of Orissa (c. 150 B.C.), King Vikramāditya of Ujjain, and several members of the royal houses of the Gangas, Hoysalas, Rāştrakūtas, and King Kumārapala of the Cālukyas of Gujarat. They have produced many generals and commanders for these kings and were active even under the kings of the Vijayanagara Empire, 14 Thus warfare was a profession into which the Jaina Jaymen entered as a legitimate activity. One can search in vain, however, for any Jaina literature which, like the celebrated Bhagavad Gita, either upholds these activities or encourages them in the name of justice or national security. Jaina stories, in fact, seem to belittle the valorous acts of warfare by emphasizing the virtues of untimely renunciation. The famous colossal image of Bāhubali at Sravanabelgola is a good illustration of this point. Bāhubali, we are told, resisted the ambitious move of his brother, Bharata, who wished to take over his land in his attempt to become cakravarti. Bābubali defeated him in duels and yet preferred to renounce the world rather than to enjoy the fruits of his victory. He became a mendicant immediately and went to the forest, where he stood in one spot for so long that creepers grew around his legs, and he eventually attained to salvation. 15
Although this story seems to set forth a commendable example, nevertheless it does not answer the basic question of whether or not Bahubali did wrong in engaging in warfare to resist his brother. For the answers to such questions one must turn to the larger epic stories of Hindus, who

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have set models to the Jaina, which they have adepted to their own point of view. In the Brahmanical Rāmāyana Rāma slays Rāvaņa for the unlawful act of abducting Sitā but does not incur guilt; on the contrary his mission as an avatāra of Visnu was precisely the destruction of the ungodly Rāvaņa. The Jainas correctly perceived the contradiction inherent in Rāma's killing someone and yet remaining unsullied by the karmic consequence of of the deed. They modified the story so that Rāma could attain mokşa by attributing the slaying of Rāvana to Rāma's younger brother, Lakşmaņa One can appreciate the ethical awareness of the Jainas in their insistence that the path of mokşa cannot admit acts of violence, however justified they are. But it is truly striking that Lakşmaņa, who commits this heroic act, is not born in heaven, as we might expect; instead he goes to the same hell to which the Jainas send Rāvana. 16
This can be compared with the story of the Mahabharata, in which we are told that the villain, Duryodhana, and the hero, Yudisthira, were reborn in the same heaven. 17 The former attained to this destiny because he perished on the battlefield, thus fulfilling the dharma of the kşatriya, and the latter, because of his celebrated virtues. Had a Jaina written the Bhagavad Gitā, he would have accepted Arjuna's arguments for refraining from battle, and he would have blessed him for his spirit of renunciatio for, according to the Jaina, time is endless, the world is vast and civilization can take care of itself. One's only duty to one's self is to attain salvation. All other actions are to be forsaken.
The same situation is seen again and again in the Buddhist ja takas; there the Bodhisattva abdicates his throne, gives away his kingdom, and refuses to fight his enemy.18 Although such actions are generous and touching, the nation and the Bodhisattva's family did certainly experience great suffering, the conventional rescue of the hero through the intervention of the gods notwithstanding.
The Jaipas could not provide for svadharma and hence could not find room for Laksmana in heaven. The moral of this story, for the Jaina, is that all killing must lead to hell, and that killing can not be dharma. The path to be followed is Rāma's, namely refraining from all acts of killing. Because of their refusal to admit svadharma, the Jainas could not develop a philosophy which would build a civilization or maintain it on strong foundations.
These trends show that both Buddhists and Jainas, in their zeal for renunciation were unable to develop a philosophy that could sustain civilization and justify the role of the individual within the society. Instead

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of integrating the individual's needs with those of society, and instead of bringing the life of the renunciate into harmony with other social needs, the sramanas seem to have over-emphasized the needs of the individual and neglected those of society. Th: disappearance of Buddhism in India as a vital society probably can be explained by this fact, since the lay people were never provided with either rituals or goals such as marriage, etc. by their monks; these rituals and goals are essential to the healthy functioning of lay society. The monks became increasingly isolated from the laymen and when their monastic centers were destroyed by invading armies, there were not enough exclusively Buddhist laymen, unassimilated by Hinduism, to rebuild and repopulats them. Hinduism had provided for most lay people the goals, rituals, and notion of svadharma which they required.
The Jainas, who become aware of these needs fairly early in their history, formulated a new class of priests, as opposed to monks, through whom took place a considerable amount of Hinduization of Jaina lay society. This is clear from the claims of Acarya Jinasena (eighth century) that the first Tirthankara, Rşabba, was the founder of human civilization during the present kalpa and was responsible for the division of castes. 19 Such attempts to include the laity were just enough to ensure the survival of Jainism, but, in the absence of a philosophical basis, they were not enough to bring to the religion new vitality or to help it grow. At best it helped the Jainas to remain on the fringes of the vast Hindu majority and to pursue their goals in a restricted manner; the promotion of vegetarianism or the prevention of animal sacrifices on th: holy days are examples of this.
The Jaina preoccupation with salvation as the only legitimate goal finds its expression in the following notable verse of Somadeva, the twelfth century Jaina mendicant author :
There are only two duties of the layman. The mundane and the supermundane. The former depends on the world and the customs thereof.
The latter is what one learns from the words of the Tirthankara. 20 And again :
All worldly activities are valid for a Jaina layman, As long as there is no loss to the pure faith, and there is no infraction of the holy vows. 21
It is clear that the Jainas did not claim responsibility for legislating concerning the mundane needs, rituals, and goals, precisely because they

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Buddhist and Jaina Concepts of Man ...
49
could depend on Hinduism for its various institutions which would ensure the security of a social order which would, in turn, sustain the mendicant order. We cannot speculate as to how Jainism would have fared as a majority religion or outside of India in a country which would not provide for its social basis, because Jainism never left India, in part due to its atrict dietary rules.
As for Buddhisnı, which did not survive in India but flourished quite well abroad, it is well-known that it was nowhere the sole religion. Where Buddhism became the principal religion, as in Tibet, Burma, and other Southeast Asian countries, as well as in the far east, it assimilated the secular rites and other features of indigenous religions, such as Bon, nat-worship, Shintoism, etc. Although the monks in these countries can be said to be true Buddhists, the lay people have had to live a double life, relying on the non-Buddhist religions for their mundane rituals, whilo attempting to lead a Buddhist life with respect to supermundane considerations.32 The monks, since they have no mundane concerns, do not need to rely on the indigenous religeons in any respect. In this the situation of the Buddhist outside of India is similar to that of the Jaina in India; he has a double identity, being part of the non-Buddhist society but striving for the only true goal, salvation, through, the only available path, renugciation.
For the most part Indians have always accepted a multiplicity of path's leading to salvation. It is generally agreed that the Vedic hymns attest to both the path of devotion (as in the hymns addressed to Varuna) and the path of renunciation (as in the Munisūkta), as well as to the path of sacri'fice. What is noteworthy of the śrumaņas is that they condemned sacrifice and rejected devotion; thus they were left with only one path, which they tried to make accessible to all segments of society. Brahmanical society only allowed renunciation to a few individuals of the twice-born castes, recommending this path as being suitable mostly for Brahmans. The Jainas and the Buddhists opened the path of renunciation to the entire society. including the sūdras and the so-called "untouchables"
Brahmanical society, moreover, considered the paths of sacrifice and renunciation as the exclusive prerogative of the male; women, even of the highest caste, were excluded from the initiation ceremony as well as from the third and fourth stages of life, namely vānaprastha and sannya sa(total renunciation). In this respect women, even of twice-born castes, were like
ūdras and were encouraged to follow the path of devotion.23 It is therefore very much to the credit of the Jainas and Buddhists that they were Sambodhi ix (7)

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50
Padmanabh S. Jaini
the first to allow women not only to renounce the world but even to organize themselves into an order of nuns. A Hindu widow was never allowed this freedom. She may shave her head, forsake her ornaments, and undertake long fasts, but she must remain in the household, under the protection of her son and subject to the supervision of her elders.
Jaina texts have claimed that there were fourteen thousand male mendicants and thirty-six thousand nuns in the order of Mahāvīra.24 It is well known that the Buddha himself, however reluctantly, agreed to establish .& community of nuns, which flourished for a number of centuries and drew a large number of women, some even from royal households, Samghamitrā, the daughter of Emperor Asoka. The Buddhists allowed women the fruits of salvation but denied them Buddhahood. In this respect all Buddhists, including Mahāyānists, resemble the Digambra Jainas, that sect which denies the state of omniscience to a soul in a female incarnation, on the grounds that ascetic nudity, the prerequisite for salvation, is not possible for her.25
The Svetāmberas have rejected this doctrine and have maintained that a woman is in no way disadvantaged by her sex, nor is she less able to uphold the discipline of the mendicant. They have even claimed that Malli, one of the twenty-four Tīrthankaras and the predecessor of Mahāvira in our kalpa, was a female who renounced the world to become the supreme teacher.26 Throughout the centuries they have continued to propagate the law among women, and to this day they include more female mendicants than male in their community; even now, in a community of fewer than two million, the Svetāmbara samgha consists of about two thousand male mendicants and almost twice that number of females. These are women who have renounced the world completely, as in the time of Mahā vira; living in small groups, they move about the country on foot, and their only personal property is their clothes and their begging bowls.
A study of such a community, drawn mostly from the rather well-todo segment of society, would be of immense interest to those who whish to examine the position of man and woman in Indian society in general and to investigate the śramaņas' impact upon the society at large. A study of these individuals will tell us not only about their own outlook on man and woman, but also how the entire community, based upon the śramana ideals of salvation and renunciation, differs from the rest of Hindu society, which has been brought up on a doctrine of theistic grace and the path of devotion.

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Buddhist and Jaina Concepts of Man ...
57
NOTES
1 This paper was read before the tenth International Congress of Anthropological
and Ethnological Sciences, New Delhi, 1978. 2 See P. S. Jaini, Sramanas : Their Conflict with Brahmanical Society." in J. W.
Elder. Ed. Chapter in Indian Civilization, I, pp. 39-81, Dubuque, 1970. 3 Bịhadaranyakopani şat, 2.4.1. 4 sambadho gharāvāso abbhokāso pabbajjā. Dighanikaya, I, p. 62. 5 "aputtakatāya pațipango samaño Gotamo, vedhabyāya pațipanno samano 6 "pa, bhikkhave, so saddo ciram bhavissati, sattāham eva bhavissati, sattāhassa
Gotamo, kulūpacchedāya pati panno samaño Gotamo..". VinayapitakaMahāvagga, p, 44. accayena antaradbāyissati, .. te tumhe imāya gäthāya pațicodetha-"nayanti ve mahāvīrā saddhammena Tathāgatā/ dhammena nīyamānānam kā uslyā vijāna.
tam" ti //" Ibid. 7 tae pam samane bhagavam Mahāvire gabhatthe ceva imevārüvam abhiggabam
abhiganhai-no khalu me kappai ammāpiuhim jivamtehim...agārão anagăriyam
pavvaittae. Kalpasūtra, 91. 8 For a detailed treatment of this topic, see P. S. Jaini, The Jaina Path of Purifi
cation, California/Berkeley, 1979, pp. 157-240. 9 Dighanikáya, III, pp. 180-93. 10 Jataka (No. 151). 11 Ed. H. Saddhatissa. Pali Text Society, London, 1965. 12 R, Williams, Jaina Yoga : A Survey of the Mediaeval Srāvakācāras, London, 1963. 13 Ibid, 117-123. 14 See B, A, Saletore, Medieval Jainism, Bombay, 1938. 15 See Jinasena's Adipurana, ch. xxxvi and Hemacandra's Trişaşti'salakāpuruşaca.
rita, I, ch. iv-v, 16 adhuna narake turye sa Sambuko Dašananah/ Laksmanas cāsti, gatayaḥ karma
dhina bi dehinam || Ibid. VII. ch, x, 231. 17 svargam trivisstapam prāpya Dhramarāja yudhişthirah/ Duryodhanam kriya
juftam dadarśāsīnam asanell Mahābhārta, XVIII, i, 4. 18 See, for example, the Vessantara jātaka (Jataka. No, 547). 16 Adipurāna, ch. XXXVIII. 20 dvau hi dharmau grhasthānām laukikaḥ pāralaukikah/ lokāśrayo bhaved adyah
parah syād agamaśrayah// Upāsakādhyayana, kārikā 477. 21 sarva eva hi Jainănām pramānam laukiko vidhiḥ| yatra samyaktvahānir na
yetra na vratadūşanam/ Ibid, kārikā 480. 22 See R. C. Gombrich, Precept and Practice, Oxford, 1971. 23 It is interesting to note that the Gità places the women and sūdras in the same
bracket : mam hi Pārtha vyapāśritya ye 'pi syuḥ pāpayonayah/striyo vaisyās
tatha iadrās te 'pi yānti parām gatim|ix.32. 24 Kalpasitra, #135. 25 Prame yakamalamartanda (stri-mukti-vicarab), pp. 328-34, (Bombay, 1941). 26 Trişaştisalākāpuru şacarita, VI, ch. vi, 19-213. For the Digambara version (which
rejects the Svetämbra tradition on Malli) see Uttar apurāna, lxvi,-1-65,

Page #54

HAOMA AS A PLANT IN THE AVESTAN TEXT*
S. N. Ghosal
As in the Vedic in the Avestan too Haoma (Vedic Soma) has been completely deified. He is a god, who being praised by men, offers long life, prosperity and happiness to the latter. Inspite of his divine character Haoma stands also as a herb. In the Rgveda1 this plant-like feature of the god Soma has been repeatedly emphasized. It presents a nice drink, which is extremely intoxicating. Indra while encountering his enemies in the battle-field drinks the juice of the plant and becomes intoxicated. He gets courage and vanquishes his enemies. There are very graphic descriptions of the preparation of the juice from the plant and hymns are chanted during the performance of the processes connected with its preparation, namely the pounding of the shoots, passing of the juice through the strainer, putting of it into the vats and its mixing with the milk etc. It is extremely health-giving. It not only infuses strength and courage into one's mind but also imparts immortality to the gods. The gods become victorious over the enemies in the battle, as they are invigorated with the drink of the heavenly beverage.
As in the Vedas in the Avestan too2 the god Soma (Haoma) is deified. Haoma is belauded with the chanting of the hymns. If pleased the god Haoma grants very heroic sons, who rule the earth. He gives prosperity and riches; one secures beauty, knowledge, wisdom and all kinds of material comforts by his grace. By his favour one can not only repe) the enemies but also get relief from the evil influences of the harmful spirits. The devilish Druj cannot overwhelm a man, who performs the worship of the Haoma and chants the gāthās in his praise. Yet inspite of this divine character of the god, his original feature as a plant has not been totally lost sight of. Occasionally we get glimpses of his trait as a plant. The popularity of the latter as a herb and of a delicious drink that is prepared from it flashes here and there and points to the impersonation of deity from the natural object, a phenomenon which is to be abundantly found in the Vedas. In the present paper an attempt is being made to present Haoma as a plant, of which traces can be obtained from the verses that are dedicated to the divine Haoma.
Haoma has a bright yellow colour and very tender sprouts: verdoraja zairi-gaono namyaśuś Yest 9.16, "you are victorious, gold-coloured and have tender sprouts". ni të zăire madom mruye 9.17. "Oh goldcoloured Haoma ! I

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Haoma as a plant in the Avestan text
53:
always speak of your intoxication." haoma zāire vadard Jaidi 9.30. "oh gold-coloured Haoma, hurl the weapon" haomo gaoma zairi-gaono 10.12 Haoma is sweet and gold-coloured. Reference is found to the roots, the branches and the spouts of Haoma. Varddayaņuha mana vaca vispdsca
varsajis vispašča paiti fraspavryd vispāiča paiti fravāxšo 10.5. May you thrive with your mind and word with the growth of all stems, with the growth of all branches and with the growth of all sprouts."
In the first pressing the sprouts of Haoma are held together with the chanting of the hymps and in the second (pressing) when these are pounded with a great force such chanting of the verses takes place.
fratardmčit te havandm vača upastaomi huxratvājā acsus hangdurva yeiti upardmčit të havandm vača upa staomi huxratyo yahmi niymd marš aojangha 10.2. "In the first pressing I promise thee with the word, oh one, when I am holding together they sprouts. In the second pressing of the Haoma I praise thee with the word, oh intelligent one, when I am pounding thee down with manly strength."
Haoma grows on the top of the mountains, particularly on that of the Harburja mountain and from there it spreads to the whole of the Pārsika range. dat aiņhe ahiaiwyāsto barśnus pāiti gairinam 9.26. "you are spread in plenty on the top of the mountains," haraid yo paiti vardzaya 10.11. "you grew on the high Haraburja." Therefrom the birds scattered you to other directions on the mountain, ā ar Owā aOra fradasta mdrdya vizvanca vivardm avi iskata upäirisaena. 10.11. "Thereupon the birds brought you to the other solitary places on the mountain beyond the range of the hawks."
Besides the mountains the river-vaileys (i, e, river-beds) too are the places, where the Haoma-plant grows. This seems to have been indicated by the Yest 10. 17. vispe haoma upastaomi yatveit barsnusva gairinam yetvčit jafnuşva raonam yatčit azahu dardtanho jaininam upadardzahu 10. 17. "I praise all the Haomas, which are on the tops of the mountains, those, which are in the river-valleys (beds) and also those, which as fetters are in the possession of women."
Haoma grows by the rains, which help the development of the body of the plant and make it blossom. The mountains, upon which the plant thrives with all its splendour, must be very high, staomi maeyam ča vārdm ča ya te kdhrpdm vaxśayato barśnus paiti gairinam staomi garayo bordzanto yaOra haoma urūruduśa. 103. "I praise the cloud and rain, which make thy body blossom upon the tops of the mountains. I praise the very high mountain, where you grow up.” The land, where Haoma grows, is laudable.

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S. N. Ghosal
A sweet smell comes from the herb that remains spread over a wide tract. The top of the mountain is the place, where the divine plant grows. staumi zdmö yaOra raodahe hubaoidis aurvo carändm uta Mazda huruOma haoma raose gara paiti 10.4
“I praise the earth, where you grow with sweet fragrance on a wide tract. Oh Haoma like a great treasure of Mazdā you grow on the mountain."
The juice of haoma is mixed with milk and the beverege is prepared. It is distributed then to the people, who assemble to get a share of the excellent drink. yasd ta bada haoma zaira gava iristahe boxšaiti. 10.13. "Who distributes you, oh Haoma, constantly (among the assembled persons) mixed with milk.”
The drinking of the juice is highly efficacious for the body. It surely gives health. The intoxication caused by its drinking cheers the heart. ranjaiti haomahe mado, yo yada puOrdm taurumdm haomdm vandacta masyo frā alovo tanub yao haomo vīsaite boesazai 10.8. “The intoxication, caused by Haoma, cheers. He, who adores Haoma like a young son, is favoured by Haoma, who attributes health to his body." As Haoma gives health. there occurs an appeal from the worshipper for the granting of health. haoma dazdi me bazsazanam yābyo ahi baeśazada. 10. 9. "Oh Haoma! give me health since you are the giver of health. The phenomenon of the distribution of health by Haoma leads to a great delight and remains associa. ted with it. This indicates obviously the magnanimous heart of Haoma, å te bačśaja irīradard vanghẽus mananho mayāloyo 10.12. “your health-giving is for delight and is an outcome of an excellent heart. So Haoma remains ever associated with health. Vanghusdato baësajo. 9.16. “Haoma is created by excellence and is the health-giver."
The praise of the Haoma helps the growth of the plant. One becomes more victorious if one praises Haoma. The regular pressing of the plant, its worship and its systematic drinking help one to assault the Devilish spirits: haoma uxśyeiti stavano, aoa nā yo dim staoiti vdrdOtjastaro vavaiti nitdmčit haomahūitis nitdmcit haoma stūitis nitdmcithaoma xarditis hazanraynàyāi asti daevanam. 10.6 “Haoma grows when belauded. The man, who praises Haoma, becomes more victorious. The regular pressing of Haoma, the regular worship of Haoma and its regular drinking make one strong enough to inflict assaults on thousand Daevas."
The above discussion clearly shows that the image of Haoma as a plant was quite clear to the propagators of the Zoroastrian faith and the

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Haoma as a plant in the Avestan text
55
composers of the Avestan hymns. While the divine attributes are assignod to the plant its character as a herb nevertheless remains sparkling within the vision of the poet. As a result of this the efficacies of the herb, its medicinal value and its intoxicating nature are repeatedly emphasized. The poets do not forget to mention the original place of its occurrence at the top of the mountains and its later march to different places as a result of the activities of the worshippers of the plant. In the later period Haoma gradually becomes changed into a god by the attribution of divine characters. It not only gives intoxication and health, but provides a man with all sorts of material prosperity and comforts. One gets wisdom, knowledge and other spiritual powers too as a result of the most sincere and devoted worship of the Haowa plant. Haoma becomes transformed ultimately into a perfectly divine figure as a consequence of the attribution of the heavenly features. The deification becomes complete in the later period,
Here one thing should be borne in the mind. As in the Vedic in the Avestan too the object of nature the floras and faunas become transformed into gods. The Vedic Soma and Haoma in the Avestan bear clear testimony to the fact. But inspite of this deification the original features of the natural phenomena find an important place in the description of the poets, In the case of Soma and Haoma this has been clearly seen. If one minutely observes one can very easily perceive, the gradual processes of transformation and its different shapes in the different ages. The conception of Soma, it may be rightly surmised, is a legacy from the Indo-Iranian people. But after the emergence of Iranian and Vedic the transformation of the conception took place absolutely in the identical manner in two different lands.
Notes . Read at the Dharwar session of the All India Oriental Conference in 1976 1 Vide History of Sanskrit Literature by Macdonald; p-97. 2 Vide Yasts 9-11.

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THE MAIN FEATURES OF MAHAVIRA'S
CONTRIBUTIONS
Suzuko Ohira
1. Pre-Mahavira Doctorine of Non-violence It is now accepted that Mahāvīra (
MV) reformed Pārsva's doctrine and founded a new sect of the Jainas. However, it is extremely difficult for us to ascertain to what extent MV owed his teachings to Pārśva and what were his original contributions, for it involves the problem what were the Parsva's doctrine and practice at the time of MV.
The tradition informs us that Pārsavanātha passed away 250 years before MV, the accuracy of whose date is of course an open question. Pā. rśva's followers make their frequent appearance in the Jaina canon, howe. ver we never hear that they left their own sacred texts. The Pārsvan school and the Jaina school had been existing for long side by side in friendly terms, and it is assumed that the Pārsvans were practically absorbed by the Jainas by the end of the canonical age when the Jaina chronology of 24 tīrtbańkaras was established with Pārsvanātha as its 23rd. 1
Such being the case, Pārsva's position at the time of MV must be found in the early texts of the Jaina canon. Our capacity for it is, without going to say, extremely limited, and it is an impossible task for us to reconstruct its definite picture. It is nevertheless required to have even a tolerably plausible picture of it if we attempt to evaluate MV's performance in founding a new sect. This is ventured in the following by taking advantage of the predecessors' achievements involving this problem so that this very topic will be further improved and developed in the future.
MV's original teachings are best preserved in the Acara I and the Sutrakặta I, between which a certain temporal distance is recognized. What these earliest texts of the Jainas express are that non-violence is the sole pathway for liberation and how it should be achieved, which essentially differ from the positions maintained by the other schools. MV's doctrine of non-violence or anārambha (later called ahimsā) is accompanied by the law of aparigraha. And the discussion held between Kesi, a Pārsvan monk, and Goyama, MV's disciple, in the Uttara XXIII, gives a testimony to the fact that MV was the authority who enunciated the vow of aparigraha.?

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The Main features of Mahāvīri's contributions
Ahimsă supported by the vow of aparigraha has since been the central ethical principle of the Jainas. Soon the Jainas began to develop the doctrine of karma, and came to declare that the removal of karma from the soul is the sole pathway for liberation, against MV's thesis that anărambha (which is also understood as akarma or non-action) is the sole pathway for liberation. And here occurred a conflict in the late canonical age that liberation is no more possible unless an ascetic is born in Mahavideha. 3
The concept of karma involving the concepts of rebirth and liberation, the problem of self (ātmā) etc. came to be the common themes of discussion after the opening of the Upanişadic age, and the śramaņic circles in the age of MV and Buddha also took them up as their common important problems. The theory of karma taught by MV in the Acāra I-Sūtrakrta I does not differ much from that taught by the contemporary masters in the other schools, in which the peculiar Jaina concept that karma is the matter is totally absent, MV must have thus adopted the then prevalent theory of karma in order to propagate the way of non-violence as his contemporary rivals commonly did. Pārsva's followers frequently discuss about the subjects of ethics and discipline with the Jainas in the Jaina canon, but they hardly argue about the purely theoretical aspect of kama doctrine. The doctrine of karma was obviously not their central concern and the Pārsva's order at the time of MV did not likely show keen interest in the karma theory.
All this suggests that the fundamental basis of Jainism that owes to the order of Pārsva was in the main the doctrine and certain disciplinery rules of anārambha unaccompanied by the vow of aparigraha. Then what was likely the doctrine of anārambha taught in the pre-MV period ?
MV classified the objects of ārambha into 6 types of beings, i.e. earthbeings, water-beings, fire-beings, wind-bzings, vegetable beings and movable beings. These are called the sixfold classes of beings(jīva-nikāyas)that constitute the loka. MV owes his classification to the then carrent theory of mahābhūtas that were postulated to constitute the material world, as for instance Buddha formulated the concept of 5 skandhas, and Gośāla did 4 kāyas by adopting them. Gośala who practised with MV for some years also believed that jivas abide in the bodies made of earth, water, fire and wind separately or jointly. The pre-MV view of the objects of ārambha or the world view must have been therefore a primitive animist position that the world is packed with the visible and invisible living beings. Animism as such wil was also shared by the Ajivikas must have been widely believed in those days.4
Sambodhi Vol IX(8)

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Suzuko Ohira
The animist view of the world as such does not necessarily lead one to have the doctrine of non-violence in the capacity of fundamental proposition of a religious order unless it is supported by a certain belief or a causal theory going against violence. The belief in vaira must have been this supporting creed. Vaira, meaning anger, hostility or enmity, is here a principle of retribution that a victim emits against its assailant to return his revenge, which would hit the assailant without fail and get bound with the assailant's soul until due retribution is brought out. When looked from the side of an assailant, vaira is the very sin that he committed by his own self. And sin was considered as something material in the olden days which could be cleansed by the water or burnt up by the fire of tapas. Vaira must have been then considered as something material and tangible. The naive animist position supported by the belief in vaira can easily for. mulate the doctrine of anarambha, which must have been the central teaching of Parśva.
58
This theory of vaira was early discovered by Dr. Dixit in his article, The Problems of Ethics and Karma Doctrine as Treated in Bhagavatisūtra" (Sambodhi, II-3), the concerned paragraph of which is quoted below for its importance in the historical context. "The Bhagavatī treatment of the problems of karma-doctrine has its own value. In this connection a peculiar verbal usage of the text deserves notice. Thus when it intends to say that a person commits a kriyā (kriyām karoti) it sometimes says that this person is touched by this kriya (kriyaya spṛtaḥ). Certainly, the phrase 'touched by kriya' used here is somewhat odd but it seems to have been patterned after a popular phrase of those time. For in the dialogue considering the case of one person killing an animal and another person; killing this person himself, we are told that the first person is touched by the enmity of the animal (mṛgavaireņa spṛṣṭaḥ), the second person touched by the enmity of the first person (puruṣavairena spṛṣṭaḥ). Now the modern anthropologists tell us of the primitive peoples who believe that when a person commits a crime against another person this crime hounds the first person as long as it does not bring upon him an appropriate disaster. And in all probability such a belief was prevalent among that circle of Indian populace which was accustomed to the phrase "touched by the enmity of so and so." This in turn became the starting point for the Jaina authors developing their doctrine of karma which in its essence is but a refined version of the belief in question. The first step in this connection must have been to speak of the technical concept 'Kriya' instead of the popular concept 'vaira'. Then the idea must have occurred to those Jainas that if riya is to touch a person it must be somthing tangible, and thus came into existence the concept of kriya treated as a designated karma and one

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The Main features of Mahavira's contributions
began to speak of a person committing a karma (karma karoti) or a person being touched by a karma (karamanā sprstah). Lastly, the search was made for an active voice usage expressing the same idea as 'karmaṇā sprstab', and the phrase "karma badhpāti' (binds down a karma) was the outcome."
Now certain vestages of this primitive belief in vaira are clearly recognized in the Acara I-Sūtrakrta 1. The term vaira (vera in Prākst) occurs several times in these texts, of which the following sentences relevant to violence make the best sense if the term vaira is understood in the sense of the efficacy of retribution.
Ācāra I. 3. 2. 181 avi se hāsam-asajja, bamtā ņamdīti mannati/alam bā.
lassa samgeņam veram vaddhati appaņo Sūtrakrta 1. 1. 1. 3 sayam tivāyae pāņe aduva'n nebi ghāyael hanaotam va'
nujāņāi veram vaddhei appano
1. 10. 489 pudho ya chandā iha māņavā u kiriyakiriyam ca pud.
ho ya yāyam/jāyassa bālassa pakuvya deham pavaddhai
veram-asamjayassa. I. 10. 493 sambujjhamāņe u nare maimam pāvāu appāņa niva
ttaejjā/ himsa-ppasāyāim duhaim mattā verānubandhīņi mahābhayāņi. The word vaira frequently occurring in the earliest Buddhist texts (e. g. Suttanipåta, Dhammapada, Udāna, Itivuttaka, etc.) is employed in the normal sense of hostility as in the cases of Acara I, 3.1. 168, Sütrakrta I. 8. 417 and 1. 10. 481.
The words srota and īsrava are again commonly shared by these early Buddhist and Jaina texts. Buddhists use the word srota in the sense of the stream of taint or kleša and the word asra in the sense or kaşāya for instance, in the Acara I. 3. 2. 191-92. Ādana srota (current of parigraha) is mentioned in the Acara I. 4. 4. 257 and 260. and ādāna srota and atipāta srotas (current of ārambha) in the Ācāra 1. 9. 1. 476. Then occurs a peculiar Jaina usage of srota in the sense of upward current, downward current in the Acāra I. 5. 6. 327-29 as follows :
uddham sotā, ahe sotā, tiriyam sotā viyāhiyā, ete soyā viyakkhāyā, jchim samgam-ti pāsahā/327/āvattam tu uvehãe, ettha viramijja puy

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60
Suzuko Ohira
vavi/328/viņaittu soyam nikkhamma esa-maham akammā jāņāti, pāsati, paḍilehãe ṇāvakamkhati, iha ägatim gatim accei jātimaraṇassa vatta-maggam vikkhāyarae/329/
The idea that jivas are fully packed in all the directions, upwards, downwards and sideways makes its frequent appearance in these texts, for instance, in the Acara I. 7. 1. 402, Sūtrakṛta I. 3. 3, 244, 6.355 and 10. 474. The Acara I. 5. 6. 327-29 above obviously implies that the streams of vaira are emitted from the subtle beings in all the directions when violence is committed against them.
This srota naturally flows into the soul, which is called asrava. The word asrava occurs, for instance, in the Acara 1. 4, 2. 231-32. 'je āsavā te parissavā, je parissavā te āsavā/231/je aṇāsavā te aparissavā, je aparissavā te aṇāsava/232/'. Here parissava should mean pariśraya, meaning difficulty or trouble, as in the case of the Buddhist usage, but not nirjarâ as so understood by the later commentators, because the mechanism of karmic bondage and ejection came to be developed in the later age,5 Although the above Acara I. 4. 2. 231 is not treated in relation to srotas, its implication is unmistakable that the current of vaira flows into the sinner's soul to trouble him by giving revenge. Similar ideas are recognized in such expressions, 'dukkheņa putthe' in the Sūtrakṛta I. 7. 409, and 'arambha dukkha-phasa' in its I. 8. 417. We can thus testify that the vestages of the primitive theory of vaira are clearly stamped in the oldest strata of the Jaina canon.
This very vaira that must have been considered as something tangible came to be developed into the karma matter in the later age. Thus the Jainas postulate that karma matter flows into the soul from outside inasmuch as vaira does. Buddha considered that the srotas of kleśa flows out (asrava) of the body, but MV received the primitive view that the srota of vaira flows into (asrava) the body.
The opinions about the origin of karma theory involving the theory of transmigration are various, but it is generally accepted that it evolved from the primitive beliefs of the aborigines, which was then taken into the thought system of the Aryans. If we are allowed to be speculative, it is possible to postulate that the animist theory and the vaira theory might have also contributed for the evolution of the theories of karma and transmigration. Vaira is the principle of retribution which would not leave the assailant until due revenge is effected. It may end with the death of the assailant. Or it may cause the assailant

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to take many more births to pay up due revenge. Speculation as such would not be then totally absurd.6
The cause of vaira is necessarily action, and arambha or injurious action is the conspicuous cause for inviting vaira. MV employed the word karma in terms of kriyā, i.e. deed or action in general including arambha, which does not differ from the usage of this term made by his rival teachers in the other schools. MV must have identified the cause of vaira with kriya thus he could easily adopt the then popular theory of karma in order to propagate the old doctrine of anarambha as the sole pathway for liberation.
The primitive belief in animism and vaira as such must have been widely prevalent in the aborigines in the remote antiquity in the Northeastern India before the advent of the Aryans. This primitive belief seems to have brought out two types of groups, one represented by the protoAjivikas and the other represented by the proto-Jainas. The living beings are doomed to commit violence to the other living beings in order to survive under the animist theory and vaira theory in question. This is the natural law, which easily opens a way to determinism or niyativada. And Gośāla must have been the reformer of the doctrine of such protoAjivikas.7
This hypothesis is supported by the following reasons. As already touched upon, Gośala believed in the animist theory and considered that the beings exist in the earth-body, water-body, fire-body and air-body, or in the form of vegetables and animals of which bodies are made up of these 4 mahābhūtas. The following topics are included in the Bhagavati VIII. 5 which discusses about the lay Ajivikas: (1) The Ājīvikas hold a principle that all the beings eat living beings, therefore they take it for granted that the beings survive by killing the other beings. (2) List of 5 forbidden fruits and 15 prohibited occupations involving violence to the beings. Also among the 6 classes of men, the worst class of men who have black leśya are said to be those who live by slaughter and cruelty. The Ajivika ascetics who went stark naked performed rigorous asceticism to the extent of absurdity, and their begging and dietary habits appear strikingly close to the Jainas.10
All this attests that the Ajivikas believed in non-violence based on the animist theory and vaira theory as MV did." MV and Gośāla practised together for 6 years according to the Bhagavati XV, and if so, this they could have done for they commonly shared the basic background involving the principle of non-violence. It is likely that Gośāla

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who practised the way of non-violence did not promulgate it loudly on the ground of niyativāda. And from the same group of proto-Ajīvikas must have descended were Pakudha who propounded akārakavāda and pürana who propounded antinominan ethics in close contact with Gośāla, 12
The other group was the proto-Jainas or the Pārsvan order that avoided to head towards determinism and took a positive attitude towards life by voicing the universal love and compassion to the beings. The technical term ārambha which is exclusively used in the sense of killing means ''to undertake?', "to commence", etc. as well as "to produce", "to make" and "to form". It must mean to undertake action activated by the worldly desire to produce or to attain a certain intended object, and MV grasps the causes of ārambha in terms of the later so-called ka sāyas, grantha or moha. This technical term changes to 'prāņātipāta', then to 'hiņsā' in the later course of time. The Jainas are as a rule conservative in faithfully preserving the basic terms used by MV, for instance, as in the case of 'parigraha'. It thus seems to be that the term ārambha belongs to the pre-MV period.
Then, Pārsva must have been the sage who considered that injury to the beings motivated by the worldly desire, which is necessarily intentional, alone deserves ārambha but not in the other cases, and he thus evaded the way to move towards the determinist theory. He must have founded an order by showing the ways how not to commit violence towards the visible and invisible living beings, possibly by controlling senses, being attentive to one's action, and so on, which must have then become the parts of MV's practice. Buddha shared the same fundamental truth with this group that nothing is dearer than life for any living being, therefore violence should be utmost avoided, and he thus propounded the vow of ahimsā also. However. Buddha was the sige who moved furthest away from this primitive background.13 MV was a legitimate descendant of this group and pushed forwards the old doctrine of anārambha and propounded it in the language and philosophy of the new age.
All this is a very plausible hypothesis. Thus the majority of śramaņas who shared the common background in the pre-MV period must hav
against the Brahmanical system on the basis of violence. If something like this were the picture of the Pārsvan order in the then śramanic world, we are placed in the better position in evaluating the main features of MY's contributions.
2. The Main Features of MV's Contributions
Life is dear to all the beings, 14 thus the destruction of life should be regarded as the worst sin. This must be the fundamental truth that MV

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appraised in Parsva's doctrine, upon the basis of which his pathway for mokṣa by anarambha was propounded. Then what was the content of arambha considered by MV?
63
MV classified the visible and invisible living beings who are packed in the world into 6 types by adopting the then current concept of 4 mahabhutas. This enabled him to answer more concretely to the problems, what is the world? who are the beings? and where are these beings ?, and enabled him to open inquiries such as what are the behaviour patterns of these beings?, how do they stand each other as the victims and assailants?, how should we behave in order not to injure them ?, and so on. In another word, it gave a concrete world view and stimulated to advance the nature philosophical and ethical inquiries in further precision. MV tries to reply to these inquiries in the Acara I. 1.
MV enunciated the law of aparigraha. Here he classified the objects of parigraha into the animate and inanimate things. 15 Parigraha on any objects, whether men, women, cattle, wealth or land, necessarily becomes the cause of committing violence to the beings in 6 types in order to acquire them and maintain them.16 MV who went on stark naked thus restricted his disciples' possession to the minimum limit.17 The cult of nudity seems to have existed among the proto-Ajivikas, 18 and it is even probable that MV got the hint of the law of aparigraha from the existent model. At any rate, the law of aparigraha is the logical and extreme conclusion of the doctrine of anarambha. The denunciotion of parigraha is voiced as strongly as in the case of arambha in these early texts, however the concept of parigraha become only significant in the context of arambha as its immediate major cause, but not vice versa. Aparigraha was thus maintained by MV as a part and parcel of the doctrine of anārambha. What MV did here was the restatement of the doctrine of anarambha in the most rigid and ideal form on both theoretical and disciplinery levels.
In the Acara I and Sūtrakṛta I, the term arambha is employed in the sense of physical violence committed to the beings. On the other hand, the term karma connotes kriya, deed or action in general, accompanied by the capacity to bring out its fruit19 as so commonly understood in those days. Karma necessarily includes the action of arambha which is often expressed in these texts in terms of 'papa karma', 'krura karma', 'danda' and so on. In the context of animist position and vaira theory any action whether motivated for killing or not cannot escape committing injury to the beings, thus all and every action should be sinful.
MV, however, admitted two types of action, i. e. one which yields rebirth and the other which causes to achieve liberation. He called the

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first type of action ārambha or karma, and the other type of action anārambha or akarma, the distinguishing factors of which are whether or not there is the presence of the later so-called kaşayas, and whether the action is in accord with the prescribed ethical code of conduct.20 Akarma expressed in these early texts does not mean non-action, absence of action or cessation of action in its literary sense, but is upheld as the ideal action leading one to moksa which is exemplified by MV in the Acāra I. 9. The term ārambha connotes committing violence and the term karma expresses the sense of action in general, both of which are invariably sinful and bind vaira. MV identified ārambha with karma in this context, and propounded the doctrine of ārambha by adopting karma theory. And since ārambha and karma are equally sinful, MV did not approve the existence of heaven as the Upanişadic teachers and Buddha did. The concept of heaven came to be developed by the Jainas in the later days.21 Since the term ārambha likely means undertaking action motivated for the worldly purpose as aforementioned, a crude distinction between sinful action and sinless action should have already existed in the pre-MV period. MV made this distinction lucid in the context of karma-rebirth-libtretion theory.
In this context, MV sought the causes of ärambha (=parigraha) and karma in the later so-called ka saya (krodha, māna, māyā and lobha) including rata, nata, satha, kalpa, kāma, rāga, dveșa, vaira, etc. 22 These are also called grantha and moha, and the agent who acts activated by them is called pramatta. MV's inquiry into the causes of sipful action is persistent inasmuch as Buddha's investigation into the causes of trsnā. The aforementioned usage of srotas in the sense of kaşāya must have been made under the influence of the Buddhist side. Atipāta srota and ädāna srota therein should be understood that the current of ārambha and the current of parigraha are derived from the source of ka sāya.
Such being the case, it is quite natural to find the common methods taken for suppressing ka sāya or kleša by MV and Buddha. Gupti, samiti, samvara, samyama, etc. are synonymously used to connote the ascetic conduct in controlling the senses and the self in the Acara I-Sūtrakrta I. The contents of samiti and gupti came to be rounded in the later days. The old Buddhist texts also teach gupti, samvara, samyama, damana, etc. in controlling the senses and the self. The early Jainas call a disciplined
< suvrata, and they use sila in the sense of conduct in general inasmuch as the Buddhist camp does. As aforestated, the then Pārsvan order is assumed to have been already practising something similar ethical conduct as such. MV as well as Buddha denounced the worldly life severely, and they adopted lonely wandering as the best method to get rid of kasāya

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and klesa. Satya, asteya and abrahma, which later formed 5 mahāvratas along with ahimsā and aparigraha, were commonly taught by both masters. These ethical principles must have been recognized by MV as worthy of removing kaṣāya in order to achieve anarambha or akarma. Although we are not getting into the details of the disciplinery rules of the ascetics prescribed by MV, the rules such as not to use cold water, not to use medicine, penance of fasting, etc. which were made on the basis of the doctrine of anarambha seem to have been common with the Ajivika rules to a great extent. 23
MV stated that the unintentionally committed action is outside the scope of sin, obviouly because it is not motivated by kaṣaya. In all probability, this was practised by the then Pārsva's followers also. Acara I. 5. 4. 301 reads that if any living being coming in contact with one's body were killed (without intention or from mere carelessness), he has to suffer a due fruit it this life; and if it were done intentionally, he has to perform viveka. Sūtrakṛta I. 1. 2. 52. says that a mere intention of violence unaccompanied by physical action or violence committed without intention is blameless, even though touched (by vaira or sin). Unintentional action when made also binds vaira. A mere intention of action unaccompanied by the commitment of physical action, however should not cause the victim to emit vaira, therefore this rule above is likely made under the influence of the Buddhists who advocate the motivation of violence as heavier than the physical violence. Viveka must have been imposed upon a convict so that the sin already committed by him could be purified by performing due punishment. Viveka should be thus a type of punishment, however how it was actually practised is difficult to know.24
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Then MV further restricted the scope of the responsibility of sinful action by creating a rule of the later so-called karaṇa-triplet that a monk is sinful if he commits sinful action by himself, if he causes another person to commit sinful action for his sake, and if he approves sinful action committed by another person for his sake.25 That is, the aspirant is not responsible for his action beyond this limit. In all these cases, the agent is immediately responsible for the action committed by his own will regardless whether it is done directly by himself or indirectly by the third person. This rule must have been created on the basis of vaira theory that in case violent action is really committed, vaira gets bound with the agent who intended as well as who committed it. This karaṇa-triplet is persistently propounded in the Acāra I, wherein yoga-triplet by body-speechmind makes no appearance. On the otherhand, triplet of body-speach-mind makes its consistent appearance in the early Buddhist texts, and it Sambodhi Vol. IX(9)

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is likely that the Jainas borrowed this concept soon from the Buddhists. And this yoga-triplet came to be important enough for the Jainas to be the content of gupti also. The Buddhists also borrowed karana-triplet from the Jainas.26 A model or base form of this karaṇa-triplet was in all probability existent by the time of MV, and that of body-speech-mind by the time of Buddha.
MV in fine gave systematic answers to the following philosophical and ethical questions. What is the fundamental truth? What are the objects of sin ? What constitute sin ? What are the causes of sin ? What is the scope of sin for which one is responsible ? What is the content of the positive action or what are the methods for liberation ? His propositions are asserted as "ātmavāda', 'lokavada', 'karmayāda' and 'kriyāvāda'.27 Atmavāda means that the soul exists independently by itself against the apātmavada that denies its independent metaphysical existence, for the soul is necessarily bound with vaira in the background of the primitive belief. Lokavāda denotes a theory that the world exists in the for types of living beings. Karmavāda should mean that any sinful action committed necesssarily produces its fruit of misery, and kriyāvād expresses that the soul is endowed with action and is responsible for its own action. All this is the restatement of the old doctrine in the language and philosophy of the new age.
In evaluating the above major features of contributions made by MV. mainly on the theoretical aspects, we are rather surprised to find that the majority of them were born after the readily existent models, or by the further theoretical penetration into the old concepts, or in the cross current of the then philosophical thoughts. There is very little novelty or origin ality of his own. The then existing Pārśvan order could not have satisfied the intellectual needs demanded in the new age. What MV did on the whole was therefore to reform the old doctrine in terms of the philosophy and language of the days by way of strengthening and systematizing the old one and by giving a fresh light on the old one. This was the original contribution of MV. In the consequence, an outdated house was remodelled and built into a modern functional mansion, thus MV must have thought it fit to establish a separate order. It is very plausible that many of the then Pārsva's followers were converted to the newly founded Jaina school.
NOTES
1. Bhagavatî xx. 8. Most of the texts relevant to theoretical positions of the Pă.
revan school appearing in the Bhagavati belong to the latest canonical age when the Jainas established Päráva as their 23rd tirthankara,

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The Main features of Mahāvīra's contribution
2. 5 mahāvratas were formulated in the later days, possibly by or around the time
of the Dasavaikālika, for which see Dixit, Early Jainism, p. 28. Thus the Pār. svans also came to possess 4 vows in due course, but Uttara XXIII is a text
of the late canonical age. 3. All the subdivisions of 8 main karma prakrtis came to be developed in the
later canonical days, whereby the Jainas made up a rule that a sage is not assured of his qualification for liberation unless kevala Jñāna-darśana dawns to him upon destroying all the 4 types of ghātika karma. Kevala jñāna-darsana is the capacity to enable a sage to perceive at any time all the phenomena occuring in the universe in the three tenses of time immediately by his own ātmā without employing the other media of perception, which is an absolute impossibility in reality. Thus the sage who can destroy all the 4 types of ghātika karma is said to be possessed of the knowledge of 14 Pūrvas which are said to have been lost by the end of the canonical age. This naturally drove the Jaina theoreticians to solve the Jaina problem of literation in the mythological plane. All this occurred because vaira which is the efficacy of retribution involving violence came to be replaced by karma which is the principle of determining the whole make-up of an individual being. In the context of karma theory, violence there fore became a minor factor to produce certain kinds of karma. MV's original thesis that apărambua is the sole pathway for liberation had to therefore give way to the proposition that the eradication of the total types of karma alone leads to liberation. No change has however taken place in the basic rules of ascetic discipline since the time of MV, because karmic eradica.
tion is after all effected by the same method of penance alone. 4 Cf. Jacobi : S. B. E., vol. XLV, p. xxxiii. Basham: The History and Doctrines
of thc Ajivikas, p. 5. Dixit : "The Problems of Ethics and Karma Ductrine as
Treated in Bhagavatisutra", Sambodhi, II-3, p. 2 5 In the Sutrakyta I occur the expressions like “kammam khavai', e.g. 1. 2. 1. 103.
or 'udiana-kammă', e.g. 1. 5. 1. 317. The concepts as such cannot yet be present in this age, for the notion that karma is the matter begins to be expressed
in the form of rajas or in the forms of mala in the Sutrakyta I opwards. 6 Basham considers that the animist theory gave rise to the evolution of these
theories. See Basham, ibid., p. 5 7 Gofāla had his predecessors, for which see Basham, ibid., pp. 94ff, 8 See Basham, ibid., p. 243 9 See Basham, ibid., p. 109 10 See Basham, ibid., pp. 118ff, 11 See also Basham, ibid., p. 123 12 See also Basham, ibid., pp. 17-18 13 Basham, ibid., pp. 283-4 14 E.g. Acāra I. 2. 3. 92-93 15 Sutrakrta I. 1. 2. See also Dixit, Early Jainism, p. 6 16 E.g. Acara I. 2 17. Acara 1. 2. 5. 127 18 Basham, ibid. p. 109 19 E.g. Ācāra 1. 4.4. 261 20 The positive action of anārambha or akarana that leads one to achieve moksa
should be free of kaşāya and accompanied by the prescribed ethical conduct.

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The sinful action, i.e. arambha or karma, is of its reveres nature. Here is the origin of the later concepts called īryāpatha kriyā and sāmparāyika kriyā. Īryāpatha is also shared by the Buddhist camp.
21 Dixit, Early Jainism, p. 11
22 E.g. Acara I. 3. 1. 273; I. 7. 4
23 See Basham, ibid., pp. 109ff, pp. 118ff.
24 Cf. Sutrakyta I. 7. 407, I. 9. 468 and I. 10. 478
25 E.g. Acara I. 1. 1. 4
26 E.g. Suttanipāta 2. 26. 19ff (ed. by P. V. Bapat, Poona, 1924)
27 Acāta I. 1. 1.3
* Jiana canonical text are based on the Suttagame, ed. by Pupphabhikkhu.

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A NOTE ON AYĀRANGA-SUTTA I. 2. 6. 3.*
Michihiko Yajima (A Śloka line from Āyāramga sutta is reinterpreted in this paper with the help of its parallel verse seen in a Pāli canon.)
While reading the first Śrutaskandha of Ācārānga-sūtra ( or Āyārangasutta, critically ed. by W. Schubring ), we come across the following line :
nâraim sahae vīre vīre no sahae raim (Āy. I. 2. 6. 3; p. 12 l. 11) The editor gives some variant readings in his foot note : sahaī twice BGB. dhire twice A, na BGb, rai ADG. The line has been translated by Jacobi as :
“The hero does not tolerate discontents.
The hero does not tolerate lust." (SBE XXII p.26 )' and also by Schubring as :
"Der Tapfere duldet [bei sich nicht Unlust [am Mönchtum), der Tapfer duldet [bei sich) nicht Lust ( an weltlichen Dingen)”
(WM. p. 80) It is to be noticed that the verb sah with indeclinable na is used bere in the sense of 'not to tolerate" (Jacobi) or "nicht zu dulden" (Schurbing), in other words, in the sense of "not to suffer, not to undergo, not to allow, not to be resigned to."2 Though both Jacobi and Schubring have not given any remark on this line, the usage of the verb v sah in the above sense seems to be peculiar and somewhat unique as far as Jaina and canonical texts are concerned.3
To show this clearly, we shall see below in brief how the verb is used in both the canonical texts. And, side by side we shall see what is said about arai (arati) and rai (rati), too.
Pali N sah, first, is usually used in the sense of “to conquer, defeat overcome”. As far as old canonical texts are concerned, it may be possible to say that Vedic sah ("to prevail, be victorious; to overcome, vanquish conquer, defeat (enemies), etc.” MW)4 has been still well preserved in Pali. But there, unlike in the Vedic literature, the objects of conquering or defeating are usually such passions like tanhā, rāga, etc.,' not actaul enemics or foemen in the battle.
It is sometimes said that tanhà, lobha and other passions conquer men, where the verb takes those passions as its subjects. In Pali canons, we

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Michihico Yajima
find some passions like taṇhā, arati and rāga (or ragā) being personified and called the daughters of Māra (Māradhītaro).7 Māra's army ( constitutes of kama, arati, khuppipāsā, taṇhā, thinamiddha, etc. 8 Arati is among such enemy-like passions. Hence, it is said : "A monk) should conquer ( sah) arati in his solitary bed” (uratim sahetha sayanamhi pante, Sn. 969), “Hence, arati can not overwhelm (abhikirati Skt. abhi- kr) me sitting alone" (atho mam ekam āsīnam arati nâbhikirati, S. 1. 54);9 "The brave, who, abandoning ( hä rati as well as arati, conquers (abhi- bhū) all the worlds" is called "(true) brāhmana" (hitvā ratiñ ca aratiñ ca... sabbalokabhibhum tam aham brūmi brāhmaṇam, Sn. 642 = Dh. 418) A phrase : arati rati-saho assam, na ca mam arati(-rati) saheyya, uppannam aratin abhibhuyya abhibhuyya vihareyyam often occurs in Pali canonical texts, but in prose. (MN. I. 33 = AN. V. 132, IV 291; MV III 97, etc.)
In Jaina canons, on the other hand, it seems that Vedic sah in the sense of "to conquer, defeat, etc.” has not been well preserved. We have such examples of the verb sah that are used along with wji (ja yai) 10 and are used in the simile of war. 11 But, these are rather rare, and, even in such contexts, it is not sure if the verb is used in that sense; for to them can be applied the meaning of "to bear, endure, etc.” which is more popular in Jaina texts
•
The verbs khama - ( kşam), tiikkha - (desid, of /tij) and ahi yasa - (caus.of adhi- vas)12 are considered to be synonyms of the verb sah.
The last one is quite often used in the text of Āy.13
A verbal phrase sammam saha -, khama, - tiikkha, - ahiyåsa - often occurs in Jaina canons.14
Now, the object of these verbs are almost always some spiritual or non-spiritual things which are supposed to be hindrances or obstacles 'to the religious life and, hence which are to be borne or to be put up with. Arai is also among those things. Thus, it is admitted as one of the 22 parisaha (skt. parişaha)-S which "have to be put up with so as not to deviate from the right path and so as to annihilate karma."15
For explaining this arai-parisaha, it is said in Utt. that a monk (muni) while wandering from village to village, may feel discontent (arai), but the hardship must be borne (tam tiikkhe parisaham, Utt. 2. 14. & 15).
It is to be noticed here, however, that arai (as well as rai) is said not only to be borne or to be put up with, but also to be conquered. "the brāhmaṇa, overcoming (abhi- bhū) discontent as well as pleasure, wandered about, speaking but little" (araim raim ca abhibhūya rīyai mā

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A Note on Āyäranga-Sutta 1.2.6.3
71 hane abahu-või Āy. 1.8.2.15; p. 42 1.13 f) or to be destroyed : "a wise man should destroy discontent", (araim āūțțelo se mehävi Āy. 1.2.2.1; p. 7.1.13).
Though we don't have in Jaina canons any example of the verb sah clearly used in the sense of "to conquer, defeat,” etc., as we have in Pali, it seems important that also in Jaina canons arai as well as rai are said to be conquered or destoryed in the above examples.
In Āy., the verbal form of v sah is only once used in the line of I. 2.6.3. But, we also have its nominal form in the same text, i.e.-saha, which is twice used at the end of Cod. and one of which is in Cpd. arai-raisaka :17
siosiņa-ccăi se nigganthe arai-rai-sahe pharusiyam no veei (1.3.1.2: p. 13 1.16)
This arai-rai-sahe is translated by Jacobi as "equanimous against pleasure and pain” and also by Schubring as '[er] kennt nicht Unlust order Lust." There is no doubt that, as done in the case of the verb sah:in I.2.6.3, here also the words are carefully selected by both Jacobi and Schubring. while the context in 1.2.6.3 being taken into consid which is immediately followed by a line : jamhā avimane vire, tamha vire. na rajjai (p. 12.1.12) ("Because the hero is not careless, the hero is not attached (to the objects of the senses)", SBE XXII p. 26; "weil der Tapfere unabgelenkt ist, darum kommt der Tapfere nicht aus dem Gleichgewicht." WM. p. 80). But, in the Pali phrase which was shown above appears the same Cod. : arati-rati-saho, to which we can give unhesitatingly the meaning : "one who conquers arati as well as rati.” It is not suggested here that the Cpd. in Ay. also must have the same meaning, but be easily said that the meaning given to the nominal form-saha : "equanimous" (Jacobi) or "kennt nicht” (Schubring) cannot be of the word itself.
In Jaina and Buddhist canonical texts, as shown above, the usage of the verb sah is slightly different from each other. The verb is usually used in the sense of "to conquer, overcome," etc., in Pali canons, while it is usually used in the sense of "to bear, endure,” etc., in Jaina canons. It should be noted, however, that even to the verb in Jaina canons the contexts may possibly allow us to give such a sense like "to conquer or overcome through endurance", and that we don't have any example of the verb used in its passive sense, that is, in the sense of “to tolerate: zu dulden, etc." except in the line of Ay, 1.2.6.3.
Thus, the of the verb
aterials given above are enough to show that the usage sah in Āy. I 2.6.3: nâraim sahae vīre vīre no sahae raim is

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Michihiko Yajima
Semantically very unique and rare, even exceptional, as far as Jaina and Buddhist canonical texts are concerned.
Moreover, it becomes doubtful when we compare the line with the following verse quoted from Pali AN, which has not been pointed out by Schubring as parallel though it is obvious :
nârati sahati dhiram na rati 18 dhiram sahati dhiro ca aratim sahati 19 dhiro hi aratimsaho.
(AN II.28) The main difference between the first line of this verse and the line of Āy. is seen in the structure of the sentences; for what is subject or object is contrary to each other. It can be said that this simply causes the difference of the meanings of the verb sah ("to tolerate", "zu dulden” in Āy, while "to conquer, overcome" in AN). But, when we take into consideration the sources shown above, it seems clear that the structure of the line of AN, where the verb is used in the sense of "to conquer, overcome,” is more authentic. We can guess easily that the original form of the line of Āy. had been just like the Buddhist one, as far as the structure is concerned, and later, the line became corrupted, or otherwise, was changed, possibly because of the loss of its latter portion where it must have been said that not arai and rai, but the hero conquers or defeats them instead.
If the whole idea of the original verse had not been given due to the loss of its latter half and if Vedic v sah had already been out of use and any other example clearly showing the meaning of the verb to be “to conquer, overcome,” etc., had not been available in the canons, 20 ii seems natural that either the line was interpreted in different way or the then already corrupted line was adopted as it was, by adding a new line; jamha avimane vīre, tamhā vīre na rajjai which would approve the meaning of the verb sah with indeclinable na to be “not to tolerate" or "nicht zu dulden".
Some manuscripts of Schubring have rai instead of raim and a manuscript has the word dhira, in the place of vīra, Are they remnants of the original verse ?21
Abbreviations :
Sā: Suttāgame (2 vols., new Sthanakvasi ed., Gurgaon 1954) Anta: Antagadadasão (in Sā) Aup: Aupa-pātika-sutra (ed. by E. Leumann, Leipzig 1883) Āy : Āyāranga-sutta (or Acāranga-sūtra, ed. by W. Schubring, Leipzing 1910) Dasa : Dasaveyā liya ed. by E. Leumann and trsl. by

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A Note on A yāramga-Sutta 1.2.6.3
73
W. Schubring, Ahmedabad 1932) Dasā : Dasā'su yakkhanda (in Sā) Isi : Isibhāsiyāim (ed. by W. Schurbing, Hamburg 1969).
Nāyā : Nayadhammakahão (in Sa) Utt : Uttaradhyayanasūtra (ed. by J. Charpentier, Uppsala 1921) Uvā : Uvāsagadasão (ed. and trsl. by R. Hoernle, Bibliotheca Indica. Calcutta 1888) Vava : Vavahara-sutta (ed. by W. Schurbing, Leipzing 1918) WM: Worte Mahāvīras, Kritische Ubersetzungen aus dem Kanon der Jaina, by W. Schubring, Gottingen 1926.
For Pali texts and others, I have followed Epileogomena to Volume 1 to A Critical pāli Dictionary ..(CPD) (Copenbagen 1948)
Notes
1 Jacobi's text (PTS 1882) : sahaj for sahae (v. 1 sahate), dhưre for vire. 2 cf. Hindi translation : "apne man par nahim lātā” (to the first păda); "Isakti
bhy nahīm karata" (to the second one) (Arthāgama vol. I, p. 22) In AcārăngaCurni (Ratlam 1941), the passage is explained as follows: na iti padisedhe, sadhanam (=sahanam) marisanam,jati nāma kadáyi tassa parakkamato tavaniyamasa mjamesu arati bhavejja tato tam khanamittam avi na sahatë, khippam eva jjhănena manato nicchubhati-nivvisayam kareti,.... jaheva samjame aratim na sahati taheva visaya'asäyādi-lakkhane asam jame jati kabamci tassa rati uppajjati tam pi khanamitta mavi na sahati - na khamati, dhammajjhānasahagato uppannamittam nikkasati.
3 In pali, the imperative saha is once used in the sense of “excuse, forgive,
beg your pardon !”, but in prose, (Ja III, 109). In Skt. literature, the first appearance of the verb sah used in the sense of “to allow; to excuse, forgive" may be in BhG. XI. 44: piteva putrasya sakheva sakhyuh priyaḥ priyayárhasi deva sodhum, i. e.," just as a father forgives bis son, a friend, and a lover his beloved one, even so you should forgive me, o Lord.” Later, this sense becomes popular, e. g. Raghuvamsa 14.63; Kirātārjuniya 2. 21 etc.
In modern Languages like Hindi, Marathi and Gujarati, the verbs derived from Skt sah (Hindi sahnā, Mar, sahane Guj. sahavum) seem to be often used in the sense of "to suffer, to undergo, to allow, to accept." e. 8. in such a phrase like sāhūn pāhun in Marathi "sufferingly and regardfully"; i. e, as consenting to sustain a measure of suffering or loss, and as conceding scmewhat to the antagonist party. A phrase in use by peacemakers, traffickers, bargainers &
c. urging composition. (Molesworth's Marathi-English Dictionary). 4 Some examples of Vedic sah : ayam agnih pitanāşat suviro yenā devāso asahanta
dasyün, R. 3. 39. 9 (: "This Agni is the battle-winning by whom the Gods have overcome the Dasyus."); yasyäha sakraḥ savaneșu ranyati sa tiyraiḥ somaiḥ sahate prtanyataḥ, R. 10.43.6 (: The man in whose libations Šakra hath delight by means of potent Somas vanquisheth his foes."); sahasva manyo abhimātimasme rujan mfnan pramoan prehi satrūn, R. 10. 84, 3 (: “O Manyu, overcome thou Sambodhi Vol. IX(9)

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Michihiko Yajima
our assailant : oh! breaking, slaying, crushing down the foeman"). Engl. trsl. by Ralph T. H. Griffith, The Hymns af the Rgveda (Chowkhamba Skt. Studies XXXY vol, I, 1963) For further examples, see R.6, 66.9; 2.11.4; 3.24.1; 3.30.16; 6.1.1., etc. In Classical Skt, the verb in the above sense seems to have become almost obsolete. We have quite few examples. e. g. tvara mānā svayam yāhi na ca asau tvām sahi syate, MBh VII 69.38 "You go in a hurry by yourself, and then, he
will not be able to overcome you." 5 e. g. yo cetam sahati jammim tanham loke duraccayam, Dhp. 336 pāda-ab; ra
pesu saddesu atho rasesu gandhesu phassesu sahetha rāgam. Sn. 974 cd; niddam tandim sahe thinam, Sn. 942 a. e. g. yam esā sahati jammi tanha loke visattikā, Dhp. 335 ab; yam lobho sahate naram, It. p. 84 vs, 2d; yam doso sahate naram, ibid. vs. 5 d; yam moho sahate naram, ibid. vs. 8 d.; yam kadho sahate naram, AN. VI. 96=GDhp. 282 d (tya
kodhu sahadi naru) 7 Sn. 835; S. 1. 127 etc. 8 Sn. 436-437
aratı naboikzrati is glossed ukkanthikā (or-ta) nabhibhavati, Spk. (CPD). This can be compared with : virayam bhikkhum riyantam cirarā siyam arai tattha kim vidhārae, Āy. I 6. 3.3 : “But can disconient lay hold of (Caus. of vidhr) mendicant,....? (SBE XXII p. 58); "Könnte [nun einem Monch,..... MiBvergnügen (daran) etwas anhaben ?" WM. p. 101)
10 divve ya je uvasagge tabā tericcbamānuse je bhikkhū sahar jayaz se na acchai
mapdale (Utt. 31.5) Jacobi : "A monk who well bear calamities produced by gods, animals, or men, will not stand in the circle (of transmigrations)" (SBE XXII. p. 181) dhammo tti kiccă paramagga-sūre jiindie jo sahai sa pujjo. (Dasa. 9. 3. 8 cd) Schubring : “He who endures (offences through words) like a champion [in the battle), thinking this [endurance] to be [a demand of] Dharma and having sub
dued his senses, is deserving of honour." 12 For the etymology, see Leumann, Aup. Glossar, p. 100; Hoernle, Uvā, vol. II.
p. 42 fn. 194. 13 p. 29 1.24 = 38.11 (object : virūvarūve phase); 42.12= 27 (phāsāim viruvarūvāim);
39.28 (savye phāse); 12.13 (sadde dhāse) 36.8 (taņa-phāsam. siya-ph., teo-ph., damsamasaga-ph., egayare annayare virūvarüve phāse); 28.23 (parīsahe durahiyāsae), etc. E.g. tae nam se Kāmadeve samanovāse tam ujjalam jāva durahiyāsam veyanam sammam sahai java (=khamai tiikkhai) ahiyāsei, Uvā, 2.100. For further examples, see Dacã. 7.1. [Sā. II. p. 931 1.10] - Vava. 10.1; Nāyā 11 [Sā. I p. 1047]; Anta. 6.120; Isi.p. 537 f; etc. & etc.
15 märgācyavananirjarartham parisodhavyõh pars sahāh, Tattvarthadhigamasūtra IX.8;
Pt. Sukhlalji's Commentary on Tattvartha Sutra (trsl. from original Hindi by K. K. Dixit) L. D. Series 44 p.331 According to Hoerole (op. cit.), parisaha means "things with regard to which patience must be exercised" or shortly "trials of patience."
16 aufte <ā - kutt (Schubring, Ācārānga, Glossar p, 74 under kuts)

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A Note on Ayaraṁga-Sutta 1.2.6.3
17 The other one: dukkha-sahe (Ay. 1.9.3.1; p. 43 1.18) Jacobi has translated this as "bore pain" (SBE XXII p. 85). Schubring uses a derivative word from dulden, i. e. "im Leiden geduldig' WM. p. 120). But here, of course, by the word he must understand "bearing, enduring; patient, perservering."
18 Or, no rati. Narati in the text (PTS 1888), but which makes the pada the same as the first one and meaningless. See Woodward's trsl.: "No discontent compels the sage, the sage no discontent compels....." (The Book of the Gradual Sayings, Vol. II. p.31 f) The real word-order of the second pada may be na (or no) rati sahati dhiram, which has no problem in metre. The present one (....dhiram sahati) seems to have been rearranged in order to avoid the exact reduplication caused by the corruption of na (or no) rati to narati. A reading: dhirasam hati (see CPD under arati) is apparently secondary one.
75
19 For aratiñca dh° s?", says CPD. (The resolution in the first syllable: 2......) But, we may also think that the original ratim was replaced by aratim due to the corruption in the previous pada, i. e., the loss of the word rati.
20 when he verb takes some passion like arai as its subject, it clearly shows the the verb is used in the sense.
21 In Ay., we often have dhira-as v. 1. for vira in the text, while v° for the text dh. e. g. Dh for vo: p. 12 1. 16 pantam luham sevanti vira (v. 1 dh° A); 13.17: Jägara-verovarae vire (v 1. dh° ADb); 13.26 vire aya-gutte (v. 1. dh° DT); 15. 10 kohäimānam haniya ya vire (v. 1. dh T); 15.14: gantham parinnaya ih' ajja vire soyam parinnaya carejja dante (v. 1. dh ABT); 17.2: janti vērā mahājānam v. 1. dh° AD); 31, 21: puttho viro ahiyasae (v. 1 dh° GT) 34.27 (v.1. dh° DbBT); etc. v° for dh°: 9.23: asam ca chandam vigiñca bhare (v. 1. v° C);
14.20 aggam ca mulam ca vigiñca dhire (v. 1. v° CG); 15-25 aya-gutte sayā dhire v. 1. v° CBGbg); 17.30: aho ya rão jayamane dhira (v. 1. v° AG); etc.
Whether the word vira of Ay. I.2.6.3 is replacement of the original dhirais not clear. The contexts of these two words used in the canonical texts should be further investigated. Cf. Schubring, Ay., Glossar. pp. 86 and 102. In the line of AN also, according to Woodward (op. cit), some text has vira-samhati for dhiram sahati.
But, when we see the frequent occurrence of between dh° and y° in the text of Ay. as shown above, it may be noted here that orthographical confu sion between and also should be taken into consideration, which might have taken place in our case also; for it is quite likely that, if not written clearly, is misread as in manuscripts.
* I am very much thankful to Dr. J. R, Joshi, lecturer of Deccan college, Poona, who first could read my paper. Particularly for a reference to MBh (note 4), I am indebted to him. I am also very much obliged to both Dr. H. C. Bhayani and Pt. D. D. Malvania who could read my manuscript, give me some valuable suggestions, and encourage me to publish this paper in the Journal of L. D. Institute.

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UTTARAJJHAYANA AND SOCIO-RELIGIOUS
FORMALISM
Ram Prakash Poddar
In the priest-dominated society of ancient India certain customs and practices were generally regarded as conducive to temporal and eternal good. Consequently their observance had become almost obligatory. These were ceremonial sacrifices, respective order and duties of castes and stages of life, and rites of consecretion.
Ceremonial sacrifices included, besides prayers, material oblations and gifts, killing of animals such as horses and goats. Thus they contravened the general scriptural injunction-'One should not cause injury to living beings.'1 Yet they were prescribed, specially for the kings, to secure supremacy in this world and heaven in the next.2 Performer of one hundred ceremonial sacrifices was supposed to rise to Indrahood and command all the pleasures of heaven, Not only the legendary kings but the historical ones too performed ceremonial sacrifices and rose to prominence.
Society was divided into four castes in order of importanc, viz. Brahmana, Ksatriya, Vaisya and Sūdra. They had their respective duties and occupations. Reading the Vedas, performing sacrifices and giving gifts to the Brāhmaṇas were the sacred duties of the first three castes. Their respective occupations were to teach, to protect the sudjects and to earn money by trade and agriculture. Upon the Śüdras was enjoned to serve the other three castes. Initially the caste system might have emerged from a necessity of division of labour. But subsequently it grew rigid and birth became its foremost criterion. Inter-marriages being generally disfavoured, the accidental mixed castes were separately grouped and placed lower ; the UntouchablesCāndālas and Sopakas were lowest down in the hierarchy. The latter were not allowed to enter at will the habitations of the higher castes. They were forced to live in suburbs and cemeteries and also move about like nomads. Their duties were to dispose of unclaimed dead bodies and behead the criminals sentenced to death. Clothes of the dead were their attire and asses and dogs their only possession.
Proper performance of the caste-duties earned merit for the subject and transgression brought sin and disgrace; an important duty of the king was to see that no one swerved from caste-duties - Rama had to be head a Sudra for practising asceticism. In the Bhagavadgilā Krisna admonished Arjuna that it was betier to die in course of performing one's own

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Uttarajjhayana and Socio-Religious Formalism
caste-duties than assuming the duties of another caste. In the śānti Parvan of the Mahābhārata, when after considering lots of pros and cons, Yudhisthira was yet inclined to adopt an ascetic's life, Vyāsa gave his final verdict that 'a Ksatriya's duty in the second stage of life) was to hold the Sceptre, not the alms-bowl'.6
The whole span of life, specially in case of a Brahmana, had to be divided into four stages, each covering approximately one fourth of expected longevity. The first stage had to be devoted to the study of the Vedas and the second to leading a householder's life. The third stage had to be spent in a hermitage as an anchorite. The fourth was the stage of total abandonment of all earthly concerns. The first three stages were common to the first three castes. A ruler and warrior too was expected to enter hermitage and practise asceticism in the third and the fourth stages. But he might as well, after having transferred his responsibilities to his son, choose to die fighting in the battle-field. 7 There is no emphasis on the third caste viz. the agriculturists and traders entering hermitage and practising asceticism. The fourth caste viz. the Sūdras had no right to lay down the yoke and take to the practice of selfdenial, not to talk of the Candālas and the Sopākas.
Among the stages of life, the householder's was regarded as very important for it supported the other three stages and sustained society as a whole. The greatest responsibility of a householder was to pay off the three debts which he respectively owed to gods, ancestors and sages. He had to pay off the debt of gods by performing cermonial sacrifices according to his capacity, that of ancestors by getting married and begetting sons and that of the sages by studying the Vedas. If he took to asceticism without paying off these debts, he was a defaulter and suffered spiritual degeneration'. We are told in the Adiparva of the Mahābhārata that one Jaratkāru had taken to asceticism without begetting a son. Consequently, his ancestors were in a precarious condition - hanging over the abyss with a thin thread, just about to fall into it when the last of their progeny viz. Jaratkāru was wiped out of earthly existence. Supposedly, a son sustained his deceased fore-fathers in heaven with oblations of food and water. Hence, no religious act brought that fulfilment which was due to the father of a son.10
In case of the first three castes certain purificatory rites and ceremonies bad to be performed on different occasions They were supposed to consecrate the subject and remove his sins. 11
These formal customs and practices formed the core of the priestly religion. They had certain draw backs : besides involving killing of animals,

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Ram Prakash Poddar
the ceremonial sacrifices were expensive;12 earning merit by giving costly gifts was not possible for poor people; the caste-system did not give equal rights to all the constituents of society, certain people were forced to lead a miserable life; above all they put under importance on formalism and tended to overlook the essence of religion viz. good conduct of the individual to achieve the ultimate good for himself and his society. Consequently, they were opposed by those who underlined good conduct and disregarded ritualistic formalities. Among the opponents were the Buddhists, the Jainas and quite a few from the Brahmanical fold too.
In the Ardhamāgadhi Agamas there are frequent confrontations between religions based on ethics on one hand and some sort of retualistic formalism on the other. In the former, emphasis is on following a certain code of conduct such as abstinence from causing injury to life and telling lies etc. The latter underlines some purificatory rites such as holy baths and offering oblations into the fire etc.
The Uttarajjhayana goes a long way towards refuting or attempting to amend religious or social formalism such as the ceremonial sacrifices, system of castes and stages of life and the purificatory rites.
Efficacy or ceremonial sacrifices and the caste-system questioned in chapters XII and XXV entitled Hariesijjam and Jannaijjam (Yajñiyam) respectively.
too, has been (Harikesīyam)
Chapter XII relates the legend of a monk named Hərikeśa Bala who, though of perfect conduct, was born of Sopāka parents. Once after a reli. gious fast of one month, he went to the sacrificial enclosure of some Brāhmanas to beg food. The latter, in spite of a Yaksa's intercession on behalf of the monk, refused to oblige on the ground that the sacrificial food could not be given to low caste people and that the well-born and learned Brāhmaṇas alone were the fit persons to receive gifts of food etc. 14 The Brāhmaaas also asked their students and attendants to beat the intruder and drive him away. Bhadrā, the sacrificer's wife, tried in vain to dissuade them with her testimony of the monk's firmnesss in self-control. But with the influence of the Yakșa, their misdeads boomeragged upon them and they were all magically paralysed, each one badly bruised and senseless. Subsequently, the Brāhmaṇas realized their mistake, propitiated the monk and offered him food and drink. As the monk broke his fast, the five divine phenonema appeared. 15 New supremacy of good conduct and austerities was staring the Brahmaņas in the face and their pride of caste had melted away.16 They submitted to the monk who advised them to refrain from mater al sacrifices and switch over to the spiritual one

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Uttarajjhayaņa and Socio-Religious Formalism
79
in which penances and austerities were the fire, soul was the altar, body ye fuel and the accumulated Karmas were the oblations to be offered 17 He also advised them not to take any holy bath other than the one in the pond of good conduct, calm and clear by its own nature, for the latter alone was efficacious in washing out sins 18
Chapter XXV relates the confrontation of Brāhmaṇa twins Jayaghosa and Vijayaghosa. The former had taken to the path of spiritual sacrifice based on self control quite early in life whereas the latter was given to material sacrifices involving killing of animals and offering of oblations into the fire. Once Jayaghoșa, the ascetic, entered the sacrificial enclosure of Vijayaghoșa to beg food for breaking his religious fast of one mon he was refused on the ground that the sacrificial food could be given to those Brāhmaṇas only who were learned in the Vedas, consecrated with purificatory rites and well-versed in astrononiy etc. and not to a monk like him for the former alone could bring redemption to themselves and the society. Then Jayaghoşa explains that the real srcrifice is the spiritual one in which the sacrificer offers ihe oblation of his accumulated Karmas in to the fire of penances and austerities. 19 Further he adds that a real Brāhamana is not one born of Brăbamana parents, consecrated with purificatory rites and versed in the Vedas but the one who ridding himself of anger and attachment practises austerities and abstains from causing injury to life etc. Such a one is capable of redeeming oneself and others, not he who sacrifices animals and thereby accumulates sins,
He knocks out the bottom of all formalism of outfits and appearances by declaring that one does not become a 'Samaņa by shaving off one's head, a Brāhamana by chanting the Vedic hymns, a Muni' by retiring to hermitage or a 'Tapasa' by wearing Kusagrass. In reality one becomes a 'Samana' by equanimity, a Brāhamana by continence, a 'Muni' by knowledge and a "Tāpasa' by austerities. 20
He further postulates that by Karma alone one becomes a Brāhmaṇa, a Ksatriya, a Vaiśya or a Sūdra. Here the main contention is about the Brābmaņa and the rest viz. Ksatriya, Vaiśya and Sūdra have been added just to universalize the proposition.22 It is not meant here that caste is to be determined by occupation and not by birth. Not only in the Uttarajjhayana but perhaps in the whole range of the Agama literature there is no example of inter-change of occupations or inter marriages which would have evinced the urgency of breaking the barriers of castes and forming a casteless society. On the contrary a gotrakarma has been conceived which is responsible for determining high or low origin in subsequent births. It is by virtue

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Ram Prakash Poddar
of one's condcuct in the previous life that one is born as a Ksatriya or a Candala or a Bukkasa,23
Since one's caste-status depended on one's own conduct in the previous life and could be further improved by good conduct and austerities, one need not bemoan one's low origin. It should be accepted as a reality of life-a reality for which the subject himself is responsible and no one else. Any envious tendency may swerve him from his highest goal viz. emancipation. Sambhuta as a Sopaka ascetic, had coveted the grandeur of a king. He became a king no doubt, but the track of spiritual well-being was lost in the wilderness of physical gratifications.
From the Gotrakarma theory it accruse that the caste hierarchy was headed by the Ksatriyas with the Caṇḍālas and the Bukkasas at the bottom. True Brāhmaṇas were the abandoners and conversely all true abandoners were Brahmaņas whatever their origin the most detached soul, viz. the Tirthankara, being the greatest of al! Brahmaṇas.24 As regards occupations it seems that the conventional ones were acceptable with certain reservations. It has been said that a Ksatriya, by his innate nature, was attached to power and possession.25 But he w is not only free to renounce his attachment but it was his most sacred duty to do so at the earliest opportunity and take to ascetic practices. This ideal has been established in the ballad of king Nami (Uttar. IX) where a ruling monarch abdicates and decides to become a monk though besought to retain the sceptre and perform chivalrous and heroic act worthy of a Ksatriya.
1
A pious householder's life is suggested to Nami as an alternative to total renunciation; through the observance of Pratimäs26 a householder too could gradually rise to total renunciation. But he prefers to become a houseless ascetic then and there. Rathanemi (Uttar. XXII) invites Rajimati to enjoy the pleasures of the householder's stage of life and thereafter practise asceticism27. But she rejects it as an infirmity. Similar advice is given by Mrga to her son.28 But he convinces her that sooner worldly life is abandoned the better. Sons of the priest Bhrgu propose to renounce the world in their childhood. The father objects those who are learned in the Vedas hold that there is no salvation for the sonless one. He adv.. ises them to read the Vedas, enjoy the pleasures of life, beget sons and then having entrusted their worldly affairs to their sons, they could retire to hermitage. But they disregard their father's advice and renounce world in the first stage of their life.29
the

-
Thus there is not only the freedom but also a constant encouragement to practise asceticism on all levels and stages of life. But what is much

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Uttarajjhayana and Socio-Religious Formalism
more important than this is the insistence on deformalization of religious conduct Keśi Kumāra Śramaṇa was perturbed over the transition from the system of the four restraints preached by Lord Parsvanatha to that of the five teachings of Lord Mahāvīra. His other anxiety was about the outfit of a monk: in the former system a monk was allowed to wear two pieces of garment but in the latter complete nudity was the rule. Gautama, a direct disciple of Lord Mahāvira explains to him that the variation was brought about to make the system effective for the contemporary followers who, in mental make-up had considerably deviated from their predecessors. In short, rules of religious conduct had to be amended according to the circumstances. As regards wearing clothes or remaining sky-clad Gautama says that it had no deeper significance. It was meant for distinction, for awakening confidence in others and awareness in one's ownself and also to meet the exigencies of ascetic life.30 In reality the means of emancipation are right knowledge, right faith and right conduct, and in the ultimate analysis outfit or any other physical appearance or mark could not be considered the organic constituent of right conduct.31 This is further corroborated by verses 12 and 13 of the chapter on Forbearnce (Parisaha II) where it has been said that a monk should be unconcerned about clothes or no clothes.32 A verse in the last chapter (XXXVI) vouchsafes emancipation to women, men, eunuchs, Jaina and non-Jaina houseless ascetics and householders all, of course on the basis of their respective good conduct.33 Pious family life is held better than robed hypocrisy. External marks and appearances like garment of animal-hide or rags, nudity, matted locks, shaved head or living on begged food do not bring salvation, salf--control alone does.34
The monk whose only concern is shaving the head and who is not mindful of his vows is worthless like counterfeit coins or imitation gens. His desire to go naked is meaningless; he loses both here and hereafter 35 All these facts reinforce the spirit of 'One does not become a 'Samana' by shaving off head etc.'
81
Thus in the Uttarajjhayana we find a constant endeavour to prune away unwanted growth of formalism lest they obscure the spirit of religious counduct. But pruning has to be repeated from time to time because formalism has an inherent tendency to overgrow.
Notes
1 न हिंस्यात् सर्वभूतानि । स्वर्गकामोऽश्वमेधेन यजेत् । Sambodhi Vol. IX(11)

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Ram Prakash Poddar
3 मनुस्मृति 1 88-91 4, 151-56 5 श्रेयान्स्वधर्मो विगुणः परधर्मात्स्वनुष्ठितात् ।
स्वधर्मे निधनं श्रेयः परधर्मो भयावहः ॥ ...भगवद्गीता III 35
स्वधर्म मपि चावेस्य नं विकम्पितुमर्हसि ।
धाद्धि युद्धाच्छ्रेयोन्यत्क्षत्रियस्य न विद्यते ॥...भगवद्गीता II 31 6 दण्ड एव हि राजेन्द्र क्षत्रधर्मो न मुण्डनम् । .. महामारत शान्ति XXIII 74 7 मनु. IX 323 8 यथा वायु समाश्रित्य सर्वे जीवन्ति जन्तवः ।
तथा गृहस्थमाश्रित्य वर्तन्ते सर्वमाश्रमाः ॥ . मनु III 77 9 मनु. VI 35-37 10 महा. आदि. XIII 19-25 11 मनु. II 26 12 जं त्विम धर्म माहुर्धनादेष प्रवर्तते ।
अर्थेभ्योहि विवृद्धेभ्यः संभृतेभ्यस्ततस्ततः । क्रियाः सर्वाः प्रवर्त्तन्ते पर्वतेभ्य इवापगाः ॥-अर्जुन, महा. शान्ति VIII 12-16 13 नायाधम्मकहाओ I-5 ( थावच्चापुत्त + सुदंसण)
I-8 (मल्ली+चोकूखा ) 14 न शूद्राय मतिं दद्यान्नोच्छिष्टं न हविष्कृतम् ।
न चास्योपदिशेद्धर्म न चास्य व्रतमादिशेत् ॥...मनु. IV 80 सममब्राह्मणे दानं द्विगुणं ब्राह्मणब्रुवे । प्राधीते शतसाहस्रमनन्तं वेदपारगे ॥...मनु. VII 85 15 पञ्चदिव्यानि
तहियं गन्धोदयपुप्फवासं दिव्वा तर्हि वसुहारा य वुठा । ..
पहयाओ दुन्दुहीओ सुरेहिं आगासे अहो दाणं च घुट्ठ ॥.. उत्तर XII 36 16 सक्वं खु दीसइ तवोविसेसं न दीसई जाइविसेस कोई ।
सोवागपुत्तं हरिएससाहु जस्सेरिसा इड्डि महाणुभागा ।। . उत्तर XII 37 17 तवो जोई जीवो जोइठाणं जोगा सुया सरीरं कारिसंगं ।
कम्मं एहा संजमजोगसंती होम हुणामि इसिणं पसत्थं ॥...उत्तर. XII 44 18 धम्मे हरए बम्मे सन्तितित्थे अणाविले अत्तपेसन्नलेसे । __ जहिं सिणाओ विमलो विसुद्धो सुसीइभूओ पजहामि दोसं ॥ .. उत्तर. XII 46 19 Vide सर्वार्थसिद्धिटीका of कमलसंयम उपाध्याय -
वेयाणं च मुहं बूहि बूहि जन्नाण जं मुहं । नक्खत्ताण मुहं बूहि बूहि धम्माण वा मुहं ॥... उत्तर XII 14

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अग्गिहुत्तमुहा वेया जन्नठी वेयसां मुहं । नक्खत्ताण मुहं चन्दो धम्माणं कासवो मुहं ॥...उत्तर xxv 16 cf अग्गिहुत्तमुखा या, सावित्ती छन्दसो मुखं ।। राजामुखं मनुस्सानं, नदीनं सागरो मुखं ॥ नक्खत्ताणं मुखं चन्दो, आदिच्चो तपतं मुखं । पुजं आकङ्खमानानं, सङ्घो वे यजतं मुखन्ति ॥... सुत्तनिपात, सेलसुत्तं 21,22 20 न वि मुण्डिएण समणो न ओंकारेण बम्भणो ।
न मुणो रण्णवासेणं कुसचीरेण तावसो ॥ समयाए समणो होई बम्भचेरेण बम्भणो । नाणेण य मुणी होइ तवेणं होइ तावसो ॥ . उत्तर. xxv 31, 32 21 कम्मुणा बम्भणो होइ कम्मुणा होइ खत्तिओ ।
वइस्सो कम्मुणा होइ सुद्दो हवइ कम्मुणा ॥.. उत्तर. xxV 33 22 ब्राह्मण प्रक्रमेऽपि शेषामिधानं व्याप्तिदर्शनार्थम् । सर्वार्थसिद्धिटीका 23 एगया खत्तिओ होइ तओ चण्डालवोकसो । ___ तओ कीडपयंगो य तओ कुन्थुपिवोलिया ॥...उत्तर. III 4 24 Vide उवासगदसाओ-सद्दालपुत्तज्झयणं ।। 25 एवं आवजोणीसु पाणिणो कम्मकिब्बिसा ।
न निविज्जंति संसारे सव्वठेसु व खत्तिया ॥..उत्तर III 5 26 सम्यग्दृष्टि, व्रत, सामायिक, प्रोषधोपवास, सचित्तत्याग, रात्रिभोजनत्याग, ब्रह्मचर्य, ___ आरम्भत्याग, परिग्रहत्याग, अनुमति त्याग, उद्दिष्टत्याग ॥ 27 एहि ता भुजिमो भोए माणुस्सं खु सुदुल्लहं ।
भुत्तभोगी पुणो पच्छा जिणमग्गं चरिस्समो ॥....उत्तर XXII 28 28 भुज माणुस्सए भोगे पंचलक्खणए तुमं ।।
भुत्तभोगी तओ जाया पच्छा धम्म चरिस्ससि ॥....उत्तर. XIX 43 29 उत्तर. XIV 30 पच्चयत्थं च लोगस्स नाणाविहविगप्पणं । ___ जत्तत्थं गहणत्थं च लोगे लिंगपओयणं ॥....उत्तर. XXIII 32 31 अह भवे पइन्ना उ मोक्खसब्भूयसाहणा ।
नाणं च दसणं चेव चरित्तं चेव निच्छए ॥....उत्तर XXIII 33 32 परिजुण्णेहिं वत्थेहि होक्खामि त्ति अचेलए ।
अदुवा सचेलए होक्खामि इइ भिक्खु न चिंतए । एगयाऽचेलए होइ सचेले आवि एगया । एयं धम्महियं नच्चा नाणी नो परिदेवए ॥...उत्तर. II 12,13

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33 इत्थीपुरिससिद्धा य तहेव य नपुसगा। ___ सलिंगे अन्नलिंगे य गिहिलिंगे तहेव य ॥....उत्तर. xxXVI 49 34 चाराजिणं नगिणिणं जडी संघाडि मुण्डिणं ।
एयाणि वि न तायन्ति दुस्सीलं परियागयं ॥ पिण्डोलए वि दुस्सीले नरगाओ न मुच्चई । भिक्खाए वा गिहत्थे वा सुव्वए कम्मई दिवं ।।... उत्तर. V 21,22 35 चिरं वि से मुण्डरुई भवित्ता अथिरव्वए तवनियमेहिं भढे । चिरं वि अप्पाण किलेसइत्ता न पारए होइ हु संपराए ॥ पोल्ले व मुठी जह से असारे अयन्तिए कूडकहावणे वा । राढामणि विरुलियप्पगासे अमहग्घए होइ य जाणएसु ॥ कुसीललिंगं इह धारइत्ता इसिज्झयं जीविय बूहइत्ता । असंजए संजय लप्पमाणे विणिग्यायमागच्छइ से चिरंपि ॥ etc
-उत्तर. xx 41-49

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ĀJŇĀPATRA AND SANSKRIT WORKS ON POLITY
A COMPARISON
Ganesh lhite
Although scholars have not reached to any definite conclusion as regards the exact date and authorship of Ājñāpatral (a Marathi work composed in Mediaeval age, approximately 17th to 18th Century), it can be safely said that it is a typical, small treatise illustrating the guiding principles of Polity of Marāthā rulers in general and of Sivāji, in particular. B. V. Bhat2 has already tried in a masterly way to co-relate the events minor as well as major in the life of Sivāji with Sanskrit texts on polity. In this paper it is intended to compare the Ājñāpatra and Sanskrit works on Polity.
In the Ajñāpatra kingship is said to be of divine origin(14,1). The divine origin of kingship is often mentioned in Sanskrit texts. Thus in the Mahā bhārata (XII.67, 20 ff) it is said that people went to the God Brahmā and the latter then gave them the first king named Manu. Even though the origin of the kingship is divine, a king, once he begins to rule, he is the supreme and can control the time according to the Ajñāpatra. Thus the Ājñāpatra (25. 9) quotes a line from the Mahābhārata rājā kālasya kāraṇam (V. 130. 15; XII. 70. 6).
A king alone cannot do all the activities personally, so the Ajñāpatra recommends that a king should appoint ministers. Thus administration is not possible without ministers” (28. 11 ff). The ministers are metaphorically described to be pillars of the house in the form of kingdom (28, 18-19). Similarly they are described as the limit of the injustice caused by the 'intoxicated' state of a king (28. 29-22). Thus it seems that according to the Ajñāpatra, ministers are an important check on the king. In the Sivatattvaratnākara also ministers are expected to raise objection if the king goes wrong (amärge vartamânasya napasya pratikūlagåḥ bodhayantaḥ prabhur väk yair mantrino rāştravęddhayel 5. 15. 48 f.) According to the Ājñāpatra the minister should be qualified and their qualifications are detailed as follows: They should be born in a good family, knowers of activities to be done and avoided, well-versed in various branches of knowledge, afraid of committing sins, observing the manners of behaviour before servants and the king devoted to deity, kind, courageous, speaking clearly, devoid of inertia, having no bad habits, meritorious, free from greediness, able to deal with the enemies by means of various methods etc. (30.3 ff).

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The qualifications for ministers as described in the Sivatattvaratnakara (5. 25. 56 ff ), are quite similar to those mentioned in the Ajñāpatra (kulināḥ śrutasampannāḥ śucayascānurāginaḥ sürā dhira virāgāśca nitiśāstraviśāradaḥ 1|46|| pragalbhavādinah prājñaḥ rāgadveşavivarjitāḥ âye vyaye ca nipunāḥ svāmikâr yaratah sada 1/47/1 Cp. also Mānasollāsa 2.52 ff). In this context the Ājñāpatra adds a rule which, however, is not found either in the Sivatattvaratnākara or Mānasollãsa. According to this rule, a king should pot appoint even a fully qualified person directly on the highest post of a minister. He should rather increase his status step by step (30.20 ff).
Various general rules of behaviour of a king are given in the Ājñāpatra. Thus a king should be always alert about his own protection (16.1 f). He should take his meals and drink water at regular times and observe these timings (17.2). He should never consume any intoxicatory thing (17.2). He should have a good knowledge about weapons, clephants, horses, archery etc. (17.7 ff) The Sanskrit encyclopaedic texts like Mānasollasa, Sivatattvaratnākra, gāmrājyalakşmipithikā also emphasise upon this point. Moreover, these Sanskrit texts give a detailed account of weapons, horses, elephants, archery etc. In contrast to the Sanskrit texts, the Ajñāpatra does not give detailed information on these subjects. Moreover the datailed treatment of various lores in the Sanskrit Encyclopaedic texts is often characterised by numerous taboos, rituals, superstitions etc So the treatment of various lores in Sanskrit Encyclopaedias is very much important from the point of view of history of religious rather than that of political lores. A further point worth noticing is that the Sanskrit encyclopaedias give numerous details of various arts and crafts which form a part of enjoyment of a king. The Ajñāpatra, however, does not give any such details. According to the Ājñāpatra a king may learn various arts but should not waste his time in performing them (17.4 ff). Moreover, he should not even attend the programmes of music and dance very often except at the time of religious festivals, according to the Ajñāpatra (17. 10). The Ajñāpatra further warns a king not to be addicted to the enjoyment of arts like music etc. (17.21). The Ajñāpatra, like the Sivatattvaratnākara allows a king to maintat poets in the court. But it does not give (as the Sivatattvāratnākara does) any details of poetics. The Ajñāpatra only says that a king should not let the poets enter into political affairs (18.9) and that a king should not be fond of praises (18.9). The Ājñāpatra says that a king should not indulge in any kind of "joking" (18.18) and this point is unique. In short the king before the Ājñāpatra is very simple living, high thinking, and devoted to duty alone, while the king before the Sanskrit Encyclopaedic texts is mainly engrossed in enjoyment having practically no problems to solve.

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The Ajñāsatra, like many Sanskrit texts emphasizes the importance of castles (durga). According to it castles are the essence of a kingdom and che can protect the kingdom with the help of castles (45.1). In the Sanskrit texts on polity Durga (or Pura) is regarded to be one of the seven "limbs” of a State3. The Sivatattvaratnākara (V.5.46) says that a king without castles is like a serpent without poison or an elephant without rut and gets defeated by anybody (vişahino yathā nāgo madahino yatha gajah/ sarveșāṁ vaśyatām yâti durgahīnastathā nrpaḥ|/) and thus states the importance of castles. The Sanskrit texts like the Sivatattvaratnākara (V.6.47ff.) and the Sāmrājyalaksmīpithikā (Patala 32-33) describe numerous kinds of castles like Mountain-castle, castle in water, etc. The Ajñāpatra does not go into the details of the kinds of castles. The Samrajyalaksmīpithika (Patala 3) also describes the magical results of residing upon a particular kind of castle. Many of the rules in connection with maintenance and protection of castles given in the Ajñāpatra are, however, very realistic and not traceable in the Sanskrit texts. The officers employed on the castle should be of high family belonging to marātha caste, having "Shame", faithful, active, non-greedy, non-dormant (46.20-47.6). None of the employees on the castle should be a thief, murderer, abnormal, timid, etc. (47. 16-18). The officers in charge should be changed frequently (48 18-20): The Deshmukhs. Deshpandes, Pātils, Kulkarnis, Chaugules, and other hereditory watandars who occupy the territory lying round about a castle should not be given service on the castles near it. They should be employed on castles distant from their watan. If they are employed on a castle nearby, they would go to their home very frequetly and would neglect their duties. At times they would even, with greed for watan, betray the king and divulge secrets (48.16 ff). In all these rules there appears to be a keen sense of contemporary reality. Such rules are not found in Sanskrit texts. Further it is said in the Ājñāpatra that there should be Brāhmaṇas, astrologers Vaidas, the learned and also physicians who are well-versed in mineral medicines, and those in herbmedicines, surgeons, exorcists, wound-dressers, etc. (56.8.ff). In this respect, one may compare Mahābhārata XII, 69.57 where it is said that there should be four kinds of physicians in a citadel. Nīlakantha commenting upon it enumerates the four kinds of physicians as follows - physicians who treat poison, surgeons, physicians who treat diseases and those who can remove evil spirits which cause diseases.
The information about Navy in the Ajñāpatra is almost unique. It also shows how the author of this work was keenly aware of the contemporary problems and their solutions, No Sanskrit work either earlier to Ajpāpatra or contemporary with it has ever touched this subject. The Yuktikalpataru of Bhoja does give some information about how to build ships etc. But the

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information given in the Yuktika'pataru is, as usual, full of superstitious details. Moreover the Ajñāpatra gives details of Navy along with its military and economic aspects and this is totally absent in Sanskrit literature. The Ajñāpatra considers Navy to be a 'limb' of a state (råjyānga) (58.1). “One who possesses horses, commands over the land; similarly one who possesses Navy, commands over the sea. Therefore one should develop navy" 58.1 ff). In the sea, nobody should disturb any merchants according to the Ajñāptra (59.6). At the time of a Naval battle, an enemy is likely to pretend surrender but at such a time, one should not blindly belive in it immediately (60.10 ff). Wood required for the sake of preparing ships etc. is to be taken from the forests with the permission of the king. The trees privately owned should not be cut for this purpose, without any compensation. For trees can not be cultivated within a year or two. Moreover, people consider them to be just like their children and if the king violates them he will be guilty of troubling his own people. (61.16-62.1). Although these thoughts are not mentioned exactly in the same way in the Sanskrit texts, the main thought can be found in Sanskrit texts. A king is expected to please the people in bis state and not to trouble thom. The word rājan meaning king is connected with the root rañj to please (cf. Raghuvamśa 4.12 : yatha prahladanāccandraḥ pratāpāıtapano yatha/ rathaiva so'bhüdanvarthah rājā prakrtiranjanät, /). Kautalya in his Arthasāstra says that a king should take pleasure in pleasing his people and should not take pleasure out of the trouble of his people (cf. prajāsukhe sukham rajñaḥ prajānam ca hite hitam , nātmapriyam hitan räjñaḥ prajānāṁ tu priyam hitam // Arthaśāstra 19.34). In Manusmrti it is said that a king who tortures the people in his state would be destroyed along with his relatives very soon, (mohad rājā svarāştram yah karşa yaryanavekşaya so'cirādbhras yate rājā jivitācca sabandhavah // 7.111). Bhişma advises Yudhisthira nct to obtain wealth from his people in an illegal way; for it would be like one, desirous of milk would cut the breasts of a cow (Mahābhārata VIII. 72 : māsmādharmena läbhena lipsethă stvaṁ dhanagamam //12/ udhaschind yaddhi yo dhenvāh kșirărthi na labhet payah / ever rāştramayogena piditam na vivardhate /16/).
The polity in the Ājñāpatra is based on dharma (Religion) as is the polity in the Sanskrit texts in general. Thus it is said in the Ajñāpatra that a king should follow the traditional, hereditory religion; worship the deities, honour the holy people etc, give support to the religious places and monasteries in the state for their maintenance (15.1 ff). It is specifically said that a king should provide for the livelihood of those who are learned in Veda, etc. and accept their benedications (15.11 ff). He should however, not take interest in hypocretes and charlatans. He may give them

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Comparison
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some alms and get rid of them (15.5 ff). Thus it seems that the Ajñāpatra supports Religion in its higher forms and condemns all superstitions and hypocracies which come under the religious disguise. As in Sanskrit texts, in the Ajñāpatra also opposition to heretics is noticeable. Thus in the Ājñāpatra it is said that a king should take care lest the heretic and antireligious views may spread in the state. A king is also expected to punish heretic people, uproot heretic thoughts and save the people from following heretic thinking (15.18 ff). A king is also expected to show mercy towards blind and diseased (15,23). Thus the author of the Ajñāpatra seems to aim at establishing a welfare state based on religiosity. Among the dus ties of a king there is a mention of obtaining favour of the deities and Brāhmaṇas devoted to gods, destroying anti-religious elements, and trying to increase religious attitude (2.10 ff). The ministers are also expected to be protectors of religion and devotees of gods (28.21; 25; 30.5).
It is, however, worth noting that the Ajñāpatra does not give a. detailed treatment of the religious rites as is done in Sanskrit texts, e. g. Sāmrajyalakşmipithikā which forms a part of Akāśabhairavakalpa. Thus the Sāmrajyalaksmīpīthika gives details of the vows, festivals and ceremonies to be performed throughout a year, the way of worshipping the deity of empire called Sāmrājyalakşmi, pilgrimages to religious places etc. Moreover Sanskrit political texts often support superstitions and magico-religious rituals. Thus Kautilya's Arthaśāstra gives tricks and rituals for the purposes of being invisible (14.3.4 ff), making enemy sleepy (14.3.19 ff), pacifying fire, inundations etc. (4. 3. I ff) or destroying enemy by means of black magic (14.1.34 ff). Such rites are totally absent in the Ajñāpatra. The religion intended by the Ajñāpatra as stated above is of higher sort. It is based on faith in god (cf. 42. 17 where it is said that the calamities of kings having firm faith in god, are removed by the God himself), philanthropy, good behaviour (cf. 42. 19 where evil intentions are condemned)etc. Similarly, the Ājñāpatra does not support nor oppose any particular form of religion.
The position taken by the Ājñāpatra as regards the gifts of lands is very interesting from this point. According to Sanskrit texts gift of land is a very meritorious act (Cf. Vasişthasm ști 29.17; Bịhaspatismộti 7 etc). The Ājñāpatra also says that there is endless merit in giving a gift of land (42.1). But it hastens to add that it is very difficult to decide what is religious and what is not. So while making any gift of land, a king should take into consideration whether the person, who accepts the gift, is a really deserving person. It is possible that in the family of those who are just beggars, some wicked person may take birth. To such people and
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Ganesh Thite
also to those who are anti-religious and heretic, no gift of land should be made (42.1 ff). A gift of land may be made only to deserving Brähmaņas at some sacred times. Similarly a gift of land or of village may be made to temples, monasteries (42. 7ff ). But once a gift is made one should not have any sense of belonging to the land given. One may not even expect a handful of water there (42.14 ff).
The most remarkable characteristic of the Ājñāpatra which distingui. shes it from the Sanskrit texts of polity is the keen awareness of the contemporary political problems. The statements in Sanskrit political texts often appear to be didactic, too general, of the nature of an apophthegm, posing to be valid for all times and all places. A Sanskrit text on polity hardly ever refers to any particular problem of its own time from the point of view of political situation; nor does it suggest any solution for such problems. In this respect, the Ājñāpatra appears to be of a very different nature. This will be clear from the discussion in the Ājñāpatra (p.34) about the European merchants who are called 'Hat-wearers' (topik ara). The Ajñāpatra mentions Portugese, British, French, and Danish People. The Ajñāpatra says that these uropean merchants are not similar to the other merchants who are merely interested in commerce. The European merchants come on behalf of their emperors. And is it possible that an emperor is devoid of any greed for new land'? Moreover, these people are by their very nature very much obstinate and will oot abandon a land once captured. So it is further said that adequate care should be taken in dealing with these people. No place near sea-shore should be given to them, lest they would build a fort there and finally they will rob the and nearby. Moreover, these people should be given a place at some distance from sea, but should not be allowed to build strong houses. No Sanskrit political text shows any historical sense and deals with the contemporary problems. Even the Marāthi work on polity called Rajaniti written by Chitnis in the first quarter of nineteenth century follows the pattern of the Sanskrit texts only and not of the Ājñāpatra.
While comparing the Ajñāpatra with the Sanskrit texts on polity in a very broad way, we note following points. The polity in the Sanskrit texts is, by and large, academic, didactic, of the nature of Smrti-texts, very abstract. theoretical, idealistic, apophthegmatic, too general, posing to be addressed to kings of all the places and times, based on Cāturvasnya-system and many times characterised by magico-religious details. This point can be clear if we bring before our eyes the works like Mahābhārata, Manusmrti, Kautilya's Arthaśāstra, Kamandaka's Nitisāra, Manasollāsa, śivatattvaratnakara Samrajyalakṣmipițhikā etc. The polity in the Ājñāpatra on the other hand,

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Ājñāpatra and Sanskrit Works on Polity: A Comparison
91
is very exact, precise, objective, based on direct observation, busy with the contemporary problems, practical, not of magico-religious nature, and indifferent about the Caturvarnya-system. Moreover, the king before the Sapskrit encyclopaedic texts has a lot of leisure to enjoy various pleasures, and perform nunierous magico-religious rites. But the king before the Ajñāpatra is devoid of any leisure. Therefore, the Ājñāpatra does not deal with the subjects like music, erotics, art of cooking etc. which are found in the Sanskrit encyclopaedic texts on polity. The Ajñāpatra on the other hand, expects that a king should not waste his time in fine arts, etc. Similarly, the religion which is endorsed by the Ajñāpatra is rather of higher sort. So although there are some similarities between the Ajñāpatra and Sanskrit texts on polity, the differences are more and basic ones. the Ājñāpatra is very unique, unparalleled, original, distinct from the tradition and even the greatest among all the ancient Indian political texts.
3)
References : 1) All the references to the Ajñāpatra in this paper are to pages and lines from
S. N. Banhatti's edition entitled Ajñāpatra arthät Sivajit Rajanīti, NagpurPune-1961. Sivajici Rõjaniti, Lhule, 1941. Cf; Kautilya's Arthāśāstra 6. 11 : svâmyamat yajanapadadurgako sadandamitrani prakyta yah; cp. also Kāmandakiyanitisára 4.1: svämyamatyasca rāşıram ca durgam koso balam suhrt/ parasparo pakāridam saptāngai rajyamuc yate 1l: Manusmộti 9.24 : svāmyamət yau puram rāṣpram kośadandau sihyttathā/ sapta prakytayo hyetāḥ sa. prängam rājyamucyate // Mahābhārata 12.69. 62-63; rajñā saptaiva rak syāni tâni capi nibodha mel atmāmātyasca kośasca dando mitrāņi caiva hi /62|| tathā janapadascaiva puram ca kurunanduna letat saptatmikas rājyan paripalyan prayatnataḥ 1/6311 See my “Primitive in Kautilya's Arthaśāstra", Sambodhi 3.4 (Jan. 1975) p. 89100; "Śivatattvaratnākara : eka dharmakośa" Navabharata, April, 1974, p. 51-79 and may 1974; p. 41-80; "Akasabhairavakalpātila Samrajyalakşmi Pathika." Bharata Itihāsa Samsodhaka Mandala, Trimāsika, year 54, Khanda 17,3-4, p. 48-53.

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SOME SPECIAL ASPECTS OF JAIN PHILOSOPHY AS A
SCHOOL OF INDIAN PHILOSOPHY
Arvind Sharma
As a school of Indian philosophy, Jain philosophy exbibits several striking features which distinguish it out from other schools thought. Some of these, such as its materialistic notion of Karma, its concept of tiine and space 3 its doctrine of epistemological relativity and its emphasis on Ahiṁsā5 and nudity are fairly well-known. The purpose of this note is to draw attention to what appear to be somewhat less known unique aspects of Jain thought, to which leading scholars have drawn attention.
II
(1) According to Prof. M. Hiriyanna it is in its conception of Jiva that Jainism displays some distinct apsects.
One of the curious features of Jainism is the belief in the variable size of the Jiva in its empirical condition. It is capable of expansion and contraction according to the dimensions of the physical body with which it is associated for the time being.
In this respect it resembles a lamp, it is said, which though remaining the same illumines the whole of the space enclosed in a small or big room in which it happens to be placed. It means that like its other features, the Jiva's non-spatial character also is affected by association with matter. The Jaina thus denies the unalterable nature of the Jiva which is commonly recognized by Indian thinkers.
The Jiva's relation to matter explains also the sonewhat peculiar Jaina view of knowledge. Knowledge is not something that characterizes the Jīva. It constitutes its very essence. The Jiva can therefore know unaided everything directly and exactly as it is; only there should be no impediment in its way. External conditions, such as the organ of sight and the presence of light, are useful only indirectly and jñāna results automatically when the obstacles are removed through their aid. That the knowledge which a Jiva actually has is fragmentary, is due to the obscuration caused by karma which interferes with its power of perception. As some schools assume a principale of avidyā to explain empirical thought, the Jains invoke the help of karma to do so.?

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Some Special Aspects of Jain Philosophy
(2) According to S. Gopalan it is the Jain doctrine of Kevalajñgoa which is unique to Jainism. “It is unique because in all other schools of Indian philosophy the sense organs and the mind are not considered as obstructions in the sense in which Jainism holds them to be obstacles for perfect perception's, so that “The Kevala--Jñana concept, from the point of view of Indian epistemology stands unique in that it is referred to as the consummation of all knowledge through the progressive removal of the obstructions caused by the sense organs and the mind"..
(3) Prof. P. T. Raju, among other things, draws attention to a distinct feature of Jain metaphysics when he writes:
The Jaina philosophy, it has already been said, is realistic and pluralistic. There is a plurality of objects and Jivas (åtmans) and all of them are real, and the objects of our knowledge also are real, but are not mere ideas. But the Jaina metaphysics is a metaphysics of substance. Everything, including action, is a substance. One may find the idea of action being a substance to be very strange, but it is found in the modern theory that the stuff of the universe is only process. The Jainas conceive any existence as a substance. Action exists and is, therefore, a substance. 10
(4) Satischandra Chatterjee and Dhirendramohan Datta draw attention to an aspect of the view of causation which seems to belong distinctly to the Jains.
Regarding all the four substances--space, time, dharma and adharma -- it should be noted that as causal conditions they all have a peculiar status. The causal conditions (kāraṇas) may be distinguished into three chief kinds, agent (as potter is of the pot), instrument (as the potter's wheel is of the pot) and material (as clay is of the pot). Space, time, etc., come under the category of instrumental conditions, but they should be distinguished from ordinary conditions of that kind, being more indirect and passive than ordinary instrumental conditions. Gunaratna gives them, therefore, a special name, apeksakārāņa. The stone on which the potter's wheel rests may be cited as a condition of this kind in relation to the pot. Space, time, etc., are similar conditions. 11
of one
(5) According to A. L. Basham, it is in the classification sensed beings, who possess only the sense of touch that
the Jain classification shows its most original feature. This great class is in turn divided into five sub-classes: vegetable bodies, which may

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Arvind Sharma
be simple, as a tree, containing only one soul, or complex, as a turnip. which contains countless souls; earth-bodies, which include earth itself and all things derived from the earth, such as stones, clay, minerals and jewels; water--bodies, found in all forms of water in rivers, ponds, seas, and rain; fire-bodies, in all lights and flames, including lightning; and windbodies, in all sorts of gases and winds.12
(6) According to Hermann Jacobi, "That plants possess souls is an opinion shared by other Indian philosophers".
But the Jains have developed this theory in a remarkable way. Plants in which only one soul is embodied are always gross; they exist in the habitable part of the world only. But those plants of which each is a colony of plant-lives may also be subtle, i. e. invisible, and in that case they are distributed all over the world. These subtle plants are called nigoda; they are composed of an infinite number of souls forming a very small cluster, have respiration and nutrition in common, and experience the most exquisite pains. Innumerable nigodas form a globule, and with them, the whole space of the world is closely packed, like a box filled with powder. The nigodas furnish the supply of souls in place of those who have reached nirvana. But an infinitesimally small fraction of one single nigoda has sufficed to replace the vacancy caused in the world by the nirvana of all the souls that have been liberated from the beginningless past down to the present. Thus it is evident that the samsära will never be empty of living beings. 13
(7) Ninian Smart seems to detect in the Jain doctrine that the nigoda is not subject to Karma, a distinct feature of Jain thought He writes:
Even lower than these are infinite number of animalcules, which do not individually possess organs, but cluster together to share in processes of respiration and nutrition. The law of karma and circulation of life-monads through successive bodies, through process of rebirth, are features of existence of living beings above level of animalcules. Infrequently, life-monads achieve liberation and are taken out of circulation; but from time to time some animalcules 'rise' and enter karmic circulation. This, then, is the back-cloth, teeming with life, against which quest for liberation is undertaken.14
111
The above survey reveals that a different unique aspect of Jain thought is identified by different scholars once they get past its major distinguishing features as a school of Indian thought. This seems to suggest that

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Some Special Aspects of Jain Philosophy
the unique significance of Jain thought in the context of Indian philosophy has not yet been fully realized.
95
NOTES
1 See Kalidas Bhattacharyya, ed, The Cultural Heritage of India Vol I (Calcutta: The Ramakrishna Mission Institute of Culture, 1958). p. 542 ff.
2 P.T. Raju, The Philosophical Traditions of India (University of Pittsburgh Press 1972) p. 102.
3 Ibid.
4 A.L. Basham, The Wonder That was India (Fontana Collins, 1975) p.504; S.N. Dasgupta, A History of Indian Philosophy Vol. I Cambridge University Press, 1957) p. 175 ff.
5 R. C. Zaehner, ed The Concise Encyclopedia of Living Faiths (Boston: Beacon Press, 1967) p. 264.
6 R. C. Zaehner, ed., op. cit., p. 262.
7
M. Hiriyanna, Outlines of Indian Philosophy (London: George Allen & Unwin Ltd., 1932) p.158.
8 S. Gopalan, Outlines of Jainism (New York: Halsted Press, 1973) p. 72. 9 Ibid.
10 P. T. Raju, op cit., p.101
11 Satischandra Chatterjee and Dhirendramohan Datta, An Introduction to Indian Philosophy (University of Calcutta, 1968) pp. 99-100
12 Wm. Theodore de Bary, ed., Sources of Indian Tradition, Vol. 1 (New York: Columbia University Press, 1958) pp. 46-47
13 James Hastings, ed., The Encyclopedia of Religion and Ethics VII (New York: Charles Scribner's Sons p. 469.
14 S. G. F. Brandon, ed., A Dictionary of Comparative Religion (London: Weidenfeld & Nicolson, 1971) p. 367. This point, however, is by no means certain.

Page #98

A PARAMĀRA SCULPTURE IN THE BRITISH MUSEUM :
VĀGDEVĪ OR YAKSHĪ AMBIKĀ?
Kirit Muokodi*
Around the year 1880 the British Museum in London acquired one inscribed stone sculpture of a goddess that had probably been fou ruins of Dhar, ancient Dhārā, in Malwal (Fig. 1). The sculpture was described and identified by 0. C. Gangoly in a paper in which he also included K. N. Dikshit's reading of the four line inscription on the pedestal.' The writing, as indeed the image as a whole, is considerably damaged, still Dikshit could decipher parts of it: the name of a king Bhoja; a reference to his capital city; Samvat 1091 or 1034-35 A. D. as the date of the carving; and the name of the goddess Vāgdevi. Bhoja is, of course, the Paramāra king who ruled with Dhārā as his capital between circa 1005 and 1055 A. D. An ambitious king who fought numerous wars during his long reign, Bhoja is remembered more for his love of learning and his own scholarship; legend ascribes to him the authorship of eightyfour works on grammar, thetorics, architecture and other subjects, and the establishment in his capital of a college, the Sarasvatīsadana, wh. ere Bhoja himself presided over learned discussion3.
We can well imagine the joy of Dikshit and Gangoly at their exciting decipherment of the inscription; ever since the publication of the paper the British Museum sculpture has been considered as an image of Vāgdevi -Sarasvati --in fact, the very image installed in his college by Bhoja himself. Bhoja having been regarded in the Indian tradition as perhaps the example of a blend of king and scholar, the man of action who is at the same time the man of erudition, this stately sculpture has acquired a romantic aura that is all its own.
Later scholars have also tried to read the record on the image, but the full text has never been satisfactorily explained; the original assumptions that the word Vägdevī refers to this particular image, and that the goddess was installed by Bhoja, have nowhere been substantiated. If we are not carried away by the occurrence together of the names of Bhoja and Vāgdevī-Sarasvati in the inscription which is as yet only imperfectly understood, there is little in the iconography of the figure to support an identification with Sarasvati; on the contrary, even in the present mutilated * The author is on the staff of the project for Indian Cultural Studies founded by
FRANCO-INDIAN PHARMACEUTICALS PRIVATE LIMITED, BOMBAY,

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A Paramāra Sculpture in the British Museum
97:
condition of the figure, every surviving feature reveals that the sculpture. represents the Jaina goddess Ambikā, the Yakshī or Śāsanadevată of the twenty-second Tirthankra Neminātha. In this paper I shall first describe the principal sculpture and the companion figures and discuss the newly. proposed identification with Ambikā ; after this a fresh interpretation, of the pedestal inscription which corroborates the identification, will be suggested.
The sculpture is of grey stone and measures 1.297 x 507 m (463" x 1'87"). The goddess, standing in abhanga against a plain background, had four arms, but three of them are broken and their attributes destroyed. The back right hand, the only one preserved, holds an ankuša or elephant goad as inay be seen in the detail photograph published here (Fig. 2 ). The lower half of its shaft is broken, a trace of its bottom end being preserved against the elbow, but the upper part is intact and carries three ornamental muldings. In contrast to the ample proportions of the shaft itself, the hook of the goad is rather slender. The left rear arm of the goddess as well as the attribute of the hand are also destro we can discern the manneristic bend of the fingers gripping the stem or tip of some object. The hair of the goddess is coiled in a large bun over her right shoulder and over this she wears a karanda crown; she wears the usual adornments, and a fine lower garment (charaņikā) reaching down to her ankles.
The base of the sculpture has two offsets corresponding to the Pancharatha type of pedestal. Four figures flank the goddess, she herself towering over their small-proportioned forms. On her left (Fig. 3) is her mount, a capering lion. A plump boy rides animal, supporting a large mango fruit on the palm of his left hand while he holds up his right arm in adoration, He has a round face and has close-cropped hair and wears some ornaments.
On the right of the goddess are a child and a man (Fig. 4). This child is younger in age than the lion-rider; from his bonny frame and short stature we may judge that he is a mere toddler. His hair is short and curly, he wears adornments that are similar to his brother's, and a loincloth.5 On the palm of his right hand he supports a large and nearly round fruit with 2 pointed tip; perhaps this is not another mango but a matulunga or bijapuraka : however, it has a smooth skin. The left arm was probably held up in adoration but is broken.
Behind this child stands a full grown man, his position in the back' ground, on the innermost step of the pedestal, suggesting that he has only a secondary role in the story. He has a beard; he wears a karanda crown and other ornaments including a chhannavīra. His right hand rests along

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Kirit Mankodi
the side of his body while the left holds one end of a damaged rod, the other end resting against the waist. In the top left corner of the stele a flying celestial approaches the goddess with a garland, his counterpart in the opposite corner being totally obliterated.
Every single feature of the sculpture corresponds to the Jaina yakshi Ambika as known from carvings from all over the country. Her iconography may be described in brief: When two-armed, she usually holds a bunch of mangoes in her right hand and supports her younger child on her waist if she is standing and on her lap if seated.7 Or both the boys may stand on either side of their mother while she lovingly places her hand over the head of one.8
Ambika may also have four arms; such images, in which Ambika is conceived of as a goddess rather than as a yakshī or śāsanadevatā, begin to occur from the tenth-eleventh century, and are relatively fewer. In this form the two additional hands may hold a goad and a noose, or the mango bunch is repeated in both these extra hands."
The lion is Ambika's mount; in sculptures he either serves as her seat or occurs by the side of the standing goddess. In the latter case, the older child often straddling the frollicking lion as in our own sculpture, while the smaller child reaches up to snatch a mango.10
In addition to the above, a bough of a mango tree nearly always forms a canopy over her figure. the whole composition being crowned by the Tirthankara Neminatha, the patron Jina of the yakshi.
An image of Ambika, then, is recognisable by a mango bunch, a citron, a goad and a noose in her hands, mango branches crowning her head, a toddler child and an older boy gamboling with a lion. It should not, therefore, be too difficult to recognise Ambika in the British Museum sculpture even though three of her arms are broken. True, the mango boughs and the surmounting Tirthankara are absent, but we can cite a few other images of Ambika where one or both of them are similarly lacking; for example a stone sculpture of the sixth century from Shahabad district in Bihar and some bronzes of Akota11 are without the foliage. The same sculpture from Shahabad, another from Hinglajgarh in Madhya Pradesh, and an eastern Indian bronze in the National Museum are devoid of the Tirthankara figure. 12
As to the current identification with Sarasvati, a comparison with some genuine images of Sarasvati, both Brahmanical and Jaina, from central and western India, fails to bear it out.13 The objects in the hands

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A Paramāra Sculpture in the British Museum
99
of Sarasvati are evocative of ascetic virtue, spiritual learning, music, the chanting of hymns, immortality. A prominent type of the Brahmanical Sarasvati's image, based on a brief description in the Agnipuräna 50.16, has a vīņā, a rosary and a manuscript, the vīņā occupying two hands.14 A variant type adds a fourth attribute, either a kamandalu-pitcher (Vishnudharmottarapurāņa III. 64.2-suggestive of the original riverine being of the goddess) or a nectar jar (Säradātilaka, VIIIth Patala: Bhattasali, table at p. 189). But in neither of these forms does the elephant goad occur. The Jaina conception of Sarasvati is similar to the Brahmanical, the objects in her hands being a rosary, lotus, manuscript and jar (as may be seen in the two identical images from Pallu 15), but here too the goad is absent.
Two features of our sculpture might appear to support the current identification with Sarasvati, namely the goad and the lion mount. The goad indeed is given to Sarasvati in Deccani and south Indian images 16 (perhaps under the influence of Ganesa's iconography). But nowhere in northern India does the goad figure in Sara vati's images, and therefore our sculpture which follows the Mālava style cannot be considered as being of Sarasvati.
The mount of Sarasvati is the goose (hamsa) ; in south India and the Deccan it is sometimes the peacock and in Bengal the ram 17. Haridas Bhattacharyya first suggested that the lion can also be the mount of Sarasvati, and his suggestion has been dutifully repeated by all later scholars who wrote on this goddess of learning. True that author cited texts in which Sarasvati, there synonymous with Durgā, is Śiva's Śakti; her.characteristics are a snow-white complexion, three eyes, the crescent moon, tiger skin garment, serpent ornaments, a trident in her hand and a lion mount ( Bhattacharyya, p. 49 ). But the British Museum image has nothing in common with this synthetic form which has so many attributes of Durgā. Again, Bhattacharyya's assertion loses all its force when we look up the only sculpture cited by him as evidence, namely an early image in the Mathura Museum, for the goddess there has no mount at all, but sits directly on a plain pedestal18. We must, therefore, give up the belief that the lion can occur as the mount of Vāgdevi-Sarasvati, and the sculpture in London cannot on this account be identified with the goddess of learning.
It has already been suggested above that the current identification of our sculpture is based solely on the wrong premise that the word Vägdevi in the epigraph refers to the present sculpture itself. We have also conside red and (hopefully ) disproved the arguments that might be raised, a posteriori, in its favour. On making a fresh study of the inscription, we are

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Kirit Mankodi
pleasantly surprised that it corroborates our own conclusion that the image represents the Jaina yakshi Ambikā, as we shall presently see.
The inscription (Fig. 5) is engraved on the central offset of the pedestal and consists of four lines; it contains one verse in the śārdūlavikridita metre followed by a line in prose giving the name of the sculptor etc. and the date Saṁvat 1091 corresponding to 1034-35 A. D. An oblique fissure in the stone has destroyed one or more characters in the first three lines and bas divided the record into two unequal parts, the writing on the left of the fissure being relatively better preserved compared to that on the right. Perhaps this part of the pedestal had been more exposed to weathering.
Several enthusiastic students of Malwa's art and culture have tried to decipher the inscription since its first publication in Rupam, It has not so far been properly edited in Epigraphia Indica or any other special journal on inscriptions along with the rubbing19. An attempt was made by the present writer with the help of a photograph supplied by the British museum, and the key phrase Jinānāmtrayīmambus "the triad of the Jina's (and) Ambā” (in the accusative ) in the fourth foot of the verse, as well as the correct forms of the names of the sculptor and his father in che prose passage, could be detected. Still, the entire second foot and the rest of the fourth foot (both occuring on the right of the cleft in the stone, the part that has greatly suffered weathering ) proved to be elusive. A request was made to Prof. H. C. Bhayani of Ahmedabad for help; the following reading is Prof. Bhayani's, and is presented here with his gracious consent;
(a) Original text
1. 1. Om // Śrimadbhojanarendrachandranagarividyādharîmmandhiḥ yo sā
tâma-resaśāsitapure prasthāpatā 1. 2. yām psarāḥ vāgdevi prathamam vidhāya jananim paśchä(?)jjinānāṁ
trayimambām (n)i-phalā(?)dhikām vararu(?)chimmürttim(?)subhāṁ ni1. 3. rmmame iti subham // Sutradhāramahirasutamnanathalena ghatitam //
vi-tika sivadevena likhitamiti // 1. 4. Samvat 10091.
(b) Corrected and metrically arranged text Om | Śrimadbhojanarendrachandranagarimvidyādharim man[da]dhiryoʻsau tāma(ma)rešaśāsitapure prasthāpitā yā'psarāḥ | Vāgdevīí prathamam vidhāya jananīm paśchājjinānām trayimambām (nitya)phalādhikām vararuchim mürtim śubhāṁ nirmamell

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A Paramāra Sculpture in the British Museum
(c) Translation
Om! Having first fashioned the Vidyadhari of the city of the illustrious and shining Emperor Bhoja, ( as also ) Mother Sarasvati which was installed in the city ruled by Amareśa (that is, Amaresvara ), he who is of humble talent (that is, Manathala) fashioned thereafter the triad of the Jinas (and) the auspicious image of Amba that has great brilliance and bestows fortunes evermore. Blessings. Fashioned by Manathala, son of the sculptor Mahira, and inscribed by the scribe (?) Śivadeva in Samvat
1091.
The inscription has still not been finally deciphered (and will perhaps never be, as some characters have been obliterated because of the fissure); some phrases, such as amareśaśāsitapura and nityaphaladhikā have an element of conjecture; the grammar seems to be faulty (while the other divinities are in the accusative, the phrase yapsaraḥ is in the nominative ).
101
It is nonetheless clear that Bhayani's reading is a great improvement over all the previous interpretations: -mmandhiḥ of the original makes no sense, but mandadhiḥ of little talent ", as emended, qualifies the sculptor (Manathala) who thus speaks of himself in humble terms. The second foot of the verse, which has been the most intractable so far, has for the first time been read; amareśaśāsitapura "the city ruled by Amaresa", if this emendation is accepted, is without doubt the present-day Onkar Mandhata in East Nimar district of Madhya Pradesh, one of the twelve jyotirlingas, which is mentioned in several other Paramara records besides our own, and which still preserves an eleventh century temple of Amareśvara20. The third charana mentions a trayī, or trivirthi as it is commonly known to us, a group of three Tirthankaras, which was fashioned along with the present image of Amba by the same sculptor, after (paschat) he had made the image of the vidyadhari, (apsaras) and VāgdeviSarasvati. The proposed reading of the text thus gives a connected account of the record; it explains the mention both of Brahmanical and Jaina deities; it shows beyond doubt that the king Bhoja is only mentioned in the verse as the ruling king and not as the donor; but, above all, it authenticates the identification of the goddess with the Jaina yakshi Ambika.
Though Bhoja like the other kings of his line was a Saiva, still he patronised many Jaina monks and scholars, and we may conclude this paper by naming a few of the more prominent. Nayanandi wrote the poem Sudarsanachurita while residing in the Jinavara-vihara at Dhara under Bhoja's patronage. The puranasara was composed by Śrichandra under the

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patronage of the same king who also honoured another acharya Prabhachandra, and it was his curiosity that led Dhanapăla to write the Tilakamaħjari.
Foot-Notes
1 It is believed that the sculpture was found in the Bhojaśālā also known as the
Kamal Maula mosque. However, I cannot cite any authority on this or on the exact date when it reached the British Museum. Mr. Wladimir Zwall, Keeper of the Indian and Oriental Antiquities of the museuin writes in a personal letter : "there is no certain information about the source of this sculpture. While it is believed that it may have entered the British Museum collection from the India Museum in 1880 this is not documented..." I am grateful to Mr. Zwalf for this information; the photographs published here were supplied by
the British Museum for which I must record my thanks 2 Rupam No. 17 (January 1942), pp. 1-2. 3 The Sarasvatikanthabharana, the Syngāraprakāša, the Syrigāramanjari-katha..
the Samarānganasūtradhāra are among the more important works credited to this king. The college (figuratively speaking the temple of Sarasvati ) is also referred to as the Śāradāsadma and Bhāratibhavana : S. K. Dikshit, ed; Pārijātamanjarz alias Vijayasri by Madana ( Bhopal 1963). p. 2. It was desecrated by
Muhammad Shah Khalji of Malwa in 1457 A.D, 4 The plump features of this adolescent boy led Gangoly to think that it was a
female figure, namey the goddess Pārvati on her lion, a belief that has never
been questioned. 5 Gangoly suggested it was the donor; others seem to think that it is an ascetic
figure. 6 It is impossible to idenitfy this person. It is tempting to think that it represents
the sculptor- süfradhara with his measuring rod but then the crown would not be accounted for. For the same reason it cannot be the Jaina monk who, acco. rding to legend, visited Ambika for alms. (In brief the legend relates that Ambikā was originally the wife of a Brāhmaṇa who offered to a wandering Jaina monk the food meant for a śrāddha, was driven out of her house, died by jumping into a well, and was reborn as a yakshi.) We can only point out that similar bearded and worshipful figures occur also in other panels : in cave 33 Jagannathasabhã at Ellora (A. Ghosh, ed., Jaina Art and Architecture I, New Delhi 1974, PI, 122) and an unpublished sculpture, No. 0034 from Karitalai in
Jabalpur district preserved in the Raipur Museumn. 7 Ghosh, ed., Jaina Art and Architecture III ( New Delhi 1975), Pls, 318, 343 and
Pls. 324, 344. 8 The smaller boy is Priyakara and bis brother is Subhamkara. Such an image
is illustrated in U. P. Shah, Jaina Bronzes - A Brief Survey, in U.P. Shah and M.
A. Dhaky, ed. Aspects of Jaina Art und Architecture (Ahmedabad 1975), Pl. 68., 9 For a goad and noose : Rūpamandana VI. 19 (U. M. Sankhyatirtha, ed. Devat
mürtiprakarana and Rupamandana. U.P. Shah,' 'Iconography of the Jaina Goddess Ambikā", Journal of the University of Bombay (N. S.) IX/2 (September 1940), pp. 158-159, cites Trishashi'salakāpurushacharita VIII.9 which gives a similar

Page #105

મને જે રીતે મારી બીમારી ના કરમાયત
(હોઈ નતે મ િ નીયોગી વર (પારને
કે
Fig. 5
(
ર
)
-
પ.
Fig. 2
ન
કરી શકે છે કે
Fig. 1

Page #106

Fig. 4
देवगढ के मंदिर ११ के मानस्तंम की रोहिणीमूर्ति ( १०५९ ई . ) देखिये पृष्ठ २४

Page #107

A Paramāra Sculpture in the British Museum
description. His fig. 22 illustrates an image of 1477 A.D, which follows this
account.
10 Shah, "Jaina Bronzes", Pls 67, 68.
11 P. Pal, The Sensuous Immortals (Los Angeles, N.d.) Pl. 20; U P. Shah. Akota Bronzes (Bombay 1959), Pls. 14, 48b etc
12 The sculpture from Hinglajgarh has not been published; for the bronze in the National Museum see Ghosh, III. Pl. 343 B.
13 Scholarly opinion, however, has always assumed that the British Museum sculpture represents the Brahmanical Sarasvati.
14. Guide to the Archaeological Museum in Gwalior ( Gwalior, N.d. ), Pl. XII b; two unpublished sculptures from Hinglajagarh in the Indore Museum: N.K. Bhattasali, Iconography of Buddhist and Brahmanical Sculptures in the Dacca Museum (reprinted New Delhi 1972), Pl. LXIII.
15 One of the two Pallu sculptures is published in Gosh, III, Pl. 337.
16 For instance T.A. Gopinath Rao, Elements of Hindu Iconography 1/2 (reprinted Delhi 1968), Pl. CXV from Bagali in Karnataka.
103
17 Haridas Bhattacharyya, "Sarasvati the Goddess of learning", in Commemorative
Essays Presented to Professor K. B. Pathak (Poona 1934), p. 50.
18 Vincent Smith, The Jaina Stupa and other Antiquities of Mathura (reprinted Varanasi 1969), Pl. XCIX.
19 A. C. Mittal, The Inscriptions of Imperial Paramāras (Ahmedabad. 1979), pp. 69-70, lists these attempts, to which add Dikshit, p. xiv, fn. 1.
20 Mittal, Index s. v. for inscriptional references.
LIST OF FIGURES
So-called Vagdevī ( properly, yakshi Ambikā) in the British Museum. V. S. 1091 or 1034-35 A, D.
2. Detail showing the elephant goad in Ambika's hand.
3. Detail of the figures on Ambika's left. 4. Detail of the figures on Ambika's right. 5. The pedestal inscription.
1.

Page #108

Statement about ownership and other particulars about Sambodhi, the Quarterly Journal of L. D. Institute of Indology, Ahmedabad, to be published in the first issue every year after the last day of march,
Form IV (See Rule 8 )
1. Place of Publication 2. Periodicity of its Publication 3. Pripter's Name
Nationaltiy Address
4. Publisher's Name
Nationality Address
Ahmedabad Quarterly. Swami Shri Tribhuvandasji Shastri Indian. Shri Ramanand Printing Press, Kakaria Road, Ahmedabad-22. Nagin J. Shah. Indian. Director, L. D. Institute of Indology, Ahmedabad-9. (1) Dalsukh Malvania (2) Dr. H. C. Bhayani (3) Nagin J. Shah Indian. L. D. Institute of Indology, Ahmedabad-9.
5. Editors' Names
Nationality Address
L. D. Institute of Iodology, Abmedabad-9.
Names and Addresses of Individuals who own the newspaper and partners or shareholders holding more than one-percent of the total capital.
I. Nagin J. Shah, hereby declare that the particulars given above are true to the best of my knowledge and belief.
Signature of Publisher. Nagin J. Shah

Page #109

- जैन कर्म सिद्धान्तः बन्धन और मुक्ति की प्रक्रिया
सागरमल जैन कर्म सिद्धान्त का अर्थ :
वैज्ञानिक जगत में तथ्यों और घटनाओं की व्याख्या के लिए जो स्थान कार्य-कारण. सिद्धान्त का है आध्यात्मिक जगत में वही स्थान 'कर्म सिद्धान्त' का है । कर्म सिद्धान्त का आशय यही है के आध्यात्मिक और नैतिक जगत में भी भौतिक जगत की ही भाँति पर्याप्त कारण के बिना कुछ भी घटित नहीं हो सकता । फिर भी हमें यह स्मरण रखना चाहिए कि कर्म सिद्धान्त का एक दोहरा अर्थ है, एक और वह हमारे वर्तमान व्यक्तित्व एवं वर्तमान जीवन के सुख-दुःख की व्याख्या हमारे भूत कालीन व्यक्तित्व एवं जीवन शैली के आधार पर करता है और हमारे वर्तमान के लिए हमें स्वयं हो उत्तरदायी बनाकर प्रतिवेशो और ईश्वर के प्रति कटुता का निवारण करता है, तो दूसरी वह हमें सचेत करता है कि हमारी वर्तमान जीवन शैली ही हमारे भावो व्यक्तित्व की निर्माता है । एक और वह वर्तमान को भूत के प्रकाश में समझने का प्रयास है तो दूसरी और वह वर्तनान के द्वारा 'भावा' की रचना या निर्मिति का व्याख्या कार भी । इस प्रकार कर्म सिद्धान्त एक व्यापक अर्थ में व्यक्ति के बन्धन से मुक्ति तक की समस्त प्रक्रिया को व्याख्या प्रस्तुत करता है। उपकी आधारभूत मान्यता यह है कि व्यक्ति ही अपने व्यक्तित्व का निर्माता है । हम जो कुछ हैं और हमें जो कुछ होना है, उसके मूल कारण हम ही हैं । कर्म सिद्धान्त की कुछ मौलिक एवं आधारभूत मान्यताएँ निम्न हैं--- कर्म सिद्धान्त की आधार भूत मान्यताएँ :
(अ) व्यक्ति का वर्तमान व व्यक्तित्व उसके पूर्ववर्ती व्यक्तित्व (चरित्र) का परिणाम है और यही वर्तमान व्यक्तित्व (चरित्र) उसके भावी व्यक्तित्व का निर्माता है,
(ब) नैतिक दृष्टि से जिस व्यक्ति ने क्रियाएँ की है वही उनके परिणामों का भोक्ता भी है । यदि वह उन सब परिणामों को इस जीवन में नहीं भोग पाता है, तो वह उन परि. णामों को भोगने के लिए भावी जन्म ग्रहण करता है । इस प्रकार कर्म सिद्धान्त से पुनर्जन्म का सिद्धान्त भी फलित होता है ।
(स) साथ ही इन परिणामों के भोग के लिए इस शरीर को छोड़ने के पश्चात् दूसरा शरीर ग्रहण करने वाला कोई स्थायी तत्व भी होना चाहिए । इस प्रकार नैतिक कृत्यों के अनिवार्य फल भोग के साथ आत्मा की अमरता का सिद्धान्त जुड़ जाता है। यदि कर्म सिद्धान्त की मान्यता के साथ आत्मा की अमरता स्वीकार नहीं की जाती है तो जन विचारकों की दृष्टि में कृत प्रणाश और अकृत भोग के दोष उपस्थित होते हैं। उनकी दृष्टि में आत्मा की अमरता या नित्यता की धारणा के अभाव में कर्म सिद्धान्त काफी निर्बल पड़ जाता है। इस प्रकार आत्मा की अमरता की धारणा कर्म सिद्धान्त की अनिवार्य फलश्रुति है ।
(द) कर्म सिद्धान्त यह मानकर चलता है कि आचार के क्षेत्र में शुभ और अशुभ ऐसी दो प्रकार की प्रवृत्तियाँ होती है । साथ ही शुभ प्रवृत्ति का प्रतिफल शुभ और अशुभ प्रवृत्ति का प्रतिफल अशुभ होता है।

Page #110

२ जैन कर्म सिद्धान्त : बन्धन और मुक्ति की प्रक्रिया
(इ) कर्म सिद्धान्त चेतन आत्म तत्त्व को प्रभावित करने वाली प्रत्येक घटना एवं अनुभूति के कारण की खोज बाह्य जगत में नहीं करता वरन् आन्तरिक जगत में करता है । वह स्वयं चेतन सत्ता में ही उनके कारण को खोजने की कोशिश करता है । जैन दर्शन में 'कर्म' शब्द का अर्थ :
सामान्यतया क्रिया को कर्म कहा जाता है, क्रियाएँ तीन प्रकार की मानी गई हैं । १-शारीरिक, २-मानसिक, और ३-वाचकः शास्त्रीय भाषा में इन्हें योग कहा गया है । लेकिन जैन परम्परा में कर्म का यह क्रिया परक अर्थ कर्म शब्द की एक आंशिक व्याख्या ही प्रस्तुत करता है । उसमें क्रिया के हेतु पर भी विचार किया गया है । आचार्य देवेन्द्र सूरि कर्म की परिभाषा प्रस्तुत करते हुए लिखते हैं जीव की क्रिया का जो हेतु है, वह कर्म है'। पं. सुखलाल जी कहते हैं मिथ्यात्व कषाय आदि कारणों से जीव के द्वारा जो किया जाता है वही कर्म कहलाता है । इस प्रकार वे कर्म के हेतु और क्रिया दोनों को ह कर्म के अन्तर्गत ले जाते हैं । जैन परम्परा में कर्म के दो पक्ष हैं (१) रागद्वेष, कंघाय आदि मनोभाव और (२) कर्म पुद्गल । कर्म पुद्गल क्रिया का हेतु है और रागद्वेषादि क्रिया है । कर्म पुद्गल से तात्पर्य उन जड़ परमाणुओं से है, जो प्राणी की किसी क्रिया के कारण आत्मा की ओर आकर्षित होकर उससे अपना सम्बन्ध स्थापित करते हैं और समय विशेष के परिपक्व होने पर अपने फल (विपाक) के रूप में विशेष प्रकार की अनुभूतियाँ उत्पन्न कर अलग हो जाते हैं, इन्हें द्रव्य-कर्म कहते हैं । संक्षेप में जैन विचारणा में कर्म मे तात्पर्य आत्म-शक्ति को प्रभावित और कुण्ठित करने वाले तत्त्व से है ।
सभी आस्तिक दर्शनों ने एक ऐसी सत्ता को स्वीकार किया है जो आत्म तत्त्व या चेतना की शुद्धता को प्रभावित करती है । जैन दर्शन उसे कर्म कहता है । वही सत्ता वेदान्त में माया या अविद्या, सांख्य में प्रकृति, न्याय दर्शन में अदृष्ट और मीमांसा में अपूर्व के नाम से अभिहित की गई है । बौद्ध दर्शन में वही कर्म के साथ साथ अविद्या, संस्कार और वासना के नाम से भी जानी जाती है । न्याय दर्शन में अदृष्ट और संस्कार तथा वैशेषिक दर्शन में धर्माधर्म भी जैन दर्शन के कर्म के समानार्थक रूप में प्रयुक्त हुए हैं। सांख्य दर्शन में प्रकृति (त्रिगुणात्मकसत्ता) और योग दर्शन में आशय शब्द भी इसी अर्थ को अभिव्यक्त करते हैं । शैव दर्शन का 'पाश' शब्द भी जैन दर्शन के कर्म का समानार्थक है । यद्यपि उपरोक्त शब्द कर्म के पर्यायवाचो कहे जा सकते हैं फिर भी प्रत्येक शब्द अपने गहन विश्लेषण में एक दूसरे से पृथक अर्थ की अभिव्यंजना भी करता है । फिर भी सभी विचारणाओं में एक समानता है और वह यह कि सभी कर्म संस्कार को आत्मा के बन्धन या दुःख के कारण के रूप में स्वीकार करते हैं । जैन विचारणा दो प्रकार के कारण मानती हैं-१- निमित्त कारण और २. उपादान कारण । कर्म सिद्धान्त में कर्म के निमित्त कारण के रूप में कर्म वर्गणा तथा उपादान कारण के रूप में आत्मा को स्वीकार किया गया है । कर्म का भौतिक स्वरूप :
जैन दर्शन में बन्धन और मुक्ति की प्रक्रिया की व्याख्या चिना अजीब (जद) तत्व की विवेचना के सम्भव नहीं । आत्मा के बन्धन का कारण क्या ? जब यह प्रश्न जैन दार्शनिकों के समक्ष आया तो उन्होंने बताया कि आत्मा के बन्धन का कारण मात्र आत्मा नहीं है ।

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सागरमल जैन
पारमार्थिक दृष्टि से विचार किया जावे तो जिस प्रकार कुम्हार, चक्र आदि निमित्तों के बिना मिट्टी स्वतः घट का निर्माण नहीं कर सकती उसी प्रकार आत्मा (स्वत:) बिना किसी बाह्य निमित्त के कोई भी ऐसी क्रिया नहीं कर सकता जो उसके बन्धन का कारण हो । वस्तुतः sta आदि कषाय, राग, द्वेष एवं मोह आदि बन्धन कारक मनोवृत्तियाँ भी आत्मा में स्वतः उत्पन्न नहीं हो सकती जब तक कि वे कर्म वर्गणाओं के विपाक के रूप में चेतना के समक्ष उपस्थित नहीं होती । यदि मनोवैज्ञानिक की दृष्टि से कहा जावे तो जिस प्रकार शरीररसायनों और रक्तरसायनों के परिवर्तन हमारे संवेगों (मनोभावों) का कारण होते हैं और संवेगों के कारण हमारे रक्तरसायन और शरीररसायन में परिवर्तन होते हैं, दोनों परिवर्तन परस्पर सापेक्ष हैं, ठीक उसी प्रकार कर्म करने के लिए आत्म तव और जड़ तत्त्व परस्पर सापेक्ष है । जड़ वर्गणाओं के कारण मनोभाव उत्पन्न होते हैं और उन मनोभावों के कारण पुन: जब कर्म परमाणुओं का बन्ध होता है, जो अपनी विपाक अवस्था में पुनः मनोभावों ( कषायों ) का कारण बनते हैं, इस प्रकार मनोभावों (आत्मिक प्रवृत्ति) और जड़ कर्म परमाणुओं का पारस्परिक प्रभाविकता का क्रम चलता रहता है । जैसे वृक्ष और बीज में पारस्परिक सम्बन्ध है, इसी प्रकार आत्मा के बन्धन की दृष्टि से आत्मा की अशुद्ध मनोवृत्तियों ( कषाय एवं मोह) और कर्म परमाणुओं में पारस्परिक सम्बन्ध है । जड़ कर्म परमाणु और आत्मा में बन्धन की दृष्टि से क्रमशः निमित्त और उपादान का सम्बन्ध माना गया है । कर्म पुद्गल बन्धन का निमित्त कारण है और आत्मा उसका उपादान कारण है ।
जैन विचारक एकान्त रूप में न तो आत्मा को स्वतः ही बन्धन का कारण मानते हैं और न जड़ कर्म वर्गणाओं को अपितु यह मानते हैं कि जड़ कर्म वर्गणाओं के निमित से आत्मा बन्ध करता है ।
द्रव्य कर्म और भाव कर्म :
कर्म के द्रव्यात्मक और भावात्मक ऐसे दो पक्ष हैं । प्रत्येक कर्म संकल्प के हेतु के रूप में विचारक आत्मा ( उपादान कारण) और उस विचार का प्रेरक (निमित्त कारण) दोनों ही आवश्यक है । आत्मा के मानसिक विचार भाव कर्म है और ये मनोभाव जिस निमित्त से होते हैं या जो इनका प्रेरक है वह द्रव्य कर्म है। आचार्य नेमिचन्द्र गोम्मटसार में कर्म के चेतन अचेतन पक्षों की व्याख्या करते हुए लिखते हैं- 'पुद्गल पिण्ड द्रव्य कम और उसकी चेतना को प्रभावित करने वाली शक्ति भाव कर्म है ।' कर्म सिद्धान्त की समुचित व्याख्या के लिए यह आवश्यक है कि कर्म के आकार ( Form ) और विषयवस्तु (Matter) दोनों ही हो । जड़ कर्म परमाणु कर्म की विषय वस्तु है, और मनोभाव उसके आकार है । हमारे सुख दुःखादि अनुभवों अथवा शुभाशुभ कर्म संकल्पों के लिए कर्म परमाणु भौतिक कारण हैं. और मनोभाव चैतसिक कारण हैं । आत्मा में जो मिथ्यात्व (अज्ञान) और कषाय (अशुभचित्तवृत्ति) रूप राग, द्वेष आदि भाव है, वही भाव - कर्म है । भाव-कर्म आत्मा का वैभाविक परिणाम (दूषित वृत्ति ) है और आत्मा स्वयं ही उसका उपादान है । भाव-कर्म का भी आन्तरिक कारण आत्मा है जैसे घट का आन्तरिक ( उपादान कारण मट्टी है । द्रव्यकर्म सूक्ष्म कार्मण जाति के परमाणुओं का विकार है और आत्मा उनका निमित्त कारण है ।

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जैन कर्म सिद्धान्त : बन्धन और मुक्ति की प्रक्रिया
जैसे कुम्हार घड़े का निमित्त कारण है । आचार्य विद्यानन्दी ने अष्ट सहस्त्री में द्रव्य कर्म को 'आवरण' और भाव कर्म को 'दोष' के नाम से अभिहित किया है। चुकि द्रव्य कर्म आत्मशक्तियों के प्रकटन को रोकता है अतः वह 'आवरण' है और भाव कर्म स्वयं आत्मा की ही विभावावस्था है अतः वह 'दोष' है । जिस प्रकार जैन विचारणा में कर्म के आवरण और दोष दो कार्य होते हैं उसी प्रकार वेदान्त में माया के दो कार्य माने गये हैं आवरण और विक्षेप । आचार्य ने आवरण और दोष अथवा द्रव्य कर्म और भाव कर्म के मध्य अन्योन्य कार्य-कारण सम्बन्ध स्वीकार किया है। जैन कर्म सिद्धान्त में मनोविकारों के स्वरूप का निर्धारण कर्म परमाणुओं के स्वरूप के निर्धारण पर निर्भर होता है ओर कर्म परमाणुओं के स्वरूप का निर्धारण मनोविकारों के आधार पर होता है । इस प्रकार जैन विचारणा में कर्म के चेतन और अचेतन दोनों पक्षों को स्वीकार किया गया है जिसे वह अपनी पारिभाषिक शब्दावलि में द्रव्य-कर्म और भाव कर्म कहती है ।
जिस प्रकार किसी कार्य के लिए निमित्त और उपादान दोनों प्रकार के कारण आवश्यक है उसी प्रकार जैन कर्म सिद्धान्त के अनुसार आत्मा (जीव) के प्रत्येक कर्म संकल्प के लिए उपादान रूप में भाव कर्म (मनोविकार) और निमित्त रूप में द्रव्य कर्म (कर्म परमाणु) दोनों ही आवश्यक है । जड़ परमाणु कर्म का भौतिक या अचित पक्ष है और जड़ कर्म परमाणुओं से प्रभावित विकारयुक्त चेतना की अवस्था कर्म का चैतसिक पक्ष है । 'जैन विचारणा के अनुसार जीव की, जो शुभाशुभ रूप नैतिक प्रवृत्ति है, उसका मूल कारण तो मानसिक (भावकर्म) है लेकिन उन मानसिक वृत्तियों के लिए जिस बाह्य कारण की अपेक्षा है वह द्रव्य कर्म है । इसे हम व्यक्ति का परिवेश कह सकते हैं । मनोवृत्तियों किंवा भावों की उत्पत्ति स्वतः नहीं हो सकती है, उसका भी कारण अपेक्षित है। सभी भाव जिस निमित्त की अपेक्षा करते हैं वही द्रव्य कर्म है । इसी प्रकार जब तक आत्मा में कषायों (मनोविकार) किंवा भावकर्म की उपस्थिति नहीं हो तब तक कम परमाणु जीव के लिए कर्म रूप में (बन्धन के रूप में) परिणत नहीं हो सकता । इस प्रकार कर्म के दोनों पक्ष अपेक्षित है । द्रव्य कर्म और भाव कर्म का सम्बन्ध :
पंडित सुखलाल जी लिखते हैं भाव कर्म के होने में द्रव्य कर्म निमित्त है और द्रव्य कर्म में भाव कर्म निमित्त । उन दोनों का वापस में बाजाकुंर की तरह कार्य-कारण-भाव सम्बन्ध है । इस प्रकार जैन दर्शन में कर्म के चेतन पक्ष और जड़ पक्ष में बीजाकुंवत् पारस्परिक कार्यकारण सम्बन्ध माना गया है। जैसे बीज से वृक्ष और वृक्ष से बीज बनता है और उनमें किसी को भी पूर्वापर नहीं कहा जा सकता है, उसी प्रकार द्रव्य कर्म और भाष कर्म में भी किसी पूर्वापरता का निश्चय नहीं किया जा सकता है । यद्यपि प्रत्येक द्रव्यकर्म की अपेक्षा से उसका भावकर्म पूर्व होगा और प्रत्येक भावकर्म के लिए उसका द्रव्यकर्म पूर्व होगा । वस्तुतः इनमें संतति अपेक्षा से अनादि कार्य कारण भाव है । उपाध्याय अमा मुने जो भी लिखते हैं भाव कर्म के होने में पूर्व बद्ध द्रव्य कर्म निमित्त है और वर्तमान में वध्यमान द्रव्य कर्म में भाव कर्म निमित्त है । दोनों में निमित्त नैमित्तिक रूप कार्य-कारण सम्बन्ध है ।' बन्धन की प्रक्रिया : __ यहाँ पर यह प्रश्न भी स्वाभाविक रूप से उत्पन्न हो सकता है कि कर्मो के भौतिक पक्ष को क्यों स्वीकार करें १ बौद्ध विचारणा कर्म के चैतसिक पक्ष को ही स्वीकार करती है

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सागरमल जैन और यह मानती है कि बन्धन का कारण अविद्या, वासना, तृष्णादि चैतसिक तत्व ही है । डा. टाटिया इस सन्दर्भ में जैन विचारणा की समुचितता पर प्रकाश डालते हुए लिखते हैं 'यद्यपि यह तर्क दिया जा सकता है कि क्रोधादि कषाय, जो आत्मा के बन्धन की स्थितियां हैं, वे आत्मा के ही गुण है और इसलिए आत्मा के गुणों (चैतसिक दशाओं) को आत्मा
के बन्धन का कारण मानने में कोई कठिनाई नहीं आती है। लेकिन इस सम्बन्ध में जैन विचारकों का उत्तर यह होगा कि क्रोधादि कषाय अवस्थाऐं बन्ध की प्रकृतियां हैं, क्रोधादि आदि कषाय अवस्था में होना तो स्वतः हो आत्मा का बन्धन है वे बन्धन उगधि (निमित्तकारण) नहीं हो सकती । कषाय बन्धन का सृजन करती है लेकिन उनकी उपाधि (Condition) को तो अनिवार्यता उनसे भिन्न होना चाहिए । क्योंकि कषाय आत्मा के गुण हैं, इसलिए उनका कारक या उपाधि (निमित्त) आत्मा के गुणों से भिन्न होना चाहिए
ओर इस प्रकार कषाय और बन्धन की उपाधि या निमित्त कारण अनिवार्य रूप से भौतिक होना चाहिए। यदि बन्धन का कारण आन्तरिक ओर चैतसिक ही है और किसी बाह्य तत्त्व से प्रभावित नहीं होता तो फिर उससे मुक्ति का क्या अर्थ होता ? जैन विचारणा के अनुसार यदि बन्धन और बन्धन का कारण दोनों ही समान प्रकृति के हैं तो उपादान और निमित्त कारण का अन्तर ही समाप्त हो जायेगा। यदि कषाय आत्मा में स्वतः ह! उत्सन्न हो जाते हैं तो वे उसका स्वभाव ही होंगे और यदि वे आत्मा का स्वभाव है तो उन्हें छोड़ा नहीं जा सकेगा और यदि उन्हें छोड़ना सम्भव नहीं तो मुक्ति भी सम्भव नहीं होगा । दूसरे जो स्वभाव हैं, वह आन्तरिक एवं स्वतः है और यदि स्वभाव में स्वतः बिना किसी बाह्य निमित्त के ही विकार आ सकता है तो फिर बन्धन में आने को सम्भावना बनी रहेगी
और मुक्ति का कोई अर्थ ही नहीं रहेगा । यदि पानी में स्वतः ही ऊष्णता उत्पन्न हों जावे तो शीतलता उसका स्वभाव नहीं हो सकता । आत्मा में भी यदि मनोविकार स्वतः ही उत्पन्न हो सके तो वह निर्विकार नहीं रह सकता । जैन विचारणा यह मानती है कि उष्णता के संयोग से किस प्रकार पानी स्वगुण शीतलता को छोड़ विकारी हो जाता है वैसे ही आत्मा जड़ कर्म परमाणुओं के संयोग से ही विकारी बनता है। कषायादि भाव आत्मा की विभाव अवस्था के सूचक हैं, वे स्वतः ही विभाव के कारण नहीं हो सकते। विभाव स्वतः प्रसृत नहीं होता उसका कोई बाह्य निमित्त अवश्य होना चाहिए । जैो पानी को शीतलता की स्वभाव दशा से ऊष्णता को विभाव दशा में परिवर्तित होने के लिए स्वभाव से भिन्न अग्नि के बाह्य निमित्त का संयोग आवश्यक होता है उसी प्रकार आत्मा को ज्ञानदर्शनरूप . स्व स्वभाव का परित्याग कर कषाय रूप विभाव दशा को ग्रहण करने के लिए बाह्य निमित्त के रूप कर्म पुद्गलों का होना आवश्यक है । जैन विचारकों के अनुसार जड़ कर्म परमाणु और चेतन आत्मा के पारस्परिक सम्बन्ध के बिना. विभाव दशा या बन्धन कथमपि सम्भव नहीं होता। समग्र दृष्टिकोण की आवश्यकता :
कर्ममय नैतिक जीवन की समुचित व्यवस्था के लिए, बन्धन और मुक्ति के वास्तविक विश्लेषण के लिए, एमग्र दृष्टकोण की आवश्यकता है । एक समग्र दृष्टिकोण बन्धन और मुक्ति को न तो पूर्णतया जड़ प्रकृति पर आरोपित करता है और न उसे मात्र चैतसिक तत्त्वों

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जैन कर्म सिद्धान्त : बन्धन और मुक्ति की प्रक्रिया
पर आधारित करता है । यदि कर्म का अचेतन या जड़ पक्ष ही स्वीकार किया जाए तो कर्म आकारहीन विषय वस्तु होगा और यदि कर्म मात्र का चैतसिक पक्ष ही मात्र स्वीकार किया जावे तो कर्म विषय वस्तु विहीन आकार होगा । लेकिन विषयवस्तुविहीन आकार और कारविहीन विषयवस्तु दोनों ही वास्तविकता से दूर
है ।
जैन कर्म सिद्धान्त ने कर्म के भौतिक (जड़) एवं भावात्मक पक्ष पर समुचित जोर देकर जड़ और चेतन के मध्य एक वास्तविक सम्बन्ध बनाने का प्रयास किया है। डा० टांटिया लिखते हैं 'कर्म अपने पूर्ण विश्लेषण में जड़ और चेतन के मध्य योजक कड़ो है - यह चेतन और चेतन संयुक्त जड़ के पारस्परिक परिवर्तनों की सहयोगात्मकता को अभिव्यंजित करता है । .... सांख्य - योग के अनुसार कर्म पूर्णतः जड़ प्रकृति से सम्बन्धित है और इसलिए वह प्रकृति ही है जो बन्धन में आती है और मुक्त होती है । बौद्ध दर्शन के अनुसार कर्म पूर्णतया चेतना से सम्बन्धित है और इसलिए चेतना ही बन्धन में आती है और मुक्त होती है लेकिन जैन विचारक जगत के इस एकांगी दृष्टिकोण से सन्तुष्ट नहीं थे उनके अनुसार संसार का अर्थ है जड़ और चेतन का पारस्परिक बन्धन और मुक्ति का अर्थ है दोनों का अलग अलग हो जाना' ।"
इस प्रकार बन्धन का तात्पर्य है, आत्मा के वैकारिक. कषायादि भावों के कारण कर्मवर्गणा के पुद्गलों का कर्म रूप में परिणत होना और कर्मो के कारण आत्मा के कषाय- . भावों का उदय होना । जैन दर्शन के अनुसार बन्धन की प्रक्रिया यह है कि जब आत्मा में पूर्व द्ध कर्मों के उदय के कारण राग-द्वेष आदि कषाय भाव उत्पन्न होता है तो आत्मा के सान्निध्य में रहे हुए कर्म वर्गणा के परमाणु 'कर्म' रूप में परिणत हो 'बन्धन' करते हैं । जिस प्रकार चुम्बक के गुण से युक्त लोहा अपने आकर्षण शक्ति से निकट रहे हुए लौह तत्व से आबद्ध कर स्वयं उसे चुम्बक के गुण से युक्त बना देता है उसी प्रकार कर्म युक्त आत्मा के कर्म अपने उदयकाल में नवीन कर्म परमाणुओं को आकर्षित कर कर्म रूप में परिणत करते रहते हैं । यही बन्धन की प्रक्रिया का अनादि क्रम है । 'आत्मा के रागादि भाव से क्रियाएँ होती हैं, क्रियाओं से कर्म परमाणुओं का आसव ( आकर्षण) होता है और कर्मा से कर्मबन्ध होता है । यह बन्धन की प्रक्रिया कर्मो के स्वभाव (प्रकृति), मात्रा, कालमर्यादा और तीव्रता इन चारों बातों का निश्चय कर सम्पन्न होती है । "
( अ ) प्रकृति बन्ध - यह कर्म परमाणुओं की प्रकृति अर्थात् उसके द्वारा आत्मा की ज्ञानशक्ति, दर्शनशक्ति होगा, इस बात का निर्धारण प्रकृति बन्ध करता है ।
(स्वभाव) का निश्चय करता है, आदि किस शक्ति का आवरण
(ब) प्रदेश बन्ध - कर्म परमाणु आत्मा के किस विशेष भाग का आवरण करेंगे इसका निश्चय प्रदेश बन्ध करता है । यह मात्रात्मक होता है । दूसरे शब्दों में स्थिति और अनुभाग से निरपेक्ष कर्म दलिकों की संख्या की प्रधानता से कर्म परमाणुओं का ग्रहण प्रदेश बन्ध कहलाता है ।
(स) स्थिति बन्ध - कर्म परमाणु कितने समय तक सत्ता में फल देना प्रारम्भ करेगें इस काल मर्यादा का निश्चय स्थिति बन्ध मर्यादा का सूचक है ।

रहेंगे और कब अपना करता है । यह समय

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सागरमल जन
.. (द) अनुभाग बन्ध-यह कर्मों के बन्ध एवं विपाक की तीव्रता और मन्दता का निश्चय करता है । यह तोवता या गहनता (Intensity) का सूचक है । कर्म की मूर्तता :
जैन दर्शन के अनुसार द्रव्य-कर्म पुद्गल जन्य है, अतः मूर्त माना गया है । कारण . से जिस प्रकार कार्य का अनुमान होता है उसी प्रकार कार्य से भी कारण का अनुमान होता है । इस सिद्धान्त के अनुसार शरीर आदि कार्य मूर्त है तो उनका कारण कर्म भी मूर्त ही होना चाहिए । कर्म की मूर्तता सिद्ध करने के लिए कुछ तर्क इस प्रकार दिए जा सकते हैंकर्म मूर्त है, क्योंकि उसके सम्बन्ध से सुख-दुःख आदि का संवेदन होता है, जैसे भोजन से। कम मूर्त है, क्योंकि उसके सम्बन्ध से वेदना होती है, जैसे अग्नि से । यदि कर्म अमूर्त होता, तो उसके कारण सुख दुःखादि की वेदना सम्भव नहीं होती। मृत का अमूर्त पर प्रभाव :
किन्तु प्रश्न यह है कि यदि कर्म मूर्त है, तो फिर वह अमूर्त आत्मा पर अपना प्रभाव कैसे डालता है ? जिस प्रकार वायु और अग्नि का अमूर्त आकाश पर किसी प्रकार का प्रभाव नहीं पड़ता, उसी प्रकार अमूर्त आत्मा पर भी मूर्त कम का कोई प्रभाव नहीं पहना चाहिए ? इसका उत्तर इतना ही है कि जैसे अमूर्त ज्ञान आदि गुणों पर मूर्त मदिरा आदि का प्रभाव पड़ता है, वैसे ही अमूर्त जीव पर भी मूर्त कर्म का प्रभाव पड़ सकता है । उक्त प्रश्न का एक दूसरा तर्क संगत एवं निर्दोष समाधान यह भी है, कि कम के सम्बन्ध से आत्मा कथंचित् मूर्त भी है । क्योंकि संसारी आत्मा अनादि काल से कर्म संतति से सम्बद्ध है, इस अपेक्षा से आत्मा सर्वथा अर्मूत नहीं है, अपितु कर्म सम्बद्ध होने के कारण मूलतः अमूर्त होते भी कथंचित् मूर्त है । इस दृष्टि से भी अमूर्त आत्मा पर मूर्त कर्म का उपघात, अनुग्रह और प्रभाव पड़ता है । वस्तुतः जिस पर कर्म सिद्धान्त का नियम लागू होता है वह व्यक्तित्व अमूर्त नहीं है। हमारा वर्तमान व्यक्तित्व शरीर (भौतिक) और आत्मा ( अभौतिक) का एक विशिष्ट संयोग है । एक सशरीर युक्त आत्मा भौतिक तथ्यों से अप्रभावित नहों रह सकता है । जब तक आस्मा शरीर (कर्म-शरीर) के बन्धन से मुक्त नहीं हो जातो तब तक वह अपने को भौतिक प्रभावो से पूर्णतया अप्रभावित नहीं रख सकती । मूर्त शरीर के माध्यम से उस पर. मूर्त कर्म का प्रभाव पड़ता है । मूर्त कर्म का अमूर्त आत्मा से सम्बन्ध : ___सम्भवतः यह प्रश्न भी उठ सकता है कि मूर्त कर्म अमूर्त आत्मा से कैसे सम्बन्धित होते हैं । जैन विचारकों की दृष्टि में इस प्रश्न का समाधान यह है कि जैसे मूर्त घट अमूर्त अकाश के साथ सम्बन्धित होता है वैसे ही मूर्त कर्म अमूर्त आत्मा के साथ सम्बन्धित होते हैं । जैन विचारकों ने आत्मा और कर्म के सम्बन्ध को नीर-क्षीरवत् अथवा अग्नि-लोपिण्डवत् माना है । सम्भवतः यह प्रश्न उठाया जा सकता है कि यदि दो स्वतन्त्र सत्ताओं जड़ कर्म परमाणु और चेतन में पारस्परिक प्रभावकता को स्वीकार किया जावेगा तो फिर मुक्तावस्था में भी जड़ कर्म परमाणु आत्मा को प्रभावित किए बिना नहीं रहेगे
और मुक्ति का कोई अर्थ नहीं होगा और यदि वे परस्पर एक दूसरे को प्रभावित करने में सक्षम नहीं है तो फिर बन्धन हो कैसे सिद्ध होगा ? आचार्य कुन्दकुन्द ने इस प्रश्न का

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जैन कर्म सिद्धान्त : वन्धन और मुक्ति की प्रक्रिया उत्तर देते हुए कहा है कि जैसे - स्वर्ण के वड़ में रहने पर भी जंग नहीं खाता जबकि लोहा जंग खा जाता है इसी प्रकार शुद्धात्मा कर्म परमाणुओं के मध्य रहते हुए भी उनके निमित्त से विकारी नहीं बनता जबकि अशुद्ध आत्मा विकारी बन जाता है । जड़ कर्म परमाणु उसी आत्मा को विकारो बना सकते जो पूर्व में राग द्वेष आदि से अशुद्ध हैं ।" वस्तुतः आत्मा जब भौतिक शरीर से युक्त होता है तभी तक भौतिक कर्म परमाणु अथवा भौतिक तथ्य उसे प्रभावित कर सकते हैं । कर्म शरीर के रूप में रहे हुए कर्म परमाणु ही बाह्य जगत के कर्म परमाणुओं का आकर्षण कर सकते हैं। चूंकि मुक्तावस्था में आत्मा अशरीरी होता है अत: उस अवस्था में कर्म परमाणुओं की उपस्थिति में भी उसे बन्धन में आने की कोई सम्भावना नहीं रहती है । कर्म और विपाक को परम्परा :
राग द्वेष आदि की शुभाशुभ वृत्तियां ही भाव कर्म के रूप में आत्मा की अवस्था विशेष ही है । भाव कर्म की उपस्थिति में ही द्रव्य कर्म का आत्मा के द्वारा ग्रहण किया जाता है । भाव कर्म के निमित्त से द्रव्य कर्म का आस्रव (आगमन) होता रहता है और यही द्रव्य कर्म समय विशेष पर भाव कर्म का कारण बन जाता है इस प्रकार कर्म प्रवाह चलता रहता है और यह कर्म प्रवाह ही संसार है । कर्म और विपाक की परम्परा से यह संसार चक्र प्रवर्तित होता रहा है । कर्म से ही पुनर्जन्म होता है और यह संसार प्रवर्तित होता है ।१२ अतः यह प्रश्न महत्त्वपूर्ण है कि कर्म और आत्मा का सम्बन्ध कब से है, अथवा कर्म और विपाक की परंपरा का प्रारम्भ कब हुआ । यदि हम इसे सादि मानते हैं तो यह मानना पड़ेगा कि किसी काल विशेष में आत्मा बद्ध हुआ और उसके पहले मुक्त था, फिर उसे बन्धन में आने का क्या कारण ? यदि मुक्तात्मा को बन्धन में आने की सम्भा. वना मानी जावे तो मुक्ति का मूल्य अधिक नहीं रह पाता । दूसरी और यदि इसे अनादि माना जावे तो जो अनादि है वह अनन्त भी होगा और इस अवस्था में मुक्ति की कोई सम्भावना ही नहीं रह पावेगी ? कर्म के अनादि और सादि होने के सम्बन्ध में जैन दृष्टि :
जैन दार्शनिकोंने इस समस्या के समाधान के लिए एक सापेक्षिक उत्तर दिया है उनका कहना है कि कर्म परम्परा कर्म विशेष की अपेक्षा से सादि और सान्त है और प्रवाह की दृष्टि से अनादि और अनन्त है, लेकिन कर्म परम्परा का यह प्रवाह भी व्यक्ति विशेष की दृष्टि से अनादि है और अनन्त नहीं है । उसे अनन्त नहीं मानने का कारण यह है कि कर्म विशेष के रूप में तो सादि है और यदि व्यक्ति नवीन कर्मों का उत्पादन रोक सके तो वह परम्परा अनन्त नहीं रह सकती । जैन दार्शनिकों के अनुसार राग द्वेष रूपी कर्म बीज के भुन जाने पर कर्म प्राह को परम्परा समाप्त हो जाती है । कर्म परम्परा के सम्बन्ध में यही एक ऐसा दृष्टिकोण है जिसके आधार पर बन्धन का अनादित्व, मुक्ति से अनावृत्ति और मुक्त की सम्भावना की समुचित व्याख्या हो सकती है । कर्म की विभिन्न अवस्थाएँ :
जैन विचारणा में कर्मों को विभिन्न अवस्थाओं पर भी गहराई से विचार हुआ है । प्रमुख रूप से कर्मो की दस अवस्थाएँ मानी गई हैं- (१) बन्ध (२) संक्रमण (३) उत्कर्षण,

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सागरमल जैन (४) अपवर्तन, (५) सत्ता, (६) उदय, (७) उदीरणा, (८) उपशमन, (९) निधत्ति और (१०) निकाचना ।"
. () बन्ध- कषाय एवं योग के फलस्वरूप कर्म परमाणुओं का आत्म प्रदेशों से जो सम्बन्ध होता है, उसे बन्ध कहा जाता है ।'' बन्धन के स्वरूप, कारक, प्रकार आदि की विस्तृत चर्चा अन्यत्र की गई है अतः उसे वहाँ देखा जा सकता है ।
(२) संक्रमण- एक कर्म के अनेक अवान्तर भेद हैं और जैन कर्म सिद्धान्त के अनुसार कर्म का एक भेद अपने सजातीय दूसरे भेद में बदल सकता है । यह अवान्तर कर्म प्रकृतियों का अदल बदल संक्रमण कहलाता है । संक्रमण वह प्रक्रिया है जिसमें आत्मा पूर्व बद्ध आवान्तर कर्मों की प्रकृति, समयावधि, तीव्रता एवं परिमाण को परिवर्तित करता है। संक्रमण में आत्मा पूर्व बद्ध कर्म प्रकृति का नवीन कर्म प्रकृति का बन्ध करते समय नवीन कर्म प्रकृति में उसका रूपान्तरण कर सकता है । उदाहरणार्थ पूर्व में बद्ध दुःखद संवेदन रूप" असातावेदनीय कर्म का नवीन सातावेदनीय कर्म का बन्ध करते समय ही सातावेदनीय कर्म प्रकृति के साथ मिलाकर उसका सातावेदनीय कर्म में संक्रमण किया जा सकता है । यद्यपि दर्शनमोह कर्म की तीन प्रकृतियों मिथ्यात्वमोह, सम्यक्त्व मोह और मिश्रमोह में नवीन बन्ध के अभाव में भी संक्रमण सम्भव होता है क्योंकि सम्यक्त्व मोह एवं मिश्रमोह का बन्ध नहीं होता है. वे अवस्थाएँ मिथ्यात्वमोह कर्म के शुद्धिकरण से होती है। यह ध्यान में रखना चाहिए संक्रमण कर्मो के आवान्तर भेदों में ही होता है, मूल भेदों में नहीं होता है अर्थात् ज्ञाना.. वरणीय कर्म का आयुष्कर्म में संक्रमण नहीं किया जा सकता । इसी प्रकार कुछ आवान्तर कर्म भी ऐसे हैं जिनका रूपान्तर नहीं किया जा सकता । जैसे दर्शन मोहनीय और चारित्र मोहनीय कर्म का रूपान्तर नहीं होता । इसी प्रकार कोई नरकायु के बन्ध को मनुष्य आयु . के बन्ध में नहीं बदल सकता । नैतिक दृष्टि में संक्रमण को धारणा की दो महत्त्वपूर्ण बातें हैं- एक तो यह है कि संक्रमण की क्षमता केवल आत्मा की पवित्रता के साथ ही बढ़ती जाती है । जो पवित्र नहीं होता है उसकी आत्मशक्ति प्रकट नहीं होती है और उसमें कर्म संक्रमण की क्षमता भी नहीं होती है और वह परिस्थितियों (कर्मो) का दास होता है । लेकिन पवित्र आत्माएं परिस्थितियों की दास न होकर उनकी स्वामी बन जाती है। इस प्रकार संक्रमण की प्रक्रिया आत्मा के स्वातंत्र्य और दासता को व्यक्ति की नैतिक प्रगति पर अधिष्ठित करती है। दूसरे संक्रमण की धारणा भापत्राद के स्थान पर पुरुषार्थवाद को सबल बनाती है।
(३) उत्कर्षण अथवा उद्वर्तन-आत्मा से कर्म परमाणुओं के बद्ध होने के समय पर जो कषायिक तरतमता होती है उसी के अनुसार बन्धन के समय कर्म की स्थिति तथा तीव्रता का निश्चय होता है । किन्तु जैन कम सिद्धान्त के अनुसार आत्मा नवोन बन्ध करते समय पूर्वबद्ध कर्मो की काल मर्यादा और तीव्रता को बढ़ा भी सकता है । यही कर्म परमाणुओं की कालमर्यादा और तीव्रता को बढ़ाने की क्रिया उत्कर्षण कही जाती है।
(४) अपवर्तन- जिस प्रकार नवीन बन्ध के समय पूर्व बद्ध कर्मो की कालमर्यादा (स्थिति) और तीव्रता (अनुभाग) को बढ़ाया जा सकता है उसी प्रकार उसे कम भी किया जा सकता है और यह कम करने की क्रिया अपवर्तन कहलाती है ।

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जैन कर्म सिद्धान्त : बन्धन और मुक्ति की प्रक्रिया
(५) सत्ता - कर्मों का बन्ध हो जाने के पश्चात् उनका विपाक भविष्य में किसी समय होता है । प्रत्येक कर्म अपने सत्ता काल के समाप्त होने पर ही फल ( विपाक ) दे पाता है । जितने समय तक काल मर्यादा परिपक्व न होने के कारण कर्मों का आत्मा के साथ सम्बन्ध बना रहता है वह अवस्था सत्ता कही जाती है ।
(६) उदय - जब कर्म अपना फल ( विपाक) देना प्रारम्भ कर देते हैं, वह अवस्था उदय कही जाती है । लेकिन जैन विचारणा यह भी मानती है कि सभी कर्म अपना फल प्रदान तो करते हैं लेकिन कुछ कर्म ऐसे भी होते हैं जो फल देते हुए भी भोक्ता को फल की अनुभूति नहीं कराते है और निर्जरित हो जाते हैं । जैन विचारणा में फल देना और फल की अनुभूति होना यह अलग तथ्य माने गये हैं । जो कर्म बिना फल की अनुभूति कराये निर्जरित जाता है उसका उदय प्रदेशोदय कहा जाता है जैसे आपरेशन में अचेतन अवस्था में शल्य क्रिया की वेदना की अनुभूति नहीं होती है । कषाय के अभाव में दर्यापथिक क्रिया के कारण जो बन्ध होता है उसका भी मात्र प्रदेशोदय होता है । जो कर्म परमाणु अपनी फलानुभूति करवा कर आत्मा से निर्जरित होते हैं उनका उदय विपाकोदय कहलाता है । यह स्मरण रखना चाहिए कि विपाकोदय की अवस्था में प्रदेशोदय तो होता
ही है, लेकिन प्रदेशोदय की अवस्था में विपाकोदय हो ही यह अनिवार्य नहीं है ।
(७) उदीरणा - जिस प्रकार समय के पूर्व कृत्रिम रूप से फल को पकाया जा सकता है उसी प्रकार नियत काल के पूर्व ही प्रयास पूर्वक उदय में लाकर कर्मों के फलों को भोग लेना उदीरणा कहा जाता है । इसमें साधारण नियम यह है कि जिस कर्म प्रकृति का उदय या भोग चल रहा हो उसकी सजातीय कर्म प्रकृति की उदीरणा सम्भव है ।
(८) उपशमन - कर्मों के विद्यमान रहते हुए भी उनके फल देने की शक्ति को कुछ समय के लिए दबा देना या उन्हें किसी काल विशेष के लिए फल देने में अक्षम बना देना उपशमन कहा जाता है । उपशमन में कर्म की ढकी हुई अग्नि के समान बना दिया जाता है । जिस प्रकार राख से दबी हुई अग्नि उस आवरण के दूर होते ही पुनः प्रज्वलित हो जाती है, उसी प्रकार उपशमन की अवस्था के समाप्त होते ही कर्म पुनः उदय में आकर अपना फल देता है । उपशमन में कर्म की सत्ता नष्ट नहीं होती है, मात्र उसे काल विशेष तक के लिए फल देने में अक्षम बनाया जाता है ।
(९) निवत्ति - कर्म की उस अवस्था को निघत्ति कहते हैं जिसमें कर्म न तो अपने भावान्तर भेदों में रूपान्तरित हो सकते हैं और न अपना फल प्रदान कर सकते हैं । लेकिन कर्मों की समय मर्यादा और विपाक तीव्रता (परिमाण) को कम अधिक किया जा सकता है अर्थात् इस अवस्था में उत्कर्षण और अपकर्षण सम्भव हो सकते हैं ।
(१०) निकाचना - कर्मों का ऐसे प्रगाढ़ रूप में बन्धन होना कि उनकी काल मर्यादा और तीव्रता (परिमाण) आवान्तर प्रकृति में किसी प्रकार का परिवर्तन नहीं किया जा सके, न समय के पूर्व उनका भोग ही किया जा सके, निकाचना कहा जाता है । इसमें कर्म का जिस रूप में बन्धन हुआ होता है, उसी रूप में उनको अनिवार्यतया भोगना पड़ता है । कर्म विपाक की नियतता और अनियतता का प्रश्न :
जैसा कि हमने अभी कर्मों की अवस्थाओं पर विचार करते हुए देखा कि कुछ कर्म ऐसे हैं जिनका विना नियत है और उसमें किसी भी प्रकार का परिवर्तन नहीं किया जा

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सागरमल जैन
११
सकता, जिन्हें हम जैन विचारणा में निकाचित कर्म करते हैं जिनका बन्ध जिस विपाक को लेकर होता है उसी विपाक के द्वारा वे समाप्त होते हैं अन्य किसी प्रकार से नहीं अर्थात् उनके विपाक का उसी रूप में भोग अनिवार्य होता है । इसे ही हम कर्मविपाक की नियतता कहते हैं । इसके अतिरिक्त कुछ कर्म ऐसे भी होते हैं जिनका विपाक उसी रूप में अनिवार्य नहीं होता है । उनके विपाक के स्वरूप, मात्रा, समयावधि एवं तोव्रता आदि में परिवर्तन किया जा सकता है, जिन्हें हम अनिकाचित कर्म के रूप में जानते हैं |
ही स्वीकार करती
एवं अल्पता के
होता है । जिन अति स्निग्ध
जैन विचारणा कर्मविपाक की नियतता और अनियतता दोनों को है और यह बताती है कि कर्मों के पीछे रही हुई कषायों की तंत्र आधार पर ही क्रमशः नियत विपाकी एवं अनियत विपाको कर्मों का बन्ध कर्मों के सम्पादन के पीछे तंत्र कषाय ( वासनाएं ) होती हैं उनका बन्ध होता है और उसका विपाक भी नियत होता है इसके विपरीत जिन कर्मों के सम्पादन के पीछे कषाय अल होती है उनका बन्ध रूक्ष होता है और इसीलिए उनका विपाक भी अनियत होता है । जैन कर्म सिद्धान्त में संक्रमण, उत्कर्षण, अपवर्तन, उदीरणा एवं उपशमन की धारणायें कर्मों के अनियत विपाक की और संकेत करती है लेकिन जैन विचारणा सभी कर्मों को अनियत विपाकी नहीं मानती है, जिन कर्मों का बन्ध तीव्र कषायिक भावों के फल स्वरूप होता है उन्हें वह नियत विपाकी कर्म मानती है । वैयक्तिक दृष्टि से सभी आत्माओं में कर्म. विपाक में परिवर्तन करने की क्षमता नहीं होती हैं जब व्यक्ति एक आध्यात्मिक ऊंचाई पर पहुंच जाता है तभी उसमें कर्म विपाक को अनियत बनाने की शक्ति उत्पन्न होती है फिर भी स्मरण रखना चाहिए कि व्यक्ति जब कितनी ही आध्यात्मिक ऊंचाई पर स्थित हो वह मात्र उन्हीं कर्मों का विपाक अनियत बना सकता है जिनका बन्ध अनियत विपाकी कर्म के रूप में हुआ है । जिन कर्मो का बन्ध नियत विपाकी कर्मो के रूप में हुआ है उनका भोग तो अनिवार्य है । इस प्रकार जैन विचारणा कर्मों की नियतता और अनियतता दोनों को ही स्वीकार करती है और इस आधार पर वह अपने कर्म सिद्धान्त को निर्यातवाद और यदृच्छावाद के दोषों से बचा लेती है ।
बन्धन के कारण :
आसव शब्द क्लेश पुद्गलों को आत्मा
अतः जैन तत्त्वज्ञान में आस्रव का रूढ़ अर्थ आना आस्रव है । अपने मूल अर्थ में आस्रव ओर लाते हैं और इस
जैन दृष्टिकोण के अनुसार बन्धन का कारण आस्रव माना गया है । या मल का बोधक है । आत्मा के वलेश या मल ही कर्म वर्गणा के के सम्पर्क में आने का कारण बनते है । यह भी है कि कर्मणाओं का आत्मा में उन कारकों की व्याख्याता है, जो कर्मवर्गणाओं को आत्मा की प्रकार आत्मा के बन्धन के कारण होते हैं । आस्रव के दो भेद हैं-१ - भावासव और २corea | आत्मा की विकारी मनोदशा भावास्रव है जबकि कर्म परमाणुओं का आगमन द्रव्यासव है । इस प्रकार भावासव कारण है और द्रव्यासव कार्य या प्रक्रिया है । द्रव्यासव का कारण भावास्रव है, लेकिन यह भावात्मक परिवर्तन भी अकारण नहीं हैं । वरन् पूर्व बद्ध कर्म के कारण होता है । इस प्रकार पूर्व बन्धन के कारण कारण द्रव्यासव और द्रव्याखव से कर्म का बन्धन होता है ।
भावास्रव और भावास्रव के

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जैन कर्म सिद्धान्त : बन्धन और मुक्ति की प्रक्रिया ___ वैसे सामान्य रूप में मानसिक, वाचिक एवं कायिक प्रवृचियां ही आस्रव है ।" ये प्रवृत्तियां या क्रियाएँ दो प्रकार की होती है-शुभ प्रवृत्तियां पुण्य कर्म का आस्रव है और अशुभ प्रवृत्तियां पाप कर्म का आस्रव है ।" यहाँ उन सभी मानसिक एवं कायिक प्रवृत्तियों का, जो आस्रव कही जाती है, विवेचन सम्भव नहीं है। जैनागमो में इनका वर्गीकरण अनेक स्थलों पर अनेक प्रकार से किया गया है। यहां हम तत्त्वार्थसूत्र के आधार पर केवल एक वर्गीकरण प्रस्तुत कर देना हो पर्याप्त समझते हैं । ... तत्त्वार्थसूत्र में आस्रव दो प्रकार का माना गया है-१-ईपिथिक और २- साम्पगयिक" । जैन दर्शन गीता के समान यह स्वीकार करता है कि जब तक जीवन है, तब तक शरीर को निष्क्रिय नहीं रखा जा सकता है । मानसिक वृत्ति के साथ ही साथ सहज शारीरिक एवं वाचिक क्रियाएँ भी चलती रहती हैं और क्रिया के फलस्वरूप कर्मास्रव भी होता रहता है । लेकिन जो व्यक्ति कलुषित मानसिक वृत्तियों (कषायों) के ऊपर उठ जाता है, उसको और सामान्य व्यक्तियों को क्रियाओं के द्वारा होने वाले आस्रव में अन्तर तो अवश्य ही मानना होगा । कषाय वृत्ति (दूषित मनोवृत्ति) से ऊपर उठे व्यक्ति को क्रियाओं के द्वारा जो आस्रव होता है उसे जैन परिभाषा में ईपिथिक स्रव कहते हैं । जिस प्रकार चलते हुए रास्ते को धूल का सूखा कण पहले क्षण में सूखे वस्त्र पर लगता है लेकिन गति के साथ ही दूसरे क्षण में विलग हो जाता है, उसी प्रकार कषाय वृत्ति से रहित क्रियाओं से पहले क्षण में आस्रव एवं बन्ध होता है और दूसरे क्षण में वह निर्जरित हो जाता है । ऐसी क्रिया आत्मा में कोई विभाव उत्पन्न नहीं करती है। जबकि जो क्रियाएँ कषाय सहित होती हैं उससे साम्परायिक आस्रव होता है । साम्परायिक आस्रव होता है । सामायिक आश्रव आत्मा के स्वभाव का आवरण कर उसमें विभाव को उत्पन्न करता है। ..
तत्वार्थसूत्र में सांपरायिक आस्रव का आधार निम्न ३ प्रकार की क्रियाएं मानी गई है१-५ हिसा, असत्य भाषण, चोरी, मैथुन, संग्रह (परिग्रह) (पाँच भवत) २०-६-९ क्रोध, मान, माया, लोभ (चार कषाय) १०-१४ पाँचो इन्द्रयों के विषयों का सेवन १५-३८ चौबीस साम्परायिक क्रियाएँ ।
वैसे तो आस्रव का मूलकारण योग (क्रिया) है लेकिन यह समग्र क्रिया व्यापार भो स्वतः प्रसूत नही है उसके भी प्रेरक सूत्र हैं, जिन्हें आस्रवद्वार या बन्ध हेतु कहा गया है। समवायांग, ऋषिभाषित एवं तत्वार्थसूत्र में इनकी संख्या ५ मानी गई है । १- मिथ्यात्व, २- अविरति, ३- प्रमाद, ४- कषाय और ५- योग (क्रिया)" । समयसार मैं इसमें से ४ का उल्लेख मिलता है, वहां पर प्रमाद का उल्लेख नहीं है। उपरोक्त पांच प्रमुख आस्रव द्वार या बन्धहेतुओं को पुनः अनेक भेद प्रभेदों में वर्गीकृत किया गया है. यहाँ हम उनके सम्बन्ध में विस्तृत विचारणा नहीं करते हुए केवल नाम निर्देश कर देते हैं । पाँच आस्रव द्वार या बन्धुहेतुओं के अवान्तर भेद निम्नानुसार हैं
(क) मिथ्यात्व मिथ्यात्व अयथार्थ दृष्टिकोण हैं, जो पाँच प्रकार की होती है- १. एकांत. २. विपरीत, ३. विनय, ४. (रूढिवादिता) संशय, और ५. अज्ञान ।

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सागरमल जैन
- १३
(ख) अविरति - यह अमर्यादित एवं असंयमित जीवन प्रणाली है, इसके भी ५ भेद हैं- १. हिंसा, २. असत्य ३. स्तेय वृत्ति, ४. मैथुन ( काम वासना) और ५. परिग्रह (आसक्ति)
(ग) प्रमाद - सामान्यतया समय का अनुपयोग एवं दुरुपयोग प्रमाद है । लक्ष्योन्मुख प्रयास के स्थान पर लक्ष्य विमुख प्रयास समय का दुरुपयोग है जबकि प्रयास का ही अभाव अनुपयोग है । वस्तुतः प्रमाद आत्म चेतना का अभाव है । प्रमाद पाँच प्रकार के माने गये हैं९. विकथा- जीवन के लक्ष्य ( साध्य ) और उसके साधना मार्ग पर विचार नहीं करते हुए अनावश्यक चचाएँ करना विक्रथा है । विकथाएँ चार प्रकार की है । १. राज्य सम्बन्धी, २. भोजन संबंधी, ३. स्त्रियों के रूप सौन्दर्य सम्बन्धी और ४. देश सम्बन्धी । २. कषाय- क्रोध, मान माया और लोभ । इनकी उपस्थिति में आत्म चेतना कुण्ठित होती है । अतः ये भी प्रमाद है ।
२. राग- आसक्ति भी
आत्म चेतना को कुण्ठित करती है इसलिए प्रमाद कही जाती
I
४. विषय सेवन - पाँचों इन्द्रियों के विषयों का सेवन ।
५. निद्रा - विकथा समय का दुरुपयोग है जबकि निद्रा समय का अनुपयोग है ।
(घ) कषाय - क्रोध, मान, माया और लोभ यह चार मनोदशाएँ कषाय हैं, जो अपनी तीव्रता और मन्दता के आधार पर १६ प्रकार की होती है । इसके अतिरिक्त इन कषायों के जनक हास्यादि ९ प्रकार के मनोभाव उपकषाय हैं । कषाय और उपकषाय मिलकर पच्चीस होते हैं ।
(ड.) योग - जैन शब्दावली में योग का अर्थ क्रिया है जो तीन प्रकार की हैं । १. मानसिक क्रिया (मनोयोग ) २. वाचिक क्रिया ( वचन योग ) ३. शारीरिक क्रिया ( काय योग ) । यहाँ क्रियाओं के विभिन्न रूपों के विस्तार में जाना श्रेयस्कर नहीं होगा ।
यदि हम बन्धन के प्रमुख कारणों को और भी संक्षेत्र में जानना चाहें तो जैन परम्परा : में बन्धन के मूलभूत तीन कारण राग ( आसक्ति) द्वेष और मोह माने गये हैं । उत्तराध्यगया है ।" और उन दोनों का
-
यनसूत्र में राग और द्वेष इन दोनों को कर्मबोज कहा कारण मोह बताया गया है । यद्यपि राग और द्वेष साथ-साथ रहते हैं फिर भी उनमें राग ही प्रमुख है । राग के कारण हो द्वेष होता है । जैनकथानकों के अनुसार इन्द्रभूति गौतम का महावीर के प्रति प्रशस्त राग भी उनके कैवल्य की उपलब्धि में बाधक रहा था । इस प्रकार राग एवं मोह ( अज्ञान) ही बन्धन के प्रमुख कारण है । आचार्य कुन्दकुन्द राग को प्रमुख कारण बताते हुये कहते हैं – आसक्त आत्मा ही वर्म बन्ध करता है और अनासक्त मुक्त हो जाता, यही जिन भगवान का उपदेश । इसलिए कर्मों में आसक्ति मत रखें | लेकिन यदि राग (आसक्ति) का कारण जानना चाहे तो जैन परम्परा के अनुसार मोह ही इसका कारण सिद्ध होता है । यद्य पे यह स्मरण रखना चाहिए कि मोह और रागद्वेष सापेक्ष रूप में एक दूसरे के कारण बनते हैं । इस प्रकार द्वेष का कारण राग और राग का कारण मोह है । मोह तथा राग ( आसक्ति) परस्पर एक दूसरे के कारण हैं । अतः वास्तविक रूप में राग-द्वेष और मोह यह तीन ही जैन परम्परा में बन्धन के कारण है । इसमें से द्वेष को जो राग ( आसक्ति ) जनित है, छोड़ देने पर शेष राग (आसक्ति )
રી

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जैन कर्म सिद्धान्त : बन्धन और मुक्ति की प्रक्रिया और मोह (अज्ञान) यह दो कारण बचते हैं, जो अन्योन्याश्रित है । बन्धन के रूप
जैन दर्शन में कर्म के आठ प्रकार माने गये है१. ज्ञानावरणीय - यह आत्मा की ज्ञानात्मक शक्ति को कुण्ठत करता है ।
२. दर्शनावरणीय- यह आत्मा की अनुभाविक एवं प्रत्यक्षीकरण की शक्ति को कुण्ठित करता है।
३. वेदनीय- इसके कारण आत्मा को लौकिक सुख-दुःख का संवेदन होता है । इसके दो प्रमुख भेद है-सातावेदनीय और असातावेदनीय ।
४. मोह कर्म- यह व्यक्ति के यथार्थ दृष्टिकोण और सम्यक् आचरण में बाधक होता है । इसके भी दो प्रमुख भेद हैं- १. दर्शन मोह और २. चरित्र मोह ।।
५. आयुष्य कर्म - यह व्यक्ति की योनि और आयुष्य का निर्धारण करता है।
६. नाम कर्म- यह व्यक्ति के व्यक्तित्व (Personality) का रचियता है । यही शारीरिक सौन्दर्य और असौन्दर्य के लिए उत्तरदायी है । . ७. गोत्र कर्म- यह व्यक्ति की जाति और कुल का निर्धारण करता है ।
८. अन्तराय कर्म- यह प्राणी की अभीष्ट उपलब्धियों में बाधा पहुँचाता है । यह बाध उत्पन्न करता है। घाती और अघाती कर्म :
___ कर्मों के इस वर्गीकरण में ज्ञानावरण, दर्शनावरण, मोह और अन्तराय इन चार कर्मों का घातिक और नाम गोत्र, आयुष्य और वेदनीय इन चार कर्मो को अघातिक माना माता है । घातिक कर्म आत्मा के ज्ञान, दर्शन और शक्ति नामक स्वाभाविक गुणों का आवरण करते है । ये कर्म आत्मा की स्वाभावदशा को विकृत करते हैं, अतः जोवन --मुक्ति में बाधक होते हैं । इन घातिक कर्मों में अविद्या रूप मोहनीय कर्म ही आत्म स्वरूप के आवरण, क्षमता, तीव्रता और स्थितिकाल की दृष्टि से प्रमुख है । वस्तुतः मोहकर्म ही एक ऐसा कर्म संस्कार है जिसके कारण कर्म बन्ध का प्रवाह सतत बना रहता है मोह कर्म उस बीज के समान है जिसमें अंकुर शक्ति है, जिस प्रकार उगने योग्य बीज हवा, पानी आदि के सहयोग से अपनो परम्परा को बढ़ाता रहता है उसी प्रकार मोह कर्मरूपी कर्म बीज ज्ञानावरण, दर्शनावरण और अन्तराय रूप हवा, पानी आदि के सहयोग से कर्म परम्परा को सतत बनाए रखता है । मोहकर्म ही जन्म मरण, संपार या बन्धन का मूल है। शेष घातिक कर्म उसके सहयोगी मात्र है । इसे कर्मों का सेनापति कहा गया है । जिस प्रकार सेनापति के पराजित होने पर सारी सेना हतप्रभ हो शीघ्र ही पराजित हो जाती है उसी प्रकार मोह कर्म पर विजय प्राप्त कर लेने पर शेष सारे कर्मों को आसानी से पराजित कर आत्म शुद्धता की उपलब्धि की जा सकती है। जैसे ही मोह विनष्ट हो जाता है तत्क्षग ही ज्ञानावरण और दर्शनावरण का पर्दा हट जाता है, अन्तराय या बाधकता समाप्त हो जाती है और व्यक्ति जोवनमुक्त बन जाता है।
अघातिक कर्म वे हैं, जो आत्मा की स्वभाव दशा की उपलब्धि और विकास में बाधक नहीं होते हैं | अघातिक कर्म भुने हुए बीज के समान हैं, जिनमें नवीन कर्मों की उत्पादन

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सागरमल जैन
समता नहीं है । वे कर्म परम्परा का प्रवाह बनाए रखने में असमर्थ होते हैं और समय की परिपक्वता के साथ ही अपना फल देकर सहज ही अलग हो जाते हैं। कर्म का बन्धकत्व और अबन्धकत्व
यद्यपि जैन दृष्टि से 'कर्मगा बध्यते जन्तुः' की उक्ति ठीक है लेकिन जैनाचार दर्शन में सभी कर्म अथवा क्रियाएँ सम्मन रूप से बन्धनकारक नहीं है । उसमें दो प्रकार के कर्म माने गये हैं, एक को कर्म कहा गया है दूसरे को अर्म, समस्त साम्मरायिक क्रियाएँ कर्म की श्रेणी में आती हैं और ईर्यापथिक क्रियाएँ अकम की श्रेणी में आती हैं । यदि नैतिक दर्शन की दृष्टि से विचार करें तो प्रथम प्रकार के कर्म ही नैतिकता के क्षेत्र में आते है ।
और दूसरे प्रकार के कर्म नैतिकता के क्षेत्र से परे हैं । उन्हें अतिनैतिक कहा जा सकता है । लेकिन नैतिकता के क्षेत्र में आने वाले सभी कर्म भी एक समान नहीं होते हैं उनमें से कुछ शुभ और कुछ अशुभ होते हैं, जैन परिभाषा में इन्हें क्रमशः पुण्य कर्म और पाप कर्म कहा जाता है । इस प्रकार जैन विचारणा के अनुसार कम तीन प्रकार के होते है१. ईपिथिक कम (अम), २. पुण्य कर्म और ३. पाप कम' । बौद्ध विचारणा में भी तीन प्रकार के कर्म माने गये हैं । १. अव्याकृत या अकृष्ण अशुक्ल कम', २. कुशल या शुक्ल कर्म और ३. अकुशल या कृष्णकम । गीता भी तीन प्रकार के कर्म बताती है१. अकर्म, २. कम (कुशल कम) और ३. विकर्म (अकुशल कर्म) । जैन विचारणा का ईपिथिक कर्म बौद्ध दर्शन का अव्याकृत या अकृष्ण-अकुशल कर्म तथा गीता का अकर्म है। इसी प्रकार जैन विचारणा का पुण्य कर्म बौद्ध दर्शन का कुशल (शुक्ल) कर्म तथा गीता का सकाम सात्त्विक कर्म है । जैन विचारणा का पाप कर्म बौद्ध दर्शन का अकुशल (कृष्ण) कर्म तथा गीता का विकर्म है।
पाश्चात्य नैतिक दर्शन की दृष्टि से भी कर्म तीन प्रकार के होते हैं- १. अतिनैतिक, २. नैतिक, ३. अनैतिक । जैन विचारणा का ईपिथिक कर्म अतिनैतिक कर्म है, पुण्य कर्म नैतिक कर्म है और पाप कर्म अनैतिक कर्म है । गीता का अर्म अतिनैतिक, शुभ कर्म नैतिक और विकर्म अनैतिक है । बौद्ध विचारणा में अनैतिक, नैतिक और अतिनैतिक कर्म को क्रमशः अकुशल, कुशल और अयाकृत कर्म अथवा अकृष्ण-अशुक्ल कर्म कहा *गया है। इन्हें निम्न तुलनात्मक तालिका से स्पष्ट किया जा सकता है : . . .
कर्म पाश्चात्य आचारदर्शन जैन बौद्ध गीता १. शुद्ध
__ अतिनैतिक कर्म ईपिथिक कर्म अव्याकृत कर्म अकर्म २. शुभ नैतिक कर्म पुण्य कर्म कुशल शुक्ल) कर्म कर्म (कुशल कर्म)
३. अशुभ अनैतिक कर्म पाप कर्म ‘अकुशल (कृष्ण) कर्म विकर्म जैन दर्शन में कर्म अकर्म विचार :
कर्म के यथार्थ स्वरूप को समझने के लिए उस पर दो दृष्टियों से विचार किया जा सकता है - १. उसकी बन्धनात्मक शक्ति के आधार पर और २. उसके शुभाशुभता के आधार पर । कर्म के बन्धनात्मक शक्ति के आधार पर विचार करने पर हम पाते हैं कि कुछ कर्म बन्धन में डालते हैं, जबकि कुछ कर्म बन्धन में नहीं डालते हैं । बन्धक कर्मा

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१३. जैन कर्म सिद्धान्त : बन्धन और मुक्ति की प्रक्रिया को कम और अबन्धक कर्मों को अकर्म कहा जाता है। जैन विचारणा में कर्म और अकर्म .. के यथार्थ स्वरूप की विवेचना सर्व प्रथम आचारांग एव सूत्रकृतांग में मिलती है। सूत्र- . कृतांग में कहा गया है कि कुछ कर्म को वर्य (पुरुषार्थ) •कहते हैं, कुछ अकर्म को वार्य (पुरुषार्थ) कहते हैं । इसका तात्पर्य यह है कि कुछ विचारकों की दृष्टि में सक्रियता यही पुरुषार्थ या नैतिकता है जबकि दूसरे विचारकों की दृष्टि में निष्क्रियता ही पुरुषार्थ या नैतिकता है । इस सम्बन्ध में महावीर अपने दृष्टिकोण को प्रस्तुत करते हुए, यह स्पष्ट करने का प्रयास करते हैं कि कर्म का अर्थ शरोरादि की चेष्टा एवं अकर्म का अर्थ शरीरादि की चेष्टा का अभाव ऐसा नहीं मानना चाहिए । वे अत्यन्त सीमित शब्दों में कहते हैं प्रमाद कर्म है अप्रमाद अकर्म है । प्रमाद को कर्म और अप्रमाद को अर्म कहकर महावीर यह स्पष्ट कर देते हैं कि अर्म निस्क्रियता की अवस्था नहों, वह तो सतत् जागरुकता है। अपमत्त अवस्था या आत्म जाग्रति की दशा में सक्रियता भी अर्म होता है जबकि प्रमत्त दशा या आत्म-जाग्रते के अभाव में निष्क्रिाता भी कर्म (बन्धन) बन जाती है । वस्तुतः किसोक्रिया का बन्धकत्व मात्र क्रिया के घटित होने में नहीं वरन् उसके पीछे रहे हुए कषाय भावों एवं राग-द्वेष की स्थि ते पर निर्भर है । जैा दर्शन के अनुसार राग-द्वेष एवं कषाय जो कि अत्मा को प्रमत दशा है किसी क्रिया को कर्म बना देते हैं। लेकिन कषाय एवं आसक्ति से रहित होकर किया हुआ कर्म अकर्म बन जाता है । महावीर ने स्पष्ट रूप से कहा है कि जो आस्रव या बन्धन कारक क्रिपाएँ हैं, वे हो अनासक्त एवं विवेक से समन्वित होकर मुक्ति के साधन बन जाती है । इस प्रकार जैन विचारणा में कर्म और अकर्म आने बाह्य स्वरूप की अपेक्षा कर्ता के विवेक और मनोवृत्त पर निर्भर होते हैं । जैन वि वारणा में बन्धकस्य को दृष्टि से क्रियाओं को दो भागों में बाँटा गया है । १. इर्यापथिक क्रियाएँ (अकर्म) और २. साम्परायि क्रियाएँ (कम या विक्रम)। इपिथिक क्रियाएँ निष्काम वीतराग दृष्टि सम्पन्न क्रियाएँ हैं जो बन्धन कारक नहीं है, जब के साम्रायिक क्रियाएँ आसन व्यक्ति की क्रियाएँ हैं जो बन्धन कारक है । संक्षे। में वे समस्त क्रियाएं जो आस्रा एवं बन्धन का कारग है, कर्म है और वे समस्त क्रियाएँ जो संघर और निर्जरा का हेतु है अकर्म है । जैन दृष्टि में अर्म या इपिथिक कर्म का अर्थ है राग-द्वेष एवं , मोह रहित मात्र कर्तव्य एवं शरीर निर्वाह के लिए किया जाने वा कर्म । जबकि कर्म का . अर्थ है राग-द्वेष एवं मोह सहित क्रियाएँ । जैन दर्शन के अनुसार जो क्रिया पापार राग-' द्वेष और मोह से युक्त होता है, बन्धा में डालता है और इसलिए वह कर्म है और जो क्रिया व्यापार राग-द्वेष और मोह से रहित होकर कर्तव्य निर्वाड या शो निर्वाह के लिए किया जाता है वह बन्धन का कारण नहीं है अतः अर्म है। जिहें जैन दर्शन में इर्यापथिक क्रियाएँ या अर्म कहा गया है उन्हें बोद्ध परम्परा अनुपचित अव्याकृत या अकृष्ण -शुक्ल कर्म कहती है और जिन्हें जैन परम्परा साम्परायेक क्रियाएँ या कर्म कहती है उन्हें बौद्ध परम्परा उपचित कर्म या वृष्ण-अशुक्ल कर्म कहती है । शुभ और अशुभ से शुद्ध की ओर : .
- जैन विचारणा में शुभ एवं अशुभ अथवा मंगल अमंगल की वास्तविकता स्वीकार .. की गई है । उतराध्ययन सूत्र में नव तत्त्व माने गये हैं जिसमें पुण्य और पाप को स्वतन्त्र ...

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सागरमल जैन
१७
तत्व के रूप में माना गया है" । जबकि तत्त्वार्थ सूत्र में उपास्वाति ने जीव, अजीव, आस्रव, संवर, निर्जरा, बंध और मोक्ष इन सातों को हो तत्त्व कहा है; वहाँ पर पुण्य और पाप का स्वतन्त्र तत्त्व के रूप में स्थान नहीं है । लेकिन यह विवाद अधिक महत्त्वपूर्ण प्रतीत नहीं होता क्योंकि जो परम्परा उन्हें स्वतन्त्र तत्त्व नहीं मानती है वह भी उनको आस्रव तत्त्व के अन्तर्गत तो मान लेती है । यद्यपि पुण्य और पाप मात्र आस्रव नहीं है वरन् उनका बंध भी होता है और विपाक भी होता है । अतः आसत्र के दो विभाग शुभास्रव और अनुभाख़व करने से काम पूरा नहीं होता वरन् बन्ध और विपाक में भी दो दो भेद करने होंगे । इस वर्गीकरण की कठिनाई से बचने के लिए ही पाप एवं पुण्य को दो स्वतन्त्र तत्त्व के रूप में मान लिया है ।
फिर भी जैन विचारणा निर्वाण मार्ग के साधक के लिए दोनों को हेय और स्याज्य मानती है क्योंकि दोनों ही बन्धन का कारण है । वस्तुतः नैतिक जीवन की पूर्णता शुभाशुभ या पुण्यपाप से ऊपर उठ जाने में है । शुभ (पुण्य) और अशुभ (पाप) का भेद जब तक बना रहता है नैतिक पूर्णता नहीं आती है । किन्तु अशुभ पर पूर्ण विजय के साथ ही व्यक्ति शुभ (पुण्य) से भी ऊपर उठकर शुद्ध दशा में स्थित होता जाता है । जैन दृष्टिकोण :
ऋषिभासित सूत्र में ऋषि कहता है कि पूर्वकृत पुण्य और पाप संसार संतति के मूल है । आचार्य कुन्दकुन्द पुण्य पाप दोनों को बन्धन का कारण मानते हुए भी दोनों के बन्धकरव का अन्तर भी स्पष्ट कर देते है । समयसार ग्रन्थ में वे कहते हैं 'अशुभकर्म पाप ( कुशील) और शुभ कर्म पुण्य (सुशील) कहे जाते हैं । फिर भी पुण्य कर्म भी संसार (बन्धन) का कारण होता है । जिस प्रकार स्वर्ण की बेड़ी भी लोहे की बेड़ी के समान ही व्यक्ति को बन्धन में रखती है उसी प्रकार जीव कृत सभी शुभाशुभ कर्म भी बन्धन का कारण होते हैं" ।' आचार्य दोनों को ही आत्मा की स्वाधीनता में बाधक मानते हैं । उनकी दृष्टि में पुण्य स्वर्ण बेड़ी है और पाप लौह बेदी । फिर भी आचार्य पुण्य को स्वर्ण बेड़ी कहकर उसकी पाप से किञ्चित श्रेष्ठता सिद्ध कर देते हैं । आचार्य अमृतचन्द्र का कहना है कि पारमार्थिक दृष्टिकोण से पुण्य और पाप दोनों में भेद नहीं किया जा सकता क्योंकि अन्ततोगत्वा दोनों ही बन्धन है । इसी प्रकार पण्डित जयचन्द्रजी ने भी कहा है
पुण्यपाप दोऊ करम, बन्धरूप दुइ मानि ।
शुद्ध आत्मा जिन लह्यो, नमूं चरन हित जानि ।। "
हुए भी उसे निर्वाण का सहाप्राप्त करने के लिए अन्ततो
जैनाचार्यों ने पुण्य को निर्वाण की दृष्टि से हेय मानते यक तत्व स्वीकार किया है । यद्यपि निर्वाण की स्थिति को गत्वा पुण्य को छोड़ना होता है फिर भी वह निर्वाण में ठीक उसी प्रकार सहायक है जैसे साबुन वस्त्र के मैल को साफ करने में सहायक है । शुद्ध वस्त्र के लिए साबुन का लगा For fre प्रकार अनावश्यक है, उसे भी अलग करना होता है । वैसे ही निर्वाण या शुद्धात्मक दशा में पुण्य का होना भी आवश्यक है, उसे भी क्षय करना होता है । लेकिन जिस प्रकार साबुन मैल को साफ करता है और मैल की सफाई होने पर स्वयं अलग हो जाता है वैसे ही पुण्य भी पाप रूप मैल को अलग करने में सहायक होता है और उसके अलग हो जाने
३.

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*१८ जैन कर्म सिद्धान्त : बन्धन और मुक्ति की प्रक्रिया पर स्वयं भी अलग हो जाता है । जिस प्रकार एरण्ड बीज या अन्य रेचक औषधि मल के रहने तक रहती है और मल निकल जाने पर वह भी निकल जाती है वैसे ही पाप की समाप्ति पर पुण्य भी अपना फल देकर समाप्त हो जाते हैं । वे किसी भी नव कर्म संतति
को जन्म नहीं देते हैं। अतः वस्तुतः व्यक्ति को अशुभ कर्म से बचना है । जब वह अशुभ '(पाप) कर्म से ऊपर उठ जाता है उसका सुभ कर्म भी शुद्ध कर्म बन जाता है । द्वेष पर पूर्ण विजय पा जाने पर राग भी नहीं रहता है। अतः राग-द्वेष के अभाव में उससे जो कर्म निसृत होते हैं वे शुद्ध (इपिथिक) होते हैं ।
पुण्य (शुभ) कर्म के सम्बन्ध में एक महत्त्वपूर्ण तथ्य यह है कि पुण्योपार्जन की उपरोक्त क्रियाएँ जब अनासक्त भाव से की जाती है तो वे शुभ बन्ध का कारण न होकर कर्मक्षय (संवर और निर्जरा) का कारण बन जाती है। इसी प्रकार संवर और निर्जरा के कारण संयम और तप जब आसक्तभाव फलाकाक्षा (निदान अर्थात् उनके प्रतिफल के रूप में किसी निश्चित फल को कामना करना) से युक्त होते हैं तो वे कर्म क्षय अथवा निर्वाण का कारण न होकर बन्धन का ही कारण बनते हैं । चाहे वह सुखद फल के रूप में क्यों नहीं हों । जैनाचार दर्शन में अनासक्त भाव या राग द्वेष से रहित होकर किया गया शुद्ध कार्य ही मोक्ष या निर्वाण का कारण माना गया है और आसक्ति से किया गया शुभ कार्य भी बन्धन का ही कारण समझा गया है । यहाँ पर गीता की अनासक्त कर्म योग की विचारणा जैन दर्शन के अत्यन्त समोप आ जाती है । जैन दर्शन का अन्तिम लक्ष्य आत्मा को अशुभ कर्म से शुभ कर्म की ओर और शुभ से शुद्धकर्म (वीतराग दशा) की प्राप्ति है । आत्मा का शुद्धोपयोग ही जैन नैतिकता का अन्तिम साध्य है । बन्धन से मुक्ति की ओर :
___यद्यपि यह सत्य है आत्मा के पूर्व कर्म संस्कारों के कारण बन्धन की प्रक्रिया अवि. राम गति से चली जा रही है । पूर्व कर्म संस्कार अपने विपाक के अवसर पर आत्मा को प्रभावित करते हैं और उसके परिणाम स्वरूप मानसिक एवं शारीरिक क्रिया-व्यापार होता है, उस क्रिया-व्यापार के कारण नवीन कर्मास्रव एवं बन्ध होता है । अतः यह प्रश्न उपस्थित होता है कि इस बन्धन से मुक्त किस प्रकार हुआ जावे । जैन दर्शन बन्धन से बचने के लिए जो उपाय बताता है, उन्हें संवर और निर्जरा कहते हैं । संवर का अर्थ :
तत्त्वार्थ सूत्र के अनुसार आस्रव-निरोध संवर है । दूसरे शब्दों में कर्मवर्गणा के पुद्गलों का आत्मा में आनो रुक जाना संवर है । यही संवर मोक्ष का कारण तथा नैतिक साधना का प्रथम सोपान है । संवर शब्द सम उपसर्ग पूर्वक वृ धातु से बना है। वृ धातु का अर्थ है रोकना या निरोध करना। इस प्रकार संवर शब्द का अर्थ किया गया है आत्मा को प्रभावित करने वाले कर्मवर्गणा के पुदगलों को रोक देना । सामान्यरूपेण शारीरिक, वाचिक एवं मानसिक क्रियाओ का यथाशक्य निरोध करना (रोकना) संवर कहा जाता है क्योंकि क्रियाएँ ही आस्रव का आधार है। जैन परम्परा में संवर को कर्म परमाणुओं के आस्रव को रोकने के अर्थ में और बौद्ध परम्परा में क्रिया के निरोध के अर्थ में स्वीकार किया गया है । क्योंकि बौद्ध परम्परा में कर्मवर्गणा (परमाणुओं) का भौतिक स्वरूप मान्य नहीं है,

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सांगरमल जैन
३४
१९ अतः वे संवर को जैन परम्परा के अर्थ में नहीं लेते हैं । उसमें संवर का अर्थ मन, वाणी एवं शरीर के क्रिया - व्यापार या ऐन्द्रिक प्रवृत्तियों का संयम ही अभिप्रेत है । वैसे जैन पर म्परा में भी संवर को कायिक, वाचिक एवं मानसिक क्रियाओं के निरोध के रूप में माना गया है क्योंकि संवर के पाँच अंगों में अयोग ( अक्रिया ) भी एक माना गया है । यदि हम इस परम्परागत अर्थ को मान्य करते हुए भी इससे थोड़ा ऊपर उठकर देखें तो संवर IT वास्तविक अर्थ संयम ही माना जा सकता है । जैन परम्परा में भी संवर के रूप में जिस जीवन प्रणाली का विवेचन किया गया है वह संयमात्मक जीवन की प्रतीक है । स्थानांग सूत्र में संवर के पाँच भेदों का विवेचन पाँचों इन्द्रियों के संयम के रूप में किया गया है । उत्तराध्ययन सूत्र में तो संवर के स्थान पर संयम को ही आस्रव-निरोध का कारण माना गया है" । वस्तुतः संवर का अर्थ है अनैतिक या पापकारी प्रवृत्तियों से अपने को बचना और संवर शब्द इस अर्थ में संयम का पर्याय ही सिद्ध होता है । बौद्ध परम्परा में संवर शब्द का प्रयोग संयम के अर्थ में हो हुआ है । धम्मपद आदि में प्रयुक्त संवर शब्द का अर्थ संयम ही किया गया है । संवर शब्द का यह अर्थ करने में जहाँ एक ओर हम तुलनात्मक विवेचन को सुलभ बना सकेंगे वहीं दूसरी ओर जैन परम्परी मूल आशय से भी दूर नहीं होवेंगे । लेकिन संवर का यह निषेधक अर्थ ही सब कुछ नहीं है, वरन् उसका एक विधायक पक्ष भी है । शुभ अध्यवसाय भी संवर के अर्थ में स्वीकार किए गए हैं क्योंकि अशुभ की निवृत्ति के लिए शुभ का अंगीकार प्राथमिक स्थिति में आवश्यक है । वृत्ति - शून्यता के अभ्यासी के लिए प्रथम शुभ वृत्तियों को अंगीकार करना होता है । क्योंकि चित्त के शुभवृत्ति से परिपूर्ण होने पर अशुभ के लिए कोई स्थान नहीं रहता है । अशुभ को हटाने के लिए शुभ आवश्यक है । दूसरे शुभ का हटाना तो इतना सुसाध्य होता है कि उसका सहज निराकरण हो जाता है । अतः संवर का अर्थ शुभ वृचियों का अभ्यास भी है । यद्यपि वहाँ शुभ का वह अर्थ नहीं है जिसे हम पुण्यास्रव या पुण्यबन्ध के रूप में जानते हैं । जैन परम्परा में संवर का वर्गीकरण :
(अ) जैन दर्शन में संवर के दो भेद है- १. द्रव्य संवर और २. भाव संवर । द्रव्य संग्रह में कहा गया है कि कर्मास्रव को रोकने में सक्षम आत्मा की चैतसिक स्थिति भावसेवर है, और द्रव्यासव को रोकने वाला उस चैतसिक स्थिति का जो परिणाम हैं, वह द्रव्यसंवर कहा जाता है ।
(अ) सामान्यरूपेण संवर के पांच अंग या द्वार बताये गये हैं
१. सम्यक्त्व - यथार्थ दृष्टिकोण, २. विरति - मर्यादित या संयमित जीवन, ३. अप्रमत्तता आत्म चेतनता, ४. अकषाय-वृत्ति - क्रोधादि मनोवेगों का अभाव और ५. अयोग- अक्रिया
+
(स) स्थानांग सूत्र में संवर के आठ भेद निम्नानुसार बताए गए हैं- १. श्रोत्र इन्द्रिय का संयम, २. चक्षु इन्द्रिय का संयम, ३. घ्राण इन्द्रिय का संयम, ४ रस इन्द्रिय का संयम, ५. स्पर्श इन्द्रिय का संयम, ६. मन का संयम, ७ वचन का संगम और ८. शरीर का संयम ।
(द) प्रकारान्तर से जैनागम ग्रन्थों में सीवर के सत्तावन भेद भी माने गए हैं। जिसमें पाँच समितियाँ, तीन गुप्तियाँ, दस प्रकार का यति धर्म, बारह अनुप्रेक्षाएँ (भावनाएँ), बावीस

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जैन कर्म सिद्धान्त : बन्धन और मुक्ति की प्रक्रिया परिषह और पौच सामयिक चरित्र सम्मिलित है। ये सभी कर्मास्रव का निरोध कर आत्मा को बंधन से बचाते हैं अतः संवर कहे जाते हैं ।
- यदि उपरोक्त आधारों पर हम देखें तो हमें यह स्पष्ट हो जाता है कि संवर का तोरपर्य ऐसी मर्यादित जीवन प्रणाली है जिसमें विवेक पूर्ण आचरण (क्रियाओं का सम्पादन), मन, वाणी और शरीर की अयोग्य प्रवृत्तियों का संयमन, सद्गुणों का ग्रहण, कष्ट सहिष्णुता
और समत्व की साधना समाविष्ट हो। जैन दर्शन में संवर के साधक से अपेक्षा यही की गई है कि उसका प्रत्येक आचरण संयत एवं विवेकपूर्ण हो, चेतना सदैव जाग्रत हो, ताकि इन्द्रियों के विषय उसमें राग-द्वेष की प्रवृत्तियों को पैदा नहीं कर सके । जब इन्द्रियाँ और मन अपने विषयों के सम्पर्क में आते हैं तो उनके इस सम्पर्क से आत्मा में विकार या पासना उत्पन्न होने की सम्भावना उठ खड़ी होती है । अत: साधनामार्ग के पथिक को सदैव ही आग्रत रहते हुए, विषय सेवन रूप छिद्रों से आने वाले कर्मास्रव या विकार से अपनी रक्षा करनी है । मूत्रकृतांग में कहा गया है कि कछुआ जिस प्रकार अपने अंगों को अन्दर में समेट कर खतरे से बाहर हो जाता है, वैसे हो साधक भी अध्यात्म योग के द्वारा अन्तर्मुख होकर अपने को पाप वृत्तियों से सुरक्षित रखे ।१० मन वाणी शरीर और इन्द्रिय व्यापारों का संयमन ही साधना का लक्ष्य माना गया है। सच्चे साधक को व्याख्या करते हुए दशवैकालिक सूत्र में कहा गया है कि जो सूत्र तथा उसके रहस्य को जानकर हाथ, पैर, वाणी तथा इन्द्रियों का यथार्थ संयम रखता है (अर्थात् सन्मार्ग में विवेकपूर्वक लगता है), अध्यात्म रस में ही जो मस्त रहता है और अपनी आत्मा का समाधि में लगाता है वही सच्चा साधक है । निर्जरा का अर्थ :
आत्मा के साथ कर्म पुद्गल का सम्बन्ध होना यह बन्ध है और आत्मा से कर्मवर्गणा की अलग होना यह निर्जरा है । संवर नवोन आने वाले कर्म पुद्गल का रोकना है परन्तु मात्र संवर से निर्वाग की प्राप्ति सम्भव नहीं । उत्तराध्ययन सूत्र में बताया गया है कि जैसे किसी बड़े तालाब के जल स्रोतों (पानी के आगमन के द्वारों) का बन्द कर दिया जाए और उसके अन्दर रहे हुए जल को उलीचा जाय और ताप से सुखाया जाए तो वह विस्तीर्ण तालाब भी सूख जाएगा । प्रस्तुत रूपक में आत्मा हो सरोवर है, कर्म पानी है, कर्म का आस्रव ही पानी का आगमन है । उस पानो के आगमन के द्वारों को निरुद्ध कर देना संवर है और पानी का उलीचना और सुखाना निर्जरा है । यह रूपक यह बताता है कि संवर से नये कर्मों रूपी जल का आगमन (आस्रव) तो रुक जाता है लेकिन पूर्व में बन्धे हुए, सत्तारूप कर्मों का जल तो आत्मा रूपो तालाब में शेष रहा हुआ है जिसे सुखाना है । यह जल का सुखाना निर्जरा है । . ट्रॅव्य और भाव निर्जरा :
निर्जरा शब्द का अर्थ है जर्जरित कर देना, झाड़ देना अर्थात् आत्म तत्व से कर्म पुदगल का अलग हो जाना अथवा अलग कर देना निर्जा है । जैनाचार्यों ने यह निर्जरा दो प्रकार की मानी है । आत्मा को वह चैनसिक अवस्था जिसके द्वारा कर्म पुद्गल अपना फई देकर अलग हो जाते हैं, भाव निर्जरा कही जाती है। भाव निर्जरा आत्मा को वह विशुद्ध अवस्था है जिसके कारण कम परमाणु आत्मा से अग हो जाते हैं । यही कर्म

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सांगरमल जैन
२१
परमाणुओं का आत्मा से पृथक्करण द्रव्य निर्जरा है । भाव निर्जरा कारण रूप है और द्रव्य निर्जरा कार्य रूप है ।
सकाम और अकाम निर्जरा :
१. प्रथम -
- कर्म जितनी काल मर्यादा
पुनः निर्जरा के दो अन्य प्रकार भी माने गये हैं । ( अवधिकाल ) के साथ बन्धा है, उसके समाप्त हो जाने पर अपना विपाक (फल) देकर आत्मा से अलग हो जाता है, यह यथाकाल निर्जरा कहो जाती है । इसे सविक, अकाम और rateefae निर्जरा भी कहते हैं । यह सविपाक निर्जरा इसलिए कहो जाती है कि इसमें कर्म अपना विपाक देकर अलग होता है अर्थात् इसमें फलोदय (विपाकोदय) होता है । इसे अकाम निर्जरा इस आधार पर कहा गया है क्योंकि इसमें कर्म के अलग करने में व्यक्ति के संकल्प का तत्व नहीं होता है । उपक्रम शब्द प्रयास के अर्थ में आता है, इसमें वैयक्तिक प्रयास का अभाव होता है, अतः इसे अनौपक्रमिक भी कहा जाता है ।
दूसरे जब तपस्या के माध्यम से कर्मों को उनके फल देने के समय के पूर्व अर्थात् उनकी कालस्थिति परिपक्व होने के पहिले ही प्रदेशोदय के द्वारा भोगकर बलात् अलग अलग कर दिया जाता है तो ऐसी निर्जरा को सकाम निर्जरा कहा जाता है, क्योंकि निर्जरित होने में समय का तत्त्व अपनी स्थिति को पूरी नहीं करता है । इसे अविपाक निर्जरा भी कहते हैं, क्योंकि इसमें विपाकोदय या फोदय नहीं होता है, मात्र प्रदेशोदय होता है । विपाकोदय और प्रदेशो में क्या अन्तर हैं, इसे निम्न उदाहरण से समझा जा सकता है । जब क्लोरे - फार्म सुँघाकर किसी व्यक्ति की चीर फाड़ की जाती है तो उसमें उसे असातावेदनीय (दुःखानुभूति) नामक कर्म का प्रदेशोदय होता है लेकिन विपाकोदय नहीं होता है । उसमें दुःखद वेदना के तथ्य तो उपस्थित होते हैं लेकिन दुःखद वेदना की अनुभूति नहीं है । इसी प्रकार प्रदेशोदय कर्म के फल का तथ्य तो उपस्थित हो जाता है लेकिन उसकी फलानुभूति नहीं होती है । अतः यह अविपाक निर्जरा कही जाती है इसे सकाम निर्जरा भी कहा जाता है क्योंकि इसमें कर्म परमाणुओं को आत्मा से अलग करने का संकल्प होता है । यह औपक्रमिक निर्जरा भी कही जाती है क्योंकि इसमें उपक्रम या प्रयास होता है । प्रयास पूर्वक, तैयारी सहित, कम वर्गणा के पुद्गलों को आत्मा से अलग किया जाता
।
है । यह कर्मों को निर्जरित (क्षय) करने का कृत्रिम प्रकार है ।
अनौपक्रमिक या सविपाक संचित कर्म के प्रतिफलों का जीवन को आई हुई परि
निर्जरा अनिच्छा पूर्वक, अशान्त एवं सहन करना है जबकि अविपाक निर्जरा स्थितियों का मुकाबला करना है । जैन साधना में औपक्रमिक निर्जरा का स्थान :
व्याकुल चित्तवृत्ति से, पूर्व इच्छापूर्वक समभावों से
सविपाक या अनौपक्रमिक
क्षेत्र में ही नहीं
जैन साधना की दृष्टि से निर्जरा का पहला प्रकार जिसे निर्जरा कहते हैं अधिक महत्त्वपूर्ण नहीं है, यह पहला प्रकार साधना के आता है क्योंकि कर्मों के बन्ध और निर्जरा का यह क्रम तो सतत रूप से चला आ रहा है । हम प्रतिक्षण पुराने कर्मों की निर्जरा करते रहते हैं लेकिन जब तक नवीन कर्मो का सृजन समाप्त नहीं होता ऐसी निर्जरा से सापेक्षिक रूप में कोई लाभ नहीं होता । जैसे कोई व्यक्ति पुराने ऋण का भुगतान तो करता रहे लेकिन नवीन ऋण भी ऋण मुक्त नहीं होता है ।
लेता रहे तो वह

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जैन कर्म सिद्धान्त : बन्धन और मुक्ति की प्रक्रिया
जैन विचारणा के अनुसार यह सविपाक निर्जरा तो आत्मा अनादिकाल से करता आ रहा है लेकिन निर्वाण का लाभ प्राप्त नहीं कर सका । आचार्य कुन्दकुन्द कहते हैं यह चेतन आत्मा कर्म के विपाक काल में सुखद और दुःखद फलों की अनुभूति करते हुए पुनः दुःख के बीज रूप आठ प्रकार के कर्मो का बन्ध कर लेता है। क्योंकि कर्म जब अपना विपाक देते हैं तो किसी निमित्त से देते हैं और अज्ञानी आत्मा शुभ निमित्त पर राग और अशुभ निमित्त पर द्वेष करके नवीन बन्ध कर लेता है४२ ।
अतः साधना मार्ग के पथिक के लिए पहले यह निर्देश दिया गया कि वह प्रथम ज्ञान युक्त हो कर्मास्रव का निरोध कर अपने आपको संवृत करे । संवर के अभाव में जैन साधना में निर्जरा का कोई मूल्य नहीं, वह तो अनादिकाल से होती आ रही है किन्तु भव परम्परा को समाप्त करने में सहायक नहीं हुई। दूसरे यदि आत्मा संवर का समाचरण करता हुआ भी इस यथाकाल होने वाली निर्जरा की प्रतीक्षा में बैठा रहे तो भी वह शायद ही मुक्त हो सके क्योंकि जैन मान्यता के अनुसार प्राणो के साथ कर्म वन्ध इतना अधिक है कि वह अनेक जन्मों में हो शायद इस कर्म बन्ध से स्वाभाविक निर्जरा के माध्यम से मुक्त हो सके । लेकिन इतनी लम्बी समयावधि में संबर से स्खलित होकर नवीन कर्मो के बन्ध को सम्भावना भी तो रही हुई है । अतः साधना मार्ग के पथिक के लिए जो मार्ग बताया गया है, वह है औपक्रमिक या अविपाक निर्जरा का । महत्त्व इसी तप जन्य निर्जरा का है । ऋषिभाषित सूत्र में ऋषि कहता है कि संसारो आत्मा प्रतिक्षण नए कर्मो का बन्ध और पुराने कर्मो को निर्जरा कर रहा है लेकिन तप से होने वाली निर्जरा ही विशेष (महत्त्वपूर्ण) है । बन्ध और निर्जरा का प्रवाह अविराम गति से बढ़ रहा है किन्तु (जो) साधक संवर द्वारा नवीन आस्रव को निरुद्ध कर तपस्या द्वारा पुरातन कर्मो को क्षीण करता चलता है, वह अन्त में पूर्ण रूप से निष्कर्म बन जाता है, मुक्ति को प्राप्त कर लेता है । संदर्भ संकेत :
(१) कर्म ग्रन्थ १ पृ. १. (२) दर्शन और चिन्तन पृ. २२५. (३) गोम्मटसार कर्म काण्ड ६ (४) अष्टसहस्री पृ. ५१. (५) कर्म विपाक भूमिका पृ. २४ (६) अमर भारतो नव. ६५ पृ. ९. (७) Jain Studies p. 225-26. (८)Jain Studies p. 228. (९) तत्त्वार्थ ८.४ (१०) अमर भारती नवम्बर ६५ पृ. ११-१२ (११) समयसार २१८-२१९ (१२) मज्झिम निकाय ३.१.३. (१३) उद्धृत Jain Studies p. 25t. (१४) तत्त्वार्थ ८.२-३१ (१५) तत्त्वार्थ ६.१ -२ (१६) तत्त्वार्थ ९.३-४ (१७) तत्त्वार्थ ६.५. (१८) तत्त्वार्थ ८ १. (१९) समयसार १७१ (२०) उत्तराध्ययन३२.७ (२१) समयसार १५७. (२२) सूत्र तांग १.८ (२३) सूत्रकृतांग १.८.३. (२४) आचारांग १.४.२.१. (२५) उत्तराध्ययन सत्र २८.१४. (२६) तत्वार्थ १.४. (२७)ऋषिभाषित ९.२. (२८) समयसार १४५-१४६ (२९) प्रवचनसार टोका १.७२. (३०). समयसार टीका पृ. २०७ (३१) तत्त्वाथ ९.१ (३२) सर्वदर्शन संग्रह पृ. ८० (३३) स्थानांग ५.२.४२७ (३४) उत्तराधयन २९.२६ (३५) धम्मपद ३९० -३९३ (राहुलजीकत हिन्दी अनुवाद) (३६) द्रव्य संग्रह ३४ (३७) सनवायांग ५.५ (३८) स्थानांग ८.३.५९८ (३९) सूत्रको १.८.१६ (४०) दशकालिक १० १५ (४१) उत्तराध्ययन ३०.५-६ (४२) समयसार ३८९ (४३) ऋपिनातित ९.१० (४४) जैनधर्म पृ. ८७.

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जैन यक्षी अजिता (या रोहिणी) का प्रतिमानिरूपण
मारुतिनन्दन प्रसाद तिवारी जैन देवकुल में यक्ष एवं यक्षियों का महत्त्वपूर्ण स्थान है। जैन ग्रन्थों में इनका उल्लेख जिनों के शासन-और उपासक-देवों के रूप में हुआ है । जैन ग्रन्थों के अनुसार समवसरण में जिनों के धर्मोपदेश के बाद इन्द्र ने प्रत्येक जिन के साथ सेवक देवों के रूप में एक यक्ष और एक यक्षी को नियुक्त किया। शासनदेवताओं के रूप में जिनों के समीप सर्वदा रहने के कारण ही जैन देवकुल में यक्ष और यक्षियों को जिनों के बाद सर्वाधिक प्रतिष्ठा मिली । ल० छठी शती ई० में जिन-मूर्तियों में और ल० नवीं शती ई० में स्वतन्त्र मूर्तियों के रूप में यक्ष-यक्षियों का निरूपण प्रारम्भ हुआ । ___ ग्रन्थों में ल० आठवीं-नवों शती ई० में २४ यक्ष-यक्षी युगलों की सूची तैयार हुई । प्रारम्भिकतम सूचियाँ कहावलो (श्वेतांबर, तिलोयात्ति ' (दिगम्बर) एवं प्रवचनसारोद्धार (श्वेतांबर) में मिलती हैं । २४ यक्ष-यक्षी युगलों की स्वतन्त्र लाक्षणिक विशेषताएँ ग्यारहवोंबारहवीं शती ई० में निर्धारित हुई, जिनके प्रारम्भिकतम उल्लेख निर्वाणकलिका श्वेतांबर), त्रिषष्टिशलाकापुरुषचरित्र (श्वेतांबर) एवं प्रतिष्ठासारसंग्रह (दिगम्बर) में हैं । यह भी ज्ञातव्य है कि स्वतन्त्र अंकनों में यक्ष की तुलना में यक्षियों के चित्रण विशेष लोकप्रिय थे। २४ यक्षियों के सामूहिक अंकन के हमें तीन उदाहरण मिले हैं, जो क्रमशः देवगढ़ (ललितपुर, उ. प्र., मन्दिर १२, ८६२ ई.), पतियानदाई (सतना, म०प्र०, अंबिका मूर्ति, ११वीं शती ई०), और बारभुजी गुफा (खण्डगिरि, उड़ीसा, ११-१२वीं शती ई०) से प्राप्त हुए हैं । २४ यक्षों के सामूहिक चित्रण का सम्भवतः कोई प्रयास नहीं किया गया ।
प्रस्तुत लेख में हम दूसरे जिन अजितनाथ की अजिता (या रोहिणी) यश्ची के प्रतिमाविज्ञान का विस्तृत अध्ययन करेंगे । यक्षी के प्रतिमाविज्ञानपरक विकास को पहले साहित्यिक साक्ष्य के आधार पर और बाद में पुरातात्त्विक साक्ष्य के आधार पर निरूपित किया गया है । अन्त में दोनों का तुलनात्मक एवं समन्वयात्मक अध्ययन भी किया है । शास्त्रीय परम्परा :
जिन अजि.नाथ की यक्षी को श्वेताबर परंपरा में अजिता (या अजितबला या विजया)" और दिगम्बर परम्परा में रोहिणी नाम दिया गया है। दोनों परम्पराओं में चतुर्भुजा यक्षी को लोहासन पर विराजमान बताया गया है ।
उत्तर भारतीय श्वेतांबर परम्परा : निर्वाणकलिका (११वों-१२वीं शतो ई०) में लोहासन पर विराजमान चतुर्भुजा अजिता के दाहिने हाथों में वरदमुद्रा एवं पाश, और बायें हाथों में अंकुश एवं फल के प्रदर्शन का विधान है। अन्य ग्रन्थों में भी उपर्युक्त लक्षणों के ही उल्लेख हैं । आवारदिनकर (१४११ ई.) एवं देवतामूर्तिप्रकरण (ल. १५वीं शती ई०) में यक्षी के वाहन के रूप में लोहासन के स्थान पर क्रमशः गाय और गधा का उल्लेख है ।
उत्तर भारतीय दिगम्बर परम्परा : प्रतिष्ठासारसंग्रह (१२वीं शती ई०) में लोहासन पर विराजमान चतुर्भुजा रोहिणी के हाथों में वरदमुद्रा, अभयमुद्रा, शंख, एवं चक्र के अंकन का निर्देश है" । अन्य ग्रन्थों में भी यही विवरण प्राप्त होता है ।

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२४
जैन यक्षी अजिता : या रोहिणी का प्रतिमानिरूप । इस प्रकार दोनों परम्परामों में केवल यक्षी के नामों एवं आयुधों के सन्दर्भ में ही भिन्नता प्राप्त होती है। श्वेताम्बर परम्परा में अजिता के मुख्य आयुध पाश एवं अंकुश,
और दिगम्बर परम्परा में रोहिणी के मुख्य आयुध चक्र एवं शंख हैं । यक्षी का अजिता नाम सम्भवतः उनके जिन (अजितनाथ) से तथा रोहिणी नाम प्रथम जैन महाविद्या रोहिणो से ग्रहण किया गया है । __दक्षिण भारतीय परम्परा : दिगम्बर परम्परा के अनुसार चतुर्भुजा यक्षी के ऊपरी हाथों में चक्र, और नीचे के हाथों में अभयमुद्रा और कटकमुद्रा होने चाहिए । अज्ञातनाम श्वेतांबर ग्रन्थ में मकरवाहना चतुर्भुजा यक्षी के करों में वज्र, अंकुश, कटार (संकु) एवं पद्म के प्रदर्शन का निर्देश है । यक्ष-यक्षी लक्षण में धातुनिर्मित आसन पर विराजमान यक्षी के हाथों में वरदमुद्रा, अभयमुद्रा, शंख एवं चक्र का उल्लेख है । इस प्रकार उत्तर और दक्षिण भारत के ग्रन्थों में चक्र, शंख, अंकुश एवं अभय-(या वरद-)मुद्रा के प्रदर्शन में समानता प्राप्त होती है । यक्ष-यक्षी लक्षण का विवरण पूरी तरह प्रतिष्ठासारसंग्रह के समान है।
मूर्ति परंपरा : गजरात-राजस्थान : इस क्षेत्र की अजितनाथ मूर्तियों में यक्ष-यक्षी का चित्रण नहीं प्राप्त होता है । पर आबू, कुम्भारिया, तारंगा, सादरी, घाणेराव जैसे श्वेतांबर स्थलों (११वों-१२वीं शती ई०) पर दो ऊर्ध्व करों में अंकुश एवं पाश धारण करने वालो चतुभुजा देवो का निरूपण विशेष लोकप्रिय था। देवी के निचले करों में वरद-(या अभय-) मुद्रा एवं मातुलिंग (या जलपात्र) प्रदर्शित हैं । देवी का वाहन कभी गज और कभी सिंह है । देवो को संभा वेत पहचान अजिता से की जा सकती है" ।। उत्तर प्रदेश-मध्य प्रदेश :
(क) स्वतन्त्र मूर्तियाँ : मालादेवी मन्दिर (ग्यारसपुर, विदिशा) एवं देवगढ़ से रोहिणी की दसवों-ग्यारहवीं शतो ई० को तीन मूर्तियाँ मिलो है । मालादेवी की मूर्ति (१०वों शती ई०) उत्तरी मण्डप के अधिष्ठान पर उत्कीर्ण है। इसमें द्वादशभुजा रोहिणी ललितमुद्रा में लोहासन पर विराजमान है। लोहासन के नीचे एक स्पष्ट सी पशु आकृति (संभवतः गजमस्तक) उत्कीर्ण है । यक्षी के छः अवशिष्ट हाथों में पद्म, वज्र, चक्र, शंख, पुष्प और पद्म प्रदर्शित हैं ।
देवगढ़ में रोहिणी की दो मूर्तियाँ हैं । एक मूर्ति (१०५९ ई०) मन्दिर ११ के सामने के स्तम्भ पर है । इसमें अष्टभुजा रोहिणी ललितमुद्रा में भद्रासन पर विराजमान है (देखें चित्र)। आसन के नीचे गोवाहन उत्कीर्ण है । रोहिणी वरदमुद्रा, अंकुश, बाण, चक्र, पाश, धनुष, शूल एवं फल से युक्त है । दूसरी मूर्ति (११वों शती ई०) मन्दिर १२ के अर्धमण्डप के समीप के स्तम्भ पर उत्कीर्ण है । इसमें गोगहना रोहिणी चतुर्भुजा है और उसकी भुजाओं में वरदमुद्रा, बाण, धनुष एव जलपात्र हैं ।
(ख) जिन-संयुक्त मूर्तियाँ : अजितनाथ की मूर्तियों में यक्षी का अपने विशिष्ट स्वतन्त्र स्वरूप में निरूाग नहीं प्राप्त होता है । देवगढ़ एवं खजुराहो की अजितनाथ की मूर्तियों में सामान्य लक्षणों वाली द्विभुजा यक्षी अभयमुद्रा (या खड्ग) एवं फल (या जलपात्र) से युक्त

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मारुतिनन्दन प्रसाद तिवारी
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बिहार - उड़ीसा - बंगाल :
शोभित यक्षी के ललाट
वज्र और अंकुश का
इस क्षेत्र में केवल उड़ीसा की खण्डगिरि की नवमुनि एवं बारभुजी गुफाओं से हो रोहिणी की मूर्तियाँ (११त्र - १२वीं शती ई०) मिली हैं। नत्रमुनि गुफा की मूर्ति में अजित को यक्षी चतुर्भुजा है, और उसका वाहन गज है । यक्षी के हाथों में अभयमुद्रा, वज्र, अंकुश और तीन काँटे वाली कोई वस्तु प्रदर्शित है । किरीटमुकुट से पर तीसरा नेत्र उत्कीर्ण है । यक्षी के रूप में गजवाहन एवं प्रदर्शन हिन्दू इन्द्राणी (मातृका) का प्रभाव है । " बारभुजी गुफा में अजित के साथ द्वादशभुजा रोहिणी आमूर्तित है । वृषवाहन रोहिणी की अवशिष्ट दाहिनी भुजाओं में वरदमुद्रा, शूल, बाण एवं खड्ग और बायों में पाश (१), धनुष, हल, खेटक, सनाल पद्म एवं घण्टा (१) प्रदर्शित हैं । यक्षी को एक वायों भुना वक्षःस्थल के समक्ष स्थित है ।" यक्षी के साथ वृषभवाहन एवं धनुष और बाण का प्रदर्शन रोहिणी महाविद्या का प्रभाव है । बारभुजी गुफा की एक दूसरी मूर्ति में रोहिणी अष्टभुजा है । वृषभवाहना यक्षी के शीर्ष भाग में गजलांछन युक्त अजितनाथ की मूर्ति उत्कीर्ण है । रोहिणी के दक्षिण करों में वरदमुद्रा, अंकुश और चक्र एवं वाम करों में शंख (१), जलपात्र, वृक्ष की टहनी और चक्र हैं ।" नवमुनि एवं बारभुजी गुफाओं की मूर्तियों के विवरणों से स्पष्ट है कि इस क्षेत्र में रोहिणी को लाक्षणिक विशेषताएँ स्थित नहीं हो पायीं थीं ।
पताका,
२५
विश्लेषण : सम्पूर्ण अध्ययन से स्पष्ट है कि ल० दसवीं शती ई० में यक्षी की स्वतन्त्र मूर्तियों का उत्कीर्णन प्रारम्भ हुआ, जिनके उदाहरण ग्यारसपुर ( मालादेवी मन्दिर), देवगढ़ एवं उड़ीसा में नवमुनि और बारभुजी गुफाओं से मिले हैं । दिगम्बर स्थलों की इन मूर्तियों में रोहिणी के निरूपण में अधिकांशतः श्वेतांबर महाविद्या रोहिणी की विशेषताएँ ग्रहण की गयीं । केवल मालादेवी मन्दिर की मूर्ति में ही वाहन और आयुषों के सन्दर्भ में दिगम्बर परम्परा का निर्वाह किया गया है ।
सन्दर्भ सूची :
(१) द्रष्टव्य, भट्टाचार्य, बी०सी०, दि जैन आइकनोग्राफी, लाहौर, १९३९, पृ०९३ । (२) हरिवंशपुराण ६६. ४३-४४, तिलोयपण्णत्ति ४. ९३४ - ३९ ।
(३) द्रष्टव्य, शाह, यू०पी०, 'इण्ट्रोडक्शन आव शासनदेवताज इन जैन वरशिप', प्रोसिडिंग्स एण्ड ट्रान्जेक्शन्स आव दि आल इन्डिया ओरियण्टल कान्फरेन्स, २०वाँ अघिवेशन, भुवनेश्वर, १९५९, पृ०१४७ ।

(४) तिलोयपण्णत्ति ४. ९३४- ३९ ।
(५) प्रवचनसारोद्धार ३७५-७८ ।
(६) यह मूर्ति संप्रति इलाहाबाद संग्रहालय (क्रमांक २९३ ) में सुरक्षित है । (७) मन्त्राधिराजकल्प |
(८) समुत्पन्ना मजिताभिधानां यक्षिणीं गौरवर्णां लोहासनाधिरूढां चतुर्भुजां वरदपाशा विष्ठितदक्षिणकरां बीजपूरकांकुशयुक्तवामकरां चेति ॥ निर्वाणकलिका १८. २ ।
(९) त्रिषष्टिशलाका पुरुषचरित २. ३. ८४५ - ८४६ ; पद्मानन्द महाकाव्य : परिशिष्ट- अजितस्वामोचरित्र २१ - २२; मन्त्राधिराजकल्प ३. ५२ ।
(१०) आचारदिनकर ३४, पृ० १७६, देवतामूर्तिप्रकरण ७ २१ ।

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२६
जैन यक्षी अजिता या रोहिणी का प्रतिमानिरूप |
(११) देवी लोहालना रोहिण्याख्या चतुर्भुजा । वरदाभयहस्तासौ शंखचक्रोज्त्रलायुधा ॥
प्रतिष्ठासारसंग्रह ५. १८ ।
(१२) प्रतिष्ठासारोद्धार ३. १५७; प्रतिष्ठातिलकम् ७ २, पृ० ३४१; अपराजितपृच्छा २२१. १६ ।
(१३) महाविद्या रोहिणी की एक भुजा में शंख भी प्रदर्शित है ।
(१४) द्रष्टव्य, रामचन्द्रन, टो० एन०, तिरुपरुत्तिकुणरम ऐण्ड इट्स टेम्पलूस, बुलेटिन मद्रास गवर्नमेन्ट म्यूजियम, खं०१, भाग ३, मद्रास, १९३४, पृ० १९८ ।
(१५) श्वेताम्बर स्थलों पर महाविद्याओं को विशेष लोकप्रियता, यक्षियों की स्वतन्त्र मूर्तियों की अल्पता एवं अजितनाथ की मूर्तियों में यक्ष-यक्षी का न उत्कीर्ण किया जाना इस पहचान में बाधक हैं ।
(१६) देवगढ़ की मूर्तियों पर श्वेतांबर परम्परा की प्रथम महाविद्या रोहिणी का प्रभाव है । गोवाहना रोहिणी महाविद्या की भुजाओं में बाण, अक्षमाला, धनुष एवं शंख प्रदर्शित
(१७) द्रष्टव्य, मित्रा, देवला, शासनदेवीज इन दि खण्डगिरि केन्स, जर्नल एशियाटिक सोसाइटी (कलकत्ता), खं० १, अं० २, १९५९, पृ० १२८ । (१८) वही पृ० १३० । (१९) वही पृ० १३३ ।

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पाइय-सह-महण्णवो में अनुपलब्ध वसुदेवहिण्डी की शब्दावली (२)
के. आर. चन्द्र इसी सम्बन्ध में एक सूची ‘सम्बोधि', जिल्द ६, अंक, ३-४ में छप चुकी है और प्रस्तुत शब्दावली वसुदेवहिण्डो के आगे के ७७ से २०० पृष्ठों का समावेश करती है अर्थात् ग्रन्थ के प्रथम खंड के प्रथम अंश की ही यह शब्दावली है । [संकेत ०=पिशल के प्राकृत-व्याकरण में अनुपलब्ध, *=सम्बोधि(जिल्द ६, अंक ३-४) में प्रथम लेख में प्रकाशित शब्दों का विशेष स्पष्टीकरण; पासम. पाइय-सद्द-महण्णवो; मोविसंडि. मोनियर-विलियम्स संस्कृत-इंगलिश डिक्शनरी]
० अइणे (१०८.११) अति-नी लाना अइवाहिय (१५५.१७) अतिवाहिक-चौकीदार अंतरवत्ति (११४.१८) अन्तरवर्तिन्=अन्दर रहने वाला, गर्भ में रहने वाला अकल्ल (१८९.२) अकल्य-अस्वस्थ अकोस (१६२.४) अकोश-कोशरहित, अनावृत, विकसित अक्कुट (११८.१) आक्रुष्ट-कुपित अक्खित्त (८३.१८) आक्षिप्त-अपहृत अगल्लिग (९२.६) अकल्यिक-अस्वस्थ अग्गाणीय (८१.१८) अग्रानीक=अग्रदल, सैन्यमुख ० अच्छिय (१६८. २८) आच्छिद्-थोड़ा काटना, चारों ओर काटना
अच्छेरिय (१२८.३) आश्चर्य अणुयत्तयं (१७५.९) अनुयात्रकम् भ्रमण के लिए
अणुपय, अणुवय (१२६.१६,१२२.१८) अनुपत्=पीछे पड़ना *अप्पणिय (३०.३) आत्मनीय अप्परिपडिय (१११.१६) अप्रतिपतित-अनष्ट, सतत स्थिर अब्भुससत्त' (१३७.२३) अभ्युच्छवसत्-ऊँचा साँस लेता हुआ, स्पंदित होता हुआ अम्मगा, अम्मया (१३६.३, १३७.२) माता, स्त्री अयाणुग (७९.२७) अज्ञायक-अज्ञ, अज्ञानी, अनजान अलच्छीअ (१४४.१६) अलक्ष्मीक-अभागा अवकरेऊण (१९७.२) अवकीय (अवकृ) बिखेरना, ऊपर डालना अथवा स्वागत,
__ आभार या अनुग्रह प्रकट करना • अवकिरिय (१५१.२७) अवकीर्य दूर करके, त्याग कर अवछूढ (१३७.११) अवक्षिप्त नीचे फेंका हुआ अवज्झ (१६९९) अप+उज्झू-त्याग करना १. अब्भूससन्त अथवा अब्भुच्छसन्त यह पाठ होना संभव है ।

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२८
पाइय-सह-महण्णवो में अनुपलब्ध वसुदेवहिण्डी को शब्दावली अवरज्जुक (१९९.२७) अपरेयुः आगामी कल, सुबह,(अवरज्ज=(देश्य) पासम०) अवाकरिय (१६८.२७) अपाकृत्य-दूर फेंककर अहिंगत (९९.२२) अधिकृत अधिकारी, कोषाध्यक्ष आकल (११७.५) आकल्-निरीक्षण करना आगमेयव्व (१८२.२०) आगन्तव्य अध्ययन करने योग्य आडत्त (१४४.१३) (देश्य)=धरोहर में रक्खा हुआ आण? (७७.५) आनर्त देश आणाकर (१३४.८) आज्ञाकर नौकर आलिक्ख (१७४.२) आलेख्य-चित्रकला इत्थिगा (१२३.२) स्त्रोका स्त्री उच्चपसवा (१३३.१७) उच्चप्रस्रवा-रजसू की नाडी ऊँची हो ऐसी स्त्री, जनन कर्म
के लिए अयोग्य उच्चावग (१७४.९)-ठग (देखो. गुज. उचापत ठगाई) उच्चोली (१४८.१०) (देश्य)=झोली उदिक्ख (१४.१६) उदीक्ष=प्रतीक्षा करना उद्धंत (१४५ १८) (उद्ध्मात), फूका हुआ, बजाया हुआ उप्पस्सय (१०९.१६) उत्पश्यत तलाश करो उप्पालिय (१३८.१६) उत्पाटित खींचा हुआ, निकाला गया उरोह (८३.१) ओरोह, अवरोध अन्तःपुर उवउक्खित्त (१०२.२९) उप+उत्+क्षिप्त ऊँचे उछला हुआ *उवगिज्झमाण (१३.२१) उपगृह्यमाण=आसक्त किया जाता हुआ उवछुभ (१४५.१२) उपक्षिपू-मंगवाना, एकत्रित करना ० उवय (उवयंत=अवपतत् १३८ २; उवयति अवपतति १९५.१७) अवपत् नीचे पड़ना उवाय (१२४.२७, २९) उपायन-भेंट। उसभसामि (१८५.२) ऋषभस्वामी-प्रथम तीर्थंकर ऋषभ उसमसिरी (१८६.१२) ऋषभश्री प्रथम तीर्थंकर ऋषम उसर (१०२.७) उत्सृन्दूर हो जाना, सरकना, (पासम. ओसर) उसारिय (१३२.७) उत्सारित दूर किया गया (शसम. ओसारिय) उहावणा (१०२.४) अपभावना, अपहापना=तिरस्कार, लघुता (पासम. ओहावणा)
ओसोविय (१७८.३०) अवस्वापित=नीद्राधीन किया हुआ कटयिय (१४३. १५) कंटकित*=रोमांचित (देखो नायकुपारचरिउ, १.९.२ धम्माणुराय
___कंटइयकाउ) कट्ठणि (१३८.७) कर्षणि खरोच, खिंचाव, अंग कट्ठणिमग्ग (१३८.२) कर्षणिमार्गखोंचने से अनी रेखा

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के. आर. चन्द्र
३९
* कठिण (१८.१) सन्यासियों का बाँस का बना हुआ एक पात्र (पासम. कढण - भगवती सूत्र )
कलत्त (१३५.२६) कलत्र = नितम्ब
कम्मत ( १४५.१०) कर्मान्त = कारोबार, धन्धा, गिरवी रखने का धन्धा
कुट्ठ ( ७७.५) कुशार्त = कुशावर्त देश
गमेव (१२६.२८) गमितव्य = बीताने योग्य
गहभोइय (१३०.३) ग्रहभोगिक = चन्द्रमा
० गरिहगा (१७.१४) गर्हणा = निंदा गुलुक (१३६.१९) गुलिक, गुल्म = गुच्छ • घायव्व (१२९.१४) हन्तव्य ( पासम. धाइयन्व ) ० चित्तया ( ९३.१९) चित्तता, चित्तत्व = चित्तभाव चोक्खीकर (६९.१९ ) = शुद्ध या स्वस्थ करना जन्नोइय ( १९४.६) यज्ञोपवीत
जवागू (१४६.२१) यवागू = दलिया, माँड, रात्र ० झरिम (१२३.१७) (निर्झर + इम = झरना जाणुक (१७६.१६) ज्ञायक = जानने वाला
णिपयणी (१९५७) निपतनी = नीचे उतरने की विद्या
1
णिसिणेह (१४०.२३) निःस्नेह = स्नेह रहित
निस्संद (१९९.२२) निष्पन्द = स्थिर
णीण (१९५.१९) निम्न=नीचा
तक्कम (१२०.५) तत्क्रम = उसी क्रम वाला, उसका अनुकरण तवसि ( १०१.१७ ) तपस्विन् = विचारा, निस्सहाय
तिहला (१८९.४ ) त्रिफला तेयस्सिया (२००३) तेजस्विता तो यह ( १२१.२० ) कमल
० धूर (१२७.१३) स्थूल = मोटा
दारट्ठिअ ( १४४.१०) द्वारस्थित = द्वारपाल
दाराहिगअ ( १३०.१५०) द्वाराधिकृत = द्वारपाल, द्वारसेवक दारिट्ठ (१४४.१५) द्वारे स्थ= द्वारपाल
दुतिय (१३७.२० ) द्वितीय = दूसरा
दुद्धवाहिय (१८२.७) दुग्धवाहिक = दूधवाला
दुपिक्ख (१३०.३) दुष्प्रेक्ष्य = अदर्शनीय
दु (७८.१५) द्रुत शीघ्र
०धम्मया (१२९.१९; १८४.२८) धर्मता, धर्मत्व = धर्मभाव
धरणिगोयरी (१३६.४) घरणिगोचरी = मानव स्त्री artis ( १७४.१३) घातकी षंड = घातको खंड

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पाइय- सह - महण्णवो में अनुपलब्ध वसुदेवहिण्डी की शब्दावली
*नखरण (१०७.३)= देखो णहरण*
नाड (८६.१३) चमड़े की पट्टी, जोत, (गुज. नाड, नाडु, हिन्दी, नाडा ) * नासावंस ( ६५.२० ) नासावंश = नासाग्र
निक्कअ (१५४.१७) निष्क्रय = मुक्ति मूल्य, स्वतन्त्र करने की कीमत
निलिंति (१३७.१२) नीळयन्ते (मोत्रिसंडि.) = एक जगह आ लगते हैं, आश्रय लेते हैं । नीइ ( ११६.२७) निर्याति बाहर निकलता है ( पासम. णिज्जाइ; णो = गम् ) नेय (१७.१९) नेत्र = नहीं ही
पइकिति (१२६.१९) प्रतिकृति = प्रतिबिम्ब, मूर्ति, (पासम. पइकिदि, पइगिर, पडिकिदि ) ०पकअ (११७.२३) प्रकृत = प्रस्तुत किया हुआ (पासम पकड ) पच्चअ (१५४.१३) प्रत्यय = समाचार, विश्वासपूर्ण जानकारी पजाइय ( १९३.८) पर्यायित= मारा हुआ, समाप्त, पर्यायप्राप्त पज्जोसिअ ( १०८.२) प्रज्योति कल संबंधो, संध्या संबंधी पगारिया (१८०.१३) परिकारिका = सेविका ( मोविपंडि परिकर्मन् = सेवक ) डिभि ( १३९.१०) प्रतिभिन्न= निंदित
पडीया ( ८४.१५ ) प्रत्यनीकता = शत्रुता, विपरीतता
प्रडियग्ग (१५४.१७ ) प्रतिजागृ= सार संभाल लेना, किसी के लिए जागृत रहना
पडिसिरा (१४८.३) (१) = परदा
पडुजाइ (१३२.८) पटु-जाति = ब्राह्मण, ( कुशल जाति)
पणिवय (१३०.८) प्रणिपत् = गिरना, फैल जाना, बिखरना पदेसिणी (१८४.१२) प्रदेशिनी = तर्जनी अंगुली
पयय ( १७१.२१) प्रयत् = प्रयत्न करना
पयारअ ( १९३.१०) प्रचारक = संचरण करने वाला, फिरने वाला परभाहतो (१०६ १०) परब्भव + आहत = पराभवप्राप्त
परहु ( ७९.२२) परभृत = कोयल
परिच्छअ (११६.२३) परिच्छद = परिजन, व्यक्तिगत साधन
परियावत्त (१७८.१७) पर्यावृत्त = समाप्त, विनष्ट, विलीन
०रिलीढ (१२१.१४) परिस्पृष्ट= चारों ओर से स्पृष्ट, आलिंगित
• परिविअ ( ७.१८) परिवीत = घिरा हुआ
पवार ( १३१.२० ) प्रयाह = बोलना
पसिज्ज (१४८.१२) प्रस्विद् = सेना होना, पसीने भीग जाना ( मोविसंडि.)
परसवण ( १३४.९) प्रसवण = झरना, फुवारा
• पाउवगमण (१७०.३० ) प्रायोपगमन = अनशन - विशेष से मरण
पागडिय ( १५७.५ ) प्राकृतिक
पाणीयं (८५.२३) पानीयम् = जलाशय
पीणग (१९२.१७) प्रीणक प्रसन्नदायी
• पुरट्ठा (१३१.१२) पुरस्या = आगे या नजदीक स्थित होना

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के. आर. चन्द्र
४
.
पुरिसाद (१९६.१२) पुरुषाद-पुरुषभक्षो • पुष्वक (१६९.१७) पूर्वक पहले का, आद्य पोत्थाहग (१९१.२१) प्रोत्साहक पोरिसाय (१९५.२९) पुरुषाद-पुरुषभक्षी फरिसेऊण (१०७.११) परुषयित्वा-धमका कर फरुसिय (१०७.२२) परुषित-धमकाया हुआ
बाहिया (१२१ २१) बाहुका बाहु बाहिरभाव (११५.६) बाह्यभाव नराश बीयवाल (९४.१८) बंजपाल-खेत का रक्षक भच्छअ (१४६.२२) भस्त्रिक-धमन, धौंकनी ०बितिज्जिय (१२०.२५) द्वित य-दूसरा भायर (१९६.७) भअयर -भयकर=भयदायी भुखंडिय (१५५.१९) भूखरा रंग (भू-खण्डिक) भोम (७७.९) भौम मंजिल मउडगंठि (१३७.५) मुकुटग्रंथि-मुकुट-शेखर मंडुक्की (१३८.१९) थैली, पेटी मंदाय (१९५.२६) मंद होना मंसमुदय (१६८.१०) मांस-समुदय-मांस का पिण्ड, मांसखंड
मणस (१७८.१०) मनस-मन माउलाणी १४१.४) मातुलानी मामी माउलाणीया (१४१.९) " " मुण (९९.२३) मौन मेंदुल्लग (९४.२८) मेढ़-मेंढा, भेड़ • मेरगा (१८४.१६) मर्यादका-मर्यादा रहजुग्ग (७७.२०) रथयुग-धुर, जुआ रंगयर (१६७.८) रङ्गचर-नट, पात्र
रायत्त (१२८.२६) राजत्व-राजपद रुइय (१०६.७) रोपित-स्थापित, मिश्रित लहहत्थया (११९.६) लघहस्तता हस्तकौशल्य ० लोभण (१९८.२०) लोभन लुभाने वाला वट्टमाणी (१०८.२०) वर्तमान परिस्थति, समाचार वत्ता (१०५.११) वक्ता वरिसया (७७.८) वर्षा, वर्ध्यावरसात ०वयणीय (८०.२४) वचनोय=निंदनीय, अनिष्ट वलंजेऊण (१४६.१०) वाणिज्यं कृत्वा व्यापार करके ०वहेयव्व (१२९.१६) वष्य वाइगो (१६६.२९) वाचिकी-वचन-सम्बन्धी

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३२
पाय - सह - महण्णवो में अनुपलब्ध वसुदेवहिण्डी की शब्दात्री वाणिज्जेऊण (१४६.७) वाणिज्यं कृत्वा व्यापार करके वायमिंग (१८१.२७) वातमृग = हवा में उड़ने वाला मृग ०विउरुब्व (११७.३) विकुर्व = दिव्य शक्ति से बनावटी शरीर बनाना विक्कम (१२९.२४) विक्रम चरण
विखुज्जीकय ( ९५.२) विकुब्ज कृत = कूबड रहित किया हुआ विदिट्ठ (११२.३०) विद्विष्ट = धिक्कारप्राप्त
० विवाड (१९०.१५, १२२.२८) विपादय् = मार डालना
० विहग्ग ( १४५.१९) विभग्न=भागा हुआ
वीवाहिणी (१४१.७) वैवाहिनी = व्याहिन, समधिनी (गुज. वेवाण )
० युच्छ (९२.२२; १४१.१२ ) वसित ( वस्त* ) = रहा या बसा हुआ ( पाली भाषा में वुत्थ; स्त=च्छ अथवा स्थ)
वुढगा ( ९९.७) वृद्धिका = वृद्धा, बुढ़िया
०वृग (१६८.९) वृक=बक, बगला
वेड (१०६.७) वैकृत = शराब (पासम. विअड=मद्य)
वेदिक (१८२.१६) वैदिक = वेद सम्बन्धी
वेयाली (४९.६) (?) = समुद्रतट
वेवाहिग (८२.५) वैवाहिक = समधी (गुज. वेवाई)
वोज्झ ( ९४.२४ ) ( १ ) = सुत्रह
O
० संगिज्झ (१२१.१३) संग्राह्य = ग्रहण करने जैसा
संघस (१३२.९.) संघर्ष - स्पर्धा
संजअ (११९.१) सञ्जय = युद्ध ( युद्ध
विजय)
संजत्तग (११६.२५) सांयात्रिक = जहाज से यात्रा करने वाला
>"
संजत्तय (१४५.२९) संतग ( ९४.४ ) संतिक सरक=म्बंधी अपना ही
י,
संताक (१३४.१) संत्राणक = कल्पवृक्ष का एक प्रकार
० संपत्ति (१६.१४) सम्पत्ति = संपदा
संसाहिय ( १५५.१) संसाधित = पूरा किया या बीता हुआ
संवत्थ ( ८६.६ ) संवृत्त = जात, उत्पन्न
सक्कज्झय (१५९.१) शक्रध्वज = इन्द्रध्वज
सकाल ( ९९.२३ ) = समयसर, आगामी कल ( मराठी. सकाळि ) सगल (१७६२३) सकल = सब ( मराठी. सगळ )
समंत (१२१.२) समस्त ( पासम में पिंगल से उद्धृत है ) समाहि (१४०.२३) समाधि = समाधान
समुदय ( १२६.२७) समारंभ, उत्सव
समुद्धंत (८१ २४) समुद्धमात = फूँका या बजाया हुआ सम्मद्द (१८१.२९) सम्मर्द = भीड़ ( मोविसंडि.)
०
• सादु (१७२.१०) स्वादु = स्वादिष्ट (पासम साउ)

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के. आर. चन्द्र सानु-देस (१३०.५) सानु-देश-पर्वत का अग्र प्रदेश, शिखर सारिक्खया (१२२.३) सादृशता समानता सिण्हाण (१९९.६) स्नान सिरिदुम (९१.३०) श्रीद्रुम- एक वृक्ष, श्रीवत्स सिरोअ (१६२.१) शिरोज-बाल सुक्करह (७७.६) = शुक्र राष्ट्र सुसंधि (१८९.२) सुसंधि =अनुकूल सुस्सूसिका(गा) (८.१६; १९६.२८) शुश्रुषिका सेविका सूइय (९०.३) सूचित = पता लगाया या जाना पहिचाना हुआ सेग (१०५.७) सेक = सेचन, सिंचन ० सोमाण (१२३.१७,१९) सोपान =सीढ़ी सोहियं (१०५.२४) सौहृदम् - मित्रता हंसतूल (१६९.२३) एक प्रकार की मृदु रुई हयहिय (९६.१८) हतहृदय = नष्ट मनोबल , निराश हरित (१३४.२१) हृद = जलाशय (पासम- हरय)

Page #142

राणकपुर का प्राचीनतम उल्लेख
राम पल्लभ सोमानी
राणकपुर के विसं० १४९७ के शिलालेख में वर्णित है कि महाराणा कुंभा की आज्ञा से प्रेष्ठि धरणाशाह ने "त्रैलोक्यदोपकाभिधान श्रीचतुर्मुख युगादीश्वर विहारः” नामक मन्दिर बनाया । नगर का नामकरण भी राणा के नाम पर राणकपुर रखा । श्रेष्ठि धरणा के परिवार वाले मूलरूप से नांदिया (जिला सिरोही) के रहने वाले थे। यहाँ से वे लोग मांडू गये । वहाँ मोहम्मद खिलजी के विसं. १४९३ में सत्ता हथियाने के बाद धरणाशाह मेवाड़ में महाराणा कुंभा के पास चले आये । “राणगपुर स्तवन' जिसे मेह कवि ने विसं० १४९९ में विरचित किया था यहाँ कई मंदिर होने की पुष्टि करता है। अजमेर के राजकीय संग्रहालय में विसं १४९४ का एक ताम्रपत्र है इसमें "राणपुर" का नाम दिया गया है। संभवतः वह अब तक शात संदर्भो में सबसे प्राचीन है । रोणकपुर के विसं० १४९६ के लेख में “राणपुर नगरे राणा श्री कुम्भकर्णनरेन्द्रेण स्वनाम्ना निवेशिते" शब्द होने से स्पष्ट है कि इस नगर का निर्माण राणा कुंभ के नाम पर किया गया था । प्राचीन नाम मादडी था। कुभा ने यह नामकरण धरणाशाह के वहाँ बसने और मन्दिर बनाने को योजना के बाद ही किया होगा । धरणाशाह के इस क्षेत्र में बसने के कुछ और प्रमाण भी है। यथा -
(१) विसं. १४९५ का एक मूर्ति लेख - यह धातु प्रतिमा इस समय नाहटों की गुवाड़ के जैन मन्दिर बीकानेर में है। मूल रूप से वह सीरोही क्षेत्र को है । लेख का मूल पाठ निम्न है।
__ "सं० १४९५ ज्ये० सु० १४ प्राग्वाटवं सं० कुरपाल भा० कमलदे पुत्र सं० रत्ना भ्रातृ सं० धरणाकेन सं० रत्ना भा० रत्नादे पुत्र लाषा मजा सोना सालिग (धरणा) स्वभार्या धारलदे पुत्र जाषा जावउ प्रमुख कुटुम्ब युतेन श्री आदिनाथ चतुर्विंश तका पट्ट कारितः प्र. तपा श्री देवसुन्दर सूरि शिष्यश्री सोमसुन्दर सूरिभिः ॥"
राणकपुर के वि०सं० १४९६ के लेख में भी रत्ना और धरणा के पुत्रों के नाम भी यहीं दिये गये हैं।
(२) राणगपुर स्तवन आदि स्तोत्रों के अनुसार वि० सं० १४९५ में जब भीषण अकाल पड़ा तव धरणाशाह ने प्रचुर धन व्यय करके लोगों को सहायता दो। यह अकाल पश्चिमी राजस्थान में पड़ा था।
मन्दिर बनाने का कार्य कब शुरु हुआ था यह स्पष्ट नहीं है। संभवतः विसं. १४९३ एवं १४९४ के मध्य शुरू हुआ हो । विसं० १४९६ में तल भाग का मूल गर्भ आदि बन चुके थे। अबमेर संग्रहालय के निम्न ताम्रपत्र से स्पष्ट है कि वि सं० १४९४ के पूर्व ही "राणपुर" नाम प्रसिद्ध हो चुका था। रागकपुर के १४९६ के लेख में, कल्पसूत्र की विसं० १५२५ की मांडू की प्रशस्ति आदि में "राणपुर" नाम ही दिया गया है ।

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राम वल्लभ सोमानी
अजमेर संग्रहालय का ताम्रपत्र १ श्री राम २ ( भाले का चिन्ह ) ३ स्वस्ति राणा श्री कुंभा आदे४ शता ॥ दवे परभा जोग्य अजाह५री प्रगणं चुरडीए ढोबडं ९ नाम ३ गणासु क्षेत्र वडनां नाम गोलोया ७ वउ । वाई पूग्वाई नइ अना८ मि दीघउं राणा श्री कुंभ इ दत्ता द९ वे परभा योग्यं दत्ता । संवत् १४१० ९४ वर्षे आषाढ वदि ११ दू० राज ११ श्री जे संघ दे । साह आपमल १२ लिषितं । राणपुर वासिउं तर १३ यं दीधउ लोपवा को न लहइ १४ क्षेत्र पीपली नु वीजू पाटडी ए वृक्षे

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महोपाध्याय यशोविजयजी महाराजनी रचेली कर्मप्रकृति-टीकानी एक अमूल्य हस्तप्रति
मुनि शीलचन्द्रविजय न्यायविशारद न्यायाचार्य महामहोपाध्याय श्रीयशोविजयजी गणिनां नाम अने कामथी, भारतीय संस्कृति भने साहित्यनो कोई पण प्रेमी, भाग्ये च अजाण्यो हशे. एमणे करेली भारतोय वाङ्मयनी सेवा अनोड छे ए निर्विवाद छे. आम छता, एमनो जन्म-समय अने एमनु बोक्कस मायुष्य केटलु, ए अंगे पूरती अने विश्वसनीय जाणकारी उपलब्ध नथी थई शकी, ए आपणुं कमभाग्य छे.
एमनो समय नको करवा माटेनु मुख्य साधन, एमना ज समकालीन मनाता श्रीकान्ति. विषयजीए, उपाध्याय नीना स्वर्गवास बाद रचेल 'सुजस-वेली भास' नामनु गुजराती काव्य रह्य छे. ते अनुसार विक्रम सत्तरमा सैकानी चोथी पच्चीसोमां उपाध्यायजीनो जन्म अन्दाजायो छे अने एमनो स्वर्गवास सं. १७४३मां थयो होवानु 'भास' कर्ताए नोंध्यु छे. ___ केटलाक वखत पहेलां, एक वस्त्र-चित्रपट प्रकाशमां आव्यो छे. तेनो पुष्पिकाना लेख उपरथी, उपाध्यायजीना जन्म-समय विशेनु उपरनु अनुमान बदलवु पडे तेवी स्थिति ऊभी थई. आ वस्त्रपटनी छची तथा तेनो परिचय, 'आचार्य श्रीविजयवल्लभसूरि स्मारकग्रंथ'मां प्रकाशित छे. तेने जो आधारभूत समजीए तो उपाध्यायजीनो जन्म, मोडामां मोडो पण, १७मा सैकानी बोजी पच्चोसीनां छेवटमां थएलो, एम स्वीकारवु पडे. अने विद्वानो एम करवा प्रेराया पण छे ज. परंतु, जरा सुक्ष्मताथी विचार करतां, ए चित्रपटने पाएलु महत्व विचारास्पद बनी रहे छे. आनी बधु स्पष्टताथी विचार करीए.
(१) आधारभूत मनातो ए चित्रपट 'मेरुपर्वत'नो छे. ए पट चितरनार 'पं. श्रीनयविजयजी गणि' छे. तेमणे 'गणि जसविजय' माटे एनु आलेखन कयु छे. (संवत १६६३ वर्षे कणसागरनामे लिपीकृतः ॥ महोपाध्याय श्रोकल्याणविजयगणिशिष्येण पं. नयविजयगणिना लिपीकृतः ॥ गणि जसविजय योग्यं ॥ -चित्रपटनी पुष्पिकानो अंत भाग).
आमां बे मुद्दा छे. पहेली वात तो ए के गणि जसविजयजी, ते पं. नयविजयनीना शिष्य के या नहि, ते आ पुष्पिकामांथी नक्की नथी थतु. छतां मानी लईए के नयविनयची अने बसविजयजी एटले के यशोविजयजी, बन्ने गुरुशिष्यो ज छे. तो पण सवाल ए छे के 'गणि'पद जेवी महत्त्वनी पदवी सुधी पहोंचेला यशोविजयजी माटे, तेमना गुरुए 'मेरुपर्वत' चितरवानी नरूर शी पडी १ जेमणे तमाम शास्त्रोनां रहस्य हस्तगत कर्यां छे अने ते सिवाय तेओ 'गणि'पद ले न नहि, तेवी व्यक्तिने 'मेरुपर्वत'नु स्वरूप नहि समजायु होय, ते गुरु जेवा गरुए ते चितरी आपवु पडे १ सामान्यतया एवं मनाय के, शिष्य बाळक या बाळकबुद्धि होय, तो तेने समजाववा माटे, गुरु, आवी वस्तुओ चितरी बतावे अने' समजावे. पण एवो प्रभ यशोविजयजी माटे ऊभो ज नथी थतो. वली, तेभो 'गणि' होईने, तेमनां 'गणि' पद ने अने आगळ ऊपर तेमने मळी शकनार अन्य पदवीओने लक्ष्यमा राखीने, तेमना गुरु, 'गणिविद्या' के 'वर्धमानविद्या' के 'सूरिमंत्र' जेवां मन्त्रपटो चितरी आपे तो ते समजी शकाय, पण तेमने 'मेरु' चितरवानी शो जरूर पडो; ए विचारणीय मुद्दो छे.
(२) वीजु ए के प्रसिद्ध कराएला वस्त्रपटनो पुष्पिकामां, पं. नयविजयजीने उपाध्याय श्रीकल्याणविजय नी गणिना शिष्य दर्शावाया छे, एटलुज नहि, डो० रमणलाल ची. शाह

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संपा० मुनि शीलचन्द्रविजय संपादित 'जबूस्वामी राम'नो प्रस्तावनामा तेम ज 'यशोदोहन' आदिमां पण, अपाएलां ए पटनां विवरणमां, से ज राते वर्णन छे.
ज्यारे हकीकत एथी जुदी छे. पं. नयविजयजो गणिना गुरु उपाध्याय कल्याणविजयजी नहि, किन्तु 'पं. लाभविजयजी गणि' छे. अने पोताना गुरुनु नाम लखवानु पं. नयविजयजी टाळे, एम पं. नयविजयजी माटे कल्पवू, ए अनुचित जा नहि परंतु एमने भारभार अन्याय करवा जेवु पण छे.
कहेवाना आशय ए छे के वस्त्र-चित्रपटनी सरखामणीमां 'सुजस-वेली भास'नु महत्त्व ओछु आंकवु, ए उचित नथी. बल्के, उपरना मुद्दाओ जोतां तो, 'वस्त्र-चित्रपट' ज फेरविचार मांगी ले छे.
बाको तो, जे बाबतना चोकप पुरावा ज अनुपलब्ध हाय ते बाबत विशे वधुमां वधु तो आपणे तो लडावाए, कदाच कांइक परणाम नोपजशे एवो आशाए. परंतु, जे वात तक अने अनुमानना विषय बनी, ते वात, ज्यां सुधी तेना विशे कोई नकर पुरावा उपलब्ध न थाय त्यां सुधी, मात्र अनुमानना ज विषय रहेबानो, ए आपणे समजी लेवु जोईए अने एटले ज, आ वात छोडीने, मूळ विषय ऊपर आवीए.
महोपाध्याय श्रीयशाविजयजीए जैन जैनेतर तमाम वाङ्मयमा बहुमूल्य प्रदान कयु छे एमणे रचेला जैन न्याय ग्रंथो जो जैनदर्शनना इतिहासमां सामाचिह्नरूप अने जैनोना दार्शनिक विकासनां उन्नततम पगथियांरूप गणाय, तो तेनो साथे ज, ए ग्रंथो द्वारा, तेमणे 'भारतीय न्यायदर्शन'नी पण असाधारण सेवा बजावी छे, एम स्वीकार जोईए. न्याय-दर्शननो एक नवो प्रवाह, जेना प्रणेता 'चिन्तामणि'कार गंगेशोपाध्याय हता अने जे 'नव्य न्याय'नां नामे जगप्रसिद्ध छे, ते प्रवाहने ऊंडा लई जवामां, विशद रोते विस्तारवामां अने तेमां अवनवा वहेणाने खोली अपवामां, उपाध्यायजीना ग्रंथोनो फाळा अनन्य छे
नव्यन्याय जेवो ज आकरो विषय गणाय छे 'जैन कर्म साहित्य'. आ साहित्यमां मूर्धन्य ग्रंथ छे 'कर्म प्रकृति'. मूळ प्राकृत गाथाओमां रचायेला आ ग्रंथ ऊपर महान जैनाचार्य श्रीमलयगिरिजी महाराज विरचित संस्कृत टीका तो उपलब्ध छे ज. परंतु, ते टीका करताय वधु सरल अने मूळ ग्रंथना रहस्यने खोली नाखवामां चावी समान टोकाग्रंथ, उपाध्यायजीए रच्यो छे. ए ग्रंथ जो के मुद्रित छे, परन्तु ए ग्रन्थनी एक एवो अमूल्य अने दुर्लभ हस्तप्रति हाथ आवी छे के जेनो परिचय आपवानी लालचे ज आटलु बधु विवरण कहेवानु बन्यु छे.
आपणु सौभाग्य छे के उपाध्यायजीए ग्रन्थो रच्या तो शताधिक संख्यामां; पण ए साथे तेमणे स्वहस्ते लखेला ग्रंथो पण चालीस करतां वधु संख्यामां आपणी पासे उपलब्ध छे.
अने ए करतांय वधु आनंददायक बीना तो त्यारे बनेली ज्यारे पूज्यपाद आगमप्रभाकर मुनिश्री पुण्यविजयजी महाराजे, उपाध्याय जी महाराज समेत तेमना समग्र समुदाये साथे मळीने लखेली 'द्वादशार-नयचक्र'नी हस्तप्रति शोधी काढी.
ग्रंथकर्ताए एक ग्रंथ बनान्यो होय अने तेनी शुद्ध आवृत्ति ते पोते लखे, ए तो सामान्य शिरस्तो छे. परन्तु, एक अन्य ग्रंथकारनी बनावेली कृतिने लखवामां, तेमना साथीदारो पण सहायक लेखक बने, ए एक विस्मयजनक छतां गौरव लेवा जेवी बीना छे.
'द्वादशार नयचक्र' तो आपणा पूर्वकालीन महापुरुषे रचेलो आकरग्रंथ हतो अने तेनी नकल पंदर दिवस जेटला टूका गाळामां करवानी होई, ते लखवामां उपाध्याय जीने तेमना साथी साधुओ सहायक बने, ए हवे समजी शकाय तेवी वात छे.

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३८
कर्म प्रकृति- टोकानी एक अमूल्य हस्तप्रति परंतु, अहीं जे 'कमप्रकृति-टीकाग्रंथानी प्रतिनो परिचय आपवानो छे, ते तो उपाध्यायजीए पोते रचेलो होवा छतां, तेनो नकल अथवा तो तेनो प्रथम आदर्श लखवामां, उपाध्यायजीने, तेमना साथी साधुओ सहायक बन्या छे.
'कर्मप्रकृते-टी काग्रंथ'नी आ प्रति पूज्य गुरुदेव आचार्य श्रीविजयसूर्योदयसुरीश्वरजीना अंगंत ग्रंथसंग्रहमांनी छे. ए प्रति वि० सं० १७१७मां घोघाबंदरे विराजता उपाध्यायजी (ते वखते तेश्रो पण्डित' हता) ए अने तेमनी साथेना मुनिओए मळीने लखी छे, एम तेनी प्रांतपुष्पिका वांचतां समजाय छे. ए प्रतिनी शरूआत आ रीते थाय छे :
'महोपाध्याय श्री १९ श्र कल्याणविजयगणि शिष्य मुख्य पण्डित श्रो५ श्रीलाभविजयगणि शिष्य शिरोमणि पंडित श्री श्री श्रीनयविजयगणि गुरुभ्यो नमः ।"
अने प्रतिने अन्ते प्रशस्ति पूरी थया पछीनी पुष्पिका आ प्रमाणे छे :
“पं. श्री जसविजय गणि नवोन रचना कृतः श्रीघोघावेलाकूले संवत् १७१७ वर्षे कार्तिकमासे शुभवासरे सकलसमुदायेन लिपिकृतः यादृशं पुस्तके दृष्ट्वा तादृशं लिखितं मया यदि शुद्धमशुद्ध वा मम दोषो न दं यते १ श्रेयः ॥” ।
प्रस्तुत प्रतिनी पृष्ठ संख्या १६३ छे. जुदा जुदा लेखकोना अक्षर जुदा जुदा होय ए रंते तपासतां लगभग सातथी आठ जेटला अक्षर प्रकार आ प्रतिमा होवानु जणाय छे. (अहीं उल्लेखनीय छे के 'बादशार-नय चक्र'नी प्रति पण सात मुनिवरोए मळीने लखी हती.) अने ए ज कारणे, पृष्टगत पंक्तिन! संख्या पण अचोकस छे. छतां ते ओछामा ओछी १८नी छे अने वधुमां वधु २५नी छे. २५नी संख्या पण, उपाध्यायजीना पोताना अक्षर प्रमाणमां वधु झीणा होवाथो, तेमणे लखेलां पृष्ठोमां ज जावा मळे छे. उपाध्यायजीनां लखेलां पृष्ठो पृ. ९२थी१४१ एटले कुल ४९ छे.
प्रतिनी साइझ २५४११ से.मि. छे. .
केटला दहाडामां आ प्रति लखाई तेनो, 'द्वादशार'नी प्रतिमा छे तेवो, स्पष्ट उल्लेख आमां नथी. तो पण पुष्पिकामा 'कार्तिकमासे शुभवासरे' ए बे पदोमांथी एवो निर्देश मळी रहे छे के आ प्रति कार्तक महिनामां ज लखाई होवी जाईए. एटले कार्तक मासमां शरू करोने तेनी लेवन समाप्ति पण ते ज मासमां थई होवाथी 'कार्तिकमासे' लख्यु. परन्तु तेना लेखन दिवसो घणा (वधुमां वधु ३०) यया हशे एटले, अन्यत्र जेम समाप्तिना दिवसने ज नोधवानी प्रवृत्ति जोवाय छे तेम आ प्रतिमां, अन्त्य दिवसने न नोंधता, समग्र लेखनकाळने ज 'शुभवासर' गणीने 'शुभवासरे' एम नोंभ्यु होवु जोईए.
वळी छेल्ले पेलो 'यादृशं पुस्तके दृष्ट्वा' प्रचलित श्लोक लख्यो छे, ते उपरथी समजाय छ के उपाध्यायजीए आ ग्रन्थनो जे 'खरडों' तैयार करेलो, तेनी प्रतिनां पानां सौ मुनिओने भागे पडतां आपी दीधां हशे, अने ते उपरथी सौए नकल करी हशे. अर्थात्, जे 'खरडा' ने आदर्श राखोने अ प्रति लखाई छे, ते 'खरडा'नी प्रति क्यांकथी मळी आवे एवी आपणे आशा राखवी जोईए अने ते शोधवानो प्रयत्न पण करवो जोईए.
प्रस्तुत प्रतिनी प्रतिकृतिरूप चार पानांनी छचीओ आ लेख साथे आपी छे. आवी भमूल्य प्रति आज सुषी जळवाई ते पण आपणां सद्भाग्यरूप छे. वधु नोंधपात्र बाबत तो ए छे के आ प्रतिने कोई विद्वान मुनिराजे वांची छे अने तेना पुरावारूपे ते वांचनारे प्रतिमा घणां स्थाने पेन्सिलथी टिप्पणी वगेरे लखेल छे अलबत्त, ए पेन्सिलनां अक्षरो पण ५० वर्ष करतां वधु जुनां लागे छे.

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mommenamunachanapffaKायतीलातथिमanimlanaafrimilaiश्री aalaकगणिगुरुवानमनिमयियास्तित्व Hamanमयसमध्यापासुकमामासायक
कतिगतीरामलशामियानाकरनामितम्या किमधिसकिनधिगना मदनीamaya marnासरसफलतनियमिmaalogशिवानगरियेतनिकेरके तिनवपदावा Emaatधिक Manमारुततीमिद्धिरितगवानnिaaraशिकायकरणमा नाजिटाधारपरिणालोलायमेगलमाचरनाamargashalasamanamaATERITER
याय: मनासाकशिवतीAaglamदाaminaमितमममममसरामधुनीनामा बिजनसास्सिलिलनवलन एकमसिनसनमा विमा मिचलaिaiरंडमाना nualwaaमुलिcिiaकयामकमागरमकरण गदव्यसतागिबिगनामि AudioAfnamalainin fasawalafalanumaastasiaमामानिमारकरmनकस | ने स्थिस्यायनानिमयासस्वकीयामानाकामनाaanana fanासुा मुलाकियाममा शन्यायस्यमagraमियबदायाजानातिनाटयलसिsmashanaनसिंदेवारतरादिजादannaमा
ताकतंप्रसिमित्यासात्यारातियानस्यतामासिवायमितिम कममितिनादितjal Panasaayaaeनिकितनलिमिaahaदिवाanामिकaaumमिकमारकस्थमंक्रमादिll शतकरणpकसुश्यमंतकीकस्वरूपमिळunmतिसंग्रदानुसारनितिमाana |
nameनीgaanयुनोमmaराधारामापकतमासाविकमुनिधि पहलाना inजानेदायितलगानी तानाam सामान्यपदामकोबाद मतदावियतनाम नावशाammaदनीयद्यमिवैकमेajananfoकदिादनीटस्टlal
१ उपाध्याय यशोविजयजी रचित अने सकलसमुदाय द्वारा लिखित कर्मप्रकृति टीका प्रतिनुं प्रथम पृष्ठ
.
InteoमनिशानाlagalasamunaataamielavandnaमानnिastaramanawaimaLERMI
पवस्मन्यतमामनवादीविदायमणस्पतिsainविकस्मिताHETERविमलामिaaseemaftwणका कमालतानाavarauBावियश्कीविनाविमाकुटमकायलिममावादमदानीmasमासनातनामावयवlaniamin सनलकासीवादकछवातानियाठामाखमममममारमसमीnepmoframe आबाकर्मप्रतिविमा दादा arsaseमामयसमटोटा दिनाधीटिटवा कविvaमिकामालकासनी मीmafaanuarममतामढवईमा वारमादिदममी पाराnaplasanदिसामधि शिक्षिकgalanalesाकारता dिaasविटीदेविका मरिश्रमाणिनिधनकाragarmaARमरवकसितvarसका
namaमयव ReafcaivaHEIRTIHARE faमति मेशिममदाटी 9Y Reविकासाकशीकातिकाdिaifalमधिधमकिsar: तायामामतिकासाठिकाया:मासमा कमानयानयादिविकयामतीamanादाबादाविरुवाकाटकामावुधमकिमिविदयमाविमायया सरदारासवान धिकारनामकलिम्पयधिगनwwamaaमदधीमिaaiaranaanaaaविता
घिलितातिjanal पिदधिकमवीतमामातुशामत:६श्रीमवियानवीयरचनामावलाantal IIngalकार्तिकमा वासरेसकालमjalaalauren यायाधमाकामानिवित माया प्रतिमga Refrastaarnal
२ कर्मप्रकृति - टीका प्रतिनु' अंत्य पृष्ठ

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पशिमविससमात्यूनतमनिममयमदार मानदनीयमस्वाक्षरीतनावमादीसनिारा
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नाशिकजसलापानमनिगएकायमणाराबाबरनवरपिरमगवेगाएंजीतिएराण गदिग्याच्या सममादिगालिगाए बडेमाविमनस्कार मितवएर जलावियसम्म ६२ दीरकत्रनम्ननिर्मशालाममिनियामननरेनन्ज
दारना s arasmनोदशामान जाननामा काविळतीलाariमीदवानाaayमरगयातमनस्कारमरकर मालदसनारकपनासमागम्ममुराशिमिरमामागापानीविम्बित्तेबापदावनिमत्रजभन्मात्मा रामनवनियमनयमितपल्याभरगत्याशियमनारदाकनेतविनपिल्ला जवळपावेद्यनारका बनामस्मयनामापाय-मनासनदेचम्ममारकम्पकासाकारममामेभाजपय भावादाविनरकतिकिया सामागमात्रामा विभत्सवारशालविलायक मामम्मवावादबन्नबननारकम्पमापानरामनामीबनभानपान प्रकारवाडरव्यानरकानाकोपमण्यानमगधिरतीयसमयमममममदारकमकामभरालनिशानुन मानकायमार्वजगमनमो नमानिसकमान्यनामजनतामसभामम्मानराम्नानीवनावमा अन्याम्पसदारकलबामपनकरलतमपथरचना विनिम्बारमोरिमनपसन नयासमोसमयाधिकाबनिमयातायारिमामयदानावनमारममापिमेम्बरमलानोकबजनीमिमस्यामाप्रमविलादी
३ कर्मप्रकृति-टीका प्रतिनु उपाध्याय श्री यशोविजयजीनां
हस्ताक्षरवाळु पानु ९२
amaARमिमा
र कोनविल्यामनगदेवामानainment बार-gmबियामारररहशालाकामवाजmafree wwmaaमन मनमानदेवासियामारपmAकामविशाल देवनारकाममायाममायामानविन! अकविनेयमन्त्रीमानकाबिनामकीकरवालले५अविश्वामित्रनादनमाथिका बरनQanबियरवagarmawगरिरममतमो-माहारकमकपमा कमलाबनवलमाRRIAमदिमामेथम-सामयिलमानाबादत्रमाणावर
Pानियकारिभवस्थानान्मारकराकिंवा साबीरपंजनाबानाभिमानलारामय मकामनतिजनमामोसम्मानसोयाकीनर-कपारमा लगानेज गाना पारिजाबापमानमाविकाल्पनिमामाशिपक्रानिवारिसावविद्यमानातिमानिर्षिय रामनरवदाकलिजसकालावििदवसायकलपातीकामानामा
अदारिक काबन्यामिकाविरमणिकै विममश्रामेशमाहापाविमासीमाविनाशित. मसतीमावरमानीकान्मदिनानिmahmरानि-पवनाम साहिबादरकाश्रिमानेकानमावि बारकावासहपानीबिलीयाममारेलमवा।
नाविनाNIRNपापविमसामानपत्रासकामनामामा mymanाचनीयप
w ariमनिराधालाAnyaविवालियानमालमाकावयवायोम्या
TRAen pathsarmeaneDHAKAMANANTRAwasthitheatemedyEMAmbasMMENT MERAMANNavsMMENDMEHikedIANHANNEKARANCHAMPARAMPREHanSLI
tanAmEMEENAAMKIMEAll -RaviartestjPHERMANANDHARAuttriesMa PresistauraYatrisantukirkirsuthzeiteratulettsbimarathesireTRADExantrimental
R atzAPAHARAJENail
IEMEEMPECIAntarPurustruckyardLEtaSEASEATREMEMO
मारितोयबारएनेबारबालाएवमश्मिरविल्यालिन्मतेजाना-मानबदरपर्यापक महा
HERE
JokyMejde.tamarhatiwHAMSINDHitrifies2MaraladaleketsekaceedMARA IRUrlabetiyublettastichihirurkMERAdhunik radbasisammtasgalstein:48Methamamal
Inmanaनाविकातापानकायमममसरममावबिदा तिबनविनिः ननविदातिशतपसहिंताचा
४ कर्मप्रकृति टीका प्रतिनु उपा. यशोविजयजीनां हस्ताक्षरवाळां
विभागनु छेल्लु पानु

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मुनि शीलचन्द्रविजय 'द्वादशार-नयचक्र'नी प्रति घणाओए भेगा थईने लखवी पडी तेनु कारण, "ते प्रति अन्यनी होय अने तेने झट-बांधेली मुदतमां परत करी देवानी होय" एवं पूज्य पुण्यविजयजी महाराजे कल्प्नु छे. पण, आ 'कर्मप्रकृति-टीकाग्रंथ' पोतानो ज रचेलो होई तेवो कोई वात तो हती ज नहि. छतां बधाए मळीने शा सारू लखी हशे ?
आना ऊपर विचार करतां लागे छे के आपणे त्यां परापूर्वथी निखालस अने सरळहृदय सज्जनोनी प्रणालिका रही छे के कोई व्यक्ति सारं कार्य करती होय तो तेने बनती सहाय करवी. अने तेमांय, उपाध्यायजीन कार्य तो ज्ञानोपासनानु हतु, जे बीजाओ माटे अतिविरल हतु. परंतु, भले बीजाओ एमना जेवी सोधी ज्ञानसाधना न करी शके, पण एमना द्वारा थती अजोड ज्ञानसाधनामां आ प्रकारे पोतानो फाळो तो नोधावी शके ने १ अने जैन साहित्यमां तो ज्ञान अने ज्ञानीनी आ के आवा प्रकारनी भक्ति-शुश्रूषाने घणुं न प्रशस्त अने शुभ कार्य गणाव्यु छे. 'कर्मप्रकृति'नी उपाध्यायजीरचित टीकानी प्रति सघळा समुदाये मळोने लखवानु कारण आवु ज कांईक होवानी शकयतानो इन्कार करवा मन ना पाडे छे.

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अज्ञातकर्तृक श्रीन्यायसिद्धान्तप्रवेशकन्थिका
संपा. मुनि शीलचन्द्रविजय नव्य न्यायनो आ अपूर्ण छतां अपूर्व ग्रन्थ छे. एना मंगलाचरणना बे काव्यो उपरथी समजाय छे के एना कर्ता कोई जैन विद्वान् हशे. आ ग्रंथनु नाम तेना प्रारभना बीजा श्लोक प्रमाणे 'प्रावेशिका कन्धि का' छे. परंतु खेडावाळो प्रतिना प्रत्येक पत्र परना हांसियामा 'सिद्धान्तकन्थिका' एवं नाम लखेलुं छे. पण आ थनो हेतु न्यायशास्त्रना गहन विषयमा विद्यार्थी ने सरळतया प्रवेश कराववो ए होय एम लागे छे अने तेथी ज तेनु 'न्यायसिद्धान्तप्रवेशकन्थिका' एवं सार्थक नाम अहों गोठव्युं छे. आ ग्रंथ जैन न्यायनो नथी ए स्पष्ट छे. ग्रंथनी भाषा खूब ज सरळ छतां लालित्यपूर्ण संस्कृत छे. शैली गुरुशिष्यनसंवादात्मक छे. आनकाल तो आवा ग्रंथोनो विश्लेषण अने विवेचननी दृष्टिए अभ्यास थतो होई, ग्रन्थना के निरूपणीय विषयनां हाने पामवा करतांय वधु लक्ष्य तेनी आजुबाजुनी बाह्य परिस्थिति उपर अपाय छे. पण आपणी प्राचीन गुरुपरंपरा, शिष्योने कठिनमां कठिन विषयोनु रहस्य पण केवी सरळ रोते अने स्पष्टताथी समजावो शकतो हतो, तेनो तादृश चितार आ ग्रंथमा जोवा मळे छे. वृद्ध गुरुजनो पासे ग्रंथाभ्यास न कर्यो होय तेवी व्यक्तिओ, आ ग्रंथ वांचीने गुरुजन पासे भगवानी पद्धतिनो अणसार अवश्य मेळवी शकशे. आ अपूर्ण ग्रंथमां बे विषयो परना विचारो उपलब्ध छे. पहेलो कार्यकारणभावविचार पूर्ण छे. बीजो प्रतिबध्यप्रतिबंधकभावविचार अपूर्ण छे, आ ग्रंथ संपूर्ण मळे तो ते न्यायशास्त्रनो विशिष्ट अध्ययनग्रंथ बनी रहे.
आ ग्रंथनी बे प्रतिओ मने मळी छे. एक प्रते मारा पूज्य गुरु महाराज आ. श्रोविजयसूर्योदयसूरीश्वरजी म. ना संग्रहनी छे. जेने आदर्श तरीके राखी छे. अने बीजी प्रति श्री ला. द. भारतीय संस्कृति विद्यामन्दिरनी छे. बन्नेनो परिचय आ प्रमाणे छे :
प्रति सु: पत्र १२. साइझ २६.६४१२.२ से.मी. लेखन काळ : विक्रम १९मो शतक. प्रतिनी स्थिति अति जीर्ण छे. पानां खवाई गयां छे. भाषा शुद्ध छे. दरेक पत्रमा १४ पंक्तिओ छे. प्रत्येक पंक्तिमां आशरे ५६ अक्षरा छे. तेनी संज्ञा सू. राखी छे.
प्रति खे : पत्र १३, साइझ २५.५+११.५ से.मी. लेखनकाळ विक्रम १९मा शतक. स्थिति मध्यम, पण घणो ज अशुद्ध. प्रत्येक पत्रमा १५ पंक्तिओ छे. प्रत्येक पक्तिए अंदाजे ६० अक्षरा छे. आ प्रति लखतां लखतां दसेक पंक्ति जेटलुलखाण रही गयु हशे ते लेखके पाछळथो अलग पृष्ठ उपर ते लख्यु छे. ते पृष्ठ पर ते दस पंक्तिओ सिवाय बन्ने बाजु कशुलखाण नथो. आ प्रति मूळ खेडाना भंडारनी छे. ते भण्डार ला. द. विद्यामन्दिर अंतगत होवा छतां मूळ खेडानी होई तेने 'खे०' एवी संज्ञा आपी छे. तेना नंबर १९२ अने सीरीयल नंबर ११३९७ छे. - बन्ने प्रतिओ कोई एक न आदर्श उपरथी लखाई होय तेवु अनुमान बन्ने प्रतिनु लखाण एक न स्थाने अटकतु होवाने कारणे, थाय छे.
सू० प्रतिने आदर्श राखीने तेनी नकल अहीं रजू करी छे. ते साथे खे० प्रतिमाथी पाठांतरो मेळवीने टिप्पणी रूपे नोंध्या छे. सू० प्रतिना पाठो ज्यां ज्यां लवाई गया है, त्यां त्यां खे० प्रतिनी सहाय लीधी छे. एवां स्थानोए अधोरेखा करवामां आवी छे.

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॥ ऐं नम : ॥ श्री शंखेश्वरपार्श्वनाथाय नमः ॥ श्री न्यायसिद्धान्तप्रवेशकन्थिका ॥
॥ ६० ॥ श्री गणेशाय नमः || श्री सरस्वत्यै नमः ॥ कामिन्यां वीतरागोऽपि, विद्यायां सततं रतः । बोधपुत्र जनयतु, श्रीमानर्हज्जिनेश्वरः ॥ १ ॥ दुर्बोध किल जैनशा मस्विलं पूर्वैः कृतं विस्तृतं तर्कव्याकृति साङ्ख्ययोगपरशु (शुः) श्रौतद्वयस्याऽपि यत् । सिद्धान्तस्य विखण्डनेऽशनिरिति प्रावेशिका कन्थिका सिद्धान्तैर्ग्रथिता परं विजयते विद्वन्मनोरञ्जनी ॥ २ ॥ अथ कार्यकारणभावविचारः
घटं प्रति दण्डः कारणमित्युक्ते दण्डे घटनिरूपिता कारणता प्रतीयते । तत्रेदं' व्युत्पित्सुभिर्विचारणीयम्, घटपदार्थः कः ? दण्डपदार्थश्च कः ? । घटः पृथिवोद्रव्यं दण्डश्च तथा इति निर्णीते ( तथेति निर्णीयते । ) तदनन्तरं यत्र घट उत्पद्यते तत्र चक्रादौ दण्डोऽस्ति चेत् (द), भविष्यति कारणम् ; नास्ति चेन्न भविष्यति कारण इ ( णमि ) ति । घटोत्पत्त्यधिकरणे चक्रे यद्यपि कुलाळेन श्रमिमुत्पाद्य दण्डो भूमौ निःक्षिप्त इति न घटोत्पत्तिप्राक्क्षणे दण्डोऽस्तीति कार्यनियतपूर्ववृत्तित्वरूपं कारणत्वं न घटते । तथापि चक्रे दण्डस्य संयोगसम्बन्धाभावेऽपि दण्डजन्यभ्रमेश्चक्रे सत्त्वेन स्वजन्यभ्रमिवत्तासम्बन्धेन दण्डस्तत्र वर्तत एवेति
सुष्टुभ्यते घटं प्रति दण्डः कारणमिति ।
इत्थं च चक्रे संयोगेन घट उत्पद्यते, तत्रैव स्वजन्यभ्रमिवत्तासम्बन्धो( न्धेन दण्डोऽपि वर्तत इति संयोगः कार्यतावच्छेदकः सम्बन्धः, स्वजन्यभ्रमिवत्ता च कारणतावच्छेदकः सन्बन्ध इति मनसि निश्चिते, संयोगसम्बन्धावच्छिन्नघटत्वावच्छिन्न कार्यतानिरूपिता स्वजन्यभ्रमिवत्ता सम्बन्धावच्छिन्न-दण्डत्वावच्छिन्ना कारणतेति कार्यकारणभावः कर्तव्यः । एवं घटं प्रति चक्रं कपाल-इयं तत्संयोगः [च] कारणमित्युक्ते सर्व स्वयमभ्युह्यम् ।
अत्रेदं बोध्यम् -- यदिदं कारणत्वं तच्चाऽन्वयव्यतिरेकाभ्यां सिध्यति । न च तौ केवलदण्डे चक्रादौ वा न सम्भवतः, केवलदण्डसत्वे केवळचक्रसत्वे वा घटसरवाऽभावादिति वाच्यम् । यतः केवलदण्डसरखे घटसत्वं केवलदण्डाभाषे (च ) घटाभाव इत्यन्वयव्यतिरेकौ कदापि न प्राह्मो, त्वदुक्काऽसम्भवा
-

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श्रीन्यायसिद्धान्तप्रवेशकन्थिका पातात् । किन्तु इतरसर्वकारणसत्वे दण्डसत्त्वे घटसत्त्वं, इतर कारण सत्त्वे दण्डाऽभावे घराऽभाव इत्येव ग्राह्याविति नाऽसम्भवः । ।
ननु तथापि इतरकारणसत्त्वे दण्डसत्त्वेऽपि कस्यचित् प्रतिबन्धाद् (कुतश्चित् प्रतिबन्धकाद) यत्र घटो न जातस्तत्र कथमिति चेत् । तत्र प्रतिबन्धकाऽभावमपि इतरकारणसमुदायमध्ये प्रवेशय । किं न जानासि 'दण्डादिरिख प्रतिबन्धकाऽभावोऽपि कारणमस्ति' इति ? ।'
मोदं परमवधातव्यम् --घटं प्रति दण्डादिरसाधारणं कारण, तन्मात्रस्यैव मनकत्वात् । कालादिस्तु साधारण कारणं कार्यमात्र मन कत्वात् । परन्तु न केवलाऽसाधारणकारणान्नापि केवलसाधारणकारणात् किमपि 'न कार्य (किमपि कार्य) भवति इति विशेषसासप्रया कार्ये जननीये सामान्यसामग्रयपेक्षिता, एवं सामान्यसामग्रया कार्ये जननीये विशेषसामग्रयपेक्षितेत साधारणाऽसाधारणकारणयोः परस्परापेक्षेति ।
नन्वत्र परमाश्चर्य पश्यामः, यत् कालादीनां साधारणकारणत्वमुपदिश्यते घटं प्रति चोच्यते । विप्रतिषिद्धमेतत् । यथा घटं प्रति दण्डः कारणमित्युक्त घटत्वावच्छिन्ना कार्यता प्रतीयते तथा घटं प्रति कालः कारणमित्युक्तेऽपि घटत्वावच्छिनैव का[य]ता प्रतीयते । कालनिरूपिता तु कार्यता न घटत्वावच्छिना, किन्तु कार्यत्वरूपसामान्यधर्मावच्छिन्नेति ।
साधु परिभावितं मेधाविना भवता । तथापि कालनिरूपितायाः कार्यत्वावच्छिन्नकार्यताया घटे सत्त्वेन घटं प्रतीत्युपदिष्टमस्माभिः । तेनेदमवगन्तव्यम्कालनिरूपित कार्यतायाः घटो धर्मी, तत्रैव घटत्वं वर्तत इति कालनिरूपितकार्यता घटत्वसमानाधिकरणा न तु घटत्वावच्छिन्नेति ।
__आस्तां तावदेतत् , परं पृच्छामः-दिक्कालादीनां सदातनत्वात् सार्वत्रिकत्वाच्च यत्किमपि कार्य कस्यांचिदिशि कस्मिंश्चित् काले एव भविष्यतीति किमर्थ तेषां कारणत्वमनुमन्तव्यम् । किञ्चाऽन्वयव्यतिरेकाभ्याम् कारणत्वं सिध्यतीत्यभिहितं, तयोश्चाऽन्वयव्यतिरेकयोः सम्भावना बुद्धयात्मकत्वेन सदातनसार्वत्रिकभिन्न एव प्रसरात् , निश्चिते तु कालादावसभ्भवः । अपिचाऽन्वयस्य यथाकथञ्चित्सम्भवेऽपि व्यतिरेकस्याऽत्यन्ताऽसम्भवः । तद् वरं दिक्कालादोनामकारणत्वकल्पनम् ।

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संपा० मुनि शीलचन्द्रविजय
सत्यम् । यथा गृहवर्त्तिनामविभक्तानामात्मोयानां भोजनकर्मणि निमन्त्रणाsभावेऽपि प्रवेशः, अनात्मीयानां विभक्तानां वाऽऽत्मीयानां परं निमन्त्रणापेक्षा, अन्यथाप्रैवेशो(शे!)ऽनवस्था वा स्यात् । तथा प्रकृतेऽपि । सदातनानां सार्वत्रिकाणां च निमन्त्रणस्थानाभिषिक्ताऽन्वयव्यतिरिक्त (रेक) योर्नापेक्षा, तेषां कालादीनां सदातनत्वेन सार्वत्रिकेन (कत्वेन) च कारणत्वस्य सिद्धत्वात् । पश्य, यदि कालादि न कारणमनुमन्येत तदा फलपुष्पाणां सर्वदात्पत्तिः स्यात्, काळातिरिक्तानां सर्वकारणानां सत्त्वात् । तस्मात् कालाद्यष्टौ ( कालादयोऽष्टौ ) साधारणकारणानीति सिद्धम् ।
उक्त कारणत्वद्वयमपि तेषामेव भवति ये चाऽन्यथासिद्धा न भवन्ति । अन्यथासिद्धाश्च त एव विनाऽपि कार्यमुत्पद्यते, कार्योत्पत्तौ न व्यापृता भवन्तीति । पश्य, घटोत्पत्तौ यथा दण्ड दिकं व्यापृतमस्ति न तथा दण्डरूपं दण्डत्वादिकं वा, अतस्तदन्यथासिद्धमिति गीयते ।
४३
असाधारण कारणेषु मध्ये किञ्चित् समवायि किञ्चिदसमवायि किञ्चिन्निमित्तं भवति । यथा घटं प्रति कपालक्ष्य-तत्संयोग-दण्ड चक्रादीनामसाधारणकारणानां मध्ये कपालद्वयं समावायिकारणं, तस्य कार्यसमवायित्वात् । एवं च समवायिकारणमित्यस्य, कार्यस्य समवायि नाम समवायसम्बन्धेनाधिकरणं सत् कारणमित्यर्थो बोध्यः । भवति च कपालद्वयं घटकार्यस्यसमवायेनाऽधिकरणं सदेव कारणम् । पूर्वोक्तरीत्या च कार्यकारणभावं कुरु ।
नन्विमां भवदुक्ां सरलपद्धतिं परित्यज्य ग्रन्थकारैः 'यत्समवेतं कार्यम्' इतिवक्रपद्धतिः किमित्युररीकृता ? | शृणु । यथा समवायीत्यस्य समवायसम्बन्धेनाऽधिकरणमित्यर्थो भवति, तथा समवेतमित्यस्य समवायेनाssधेय इत्यर्थो भवति । तथा च 'यत्समवेतम्' इत्यस्य यन्निरूपितसमवायसम्बन्धावच्छिन्नाधेयतावदित्यर्थः पर्यवस्यति । एवं उत्पद्यत इत्यस्य उत्पत्त्याश्रय इत्यर्थो लभ्यते । उत्पत्तिश्च आद्यक्षणसम्बन्धः । एवं च सति उत्पत्त्याश्रयत्वं यत्समवेतत्वं चैकस्मिन् घटे एकदैवोक्तं भवति । तेन चान्येषां सत्कार्यवादः प्रत्याख्यातो भवति । तथा हिसाङ्ख्यास्तावदेवं मन्यन्ते - घटादिकार्य स्वापादानभूतायां मृदि मृदूपेण उत्पत्तेः प्रागपि तिलेषु तैलमिव वर्त्तत एव । तस्य दण्डादिसामग्रया उत्पत्तिर्नाम प्रथमप्रकाशः । न त्वाद्यक्षण सम्बन्ध इति सदेव कार्यमिति । एतन्मतं च 'यत्समवेतमुत्पद्यते' इति पदाभ्यां प्रत्याख्यातम् ।

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४४
श्रीन्यायसिद्धान्तप्रवेशकान्थका तथा हि-'यत्समवेतमुत्पद्यते' इत्यस्य यस्मिन् कपालादो समवायसम्बन्धेन विद्यमान सदेवाऽऽयक्षण सम्बन्धवद् भवति, न तु पूर्व विद्यमान प्रथमप्रकाशवद् भवतीति ।
ननु किं कारण नैय्या(या)यिकोक्तं यत्समवेतोपाये(यमे?)व साधु, न साक्योकं पूर्व सदेव प्रथमप्रकाशवद् भवतीति ।
सत्यम् । मनो देयम् । किमुच्यते ? - पूर्व स्वोपादाने-'सदेवकार्य प्रथमप्रकाशवद् भवतीति' तत्रेदं पृच्छयते- किं प्रथमप्रकाशो घट इव पूर्व सन् आहोस्विदसन् ?। सच्चे(संश्चे)दुत्पत्तेः पूर्व स्वोपादानभूतायां मृदि (कुतो) न घटः प्रकाशते ? प्रथमप्रकाशविशिष्टस्य घटस्य सत्त्वात्, द्वयोरपि पूर्व त्वया सत्या(वा)ऽभ्युपगमात् । असच्चे(असंश्चे)त् प्रकाशः, तदा अलं सत्कार्यवादेन । प्रथमप्रकाशरूपकार्यस्याऽसत एवोत्पत्तिस्वीकारात् । तस्मात् साधु पूर्वाचायः 'यत्समवेतम्' इत्युक्तम् । अस्माभिस्तु परमतखण्डनमण्डनादिविचारमुपेक्ष्य, केवलं समवायिकारणपदस्याऽन्वर्थतामुपगम्य, "कार्यस्य समवायि सत् कारणं तत् समवायिकारणम्"इत्युक्तम् ।
प्रकृतं शृणु- घटं प्रति कपालद्वयसंयोगोऽसमवायिकारणं भवति । तदथंच समाविभिन्नं समवायितशं यकारणमिति । सादृश्यं च कार्यनाशननकनाशप्रतियोगित्वदध(स्वध) मेंण । पश्य, घटकार्यस्य समवायि कपालद्वयं, तद्भिन्नः कपालद्वयसंयोगः। अथ च कपालद्वयसदृशोऽप्यस्ति । कारणं चाsस्तोति सोऽपवायिकारणमित्युच्यते । घटनाशो हि कपाल नाशाद् यथा जायते 'तथा कपालद्वयसंयोगनाशादपि जायते "। एवं च घटरूपकार्यनाशजनको यो नाशः [स] कपालद्वय नाशस्तसंयोगनाशश्च । तत्प्रतियोगित्वं कपालद्वये तसंयोगे चाऽस्तीति कपालद्वयसदृशस्त्संयोगो जात इति विचारय ।
विचारितम् । कार्यनाशजनकनाशप्रतियोगित्वं यथा घटसमवायिकारणे कपालद्वयेऽस्ति तथा घटनाशजनकनाशप्रतियोगित्वं कपालद्वयसंयोगेऽप्यस्तीति कपालद्वयसंयोगो घटसमवायिसदृशस्तद्भिन्नोऽपि कारण चाऽस्तीति सोऽसमवायिकारणमिति । परन्तु असमवायोत्यस्य न समवाय्यसमवायोति परित्यज्य समवायिभिन्न समवायिसदृशं इति कुतो वाऽर्थः कृतः ।
सत्यम् । समवायिभिन्न निमित्तकारणं दण्डादिरपि भवतीति तयावृत्तये समवायिसदृशमित्युक्रम् । नहि दण्डादिनिमित्त कारणनाशाद् घटनाशो भवतोति न दण्डादो कार्यनाशजनकनाशप्रतियोगित्वेन समवायितादृश्यमस्तीति

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संपा० मुनि शीलचन्द्र विजय
४५
तद्वारणम् । एवं च असमवायिकारणमित्यत्र सादृश्यमेव नञर्थः । तच्च भेदषटितमिति ज्ञापनार्थ सत्रत्रयभेदा निवेशित इति न तु स्वातन्त्र्येणापि नञर्थो भेदः प्रदर्शित इति तद्वैयर्थ्यशङ्कां मा कुरु ।
यथा घटं प्रति कपालद्वय संयोगोऽसमवायिकारणं तथा घटरूपस्य कपालरूपमन्तरानुत्पत्तेस्तत् प्रति कपालरूपं कारणं वाच्यम् । यथा घटरूपनाशजनकनाशप्रतियोगी रूपसमवायी घटो भवति तथा कपालरूपमपि भवतोति कपालरूपं घटरूपस्योऽसमवायिकारणमिति तर्कय ।
अत्रापरमपि विभावय समवायेन घटरूपकार्याधिकरणे कपालद्वये कपालसंयोगः समवायेनाऽस्तोति कार्यतावच्छेदकः कारणतावच्छेदुरुश्च समवाय एन सम्बन्धः । समवायेन रूपाधि करणे घटे कपालरूपं न समवायेनास्ति, तस्य कपाल एव समवायेन सत्त्वात् । घटकपालयाः कार्यकारणयार्भेदात् कपालरूप समवा
येन आस्तामिति तु नाशङ्कनीयम् । किन्तु स्वसमवायिसमवेतत्वसम्बन्धेन वर्त्त (त) इति समवायः कार्यतावच्छेदकः सम्बन्धः, कारणतावच्छेदकसम्बन्धस्तु स्वसमवायि समवेतत्व सम्बन्ध इति विशेषः । एवं च सर्वत्राऽयं नियमः कर्तव्यः " समवायेन अवयविगुणं प्रति स्वसमवायि समवेतत्वसम्बन्धेनाऽवयवगुणः कारणम्", इति ।
ननु
स्वसमवायिसमवायित्वसम्बन्धेन घटरूपाधिकरणे कपाले समवायसम्बन्धेन कपालरूपस्य सच्चात् स्वसमवायिसमवायित्वसम्बन्धः कर्यतावच्छेदकः, समवायस्तु कारणतावच्छेदकः सम्बन्धोऽस्तु | किमर्थं तादृश एव नियमः कर्त्तव्य इति ? |
चिरं जीवतु भवान् । यतोऽत्यन्तं रहस्यं पृष्टवानसि । तथापि वच्मितदेव कार्याधिकरण प्राह्यं यत्र स्वस्वकारणतावच्छेदकसम्बन्धैः सर्वाणि कारणानि भवेयुः । पश्य, यदा समवायेन घटरूपस्याऽधिकरणं घटो गृह्यते, तदा तत्र घटरूपस्य समवायिकारणं यो घटः स स्वोय कारणतावच्छेदकोभूतेन तादात्म्येन सम्बन्धेन वर्तते, तत्रैव कपालरूपमपि स्वीय कारणतावच्छेदकोभूतस्वसमवायिसमवेतत्वसम्बन्धेनास्तोति न घटरूपोत्पत्तौ बाधकम् । यदि त्वदुक्कपथा (पयेत) स्वसमवायसमवायित्वसम्बन्धेन घटरूपाधिकरणं कपालं गृद्यते, तदा तत्र कपाले असमवायिकारणं तु कपालरूपं स्वायकारणतावच्छेदकत्वेनाऽभिमतेन समवायेन तु वर्तते, परन्तु समवायिकारणं घटः स्वोय कारणतावच्छेदको भूततादात्म्यसम्बन्धेन

――――

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श्रोन्यायसिद्धान्तप्रवेशकन्थिका तत्र कपाले नास्तीति कथमे केनाऽसमवायिकारणेन तत्र कपाल उत्पद्येत घटरूपं इति तु त्वयैव विभावनीयम् ।
किञ्च स्वसमवायिसमवायित्वरूपो योऽयं घटरूपस्य कपाले सम्बन्धस्त्वया कल्पितः, स कथं घट पोत्पत्तेः पूर्व कपाले सम्भविष्यतीति स न कार्यतावच्छेदक इति कश्चित् प्रतारयेत् तर्हि तेन मा प्रतारितो भव । यतो नैय्या(या)यिकमते कार्यतावच्छेदकसम्बन्धावछिन्नाधेयतोत्पत्योश्च समान कालीनत्वमेवास्तीति समवायिकारणलक्षणप्रस्तावेऽभिहिमस्माभिः ।
सत्यमुक्तं भवता, परन्तु........ ।
पृच्छ पृच्छ, मा भैषोः । विवादबुध्ये(ये)दानी प्रष्टव्यमित्यस्माकं निर्बन्धः ।
तर्हि पृच्छयते जिज्ञासुना मया-यदुक्तं "मा प्रतारितो भव" इति-, तत्रोवं संशयः, - घटरूमस्येदानोम भावात् स्वसमवायो घटोऽप्रसिद्ध इति तद्घटितपरम्परासम्बन्धस्याऽलाकतया तेन सम्बन्धेन कथं घटरूपकार्यस्याधिकरणं कपालं भवेदिति किं तेन प्रतारितम् ? सत्यमेव तदस्तीति ! ।
मैवम् । अतितुच्छतरं पृष्टम् । अरे ! अत्र मते उत्पत्तिसमय एवं कार्ये समवेतवस्त्रोकारे सनमायकारणस्य किं कार्यसमवायित्वं न स्वकृतं भवताति कथं न विभावयसि ! । तस्मान्मदुक्तमेवावधारय ।
ननु पूर्व भवता एवमुपदिष्टमस्त् ियत् 'तदेव कार्याधिकरण ग्राह्यं यत्र स्वस्व कारणतावच्छेद कसम्बन्धेन सर्वेषां कारणानां मेलनं भवति' इति । तत्रैवं संशयः - संयोगेन घटरूपकार्याधिकरणे चक्रे तादात्म्यसम्बन्धेन चक्र स्वजन्यभ्रमिवत्तासम्बन्धेन दण्डश्च वर्तते । तथापि कारणतावच्छेदकत्वेन सिद्धेन तादात्म्येन समवायेन वा कपालद्वयं तत्संयोगो वा नास्तीति कथमुच्यते चक्रे संयोगेन घट उत्पद्यत इति ? ।
साधु साधु । उच्यते । 'चके घट उत्पद्यते' इत्यत्यन्तलौकिकैः, 'चक्रे संयोगेन घट उत्पद्यते' इति तु च्छात्रैः, 'न घटः संयोगेन चक्र उत्पद्यते, समवायिकारणघटित कारणकलापरूपसामग्रया अभावात्, किन्तु कपाले समवायेनोत्पद्यते, तत्र सामग्रीमात्रस्य सत्त्वात्' इति तु शास्त्राभिज्ञेरुच्यते ।

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संपा० मुनि शीलचन्द्रविजय
ननु परमाश्चर्यमेतत् - ' चक्रे समवायिकारणघटित सामग्रयभावेन घटश्चक्र उत्पद्यत इति नोच्यते, कपाले दण्डादिनिमित्तकारणघटित सामग्रयभावेऽपि तत्रोस्पद्यते घट इति तूच्यतेऽभिज्ञैः' इति ।
यथान्यैश्छात्रैः कपाले उत्पद्यमानमपि घटमदृद्वैव लौकिकापेक्षयाऽधिकतया संयोगेन चक्रे घट उत्पन्न इति ज्ञात्वा तथोच्यते, तथा तवाऽद्यापि छात्रत्वाद् भवति तथा मतिः । पश्य, समवायेन घटाधिकरणे कपाले तादात्म्येन कपालं समवायेन कपाळसंयोगश्च यथा वर्त्तते, तथा स्वसंयुक्तत्वसम्बन्धेन चक्रं स्वजन्यभ्रमिवत् संयुकत्वसम्बन्धेन स्वजन्यत्र मिजन्यभ्रमिवत्तासम्बन्धेन वा दण्डोप्यस्तीति सर्वाऽपि सामग्री कपालेऽस्तीति किमाश्चर्यं तवास्तीति न जानीमो वयम् 1
ननु तर्हि घटं प्रति चक्रस्य कारणता स्वसंयुक्तत्वसम्बन्धावच्छिन्ना, दण्डस्य च स्वजन्यभ्रमिजन्यभ्रमिवत्तासम्बन्धावच्छिन्ना वक्तव्येति समायातम् । पूर्व तु संयोगेन घटं प्रति तादात्म्येन चक्रं स्वजन्यभ्रमिवत्तासम्बन्धेन
दण्डश्च कारण
मित्युपदिष्टं तेन मे संशयो जातः ।
सत्यम् । प्राथमिकोपदेशः स्थूलदृष्टचैव क्रियते वृद्वैरिति तथैवोपदिष्टमस्माभिरपि । तेन दुर्मना मा भव ।
तथा वा । इतः परं चेदवशिष्टं तदपि प्रकाशयन्तु ।
प्रकाश्यते । शृणु ँ । समवायिकारणं हि कार्यस्याऽत्यन्तमन्तरङ्गं, ततो बहिरङ्गमसमवायिकारणं, ततोऽपि बहिरङ्गं निमित्तकारणं पश्यात ( पश्य । अत ) एव सर्वैरप्याचार्यैः समवाय्यसमवायिनिमित्तभेदात् त्रिविधं कारणमित्येवं क्रमेणोकम् ।
ननु कारणानामन्तरङ्गबहिरङ्गभावं ज्ञात्वा किं करणीयम् ! एतावताऽपि नाऽवगतं भवता ?
४७
विचारितं, आगतं मनसि यदुक्तं तत्रभवद्भिः ' कार्याधिकरणं तदेव ग्राह्यमित्यादि' तत्रैवोपयुज्यत इति ।
साधु विचारितम् । अपर शृणु । सकलभावकार्य प्रति समवायिकारणं द्रव्यमेव भवति । असमवायिकारणं गुणः कर्म च । तत्रापि द्रव्यकार्ये प्रति गुण ra | गुणकार्य प्रति गुणः कर्म च । गुणं प्रति गुणस्याऽसमवायिकारणत्वं तु अधुनैव गतम् । विभागसंयोगं प्रति च क्रियाया एवाऽसमवायिकारणत्वम् । अत्रदेमवधेयम् । संयोगरूपगुणकार्यस्य नाशो न समवायिकारणनाशाद् भवति, संयोगसमवायिकारणयोर्मेषयोः सतोरेव संयोगनाशदर्शनात् । नाप्यसमवायिकारणक्रिया

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४८
श्रीन्यायसिद्धान्तप्रवेशकन्थिका नाशात् , श्येनाद्रिसंयोगजनकक्रियानाशेऽपि तस्य नाशाऽदर्शनात् । किन्तु विभागरूपगुणान्तरादेव भवतीति ।
नन्वेवं सति संयोगं प्रति क्रियाया कथमसमवायिकारणत्वम् ! संयोगनाश जनकनाशप्रतियोगित्वाऽभावेन समवायिकारणसदृशत्वाऽभावात् ।
सत्यम् । अत एव पूर्वाचार्यैः 'तत्रासन्नं जनकम्' इत्यस्ये)वाऽसमवायिकारणलक्षणमुक्तम् । तच्च घटत एव । मेषसंयोगरूपकार्यसमवायिकारणे मेषे क्रियाया आसन्नत्वात् समवायेन सत्त्वात् । अस्माभिस्तु असमवायि कारणपदस्य प्रवृत्तिनिमित्तमात्रमुक्तम् । तेन माऽस्मदुक्तेर्व्याघातः शङ्क्यः । शास्त्रकारा हि तथैव प्रायशो वदन्ति । पश्य, पृथिव्यादीनां गन्धवतोत्यादि लक्षणानि न सर्वासु पृथिव्यादिषु वर्तेते (र्तन्ते)। उत्पन्नविनष्टपृथिव्यादिषु कुत्र वर्तते गन्धः? उत्पन्न द्रव्यं क्षणमात्रं निर्गुणं निष्क्रियं च तिष्ठतीति नियमात् । तस्मादेवंजातीयकानां लक्षणवाक्यानां जातिघटितलक्षणे तात्पर्यमवसेयम् । इदं च प्रकृते समवायिकारणसादृश्यावच्छेदकगुणत्वकियात्वान्यतरजातिमत्वे समवायिकारणसदृशमित्यस्य तात्पर्य" गृ(ग्रा)ह्यम् ।
कथं घटत इति चेत् ? ।
इत्थम् । पूर्वोक्तप्रकारेण घटकार्यसमवायिकारणकपालसादृश्यं कपालसंयोगेऽस्ति । तदवच्छेदकं गुणत्वं जातं वा न वेति स्वयमेव विचारय ।
विचारितम् । कपालसंयोगस्य गुणत्वात् तवृत्तिसादृश्यावच्छेदकं गुणत्वं जातमिति ।
तहिं इदं विचारय-अवयविसमवेतगमनादिक्रियां प्रति पादसमवेतगमनक्रिया समवायिकारणमस्ति न वा ?
अस्ति । यथा घटरूपं प्रति कपालरूपमिति ।
पश्य तहिं, अवयविक्रियानाशोऽवयवक्रियानाशादेव भवतीति। अवयविक्रियानाशजनकनाशा(शो)"5"वयविनाशो"ऽवयवक्रिया नाशश्चेति प्रोक्त रूपेणाऽवयविक्रियासमवायिकारणस्याऽवयविनः सादृश्यमवयव क्रियायां वर्तत इति सादृश्यावच्छेदक क्रियात्वं, तच्च संयोगजनकक्रियायामध्यस्तीति काऽव्याप्तिशङ्का ?
अपरं प्रष्टव्यं वा ? सुखेन प्रष्टव्यम् ।
सादृश्यं यदि जातिघटितं तदा ज्ञानादीनामिच्छाधसमवायित्वं कुतो न । तथा हि-इच्छा तस्यैव जायते यश्चेष्टत्वेनेष्टसाधनत्वेन वा पूर्व ज्ञातं भवति । यथा'ज्ञानं मदिष्टं' 'गुरुश्व ज्ञानसाधनम्' इति । येन प्रथमतो ज्ञानं तस्यैव मे ज्ञान

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४९
- संपा. मुनि शीलचन्द्रविजय गुरुश्च भवत्वितोच्छा जायते न त्वन्यथेति । तथा चेच्छां प्रति ज्ञानं असमवायिकारणमेव भवेत् , इच्छासमवायिकारण आत्मनि ज्ञानस्य समवेतत्वे सति कारणस्वात् । प्रोक्तक्रमेण कार्यसमवायिकारणसादृश्यावच्छेदकगुणत्वजातिमत्वात्" इष्टापत्तिश्च कर्तुं न शक्यते । तथा सति आत्मविशेषगुणानां कुत्राप्यसमवायिकारणं"(णत्वं) नास्तीति डिण्डिमो व्याकुप्येतेति चेत् ।
तद्भिन्नत्वं प्रवेशय ।
प्रकृतमनुसरामः । क्रियां प्रति कुत्रचित(द) गुणः कुत्रचित् क्रियैवाऽपमवायिकारणम् । यथा पतनक्रियां प्रति गुरुत्वं, स्यन्दनकियां च प्रति द्रवत्वं, अवयविकियां प्रति चाऽवयवक्रियेति ।
परमत्राऽवधेयम् । एतत् कारणत्रयं भावकार्यस्यैव । वंसरूपकार्य तु निमित्तकारणमात्रादेवेति । परन्तु सर्व भावकार्य कारणत्रयाजायत इति न नियमः, किन्तु कारणत्रयमपेक्षते चेद भावकार्यमेवेति नियमः कार्यः । यतो हि व्यणुकारम्भकसंयोगजनकपरमाणुक्रियाया असमबायि कारणं किमपि न पश्याम इति ।
ननु तहिं परमाणुक्रिया समवायिकारणनिमित्तकारणाभ्यामेव जायते । तत्र परमाणुः समवायिकारणं भविष्यति, परन्तु निमित्तकारणं कि भविष्यति ? तन्न जानामि ।
शृणु । श्रीजगन्नियन्तुः परमेश्वरस्य चिकिपैवेति गृहाण । यद्यपि परमेश्वरस्येच्छाया इच्छात्वेन साधारण कारणत्वेऽपि विकोषोत्वेनाऽसाधारणकारणत्वे क्षतिविरहात् ॥ इति कार्यकारणभावोपदेशः ॥
समर्थस्य दयालोस्ते, सुखायैव दयालुता । इति मत्वा परेशार्हन् ! याचेच्छात्रस्य विज्ञताम् ॥१॥
अथ प्रतिवध्यप्रतिबन्धकमावस्याऽभावज्ञानतत्ज्ञान(तज्ज्ञान)साध्यत्वादादावभानमुपदिश्य तज्ज्ञानमुपदिश्यते ।
सत्र तावत् केवलम् 'अभाव' इत्युको न कस्यापि बोधो जायतेऽतोऽमावपदात् "पूर्व(4) यस्याऽभावो वक्तुभिष्टस्तद्वाचकं पदमुच्चारणीयम् । यथा-अयं यदा घटस्था(स्या)ऽभावं वक्तुमिच्छति तदा 'घटाऽभाव' इत्येवं वदति, न तु केवलम् 'अभाव' इति । अतोऽभावो(वः) केनचिन्वि(न्नि)रूप्यो भवति । येन हि घटादिना निरूप्यते स घटादिस्तस्य प्रतियोगीति शास्त्रकृद्भिरुच्यते । ।
किं कारणम् ।

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श्री न्यायसिद्धान्तप्रवेशकन्थिका
शृणु । ' प्रतियोगि' पदस्य स एवार्थो भवति । तथा हि-' प्रतियोगि'पदस्य सन्ति त्रयोऽवयवाः, 'प्रति' पदं, 'योग' पदं, तद्धितप्रत्ययश्च । तत्र 'प्रति''पदस्य 'प्रतीपं स्थित्वा' इत्यर्थः । 'समीपं स्थित्वा' इति फलितोऽर्थ । 'प्रश्रमम्' इति यावत् । तद्धितान्तस्य 'योगविशिष्टः' अर्थः । फलितार्थस्तु 'सहोश्चरित : ' इति 'मिलित्वाऽभावेन प्रथमं सहोश्चरित : ' इति । एवं चाऽस्मदुक्त एवं संपन्नोऽर्थः । ननु 'प्रति 'पदस्य नेममर्थमश्रौषम् ! ।
५०
शास्त्रान्तराण्यवलोकय । शृणु । अस्ति तावच्छ्रोतविद्याशास्त्रं मीमांसान्तर्गतं, तस्य 'बोधायनसूत्र' मिति नाम । तत्र 'प्रतिमन्त्रयते, अनुमन्त्रयते' इत्यादीनि सुत्राणि तद्वयाख्यातृभिः 'धूर्त्तस्वामी' प्रभृतिभिर्महापण्डितैः, 'प्रतिमन्त्रयत्त' इत्यस्य ‘प्रतीपं स्थित्वा मन्त्रयत' इत्येवार्थः कृत इति । किं चाऽलङ्कारशास्त्रे 'प्रतीपा'लङ्कारपदस्येदमेव प्रवृत्तिनिमित्तं यदुपमेयमुपमानं प्रतीपं स्थित्वा तिरस्करोति । यथा - " अस्या मुखेन्दुना लब्धे, नेत्रानन्दे क्रिमिन्दुना " इति । अत्र यद्यपि 'प्रतीप' [१]दस्याssलङ्कारिकैरम्य एवार्थः कृतस्तथाप्यस्मदुक्तार्थस्तेन न हीयते । तथा हि-मुखेन्दुर्यदि प्रसिद्धेन्दु समीपस्थो न भवेच्चेत् कथं कामुको वदेदस्या मुखेन्दुना लब्धे नेत्रानन्दे : किमिन्दुनेति ? । तस्मात् 'प्रतियोगि' पदस्थ 'प्रति 'शब्दस्य योऽयमर्थः प्रदर्शितः स सुवच एव
ननु 'प्रतियोगी' त्यस्थ 'विरोधी' त्येवार्थः कुतो न क्रियते । भवति च घटः स्वाभावस्य विरोधी, नहि घटवति घटाभावोऽस्तीति ।
सत्यम् । अभावप्रतियोगित्वस्याऽभावविरोधित्वरूपस्य सुवचत्वेऽपि सम्बन्धप्रतियोगित्वं न तथा । पश्य, भूतले संयोगेन घटो वर्त्तते, तस्य संयोगस्य प्रतियोगी घटः, स न संयोगस्य विरोधीति विरोधित्वरूपं प्रतियोगित्वं सर्वत्र दुर्लभमित्यस्माभिर्न तथोक्तम् ।
एवं च 'घटाभाव' इत्युक्ते घटनिष्ट (ष्ठ ) प्रतियोगिताकाऽभावो बोध्यः, अभावीयप्रतियोगितायाः घटनिष्ट (ष्ठ ) त्वात् । सा च प्रतियोगिता अभावाऽधिकरणे स्वप्रतियोगिनो येन सम्बन्धेनाऽसत्वं तत्सम्बन्धावच्छिन्ना भवति । यथा - घटisभाववति भूतले घटाऽभावप्रतियोगिनो घटस्य येन सम्बन्धेनाऽसत्त्वं- संयोगसम्बन्धेऽनासत्त्वमतः तत्सम्बन्धावच्छिन्ना जातेति । मथवा अभावाऽधिकरणे अभाव - ग्रहात् पूर्वं येन सम्बन्धेन प्रतियोगिनो निर्णयो लोके भवति तत्सम्बन्धावच्छिन्ना भवति । पश्य, घटाभावाधिकरणे भूतले घटाभाववभूतल मितिनिर्णयात् पूर्वं प्रतियोगिनो घट्स्य येन सम्बन्धेन निर्णयो भवति 'घटवद्भूतल' मिति संयोगेन

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सपा मुनि शीलचन्द्रविजय निर्णयो भवति । अतो घटाऽभावोयाधनिष्ठा प्रितयोगिता संयोगसम्बन्धावच्छिन्ना भवति । एवं घटत्वावच्छिन्नाऽपि भवति ।
भो(भोः!) किञ्चित् प्रष्टुमिच्छामि । पृच्छ पृच्छ ।
तहिं पृच्छयते । या हि प्रभावीया प्रतियोगिता सा केनचित् सम्बन्धेनावच्छिन्ना भवतीति भवदुपदेशेनाऽवगतं, तत्रैव संशयः - किमर्थ प्रतियोगिता सम्बन्धावच्छिन्ना स्वीकार्या ! ।
उच्यते । यदि प्रतियोगिता किञ्चित्सम्बन्धावच्छिन्ना न स्वीक्रियते, तदा प्रतिबध्यप्रतिबन्धकभावो न स्यात् ।
कथं न स्यात् । स्याच्चेत् कुरु ।
शृणुन, क्रियते । 'घटवभूतलम्' इति ज्ञानं 'घटाऽभाववद्भूतलम्' इति ज्ञानं प्रति प्रतिबन्धकमिति प्रतिबध्यप्रतिबन्धकमावस्वीकारे को दोषः ।।
अरे ! कथं विचारमूढोऽसि ? । पश्य, 'संयोगेन घटवभूतलम्' इति ज्ञाने सत्यपि 'समवायेन घटाऽभावबद्भुतलम्' इति ज्ञानं भवत्येवेति कथं वदसि 'घटवदभूतलम्' इति ज्ञानं घटाऽभाववद्भुतलम्' इति ज्ञानं प्रति प्रतिबन्धकमिति" ? ।
आयुष्मन्नेवमवतर मार्गेण । वद तर्हि प्रतिबन्धक[कोटौ] प्रतिबध्यकोटौ वा 'संयोगेनेति प्रवेशितं त्वया, तस्य क्वाऽन्वयः ? ।
विचार्य वच्मि । आगतं । घटवदिति मतुबा भूतले घटाधिकरणत्वे ज्ञाते घटे भूतलाऽऽधेयताऽपि प्रतीयते इति तस्यामेवाऽऽधेयतायां 'संयोगेनेति तृतोयान्तार्य(2)स्य संयोगावच्छिन्नत्वस्याऽन्वयः । एवं च 'संयोगेन घटवभूतल' मिति ज्ञानमित्यस्य 'संयोगसम्बन्धावच्छिन्नघटत्वनिष्टा(ठा)ऽऽधेयतानिरूपिताऽधिकरणतावद्भूतल'मिति ज्ञानमित्यर्थः सम्पद्यते ।
स्वानुरूपं प्रयतितं त्वया ! भवतु, अग्रे वद । किं मदुक्तसमोचीनमेव सम्पन्नम् ? ।
स्पष्टमग्रे भविष्यति । इदानी प्रतिबध्यकोटौ प्रविष्टं त्य 'संयोगेने ति, तस्याऽन्वयं वद ।
पूर्ववदेवाऽस्त्यन्वयस्तत्र किं वक्तर्व्यः (व्यम्) । अथापि वद ।

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५२
श्रीन्यायसिद्धान्तप्रवेशकन्थिका उच्यते । पूर्ववदेव घटाऽभावनिष्टा(ष्ठा)ऽऽधेयतायां 'संयोगेनेति तृतीयान्तार्थस्य संयोगावच्छिन्नत्वस्याऽन्वयः कर्त्तव्य इति ।
भ्रान्तस्त्वमसि । किन्न पश्यसि घटाऽभावो न द्रव्यमिति ? । तस्य द्रव्यत्वे तन्निष्टा(ष्ठा)ऽऽधेयता संयोगावच्छिन्ना भवेत् ! अभावनिष्टा(ष्ठा)ऽऽधेयता तु सर्वा स्वरूपसम्बन्धावच्छिन्नैव भवतीति सहस्रकृत्व उक्तं, तथापि नावधार्यत इति चित्रम् !
गृहीतं गृहीत, इतः परं न विस्मरिष्ये । तर्हि वद 'संयोगेने त्यस्याऽन्वयम् । न स्फुरति । तत्रभवन्त एवोपदिशन्तु । उपदिश्यते । तद्य वधारय । घटाऽभाववदित्यत्र कः समासः ! । घटस्याऽभावो घटाऽभाव इति षष्टो(ष्ठीतत्पुरुषः । एवं तर्हि तत्पुरुषे लक्षणा भवति न वेति त्वमेव विचारय ।
विचारितम् । यथा 'राजपुरुष' इत्यत्र 'राज'पदस्य राजसम्बन्धिनि लक्षमा जायते, एवमत्रापि । परन्वत्र 'मभाव'पदसमभिव्याहाराद् 'घट'पदस्य घटप्रतियोगिताके लक्षणेति विशेष इति ।
भद्रम् । तहि षटपदार्थैकदेशरूपायां प्रतियोगितायां 'संयोगेनेति तृतीयान्तार्थस्य संयोगावछिन्नत्वस्याऽन्वयोऽकामेनापि भवता कृत इत्यायातम् ।
यथा चाऽभावीया प्रतियोगिता किश्चित्सम्बन्धावछिन्ना भवति न वेति त्वमेवाऽऽलोचय । इत्थमेव चाऽभावीयप्रतियोगिता प्रतिबध्यप्रतिबन्धकमावानुरोधेन किशिद्धर्मावछिन्ना स्वीकर्तव्या भवं(व)ति । अन्यथा.......।
किमर्थं तत्रभवद्भिः परिश्रमः क्रियते ?, बोधितेन मयैवोपपाद्यते । सुखेनोपपादनीयम् ।
शृणातु(शृण्वन्तु) । यदि अभावीयप्रतियोगिता किञ्चिद्धर्मावच्छिन्ना न भवेत्तदा 'संयोगेन घटवद्भुतलम्' इति ज्ञान घटकाले घटपटोभयाऽभाववद्धतलम्' इति
ज्ञानं न स्यात्, तथाविधोभयाऽभावस्यापि घटाऽभावत्वात् । तद्वत्ताबुद्धि' प्रति चघटवत्ताबुद्धेः प्रतिबन्ध कत्वात् । यदा च प्रतियोगिता किश्चिद्धर्मावन्छिन्ना स्वीक्रियते तदा घटाऽभाववत्ताबुद्धिं प्रति घटवत्ताबुद्धिः प्रतिबन्धिकेति । नैव सामान्यतः प्रतिबध्यप्रतिबन्ध कभावः, किन्तु" ।
कि तूष्णी स्थितोऽसि । सम्यग् वदसि । वद वद ।

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संपा० मुनि शोलचन्द्रविजय प्रतिबन्धककोटिः पूर्वे( 4 ) यथोपपादिता, सा तत्र भवतामांचकरा संवृत्तेति मे तृष्णीम्भावो, न त्वन्यथा ।।
क एष ते स्वभावः, यत् कुत्रचित् फु(स्फु)ति कुत्रचिन्नेति ? । घटाऽभाव इत्यत्राऽभावपद मभिव्याहाराद् घटपदस्य घटनिष्ट(ष्ठ)प्रतियोगिताके लक्षणेति त्वयैवोपपादितं, अथ च 'संयोगेन घटवभूतलम्' इत्यत्र सन्तमपि 'ज्ञान' पदसमभिव्याहारं न पश्यसि ! माश्चर्यमेवैतत् ।।
प्रबुद्धोऽस्मि । वमोदानीम् । शृणुत । संयोगसम्बन्धावच्छिन्नघटत्वावच्छिन्नघटनिष्ट(ष्ठ )प्रकारतानिरूपितभुतलत्वावच्छिन्नविशेष्यतानिरूपितविशेष्यिताशालिसंयोगेन घटवभूतलमिति ज्ञानं, संयोगसम्बन्धावच्छिन्न घटत्वावच्छिन्न' घटनिष्टा(ठ)प्रतियोगिताकाऽभावनिष्ट(ठ)स्वरूपसम्बन्धावच्छिन्नप्रकारतानिरूपितभूत - लत्वाववच्छिन्नविशेष्यतानिरूपितविशेष्यताशालि संयोगेन घटाऽभाववद्भूतलम्' इति ज्ञान प्रति प्रतिबन्धकमिति प्रतिबध्यप्रतिबन्धकभावः पर्यवस्यति । एवं च 'संयोगेन घटवभूतलम्' इति ज्ञानोत्तरं 'संयोगेन घटाऽभाववद्भुतलम्' इत्येव ज्ञानं न भवति, संयोगेन धटपटोभयाऽभाववद्भुतलमिति तु निर्विघ्नं भवेत् । घटपटोभयाऽभावस्य घटाऽभावत्वेऽपि न घटत्वावच्छिन्नप्रतियोगिताकत्वं, किन्तु घटपटोभयत्वावच्छिन्नप्रतियोगिताकत्वम् । तथाविधाऽभाववत्ताबुद्धि प्रति तु 'संयोगेन घटपटोभयवद्भुतलम्' इत्यै(त्ये)व प्रतिबन्धकं भवेदित्यनवधम् ।
__ चिरं जीवतु भवान् । यतः साधूपपादितम् । अस्त्वेतत् । एवं चाऽभावस्य द्वो सम्बन्धौ वेदितव्यो । एकः प्रतियोगितावच्छेदकः, अपरश्च वृत्तिनियामकः । भाषस्तत्र तत्र भियते, यथा-'संयोगेन "घटाऽभाव' इत्युक्तो संयोगः प्रतियोगितावच्छेदकः, 'समवायेन घटाऽभाव' इत्युक्तो समवाय इति । द्वितीयो(य)स्तु सर्वत्र एक एव स्वरूपसम्बन्धः, अभावस्य स्वरूपेणैव वृत्तः ।
स चाऽभावोऽनेकधा । सामान्याऽभावः१, वैशिष्टयावच्छिन्नप्रतियोगिताकः २, व्यासज्यवृत्तिधर्मावच्छिन्नप्रतियोगिताकः ३, अन्यतराऽभावः ४, सामान्यरूपेण विशेण्याऽभावः ५, विशेषरूपेण सामान्याऽभाव: ६, व्यधिकरणसम्बन्धावन्छिन्नप्रतियोगिताकः ७, व्यधिकरणधर्मावच्छिन्नप्रतियोगिताक (८) इत्यादि-१ मैदात् ।
यथा 'घटो नास्ती'त्ययमभावः सामान्याऽभावः । अस्य प्रतियोगिताया घटत्वरूपसामान्यधर्मेणैवावच्छिन्नत्वात् ।

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५४
श्री न्यायसिद्धान्तप्रवेशकन्थिका
'नो घटो नास्ती' त्ययमभावो द्वितीयः । तदायप्रतियोगिताया नोलत्वविशिष्ट
घटत्वावच्छिन्नत्वात् ।
'घटपटोभयं नास्तीत्ययमभावस्तृतीयः । सज्यवृत्तिना घटपटोभय (त्व) रूपधर्मेणावच्छिन्नत्वात् ।
'घटपटाऽन्यतरं नास्ती' त्ययमभावश्चतुर्थः । तदीयप्रतियोगिताया घटपटान्यतरत्वधर्मेणावच्छिन्नत्वात् ।
'घटत्वेन नीलघटो नास्तीत्ययमभावः पञ्चमः । तदोयविशेषनिष्ट (ष्ठ) - प्रतियोगिताया घटत्वं (त्व) सामान्यधर्म ( में ) णावच्छिन्नत्वात् ।
तदीयप्रतियोगिताया व्या
नीलघटत्वेन घटो नास्ती' त्ययमभावः षष्ट (ष्ठ ) : । तदीय यावद्घटनिष्ठप्रतियोगिताया नीलघटत्वरूप विशेषधर्मेणावच्छिन्नत्वात् ।
'संयोगेन रूयं नास्तो 'त्यय[म] भावः सप्तमः । तदीय प्रतियोगिताया व्यधिकरणेन "संयागेनावच्छिन्नत्वात्" । संयोगेन रूपस्य कुत्राप्यसत्वेन संयोगः प्रतियोगिताव्यधिकरणसम्बन्ध इति गीयते ।
एवं 'पटलेन घटो नःस्ती'त्ययमभावोऽन्तिमः । तदीयप्रतियोगिताया व्यधिकरणेन पटवे । धर्मेणावच्छिन्नत्वात् । नाह घटः पटत्वेन कुत्रचित् । सर्वा स्वस्वनैव वर्तते नान्यस्य धर्मेणेति सार्वजनोनमेतत् । अत एवेमावन्तिमौ जगद्वृत्तित्वात् केवलान्वाल (यिनौ ।
येषां कुत्राप्यभावो न प्रसिध्यति ते केवलान्वयिनः । यथा वाच्यत्वादिधर्माः । नहि वाव्यत्वादानां धर्माणां कुत्रनिभावः प्रसिध्यति । सर्वस्यैव वाच्यत्वात् । तथा व्यधिकरणसम्वन्धावच्छिन्नप्रतियोगिताकाऽभावस्य 'संयोगेन रूपं नास्तीति प्रतीतिसिद्धस्य व्याकरणधर्मावच्छिन्नप्रतियोगिताकस्य 'पटत्वेन घटो नास्तीति प्रतातिसिद्धस्य चाडभाव न कुत्रचित् नसिद्धः । तथा सनि 'पटत्वेन घटो नास्तीति प्रतातिसिद्ध गावः स नास्तीति प्रत त्यापत्तेः ।
अस्य किं कारणम् ? |
शृणु । योऽयमभावस्याऽपात्रः म स्वप्रतियोगिनोऽभावस्य प्रतियोगितावच्छेदकविशिष्टप्रतियोगिनोऽधिकरणे प्रसरति । यथा घटाभावाऽभावः । स हि स्वप्रतियोगिनो घटाभावस्य प्रतियोगितावच्छेदकेन घटत्वेन विशिष्टो यो घटस्तदधिकरणे प्रमति । घटवति घटाभावो नास्तीति प्रत्ययात् । पटत्वेन घटाभावस्याभावेन व भवितव्यम् । तस्य प्रतियोगिनं पटत्वेन घटाभावस्य

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संपा० मुनि शीलचन्द्रविजय प्रतियोगिताव छेदकं यत् पट तर विशिष्टस्य घटरूपप्रतियोगिनोऽप्रसिद्धया सप्रतियोग्यभावप्रतियोगितावच्छेदकविशिष्टाधिकरणाऽसिद्धेः ।
इदं परमवधेयम् । व्यधिकरणसम्बन्धावाच्छन्नाऽभावः सर्वसंमतः। व्यधिकरणधर्मावछिन्नाऽभावस्तु त तथा, सौदडाचार्यैरेवाऽभ्युपगमात् ।
किमेतद्रहस्यम् । अग्रे निरूपयिष्यामः । प्रकृते भावपरिचितिमात्रं कुरु । तर्हि किञ्चिदत्र प्रष्टव्यम् । सुखेन ।
दुक्तं श्रीमद्भिः 'घटो नास्ती'त्यमभावो घटसामान्याऽभावः, घटपटोभयाऽमावस्तु व्यासज्यवृत्तिधर्मावच्छिन्नप्रतियोगिताकः, न तु सामान्याऽभाव" इति । तत्रेदं सन्दिह्यते । उपयाभावोऽपि सामान्याऽभावः कुतो न भवितुमर्हति ? । घटपटोभयाऽभावस्य प्रतियोगिता घटत्वेन पटत्वेन घटपटोभयत्वेन वाऽच्छिन्नेति घटत्वावच्छिन्ना जातेति ।
स्वस्थो भव । स्मृतिपथमागच्छ । किं मयोक्तम् ! ।
सत्यं सत्यम् । 'घटोनास्ती'त्ययमभावः सामान्याऽभावः । अस्य प्रतियोगिता घटत्वरूपसामान्यधर्मेणैवावच्छिन्नेत्युक्तमासीत् । तत्र च 'एव'कारः संपातायात इत्यवधार्योपेक्षित इत्यपराद्धं, तत् क्षन्तव्यम् ।
__ नायमपराधः । अस्माकमपि तथा कदाचित(द) भवतीति तेन किम् ? । अमे वद ।
___ वदामि । योऽयं घटपटोभयाऽभावस्तदीया प्रतियोगिता न घटत्वमात्रेणावछिन्नति न घटपटोभयाऽभावो घटसामन्याऽभावः ।
साधू(धु) गृहीतम् । परमेवकारस्य निर्गलितार्थ गृह त्वा तु वद । कथं बदसीति संपश्ये ।
वमि । घटस्वेतरधर्माऽनवच्छिन्न-घटत्वावच्छिन्नप्रतियोगिताकाऽभावो घटमामान्याऽभाव इत्यस्वार्थः । तथा घटपटोभयाऽभावीयप्रतियोगिता घटत्वेतरधमेंण पटत्वेनोभयत्वेन चाऽवच्छिन्ना, न तु घटत्वेतरधर्माऽनवच्छिन्नेति न घटपटोभयाऽभावी घटमामान्याऽभाव इति ।
साधु(धु) । परन्तु 'घटत्वेतरे'त्यस्य कोऽर्थः । । वदामि । 'घटत्वे'त्यस्य 'धटान्य' इत्यर्थः ।

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श्रोन्यायसिद्धान्तप्रवेशकन्थिका किमरे ! 'घटत्वेतरे'त्यस्य 'घटाऽन्य' इति वा(क्वार्थः ! ।
नहि नहिं । सक(स्व)लितम् । 'घटस्वाऽन्य' इत्यर्थों भवति । सत्यम् । परन्तु तस्यापि कोऽर्थः ? । 'घटत्वभिन्नः' किं इति ? वैय्या(या)करणोऽसि, यदितरपदार्थे पृष्टे पर्यायान् वदति ?"।
नैय्या(या)यिकरीतिमनुरुध्येदानीं वदामि । 'इतर'पदस्य 'भेदवान'थः । तदै(दे)कदेशे भेदे घटत्वस्य प्रतियोगितासम्बन्धेन घटत्वपदार्थस्य घटत्वप्रतियोगिताकस्य वा भेदेनाऽन्वयः । एवं च 'घटत्वेतरस्य 'घटत्वनिष्ठप्रतियोगिताकमेदवानि'त्यर्थः । ____ एवं विचार्य वक्तव्यम् । परन्तु कथमनेन घटपटोभयाऽभावस्य वार णम् ? । तदीयप्रतियोगितायां घटत्वेतरधर्माऽवच्छिन्नस्याऽप्युभयाऽभावमादाय पटत्वेतरधर्माऽनवच्छिन्नत्वसत्वात् । किश्च 'घटो नास्ती'त्ययमभावोऽपि न घटसामान्याऽभावः स्यात् । घटत्वेऽपि घटत्वपटत्वोभयभेद सत्वात् । घटत्वमपि घटत्वेतर(रा)ज्जातमिति घटसामान्याऽभावोयप्रतियोगिताऽपि घटत्वेतरधमावच्छिन्नैव जातेति त्वं विभावय ।
___ तह:वं वदामि । 'घटत्वेतरे'त्यस्य न केवलं 'घटत्वनिष्ट(ठ)प्रतियोगिताकमेदवानित्यर्थः, येन घटत्वपटत्वोभयभेदमादायाऽपि घटत्वेघटत्वेतरत्वं सम्पादितं भवेत् । किन्तु 'घटत्वत्वावच्छि न्नप्रतियोगिता(क)मेदवान्' इत्यर्थः। तथा घटत्वपटवा(त्वो)भयमेदस्य वारणम् । एवमेव 'अनवच्छिन्न्न' इत्यस्य 'अवच्छिन्नत्वाऽवच्छिन्नप्रतियोगिताक भेदवतो' इत्यर्थः । एवंचोभयाऽभावीयप्रतियोगितायां घटत्वेतरधर्मावच्छिन्नत्वावच्छिन्नप्रतियोगिताकभेदाऽसत्त्वात्तद्वारणं पश्यामि ।
किं पश्यसि ? न किमपि । यतस्त्वं पुरोवर्तिनी(नी) पर्वतप्रायामनवस्था(स्था) नैव जानासि । पश्य, मया प्रदर्श्यते ।
भगवन् ! दृष्टा दृष्टा । घटत्वत्वावच्छिन्नत्वस्यापि पूर्ववदेव घटत्वत्वेतरानवच्छिन्नत्यादिक्रमेणार्थे क्रियमाणे सा राक्षसी भयङ्करा नर्ततीति भवदनुग्रहेणैव दृष्टा । कथमेनाममन्त्रविद्वारयेदिति मान्त्रिकैरव तत्र भवद्भिवा()रणियेति ।
भआयुष्मन् ! सूक्ष्मदृष्टयाऽवधातव्यम् । घटाऽभावीया प्रतियोगिता कुत्राऽऽस्ते ! ।
भो ! घटे।

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संपा० मुनि शीलचन्द्रविजय केन सम्बन्धेन ? स्वरूपसम्बन्धेन । तस्या अवच्छेदकं किम् ।। घटत्वम् । प्रतियोगितावच्छेदकता च क्व ? न स्फुरति ।
किमरे ! मुसला प्रबुद्धे ! बृहच्चित्रमेतत् । यतस्त्वयैवाधुनोक्तं 'प्रतियोगितावच्छेदकं घटत्वम्' इति । यदा च मया 'प्रतियोगितावच्छेदकता च क्व' इति पृष्टं तदा 'न स्फुरतो ति वदसीति !
सत्यमेवैतत् । किम् ?।
पश्यामीमं दोषं, तथापि किं कर्त्तव्यं भो° गुरो ! ? । उपदिष्टां नीलसरस्वतीं तारामाराधय । तेन ज्ञानावरणभङ्गः स्यात् ।
अहो ! कस्तारामहिमा वाच्यः ! यतो नाममात्रश्रवणेनेदानों सञ्जातप्रकाशः सर्व विश्वं वच्मीत्यागतं धैर्यम् । श्रीगुरुचरणप्रसादोऽयम् । शृणुत । घटाऽभावप्रतियोगितावच्छेदकता घटत्वे पर्याप्ता, नाऽन्यत्र ।
सत्यमुक्त भवता । तर्हि वद-प्रतियोगितावच्छेदकता पर्याप्त्यनुयोगिता क्व वत्तते ? ।
तत्रैव । तत्र कुत्र ? स्पष्टतया वद ।
घटत्वस्य घटाऽभावीयप्रतियोगितावच्छेदकत्वात् पर्याप्त्यनुयोगिता, तं विहायाऽन्यत्र कुत्र गच्छेत् ? ।
सत्यम् । वद तर्हि--धटाऽभावीयप्रतियोगितावच्छेदकतापर्याप्त्यवच्छेदकं किमस्ति ।
अत्र किं वक्तव्यम् ? । पर्याप्त्यवच्छेदक पर्याप्तित्वमेवास्ति ।
शिरःकम्पेनाऽभिनन्दनीयमेतत् ! यतः किमरे ! गन्धवत्त्वलक्षणस्य पृथिवीनिष्ट(ष्ठ)लक्ष्यतायाः किमवच्छेदकमिति प्रष्टे लक्ष्यतात्वमिति ब्रूते !
।

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५८
श्रीन्यायसिद्धान्तप्रवेशकन्थिका यत्त्वया घटाऽभावीयप्रतियोगितावच्छेदकपर्याप्त्यवच्छेदक किमिति पृच्छन्तं मां प्रति पर्याप्त्यवच्छेदकं पर्याप्तित्वमेवेति महता समारम्भेणोत्तरितम् ! ।
नहि नहि । गन्धवत्वलक्षणस्य लक्ष्यतावच्छेदकं पृथिवीत्वं भवति ।
एवं नु किल तर्हि प्रकृते घटाऽभावीयप्रतियोगितावच्छेदकतापर्याप्त्यवच्छेदकं पर्याप्तित्वं भवेदन्यद्वा ? । .
इदानी प्रबुद्धोऽस्मि । नहि पर्याप्तित्वं, पर्याप्त्यवच्छेदकं, किन्तु यत्र घटत्वे पर्याप्तिस्तवृत्तिधर्म(मों) घटत्वत्वं एकत्वं वा अवच्छेदकं भवेत् । परन्तु.... ... निःशङ्कं पृच्छ । मा भैषीः ।।
पृच्छयेत (पृछचते) । घटसामान्याऽभावप्रस्तावे कोऽयमप्रकृत इवावच्छेदकपरम्पराप्रस्तावो वर्धमानहनुमल्लाङ्गुलमिव ? ।
अस्त्वेतत् किमपि । परं त्वयाऽवगतं न वा १ ।
श्रीमदनुग्रहादवगतम् । परं किमनेन घटाऽभावीयप्रतियोगिताऽवच्छेदकतापर्याप्त्यवच्छेदकेन ज्ञातेन घटसामान्याऽभावे भविष्यतीति न जानामि । । उच्यते । येयं घटाऽभावीया घटनिष्ठा प्रतियोगिता दृश्यते, सेदानी घटत्वगतेकरवे नेया । पश्यामि तु किल तव कौतुकम् ।
एवं वा, ज्ञातं तर्हि शनैः शनैरेतावता प्रबन्धेन बुद्धिवर्धनं दयालुभिः कृतम् । उच्यते । या हि घटाऽभावीया प्रतियोगिता स्वरूपसम्बन्धेन घट(टे) वर्तते, सैवाऽनेनाऽखण्डदण्डायमानेन घटत्वगतैकत्वे विराजमाना परिदृश्यते । 'अनेनाऽखण्डदण्डायमानेन' इति किम् ? । नाऽयमाल स्याऽवसरः । स्पष्ट वद ।
उच्यते । स्वावच्छेदकतापर्याप्त्यवच्छेदकत्वसम्बन्धेऽपि घटाऽभावीया प्रतियोगिता घटत्वगतैकत्वे गतेति स्पष्टं निरीक्ष्यते ।
साधु साधु । फलितो मे श्रमद्रुमः । एवं तर्हि घटसामान्याऽभाव इत्यस्य न 'घटनिष्ट (ष्ठ)प्रतियोगिताकाऽभाव'(इत्यर्थः) । किन्तु घटत्वगतैकत्वनिष्ट(ष्ठ)प्रतियोगिताकाऽभाव' इत्येवार्थः । प्रतियोगितायां घटत्वनिष्टै(ष्ठै)कत्वनिष्ट(ष्ठ)त्वं च पूर्वोक्तसम्बन्धेनेति ।
अहों ! कोऽयं चमत्कार इन्द्रजाल इव ।
न चमत्कारः । इममनुगमप्रकारमाहुर्जरन्नैयायिकाः । एवमेव सर्वत्र बोध्यम् । एवं क्रमेण घटाऽभाव इत्युक्तौ प्रागिव घटपटोभयाऽभाव उक्तो भवति ।

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संपा० मुनि शोलचन्द्रविजय पश्य,घटपटोभयाऽभावीया प्रतियोगिता न प्रोक्तसम्बन्धेन घटत्वगतैकत्वेऽस्ति । किन्तु घटत्वपटंपत्व(पटत्व)घटपटोभयत्वैतद्गतत्रित्वेऽस्तीति तद्वारणम् । सम्बन्धकुक्षौ अमावस्याऽऽवाप्सान्नाऽनवस्थोत्प्रेक्षाऽपि । इति सामान्याऽभावः ॥
अथ पैशिष्ट्याऽभावोभयाऽभावो पूर्वमुपदिष्टौ तत्रास्ति मे संशयः । कः कः ।
निवेद्यते । 'नीलघटो नास्तो'त्ययमभावो नीलत्वविशिष्टघटत्वावछिन्नप्रतियोगिताक इत्युक्त्या 'नीलधटो नास्ति' इत्येतस्याऽभावस्य प्रतियोगिता किन्न नीलत्वघटत्वोभयावच्छिन्ना ? अस्ति चेत्, कथमयमुभयाऽभावान्नीलघटौ न स्त' इत्यस्माद् भिन्न ? इत्येकः । अपरश्च 'नीलघटो नास्ति' इत्यस्याऽभावस्य प्रतियोगिता नीलघटे कुता नाङ्गीक्रियते ! कुतो वा नाङ्गीक्रियते च पुनर्घटत्वमात्रं तदवच्छेदकम् ? इति ।
समुद्भूतस्त्वे(स्ते) न्यायशास्त्रानुकूलो बुद्धयङ्कुरः । यतोऽभिज्ञ इव पृष्टवानसि ।
तर्हि सामाधेय मनः ।
उच्यते । नीलधटो नास्ति' इत्यभावस्य न नीलत्वं घटत्वस्येव प्रतियोगिताबच्छेदकं, तस्य सामानाधिकरण्यसम्बन्धेन घटत्वस्य विशेषणत्वात् ।
तवं नीलत्वे किमायातम् ?
'अवच्छेदके यद्विशेषण तदवच्छेदकताऽवच्छेदकमिति गीयते' इति वृद्धो. स्या नोलत्वं नीलघटाऽभावस्य प्रतियोगितावच्छेदकताऽवच्छेदकं जातमिति न नीलघटाऽभावो नीलघटोभयाऽभावादभिन्न इति पश्य ।
गृहीतम् । ममापि तत्रभवतः प्रसादात् स्फुरितमस्ति, तद्वाक्यं वा ! निःशङ्कः ।
उच्यते । नीलत्वस्य घटत्वस्येव घटविशेषणत्वेऽपि नीलवघटत्वयोश्च प्रतियोगितावच्छेदकत्वेऽपि च न नीलघटाऽभावस्य नीलघटोभयाऽभावादभेदः सम्पद्यते । यतौभया (यत उभया)ऽभावीयप्रतियोगितावच्छेदकता नीलस्व-घटत्व-नीलघटोभयत्वैतत् त्रिषु पर्याप्ता । तत्पर्याप्त्यवच्छेदकं च तद्गतत्रित्वं भवति । नीलघटा भावोया प्रतियोगिताऽवच्छेदकता तु नीलत्वघटत्वयोरेव, तत्प्रतीतावुभयत्वस्याऽभानात् । तथा तत्पर्याप्त्यवच्छेदकं च नीलत्वघटत्वोभयगतं द्वित्वमेवेति किमर्थ नीलत्वं सामानाधिकरण्यसम्बन्धेन घटत्वस्य विशेषणं कर्त्तव्यमिति !

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श्रीन्यायसिद्धान्तप्रवेशकन्थिका
सत्यं सत्यम् । बहु मधुरतरं भाषितं त्वया । परन्तु यदस्माभिर्नीलत्वस्य प्रतियोगितावच्छेदकतावच्छेदकत्वमभाणि, तत् केवल 'विशिष्टाऽभाव'पदस्याऽ. स्वर्थतामङ्गीकृत्यैवेति । किं खिन्नमना इव लक्ष्यते ? ।
प्रष्टव्यं चेदपरमपि वा पृच्छ तातोक्कमेव निःशङ्क ते पुनरपि मयाऽनुयते न प्रयासः। कालोऽतीतो न च कथमपि ब्रह्म कृत्यस्य साधाविधातीर्थे यथेष्ठ न च दुरितमथाह्यावयोमज्जतोस्तत् ॥१॥
तर्हि पृच्छयते । 'विशिष्टाऽभाव' पदस्यान्वर्थता तु तदैवोपपद्यते यदा विशिष्टनिष्ट(ठ)प्रतियोगिताकोऽभावो भवेत्, न चोपदिष्ट तथा गुरुचरणैरिति ।
विस्मृतं विस्मृतं भवता । किश्चित् स्मृतमिदानोम् । तर्हि वद ।
उच्यते । यथा घटाऽभाव इत्यस्य न घटनिष्ट(ठ)प्रतियोगिताकाऽभाव इत्यर्थः, किन्तु प्रदर्शितरीत्या घटत्वगतैकत्वनिष्ट(ठ)प्रतियोगिताकाऽभाव इति । तथा प्रकृतेऽपि नीलघटाऽभाव इत्यस्य घटत्वगतैकत्वनीलत्ववैशिष्टयोभयनिष्ट(ष्ठ)प्रतियोगिताकाऽभाव इत्यर्थः । प्रतियोगितायामुभयनिष्ट(ष्ठ)त्वं च स्वावच्छेदकपर्याप्त्यवच्छेदकत्वसम्बन्धेन । एतन्मूलक एव विशिष्टाऽभावो वैशिष्टयावच्छिन्नप्रतियोगिताको वा नोलघटाऽभावो व्यवहो(हि)यते तान्त्रिकैरिति ।
चिरं जीवतु भवान् । यतो निःशेषं सम्यगुपपादित वावई केन । किं प्राथमिकः संशयो गतो न वा ।
कस्तत्र सन्देहः ।
द्वितीये पुनरिदमवधेयम् –यदि नीलघटाऽभावोया प्रतियोगिता नीलघटे, घटत्वमात्रे च तदवच्छेदकता, तदा सामान्यरूपेण विशेषाऽभावाद्भेदो न स्यात्, प्रक्रियामेदाऽभावादिति । न च वै परोत्यं शङ्कयं घटत्वेन नीलघटो नास्ति' इत्यत्र तृतीयान्तोल्लेखस्य वैय्य(य)यंत्रसङ्गादिति । अत्रेदं पुनरिहावधेयं-यत्र 'नीलघटो नास्ति' इति प्रतीति यते तत्रैव 'घटत्वेन नीलघटो नास्ति' इति सामान्यरूपेण विशेषाभावोऽपि प्रतोयत इति न विशिष्टाऽभावादसौ पृथक्तया सिद्धान्तिभिः स्वोक्रियते ।

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संपा० मुनि शीलचन्द्रविजय भो गुरो ! यदि कश्चन एवं ब्रयात् 'सामान्यरूपेण विशेषाऽभाव एवाऽस्तु. विशिष्टाऽभावो माऽस्तु' इति, तत्र किमुत्तरितव्यम् ? ।
सत्यम् । अन्यत् किमपि रहस्यं न पश्यामः । परन्तु लोके विशिष्टाऽभावस्य प्रयोगबाहुल्यं दृश्यते तथा सामान्यरूपेण विशेषाऽभावस्य नेति बुद्धिबलात् कल्पित इति नानुमन्यत इति परः समाधेय इति ।।
अलमलं, किमिदं न्यूनम् ! । यतः सर्वापि व्यवस्था प्रयोगबाहुल्यादेव लोके परिदृश्यते । अन्यथा वृत्त्यनियामकसम्बन्धावच्छिन्नप्रतियोगिताकाऽभावोऽप्यतिरिक्तः सिद्धयेत् ।
अरे ! किमिदमुच्यते वृत्त्यनियामक सम्बन्धावच्छिन्नप्रतियोगिताकाऽभावोऽप्यरितिक्तः सिद्धयेदिति ? । किमयं कुत्रचिदन्तर्भूतः ये नेत्थ अवीषि ! ।
व्यधिकरणसम्बन्धावच्छिन्नप्रतियोगिताकाऽभावे सोऽन्तर्भूत इति भाति । कथम् ।
उच्यते । संयोगेन रूपाऽभावीयप्रतियोगिनो रूपस्य संयोगसम्बन्धो नहि वृत्तिनियामकः । संयोगेन रूपस्य कुत्राप्यवृत्तित्वादिति ।
नहि नह्येतत् । यतः संयोगो रूपस्यैकस्य वृत्त्यनियामक इति न सर्वथा वृत्त्यनियामकः सम्पन्नः, द्रव्यस्य वृतिनियामकत्वात् । यो हि न कस्यापि वृत्तिनियामकः स वृत्त्यनियामक यत्र(इत्य)भिधीयते, यथा स्वामित्वसम्बन्धादि । न हि
स्वामित्वसम्बन्धेन किमपि कुत्रचिद् वर्तते । किन्तु स्वामित्वसम्बन्धेन किञ्चित् कस्यचित् सम्बन्धि भवति । पश्य, राजा हि स्वामित्वसम्बन्धेन प्रजासम्बन्धी भवति । ननु (न तु) प्रजा स्वामित्वसम्बन्धेन राजनि वर्तते । इत्थं च स्वामित्वसम्बन्धेन न किमपि कुत्रचिद् वर्तत इति स्वामित्वसम्बन्धः सर्वथा वृत्त्यनियामक इति । अयं च नाङ्गीक्रियत एवेति कस्तत्रातिरिक्तताप्रतिपादनावसर ? इति ।
सत्यं सत्यम् । न मया स्थूलबुद्धिना दृष्टम् । परं किञ्चित् प्रष्टुमिच्छामि । पृच्छ पृच्छ । .
वृत्त्यनियामक सम्बन्धावच्छिन्नप्रतियोगिताकाऽभावः कुतो वा नाङ्गीक्रियते ! तद्रहस्यमुपदेष्टव्यं श्रीचरणैरिति ।
साधु पृष्टम् । ममापीदं कदाचिदुपदेष्टव्यमेवासीत् । शृणु । योऽयं प्रतियोगितावच्छेदकसम्बन्धः कल्प्यते, स प्रतिबध्यप्रतिबन्धकभावानुरोधादिति पूर्वमुक्तमेवास्ति, तत् स्मर ।

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1T
श्रीन्यायसिद्धान्तप्रवेशकन्धिका
स्मृतं स्मृतम् । वृत्त्यनियामकसम्बन्धेन स्वामित्वादिना न प्रतियोगिमत्ताबुद्धिः कुत्रचिद् भवति येन सा स्वाऽभावबुद्धिं [प्रति प्रतिबन्धिका स्यात्, इति वृत्यनियामकसम्बन्धावच्छिन्नप्रतियोगिसा(ता)काऽभावोऽप्रामाणिक इति ।
किमरे ! यत् त्वयोच्यते 'कुत्रचिदपि वृत्त्यनियामकसम्बन्धेन प्रतियोगिमत्ताबुद्धिर्न जायते' तत्र किञ्चित् पृच्छ यते ।
सानुग्रहम् । यद्येवमुच्यते तदा कथं 'गोमी ति तद्धितः ? तेनाऽधिकरणत्वस्यैव बोधनादिति ।
श्रीचरणैरयं दासः परीक्ष्यत इति मन्ये । यतोऽन्यत्र बहुधैतद्विषये सम्बन्धसामान्ये मत्वर्थीया भवन्तीति शिक्षितोऽप्यहं पृच्छयत इति ।
साधु साधु, न विस्मृतम् । अनेन हि प्रतिपादनेन 'स्वामित्वसम्बन्धेन गोस म्बन्धी' त्येव निरणायि त्वया, न तु स्वामित्वसम्बधेन गवाधिकरणमिति निश्चितं मया ।
नन्वेवं श्रीगुरुनाथ ! विशेषरूपेण सामान्याऽभावोपि नातिरिक्तः स्वोकर्त्तव्यः, सोऽपि विशिष्टाऽभावोऽस्तु ।
__ सत्यम् । यद्यपि नीलघटो नास्तीत्ययमभावो यत्र तत्रैव नौलत्वेन घटो नास्तीति विशेषरूपेण सामान्याभावोऽपि वर्तते । यतो नहि नीलघटवति भूतले नीलत्वेन घटो नास्तीत्ययमभावः, किन्तु नीलघटशून्य एव भूतले । एवं नीलस्वेन घटो नास्तीत्ययमभावो यत्र नीलघटशून्ये प्रदेशे प्रतीयते तत्रैव नीलघटो नास्तीत्ययं विशिष्टाऽभावोऽपि प्रतीयत इति तो समनियाताविति विशिष्टाऽभाव एव विशेषरूपेण सामान्याऽभाव इति तत्राशयः ।
तथाप्यस्ति कश्चिदनयोविंशेषः तर्हि मय्युपदिशन्तु श्रीमन्तः ।
उपदिश्यते । शृणु । नीलघटाऽभावीया प्रतियोगिता नीलघट एव वर्तते । नीलत्वेन घटो नास्तोत्यस्याऽभावस्य तु घटसामान्ये वर्ततेऽतस्तयोर्द्वयोर्भेदः ।
किं कारणम् ।
शृणु। नोलघटाऽभावीय प्रतियोगितावच्छेदकं नोलघटत्वं, तेनावच्छिन्ना प्रतियोगिता नीलघट एवारि ।
बुद्धं बुद्धम् । किं बुद्धम् ।

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संपा० मुनि शीलचन्द्रविजय . उच्यते । अवच्छेद्यस्य एष स्वभावः, यत् स्वावच्छेदकं परित्यज्य नान्यत्र गच्छति । प्रकृते च नीलघटाऽभावीयप्रतियोगिता अवच्छेद्या, नीलघटत्वं तु अवध्छेदकमिति नीलघटत्वं परित्यज्य पीतघटादो सा सती प्रतियोगिता कथं गच्छेत् ? किन्तु नीउघटे स्वगृहे एव व्यभिचारशङ्कयाऽवसीदति ।
नैतत्सारम् । तथा सति नीलघटत्वेन घटो नास्तीत्यभावप्रतियोगितापच्छेदकं तदेव नीलघटत्वं, तदव्यभिचारिणी प्रतियोगिता कथं स्वतन्त्रा भवितुमहतीति समानम् ।
श्रीगुरो ! मया किं कर्तव्यम् ? तत्रभवतो वाङ्नदीप्रवाहपरतन्त्रः सन्नाभिमततीरमुत्तीर्ण इति श्रीमन्त एव शरणम् ।
सत्यम् । ये किल पुरोवर्तिनः सर्व वाक्यमश्रुत्यैवाग्रेऽनुधावन्ति ते कदाचिकच्यवन्ते । इदानी मनोमात्रं देयम् । सर्व पुनरुपाद्यते । नीलघटाऽभावीयप्रतियोगितावच्छेदकं नीलघटत्वं, तेनाऽवच्छिन्ना प्रतियोगिता नो घट एवास्ति । तथा यद्यपि नीलघटत्वेन घटो नास्तीति विशेषरूपेण सामान्याऽभावोयप्रतियोगितावच्छेदकं नोलघटत्वमेव, तथापि प्रतियोगिता केवलेन घटत्वेन सइ घटमात्रे रमते, न तु स्वावच्छेदकोभूतनीलघटत्वेन सह नीलघटमात्र एकान्तं भजते ।
ननु द्वयोः प्रतयोगितयोरवच्छेदकैक्ये सति, एका स्वावच्छेदकस्याऽव्यभिचारिणी परा च व्यभिचारिणीति तत्र किं कारणम् ।
एतत्कारणं त्वयैवाऽवगन्तव्यम् । पृच्छयते । वद, एकस्य द्वे भार्ये । तत्रैकाऽव्यभिचारिणी द्वितीया तु व्यभिचारिणी भवतीत्यत्र किं कारणम् ? ।
स्वभावभेदात् तथा भवति इति चेदत्रापि स्वभावभेदं कल्पय ।
ननु तत्र जननीभेदाददृष्टभेदाद्वा स्वभावभेदं कल्पयितुं शक्यते इति चेत्, प्रकृते प्रतीतिभेदं सन्तमपि कुतो न कमलदलाक्ष ! पश्यसि ? । पश्य, नीलघटो नास्तीति प्रतीतो स्वावग्छेदकेन पाणिपोडकेन सहधर्मिणीव प्रच्छन्नैवास्ते, स्वावच्छेदकस्य तृतीयान्तत्वेनानुल्लेखात् । नीलघटत्वेन घटो नास्तिति प्रतीतौ तु पाणिपीडकस्थानाभिषिक्तं स्वावच्छेदकं तृतीय कवचनेनोलिलस्वन्ती कथं न व्यभिचरेत् ? । या हि व्यभिचारिणो सैव मर्यादामतिक्रामतीति लोके सुप्रसिद्धतरमेतत् ।

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श्रीन्यायसिद्धान्तप्रवेशकन्थिका इदं रहस्यं परमं पवित्रं, श्रीमत्पदाब्जेन विनाऽन्यतोऽस्ति । न नाम दृष्टं किल दैशिकेन्द्र !, ततः प्रणामोऽस्तु सदा पदाब्जे ॥ १॥ उत्तिष्टोत्तिष्ठ भद्रं ते, जयश्चास्तु सदा तव । संसारतारिणो तारा, विदिताऽऽराधिता त्वया ॥२॥ अस्त्वेतत् । अन्यत्प्रष्टव्यं चेत् पृच्छ ।
पृच्छयते । नन्वेवं 'घटत्वेन घटो नास्ति'इत्युक्ती प्रतियोगिता कुतो न घटं विहायान्यत्र गच्छति ?, अत्रापि तृतीयान्तत्वेनावच्छेदकस्य पृथगुल्लेखस्य तुल्यत्वात् ।
पूर्वमेवेदं परिभावितं, इदमेवेदं पृच्छ सीति तत्सत्यं संवृत्तं, अस्तुच्यते । 'घटत्वेन घटो नास्ति' इति न प्रामाणिकाः प्रयुञ्जन्ते । किन्तु 'घटो नास्ति' इत्येव ।
किं कारणम् ।
तथा प्रयुज्यमाने घटत्वस्य अवच्छेदकविधया प्रतियोगीविशेषणविधया चेति निष्फलं द्वेधा भानं स्यात् । 'नीलघटत्वेन घटो नास्ति' इत्यत्र तु प्रतियोगितावच्छेदकत्वेन विशिष्टघटत्वस्य प्रतियोगिविशेषणविधया च शुद्धघटत्वस्येति न कयोश्चि[द] द्वेधा भानं, किन्तु सकृदेवेति न साम्यं परिशयम् ।
ननु विशिष्टघटत्वं शुद्धघटत्वं चैकमेवेति कृत्वा नोलघटत्वस्य प्रतियोगितावच्छेदकत्वेऽपि घटत्वस्य द्वेधा भानं दुष्परिहार्यम् ।
सत्यम् । तावताऽपि घटस्य प्रतियोगिविशेषणविधया भानं स्वरूपतोऽस्ति, अवच्छेदकविधया भानं तु स्त्रविशेषणोभूतेन नीलत्वेनेति विशेष इति न किञ्चिदनुपपन्नम् । एतेनैतावता पूर्वकालीना शङ्का गता न वा ! ।
श्रीमदनुग्रहेणेदानी सर्वथा विगतसंदेहः संवृत्तोऽहम् । ____ एवं वा ? । तर्हि अनुगमप्रकारेण विशेषरूपेण सामान्याऽभावं,समान्यरूपेण विशेषाऽभावं च वर्णय ।
- शृणुत । 'नील घटो नास्ति' इत्यस्य नीलत्व-घटत्वोभयनिष्ट(ष्ठ)प्रतियोगिताकाऽभाव इत्यर्थः । प्रतियोगितायां नीलत्व-घटत्वोभयनिष्ट(ष्ठ)त्वं च स्वावच्छेदकता पर्याप्त्यनुयोगितावच्छेदकसम्बन्धेन । एवं घटत्वेन...
किं मूकीभाव इव लक्ष्यते ? ।
अहो ! किं वक्तव्यम् ? । श्रीमद्भिः संशयार्णवान्महता यत्नेन समुद्धृतोऽसि(पि) पुनस्तत्रैव मज्जनौ। नाद) व्याकुलोभूतोऽहम् । यतो यथा दुग्धान्निवारितोऽपि मार्जारो दनि, तस्मान्निवारितो दुग्धे प्रवर्तते । तथाऽयं घट सामा.......
(एतावन्मात्र एव ग्रन्थोऽयमुपलभ्यते । अतः परं त्रुटितम् ।)

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संपा० मुनि शोलचन्द्रविजय
पाठान्तरो १ 'तत्रेदं प्रथमतो व्युत्पित्सुभि' खे० ॥ २ श्वे० प्रती 'तन्मात्रस्यैव' पदस्य 'घटमात्रस्यैव' इत्यर्थः टिप्पण्यां कृतोऽस्ति । ३ खे० प्रतौ 'किमपि न कार्य' इत्यत्र सन्नपि 'न' कारः केनचिदभ्यासिना दूरीकृतो दृश्यते ॥
४ अत्र 'कालादीनां साधारणकारणत्वमुपदिश्यते घटं प्रति चोच्यते' इति वाक्यस्यायं रहस्यार्थः -एकाधिककार्याणां यदेकं कारणं तत् साधारण कारणं, यथा कालादि । यदा. तस्यैव कालादेः साधारणकारणत्वेनाऽभिप्रेतस्य विशेष कार्य प्रति कारणताप्र दयते, तदा तस्य साधारणत्वं हीयते, असाधारणत्वं चाऽऽपन पद्यते' इति प्रश्रकर्तुराशयः ।।
५ 'अन्यथा' प्रवेशोनवस्था स्यात्, खे० ॥ ६ “ ” एतच्चिनान्तर्गतः पाठः खे० नास्ति । ७ 'श्रृणुत' खे० ॥ ८ 'श्रृणुत' खे० ॥ ९ 'सकलकार्य' खे० ॥ १० ‘एवं च' खे०।। ११ गृ(य)हणं' खे०॥ १२ 'भवति, अब० ' खे०॥ १३ “ ” एतच्चिनान्तर्गतः पाठः खे० नास्ति ।। १४ 'अवविक्रियासमवायिकारणस्य' इत्युपरि क्रियायाः समवायिकारणं तस्य' इति टिप्पणी खे० प्रतौ वर्तते ॥ १५ तस्यैव' इत्युपरि 'तस्यैव-वस्तुने (न) रे (ण) व, यद्वस्तु' इति टिप्पणी खे० प्रती कृता ।। १६ 'आतिमत्त्वाच्च' खेल। '१७ कारणत्वं' खे० ।।
१८ अत्र खे० प्रतावियं टिप्पणः :- असमवायिकारणे तद्भिन्नत्वं नाम ज्ञानभिन्नत्वं विशेषणं देयं, तथा ज्ञानभिन्नं समवायि-भिन्नं समवायि सदृशं यत्कारणं तदपमायिकारणं" इति ।।
१९ 'पूर्व' खे० ॥ २० 'सम्बंधेन' पद खे० नास्ति ।।
२१ अत्र 'तर्हि एवमुच्यते 'संयोगेन घटवद्भूतल' मिति ज्ञानं 'संयोगेन घटाऽभाववद्भूतल' मिति ज्ञानं प्रति प्रतिबन्धकमिति" इत्यधिकः पाठः खे० प्रतौ वर्तते । स एव समीचीनः प्रतिभाति ॥
२२ 'यतितं खे० ॥

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श्री न्यायसिद्धान्त प्रवेश कन्थिका
२३ 'च' नास्ति खे० ॥ २४ ‘-तलमिति ज्ञानमित्यत्र' खे० ॥ २५ “ ” एतच्चिनान्तर्गतः पाठः खे० नास्ति । २६ “ ” एतच्चिहनान्तर्गतः पाठः खे० नास्ति ॥ २७ एतच्चिन्नान्तर्गतः पाठः खे० नास्ति । '२८ व्यासज्यवृत्ति' पदस्य 'प्रत्येकावृत्ति' इति टिप्पणी खे० ॥ २९ 'व्यधिकरणधर्मावच्छिन्नत्वात्' खे० ॥ ३० " " एतच्चिनान्तर्गतः पाठः खे. नास्ति ॥ ३१ 'वच्छेदकेन घटत्वेन विशिष्ट०' इति खे० ॥ ३२ 'सौदंडा चार्य' खे० ॥ ३३ 'तथा च' खे०॥ ३४ 'वदसि' खे० ॥ ३५ 'प्रतियोगिताक ' खे० ॥ ३६ 'न पश्यामीम खे० ॥ ३७ 'भो' इति खे० नास्ति । ३८ 'कोऽपि ब्रूते' खे० ॥ ३९ 'सम्बन्धेन' खे० ॥ स एव समीचीनः प्रतिभाति ॥ ४० 'कृतेन' खे० ॥ ४१ 'इत्येतस्या ' खे० ॥ . ४२ 'निशङ्कं' खे० ॥ ४३ 'स्वस्वसम्बन्धेन' खे० ॥ ४४ 'इदमेव त्वं' खे० ॥ ४५ 'नीलघटत्वो' खे० ॥ ४६ 'मजनो (न्म) जनै (:)' खे० ॥ ४७ अन्तिमपङ्क्तौ खे० प्रती "घटसामान्याभा” इति पाठः। तत परं तत्रापि नास्ति ।

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पंचाख्यान के संशोधक पूर्णभद्रसूरि खरतर पूर्णभद्र नहीं थे
अगरचंद नाहटा
नाम साम्य के कारण बहुत बार भ्रम और गल्तियाँ हो जाया करती है जिनका संशोधन बहुत ही आवश्यक है, अन्यथा वह भ्रामक परम्परा लम्बे समय तक चलती रहती है । इसलिये मैंने अपने कई लेखों में नाम साम्य के कारण जो महत्वपूर्ण भ्रम व गल्ती हो जाती है उनका संशोधन करने का प्रयत्न किया है । प्रस्तुत लेख में ऐसा ही एक प्रयास किया जा रहा है ।
पंचतन्त्र या पंचाख्यान नामक ग्रन्थ बहुत ही प्रसिद्ध है । इसकी कथायें बहुत सरल और उपयोगी होने से इसका प्रचार भारत में ही नहीं विदेशों में भी बहुत अधिक हुआ है । भारत में कई पाठ्यक्रमों में संस्कृत की सरलता से शिक्षा देने के लिए इस ग्रन्थ को रखा हुआ है । विदेशी विद्वानों ने पंचतन्त्र के विविध संस्करणों की गहरी छानवीन करके शोधपूर्ण प्रकाश डाला है । मेरे विद्वान मित्र डा० भोगीलाल सांडेसरा को भी जब पंचतंत्र का गुजराती अनुवाद का कार्य सौंपा गया तो उन्होंने अनुवाद के साथ साथ पंचतन्त्र के संस्करणों और कथाओं पर बहुत विस्तार से प्रकाश डाला । गुजरातो साहित्य परिषद् की ओर से भारतीय विद्या भवन, बम्बई ने उनका वह ग्रन्थ पंचतन्त्र के नाम से सन् १९३९ में प्रकाशित किया है । जिसका उपोद्घात १२४ पृष्ठों का । इसीसे उन्होंने कितना परिश्रम किया है इसका अनुमान पाठक लगा सकते हैं । इस उपोद्घात के पृष्ठ ३२ में पूर्णभद्र के पंचाख्यान के सम्बन्ध में लिखा है कि पंचतन्त्र की समस्त प्राचीन पाठ परम्पराओं में एक मात्र पूर्णभद्र का पंचाख्यान ऐसा है जिसके रचयिता व रचनाकाल की निश्चित जानकारी मिलती है । प्रशस्ति के अनुसार पंचतंत्र का यह ग्रंथ सोम मन्त्री के वचन से पूर्णभद्र ने संशोधित किया । अन्त की पंक्ति में 'श्रीपूर्ण भद्रसूरिर्विशोधयामास शास्त्रमिदम्' लिखा है। प्रशस्ति इस प्रकार है
शरवाणतरणिवर्षे रविकरवदि फाल्गुने तृतीयायाम् ।
र्णोद्वार इवासौ प्रतिष्ठितोऽधिष्ठितो बुधैः ॥२॥
श्री सोममंत्रिवचनेन विशीर्णवर्णमालोक्य शास्त्रमखिलं खलु पंचतंत्रम् । श्रीपूर्ण भद्रगुरुणा गुरुणादरेण संशोधितं नृपतिनीतिविवेचनाय || प्रत्यक्षरं प्रतिपदं प्रतिवाक्यं प्रतिकथं प्रतिश्लोकम् । श्रीपूर्णभद्रसूरिर्विशोधयामास शास्त्रमिदम् ।
इस प्रशस्ति में पूर्णभद्रसूरि ने अपने गच्छ व गुरु का नाम नहीं दिया है और उसी समय के आसपास खरतरगच्छ में एक पूर्णभद्र नामक विद्वान हुए हैं जो जिनपतिसूरि के शिष्य थे और उनकी घनशालीभद्र चरित्र, कृतपुण्यचरित्र, अतिमुक्तचरित्र, आदि रचनायें प्राप्त होती है । इसलिए डा० सांडेसरा ने पंचाख्यान के संशोधक पूर्णभद्र और खरतरगच्छ के

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अगरचंद नाहटा पूर्णभद्र दोनों को एक मान लिया है। अभी अभी पं. कैलाश चन्द जी शास्त्री अभिनन्दन ग्रन्थ के पृष्ठ २०२ में उनका एक लेख 'स्वेत भिक्षु' के नाम से प्रकाशित हुआ है । उसमें भी इसी मान्यता को उन्होंने दोहराया है । उन्होंने लिखा है कि 'यह पूर्णभद्र खरतरगच्छीय जैन साधु बिनपतिसूरि के शिष्य थे, उन्होंने पन्चतन्त्र का सन् ११९९ में पंचाख्यान के रूप में रूपान्तर किया था ।' वास्तव में ये दोनों ग्रंथकार भिन्न भिन्न थे । नामसाम्य के कारण दोनों को एक मानने की भूल हो गई है । क्योंकि जिनपतिसूरि के शिष्य पूर्णभद्र की दीक्षा ही 'खरतरगच्छ बृहद गुर्वावलि' नामक प्रामाणिक ग्रन्थ के अनुसार सं० १२६० में हुई थीं । सिंघी जैन ग्रन्थ माला से प्रकाशित उक्त गुर्वावली को एक मात्र प्रति मैंने ही बीकानेर के उपाध्याय क्षमाकल्याणजी के भंडार में सर्व प्रथम खोजी थीं और मुनि जिनविजयजी के द्वारा प्रकाशित करवाई थीं । उक्त संस्करण के पृष्ठ ४४ में स्पष्ट लिखा है कि "सन् .१२६० आसाडवदी ६ वीरप्रभगणि देवकोर्ति गण्योरूपस्थापनाकृता । सुमत्गिणि, पूर्णभद्र गण्यो व्रतम् दत्तम ।' पंचाख्यान की रचना सं० १२५५ में होने का उल्लेख उपरोक्त प्रशस्ति में स्पष्ट है जब कि खरतरगच्छोय जिनपतिसूरि के शिष्य पूर्णभद्र की दीक्षा पंचाख्यान की रचना के ५ वर्ष बाद की है । अतः उनके द्वारा पंचाख्यान के रचे जाने का प्रश्न ही नहीं उठता । ये पूर्णभद्र उनसे पहले अन्य किसी गच्छ के आचार्य हुए हैं, खरतरगच्छोय पूर्णभद्र तो सूरिआचार्य भी नहीं थे।
पंचाख्यानं की रचना जिन सोममन्त्री के कहने से की गई है वह कहाँ का था, कौन था, इसकी जानकारी डा० सांडेसराजी को नहीं मिल सकी। पर खरतरगच्छ गुर्वावली के पृ० ५१ में जालोर के सोममन्त्री का उल्लेख है । यद्यपि है वह काफी पीछे का । अर्थात् सै० १३१६ का है । संभव है उस समय वह काफ' वृद्ध हो, और पांचख्यान के समय युवा हो ।

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कविवर नयसुन्दर की एक अज्ञात रचना-नेमिनाथ वसंत विलास
अगरचंद नाहटा
१७ वीं शताब्दी के गुजराती जैन कवियों में कविवर नयसुन्दर का उल्लेखनीय स्थान हैं । वे तपगच्छ की वृद्ध पोषालिक शाखा-चड तपगच्छ की परम्परा के भानुमेरु गणि के शिष्य थे । संस्कृत और गुजराती भाषा के वे उल्लेखनीय विद्वान थे । इसकी सुप्रसिद्ध 'सारस्वत व्याकरण' की 'रूपरत्नमाला' नामक टीका की २ प्रतियाँ हमारे श्री अभय जैन ग्रन्थालय में है जिनमें से आख्यातप्रक्रिया की टीका संवत् १६७५ के माघ सुदी १३ को रची गई है,
और कृदंतप्रकरण की टीका संवत् १६७६ में रची गई । इसको ऐतिहासिक प्रशस्ति १० श्लोको में रची गई है । तत्कालीन लिखित ये सुन्दर प्रतियाँ हमारे अभय जैन ग्रन्थालय की प्रति नं० ४५८५-८६ में विद्यमान हैं । इस महत्त्वपूर्ण टीका की प्रतियाँ बहुत ही कम पाई जाती हैं । स्वर्गीय एच० डी० वेलणकर ने शताधिक जैन ज्ञान भण्डारों की सूचीयों का अवलोकन करके 'जिनरत्नकोष' नामक जो महत्वपूर्ण ग्रन्थ तैयार किया उसके पृ० ४३४ में नयसुन्दर की रूपमाला की केवल एक प्रति का उल्लेख हुआ है जो अहमदाबाद के डेहला उपासरे में प्राप्त है । उन्होंने इसका रचनाकाल अपने ग्रन्थ में नहीं दिया है। पर हमारे संग्रह की प्रतियों की प्रशस्ति को देखकर मैंने उपरोक्त संवत् दिये हैं । नयसुन्दर की यह प्रौढ रचना है । गुजराती कवि के रूप में तो वे बहुत प्रसिद्ध रहे हैं। जैन गुर्जर कवियों के प्रथम भाग में उनके रचित रूपचंदकुवर रास, शत्रुजय उद्धार रास, प्रभावती रास, सुरसुन्दरी रास,
और नलदमयंतीरास, तथा शीलशिक्षारास का विवरण छपा था । इन में से रूपचन्द रास, शत्रुजय उद्धार गस, सुरसुन्दरी रास, ये तीन रास आनन्द काव्य महोदधि मौक्तिक तीन में प्रकाशित हो चुके हैं । इस ग्रन्थ के प्रारम्भ में स्वर्गीय मोहनलाल दलीचंद देशाई ने कवि के सम्बन्ध में विस्तृत निबन्ध दिया है । इसके बाद जैन साहित्य महारथी स्वर्गीय देशाई ने इस कवि की जो अन्य रचनायें प्राप्त हुई, उसका विवरण जैन गुर्जर कवियों भाग ३ पृ. ७४८ से ७५५ में प्रकाशित किया है । उसमें कवि की सबसे पहली रचना के रूप में 'यशोघर नृप चौपाई' का रचना काल सं० १६१८ पौष सुदी १ गुरुधार बतलाया है पर वह ठीक नहीं है। वास्तव में कवि का यह काव्य पहली रचना नहीं अन्तिम रचना हैं,और इसका रचना काल संवत् १६१८ नहीं १६७८ है । इस चौपाई की प्रशस्ति में इसकी रचना विजयसुन्दर सूरि के समय में हुई जो देवसुन्दरसूरि के पटधर थे । इस ओर माननीय देशाई का ध्यान नहीं गया और रचना काल सूचक निम्नोक्त पंक्ति के पाठ का रहस्य ठीक से समझ नहीं पाये । यह पंक्ति इस प्रकार है।
वसुधा वसु मुनि रस एक, संवत्सर सुविवेक ।
प्रतिपद पौषनी असिता, कथा संपूरण विहिता । वास्तव में वसुधा शब्द ने गड़बड़ी उपस्थित कर दी है । इसके आगे जा 'वसु-मुनि रस एक' शब्द हैं उनसे रचना काल १६७८ सिद्ध होता है । नयसुन्दर कवि के अन्य काव्यों की प्रशस्तियां आदि से यह स्पष्ट है कि सं०१६१८ में देवसुन्दर सूरि व विजयसुन्दर सूरि विद्य

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अगरचंद नाहटा
मान ही नहीं थे । बृहद तपगच्छ की पटावली जो नयसुन्दर उपाध्याय ने गुरु परिपाटी या बृहद तपोगण गुर्वावली की रचना देवरत्न सूरि के समय की थीं। उसके अनुसार ५८ वें पटधर धनरत्नसूरि हुए । उनके शिष्य उपा० भानुमेरु गणि के २ शिष्य थे । जिनमें बड़े का नाम वाचक मणिरत्न था । उनके छोटे गुरुभाई कवि नयसुन्दर थे । कवि की अब तक ज्ञात गुज. रचनाओं की सूची इस प्रकार है
१. रूपचन्द कुवर रास, सं० १६३७ मिघसरसुदी ५ रविवार, बीजापुर । अ. २. शत्रुजय उद्धार रास, सं० १६३८ आसोजसुदी १३ अहमदाबाद । प्र. ३. प्रभावती रास, से० १६४० आसोजसुदी ५ बुधवार, बीजापुर । ४. सुरसुन्दरी रास, सं० १६४६ जेठ वदी १३ विसाख नक्षत्र सिद्धयोग । अ. ५. गिरनार उद्धार रास, गाथा १८४, दधि ग्राम में रचित । प्र. ६. संखेश्वर पार्श्वनाथ छन्द गाथा १३२ सं० १६५६। ७. नलदमयंती रास सं० १६६५ पोह सुदी ८ मंगलवार, बीजापुर । प्र. ८. शील शिक्षा रास सं० १६६९ भाद्रवा, इसमें विजयसेठ को कथा है । ९. आत्म प्रतिबोध गाथा ८२ विजयसुन्दर सूरि के समय रचित । १०. शान्तिनाथ स्तवन, गाथा ६४, राजनगर में रचित ।
११. यशोघर चौपाई, सं० १६७८ पोह सुदी १ गुरुवार । इससे कवि का काव्य रचना काल सं० १६३७ से ७८ तक अर्थात् ४१ वर्षो का सिद्ध होता है । अब हमारी खोज से जो कवि की एक अज्ञात व महत्वपूर्ण रचना प्राप्त हुई है, उसका विवरण दिया है।
इस अज्ञात रचना का नाम है श्री नेमिनाथ वसंत विलास, मदनजय प्रबंध । ३०२ गाथाओं का यह काव्य सं० १६५९ आसाडवदी ६ को रचा गया है । इसमें वसंतऋतु का सुन्दर वर्णन गाथा ६६ से ७८ तक में प्राप्त होता है । इसीलिए इसका नाम ऋतु विलास रखा है और इसमें नेमिनाथ जी के कामदेव पर विजय प्राप्त करने का प्रसंग वर्णित होने से इसका नाम 'कामदेव प्रबन्ध' भी रखा गया है। इस काव्य की १३ पत्रों की एक मात्र प्रति श्री विजयमोहन सूरीश्वर शास्त्र संग्रह में प्राप्त हुई है । जो जैन साहित्य मन्दिर, पालीताणा में सुरक्षित है । यह प्रति सं० १६७४ के कार्तिकसुदी १३ गुरुवार की रिसी कुंवरजी ने लिखी है । इस काव्य के आदि अन्त के कुछ पद्य नीचे दिये जा रहे हैं । काव्य प्रकाशन योग्य है । कवि की एक सरस रचना है। आदि-माइघन सुपत नु ए ढाल
गणहर सिरिसोहम मुख मंडपि जा नाची, शासनश्रुतदेवा संभार सा साची ।
सिरिनेमिजिणेसर अलवेसर अरिहंत, सीलादिक गुण मणि रोणगिरि भगवंत ॥ त्रुटक-रोहणगिरि भगवंत भजु, नित एकमना आराहूँ ।
पातक एक कलंक परजालु', तनु मनइ निरमल थाऊ । साचुं सीलवंत सोहगनिधि, दयावंत दातारो । तो स्वामी संथुणु सुभावइ, निरुपम नेमिकुमारो ॥१॥

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कविवर नयसुन्दर की एक अज्ञात रचना
अन्त-संवत् सोलसि उगोणसठई आसाढवदी छठी।।
वाचक नयसुदरई प्रभु गायु, नेमिनाथ मन तुठूठी रे ॥३०१॥ कलश-जय जगत्रवंदन शिवानंदन नेमिनाथ निरंजनो
नोराग रंग तरंग सागर मदन महामड गंजनो । बुध भानुमेरु विनेयलेशइ, थुण्यु राइमईवरो ।
कवि कहई नयसुन्दर निरंतर हुयो देव दयापरो ॥३०२।। कवि नयसुन्दर के बड़े गुरुभाई माणिक्यरत्न और स्वयं कवि उपाध्याय पद से विभूषित थे । कवि की रचनाओं में शत्रुजय तीर्थोद्धार रास और गिरनार उद्धार रास में ऐतिहासिक विवरण भी मिलता है । कवि की बड़ी रचना नलदमयन्ती चौपाई ३५०० लोक परिमित हैं । इसका दूसरा नाम नागयणचरित्र भी है । आनन्द काव्य महोदधि मौक्तिक ६ में यह प्रकाशित हो चुकी है । इसमें १६ प्रस्ताव है । और ग्रन्थाग्र ४५३६ है । प्रश. स्ति भी ऐतिहासिक है । रूपचन्द कुँवररास और सुरसुन्दर रास भो कवि की सुन्दर रचनाएँ हैं । प्रभावती रास की संवत् १६५३ की लिखी हुई प्रति लिमडी भंडार में है । कवि नयसुन्दर के संबंध में अहमदाबाद के डा• वाडीलाल चौक्सी ने अभी अभी एक विस्तृत निबन्ध 'कवि नयसुन्दर एक अध्ययन' के नाम से तैयार किया है । वह शीघ्र ही प्रकाशित होने वाला है। उसमें यशोधर चौपाई की प्रथम रचना संवत् १६१८ की मानने के कारण कवि के जन्म, दोषा और मृत्यु संवत् दिये हैं वे उस रचना को संवत् १६७८ को मान लेने पर गलत सिद्ध हो जाते है । कवि का काव्य काल ४१ वर्षों का होने से कवि ने और भी बहुत सी छोटी-मोटी कृतियाँ रची होंगी । उनकी खोज की जानी जरूरी है ।
अन्त में कवि की समस्त रचनाओं का एक संग्रह ग्रन्थ आलोचनात्मक अध्ययन के साथ किसी संस्था द्वारा प्रकाशित किये जाने का अनुरोध करता हूँ। कम से कम अप्रकाशित रचनाओं का संग्रह तो निकल ही जाना चाहिये ।
कवि को सारस्वत की रूपरत्नमाला टीका की प्रशस्ति भी प्रकाशित की जानी जरूरी है । कवि की दूसरी संस्कृत रचना बृहद पोषादिक पटावली यद्यपि मुनि जिनविजयजी ने अपने संपादित विविध गच्छीय पटावली संग्रह में छपा दी थी, पर वह ग्रन्थ प्रकाशित नहीं हो पाया । भारतीय विद्या भवन बंबई में इसके छपे हुए फर्मे पड़े होंगे । अतः प्रयत्नपूर्वक इस ग्रन्थ को प्रकाशित करवा देना चाहिये। इस पटावली का गुजराती सारांश श्रीमोहनलाल देशाई ने जैन गुर्जर कवियों भाग २ और ३ में प्रकाशित कर दिया हैं । कवि के रचित गिरनार उद्धार रास को भी देशाई ने संशोधन करके प्रस्तावना सहित प्रकाशित करवा दिया था । डा. वाडीलाल चौक्सी ने 'मध्यकालीन गुजराती जैन धाग' नामक उपयोगी ग्रन्थ प्रकाशित करने के बाद 'सुप्रसिद्ध भावक कवि रिषभदास एक अध्ययन' नामक ग्रन्थ प्रकाशित करवाया है । और अब उनका कवि नयसुन्दर एक अध्ययन नामक ग्रन्थ शीघ्र ही प्रकाशित होने जा रहा है । डा. चौक्सी का यह प्रयत्न बहुत ही सराहनीय हैं । बंबई के डा. रमणलाल शाह ने कविवर समयसुन्दर पर एक अध्ययनपूर्ण ग्रन्थ प्रकाशित करवाया है। कवि समयसुन्दर व अन्य गुजरात राजस्थान के जैन कवियों पर कई शोध प्रबन्ध लिखे जा चुके हैं। इन प्रबन्धों का प्रचार व अध्ययन अधिकाधिक किया जाय ।

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स्वाध्याय
REVIEWS आगमशब्दकोश ( अंगसुत्ताणि शब्दसूची) भाग १, वाचनाप्रमुख, आचार्य तुलसी, संपादक, युवाचार्य महाप्रज्ञ, प्रकाशक जैन विश्व भारती, लाडनूं (राजस्थान), १९८० पृ० ८२३। मूल्य, पचासी रुपये ।
इतःपूर्व जैन विश्वभारती ने 'अंगसुत्ताणि' नाम से तोन भागों में ११ अंग आगमों का प्रकाशन १९७४ में किया था। किन्तु उनमें शब्दसुची नहीं दी गई थी। इस कमी की पूर्ति इस कोष से हो जाती है।
इस कोश को अंग्रेजी में जिसे 'कोन्कोर्डन्स' कहा जाता है-यह नाम देना चाहिए, क्योंकि इसमें संगृहीत शब्द सभी अंगों में कहाँ कहाँ उपयुक्त है इसका निर्देश किया गया है । वेदों का ऐसा ही कोष ई. १९०६ में बन चुका है और पालि पिटक का ई. १९५२ से प्रकाशित होने लगा है।
यदि कोई शब्द तद्भव या तत्सम है तो संस्कृत रूपान्तर भी कोष्ठक में दिया गया है और देशी शब्दों के लिए 'दे' संज्ञा दी गई है। किन्तु अर्थ हिन्दी या अंग्रेजी में नहीं दिया गया । फिर भी समान रूप वाले शब्द यदि भिन्नार्थक है तो उनका निर्देश पृथक् रूप से किया गया है और आगमों का स्थल निर्देश किया गया है । इस दृष्टि से संशोधन करनेवालों को यह एक उपयुक्त साधन जैन विश्व भारती ने उपस्थित किया है एतदर्थ वे ऋणी रहेगे ही।
आचार्य श्री तुलसी के निवेदन के अनुसार आगमकोष दो खण्डों में प्रकाशित होगा। और प्रस्तुत कोश प्रथम खण्ड का प्रथम भाग हैं। दूसरे भाग में शेष आगमों की सूची रहेगी । और दूसरे खण्ड में आगम तथा उनके व्याख्या साहित्य के पारिभाषिक एवं विशिष्ट अर्थवाले शब्द, उनके उपलब्ध निरुक्त, संदर्भ पाठ, अर्थ आदि रहेंगे। इस प्रकार यह आगमकोष की योजना के द्वारा विद्वजनों को बहुत लाभ होगा इसमें संदेह नहीं है।
__ 'संकेतबोध' में प्र०प्रकीर्णक लिखा गया है । एक ओर यह कहा गया कि प्रस्तुत प्रथम भाग में केवल 'अंगसुत्ताणि' के शब्द संगृहोत है तो यह 'प्रकीर्णक' से क्या तात्पर्य है यह ठीक से समझाया नहीं गया। "चतुःशरण” आदि प्रसिद्ध प्रकीर्णकों के नाम 'भूमिका' में 'अंगबाह्य' में समाविष्ट किये गये हैं । तो यहाँ 'प्रकीर्णक' से क्या तात्पर्य है यह बताना आवश्यक था । यह कोष संशोधकों के लिए अत्यन्त उपयोगी है इसमें संदेह नहीं है ।
दल ख मालवणिया
बौददर्शन की पृष्ठभूमि में न्यायशास्त्रीय ईश्वरवाद लेखक-डा. किशारनाथ झा, प्रकाशक शेखर प्रकाशन, २० ची, जवाहरलाल नेहरू रोड, टैगोर टाउन, इलाहाबाद-२, पृ. १६+२६६, मूल्य पैतीस रुपये ।
प्रस्तुत ग्रन्थ में विद्वान लेखक ने प्रमुख नैयायिकों की ईश्वरसाधक युक्तियाँ और प्रमुख बौद्ध दार्शनिकों की ईश्वरबाधक युक्तियाँ संगृहीत की है और उन सबका समुचित प्राम्जल विवेचन करने का प्रयास भी किया गया है ।

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Review
प्रथम अध्याय में दार्शनिक ईश्वरवाद के मूल की खोज करने का प्रामाणिक प्रयत्न किया गया है तथा दार्शनिक सम्प्रदायों में ईश्वरवाद का विहंगावलोकन दिया गया है । द्वितीय अध्याय में गौतम, वात्स्यायन और उद्योतकर की ईश्वरविषयक मान्यता का विवरण प्रस्तुत किया है । तृतीय अध्याय में जो विषय आते हैं वे हैं-धर्मकोर्ति द्वारा ईश्वर साधक युक्तियों का खंडन तथा धर्मकीर्ति की ईश्वरबाधक युक्तियाँ, अविद्धकर्ण की ईश्वरसाधक युक्तियाँ, शान्तरक्षित द्वारा किया गया अविद्धकर्ण के मत का खंडन, प्रशस्तमति (प्रशस्तपाद ) की ईश्वरसाधक युक्तियाँ तथा शान्तरक्षित द्वारा उनका खण्डन, शान्तरक्षित द्वारा उद्योतकर के मत का खण्डन, प्रकृति तथा ईश्वर उभयकारणवाद का स्थापन तथा शान्तरक्षित द्वारा उसका खण्डन, वेदवादी पुरुषकतत्ववाद का स्थापन तथा शान्तरक्षित द्वारा उसका खण्डन, कल्याणरक्षित की ईश्वरभंगकारिका का सागंश । चतुर्थ अध्याय में ईश्वर के विषय में वाचस्पति, त्रिलोचन, शतानन्द, वित्तौक, शंकर और न्यायभूषणकार की मान्यताएँ दी गई हैं । पंचम अध्याय में वाचस्पति, त्रिलोचन आदि के मत का ज्ञानश्रीमित्र ने जो प्रतिवाद किया है वह सविस्तर दिया गया है । षष्ठ अध्याय में ईश्वर की सिद्धि में आचार्य उदयन की युक्तियाँ व्याख्यायित हुई हैं अर्थात् 'कार्यायोजनधृत्यादेः' कारिका का विस्तृत व्याख्यान दिया गया है; ईश्वर शरीरो है या अशरोरी इस प्रश्न की चर्चा की गई है तथा ईश्वरवाद में आचार्य उदयन के प्रदान की पर्यालोचना भी की गई है।
नित्यमुक्त जगत्कर्ता ईश्वर को गौतम मानते हैं ऐसा उनके सूत्रों (४.१.१९-२१) से नितान्त फलित नहीं होता। इससे विपरीत वे ऐसे ईश्वर को न मानते हो उसकी महती संभावना है । इन तीन सूत्रों में पुरुषकर्म और उस के फल के विषय में ईश्वर का क्या कार्य है वह बताया गया है । पुरुष के कर्मों का वैफल्य दिखाई देने से फल का कारण ईश्वर है, कर्म नहीं ( ४.१.१९)। उपर्युक्त सिद्धान्त असत्य है क्योंकि वस्तुतः कर्मफल का कारण कर्म नहीं किन्तु ईश्वर ही हो तो कर्म न करने पर भी हमें इच्छित फल मिलना चाहिए: किन्तु कहीं भो कर्म किये बिना उसका फल मिलता हुआ दृष्टिगोचर नहीं होता (४.१.२०)। कर्म ईश्वरकारित होने से उक्त दोनों सिद्धान्त तर्कहीन है, असत्य है ( ४.१.२१) । प्रथम में कर्मफल के नियत सम्बन्ध को अवगणना है और दूसरे में ईश्वर को । वस्तुतः कर्मफल के बीच नियत सम्बन्ध है ही । अमुक कर्म करो और वह अपना फल देगा ही, कृत कर्म को फलने के लिए ईश्वर की आवश्यकता नहीं यह बात सच है फिर भी इच्छित फल प्राप्त करने के लिए कौन सा कर्म किया जाय यह जानना जरूरी है । यह ज्ञान लौकिक विषय में तो उस उस विषय के जानकार देते हैं किन्तु राग आदि दोषों से मुक्त होने के लिए किस कक्षा में कौन सा कर्म करना, कैसी साधना करनी चाहिए इसका ज्ञान रागादि दोषो का नाश कर जो दोषमुक्त और सर्वज्ञ हुआ है ऐसा ईश्वर ही करा सकता है । ईश्वर केवल उपदेष्टा है, मार्गदर्शक है । कर्म-फल के नियत सम्बन्ध का ज्ञान करानेवाला है । उस अर्थ में हो वह कर्मकारयिता है । वह बलात् किसी से कम नहीं करवाता । वैद्य केवल दवा बताता है किन्तु हम ऐसा ही कहते हैं कि वैद्य ने रोग मिटाया । उसो तरह ईश्वर भी राग आदि रोग का ईलाज बताता है फिर भी हम कहते हैं कि, ईश्वर ने यह रोग मिटाया, ईश्वर ने फल

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दिया, ईश्वर ने अनुग्रह किया । उस अर्थ में ही ईश्वर फत्रकारयिता या फलंपादयिता है । इससे स्पष्ट होता है कि जीवन्मुक्त उपदेष्टा ही ईश्वर है ।
वात्स्यायन की व्याख्यासे यह बात और स्पष्ट हो जाती है । उनके अनुसार 'अधर्ममिथ्याज्ञानप्रमादद्दान्या धर्मज्ञानसमाधिसम्पदा च विशिष्टमात्मान्तरमीश्वरः' | यहां 'हान्या' शब्द महत्त्वपूर्ण है । उससे सिद्ध होता है कि ईश्वर नित्यमुक्त नहीं है । 'सङ्कल्पानुविधायी चास्य धर्मः प्रत्यात्मवृत्तीन् धर्माधर्मसञ्चयान् पृथिव्यादीनि च भूतानि प्रवर्तयति । एवं च स्वकर्मकृतस्याभ्यागमस्यालोपेन निर्माणप्राकाम्यमीश्वरस्य स्वकृतकर्मफलं वेदितव्यम् ।' यहां 'निर्माप्राकाम्यम्' से 'जगन्निर्माणप्राकाम्यम्' समझने के वजाय 'निर्माणकायप्राकाम्यम्' समझना ज्यादा उचित है और 'प्रति' का अर्थ 'प्रत्येक' करने के बजाय 'आभिमुख्य' करना इस संदर्भ में ज्यादा औचित्य रखता है । अतः इस कंडिका का अर्थ होगा- 'संकल्प होते ही उसके अनुरूप उसका धर्म ( = पूर्वकृत खास प्रकार का कर्म ) आत्मगत पूर्वकृत धर्माधर्म के संचयों को विपाकोन्मुख करता है और पृथ्वी आदि भूतों को (निर्माणकाय बनाने में द्वयणुकादिक्रमसे) प्रवर्तित करता है । ( और इन निर्माणकायों की सहायता से वह अन्तिम जन्म में पूर्वकृत कर्मों के फलों को भोग लेता है ।) अपने किये हुए कर्मों के फलों का भोगे बिना लोप होता नहीं ऐसा नियम होने से निर्माणकाय के लिए उसके संकल्प का अव्याघात ( अर्थात् संकल्प से ही निर्माणकाय बनाने का उसका सामर्थ्य ) उसके अपने पूर्वकृत कर्मका ही फल है ऐसा मानना चाहिए ।' अतः वात्स्यायन के मत में मोक्षमार्ग का उपदेशक, सर्वज्ञ, क्लेशमुक्त, जीवन्मुक्त पुरुष ही ईश्वर है ऐसा स्पष्टरूप से फलित होता है ।
न्याय-वैशेषिक संप्रदाय में कई नये विचारों का प्रवेश करवा के उस सम्प्रदाय का स्वरूप ही बदल देने के लिए ख्यात प्रशस्तपादने ही जगत्कर्ता ईश्वर की कल्पना न्यायवैशेषिक सम्प्रदाय में दाखिल की है । ऐसा उन्होंने क्यों किया यह संशोधन का विषय है | पतंजलि के सूत्रों पर से यह स्पष्ट रूप से नहीं कहा जाता कि वह नित्यमुक्त ईश्वर को स्वीकार करता हो, बल्कि वह भो जीवन्मुक्त को ही ईश्वर ( = गुरु) समझता हो ऐसी संभावना विशेष है और भाष्यकार व्यासने ही नित्य मुक्त ईश्वर का ख्याल योगसंप्रदाय में दाखिल किया हो ऐसा प्रतीत होता है । इस प्रकार की संभावनाओं का संशोधन किया होता तो ग्रन्थ और भी रोचक बनता ।
फिर भी जिस स्पष्टता से विद्वान लेखक ने उन उन टीकाकारों के पक्ष को रखा है ग्रन्थ को अनिवार्य पठनीय बना देता है । बौद्धों ने ईश्वरवाद का जहां जहां खण्डन किया है उन सत्र स्थलों का इस ग्रन्थ में योग्य संग्रह और विवेचन हुआ है । उस तरह यह ग्रन्थ हिन्दी में लिखे गये भारताय दार्शनिक साहित्य में अपना महत्त्वपूर्ण स्थान लेगा ही उस में संदेह नहीं ।
नगीन जी. शाह
१. देखें : ' An Alternative Interpretation of Patañjali's three Sutras on jśvara,' Sambodhi, Vol.4 No. 1.

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Vardhamāna Jivan-kośa compiled by Mohanlal Banthia and Shrichand Choradia, Pub, Jaina Darshana Samiti, 16/C Dover Lane, Culcutta-29, 1980, pp. 51+584, Price Rs. 50/
The work under review is a 'dictionary of Mahāvīra's biographical data collecting and presenting pertinent quotations from Svetāmbara Āgamas and commentaries thereon, Digambara Maulika works like Kasāya. pāhuda, Svetāmbara and Digambara Purāņas, other Sanskrit, Prakrit and Apabhramsa works by Jaina Ācāryas, and some Buddhist and Brahmanical works too. These quotations are lucidly translated into Hindi. Under 99 main topics these quotations are classified and arranged. Thus the work has become a veritable source book for the data of Mahāvīra's life. It would have been better if a note on the chronology of the texts utilised were prefaced and the quotations from these texts were chronologically arranged under each topic and sub-topic. Any way, the work, as it is, is a very useful and handy reference book. The compilers have put in hard labour and they rightly deserve our hearty congratulations. The publisher is also to be praised for bringing out the work with nice printing and get up and considerably low price.
Nagin J. Shab
Ludwig Alsdorf's Kleine Schriften (Minor writings). Edited by Albrecht Wezier. Glasenapp-Stiftung.-Vol. 10. Franz Steiner Verlag. Wiesbaden, 1974. XXII.762.
This is a selection of forty two papers and five book-reviews from the minor writings of the late German Indologist Ludwig Alsdorf. Broadly these essays and reviews relate to the Vedic, Buddhistic, Jainistic and Modern domains of Indian studies. Alsdorf's masterly handling of philological-historical methodi and the brilliant results thereby achieved are very well illustrated by such contributions included here as the Uttarajjha ya studies (pp. 186-192, 215-250) and the textual studies of some Jātaka tales (pp. 270-339, 344-369. 380-413) and Asokan inscriptions (pp. 414-509). Alsdorf's thorough understanding of the structure of Prakrit and Apabhramsa metres has been for him very helpful in a number of papers in spotting textual problems and offering their solutions. Here also belongs his paper relating to the identification of passages in Vedha metre from the Vasudevahimdi (pp. 167 ff.). The philological and comparative methodi is seen again yielding useful results in Alsdorf's examination of certain Jain cosmographical and mythological texts (the history of Vidyadharas and Diśākumaris, pp. 77 ff, 136 ff).
1 Effectiveness of this method for 'identifying disparate materials juxtaposed in a
single text' was very well demonstrated by Alsdorf's Beitrage Zur Geschikhte Vegetarismus und Rinderverehrung in Indien.' (1962), as has been recently observed bt Proudfoot ('Interpreting Mahābhārata Episodes as Sources for the History of Ideas', Annals, B.O.R.I., 1979, pp. 41-42).

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The important papers on the Akhyāna theory (pp.36 ff) and the Vasudevahimdi (pp. 56 ff, 101 ff, have now become easily accessible. Alsdorf's view that the Vasudevahimdi offerred a specimen of Archaic Jain Māhārāștri receives now a powerful support from the language of Pādalīpta's Taramgavai, which even in its preserved abridgement, contains numerous instances of the same archaic features.2
Alsdorf pointed out two new proofs, viz., the Parivrājaka episode relating to the search for alchemic Rasa for the purpose of producing artificial gold (Vasudevahimdi, pp. 146 ff.), and the Kokkāsa episode relating to the flying wooden horse (VH., pp. 61 ff.), for the Indian origin of the Arabian Nights (alias One Thousand and One Nights) (pp. 518 ff.). In further support of this view we may point out here one more similar proof. One of the key motifs in the frame story of the One Thousand and One Nights, viz., the newly married talented queen managing to get her execution postponed by narrating night after night absorbing tales, occurs also in a tale current prior to the ninth century in the Jain narrative literature in Prakrit.3
Alsdorf's critical reviews of P. L. Vaidya's edition of the Mahapurāna (pp. 126-135), H. Jain's edition of the Karakandacariu (pp. 743–746), M, Shahidullah's Les chants Mystiques (pp. 737-742) and three works f L. Nitti-Dolci (pp. 563-567) are greatly instructive.
The Bibliography of Alsdorf's writings (pp. V-XIX) reveals the wide range of his research interests, as also the valuable and manifold contributions he made to Indological Studies.
The students of Middle Indo-Aryan literatures and languages will feel specially obliged to the Glasenapp-Stiftung for this publication.
H. C. Bhayani
Mahavira and His Teachings : Editors: A. N. Upadhye, D. Malvania and others. Bhagavān Mahāvīra 2500th Nirvana Mahotsava Samiti, Bombay, 1977. pp, 8+462+plates. Rs. 50-00.
This volume of articles and papers by different scholars has been published by the Nirvāṇa Mahotsava Samiti of Bombay to commemorate the 2500th Nii vāna year of Vardhamāna Mahāvira. There are thirtynine contributions distributed under the six sections : Literature, Religion, Mahāvīra, Philosophy, History, Art. The contributions are of uneven quality and 2 See Bhayani, H.C., (ed.) Samkhitta Taramgavaikaha (1970). Anulekha (Epilogue)
(in Gujarti) pp. 282–283. 3 See the Tale of the Painter's Daughter (Citrakara-suta-katha) in Gandhi L.B.,
(ed.), Dharmopadešamālavivarana, 1949, pp. 137-138. A Version of the Kokkäsa Tale is also found among these tales, see pp, 189-191,

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scope, ranging from elementary introductions and short eulogies to systematic and scholarly studies. The sections on Art, History and Literature are more substantial and superior to other sections. Here we can take note of only a few of the more significant contributions.
In Jain Exegetical literature and the History of the Jaina Canon', L. Alsdorf clarifies the character, scope and interrelatioships of the four types of commentaries (viz. Nijjutti, Cūrņi, Bhäşya Page #188

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sthată. But more importantly, he has brought out the philosophical difficulties that the theory of bhavyatva and abhavyatva creates due to its implied predestination, which runs counter to the basic Jain belief in the efficacy of free-will of a striving soul. In this connection we may incidentally point out another Jaina belief which has a similar implication: The Jaina concept of the wheel of time comprising Avasarpiņi and Utsarping involves inexorable, continuous and ever-increasing deterioration and amelioration of everything in the Universe, material as well as spiritual.
'Patronage to Jainism by the Sīlāhāras of Kolhapur' (V. V. Mirashi), 'Jain Metal Images in the State Museum, Lucknow' (N. P. Joshi) and 'Jain Images in the Archaeological Museum, Khajuraho' (M. N. P. Tiwari) are valuable for the systemtic information they make available. K. Bruhn's paper (Further Observations on the Iconography of Parsvanatha') draws our attention to the variety in the iconography of Pārsvanatha (and hence in the Jain iconography in general). It supplements in some points his Deogarh monograph. In 'Farther-Eye in the East India and Nepalese Paintings', Anand Krishna puts forth evidence in support of the view that the particular style of manuscript illustrations which some scholars have named Western Indian, Jaina etc, had India-wide prevalence and so it is wrong to attribute it to a particular class or region. H. D. Sankalia informs us about the earliest Jain inscription discovered in the Pale cave in Maharashtra dated in the 1st century B.C. on palaeographical grounds.
Of the two papers dealing with the early history of Jainism in Tamilanadu, 'The Ascendancy and Eclipse of Bhagavan Mahavira's cult in Tamil Lana' (K. A. Nilkanta Sastri and V. Ramasubramaniam 'Aundy') is comparatively less tendencious and speculative, but its interpretation of the presented evidence is in several cases highly controversial. In spite of that it certainly impresses on us the urgent need of reconstructing the early history of Jainism in Tamilnadu by analysing and interpreting objectively all the available epigraphical, archaeological and literary evidences. It will certainly form a very interesting and important chapter in the history of contacts, convergences, conflicts and divergences between different religions and sects in Southern India.
Thus the volume under review aptly underlines important contributions made by Jainism to Indian literature, art and culture. The printing and get-up are excellent, but unfortunately the misprints are numerous. It is a matter of great regret that by the time the volume was published, one of the editors (viz. A. N. Upadhye) and several contributors (viz. R. Williams, Buddha Prakash and K, A. Nilakanta Sastri) passed away.
H. C. Bhayani

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Vakrokti-Jivita of Kuntaka. Critically edited with variants, introduction and English translation by K. Krishnamoorthy. Karnatak University, Dharwad, 1977. pp. 40+284+596. 27 Plates giving fassimiles of Ms. folios. Rs. 40/-.
Among those who have made fundamental contribution to literary theory, criticism and aesthetics, Kuntaka stands side by side with such masters as Aristotle, Abhinavagupta, Anandavardhana, Bharata and Longinus. His Vakroktijīvita (VJ) is one of the most important works of Indian Poetics. The present edition and English translation of that work constitute K. Krishnamoorthy's new outstanding contribution to the study of Indian literary aesthetics, The text of the VJ as presented here is a substantial improvement on the portion we have in S. K. De's 1928 edition and more importantly, we have now with us most of the text of the remaining portion of VJ (extending up to the fourth chapter) for which De had no better alternative than giving only a resume. Thus we have now got an almost complete and substantially correct text of the VJ. This has been possible mainly due to the use by Krishnamoorthy of a newly discovered fragmentary palm-leaf MS. from Jaisalmer. Besides this he has also derived help for improving the text from citations, pratīkas, and common illustrative verses found in works like Kalpalatāviveka, Kävyänuśāsana and Alankäramahodadhi. Consequently now we can have a full view of Kuntaka's theories and critical evaluations and can more justly assess his contributions to Indian aesthetics.
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Krihsnamoorthy has also done a very valuable service in providing a complete English translation of the text. It should be noted that it is a literary rather than literal translation. Kuntaka was a remarkable stylist (at times even tending to be verbose and repetitive), and VJ impresses us also by its literary flavour and flourish. Krishnamoorthy has tried to catch these qualities of the original in his translation, which, while keeping close to the wording and phraseology of the original text, frequently aims at rather freely rendering the purport. This of course saves the translation from becoming flat and insipid. On the other hand such a type of translation usually fails to deal satisfactorily with the difficulties and subtleties of interpretation and many a time we are faced with a doubt-whether the translation gives an exact rendering or something more is read than what was meant. To be fair however, it should be conceded that often the translation has succeeded in achieving precision as well as elegance.

Several Prakrit and Apabhraṁśa illustrative citations still remain textually coprrut. The present reviewer has attempted to restore the Apabhraṁsa passages in a paper appearing shortly in the Journal of Asiatic Society, Bombay, Dr. V. M. Kulkarni's paper on the restoration of the text of some Prakrit citations also is to be shortly published.

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In his Introduction, Krishnamoorthy has brought out Kuntaka's origi nality of ideas and keenness of perception. He has ably defended Kuntaka against the criticisms of several modern scholars and has removed several misconceptions regarding Kuntaka's ideas and views. One can fully agree with his following observations: 'Kuntaka indeed is the only writer who attempted this task of literary analysis, critical appreciation and appraisal from a total perspective, of almost all the major poets and playwrights in Classical Sanskrit literature (p. XXXVI)'. ...as a literary critic in the true sense of the term, Kuntaka, stands unrivalled. He was a very sensitive critic with genuine literary taste. His literary criticism itself often rises to the level of good literature. Kuntaka is indeed peerless in his aesthetic sensibility which animates the whole of his work and makes it full of interest to one and all interested in pure literary criticism. Kuntaka appears thus as a true sucessor of Anandavardhana, giving a new orientation to literary study itself' (p. XXXVI).
The plates and indices add to the value of the work. The present work will go a long way in rehabilitating Kuntaka as a critic and theorist, unrivalled in literary sensitivity, perception and range. Krishnamoorthy deserves to be highly thanked by all students of Sanskrit literary criticism and Indian aesthetics.
H. C. Bhayani
Nagarjuna's Letter to King Gautamiputra. (trans. by ven, Lozang Jamspal, ven, NIS. Chopel and P. D. Santina); pub. by Motilal Banarasidas, Delhi; 1958; demi Octavo, pp. xxii+118; Rs. 35/-.
The work under review is an English translation of Nagarjuna's Suhṛllekha translated into Tibetan by the Indian Abbot Sarvajnadeva in collaboration with a Tibetan redactor and published in Varanasi in 1971.
Acharya Nagarjuna is one of the greatest expounders of Buddhist philosophy. He was born in South India. He was a student of Rahulbhadra, the abbot of the Nalanda University in Magadha. He had friendly relations with Gautamiputra Satakarni, the Satavahana King of the Deccan, whose reign is generally dated in the first quarter of the 2nd cent. A.D. but in light of the recently discovered Kutch inscriptions of Caṣṭana, it must now be dated in the third quarter of the 1st cent. A.D. Nagarjuna seems to have spent the latter part of his life at the monastery built for him by this royal friend at Śrīparvata. He was an accomplished master of the Buddhist doctrine. He wrote volumiously on almost every aspect of Buddhist

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philosophy. He is renowned as the foremost exponent of the Madhyamika school propounding Sunyavāda and also as a master of dialectic. Mulamadhyamakarika by Nagarjuna is the basic work on his Madhyamika doctrine of Sunyavāda. But his Sutrasamuccaya and Suhṛllekha are popular works on Buddhist teaching.
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In his Suhrllekha (The letter of a Friend), addressed to his royal friend Gautamiputra Satakarni, composed in 123 Sanskrit Arya verses, Nagarjuna contributed a concise and comprehensive manual of the teaching of Buddhism. The original work in Sanskrit is no longer extant. However, it has left various translations in Tibetan and Chinese. It enjoys widespread popularity among Tibetans who use it as a basic manual for teaching Buddhism. The letter commences with an appeal to the royal friend to pay careful attention to the teaching contained in it as it concerns the holy Dharma (1-3). In the direct teaching Nagarjuna first dwells upon the general practice of Virtue, which, being followed by monks and laymen, leads man to heaven and liberation (4-64). The injections and prohibitions set forth here are intended to counter-act non-virtuous propensities. The ultimate truth is revealed through a combination of morality and knowledge. Death, impermanence and opportune conditions form the subject matter of the subsequent verses 65-103. The descriptions of the manifold sufferings of the different realms of Samsara are designed to produce a revulsion for worldly existence and a desire for liberation. The letter concludes with general counsel to consider the excellent quality of Nirvāņa and practise the path resulting in Nirvana (104-123). The summum bonum of human life is according to the Mahayana doctrine, not only the achievement of freedom from bondage and ignorance, but also the capacity to nurture and mature all living beings that they may also attain enlightenment and liberation. Though the work may not satisfy scholars and academicians seeking clarification of abstract points of the doctrine of the Madhyamikas, it well serves as a concise and comprehensive manual of instruction in the doctrine and practice of Buddhist religion and philosophy.

The original title 'Suhṛllekha' denotes the 'the Letter of a Friend' as rendered in the preface. The translators have, however, amplified it specifically into 'Nagarjuna's Letter to King Gautamiputra'. The translators heve rendered th Tibetan verses into English in a lucid style, presenting them within the framework of a continuous outline serving as a guide-line for grasping the scheme of the manual. The outline is drawn from the commentary of Jetsun Rendawa. The general outline is also introduced at the outset before the commencement of the text.

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The salient feature of this translation is that it also incorporates explanatory notes on the contents of each and every stanza. These notes which serve as the running commentary of the text are based upon thres Tibetan commentaries contributed by Jetsun Rendawa Shonnu Lodo (13491412), the ven. Lozang Jinpa of the Gelugpa sect, and the Ven. Rongton Sheja Kunrig (1367-1449), the founder of the Nalanda Monastery in Tibet. Nevertheless the explanatory notes are not direct translations of any of the three Tibetan commentaries, but they are drawn from their contents as explained by His Holiness Sakya Trizin during a number of sessions and later rewritten co-ordinatively for the purpose of clarifying the import of the verses. The co-ordination is done so ingeniously that the explanatory notes seem as if they are written by a single hand independently. Thus the publication is in fact a compilation of a translation and explanatory notes based upon three old commentaries.
The work is also provided with a preface by His Holiness Sakya Trizin, the forty-first Patriarch of the Sakya sect, to whom this work is dedicated. In the preface he introduces the work as consisting of two divisions (i) the accumulation of merit in the form of moral discipline, study and meditation, which leads one away not only from desire for this life but also from desire for Samsara as a whole and (ii) the accumulation of wisdom in the form of the realization, of the Lord Buddha's profound doctrine of interdependent origination which leads one to the final enlightenment of a Buddha, 'Both of these accumulations are necessary for attaining liberation, just as it is necessary for a bird to have two wings to soar
high in the sky'.
The translation is also supplemented by two Appendixes - one giving the Tibetan version of the work and the other giving a glossary of some English terms with their Tibetan and Sanskrit equivalents. The illustrations and the index enrich the publication, which provides a lucid translation of a manual for the readers interested in Buddhist religion and philosophy.
-H. G. Shastri
The Ritual of Founding a Brahmin Village by Dr. G. C. Tripathi; pub. by GDK Publications, Delhi; 1981; Royal size, pp. ix+81; Rs. 25/-.
Several publications on Indian architecture describe different types of villages, but no text goes into detail of the ritual aspect of the establishment of villages. An Oriya palm-leaf MS of a small but rare Sanskrit text entitled Śāsana-karaṇam, is preserved in the private royal library of the previous Raja of the Keonjhah State in Orissa. The librarian Pt. Misra prepared an

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Öriya transcript of the MS, which is presently deposited in the Orissa library of the South Asia Institute of the University of Heidelberg in Germany.
The unpublished Sanskrit treatise is edited by Dr. Gaya Charan Tripathi, the Principal of the G. N. Jha Kendriya Sanskrit Vidyapeetha, Allahabad. However, the main part of this publication is his treatise giving lucid and analytic exposition of the contents of the text along with illuminating notes on references, elucidation, irregular readings and interpretation.
In the Introduction the learned author has dwelt upon the migration of Brahmins from Kanauj, their settlement in and around Jajpur in Orrissa, and the establishment of many Brahmin villages around Puri after the construction of the Jagannath temple.
A village exclusively or mainly inhabited by the Brahmins is here designated Śāsana, since it was established through a charter or decree of the ruling chief or the king of the region, who granted the land to the Brahmins and exempted it from tax (a-grahara). Many of the Sasanavillages lying around Puri still bear the names of the respective kings who founded those particular village.
The present treatise deals with the general lay-out of a Brahmin village (sasana) in Orissa and deseribes the religious ceremonies involved in the act of founding such a village.
Sasanakaraṇam is a small Sanskrit text covering 18 printed pages. It is an anonymous work. It is more of the nature of a compendium put togather the ritual. It quotes the for the need of a priest directly connected with mantras only in their pratikas, which presuppose the knowledge of the full mantras by heart. Dr. Tripathi assigns the work to the 18th century on the basis of its reference to Magumipaddhati (circa 1700 A.C.)
The work can roughly be divided into two parts. The first part consists solely of metrical quotations from different works giving general instructions on the establishment of the village, the place and directions of habitations for different castes and for the erection of the temples for different deities etc. In this context Dr. Tripathi observes that most of the villages in Orissa have a natural declivity towards East and that they are, therefore, of bhadramukha type. He expounds the meaning of the varṇāṣṭaka system on the basis of a passage in unpublished Śilpi-candrikā in a.23. Silpi-candrika also explains in detail the four bandhas mentioned in this work and observes that only these bandhas are suitable for the construction of residential houses. Dr. Tripathi well observes that a well situated in South-East

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would counter-act the effects of Fire (n.30). He also notes that an Orissan Sasana village belongs to the Dandaka variety, wherein the street or streets run from West to East (n.44).
The second part of the text contains the details of the ritual in prose. It consists mainly of three ceremonies, viz. (i) taking possession of the land required for the village from the Beings living on it, (ii) making it ritually pure for settlement and (iii) offering water to the site of the village and making the land 'pregnant by installing a rectangular stone slab into the pit, so that it would bring prosperity to its inhabitants. Many incantations prescribed for this ceremony are Vedic and a number of deities mentioned here are of ancient popular belief, about whom we know next to nothing. The worship of Lakshmi and Nārāyaṇa on the stone-slab placed in the centre of the village obviously seems to have been introduced into the ceremony in later times when the śāsana villages played an important part in the cult of Jagannath. Dr. Tripathi's suggestions for rectifications in certain views held by Shri Datta, the author of Town Planning in Ancient India and Dr. G. Pfeffer, the author of a monograph on the Brāhmins living in the Sasana villages of the Puri District, seem quite convincing. It would have been better if the Sanskrit text was printed in Devanagari characters instead of Roman ones.
Dr. G. C. Tripathi deserves congratulations for bringing the unpublished text to light and preparing an illuminating monograph on it.
- H. G. Shastri
Yoga Philosophy and Religion' by Surendranath Dasgupta, publisher, Motilal Banarasidass, Delhi, Reprint : 1973, 1978, Price Rs. 35/
This book written by a renowned scholar--the late Prof. S. N. Dasgupta gives a brief exposition of the Patañjala Yogasutras, as explained by his commentators. The work consists of 15 chapters divided into two parts. Part I (ch I-VII) deals with Yoga metaphysics and Part II expounds Yoga Ethics and practice. The book is to some extent an ealarged version of 'The Study of Patañjali' written by Dr. S. N. Dasgupta as a Griffith Prize Essay in 1914 and published in 1920.
In the introductory chapter on Praksti, he states that according to the yoga system, guņas are substantive entities constituting Prakrti a characters of Praksti. He does not approve of the tendency to identify prakrti with avidyā of the Vedāntists.
How the connection of non-intelligent and independent Praksti with the intelligent souls becomes possible is explained in detail in ch. II. By

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a number of consistent arguments, the author has proved that the plurality of the purusas is a necessary outcome of the Samkhya-yoga view of the dualistic universe, because here the knower, the ego and the knowable are not false at the stage preceding Kaivalya.
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The attempts of the yoga system to prove the reality of the external world as against the idealistic Buddhists are described in one separate chapter viz ch. III.
In the chapter on the process of evolution, he stresses the fact that in this system, each unit of change is measured by the unit of time. Thus time is not a substantive reality as in the Vaiseṣika system, but is only a mental concept.
He points out that this system deserves credit for establishing Mahat as the last point where the objective and the subjective are one. This becomes possible, because the gunas contain within themselves the germs of both subjectivity and objectivity.
Dr. S. N. Dasgupta distinguishes the Satkāryavada theory from the Satkaryavāda theory of the Vedantists, for with the latter, the cause alone is true.
The second part on yoga ethics begins with an analysis of the mental states. Dr. Dasgupta draws our attention to the fact that the yoga system does not hold that the citta has got an astral body. Instead it holds that there are Karaṇacittas which contract or expand and appear as our individual cittas (Karyacittas) in our various bodies of successive rebirths. This philosophy attaches much importance to the uprooting of avidya by the attainment of true knowledge, because this avidya is at the root of the Karmāśayas.
The importance of yogangas in removing the impurities of the mind is duly stressed.
The author is fully justified in devoting one whole chapter to the place of God in the yoga system, because the admission of Isvara is the most important factor distinguishing the yoga from the Samkhya system. He conjectures that Iśvara was admitted into this system because of a practical need. For Isvara was traditionally believed in the yoga school to be a protector of the yogins-Isvarapranidhana is considered one of the important means of attaining yoga. Isvara is all merciful, but this does not nullify the law of Karma. God punishes or rewards people according to their Karmas and pursuits.
The metaphysical functions ascribed to Isvara, such as the removal of obstacles in the way of the evolution of prakṛti and holding fast the unalterable nature of the world, seem to be later additions.

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The appendix on 'Sphotavāda' is very instructive because it compares the yoga view with the views of other systems. The author has also at places compared philosophical concepts of the yoga system, with those of the Western pbilosophies.
Dr. Dasgupta after a careful study of the different commentators points out the differences if any among them. This only speaks for the depth and soundness of his scholarship which has probed into subtle points and not missed even minor details. The author makes a very modest claim of presenting to the reader the essential features of the yoga system. But the reader feels amply rewarded and even provoked and stimulated for further study and research by the time he or she finishes reading the book. Many books have been written on the yoga system and philosophy but still Dr. Dasgupta's book has a place of its own which none can deny.
- Smt. N. S. Shah
A Hand-book of Virasaivism, by S. C. Nandimath; Second Revised Edition, Edited by R. N. Nandi. Motilal Banarasidass, Delhi-7. 1979, pp. 175, Price : Rs. 50/
The monograph under review which is the main part of the thesis of Dr. S. C. Nandimath, submitted for the Ph.D. of the London University, is a critical and authoritative exposition of Viraśaiva Philosophy which is popularly known as a Lingāyata sect in Karnātaka. The Virasaivism is one of the important branches of Saivism. It rose about the end of 12th Century A. D. in north western Karnātaka against the rigid cast systems and worship of idols in temples. Basaveśvara or popularly known is Basavanna was a reviver of this School. It was Basaveśvara, at the cru. cial time, when religion had become rigid, dogmatic, and blind belief cluog to Society of Karņāțaka, who appeared as a guiding light in the inidst of darkness and rejuvenated and revitalised the ancient Viraśaiva religion. The Author rightly pointe out that the revival of Virasaivism was due to a keen desire to purge social and religious evils present in those days (p. 13). The Saiva movement was current in the Karnātaka before the birth of Basava (1160 A. D.). Basaveśvara was not originator of Virasaivism, but reviver. The author, taking into consideration views of earlier historians with ciritcal out-look and through his own findings and arguments, proves that, Basava was not a founder but only reviver of Virasaivism and its history goes back to 11th Century A. D. about a century before Basaveśvara.
Twenty eight Saivāgamas are considered as source books of Saisvism. Though the fundamental doctrines enunciated in the Saivāgamas are the

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basis for different kinds of saivism viz. Kāśmira saivism, Tamil Saivism and Virasaivism, yet all of them, have built their own edifices of religion in accordnce with their needs and experiences. Virasaivism is influenced by Tamil Saivism in many respects, yet it has followed its own path, like Şațsthala, Astāvarana and Pañcācāra. Vira Saivism is also based on intepse Bhakti to Śiva like Saiva Siddhāata. But it differs in some respects from earlier Saiva Siddhänta. The Saivāgamas, source books of Saivasiddhaata, prescribe the worship of Siva either in the form of the Linga or of images consecrated in temples. Virasaivism disapproves image worship and maintains that the Supreme is to be worshipped in one's own istalinga, the Linga obtained from the Guru at the time of initiation (Dik sā). It looks with disfavour even the worship of the Stha viralinga, the Linga consecrated in temples.
Mukti or Liberation is the highest goal (Parama pui uşārtha) for all the schools of Indian philosophy except cārvāka. Mukti, according to virasaivism is Union of individual Soul with Supreme Being-Siva. It is known as Aikya (Unity), 'merging of the Soul in the Supreme'. 'To attain it there are six steps (Sasthalas) or rungs of a ladder, which form the centre of Virasaiva philosophy and are entirely original to it' (p. 56)
The conception of şaţsthalas differentiates the Viraśaiva philosophy from other Saivia Schools. They are: Bhakta Sthala, Mahesa Sthala, Prasādisthala, Prānalingasthala, Saranasthala and Aikya Sthala. In the beginning i. e. in the first stage, Bhaktasthala there is a clear duality between the soul (jiva) and God, and gradually this distinction vanishes and ultimately, in the end i. e, in the last stage, Aikyasthala there is complete vnity between jīva and Siva-Supreme being. On this basis Virasaivism is called Dvaitadvaita Bhedabheda or Vi
Virasaivism is undoubtedly influenced by the Advaita Vedānta of Śankara. It believes like Advaita that, state of Mukti or union with Supreme Being is attainable in this present life. Its doctrine of Avidyā which is the cause of entanglement in the Samsāra is Similar to that of Advaita Vedānta. Its description of Aikyasthala or ultimate Reality, which is one without a second, indescribable, beyond the rich of human thought and expression, is very much similar to Upanişadic and Advaitic conception of ultimate Realty. Virasaivism is Advaita in the end.
At some places of the book the author makes certain remarks which seem to be unfounded. Vacana writers have used the term "Bayalu' (Void) to describe the Aikyasthala or ultimate Reality which not only reminds of Nāgarjuna's doctrine of Sünya (Void) but is very similar or same as conception of Sunya of Nāgärjuna. Author says that 'The use of the

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word Bayalu in describing God and the last stage, Aikyasthala, takes us back to the doctrines of Void (Śünya Vāda) of the Buddhist Nagarjuna. The Void of the Vira Saivas is niost probably not the same as the void of Buddhism. It is something which cannot be named, gauged, seen, etc. and corresponds to the Upanişadic Absolute which is described as 'Not that' 'Not that', Neti, Neti'. (p. 66)
However, Nāgārjuna's description of Reality is very similar to the one found in the Upanisadic philosophy. Reality, which is un-conditioned, indeterminate, and incapable of verbal elaboration is not apprehended by thought. He calls the ultimate Reality as Sünya (Void), because it is indescribable in human language. No-where, he says, Sünya means complete void or mere emptiness. He makes it very clear by saying that "Absolute cannot be called Void or not Void, both or neither, but in order to indicate (Prajñaptyartham) it is called 'Sünya” (Mādhyamika KārikaXXII-II). It is nothing but Neti-Neti' of the Upanişads. The Author's statement seems to be based on general conception of Nāgārjuna's doctrine of Śūnya or Void.
Secondly, for Sankara world is not an illusion like a dream. Sankara accepted three types of Satya viz, Parainārthika, Vyävahārika and Prātibhāsika. Experiences of dream fall under the category of Prätibbāsika. This world is Vyāvahärika-real for all practical purposes but un-real in the ultimate sense. The world is Mithya', that is it has an apparent existence, but ultimately un-seal or an illusion which disappears at the dawn of knowledge of Brahman. The world is real for all the practical purposes, but in the end it has no existence of its own. Päramärthaka is the only Reality, Vyāvahārika is the ladder for attaining highest Truth i. e, Pāramārthika Satya.
The author compares the Bhaktasthala and Aikyasthala with the Vyāvahārika and pāramārthika Sattā of the Advaita of Sankara, respectively. He mentions that, unlike the Advaita, Bhaktasthala-Vjāvahärika, is as true as Aikyasthala-Pāramārthika. If it is true then Bhaktasthala and Aikyasthala, both are reals and there are two permanent Realities which notion goes against the statement of Vacana writers who proclaimed that there is only one Reality or God which is one without a second. Secondly the final goal of Virasaivism is 'merging of the Soul in the suprem it is complete unity between jiva and God, which is indescribable. If Bhaktasthala is as true as Aikyasthala then this complete Aikya or unity of the jiva with God is not possible. Like Dvaita philosophy, the duality between jiva and God will remain in the state of mukti also.

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But it is understood that whenever Vacana writers say that, Bhaktasthala is also real, it means not permanently real but appears to be real in the beginning on account of Avidyā but vanishes in the final stage of Aikyasthala, where there is no duality between Bhakta and God. Bhaktasthala is only a ladder, not permant reality.
Again, the author in some other place (p.102), makes certain contradictory statememts. He says that Virasaiva does not preach cessation of actions and does not believe in the doctrine of Karma', in the very next sentence, he states that "Niskāmakarma must be performed which does not bind the jiva." Nişkāmakarma is definitely connected with the theory. of Karma.
On the whole this book is eminenty readable. It gives complete picture of Virasaivism: its early history, rituals and philosophy. This is the first authoritative crital exposition of Virasaiva Sect based on an indepth study of original Sanskrit and Kannada sources. Attention is diawn to the influence of Advaita, Mahāyāna and Jainism on Virasaivism. Apendix given by the author is very useful for research students and specialists.
The book is critically edited, well-printed and the get up is very attractive. The price is also within the reach of individuals and institutions.
Y. S. Shastri
Buddhist Wisdom - The Mystery of the Self-by George Grimm, translated by Carroll Aikins, ed. by M, Keller Grimm, Motilal Banarasidass, Delhi, 1978, pp.70, Price Rs.25/
The book under review is from the pen of a great Buddhist Scholar, George Grimm. This book is originally written in German, translated by Carroll Aikins.
The doctrine of self is one of the most controversial probleins in the history of Buddhist thought. Two kinds of opinion are prevalent among the scholars on this matter. Some think that Buddha denied the existence of Soul and this non-Soul theory (anātmavāda) demarcates Buddhism from Vedāntic philosophy. Some others think that Buddha did not deny existence of true Self, but he only denied the empirical self i.e. ego, associated with ahamkāra. The second view seems to be more appropriate and comes nearesc to the original teaching of the Buddha.
Buddha denied the ego-self, which is root-cause of desire, passion, attachement and misery. 'Dharma' which is ultimate Reality called by

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Buddha is nothing else but the same Ātman described by the Upanişads. Dharma to him is Reality (Satyam) itself in a dynamic form, regulating the course of nature like the Brahman or Ātman of the Upanisads, which is the basis of all. It is described by the Buddha as an unborn, unmade, non-becoming and up-compounded (Ajātam, Akstam, Abhūtam and Asamskrtam). Like Upanişadic seers he calls Reality as immortal or Amtam. "The gates of Immortality are opened for all" ...(Mahāvagga-1-1-7). The Reality or Ātman of the Upanisads is called by Buddha as 'Dharma' 'Amrta.' or "Bodhi'.
The author proves that Buddha adopting the negative approach, sought for the Ātman (attā) in the indirect way.
y.
The self is neither the sense organs nor the external world as conveyed to us through the five outer senses. Neither the mind nor the mental objects (Dharma) are true self. "Thus my self lies beyond all cognition and hence beyond the world as the sum of everything cognizable. It is the un-knowable, the un-fathomable; it is neither so, nor different but totally different" (p.9), True self is beyond space and time, beyond the reach of human intellect and there with immeasurable, un-fathomable like the great ocean.
This book is based on an indepth study of Buddha's original teachings. This will be very much useful for understanding the Buddha's doctrine of anattă (anātmavāda). Translator's language is simple and polished. Book is nicely printed and exquisitely got up.
· Y. S. Shastri
Gautama : the Nyāya Philosophy by N. S. Junankar, Motilal Bagarasidass, Delhi - 7, 1978. PP - 664, Price : Rs. 130
The book under review is critical and faithful exposition of Nyāya Philosophy of Gautama Nyāyasūtras, as explained by Vātsyāyana and Udd yotakara.
The Nyāyaśāstra means the science of right judgment or true reasoning. Etymologically 'Nyaya' means an argument that leads one to the establishment of intended meaning (Niyate prăpyate vivakṣitārthasiddhih anena iti Nyāyaḥ). Thus the word 'Nyāya' signifies that, the system is predominently analytical, logical and epistemological. It is also evident from Vātsyāyana's observation that the word Nyāya signifies a syllogism or five members (Pañcavayava) (N.B. -I-I-I .)

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We find reference of Nyāya with the five components in the Mahābhärata, Manusamhita and Carakasamhitā. But credit goes to Gautama who has arranged the scatered ideas of vādamārga (course of debate) in a systematic manner, and paved the way for its organ af critical and scientific investigation.
The Nyāya sutra of Gautama is divided into five adhyāyas (books). First Adhyāya (book) deals with the enunciation (uddeśa) and definition (Laksana) of the sixteen categories while the remaining four adhyāyas (books) are concerned with critical examination of the categories (N.B.I-1-2).
According to Vātsyāyana the sixteen categories arranged by Gautama represent the stages in the course of a debate between a disputant and his respondent. The first two categories viz pramāna and prameya, constitute the basis of debate and supply the case which a disputant is to prove. The third category (doubt) having roused a conflicting judgment about the case the disputant in pursuance of his purpose (pramāna) cites a parallel case called a familiar instance (drstānta) which is not open to such a doubt. The case is then shown to rest on tenets (siddhāntas), which are accepted by both the parties. That the case is valid is further shown by an analysis of it into five parts called members-(avayavas). Having carried on an argumentation (tarka) against all contrary suppositions the disputant affirms his case with certainty (Nirnaya). If his respondent not being satisfied with this process of demonstration advances an antithesis, he will have to enter upon discussion (vāda) which will necessarily assume the form of a wrangling (jalpa) and cavil (vitanda). Failing to establish his antithesis, he will employ fallacious reasons (hervabhāsas), quibbles (chala) and analogues (jāti), the exposure of which will bring about his defeat (History of Indian Logic-P-52).
Central topics of Nyāyaśāstra are : pramāņa-the means of valid knowledge, prame yo-the object of valid knowledge, våda-debate, ava yavas - five members of syllogism and anyamata-parikṣā-an examination of other philosophical doctrines.
The central theme of Nyāyaśāstra is categorical structure within this conceptual frame work. Gautama has given a doctrine of cognition, theory of objects of cognition, a concept of proof and a technique of refutation.
Present monograph under review is divided into seven parts. In the first six parts the author gives a lucid exposition of themes of Nyāyaśāstra as explained by Vātsyāyana and Uddyotakara. The author is very faithful to original texts, in presenting the view of Nyāya philosophy of Gautama,

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* Vātsyāyana and Uddyotakara. The first and second parts deal with class.
ification of categories and theory of cognition (i.e. four pramāņas) respectively. Third part treats the concept of proof such as doubt, the objective, established teret, member, the fallacy of the hetu, disputation and ascertainment. Part fourth deals with the technique of refutation - discussion, rejoinder, cavil, quibble, legitimate objection and deficiency. Doctrines of other philosophers are also discussed in the same part. In the fifth and sixth the author has disscussed the object of cognition-self, Buddhi, body etc. and source of samsāra and liberation, respectively. The seventh part is reflections on the Nyāya philosophy which is a critical estimate of Nyāya philosophy.
The main aim of this work of the learned author is a sincere attempt to remove misunderstanding of some of the western scholars who hold the view that India has no philosophy in real sense. If western philosophy is 'concerned first, last, and all time with arguments' then undoubtedly Nyāya system must be treated as philosophy. The first category viz. Pra. māņa or the valid means of knowledge, clearly brings out the predominently logical and epistemologyical character of the Nyāya system. The Nyāya system is completely based on argumentation and reasoning.
The author rightly pointed out that the problems like those of knowledge, certainty, meaning of words or inductive proof, which have figured prominently in modern western philosophy, were examined with remarkable skill and rigour, even though the Indian philosophers had none of the advantages of sophisticated techniques which a modern philosopher has at his command (Introduction). The author is very successful in his attempt to prove that Nyāya philosophy is mainly based on sound empirical foundation and it is devoid of four characteristics of mystical philosophy, hence, the allegation that indian philosophy is based on intuition rather than reason cannot be said to hold good in any strict sense (P.479). Nyā. yaphilosophy is undoubtedly an empirical school and it can be conparable to modern schools of empirical thought in western philosophy. In this direction he has compared the certain views of Naiyāikas with the western Logicians like J.S. Mill and Karl Popper (P. 487, 509). In the opinion of the author Gautama was an Indian version of Mill in a scriptural and social environment (P.478).
The author, in his critical evaluation pointed out ceretain weak points of Nyāya philosophy which are really challanging problems for research scholars in this field. Naiyāyika, though an empiricist dependents on the principle of authority (aptavākya) in explaning the incidents in the career of the atman and its destiny, which cannot be reconciled with an empiric

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Review
ism which claims to be founded on a sense object theory of perception. Moreover, Naiyāyikas claim that everything in the universe can be explained with the help of four pramāņas. But they accept an element of inexplicability in the case of inherence (samavāya). The relation between substance and its properties is one of inherence, but Naiyāyikas cannot explain what it is. Again, atoms and selves are substances in the Nyāya system and they have certain properties. But the manner in which they are related is left mysterious (P-478).
Scholars like Vidyābhūsana and Keith think that Nyāya syllogism is influenced by Greek thought. At the present state of knowledge, no one will subscrib: the view of Dr. Vidyabhūsana and Prof. Keith. Syllogistic rea. soning is original contribution of Nyâya system. There are fundamental differences between Nyāya and Aristotalin syllogism. The little similarity between the two is due to parallel development of thoughts.
Concept of God is concerned, it seems that Gautama as an empiricist did not attach much importance to God. He has not given any positive doctrine of God. He devoted only three ophorisms on God. Two embody the views of the opponents and the third one seems to be his own view, According to Vātsyāyana God is a distinct self endowed with distinguishing properties, such as merit, power (aiśvar ya), knowledge, Samadhi etc. He is in the category of apta who advises correctly. He is to the living beings what the father is to his childern. N.B. - IV-I-21). He is a type of jivanmukta of the Vedāntins. But Uddyotakara clearly accepts God as efficent cause helping the movement of subtle atoms to form the earth and other substances.
The author rightly observed that to understand writings of great thinkers of India, one must have clear idea about social, religious and intellectual back ground of writers in which they lived. Naiyāikas have accepted God as saviour of the moral order of society. It was moral and sociolo. gical necessity; otherwise God is not one of the sixteen categories and God has no significant part in the Nyāya scheme of saṁsāra and liberation (P-571-72).
The author's understanding of Nyâya-philosophy is very subtle and he is very clear in presenting Gautama's view as explained by Vātsyāyana and Uddyotakata. This is abviously an extra-ordinary and authentic book of reference on the topic it has discussed so exbaustively. This work is an outstanding contribution to the fefld of knowledge. Equipped with exhaustive bibliography, Apendix and index, the book is well-printed and nicely produced. The author and publisher deserve high appreciation in bringing out this outstanding book on Nyāya philosophy.
Y. S. Shastri

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आ. जिनप्रभसूरि-विरचित
अंतरंग-रास
संपा० र. म. शाह __(ईसुनी १३मी शताब्दीना उत्तरार्द्धमा थई गयेला आगम-गच्छीय जैनाचार्य जिनप्रभसरिए रचेली उत्तरकालीन अपभ्रंशनी अनेक लघु रचनाओमाथी केटलीक आ पूर्वे 'संबोधि'ना विविध अंकामा प्रगट थई चूकी छे. - आ. जिनप्रभसुरिनी ३० जेटली रचनाओनो एक संग्रह पाटणना खेतरवसी जैन शान भंडारनी, १४मी शताब्दीमा लखायेली एक ताडपत्रीय प्रति (पाटणना ताडपत्रीय हस्तप्रतोना गा. मो. सी. मां प्रकाशित सूचिपत्रमा जेनो क्रम नं. १२ छे) मां मळी आवे छे. तेमां पृ. १९०-१९४ उपर (कृति-३३) 'अंतरंगरास' ए शोर्षकथी प्रस्तुत रचना लखायेली छे. एनी आगल-पाछळनो कृतिओ जिनप्रभसृरिनी छे, एथो आ कृति पण जिनप्रभसूरिनी होवानु व्यानबी भनुमान सूचिपत्रकारे कयुं छे. प्रस्तुत 'अंतरंगरास' एक उपदेशात्मक जैन रूपक काव्य छे.]
पणमिउ पढम-निणिंदू सेत्तज्जह मंडणु ।
भणउं जीव-संबोहू भव-दुक्खह खंडणु । स्यणि-विरामे एउ भाविज्जइ गेहि पलित्तइ किमिह सूइजइ । जाणउं जीवहं तिहुयण गेहू जाव अस्थि थेवो वि सिणेहू । कोवग्गिहिं पज्जलिउ निरंतर माण-पवणि पूरिउ मार्भितरु । उठिय मायाजालि विसाला पसरिय जालाभिधणमाला ॥१॥
राग-अलायकणेहिं, संछाइउ अंबरु ।
पसरिउ सव्वहि दोस बहु-धूमाडंबरु । कम्मपयडि-पंसिहि संछाइउ दीसह कत्थ वि नहु विज्जाईउ । विसय-तडत्तड-सई समुट्ठिय पंचिहिं काम-गुणेहि मणिट्ठिय । मोह-चरड-निव-धाडि पहुत्ती इंदिय-तककर लेवि तुरंती । अविरह-रक्खसि बहु विफुरिया गुरु मिच्छत्त-मेच्छ अणुसरिया ॥२॥
डज्जइ गुण-कर-रासी विउसाण सुवल्लहु ।
डजइ समिय-निहाणू भुवणत्तय दुल्लहु ।। डज्जइ स्वम-मुत्तावलि चंगी जा न अभग्गह लोगइ अंगी। डज्जइ विरइ-कयाणगु सुंदरु ज नवि पावइ कह वि पुरंदरु । गुरु-पमाय-मइराए सु धारउ सयल वि जवले उ पनिवारिउ । लूसइ मोहराउ मणि विहसिउ बहुविह-निय-परिवारिहिं तोसिउ ॥३॥

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अंतरंगरास
पिविखवि सिरि-जिणनाहो करुणा-रस- सायरु | सपुर-ह-सत्थाहो हय- मोह - निसायरु ||
अस्थि भवणु नामिण गुणठाणू चउदस-भूमि तसु परिमाणू । मोहराय जं दुग्गमु वह नहि उवसम-निव सेणा लट्ठइ | वर - विषेय- पायारिहिं जुत्तरं संवर छायणि बहु सच्छत्तउं । तर्हि तेरसमइ खणि मुनि बिउ नाणाइय परिवार विसिद्धउ ॥ ४ ॥ पाव-ताव - संतत्ता सर्याल विसहि सत्ता । भव-दारिद्दक्कता आकंदु करंता ॥
सच्च-सील - थंभेहिं पडंतिहिं भज्जइ जीव अंगु सह चित्तर्हि । दय-दम पट्ट- पतिर्हि चूरिय गुत्ति-भित्ति निवडतो पुरिय । चिंता-संतावेहिं अमुक्का काल-अनंत-भमंता थक्का । महापवित्तकरण-सहाइय तसु पासायह कहमवि धाय ॥४॥ पाविउ करणु अप्पुवू, ताहह पुण कोई । राग-दोस-गुरु-गंठी, भिदेविणु लेई ||
पहिलउ स्वणु मिच्छत्तऽभिहाणू फरसिउ सासायण-स्वण ठाणू । अह अनिवित्त-करणि संपाविउ सम्म मिच्छ-खण तइउ सहाइउ । तर जिणराइहिं पहिउ तुरंतउ धम्म- बोहु चउरंग-बल-जुत्तउ । संजम - सुहडहं हूउ भाएसु मोह दलह मा देउ पवेसू ॥ ६ ॥ धम्म- त्रोहि ते सत्ता, समअ-मयणि सित्ता | नाणंजणि तम - तिमिरू नयणहं धंसियत्ता ॥
अरि रि भविय आरुहउ तुरंता उवसम- स्ववग- निसेणि अभंता । एह पसायह उवरिम तुमहिं मा मारेज्जउ वयरिय भूमिहि । मा डज्जउ पलवणई भयंकरि सयल-जीव-सन्वरस - स्वयंकरि । एए राग-दोस दो पावा लग्गा तुम्हहं गुण संतावा ||७|| मोहराउ पुण पुट्ठि, आवेइ तुरंतउ । विसय कसायाइहि, नियय-बलु पूरंतर ||
अगि तिल्ल तहिं कुररा फुट्टा तहिं य मंद-भग्ग बहु खुट्टा । उवसम - सुडिहि केवि उठाडिय विसय-चरड संजम भडि पाडिय । चउथ पंचमए स्वणि ठाविय जिणवर घम्मह गुण- गण - भाविय । धम्म- बोहिं पुण भणिया भविया पेक्खह मोहिं जिय उवदविया ॥ ८ ॥

९५

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९६.
संपा. र. म. शाह
ता तम्हि निवसंता, समासे लहउ पासु । जिव वे गिहिं दरिसावं, सिद्धहं आवासू |
उवरिम उवस्मि खणि संठाविउ जुद्धहिं मोहराउ पाडाविउ । जत्थ न रोग-सोग-संतावा जम्म-जरा-मरणा हम भावा । ERT नो-तण्डा छुहससि अंगा पुण पुण होइसह मोहह जोगा । झेस एयम्मि पवणि बहु भमडेसउ चउग३ भव-वणि ॥ ९ ॥ तिक्ख- दुक्ख - लक्खाई, बहुविह पावेसउ ।
atra aण लघु एकू, न हु पुण पेक्खेसउ || ree अहो मा कुणउ पमाऊ अनु सुह- दुक्खहं हरिस-विसाऊ । मुणिय सिक्ख तं केवि हु लिंती नाह अणगल सुमइ फुरंती । जे पुण तं गुरु-त्रयणु उवेक्खई चुलसी- जोणि-लक्ख पेक्खई । इग-बि-ति-चउ-पंचिदिय-रूविहिं भमइ जोव जिण वयण अभाविहिं ॥ १० ॥ माय - पिया - भायाई, गुत्तिर्हि संरुद्धा | भज्जावच्च - सिणेह, बहु-बंघणि बद्धा ॥
बहु भव-पर-घर पंण हिंडइ अप्पर मण-वय- कायहि दंड |
नर- तिरिय-गुरु-दुक्खिहिं खंडिय कालु अनंतउ पुणरवि हिंडिय । चुल्लगाई दितिर्हि पाविय बारसंग मणुबाई सहाइय ।
ता रेजिय जिणमूरिहिं भासिउ करि जिणधम्मु पमाउ विणासिउ || ११|| ॥ अंतरंगरासः समाप्तः ॥

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(૧) બાળલીલાનાં પદ
(૫૬ ૧–૧૦ )
[ રાગ : પંચમ ] આ લેને, આ રોગ આતા ! ઘીએ ઝબેલી; 1 સુંદર મેરે હાથ રચી પાતલી પેલી. ૧ કાતલી કેલાની, સારી સાકર ભેલી.
કરમ કીધે રે કૃષ્ણ કપુરે ભેલી. ૨ મીઠડાં કરૂં રે, મુખ મોકલું કીજે;
માખણ ભાવે તે વલી માગીને લીજે, ૩ ચુંચતા કેલીઆ માતા આગલ ધરે,
કેહેનું ન કરાવુ મુખ મોકલુ કરે. ૪ બ્રહ્માદીક ઈદ્રાદીક ભૂલવા નાથે - નરહીઆ સાંમી જમે જસેદા હાથે ૫
આડે રહીને રેડ માંડી જગનનાથે,
તે જમુ, જે પરસે ભાત તમારે હાથે. ૧ સેવ રે સુંવાલી માહે સાકર ઝીણી,
સેવણ થાલી માતા લાવે રે ફેણ ૨ સાક દાલ માહે માંખણ ધરે,
દહીં દુધ રે માહારૂં કચોલું ભરે. ૩ પંચા અમૃત પુત્ર તમે કેલી આ ભરો;
આલોટ ને લેટે, કેહે જુલૂંઉ કરો. ૪ રસ ભરી સંતાપ, માતા અંતર પેખે,
પાછું વાલી જુવે જશદા જુજુઉ દેખે ૫ જેમનેદકે માછણ લેતા મીઠા કીધાં રે માએ
નરરહી આ સ્વામી મલીએ, લાગું રે પાએ. ૬

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નરસિંહ મહેતા કૃત
જશોદા માવડી રે ! સાંભલેની, | માહારા મુખની વાતે ગેકુલ નારી છે ધૂતારી, . હૂ તે તેને ઘેર ન જાતે. દહી દુધ ધૃત માખણ ભેજન,
ભુવન ભાવતું ખાતે; મે મારાં માંકરડા પાલ્યાં “
હુ તે તેને સર્વસ્વ પાતે. વાંસ તણી વાંસલડી હું તે,
તાન-તરંગે વાતે મનમાંહે બહૂ મેદ ધરીને,
આપ ઈછાએ ગાતે. પ્રેમતણે પાલવ હું બાંધે,
અણું ન અલગ થાતે. નરસંહાએ સ્વામી એમ બેલે,
વૈAણવજન સંગ રાતે.
જસદાને જીવંણ જેવા જુવતી આવી,
ઉલટ વાધે રે અંગે, એલંભા લાવી. ૧ મરકલડો કરીને કયાંન સમું રે જુએ;
ભોમની વંન ભુલી મનડું મેહે. ૨ પ્રાણ પે પાતલીયે વાહલે ગેપીને ગમત;
ભણે નરરહીએ : માતા ઉછંગે રંમતે. ૩
નંદજિને છેરે નાને રે, કાયર અમને કિધાં છે, છેલ કિધે છાંને છાંને રે, અમને કાયર કિધાં છે. ૧ નિત નવરો ફરતો ડોલે રે, કાયર અમને કિધાં છે; મનમાં આવે તેમ બેલે રે, અમને કાયર કિધાં છે. ૨ વનમાં ઈ પગેરાં ખોલે રે, કાયર અમને કિધાં છે. ઝાલે છે દાડે છેલે રે, અમને કાયર કિધાં છે. ૩

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બાળલીલાનાં પદ
ગોકુલિય ઉજડ કરયે રે, કાયર અમને કિધા છે; ;
તારે થિર જૈને ડરસ્ટે રે, અમને કાયર કિધાં છે ૪ ઓચિંતે ઘરમે આવે રે, કાયર અમને કિધાં છે;
આવિ જેરાઈ બેલાવે રે, અમને કાયર કિધાં છે. ૫ નિત એથિ ડરતાં ફરિયે રે, કાયર અમને કિધાં છે,
કે નરસિમેતે સુ કરિયે રે, અમને કાયર કિધાં છે. ૬
ભલે જી ! ભગવાન પ્રગટાં અમારે કાજે,
મલપતી હીડું હું તો તને લાજે. ૧ ત્રિહને તાપ ટાલ સેજડીએ રમતાં
ભગવે મેંહે ભાવ કરી દુરીજન દેખતાં. ૨ સેકલડીનું સાલ હુંતું તે વાહલે રે ટાલું;
ભણે રે નરહીઓ : જેન જાદવર્યુ માહાલું. ૩
[રાગ : પંચમ) માતા રે જસોદા કે મંનડું મેહે,
વલી વલી કુંવરનું વદન જુએ. હરખીને હઈએ લીધે, ચુંબૅન દીધું,
કાજલ `ઈને ગાલે ટબકું કીધું. ૨ મીઠડાં કરીને માતા મંદિરમાં આવી?
આંગણમાં ગોપી સહુએ રાવ લાવી. ૩, મંદીરમાંહે આવી વાહલે માંડે રે વહાર,
ભણે રે નરહીએ પમી પુરણ આધાર ૪
| (રાગ : પંચમ) લાઈને જમાડે, માત કુંવર કાંહાંન;
નાસી જાઓ, આઘો આવે. સુંદર સાંમાં જુવતી જોતી રે, મોહન મનમાં ભાવે;
છેડલો સાહીને માતા આગલ લાવે.

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નરસિંહ મહેતા કૃત માતા જાણે મારો પુત્ર કાંઈ નવ જાણે
ભણે રે નરહીઓ : ગોપી ઉર શું માંગે.
૩
(રાગ : રામકલી] વદન સકેમલ જનની રે જુએ;
કર પલ્લવણે લેઈ શ્રમજલ લુઈએ. જે સુખ દિઠડે રવિશશિ કાંપે
તે મુખ જસદાજી રદયાસુ ચાંપે. જે મુખ નિગમ અગમ કરી ગાયે,
તે મુખ જસદાજી પેપન પાયે. ભણે નરસૈયે : ઊ એટલુ માગું,
ટાલ્ય ગર્ભવાસ, તાહારે ચરણે રે લાગું.
૪
હેલિ ! હેમકડાં બે હાથ, સલુણે સામલે રે; રમે વાલિડાને સાથ, એને જોને આંમલે રે. ૧ વલિ છગલાં મેલિ સિસિ, સલુણે સામલે રે, ચડે રમતાં જમતાં રિસ, એને જેને આમલે રે. ૨ કરે વાંક વિના વઢવેડ, સલુણે સામલે રે, જાઈએ બાર તે દેડે કેડ, એને જેને અમલે રે. ૩ કરવા છે ને ઘરનાં કામ, સલુણે સામલે રે; હરે હરણું આડું જામ, એને જેને આમલે રે. ૪ નાથે જમુના ખેલ ખેલ, સલુણ સામલે રે; મચી જલપુર મેં ઠેલાઠેલએને જેને આંમલે રે. ૫ નરસિ મેતે કે જે એનિ રિત, સલુણો સામલે રે, કરે જેરજેરાઈએ પ્રિત, એને જેને આંમલે રે. ૬

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(૨) દાણલીલાનાં પદ (પદ ૧૧-૫૦)
૧૧ અમે એલખ્યા તમને આજ, તમે ધુતારડા રે; આવિ બાઝો છે ત્યા કાજ, કે પ્રિતમ પ્યારડા રે. ૧ સૌ જાણે છે સંસાર, તમે ધુતારડા રે; સરવ વસ કિધિ વ્રજનાર, કે પ્રિતમ પ્યારડા રે. ૨ સિંખ્યા ધુરતપણાનાં કામ, તમે ધુતારડા રે; વાલા ધુત્યું ગોકુળ ગામ, કે પ્રિતમ પ્યારડા રે. ૩ વારિ કર્યું માંનેને કાન, તમે ધુતારડા રે; સિદ અમને કરે હેરાન, કે પ્રિતમ પ્યારડા રે. ૪ સ્યાને કિ ઉભા વનમાંય, તમે ધુતારડા રે; જાવા દ્યોને જાદવરાય, કે પ્રિયતમ પ્યારડા રે. ૫ આવિ સ્થાને કરે છે રિસ, તમે ધુતારડા રે; વાલા નરસિ મેતાના ઈશ, કે પ્રિતમ પ્યારડા રે. ૬
૧૨
આડું કાંઈ નથિ બોલતે, દેને દાણ તુ મારું;
ને તે વખાણ્યે વાટમેં (ઐ)આડુ તારું. ૧ ગરવ-ભરિ તુ ગુજરી, જોબનનિ મતિ;
દાડિ દાડિ સૌ દેખતાં, દાણ ચરિને જાતિ. ૨ કેજે તુ જાઈને કંસને, દાંણ લાગે છે ને
મોવડ આવજે માનનિ, વેલિ દલ હૌને. ૩ કાર ને ઝાઝ કાંજિ, પરનારિનિ હાસિક
બલ તે તમારુ જણિયે, આવ્યા છો નાસિ, ૪ દાડિ અમે આઇ ચાલિયે, દાણ કેદિ ન દિધું;
ખે માં ઠાલા આબરુ, કૈયે હૈયે સિધું ૫ લાડકવાયા લાલજિ ! યેલફેલ મ બોલે;
નરસિ મિતે કે જેરાવરિ, સિદ બાઝતા ડેલે ૬

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નરસિંહ મહેતા કૃત
૧૩
૨.
નાંમ,
આવા છેલ ન થયે સાંમ, કાડલા કાંનજ નવ ટૌચે કાઈ વાલા ગુણવાંજિ તમે માટા છે! મહારાજ, કેડિલા કાંજ રે; કાંઈક લેકિન રાખેા લાજ, વાલા ગુણવાંજિરે, ૨ કેડિલા કાંજિ રે; વાલા ગુણવાંજિ
..

૨.
૪
તમે મ થાએ મેવાર, સૌઃખે છે સંસાર, હજિ નાંના છે તમે નાથ, કેાડિલા કાંજિ રે; આવિ ખાઝો માં અમ સાથ, વાલા ગુણવાંનિજ આવિ સિંદ કરે છે। તાંણુ, કાડિલા કાંનજિ મૈં આપું મૈનુ દાણુ, વાલા ગુણુવાંજિરે. કા ા ઢવા જેવાં વેણુ, કેડિલા કાંનજ રે; તમે નસિમેતાના સેણ, વાલા ગુણવાંનજરે
૧૪
ભિ રેને રે મૈવાલિ,
ચાલિ જાય છે કયાં ચરિત્રાલિ
વાટે લાગે ક્રાંણુ અમારું; તેમાં લેશું મૈડુ તારુ
પ્રિતે રિતે મૈડુ પાને;
મટુકિ મેલિ વુદ્ધિ (? સુઢિ) જાને.
ગુજરગ ભરતું ગેલી;
ચારિ દાંણુ તણિ નૈસેલી.
નરિસ મેતા કે મહિક જૈને મેલિસ ઘેર સિખામણુ જૈને
૧૫
ઉભા વેણુ વાય રે; વેચવા જાય રે.

(ટેક)
૧
3
૫
૧
२
[સારd]
એક સમે હર વનમેં, ૌ મહિક ગોપિકા, મૈં બેઉને તે મેલાપ થયેા, વનમે એકાંતે રે; ગેપિ સાથે ગુજ કકર, ખાંતિલે ખાંતે રે. ઊભા વેણુ. . ૧
3
૪

Page #213

દાણલીલાના પદ રસ ભાર રંગરાડ થઈ, વૃંદાવનનિ વાટે રે; રાધિકાને કિ યા હરિ, દાંણને નેટે રે. ઊભા વેણ.૨, રેસ ભરાંણિ રાધિકા, બેલિ વેણ અટારાં રે; તેમાં મારે નાજિ, માર્યો મેણલાં સારાં રે, ઉભા વેણુ...૩ સામસામે સંવાદ થયે, એકાંત ઠેકાણે રે, એ લડાઇની વાત, નરસિ મેતે જાણે રે. ઊભા વેણુ....૪
એલિ ! તું છાસ પિને છાકિ નથિ તારિ બોલિમેં કઈ બાકી. એક તુમેં ભલપણું દિડું ભારી; ચેરિ કરતાં આવડિ સારી. બિજુ ઈ લક્ષણ આવ્યું રૂડું; ઝાજુ બેલવા સિખિ કુટું એલિ ! તારિ મા દિઠી મેં લિ; તેં ક્યાંથિ ડાપણ લિધું બેલિ. નરસિ મેતે કે આવું કર માં; તુ તે માઈસ કેના ઘરમાં.
એવાં એવાં વેણુ સુણી, વાલે હસવા લાગી રે; હેત કરિ હઈડામાં ભિડિ, આવિ આગા રે. વાલે હસવા (ટેક) રિશ ટલિને રિઢ થઈ, રાણિ રાધિકા સાથે રે બહુ પ્રકારે બેલાવિ, હસિ ઝાલિ હાથે રે. વાલે હસવા...૧ પાયે લાગી પ્રેમદી, હેતે હું હરિને રે, પ્રેમથિ ઝાઝુ મૈ પાચું, મનુંવાર કરિને રે. વાલે હસવા...૨ કાંને કર્યું તેમ રાધિકા કિધુ, રાધા કર્યું તેમ કાન (૨) ગુણવંતે ગેપિને નિધિ, રસમાં ગુલતાન (રે). વાલે હસવા...૩ આનંદ વાળે એક થયાં, [બેઉ પ્રિતમ પ્યારિ રે; જેડ રંગીલિ ઉપરે, નરસિ મેતે વારિ રે. વાલે હસવા....૪

Page #214

નરસિંહ મહેતા કૃત
૧૮ કે અમે કેમ મેલિયે, રિત લાગે તે લેશું; દાણ લિધા વિના સુંદરી, જાવા નવ દેસું. ૧ જોબન ધનના રથિ, થઈ છે મસ્તાનિક દાડિ ચોરિ મારું દાણુડું, જાતિતી છાનિ. ૨ આજ મલિ છે એકલિ, મઈ ને મેલું દાંણ અમારુ ચરતાં, શું જાણ્ય, પેલું. ૩ કરે રેજે કાનાજ, જોયા જેવું થાશે; રૈયે રાજાના રાજમાં, લુંટી ન લેવાસે. ૪ મુખડુ સંભાલિને બેલીયે, મ કર જોરારિ દિઠા વિના નવ નાંખીયે, કોઈ ઉપર ચેરિ. ૫ દુરિજન લેકડાં દેખસે, થાસે નીમચું ઠાલું; નરસિ મેતે કે વાલમજિ, મૈ ટાંક ન આલું. ૬
૧૯ ગિરધર ગેપિનિ સુણિ વાંણિ, મનમેં રિઝયા સારંગપાણિ અંતર હેત અતિઘણું દિડું,
બેલિ તે લાગ્યું મિડું પ્રેમે મકિ દિધિ પ્યારી, ગેરસ પિવું' કુંજવિહારી. ભુધર ભાવ અલૈકિક ભાલી, મલિયા રાધાને વનમાલિ. રસબસ જૈને મૈડું લિધું, નરસિ મેતાનું કારજ સિધું,
૨૦ ધિરિ રે ધુતારડિ, હવે જાઈશ [મૈ મેલિ રે, વાટ જોતાં વનમાં, મલિ છે આજ અકેલિ રે. ટેક) નંદ બાબાનિ નિંદ્યા કિધિ, તે તિ] કે બિજિ કોય; એ ગુનામાં રેલ કરું , તે તું ઉભિ જોય.
હવે જાઈશ૧

Page #215

દાણલીલાનાં પદ
તે રાજા આદ જુગાદિ, ટૌશ ક્રાંણુ નચિત; તુ સુ... જા ંણે ગુજરિ ઘેલિ, રાજદોષારનિતિ, હવે જાઇશ....... ૨
આંણદાંણુના ણિ અમે છું, દેશપતિ દેશેાત; દાંણચારિ મે તુજને રાશિ, મૈ મહુકિ સાત.
મનિ મતિ સ્યુ. મરડાય છે, સ્યુ હલાવે છે ડોક, નરિસ મેતા કે મેલ વડાઇ, આપ તારા મારુ' લેક,
àા મં તાંણા માંન માશુ તારે તુ ગાય તણા
અમે આખલા છુ નાર પીઆરી, કેમ કરૂ શખી કરમગત લાગી, તે
હવે જાઇશ....... ૩
૨૧
[રાગ : આશાવરી]
માહાવા, માંન માગું; પાએ લાગુ પીડારા, ગાવાલીઓ રે.

હવે જાઇશ....... ૪
ગેરશ પીએ તુમા ગાવિંદજી રે, નરશઈઆ વીરજવીનતા વીનવે, તે
જા
કર નહી કશે। આગે લાગે અમને, આજ નવી નરીયાદ રે; ગારનુ માડુ] થાય રે શામલીઆ, તે મથૂરાં માંહે ન વેચાય રે. છેલો મ* તાણા....... ૩
છેઢલા મ તાંણા........ લાજ અમારે લાગે રે; નાંણુ દામાદર માંગે રે. છેલા મ' તાણા,..... ૨
દાંણુ મેશે તમે દાંણી રે; વાત તેં સારી જાણી રે. છેઢલે મ' તાંણા.........૪
૧
છેલછમિલે સાંભિલ વિનતાનિ વાંણિ; રિસ ચડિ વ્રજરાજને મસ્તાંનિ જા`ણું. જોર કરિને જાવે, મૈં મટુક ઉતારિ; માહનિ[એ] મઇ લિટયુ, જોઈ હૈ મઇયારિ કેડિલે વર કાંએિ], મન ગમતુ કિધું; મઇ મહિક માંથિ, પેતે સંપુરણ પલ્લું,

૧
૩

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નરસિંહ મહેતા કૃત પાયુ પછે સરવે સાથને, મનુવાર કરિને ઘેલા થે ગોવાલિયે, પિધુ પેટ ભરિને. બિજુ તે ઢાલિ નાખિયું, મે મટુકિ ફેડિ; ફાડિ તે નવરંગ ચુનડી, વલિ બાંઈ મરેડિ. મનમેં રિસાણિ માનનિ, કંઈ દાવ ન લાગે; નરસિ મતે કે રાવે મૈ, જસેદાને આગે.
૨૩ છોટા બેટા છોકરા ! શિખ્યો વાત મેટિ રે; વેગલો રેજે મુજથિ, નઈ તે ખાઈશ શેટિ રે,
સિખ્યો વાત...... હું તે તારા લોકનિ છેડ, તુ મારે શરદાર; કંસ બચારે ક્યાં જાસે, હવે મેલિને રાજદ્વાર.
સિખો વાત..... પ્રાક્રમ ન મલે પિંડમેં તારે, બોલ મેઢે હોય; શ્રેણ્ય ભવનમેં નથિ મુંને, લુટવાવાલે કેય.
સિખો વાત. દાંણ ન આપું દેકડે, એ ટિ થાઈશ કામ; તું મુંને અલ્યા ત્રાસ દેખાડિને, રઈશ કેને ગામ.
સિ વાત... હું તારાં હલાણ જેઈન, જાણું છું મનમાંય; નરસિ મેતે કે મેડુવેલુ, નંદને સારુ નાય.
સિંખ્યા વાત...
૩
૪
છેરિ ! છાસ તણિ પિનારિ, તું સ્ય જાણે રિત અમારિ. તારો બાપ અમારે ચાકર અમે તે ગોકુલ કેરા ઠાકર. તારા રાજાથિ નથિ ડરતાં, કેઈનિ શંકા મન નથિ ધરતાં. આપને રિત અમારી એલી ! જા તું લસકર લાવે વેલી.

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દાણલીલાનાં પદ
૧૧
દાસ નરસિ કે માલમ પડસ્પે, તુને સિક્ષા સારિ જડસે.
જાણું છું તુંને ગુંઠડિ, એલિ ! બેલ માં ઝા નું રે; અંગ ભર્યું અવલાઈ થિ, તારુ રેમ ન સાજુ રે.
એલિ ! બેલ માં........૧ માંણસનિ પેઠે દાણ માગ્યું મેં, તુજ પાસે બહુ વાર; વાતમાં તું સમઝ નઈ, તુને લાત તણે અધિકાર.
એલિ! બેલ માં..... ૨ કરગરીને મેં કહ્યું જે, દે અમારૂં દાં; નારિ મુરખ ઢેર નગાર, કુયું જ આવે કામ
એલિ ! બેલ માં...........૩ મેં જાણ્યું મારા લેકનિ છોડ, ક્યાં દેખાડું ત્રાસ; તું સુધિ બલમાં ભરાંણિ, કરવા લાગિ હાસ.
એલિ! બોલ માં.......૪ સારિ પેઠે શિખામણ આપિ, મેલિશ પાછિ ઘેર; નરસિ મેતે કે જેને [પાછી), ઉભિ થાશે લિલાલે.
એલિબેલ માં...... ૫
જાવા દેને કાન ! મારે ઘેર જાવા દેને કાન. (ટેક) આંણ તેર ગાંગા ને પેલી તેર જમના, વચમાં ગોકુલીયુ ગામ, મારે ઘેર જાવા દેને કાન. ૧ વંદરાવનની કુંજગલ[1]માં, સેનુ માગે છે દાન
મારે ઘેર. ૨ અમે તંમારા ને તંમે અમારા માખણ ચેરી ખાવ
મારે ઘેર.........૩ ભલે મલે મેતા નરસિને સાંમી, વાલે રમાડાં રાસ
મારે ઘેર........૪

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નરસિંહ મહેતા કૃત
૨૭ ટાંક લેવું નથિ માહેર, મટુકિ વિ (2) બાધી; ઉભિ રે અલબેલડિ, આજ ખેલતાં લાધિ. ૧ કે નથિ તુ નતિ, મચાલિ મનમેં; ઉપર પ્રગટ દેખાય છે, હલકાર તારા તનમેં. ૨ બિક દેખાડે છે કંસનિ, તું ભરાણિ છે બલમાં કુડાબેલિ કામનિ બોલે છે [બહુ છલમાં ૩ રે રે હું તમને એલખુ, હમણાંના] ગ્યા દાંણિ; એવું બેલે છે આકરું, કાઠા હું જાણિ. અમને તે હલકાં દિડલાં, તમે લખણના ભારિક રસિયાજિ નવ રેકિયે, વનમેં પરનારિ. ૫ કુડાબેલિ હું કોમનિ, તમે સાચનું ગાડું : નરસિ મેતે કે વઢવા જેવું, સિદ બોલે છો આડું. ૬
૨૮ તમે મ કરે ઝાઝાં ફેલ, વારિ જાઉ વાલજિ રે, વલિ થાઓ માં સુધા છેલ, લાડિલા લાલ િરે. ૧ તમે કેમ પડયા છે. કેડ, વારિ જાઉ વાલજિ રે; ઝાઝિ મ કરે મારિ છેડ, લાડિલા લાલજિ છે. કેમ ઉભા છે કિ વાટ, વારિ જાઉ વાલજિ રે; જે જે મૈનું ફેડતા માટ, લાડિલા લાલજિ રે. ૩ તમે મ કરે એવિ વાત, વારિ જાઉ વાલજિ રે; થાસે એમાંથિ ઉતપાત, લાડિલા લાલજિ રે. ૪ કેડે મેલિને રેજે કોર, વારિ જાઉ વાલજિ રે, તમે મ કરે ઝાઝું જોર, લાડિલા લાલજિ રે. ૫ સૌ જાણે તમારાં કામ, વારિ જાઉ વાલાજ રે; માને નરસિ મેતાના] સ્યામ, લાડિલા લાલજિ . ૬
ચેને લિલ તણા લાડ રે,
કે આવિ ઉભા છે કેમ આડા રે.
૧

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દાણલીલાનાં પદ દેખાડે એ એવડે રે રે,
કે માથે ઘાલિ કુલડાને તે રે રે. ૨ કસુબિ પાઘડલિ બધિ રે,
ડરાવે છે ચનિયાં સાંધ છે. ૩ જાણે છે મેં એનું ખાણ્યું રે,
ખાઈને ખેમકુસલ જાણ્યું રે. ૪ એમાં તે વાર ઘણિ વાલા રે,
ખે માં લાજડલિ ઠાલા રે. ૫ નરસિ મિતાને સ્વામિ રસિયે રે ગોપિનાં વચન સુણિ હસિ રૂ. ૬
૩૦ દે દેખ તારિ દાઢ ચલિ કાનુડા રે, મુને દેખિ વનમાં એકલિ , , કેમ બાજે છે મેને ઘડે યેમ ઉગાયે મ ન જડે આવિ ઉભે છે કયાંયથિ મ ન જડે એમાંયથિ આજુ હું તારું ન સહે જૈ નંદ-જાદાને કહું સ્યુ કહિશ એમાંથિ મથિ કાંઈ હું તુજથી ડરતિ નથિ કે નરસિમેતે હું કહું ખરું બાલિશ ને મુજને અર્પરું ,
૩૧ નિલજ છેરા નંદના, હથિ દૂર રેજે રે; મુખમાંથિ તું વેણ અલ્યા ! સમજિને કેજે રે. ૧ નંદ રાજા કેદિ થયો, એની કુંણ માને છે અણુ આહિરના છોરાને અલ્યા ! ચ્ચે પાંતિનું દાણ. ૨ ઝાઝું બલિ ચ્યું જણાવે છે, તે પિતાનું માપ કેને અલ્યા ! તું ચેરિટિ કે છે, ચેર તું ને તારે બાપ. ૩

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નરસિંહ મહેતા કૃતિ સારિ પેઠે હુ તુજને જાણું જાણું છું તારિ જાત; આજ પછે જે એમ કહ્યું તે, જાંણિશ મારિ વાત. ૪ પારકે ઘરે પેટ ભરે છે, પિડિયાનિ પિર નરસિ મેતા કે ચેર જેવું, હ્યું છે તારે ઘેર. ૫
૩૨ પૂછું હું તને પ્રેમદા ! મ્યું છે નામ તારુ રે, ચિરટિ નારિ તે ચોર્યું છે, દાણ અમારું રે. ૧ તું ગોવાલણ મદન માતિ, ચારિ જાતિ દાણ; મૈ લિધા વિના આજ મેવું તે, નંદ બાબાની આણ ૨ આવ્ય ઓરિ, તુને કૌ છું ગોરિ, ચારિ આવિ સિસ કુડાબાલિ, કેમ કરે છે, રિતનિ વાતે રિશ. ૩ તું ધુતારિ, નાર ઠગારિ, જાંણુ છું તારાં કામ; આજ ઘણે દાડે હાથ આવિ, તે હું મનનિ પુરિશ હોમ. ૪ ગામનિ રે તલ ગુજરિ, તારે એવડો એ અહંકાર નરસિ મેતે કે વાર લાગે છે, મૈનું માટ ઉતાર. ૫
૩૩ બડબડ છેરા ! સિદને બોલે જિભે ઠાલાં કાતિલ છેલે. બહુ બેલિને સુ મારું લિધું; પોતે મુલ પિતા કેરું કિધું. ભાર ઝલાય ને માંણસ હલકે, ઓછું પાત્ર હોય તે છલકે. તારિ મા કેદિનની] રણિ; તેને પુત્ર થયે તું દાંણિ. દાસ ન૨સિ મેતે કે ચાલ્યા જાને ગાત્ય સિદ ખવાડે છે માને.
“બહુ ઓલ ! થા માં બોલકિ, હું તુજને કૌ છું; માનનિ તારાં નેણલાં, કેઈ વારને સૌ છું. ૧

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દાણલીલાનાં પદ ડેડ ઘણે દરબારને, મનમેં [જાણી મૈયારિ, ઠગવિદ્યા તુજમાં ઘણિ, તારિ આરત્યે ઠગારિ બાર વરસનિ બાલકી, [[] ચરિમે શુરિક કાચું નથિ કઈ વાતનુ, છેિ લખણનિ પરિ” “નાના સરખા નંદના, છેટે રેજે રા; છેલ થયે તુને જાણિયે, ઘાલિ કુલના તેરા. ૪ કુડાબેલા કાનુડા, મુથિ વેગલે રેજે; તુજ સરખિ હેય નિલજિ, તેને જાઈ કેજે. ૫ ઉભે રે અલબેલા ! કરસ્યું તુને રાજિ; નરસિ મે કે મેં ન જડે જડયે ગાવું તે ઝાઝ. ૬
૩૫ મટકીમાં ગોરસ ઘાલી રે, ગોપી મહી વેચવા ચાલી રે; મારગ મળે દેવ મેરારી રે, આવી મારી ચુંદડી તાણ રે. ૧ ચાલે નણદી ઘેર જઈએ રે, જસેદાની આગલ કહીએ રે, જદાજી કાનને વારો રે, આવી મારી ચુંદડી તાણી રે. ૨ કાન આવે સાંજની વેળા રે, સીખામણ દેઈશું ઘેર રે; કાનના તે કેટમાં માલા રે, સાચું બેલે કાન ગવાલા રે. ૩ મારી મને નહેરની અણું રે, ગોપીએ મારી મોરલી તાણી રે;
........................ ૪ સુતારી તું વેલે આવ રે, કાન કાજ પારણુ લાવ રે; પારણુએ છે હીરની દેરી રે, ઝુલાવે જસેદા ગોરી રે. ૫ કાનને માથે સરટોપી રે, જોવા મળી વીજની ગોપી રે, મલ મેહેતા નરસીઈને સામી રે, ગોપીઊ આનંદ પામી રે. ૬
મથુરાંમેં મેં વેચવા જાયેં દાડિ દાડિક (કહો કાન ખોટિ કેમ કરિ થાઈએ. નવરા તમે, એજ કામ તમારે, મૈયારિ રેકવિ, સાંજ સવારે. એમ કર્યો તે ટાંક ન આલું; સ્યાને કાજે એવું બોલે છે કાલું.

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૧૬
નરસિંહ મહેતા કૃત

રાકેશ માં વેતાં;
વાટમે આવિને વાર ઘણિ થાય છે મુને સેતાં.
પાધરા
વુંઢા જા તમે વાટે; માહન માત્રા માં મૈને રે માટે. નરિસ મેતા કે સમજાવું છું વાતે; મૈડુ પાસુ, ઘેર આવજો રાતે.
૩૭
મન મસ્તાંનિ માંનનિ, ડાપણ મેડાલે; મુજને તે માહ પમાડવા, મિઠું મિઠું લે. ડાપણુનુ સ્યું કાંમ છે, ને દાં અમારુ; મૈં તે આ ઘડિયે ફ્રુટસે, મૈં – માટલુ તારું, એકલ વનમે. આથડે, છેકેનિ [તુ] ઈંડિ રૂપ ઘણું તારા અંગમાં, લજ્યા તે થેાડિ. કુણુ છે એ કુડિયા, એવુ મેલે છે આવિ; એવિ તે વાતું તુજને કાણે [૨] સિખાવિ. રૌ છું. રાજાના રાજમાં, મુજને કુણુ લુટે; સમજિને જે વેગલા, મટક મૈં ફુટે. તુ તે ઢાંણિ આ વાટને, અમે સાંભલ્યુ નાતું; નરિસ મેતા કે ઘર નંદનું, જાસે એસર સેતુ.
૩૮
મુખથિલ્યા, માવજિ ! અતિ સુંદર વાંણુ; ગાલું ઘે છે ગ્વાલ, નાનેા મુને જાણિ, કુડુ કાંઈ નિશ ખેલતા, માને સાચુ માડિ; વનમેં આવિ વિનતા, મુને ખિજવે દાડિ. સરમ કરિ કરમાંયથિ, લધે મારલિ ત્રુટિ;· મિઠું· મેલે મુખથિ, ભરે આવિને ચુટ. મછર ભરિ તૈયારડિ, [મન] મસ્તાંનડાલે; વનમે દેખિ એકલે, મુખ ગાલુ` મેલે. સર્વ લિને સુદર કઠેકિડ રિ; ગુજરી ગોકુલ ગાંમનિ, છે નિલજ નારિ.

૧
*
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3
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૧૭
દાણલીલાનાં પદ નરસિ મે કિ લિધાં વારણ, જસદાયે ઉઠિ સાચા ઠેર્યા સાંમલે, થે ગ્વાલણિ જુઠિ.
૬
૧
મુજને અચંભે થાય છે, તું દિઠામે છાદિ; સાચુ બોલે ? કેણે સિખાવિ, રાવિ વાતુ મેટિ. મૈનિ મટુકિ ઉતારિને, આઈ આવને એરિ; નાંની જ વયમે નાર તું, સિખિ દાનિ ચેરિ. આ માંટુડાં આજથિ, તુ મેલ પણ મારિ, માંન ઉતારિસ માંનનિ, ધિરિ રે ધુતારિ. નારિ રૂપાલિ જોઈને, ઘેલા થાઓ માં, હું ઘેલિ; મુઘી છે જે માવજિ ! મૈડાનિ ગેલિ. ધતિ કહીને મુજને, તમે મેલુ દિધુ કેને તમારુ કાનજી ! અમે ધુતિ સું લિધું. લાજ છે તમે લાલજ માણસમેં ભારિ, નરસિ મેતે કે અમે જાણતાં, તમને બ્રહ્મચારિ.
૪
૫
૬
૪૦
[ ગરબી ] મુને રેકો માં મહારાજ, માંણિગર માવજ રે; મારે ઘેર છે ઝાઝું કાજ, નટવર નાવજિ રે. ૧ તમે હૈ માં મારું નામ, માણિગર માવજ રે, માં મારે, કુટસે મૈનું ઠામ, નટવર નાવજિ છે. ૨ મારે માથડે લાગે છે ભાર, માણિગર માવજ રે, મુને ગૈ છે ઝાઝ વાર, નટવર નાવજિ રે. ૩ કેક નાખસે કાલિ આલ્ય, માણિગર માવજ રે; મુને સાસુ દેટ્સે ગાલ, નટવર નાવજિ રે. ૪ લેક દેખિને ધરત્યે ભરમ, મણિગર માવજિ રે; એમાં આપણે જાણ્યે ધરમ, નટવર નાવજિ રે. ૫ તમને એડિને કી છું હાથ, મણિગર માવજિ રે, માને નરસિ મેતાના નાથ, નટવર નાવજિ રે. ૬
.

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નરસિંહ મહેતા કૃત
[ ગરબી ] મેલે મેલે, મારગડો રે માવા, જેલ કર માં, દે મુને જા. માથે લાગે છે મડાનું ભાર; કર જોડિ કહું છું નંદકુમાર. કયું માંને, નંદજિના રે લાલા; ઠાંમડું ભાગસે, બાઝ માં ઠાલા. લેવા-દેવા વીના મ કરે લડાઈ ખુચિ મારુ મૈ ન સકે ખાઈ. કેડ મેલિ તમે તેને રે કેરે મેહનજિ ! મૈ ન જડે રે. નરસિ મતે કે ન સકે લિ; સુધી છે મારિ મૈડાનિ ગેલિ.
૪૨ એ લિધાનું મન થયું, મુને જોઈ અકેલિ રે, ઓરે આવ તે ચુકવિ આપું, દાંણનિ થેલિ રે.
મુને જોઈ ... ૧ બેલ એવડુ બલ દેખાડે , સ્થિ સેના તારે સાથે, એવો માટે સ્યુ થયે જે, હું જેડું તુંને હાથ
મુને જોઈ.... ૨ નંદના નામ મેં એવડે અલ્યા! યે ગરિ ગયો માલ, આ આંખે મેં એને ડિઠે, ગાયું ચારતે કાલ.
મુને જોઈ ... ૩ તિખાબેલા આજ તુંને, કરિશ હું હેરાન હાથ વલામણ આવ એરો, પછે થા મારો ભગવાન.
મુને જોઈ..... ૪ ગોકુલ ગામનિ ગોપિયુને, અલ્યા ! તેં મનાવિ હાર્ય નરસિ મેતે કે કેય મલિ નથિ, હું જેવિ તુંને નાર્ય.
મુને જોઈ.... ૫

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૪૩
શૈડાં ૌ ચાલિ તૈયારી, તેમાં માટી રાધા રાણી ૧ મિઠાબેલિ ને મરમાલિ, એપરવાહિ વાદિ ગાલી. ૨ એઢિ નવરંગ ચુંનડ ઝીણી, નૌતમ જોબન ખિમૃગનેણી ૩ ગેાપી સરવે બેલિ થૈને, માથે માટૌનાં ઢોને ૪ વાલા ઉભા તા ત્યાં આવિ, નરસિ મેતાને નાથે મેલાવિ. ૫

માહજિ ! સુ પરનારિ रे
વાત એ તા એમાંથી તમને
દાણલીલાનાં પદ
નરસિ મતાના
ચાવુ
૪૪
જાણા છે. મનમે; રાકે છે. વનમે
જોજો વિચારને,મારથિ કૌ છુ; રાજાના હું રાજમે રૌ છુ. વાટમે આવિને કાઇક દેખસે
દરખાર મેચડસે; આલભા જડસ્ચે,
ગરવભર્યો
અલવ કરતા આવા
વાલા;
માઝો માં થાએ મા કાલા,
દાસ
ખાસ્યા
થાસે આ
ગાયડના
નાથ
૪૫
ચરિત્ર
જોર
ગાડા;
છે. આડા.
શશ કુવર ઠિલા કાંના, કુંઢા જાએ છાંનામાના. મુખથિ વાત કરેામાં ભાલિ; સુઘી સૈનિ ગેલિ.
ગિરધર
જાં શુ જા શું
રીડ
લુટાસ્કે
કે
તમે
કે દાડાના
ફેલ કરા છે જાણી
નરિસ કે જોર પેટ
ગાલુ
હું
વારું;
તમારું.
તમારુ
મારુ.
ઢાંણી,
જાણી,
કરિને;
રિને

3
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3
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૪૬
ગુઢ જાને વાટમાં, આંઈ કુણ લાવે રે; કપટિ છેરા ! કુડિયા, તુને લાજ નાવે છે.
આંઈ કુણ......... ૧ તુજ સરિખો દિકર જોઈને, ન્યાલ થયે હવે નંદ; સાંજ સવારમાં ઘર ખેવાને, તેં માંડે છે ફંદ.
આંઈ કુંણ.. ૨ અમને તું ન એલખે, અમે નાતતણાં શરદાર; તારા બાપ શરિખા મારે, પાડાના પાનાર.
આઈ કુંણ ... ૩ અને તે દિઠિ લાજ વિનાને, તું તે લાજને કેટ; પરનારિનાં જોયે પગેરાં, એ નિ] તારે નૈ ખોટ.
આંઈ કુંણ. ૪ હું ડરુ ને તુજથિ, સ્યાને કાઢે છ આપ્યું છે, નરસિ મેતે કે મેં નાડું, સાટે ઢાલિ નાંખું રે.
આઈ કુણ..૫
૪૭
વેતાં રોકે છે વાટમેં, આવિ જેમતેમ બોલે; વનમેં પગેરાં ખેલતે, નિત કેડે ડેલે. ૧ લજ્યા ઈ મારિ લેકમેં, કિધિ મુને ચાવિક છેટે સરખો છેક, આલું નાખે છે આવિ. ૨ કાયર અમને કિધલાં, જસદા તારે છે; કેમ કરિ ગોકુલ ગામમેં, ઘર માંડિને હૈયે. ૩ વનમેં દિઠિ મુને એકલિ, આડે આવિ દેડિક ફાડિ નવરંગ ચુનડિ, કસ કંચુનિ તેડિ. ૪ મુજ પાસે જોરાવરિ, દાણું દેવું માગ્યું ના ના કરતાં નિલજે, મૈ-માટલું ભાગું. ૫ લાડકવાયે લાલને, એ કેમ કિધે નરસિ મેતે કે એને આજથિ, તમે રાખજે સિ. ૬

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૪૮
સા માટે બેઠા રે કાહાનડ ! બારણુ ખાંધી. (ટેક) માખણુ ઉપર તાકીને એંઠા લૂટી રે જાવા; ફોગટીયા [............. જાવા દો, ખાઉલા ખાવા. ૧
માખણુની મુન મહારે નથી ૨ ગેાપી; કાલની વીસરી ગયે। તારા ઘરમાહે ટોપી.

માખણુલાની લેાદ લઈ [ગોપી] કાનના ઘેરે જાય; આકુલી વ્યાકુલી ગેપી પુઠે [કાન] ધાયે. કાનુડે વ્યાકુલી કીધી ગેપી થઇ રે ઘેલી, ટાપી મસે માખણુ લુટ્ટુ, ન ચેતી પેલી. ૪ ક્રુષ્ણુજીના શ્રેણ ગાતા, થાકા સઉ દેવ; નરસઈયાના સામી તમારી, આ શીરે ટેવ.
ત્ર‘દાવનતિ વામ્', જાતાં મુને આવિને મારગ રેશિકા, મુખ ખાલિ
ઢાં અમારું ચારિયુ, એમ કૈને જોરાવર,
૪૯
સાંભલ જસેાદા ચિત હૈ, તારા પુત્રન વાતું; મૈયારિને લુટવા, ખાંધિ ખેડા છે ભાતુ . ૧ સાજ સવારે એકલિ,
માથે હેલ ઉપાડ; મથુરામે શૈ વેચવા, જાતિ’તિ હું સાડિ. ર
નખ લગાયા છાતિયે, નરસ મેતા કે એના દુખથિ,
ઉભિ ૨ે શૈ-મક
સરવે લજયા લેાનિ, તારે કિરે
પાલવ મારે
ફાડિયા,
મૈ-માટલિ
કાના તુને સેં પડિ, એવિ ટેવ વનમે
મારગ
ચાલતાં,
લુટે
ભાલિ
ગાલિ.
ર
૧૦
સાંજે આવ્યા ઘેરે સાંમલા, મુખ માલિ વાતા; ખાલે એસારને ખાંતથિ,
એમ પુછે
માતા.

3
૫
અટાર
પરનારિ.
તૈયાર;
તારિ. ૪
ઝાઝું શું કૈરે; કાને કયાં જાઈ રૈયે. ૬
3
ત્યાગિ; ભાગિ. પ
૧
是觉
www.jaihelibrary.org

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૨૨
૩
નરસિંહ મહેતા કૃત આજથિ રુડું આદર્યું, આ કામ તેં આવું; દાડિ લાવ છ દિકરા, લોકુનિ રાવું. ગાયું ચારિને જિવિયે, આપણ ને રાજા, લાડકડા નવ લાવિયે, ઘેર એલંભા ઝાઝા. આજથિ તારિ આબરુ, થાસે લેકમે ાડિ, કેને તુને કુંણ આપશે, પરણવાને ડિ. નરસિ મેતાના વાલમા, ડાં કામ છે તારા, મૈયારિનાં માટલાં, ફેડે છે સાંજસવાર.
૪
૫
૬

Page #229

(૩) રાસલીલાનાં પદ
(૫૧–૫૨)
(રાગ : ગરમ)
પા
રૂડો આવે આસામાસ કે નવરંગ સરઢ ભલી રે, ગરબે રમે શ્રીગાકુલનાથ કે સાજ ગોપી ખ'ની રે લોલ. પરભુજીએ પીતાંબર પલવટ વાલી કે પાવડીએ ચઢા રે લેાલ. પરભુજીને કુ’ડલ ઝલકે કાંન કે મુગટ હીરે જડે રે લાલ, વાલે મારા વાહે મધુરા વાંસ કે ગેાપી સહુ સાંભલે ૨ લેાલ; અબલા નાંહાંની મેટી નાર કે સહુ ટાલે મલી રે લેાલ.
રૂડી રમત રમે રંગીલે કે રાધા રસે ભરાં રે લેલ તાહાં તે થઈ રહે થેહીકાર કે વાગે ઘૂઘરી રે લેાલ. જોવા મલીઆ ચૌદે લેક કે અદ્ર તાંહાં આવીઆરે લેલ; રૂડાં પારજાતકનાં પુષ કે પરભુને વધાવીઆરે લેલ.
માંન હસે રે લેાલ.
પેહેરાં ચરણા ને વલી ચીર કે ચાલી કસકસે ૨ લેાલ; પેહેશ માતીના સંણુગાર કે મેહેલાં મસ્તગ લીધાં મહીનાં માટે કે ચતુરા અંમરીત વેણુ [ન] ચંચલ નેણુ કે પરભુને નીહાલતી રે લાલ. ૫ આવાં સીટને ચાય કે રમવા નાથસ' ફ્લાલ; વાલે મારે બલવંત ભીંડી ખાથ કે ફ્મલ હાથસૂ' રે લેલ.
ચાલતી રે લેાલ;
[.........
-]
તાંગાએ નરશહીએ સુખ ોહી કે લીલા નાથની ૨ે લેાલ.
પર
[ રાગ ઃ ઃ ગરબો ]
સરઢનીસાએ શ્રીમહારાજ કે વનમે. મધ નીસાએ વજાડી વેણુ કે ગોપીકા શ્રવણે સુણી મેારલીના નાદ કે ગેાપી વાકુલ થયાં રે લેાલ; જે જમ ઉઠાં પેાતાને ધાંમ કે તે તમ નીસરાં રે લેલ.

આવીઆ રે લાલ; ચાલીઆં રે લાલ.
૧

ર
૪
ૐ
७
રે
૧
૨

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૨૪
નરસિંહ મહેતા કૃત જેઓ પુરણાનદ પરીભ્રમ કે સદબુધ સરવ ટલી રે લોલ; જુએ નઈણ ભરી ભરી ના૨ કે ગોપીકા સકુમલી રે લાલ. ૩ વચન બેલા શ્રીમારીજ કે કે કેમ આવીયાં રે લોલ; વલતી બેલી વ્રજની નાર કે “તમ આસરે આવીયાં રે લોલ. ૪ રંગભર રાસ રમાડે નાથે કે સરદ સોહામણે રે લોલ; ઉગે સેલ કલાને ચંદ કે અતી રલીઆંમણે રે લેલ.” ૫ પુરણ પ્રીત જોઈ પરીભ્રમ કે રુદઆ ભીડીઆ રે લોલ; વાજે તાલ પખાજ ને જાંજ કે વેણુ વાંસળી રે લોલ. ૬ નાચે નરહરી નંદકુમાર કે ગેપીકા સહુ મલી રે લોલ; ચાકમાં ફરતી વ્રજની નાર કે વચે રાધા હરી રે લોલ. ૭ નવસત સજા છે સણગાર કે પાલવ ઘુઘરી રે લોલ; હમચી લે હરજીની સાથે કે તાલી લે હાથમાં રે લોલ. ૮ નાચે નટવર મદનગોપાલ કે જુવતી સાથમાં રે લોલ; અંત્રિક દેવતા રહીને જેએ કે પુપે વધાવતા રે લોલ. ૯ [. ....... ...,
... ...... ..] રૂપે રૂડે નરસૈઆને નાથ કે મનમાં ભાવતા રે લોલ. ૧૦

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(૪) સુરત - સંગ્રામનાં પદ
(૫૩–૫૬)
૫૩
આજની રજની ઘન સફલ અવતર્યો, પ્રેમ ધરી પીયે મારી સેજ આવ્યે, દુખ સહુ વીસર્યું, સાઈ લેતાં વિષે, સુખ પ્રગટયું, ઉલટ અતિ ભા . હું રે સનમુખ થઈ, નાથ બાર્થે ગ્રહી, તપત્ય તંનને હા, મીટ મ્યલતાં સુખ તણે સિંધુ તે, આજ મેં ભેગ. અધુર અમ્રત રસપાન કરતાં. ઉલટ અંગ અતિ, રંગ વચ્ચે ઘણો, શેજનું સુખ તે આપ્યું વાહાલે; નારસંહીયા સ્વામી સુર ઉગે હચૅ, ત્યાંહ-લગે નાથે મેરી શેજ માહાલે.
૫૪ આજની રજની, ભલી-ભાત્ય શું ભેળવી, શમ શેજે રમે મન મેહેલી ભગવી ભાત્ય શું, કેલવી ખત્ય ચું, શું કરશે અરી સેકય પેલી. ચીર કટિથી ખિસે, નાથ જોઈ હસે, બાંહ કઠે ઘસે, લાજ છાંડી, ઉર ઉપર્ય ભુજ ધર્યો, નાથ સુરત્યે ભર્યો અધુર ખંડિત કર્યો, કે માંડી. એ સુખ સખી મુખ કહ્યું નવ જાય; મેં સિધુમાં ચકલે ચાંચ બેલી; નરસિંહીયા સ્વામી ભલે મિ . ઍમલીલા નવ્ય જાય તેલી.

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નરસિંહ મહેતા કૃત
પપ જન્મનું સારથિક આજ માહારે થયું, સાંમલે સ્નેહસું વાત કીધી; સનાથ કીધી હુને અનાથ જાંણી, મને બાંહ ગ્રહી, પ્રેમનું પાસે લીધી. પૂરવ પુન્ય આજ માહારું ઉદે હવું, રજની રંગે રમી કાંહાંન સાથે સુરતના સુખનું શું હું વરણવ કરું, જીતીયો કંથ મેં બાંહ બાર્થે રહે સદા મંદિર માહરે શ્રીહરિ, દીન થઈ નાથને પાય લાગી; સુખ તણે સિંધુ તે આજ મેં ભેગ, જન્મની ભાવઠ સર્વ ભાગી મનુશ્યા–દેહનું આજ સારથક હવું, કૃષ્ણ ક્રીડા કરી લાજ લેવી, નરસિંહીયાઓ સ્વામી ભલે મિલીયે, શું કરે સાસુડી અધિક કોપી.
પ૬ દંત માં દેઈશ કહું તુંહને કહાનજી, દુરીજન લોકડા હાય કરશે; સાસુડીને શે ઉતર દીજિયે, કંથ તે જોઈને કોપ ધરશે. નણંદ કૂડા ગરી, હીંડે લખતી ચેહેન, જેઠ-જેઠાણીને અનખ માહારી; કાંઈ કરીએ નહીં ચૅહેન પરના રશૂ, રાવલે મન્ય જૂઓની વિચારી. આજ જે માનશે વીનતી મારી, તે અહીં આવીશ કાલ્ય તાહારે; નરસંહીયા સ્વામી પાય લાગી કહું, લાજેમેં ઘેર જાતાં સવારે,

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(૫) વસંતનાં પદ (પ૭–૭૨)
૫૭
[ રાગ : વસંત ] આવો રે ગાલા વહાલા, તંમને છાંટણું કરીએ, કોમલ કંઠ તમારો રે વાહાલા, વંનમાલા ધરીએ. (ટેક) કુંજ કુંજ વનમાં કેસુ ફૂલાં, જેવા શંચરીએ; શુક પીક માહા મદ ગરજે, મુખ મોરલી ધરીએ. ચુઆ રે ચંદન અગર કુમકુમ, એકમેકને ભરીએ; નરશહીચા સ્વામી વસંત લગન છે, અમે તેમને વરીએ.
[ રાગ : વસંત ]. ચાલ સખી વંદરાવન જઈએ, જહાં મોહન ખેલે હળી રે; એકએક ગોપીને એકએક માધવ, મળી છે માહારસ ટેળી રે;
ચાલ સખી.... સોળ શણગાર સજયા સહુ શાંમા, પહેરાં ચરણ ચાળી રે; હંસાગમની ગજગતી ચાલે, તે તે ભમરાળી રે.
ચાલ સખી... હારા કૃષ્ણજી, છતાં જન ગેપી, લોપી લાજ વિરાજે રે, નરસહીઆચા સ્વામી સંગ રમતાં, ભગતવછળ બીરદ છાજે રે.
ચાલ સખી....
[ રાગ : વસંત ] ચાલો હરી હરી રમીએ, બાથ પરસપર લીજે, કાણુ હારે કેણ જીતે માહારા વાલા, કણ શપરાંણ દીશે. લથબથ નાથ બાથ ભુજે ભીડી, હસી મુખ દે કર તાલી, હે હે હે હો હરજી હારે, ગોપી દેતી પરશપર તાલી. હાર કૃષ્ણ ગોવાલ શહીત રે, વસ્ત્ર લીધાં ઉલાલી. નગન થઆ બ્રીજનાર જ દેખે, આપો વસ્ત્ર વનમાલી. હાશ વીલાશ કરે [...] શાંમા, રામા રંગે રાતી; નરશહીચા સ્વામી સંગ રમતાં, માનુની આનંદ પામી.

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નરસિંહ મહેતા કૃત
રાગ : વસંત ] જકિ સુણિ હે વસંતપંચમી, દિલકુ લગી હે ટકેરી; મારે નાવલિયે ઉપર ઓઢ, મેં પહેરી નવરંગ ચાલી.
જબકિ સુણિ...... T ... ... રતુવર આ અતિ મન ભાયે, મલિ વ્રજવિનતા ટેલિ.
જબકિ સુણિ... ચૌવા ચંદન એર અરગજા, કેસર ગાગર ટેલિક નરરીયાચા સાંમી ઘેરૈયા, રંગભેર રમસે હેલિ.
જબકિ સુણિ...
કુલે આવે રે, વનમાંથી વંનમાલી; વંનમાલી રે, વાલે ગઉ ચારી.
ફુલ આવે રે....... કુલનો તેરે ને કુલની છડી, કુલનાં છેગાં વહાં, લટકતી લાલી.
કુલે આવે રે... કુલના છે ગજરા ને કુલના હાર, કુલના દડુલા ઊછાલે નંદલાલ.
કુલ આવે રે.... કુલના વાગા ને કુલના છે પાગ; કુલના ભરેલા આવે છે સવઊ ગોવાલા
કુલે આવે રે....... મેતા નરસીઆચા સાંમીને રે જોતાં; જાએ ભવ તનનાં દુખ.
કુલે આવે રે...
૬૨ મારીશ મા ! મુઠડલી માહાવા ! હું માહારી માડીને મેહેરી રે; તેથી ઝાઝેરી માહારી રાસુ નણંદને. તાહારે મન છું સેંઘી રે.
મારીશ મા !.....

Page #235

વસંતના પદ
આ જે રે આંખડલી માહારી, મેં માંગ શમારીને આંજી રે; નંદ તણા નાંહાંધડી આ હોરા, હું નહી જાંઊ તાહારી ગાંજી રે.
| મારીશ મા !.. હું અબલા અતિ આતુરવંતી, તું ભમરો ભળભોગી રે; પ્રેમની વાત નરસહીચા સ્વામી શું જાણે પેલા જોગી રે.
મારીશ મા !...
સભર હેળી રે હળી આવી, રમતા'તા નાથ સુજાણ રે; કામની કાહાન સખા સહુ સંગે, ન મને કોઈની આણ રે.
૨સભર..... એક પાસે અબળા સહ ઊભી, એક પાસે ગપાળ રે; બળી છે તમે બળભદ્રવીર, આજ લેહેવાશે નંદલાલ રે.
રસભર..... વચન સાંભળી વીનતા કેરાં, વીફરે વીઠલ વીર રે; અબીલ-ગુલાલે જુધ મંડાણ, શોભા જુમનાં તીર રે.
રસભર... થઈ આકુલી કામ-વાકુલી, સનમુખ શાંમા ધાઈ રે; હાલ પડી હઠીઓ નહીં તારે, હરીને રહી શાઈ રે.
રસભર.. એક ચુંબન દેતી ને કાન મે કહેતી, બળીઆ હું તમારી રે, હારા• હારી કહાની હાડુ, હાર લીધે ઊતારી રે.
એમ જાકમળ હએ, કલોલ વૃંદાવંનમાં થાએ રે; લેટપેટ તહાં થએ નરસહીઓ, ચરણ તણું રજમાંએ રે.
રસભર......
[ રાગઃ ધુવાર ] રગીલે ફાગુન ખેલીએ હૈ, હાં રે ખેલીએ હો, ખેલત રાધાજીક કંથ. રંગીલે ........(ટેક)

Page #236

. નરસિંહ મહેતા કૃત
(ઊથલે) તેલ રંગીલે ને, ગુલાલ રંગીલ, રંગીલે કેશર સાર; રંગરંગીલી જેડી બની છે, રે રંગીલી પીચકારી હાથ.
રંગીલે....... સાડી રંગીલી ને વાઘે રંગીલો, રંગીલી લાલકી પાઘ રંગરંગીલી ભાત બની હે, રે રંગીલી રાધાજીની આડ.
રંગીલે...... ગોપી રંગીલી ને ગોવાલ રંગીલા, રંગીલે જમુનાનો નીર; રંગરંગીલે ખેલ મચે છે, રે રંગીલે રાધાજીક ચીર,
રંગીલે... શામ રંગીલે ને શેવક રંગીલા, રંગીલે ફાગુન સાર; રંગરંગીલો નરસૈઆ સ્વામી, રે રંગીલી ગાઈ છે ધુવાર,
રંગીલે .
[ રાગ વસંત ] રાતિ મિલ ધર માહારા વાલા, રતિ રજ ઉડિ; રાતે વનમાં કેસૂકુલે, રાતિ કે સુડિ.
રાતિ.... રાતા દંત રાધાજિ કેરા, રાતિ જુમનાં તડિ. રાતાં વૃંદાવનનાં પંખિ, સુડે ને સુડિ.
રાતિ... રાતા સાલુ સૌ સખને, રાતિ કર ચડિક નરસૈયાચા સ્વામી સંગ રમતાં, અતિ રસમાં બુડિ
રાતિ. ....
[ રાગ વસત] વસંત આવી માહાર વાહાલા, ચાલે ચંદ્રાચંન જઈએ; આપણ બેહુ બેલડીએ વલગા, ઘેરી થઈએ. (ટેક) અબીલગુલાલની રેલ ચાલે તાંહાં, હે હરી કરીએ, વનમે વજાડે વાહાલે વાંસલડી, તાંહાં નેહ ધરી સુણીએ. શરણે શરખી જેડ મલીને, પ્રેમ પાલવ ગ્રહીએ; નરસંહીઅો સ્વામી વસંત ખેલે, તાંહાં જવાને જઈએ.

Page #237

વસંતનાં પદ
(રાગ : વસંત] વસંત ભલે ઊદઓ રે, વરતે જેજેકાર; અબીલગુલાલ ઊડાડે અતી અબલા, સુંદરી ખેલે ફગ.(ટેક) પાડલ પરેમલ આંબા મેર, ગુલાલ કેશર ઘેલ; શહી રે સમાંણી રંગભર રમતાં, તારૂણી મુખ તંબોલ. અઢાર ભાર વણશપતી મારી, કેસુ લેહેરે એ; નરસંહી આચા સ્વામી સંગ રમતાં, ઊલટ અંગ ન માએ.
[ રાગ: વસંત ] વસંતપંચમી કેરી પુજા, શ્રીરાધાને ઘેર કરે ; સેનાપાટે શામ પધરા, વાલાને વ્રજનાર વરે.
વસંતપંચમી.... આંબા કેરા મેહેર મંગાવિ, કેસર ઘેલી કલસ ઘરે; અબિલ-ગુલાલે મુખ રંગીને, સામલિયાને સંગે ફરો.
વસંતપંચમી. ૨ વસંતનાં સુખ દેસે વાલે, ચરણ-કમલમાં ચિત ધરે; નરસઈયાચા સામી સંગે રમતાં, કરાં હમારાં પાપ હરે.
વસંતપંચમી.. ૩
સજની ! સારૂં રે સારૂં, માહારી બેહેની, શામળીઆનું શ્યાંઈ રે , મુખડા સાહામુ જોઈ રહીએ, એ શું પૂછે કાંઈ કાંઈ રે.
સજની ! ... ૧
૨મવાની રત આવી રંગે,
સહીઅર સહુ ચાલે રે, અબીરગુલાલે ભરી ભરી ખેાળા;
વંદરાવંન મેં ચાલે રે.
સજની !... ૨

Page #238

કર
રસના ઘેહેલા છે ગિરધારી,
રસીએ મા! માસ રે; રસણી ૨માં મળી રંગીલી, રસીએ નરસહીઓ દાસ રે.
નરિસંહ મહેતા કૃત
૭૦
[ રાગ : વસત ]
શાશરી દ્વેષે મહારા વાલા, કેમ રમવાને
પ્રીતલડી કરતાં શું કીધી,
આવુ રે;
કઠણ પડી (છે) હાવુ' રે.
આજ સખી મહારા મદિરીઆમાં, નદીએ મેહેણુ' દીધું રે;
ભાભીજીને ભુદરજીએ,
વાત છબીલા નવ રહે
ચઢી
કાંઇ(ક) કામણ કીધું રે. છાની,
ઝાઝેરે હાઠે રે;
નરશહીઆચાસ્વાંમી સ`ગ રમતાં,
[ .....
]

ચઉઆ ચ'દન અગર રસ ઊતમ, છેાળ કરીને અમે તમાને ગુલાલે ભરીએ, આજ તજીને
વચન સુણીને વીનતા કેરાં, પીચકારી કર તેલ-ગુલાલે ટખકે ચાળી, એમ લીલા બહુ
સજની !... ૩
૭૧
[ રાગ : વસંત ]
હરખભરી હેાની રે
હરજી ! રમીએ હાડાહડ રે; વસ તમાસ વિના વિઠ્ઠલ, પાહેાંચે મનના કોડ રે.
શાશરી.... ૧
શાશરી.... ૨
શાશરી.... ૩

હરખભરી.... ૧
છાંટા રે; આંટા રે.
હરખભરી.. ૨
લીધી રે,
કીશ્રી ૨.
રેલા ચાલે રે;
કેસરરસ કસ્તુરો ભેળે, મુખ પર નારી નર કે નવ લહેવાએ, કાંહાંનડ કેરી કાલે (૨).
હરખભરી..
3
હરખભરી.. ૪

Page #239

વસંતનાં પદ
અધધ રસ અતેલ મહીમા, વરણુ કેમ જાએ રે; રસના હોએ નેત્ર નરસહીને, તે વરણવીને ગાએ રે.
હરખભરી. ૫ :
૭૨
[ રાગ :: વસંત ] હું નીલજ ને તું તે કરતાં, સરખાં બહુ મળાં રે; તાહારા સંગ થકી શામળીઆ ! માણસ માંહાંથી ટળાં રે.
હું નીલજ ને.. ૧ પીહેર સાસરું સરવ તજીને, ભુધર માંહે ભળાં રે, પર કેહે હવે પીહેર પધારે, પરથમ એહ રળાં રે.
હું નીલજ ને.. ૨ દીપકત પતંગ દેખીને, પાછાં તે ન ફરાં રે, નરસહીઆચા સ્વામી વસંત રમતાં, નેનુમેં નેન મળાં રે.
હુ નીલજ ને.... ૩

Page #240

(૬) હિ ડોળાનું પદ
(૭૩)
[ રાગ ઃ બિલાવલ ] ગૂલે હિંડેલે પ્રેમસુ, બેહ સરખે તે સરખી જેડ રે ઝૂલે છે રાધાજી પાતલા રે, સામલિયા સુ કરતી હેડ રે.
•
લે ••• સહુ ગોપી ઘાલે ઘૂમણું રે, તે કરતી તે મેડા મેડ, હિલે ગગને ચડયે રે, રખે પડતા શ્રી રણછોડ રે
બૂલે.. ૨ તમે નીરની કૃષ્ણ કેડામણું રે, એહેની પ્રભુ
તમારે નથી કાંઈ ખેડ, ચરણે તમારે રાખજો રે, નારીયે કેહે કર જોડ છે.
ઝલે..... ૩

Page #241

(૭) મેરલીવિષયક પદ
( ૭૪-૮૧)
૭૪
આ આવો રે નંદલાલ ! રંગભેર આને; મને તંમ સંગે ઊપને આણંદ, રંગભેર આને (ટેક) આ સભા તમારી સી કવું, મુખે કહી નવ જાય રે, સાંમલીઆ તારા દરસન થકી રે, એક પલક જુગ વિહી જાય છે.
રંગભેર આવે ને ૧ દરસન વીના દઆલજી ! મને ઘરમાં ના મલે સુખ રે, સાંમલીઆનું મુખડું જોતાં, જાએ તરસ ને ભુખ રે.
રંગભેર આવો ને ૨ જલ જમનાને ત્રઠ રે, હરી વાતા વેણ રસાલ રે, [ ..... ... ... ], ગેપીજન જમ તંમ જાઅ રે.
રંગભેર આવે ને ૩ અવલાં પેરાં હેઢણું, ને અવલાં સજા શણગાર રે; બાજુ તે બંધ કેટમાં રે, ને ગોપી હાથે બાંધા હાર રે.
રંગભેર આવે ને ૪ અલબેલે તાં વાઅ વાંસલી, ને ગોપીજન ગાઅ તાંહાં ગીત રે, નસીઆના સાંમી સાથે, પુરણ બાંધી પ્રીત રે.
રંગભેર આવે ને !
૭૫
ઊભે રહેને રે ગોવાલિયા, તારી મોરલી મીઠી વાય, છેલ છબીલા નંદના તું તે, ગીત મધુરાં ગાયિ.
ઊભે.....૧ એવા નગણું ન થાઈએ નાથજી, તમને નંદબાબાની આ મધુરી-સી વાય મેરલી તે, આપું મઈનાં દાણ.
ઊભે......૨

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નરસિંહ મહેતા કુત
રાજની ચાલ ચતુરાં જોઈને, મારાં નેનાં નિરમલ થાય; નાચી દેખાડો નાથજી, મારાં ભવનાં પાતક જાય.
ઊભે......૩ કામણ-૯મણુ તારા દિલમાં ભરીઆ, આખડીમાં છે જંત્ર; વસ કીધી વ્રજ-વિનતા, એવા કયાં સિંખ્યા થા મંત્ર ?
ઊભે........૪ મારા સંમ જે મુને સીખવે, તમે જાણે સર્વે પર સાંઝ સવારે સાંમલા, તમે આવજે મારે ઘેર
ઊભે.....૫ ત તે નંદ તણે નાનડિયે, ને કાનજી તારું નામ, દાણ લીધાને ખપ કરે છે, આવજે ગેકુલ ગામ.
ઊભેજ રાજનું મુખ દીઠડે સુખ ઉપજે, તમે ઘણી રાખે છે મેર; નરરીના સ્વામી સામલા, તમે કરજે લીલાલેર.
ઊભે.....૭
તારી મોરલીએ મન મહું રે, વંદરાવન મેરલીવાળા; મેં તો ઘરનાં કામ છે રે, , હે તે દેતાં દેણું ભુલી રે, ,, મેં તે પ્રેમે વાંછડાં ધવડાવાં રે, છે હું તો જમનાં ગઈતી પાંણી રે, તારું મુખ હું જોઈ જોઈ કુલી રે, . મે તે અવળાં આભરણ હેડાં રે, મેં તે માંથે છેડે મેલે રે, એ કાનુડે કાળો ને છોગાળે રે, મુને કાંઈક કામણ કીધાં રે, મારાં ચંત હરી માની લીધાં રે, મેં તે રોતાં જ બાળ મેલાં રે, મેં તે ધાવતાં બાળ વછેડાં રે; માંને મેતા નરશીઈઆને શાંમી રે,

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મેરલીવિષયક પદ
૩
[ રાગ : પ્રભાત ] નંદના કુંવર અલબેલા, તાહારું મુખ જેવાને આવી રે; પકવાન મીઠાઈ અને વળી) મેવા, તાહારે કાજે લાવી રે;
નંદના કુંવર -૧ અડધી રાતે વેણુ વગાડી (તે), માહારે મંદરીએ શંભલાઈ રે કામકાજ ઘરધંધો મુકી, આતુર થઈને આવી રે;
નંદના કુંવર ૨ જેઠ-જેઠાણી દીઅર માહારે, સાસુડી ઘેર ખીજે રે; નરસીઈઆચા સ્વામી સંગ રમતા, સદા હરીરસ પીજે રે.
નંદના કુંવર ••••૩
મારા વાલાના વંનમાંહાં, વાગે રૂડી વાંસલડી; હું તે ઘેલી ફરું ઘરમાંહી, કાને દીધ સાંકલડી. બેડુ વીના જલ ભરવા રે ગઈ તી, ને સર મેલી ઊઢાણી; ગજ ગજ લગ [ ] વલગી, બેડીલાની સુધબુધ ભુલી રે.
વાગે.......૧ ટ્રણી મેલી ગૌ દેવા રે બેઠી, ને સરિ ભીજાણી નવ જાણી રે; વાછરૂવાને ભરૂસે રે મેં તે, બાલક બાંધાં તાણી રે.
વાગે.....૨ તાવાં ઘીઈ તકરમાં રેડાં, ને દુધમાં રેડાં પાણી રે, નેતર લઈ નાવલીએ બાંધે, ઘરને થાંભલે જાંણી રે.
વાગે.....૩ સાકર મેલી મેં તે સાક વઘારાં, ને માદીક મરચાં ભેલી રે; રાઈ કરતાં પ્રેમરસ ભુલી, સુઠ સેવૈયા મેલી રે.
વાગે...... સાસુ કે વૌઊંને વતર વલગુ, ઝખત દેખડાવા રે; દિયરીયા કે 'ભાભીને બાંધીને, સાહકડે (?) સંમ ભાવું (2) રે. .
વાગે..૫ પાડે સણ કે એની પર હું જાંણુને, રચે વંદરાવન રાસ રે, મોરલી વગાડે પેલે નંદને નિંદ], મેરલીમાં ચીત જાસ રે.
વાગે.....૬
'

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૩૮
નરસિહ મહેતા કૃત
સેરી વાલવી ભુગલ ભીડવીને, મારા વાલા વંદરાવન જાઅ રે; ભલે મલા મેતા નરસીના સાંમી, ગોપીઓને આણુંદ થાઅ રે. વાગે.........
L
[ રાગ : ગરબી ]
રંગભીના રંગની રેલ છેા, રંગીલાજી !; મારા અલખીલા લાલ છે,
રસની જાણા છે. રીતડો, પાતલીયા તમથી પ્રિતડી,
'તારુ' છેગુ' ચિત ખેતી રયું, સુખ દેખી સુખ મારું ગયું, તારી મારલીને નાદે કરી, સરવ માહ પમાડી શું હરી ? તારી મેારલીમાં જાદુ ઘણાં, તાંણ્યાં મન અમલાતાં, નરસી મેતે કેટ વાલ વધાયેિ, પ્રિતમજી સેજ પધારિયે,
૮૦
વજાડી વાંસડલી વનમાં કે ચટપટી લાગી છે તનમાં રે.
૨,
સુણી સુણી આતુર અતિ થાઉ” રે; કે જાણી હું તે સરવ મેલી જા'' રે. ચાલી હું તે। ઘરધા મેલી રે;
ઘરને
ઠેરાવી
ઘેલી
૨.
જોયા મે' વાલાને કે તનડુ ટાઢુક Y
માવાની મારલીમાં કે કુલની મરજાદા નરસી મેતા કે છે હવે કેમ માહનને

..
જારે
""
22
,"
""
,,
""
""
,,
2;
તારે રે.
માઇ૨;
..
ખાઈ
રોંગરેલુ
મેલુ
.

૩
२
૫
ܡ
૩
२
૫
૪

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મેરલીવિષયક પદ
૩e
સામલીઆ તુઝ સાથે રમતાં, સંસારડાની સુધ ટલી; દેવકીનંદન કંહનેઆને, નયણ નીહાલ રે વલી વલી.
સાંમલીઆ.૧
સરદપુનમની રાત અજવાલી, વીઠલે વા વેણ રેલી; આપે પે શંગાર કરીને, ચત્રભુજ ચરણે જય મલી.
સાંમલો...૨
પુરવ પુન્ય કરી હરી પામી, ચરણ-સરેજ ન મેહેલુ હલી; નારસૌયાચા સ્વામી સંગ રમતાં, ગર્ભવાસના દંર પલી.
સાંમલીઆ...૩

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શૃંગારનાં પદ
(૮૨-૧૩૦)
અલ્યા ! કેમ વાર્યું નથી કરતે રે; કે કેઈની લાજ નથી ધરતે રે ધાર્યું છે શું તારા મનમાં રે, રેકીને ઊભે છે વનમાં રે. એકલડી જાંણ તેં મુજને રે, સીખામણ આપીશ હું તુજને રે. મુજમાં ને તારું ફેવે રે? જશેદાને કે જે પરણાવે રે. પરણી એક પિતાની કરીયે રે, બીજીને કેડે નવ ફરીયે રે. નરસી મેતે કે સાચું બતાવે; પરણ્યા વિના પા૨ ન આવે રે.
આંગણીએ મનહર રે, મોરલી વાઈ ગએ રે, હવે કેમ જીવું રે મેરી માય, કાળજુને છેટુ રે કપટી કાંહાંસુડે રે, તે તે મુને સાલે હઈડા માંહ. આંગણુએ...૧ અમે તે અમારે રે મંદિર ઊભલાં રે, વાટડીએ જાતાં દીઠે કાંહાંન; મીટને મેળવો રે સખી માહારે તાંહાં હવે રે, વાલે માહારે કરી નઈણાની સાન. આંગણીએ...૨
જીવણજી તે જાતાં રે, મરી અમે શું ન ગ રે, રહાં રહી ગાત્ર ગળવા કાજ; ભાળ તે બતાવે કઈ ભૂદર તણી રે, હા હું તો કહું છું મૂકી લાજ, આંગણુએ૩

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શૃંગારનાં પદ
આંગણીએ...૪
આંગણીએ...૫
વદર્શાવન શેઠું રે સહીએર સહુ મળી રે, જેઉં જેલ જલ જમુનાને તીર; શામાને સંઘાતે રે, સરવ સાહેલડી રે, નઈણે ભરી ભરી આવે નીર જમુનાને તીરે રે, ગૌઊધેન ચારતા રે, વાલે રમે ગોવાળીઆની સાથ; મુગટ બિરાજે રે, માથે મારપીછને રે, સુંદર મારતી હરિને હાથ સુધબુધ ભૂલી રે, ત્રિકમ તમ વિના રે, સાંભળીને બાળપણને સનેહ, નિરગુણગાર સજન શું કરું રે, રંગે રમાડી ને] દીધો છે. મનને મેળાપી રે સખી મુને મેળવે છે, ત્રિીજ - વીનતા કે આધાર; નરસઈઆ સ્વામી રે, જે આવી મળે રે, કરી રાખું હેઈડા કેરે હાર
આંગણીએ...૬
આંગણીએ...૭
“આ કેણ આવ્યું રે, માહારે આંગણે રે, નહીં રે ઉઘાડું હું દ્વાર; જાઓ જ્યાંથી આવ્યા રે પ્રભુજી ત્યાંહાં,
જ્યાંહાં તમ્પ કીધલા હોય વિહાર કુસુમચી સેજયા રે, આ સજ(8) સુની રહી છે, બેલડીયો શે દીધે તે મુજ હાચ્ય; કેઈ રે ભોમની રે, તમને ભૂલવ્યા રે, સાચું તમે માંને રે, માહારી સાધ્ય.”
દ્વાર ઊઘાડે રે, ઉત્તર દીજીયે રે, માહારે તુજ સમી નહી કેય, નીદરડી તે આવી રે ગોરી તાહારે આંગણે રે, સુંદરી તું મન વિમાંશી જય.”

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૪૨
નરિસ'હ મહેતા કૃત
૨, પાસે તેડીયા રે,
સાથ્ય,
પાલવડા તે સાહી પ્રેમ લીધા રુદિયા નરસિ’હાચા સ્વામી રે, આજ ભલે મલ્યા રે, મેહુ ઘણાને થ્રેડી સત્ય.
૫
[રાગ : ભૈરવ]
આજ હું સ્વપનામાં અખકીને જાગી, જાણું માહારા વાહાલાજીને કઠડે રે લાગી અતી રંગ કીધેા વાહાલે, અધરરસ પીધે; સેજ પરથી વાહાલાજીને ઊપર લીધેા. સખી રે સમાંણી, માહારુ' સ્વપનુ. વિચારે; નરસિ’હાચૈા સ્વામી, માહારે મન્દિર પધારા.

૮૬
[રાગ : ....]
..
આજ તાહારી શે!ભા સાંમલે', મુજ આગલ ગાઈ; શણગાર સુધનતા જોઈ વતી, કે હુ ક્યાંને ધ્યાઈ, આજ..૧ મેડીએ ચડી શીશ આહેાલાવતી, કેશ તણી રે વડાઈ, ફુલે ભર્યો રે ખેડલા, સુગંધે છકાઈ, તાંહાંથી ઉગ્ર રસ ઉપના, રસે. છછખતી ચાલી; કંચન માંહેથી કલંક દઈ, વન વાધ્યું છે સેલી, આજ...૩ અંજન-રેખા આંખડી અરીસે કીધી; ત્રિભાવન – શેશભા નયણમાં મરજાદા દીધી. આજ....૪ તિલક – રેખા સ્પ્રંગમદતણી, કરી હીડે સાહાગી, આંગણે ગગન-શશિ નિરખીને, ગ્રહેવા ડાલવા લાગી ભૂષણુ નાનાવિધ તણાં, થાલ ભરી દસવીસ, મન ભાવે તે પહેરીએ, સખી ઘે આશીશ વસન ઉપર વસન ઉઢાઢીયુ, દયા કીધી બ્રહ્માંડ; નહી તે તેને [ . ] આજ...૭ એક સખી સન્મુખ રહી, બીડી વાલી ખવરાવે, ચટકે અધિક રસ ઉપજે, તનમન ભણે નારસિંહે મહુ, ભલે!
વાગ્યે
[
....

૧
૨
૪
24108....
આજ..૨
આજ...પ
જીવયા રે. આજ....૮
Û રંગ;
] આજ...૯

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શૃંગારનાં પદ
[ રાગ : : દેવગંધાર ] આજ મહારે આનંદની હેલી રે, નઊતમ દેહે (યા) માહાર
નાથજી પધારા, મુખ દીઠડે થઈ ઘેલી રે. તરીઆ તેરણ દુવારે બંધાવુ, પહેરુ નઊતમ ચલી રે, કુંકુમ કેશર ને કૃષ્ણગર, છાંટીયું રંગભર શેરી રે. ..૨ સનાથ(ન) કીધાં શામલીએ વહાલે, માંન ઘણું રે દીધાં
મેંઘાં રે; નરશઈચા સ્વામી સંગ રમતા, સુખડાં કીધાં સેંઘા રે ૩,
આઈવાં આસ ભરાં રે, વાલાજી ! અમે આઈવાં આસ ભરાં રે વીંધાઓ મન મહીં રે, મેહનજી ! , , , તારી મેરલીએ મન મે રે વાલાજી , , સતને રે મેલી, અમ પતિને રે મેલી, મેલી કુલમરજાદ માતતાતને વીસારાં મિહનજી ! તે સાંમ તમારે કાજે રે.
વાલાજી
એવાં વચન સને હરી હસીઆ, આપણે રમસું જેરાર; મેટા રે કુલની તમે માનુની, પુરુ તારા મનડાંની આસ રે.
વાલાજી
સુંદર રજની સરદપુનમની, ને સુંદર આ માસ, નરસીઆના સાંમીની સંગે રમતાં તે રજની હવી
ખટમાસ રે વાલા.
૮૯ [રાગ : કેદારો] આવા મીઠડલા સ્મા બેલ બેલે, અબોલડે બોલાવે રે, કાંઈક મીટ રદીયા માંહે જાણે, મૂછ મદન જગાડે છે.
આવા.-૧

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નરસિંહ મહેતા કૃત મેં જાણ્યું હવણું નહિં બેલું, વાતલડી પ્રીયા પિલી રે, કંદરપ કેટ કલેવર સુંદર, નિરખતડી શૈ ઘેલી રે. ક્ષાણુ એક રહી ન સકુ રુસલે, મનમથ માઁ માન રે; નરસૈયાચા સ્વામી સંગ રમતાં, પીઉડે ચતુર-સુજાણ રે.
આવા૨
આવી....૩
એક વાત કહું વાલાની રે, ચિત દઈ સાંભલ સાહેલિ ! લટકાલા નંદલાલાની રે, એ છે સાંભળવા જેવી રે, સુણ અંતર ધારી લેવી રે, એક વાત અલેકિક રુડિ રે, એને રંચ મ જાણે કુડિ રે, એવું ચરિત્ર કર્યું વનમાલી રે, હું કૌછું નેણે ભાલી રે, મેં નૌતમ કૌતુક જોયું રે, જતા મેં ચિત મારું માથું રે, નરસિમેતે કહેગપિ સાથું રે, કીધે ખ્યાલ અલોકિક નાથે રે,
એરા આવે ! શું જાવે છે રીસમાં જે પુરા નથી થઆ પચીસમાં જે. તારે આવડે તે સે છે આંબળો જે; જેનાં તેના કરતાં તમે [
] તારી પિળના ઠગારા લોક છે જે પરભુ પ્રીતડીને જાણનાર કેક છે જે. પરભુ પીરીત કરીને હું જાવ છો જે; કાલે કોલ ને આજ સુ વાવ છે જે. ઘણું ઘણું ખેલે છે [ ] જો; વાત મને નરસીઓના નાથની જે.

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૧
આરા આવાને સુંદર સાંમ ! પુછું એક વાતડી રે; હીયાની પુરા હામ, ઠરે મારી છાતડી રે. સરવ જાણીને થાએ અજાણ, પુછુ એક વાતડી રે; છે આશુની એલખાંણુ, ઠરે મારિ છાતડી રે. આવી કરી અલૌકિક ખ્યાલ, પુછુ એક વાતડી રે; રુડા લટકાં દેખું લાલ ! ઠરે મારિ છાતડી રે. તમે જાઓમાં ખીજે ઘેર, પુષ્ઠ એક વાતડી રે; કશે આવીને લીલાલેર, ઠરે મારી છાતડી રે. આજ રાતાં થયા છે તે, પુછુ એક વાતડી રે; વાલા મેલેાને સુંદર વેણુ, ઠરે મારી પેશ કેશરીયા શરપાવ, પુછું એક નિત નરસી મેતાના નાથ ! ઠરે મારી છાતડી રે.
છાતડી રે.
વાતડી રે;
શૃંગારનાં પઢ
૯૩
[ રાગ ઃ રામશ્રી ]
કાંમણુ તે જમલાં, જેણે મારે વાલેાજી વસ થાયે રે; યોગ જગન જપ તપે` વસ નાવે, તે કાંમણુ ઉપર રીઝે રે.
કાંમણુનૂ' કારણ છે. સવલું, જો કાંમણુ કરિ જાણે રે; અનેક ઉપાય કરે જોરે, બીજા તે અવર વસે સ નાવે રે.
૪
[ રાગ રામગ્રી ]
કાંડાંન ! તૂને ભામ્યનીચે ભૂલવિયે,
ડાહ્યો ડમરા
કહે તા વચ્ચે
તુ તુહને

કાંમણું....૨
કાંમણુ છે નારીનાં રે નયણાં, મહેન કીકી માંહે રે; નરસોયાચા સ્વાંમી કાંમણુને' વસ, જેને નિગમ નૈતિનેતિ ગાય ૨. કાંમણુ....૩
[ ચતુર સુ]જાણ રે; કહેને વશ થાવુ,
નૈણાંને
માણ
3

*
૫
કાંમણુ...... ૧
१
3

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નરસિહ મહેતા કૃત
મ
તુહુને વાર્યાં મહારા
વાહાલા,
જ
મ કરી આપ વખાંણુ ૐ; ચ'ચલ દેખી લેભાંણાં, તાહારા સિથલ થયા સધા સારે. સુરીનર મુનીને... તૂ સંપૂરણ, પૂરણ પરમાંણ ૨;
પૂરશ
નારૌહીયાચા સ્વાંમી મે તૂ' તેા વરજ જુવતીને
તુહુને જાણ્યે, પ્રાંણુ
રે.
૯૫
[ રાગ : કેદારા ]
કુબજાને કહેજો રે, એધવ એટલું રે. રહીશ. આવા ૨ે તાહારે હાથ; જતન કરીને રે, પ્રભુજીને જાળવજે રે, માનજે શિખામણની
વાત.
ઝાઝા ન જગાડીશ રે, જાદવરાએને રે, હરિનું છે સુકામળ અંગ; શેજ તું શમારજે પ્રભુની ફૂલડે રે, નીત નીત ધરજે નવલા રગ.
પ્રભાતે ઊઠીને રે, પ્રભુને તુ પૂછજે રે, વાલાને છે મહી-માખણની ટેવ; જે જે જોઈએ કે, પ્રભુજીની સેવમાં ૨, તે તે આણી આપજે તતખેવ.

શિવ ને વિર’ચી રે, મેાહેાટા માહા સુનિ રે, હિરને નવ લેહ કાઈ પાર; ઝાઝો ને આશકા (રે),ગારી કરવા નહીં રે, મનમે ના આણીશ []હકાર. 'સની દાસી રે, પેલી કુબજા રે, તેહેના શામળિયા ભરથાર, નરશઈઆએ સ્વામીરે, તાંહાં રંગ રમેા રે, પ્રીત પધારા મારાર
ખાય

3
કુબજાને....૧
કુબજાને...૨
કુબજાને . ૩
કુબજાને....૪
કુબજાને. . ૫

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શૃંગારનાં પદ
[ રાગ ઃઃ પ્રભાતિ ] કણ પુને કરી, નાર્ય હું અવતરી, અક્ષત મુંકા મંત્ર
ભણી માથું. ૧ જમુના જલ ગાગરડી ભરાવે, માથા ઉપર મહેલાવે; કેર કરાડ ઊંચે ચડતાં, બલ કરી બાંહેડી ઝલાવે. ૨ ગાય દોહરાવે, ગાગરડી ઝલવે, વલી ઘર લગી સાથે તેડે, અડધે બોલે બોલવા આવે, કાનજી તારે કેડે. ૩ કેઈક વેલા એની પાસે, લાંબી વેણી થા; રુચિર સીંદુર શું માંગ ભરાવે, લિલવટ ટીલડી સેહવરાવે. ૪. ગેરું બદન, ગલેલાં સરખું, તેહને ઉખટણું કરાવે, વદન પખાલી એની પાસે, ફરી ફરીને લોહરાવરાવે. ૫ કઈ વેલા એહના બોલામાં, સંગ મલીનેં પિઢે; પહેરું પીતાંબર એનું લઈને, તું ઉર ઊપર ઓઢે. ૬ આવ ભાવ એ તે કરે રે ઘણેરા, તું તે લબકા તેડે એહના અંગ ઉપર અંગ મોડી, અલવેશું આલસ મેડે. ૭ મશેમણે એહને કરથી લઈને, વાંસલડીને વજાડે એહના સુર શું સુર મેલીને, એ સાથે ગવરાવે. ૮ નાગરવેલ બીડી નવ ચાવે, એ પાસે ચવરાવે; અધર અમૃત રસપાન કરાવી, મુખથી બીડી બદલાવે. ૯ [...........] ઓલું રમકડું કીધું, મરકટ પિર નચાવે; નરસિંહા સ્વામી છે રે હલકણે, વિણ તેડે ઘેર આવે. ૧૦
ગીરનારી બાબા ! બેડે મારે ભાર ઘણે નંદલાલ! વાતે કેમ કરીએ.
બેડે... ટેક) સરવ સેનાને મારે સીર ઘડે, હાથ સેનાની ઝારી; રાધાજી પાણરાં નીકળાં સેળ વરસની નારી રે. વાત કેમ કરીએ..૧

Page #254

ve
નરસિંહ મહેતા કૃત
લટકેથી આવું હું, લટકેથી જાવુ', લટકામાં સમજાવું રે; એક ગડો તમા ઉભા રેજો, એડા મૈલી પાછી આવું
એક ઠેકાણુ, તમાને તાં જઈ ઉભા જો; મનતનની આપે વાત કરી. મારા જોમનીઆને રસ લેજો.
મતાવું,
સરવ સાનાને મારે પાવ જ ટોડા, હાથ સેનાના ચુડા; ભલે મળે। મેતા નરસીના સાંમી, સાંમલીઆ વર રૂા
૯૮
[ રાગ ઃ : આશાવરી ]
ગારી તાહાર લટકે ચટકા લાગે, તેણુ મન માહુ મેાહી કરે; ભ્રમર-કટાક્ષ ચપલ ગતી ચીતવે, રૂદઆથી નવ વીશરુ
ર.
નાર્ક ફૂલી ઘુઘટપટ મરકલર્ડ મન મેહુ; વદન જોઈને વરચી વગુતા, કરી કરી ઘડી છે ચંદ રે.

શાહે,
આ જે અાપમ અખલા એહેવી, ત્રીભાવનમાં નહી દીઠી રે; નેત્રકમલમાં વાત કરી તે, તે રૂકમલમાં બેઠી રે. ખેલુ એકમાં વાલે વા કીધેા, શ્રી થ્રીખભાન –કુમારી રે; નવરંગ નેહ નં-નંદન સુ, નરસાઈએ જાએ બલીહારી રે.
વાર્તા કેમ કરીએ....૨
વાત કેમ કરીએ..૩
વાતા કેમ કરીએ.....૪

ગારી.......૧
ગારી..... ૨
ગારી...૩
ગારી.......

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શૃંગારના પદ
[ રાગ કેદારે ] ઘણું ઘણું દોડે વાલે મિંદર પધારિયા, હવે મન કરિ રહે છેઠું રે, સગુણ સામલી સહેજે પામી, દેહેલા દિન સે વેઠું રે.
ઘણે....૧ વાલા માહારા સાર કીધી તમે સમરથ સ્વામી, આવીલા અંતરજામી રે; પ્રેમ ધરિ મેરે મિંદર પધાર્યા, થિર છે રહ્યો બેઉ નામી રે.
ઘણે ...૨ વાલા માહારા ખટદશ રૂપ સજી સુખ આપ્યુ ફુલડે સેજ સમારું રે; નાનાવિધના ભંગ સમર[, તન મન ઉપર વારુ રે. ઘણે....૦ વાલા માહારા મનડામાં ચિતડામાં નો'તુ તે, પ્રેમેં આનંદ પામી રે;
અણુચિતવ્યું આલિંગન લીધું મિલ્યો મેતા નરસી સ્વામી રે.
ઘણે......૪ ૧૦૦ ચાલી જવતી-જુથ મલીને, ” મલવા કાજે મેહનને; રો મુખ પર રંગ ઢલીને, તે મિશ પાણી ભરવાનું રે, માંઈ કામ બીજુ કરવાનું રે, મેલી કુંભ અને પમ માંથે રે, ચાલી તાલી દેતી હાથે રે, મન મેહનને રંગે માતી રે, 5 મંગલ ગાતી ગાતી રે, જયાં બેઠાતા મેરારિ રે, ત્યાં પિતી સરવે નારી રે. રઈ ચરણે માથાં નમી રે, ભેટયા નરસિ મેતાને સ્વામી રે,
,
,
૨

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નરસિંહ મહેતા કૃત
૧૦૧
[ રાગ :: ભૈરવ ] છાંને માંને આ કહાન] પાછલી રે રા, મુરલીમાં ભૈરવ ગાયે જાગીને પ્રભાત્ય. સમ ખાઈ સુતી હતી, નહી બેલું હરી સાચેં; ' દ્વાર ઉઘાડા પાય લાગી, મુરલીને ના. -
શાં તપ કીધાં છતાં, આહીરડાંની જા, નરસિંહા સ્વામી મહ્યો, અબલાની વાયેં.
૧
૨
૧૦૨
[ રાગ : : કેદારે ] જે જાએ તે સરવે જાઓ, અમે નહો અવાએ રે, રૂદીઆ-ભીતર વેધીલો રે, કામબાણ ઉર વાએ રે.
જે જાઓ......૧ એવા સુંદર મુખને મરકલડે, જલહલતા ગાલ ગોરા રે; રહી ન સકું વણદીઠડલે રે, ચીત ચેરીલાં મારાં રે.
જે જાઓ.......૨ મારા હાથ ન હાલે ને પગ ન ચાલે, સરવ અંગે જૈ લુલી રે. નરશૈઈઆ સાંમી ભલે મલીએ સંસારનુ સુખ ભુલી રે.
જે જાઓ....,
૧૦૭
[ રાગ ઃ : કેદારો ]
જેઓ જેઓ રે જાદવરાએ જે રે, હારે અલા ! હાર હૈને કહાં ખેઓ રે. જેઓ....(ટેક) તું તે કહી સખી સંગે મોહે રે, કેણ છબીલીએ તને છે રે. જેઓ......૧ કાંહાં ખુચે છે નથનો ડાંડા રે, તુ તે ધઊ ફાટીને થઓ આડે રે, એવી ધુરત–વદ્યાને છાંડે રે. ...........૨

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શૃંગારનાં પદ, તું તે નટ થઈને નાચે રે, તું તે જાચક થઈને જાચે રે; હવે કેમ કેવાઈશ સા રે તાહારે અધુર દીસે રંગ રાત રે, તું તે કોણ સખી સંગ માત રે, તારા ગુણ નરશઈઓ ગાતે રે.
જેએ...૩
જેઓ...............૪
૧૦૪
તમે.......૧
તમે (.....) ને થાઓ માહારા વાલા, ભીડ થશે ભારી; તંમ સંગાતે બાથે વઢવા, સેઢી છે વ્રજનારી. અબીલગુલાલના ખેલા ઝાલા, કેસરે ભરાં રે કલાક એ આવે ઉધાડાં ગાતી, શાંમાનાં [ટોલે ] ટોલાં. અબીલ ગુલાલનાં જુધ મંડાણ, જઝ [ બહુ ] નરનારી; નરૈશઈચા સ્વામી સંગ રમતાં, ત્રીભવન હું બલહારી.
તમે....... ૨
તમે.....૩
૧૦૫ તમે નૈ કે, પણ હું જાણું રે, તમારું મન ત્યાં લોભાણું રે. પડયું આવી તે સાથે પાનું રે, છપાયું કેમ કરી જે છાનું રે. તમારે તે સાથે સાજુ રે જાય છે, નયણમેં કાલુ વેશ તે સારુ. તે સારુ વેણી વનફૂલ લૈ આવે રે, કે ગુંથી ગુંથી ગજરા પેરા રે કુડું કુડું અમ આગે કે રે, રાતડલી તે પાસે રે'છે રે. નરસિ મેતે કે સાચુ વાલા રે; ચતુરાઈ મ કર નંદલાલા રે.

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નરસિંહ મહેતા કૂત
૧૦૬ તમે શામલી આજ સખના રહે , શાને કરો ]િ ચાળા વેગલો વાહાલા વલગીસ માં, માહારી ત્રુટશે માલા. તમે શામલીઆજી..૧ કાલ કસુંબા સાડી પહેરી, તેને તે] કીધી કટકા; લગન લેઈ પ્રણાવા દે, એ રીતના શેહે લટકાં. તમે શામલી આજી..૨ વલગતાં ઝુમતાં વેણુ વછૂટી, ચેલાઈ [મેંઘી] ચાલી; નરૌઈઆચા સ્વામી સંગે રમતાં, હાવાં થઈએ દાજી (). - તમે શામલીઆજી...૩
૧૦૭ તાહારી ખુણાલી અણીઆલી આંખે, તૂ મુઝ સામુ મા જેએશ રે; અમે તારૂણી છઉ તતપરશાલી, તુ અમારું] મંન મહેશ રે. તાહારી..૧ સુખદેવ ને સનકાદિક સરખા, તાહાર કેઈ પાર ન પેખે રે, અંત્રીકથીઈ ઉમઆવર દેખે, તાહારી લીલા તે અંશુલેખે રે.
તાહારી..૨ માહાદેવજીએ મનમથ બાલે, તે અમને સંતાપે પાપી રે, નરશઈચા સાંમી ભગતવછલ હરી, વીવા વીખે રહો વાપી રે. તાહારી.૩
૧૦૮
(રાગ : રામગ્રી] તુ કેણુ સાથે વાત કરીશ વિઠલા, અમે શુ અબેલડા લેઈને બેઠે; એ રૂપ ને રંગરસે સઉ દાખડે, તૂ હાશભરી નારી તુ નાશી પેઠે.

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શુગારનાં પદ
લાભ કાપી શકે એહમાં લાડકા, – લાખ ડાહ પણ નેટ છે રે; એ કામની વીના એ કેણ રાખશે, તારી લટપટી પાઘને લળી તેરો. એ કંકી પિરીને કાં રે આઈ, તૂ રે પરશોતમ પૂરણકામી; એવાવ તારી રખે બ્રીજમાંહાં વીસ્તરે, કાંઈ નવું કરે બહુ રે નામી. એ અણે અવસર તૂત ચતુર થઈ કાંઈ ચડતું છે [૨] બેહ કેરૂ નરશે રંક કહે રંગે રમી હલા, હરખનાં મરકલાં હું રે હોરું.
૧૦૮
(રાગ : : ગરબી] પાલવ મેલે રે શામલીઆ, મને રોકી રહા સૌ મેં પાતલીઆ, મારે હાર હઈઓને છુટે, મારી મેહનમાલા ટુટે, તમે મુકે હમારે હાથ, મારે જાએ સહીએરનો સાથ. મારે જાવું છે બ્રીજની વાટે, મને રોકી રહા શા માટે. શેર કંથ હમારે કેશે, મારી નણદી મેહેણુ દેશે, કહે નરસંઈઓ કર જોડી, નાખ મારા કરમના બંધ છેડી.
૧૧૦ * (રાગ : પ્રભાતી] પિર દીએ ઊઠી રે કાનડ બારણે ટેરે, જાગે રે જાગો ગોપી કહી હેરણ હેરે. વલોણાં વવાવે, બાઈ રે ગોપી, ચરદ વંન નાથે, પ્રીતે લજ્યા રે લાપી,
પાલવ...૧
પાલવ...૨
પાલવ૩
પાલવ...૪
પાલવ.૫
(ટેક)

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નરસિંહ મહેતા કુત નવરા રે નરહરજી! તમને કામ નહી બીજ; અણુબોલાવ્યા આવે, વલગાશે જોઈ શીજુ (8). ઉરના આધાર, આવે તે આલીઘન દીજે, નરસહીના પ્રભુ સંગે રમતાં, અમૃતરસ પીજે.
છે
૧૧૧ બાઈ મને લાંછન રે લાગુ, મારું મન મોહેનજી સું બાંધુ. ટેક એક સમે જમના જલ જાતાં, મારગ માંહે મલીઓ; સાન કરીને સરવસ લીધુ, આવી રૂદીઓ સું મલીએ. ૧ નણદી આવી આખ્ય ચડાવી, સાસુજી જિમતિમ કેહેતાં; દુરી જૈન દેખતાં વાત વધારી, સુ કરીએ શમતા. ૨ કહેનારા કહેજે રે નીત નીત, શામલીઓ ]િ વહાલા; નરશઈઆચે સ્વામી છેલછબીલે, માહારે ઉર ઉપર માહા. ૩
ટેક)
૧૧૨
(રાગ : ભૈરવ ભલેને પધાર્યા કાંહાંન વાટડી જતાં ઝાંઝરનો ઝણકારા વાગે, શીતના સણકાર રે; આવે ભણકારા માહારી રાત્ય ગઈ રેતાં. મોરલીમાં ગાયું મારા ઘરમાં સંભળાયું રે, વ્યાંહાણુ રે વાયુ મુંને આંસુડાં લેહતાં. તઓ છે માહારા પ્રાણઆધાર શક્યડી(!); -
લખ્યું હઈડાને હાર દીઠોતે પરોતાં. વાયદે કીધે તે સાંઝે ગાવડી દોહતાં રે; નરસિંહાએ સામી આવ્યો વલેણું વલેતાં.
૧૧૩
(રાગ : પંચમ ] ભલેને પધાર્યા રે સૂર ઉગતે રે, જાએ જયાંહાંથી આવ્યા તેહને ઘેર્ય; સખીયે હશે રે જે નિજ ધામની રે, તે તે કરશે તમારી પર્ય
૧.

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શૃંગારનાં પદ
ક્ષોભના શું પામે રે? મુજ સાંહાંસુ જુઓ રે, કેહોને રંગ તણી જે રીત્ય; શીથલ થયા છો રે અતિ ઉજાગરે, મ(ન) નિભાવી પૂર્વ જન્મની પ્રીત્ય. પિચ સંભાલે રે વહાલા પાઘના રે, ભાલે અલતાનાં એ એધાણ, શીશ નમાવે રે, શું સમઝી કરી રે, તમ્યો કહાવીને ચતુર સુજાણ સમ શાખાએ રે ? સાચુ ન માનીયે રે, અદભુત સુખ] તણા દાતાર; નથી ય રહ્યા છે રે, તમો હક રાતડી રે, સેહે વિન પેહેયે કામ હાર? સાચા સમ ખાઓ રે, આ મહારી સેજડી , લપેટ નીલજને શી લાજ ? નરસિંહાચા સ્વામી રે, રંગની રેલડી રે, રમતાં સરીયાં સઘલાં કાજ,
૧૧૪
મનની તે આંટી મિલિયે, મરમાલાજી !, ખાતે એકાંતે ખેલિયે. મે સેજ બિછાઈ સજ કરી, આવે તો આરત છે ખરી. સણગાર સજ્યા તમ કારણે, વાલમ આવે જાઉં વારણે, રમિયે તે રંગભર રાતડી, વલી રસની કરિયે વાતડી. આલિંગન ચુંબન લીજિયે, ,, કરી પ્રેમ અધરરસ પીજિયે. નરસીમેતાની અરજી સાંભ, , [તમે આવીને એકાંતે મલે.
૧૧૫
મારે તમથી બાંધી પ્રીત, નટવર નંદના રે; ગુલતાન થઈ તારે ગીત, મેતાવણ ફંડના રે,

Page #262

૫૬
નરસિંહ મહેતા કૃત
કરુ તન મારું કુરબાન, નટવર નંદના રે, તમ ઉપર જીવન પ્રાંશુ, મેટાપુ કુંદના રે, કીધા જગ વેરી તમ કાજ, નટવર નંદના રે, મે'તા લાકની મેલી લાજ, મેટાવણુ ફ્ંદના રે, તમ કાજે સજયા સણગાર, નટવર નંદના રે; આવા મદિરિયે મારાર, મેટાવશુ ફંદના રે. લાગે! રસિયા તારા રગ, નટવર નંદના રે; મારે આનદ વાધા અંગ, મેટાવશુ ફ્ંદના રે.
તમથી શેડ બની જગદીશ, નટવર નંદના રે, છે. નરસીમતાના ઈશ, મેટાવણુ કુંદના રે.
૧૧૬
[રાગ રામકલી ]
મુને જાવા દે જાદવા, ભીડીને વળગીશ માં, ભીડતાં માહારુ અંગ દુખે, મુને ભીડતાં ભુદરા, રાખડી ખુચો, ચુખ માં ચંચલાં અધર મુખે.
અમે रे આહેરડી, લા(ડ)ગત ઘેલડી, તું વળગ મા, છાસની છાક આવે, તુ જાણીતી નાને, પૂછ ગાવાલીમા, હીડાળ ચડા વના, હાય ના આવે, એરતી વીના રંગ નહીં, શમે વીના સુખ નહી, નેહ વીના રંગ તે લુખા લાગે, નરૌઈઆચા શાંમી, છેડા છેડા હાવે; કર જોડી માંનૂની માન માંગે.
૧૧૭
[ રાગ : દેવગ ́ધાર ]
માહા રે, માડી રે! મ’નડા મેહા રે માડી; કાંમ ક્રોધના ઢાંકરડા રે નાખી દે કાહાડી. વેણુ વજાડી વહાલે વાકુળ કીધાં,
દાવન દાહાડી નાહાડી,
મુખડુ' જોતાં મહા ઘણા લાગેા,

પ્રોત થઈ ઘાડી રે.

ર
3
૨
3
२

Page #263

ગંગારનાં પદ
તાહારે મેર મુગટ પીતાંબર, માહારે તે સાડી રે; નરશઈઆચા સ્વામી સંગ રમતા, જેમ ફુલી ફૂલવાડી રે, ૩
૧૧૮
(રાગ : પંચમ રાતડીયાં રમીને રે ક્યાંથી આવીયા રે; બલવંત બારણું માં ઠેલ્ય, રીસડલી ચઢે રે કાન તને કાં ઘણું રે, જાઓ જ્યહાં કીધી હોય રંગની રોલ્ય. રાતાં નઈણ રે અતિ નિદ્રાલ રે, રાતી તાહરી અધર તણી જે રેખ, કોટ્યનાં કુસંમ રે, અતિ કરમાઈ ગયા રે, ધરત ધૂતાર રે તાહારે વેખ. પિચને સમારો રે વાહાઈલા]જી પાઘના રે, ભાત્યે અલતાનાં એંધાણું, શીશ નમાવ્યું છે શું સમઝી કરી રે, વાહાલા કહાવીને ચતુર સુજાણ પહેર્યાનું પીતાંબર ૨ ક્યાંહાં તમ્યો પાટિયું પારકી પટેલી પાછો આલ્ય; મંદિરીયે પધારે છે, પેલી શક્યને રે, અમ ઘેર આવજે વાહાલા કાલ્ય. કેસરનેં તિલકે રે દીસે પ્રભુ ખંડના રે, ભુજમલ ભીડું દીસે અંગ; માથા કેરી વેંણી રે દીસે વિખરાઈ ગઈ રે, કહો કયાંહાં કીધા રજનીના રંગ ચાંદલીયે તે ઊગ્યે રે. હેર આથમી રે, ત્યાંહા લગી, ઈ રે તમારી વાટ્ય; કુસુમચી સેજ રે વહાલા સુની રહી રે, બેલડી તે દી તે શા માટ્ય.

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નરસિંહ મહેતા કૃત
જે તું કહો છો રે, ધીર્યા તેહની કરું રે, સુંદરી તું બીજી બ્રાંત મ આણ્ય, નીદરડી તે આવી રે, ગોરી તાહારે આંગણે રે. વચન અમારું તું પરમાણ્ય. પંચમ આલા રે, પંખીડા શોર કરે રે, હવે પ્રગટ હવે પરભાત, નરસિંહા સ્વામી આજ ભલે મ રે, વહ ઘણું ને છેડી રાત્ય.
- પાઠાંતરઃ ૧.૧. કયાં થકી પધારીયા. ૧૨ બાહેર મ ઠેલ. ૧૩ દેસડી ચઢાવા રે અમને શાંભલી રે. ૨.૧ રાતાં રાતાં નેણું. ૨.૨ વાહાલા માહારા રાતી અધુરની રેખ. ૨.૩ કુન્નુમચા હાર કંઠે કરમાઈલા રે. ૨.૪ ત્રીજી કડીને સ્થાને વ પ્રતિમાં અહીંની ૬ઠ્ઠી કડી છે. ત્રીજી કડીને પાઠ રવમાં નથી. જેથી કડી વમાં પાંચમી કડી તરીકે છે. ૪.૧ અંબર પીતાંબર. ૪.૩ નારને રે. માં થી કડી નીચે પ્રમાણે છે:
સમી રે સંધ્યાને માહારે વાહાલે, ગયા રે, જાણ્યું સેજડીએ રમશું સારી રાત. ચાર પહેરની નીશા વહી ગઈ રે, આવ્યા જારે થઓ રે પ્રભાત.
રાતડી ........(૪) પાંચમી કડી વમાં નથી. સ્ત્રની પાંચમી કડી એ જૂની ચેથી કડી છે. થ્રી કડી વમાં ત્રીજી કડી તરીકે છે. ૬.૩ રચી સુની રહી રે. ૬.૫ વચન દીધું તું શા માટ. વમાં કઠી કડી નીચે પ્રમાણે છે :
લટપટીયા ઘરે વહાલા સેહાંમણ રે, અધુર બાલે ભીના દંત. કુણુ સહાગણ સું રંગે રમા રે,
સાચું બોલે મારા કંથ.
૭.૧ સુંદરી કહાં તે હું સમ કરું રે. ૭.૨ ભેલી ભરમ મ ણ, નીદડી તે આવી તાહારે આંગણે રે. ૭.૪ સાચું જાણુ, ૮, પંખી સ્વર કરે. ૮.૨ પરગટ થાઉ ૨ ૮.૩ મંદીર પધારીઆ રે,

Page #265

શૃંગારનાં પદ
૧૧૯ રૂપ તમારું જોઈને રે, રૂપાલા છે ! મનડું મારૂં મ્યું છે મેઈને, હું વારી જાઉં તુજ ઉપરે છે મારાં દેખીને નેણું ઠરે રે) , તારી આંખડલી પ્રેમે ભરી (૨) . હરિ હેરા છે હેતે કરી (૨) મુને શું જાણું જે સ્યુ કર્યું (૨) હેરી ને ચીત મારું હયું (૨) તારા મુખડાની માયા ચડી (2) મેલ્યું નવ જાયે અધઘડી (૨) , રસની વાતુંના જાણ છો રે) , નરસી મેતે કે જીવનપ્રાણ છો () ,
૧૨૦ રે રે નખરાં કરતી નારી, કેને તું પરણું કે કુમારી. દીસે છે હલકા ઘરની છેડી, ચંચલ અગમે લયા ડી. જીભે જણાવે છે બહુ જે રે, નથી તારી વાત તણે કાંઈ છે. ભલપણ તનમેં રહ્યું ભારી, તે કે દે છે આખું તારી. દાસ નરસી કે ધન તારી છાતી, મનમેં કાંઈ પણ નથી લજાતી.
૧૨૧ રે રે નંદતણું લાલા રે આવા તમે સ્યુ થયા છો કાલા રે સઉને દેખતાં છલિયા રે કે આવીને બાઝો માં બલિયા રે કાવે છે વાલા બ્રહ્મચારી રે દીસે છે લખણના ભારી રે

Page #266

નરસિંહ મહેતા કૃત
લખણ તમાંરાં છે આવાં રે કે કરસે અમને જગ ચાવો રે હજી તે દીઠામાં નાના રે વિચારી બોલે મુખ કાંના રે નરસી મેતે કે જાઉં વારી રે ન રેકે વનમેં પરવારી રે
રે રે, હું તમને એલખું કાંના, છિપી રીયા તમે કંસથી છાના. જાણું તમારી નાત ને જાત, મેટી મોટી નવ કીજિયે વાત. ગોકુલ આવીને ચારે છે ગાયું, શું જાણું બેલા છે લાડકવાયું.
તા નથી કાંઈ ટાણું – કટાણું, પેલે દાડે આવી કરે છે ધીંગાણું. રીઝેબુએ સરવે કારજ થાસે, જેર કર્યા વાત ચૌવટે જાસે. નરસી મેતો કે મેલ પાલવ મારે, છાનામાના જઈ ગાવડી ચારે.
૧૨૩ લજયા સ્થાને માટે કરિયે, તારાં ડરાવ્યાં અમે નવ ડરિયે. કુંણ છે છેરા જાતે કેને, ઝાલે છે પાલવ જેને તેને. મુઢે ન મલે દાઢી મુછયું, પરણી કુમારી કેમ પુછયું. તું પણ સારા કુલને જાયે, ખધે ઠગાઈ મેં ડાયે. દાસ નરસી કે ધન તારી માઈને, તુને જાય તે સ્યુ ખાઈને.

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શૃંગારનાં પદ
૧૨૪ વાહાલાજી ! મધરાતને પહેરે રે, લાગે છે મારા રૂદીઆમેં ઓરે રે. ગંગાનાં જલ, જમુનાના આરા રે, વાહે તે દહાડાની લાગી મને મારે. વાહાલાજી ! માહારી પાએલ વાગે રે, સુતે છે (તે) માં દેવર જાગે રે. વાહાલાજી ! મારી બાહેડી મેડી રે, ફાટી છે માહારી અતલસની ચારી રે. મલા છે મેતા નરશઈઆના સ્વામી રે, પેલી ગેપીકા તે આણંદ પામી રે.
૧૨૫
[ રાગ = સામેરી ] સાઈડાં સાઈડ કેણ પર લેઉ, માહારો નાવલીયે વર નાનુ રે. બેઠો બેઠો બેલ કલા બોલે, તેને કેણી પર રાષ્ટ્ર છાનું રે.
સાઈડ...૧
રે નારી નવજવના રે, હાં રે માહારા પીઉછમાંવિત થોડું રે. વેરણ વિધાતાએ સું રે સિરજવું, કલજુગમાં હેક જેડું રે.
સાઈડાં...૨
એ ભવનું રે ઉધારે પડિયું, તેને લેખે લિખમીવર જાણે રે. નરસિયાચા સ્વામી સંગ રમતા, રમણ રંગીલડે માણે રે.
સાઈડા.૩

Page #268

કરે
૧૨૬
[ રાગઃ ખટ ]
સાંભલ્ય સુંદરી ! વાત કઉં છું' ખરી, સ્નેહ ધરી સુભગ મુખ શે` ન (મ) જુયે, ? માંન્ય તુ' માંનુની! માંન્ય માહારુ કહ્યુ, સાંન કર્યું સમઝ સુખશે રે ખુયે ? કાટ કદના
એહવુ
ચાલ્ય
હવે
નિત્ય
માહન
રૂપ
ચંદ્રામુખી
શ્રી હઠ
નરસિ ંહ મહેતા કૃત
આરાધવા

દ્રુપ હેલાં હશે, અત્ય'ત રહે;
ચતુર ચતુરાઈશુ, કરાં તેહ કડું.
જોગ જે આપણે,
માટે ?
દુભીચે શાંને
તાહરી વાત વીપરીત વનિતાએ યમ સહે ગવ
તે ફાક જો તાહારા મનમાં એમ હુતુ' માંનુની, તા હુને માકલી શાંન કા ? પેય તેા પ્રથમ પ્રીછી નહીં પ્રેમદા, હાય કયમ કાંમ શુ' હવે રે મસ્તક પદ ધરી, વીનવું પે હજી લગી સાંન તે શેં ન આવી ? જવન ક્રશ્ન શું કેટલ કમલાક્ષી, જામિની જા મ ત્રણ હજી ૨ જાવી.
લાજે ?
કરી.
કહ્યું, માટે ?
હેત ઉપદેશ સુણી, પરવરી સાલ શૃંગાર સજી શીઘ્ર માંન મુત્યુ સહી, ચિત્ત ચૂકી નરસિહા સ્વામી સંગે ર'ગે માહાલી.
નહી,
પદ્મની,
ચાલી,
૧૨૭
[રાગ :: ધન્યા(શી)]
સુંદરીને ચરણે અલક ઢલીયા, મને વચને કરી આવ્યા ? સાંમલીયે.

૩
૫
સુંદરી........ ૧

Page #269

શૃંગારનાં પદ
અતિ બલી ને માહા રે અભિમાની જોગીયાએ સપને રે નાવે; વેદ વદે તિહાં સાહામૂ ન જુએ, સુંદરીને રંગે રસ માંડે મારે વાહાલે. સુંદરી......૨ ને જે જવતી જનનું રે જીવન; ભાગ પિતાને રે કાવે, નૌયાચા સ્વામી સંગ રમતાં, અણુતેડ્યો ઘર આવે માહારે વાલો. સુંદરી......૩
૧૨૮
[રાગઃ રમગ્રી] હરિ આપમેટાઈ રખે કેઈ આગળ કરે, આજ સજનીએ તેરી લાજ રાખી, વિલસતાં વેત કાંબી આનંન પરી (9) આ કરુણ મેલ અધુર ચાખી (2) એ ભાગનીધી ભોમની ભૂગુટ-ધનુખે કરી, છતીઓ બહુ વાર બરદ બાંકી, તું તે મંન મટેમ કરી હીંડતે, તું કહે બલે બાંધે છે પાઘ વાંકી. છેડી છોડી સઉ મલી રંગીલી, એ સજનીએ તુને તાંહાં એળે કીધે, અતી નવ કીજીએ, લીજીએ ઉર ધરી, તુ તે કામ-કઉતક બહુ પિરી દીધું. અરુણ ઉદઓ, દધી તારણતરણ ધરાણ (8) વારુણીમદે ભરો ધરણીસંગે, ભણે નરસૈઓ ભલે નાથજી સુખ પુરું, નીત થઈ શતગુણે વધુ રંગે.
૧૨૯ હરિ નહી આવીએ રે, સજની! કેહે કેમ કીજીએ, આપણુ એકલાં રે, વનમાંહાં મેલી ગઆ માહારાજ. ૧ અમે અપરાધણું રે, વેલા સાર કરે જગજીવન,
હેવું કાહાં કરે રે, અવગુણ શા શા ધરીઆ મંન. ૨ . આજ હમે એખલા રે, રાતદિવસ રહેવું વન,
વરદ તમે હેરાં રે, કીધા પતીતને પાવન. ૩

Page #270

નરસિંહ મહેતા કુત
સુરપતી કેપીએ રે, માંડી વષ્ટી અખંડ, ધાય દાવાનલ થકી રે, રાખા ગોપીને ગોપાલ. ૪ તે સંભાલ રે, દરશણ આપે દીનદઆલ, પીત પૂર તણું રે, હરિએ સંભાતી તેણી વાર. ૫ તતખણ પ્રગટીઆ રે. અબલા પામી હરખ અપાર, નરશઈઆનો સ્વામી મલે રે, વહાલે મારે ઉતારા ભવપાર. ૬
૧૩૦
[ રાગ : કેદારે ] હાં રે ! તાહારે મેહેલ પધારા નાથ, પમાડુ (સુખ) તુજને રે, હાં રે ! સખી તાહારા મનની વાત, કેહે નહી મુજને રે. તું તે સંનમુખ ચૈને નીહાલ, અમૃત દ્રષ્ટ તાહાર જાશે તનના તાપ, પ્રેમ પ્રગટશે ઈદ્વાદીક બ્રહ્માદીક શંકર, મુનીવર પાર ન જાણે (૨) તે ? નાથ તાહારે દ્વારે ઉભે, જેહેને વેદ વખાણે (૨). સખી ! મેહેલી મનની બ્રાંત, માહાસુખ લીજે રે, હાં રે સખી ! અવસર આવ્યે એહે, જવા કેમ દીજે (૨), વાહાલે પ્રેમપ્રાણઆધાર, અંક ભરી લીજે રે, હાં રે સખી ! જેમ વાહાલે વસ થાય, તેહ વિધિ કીજે રે. [ ...
...] ભણે નારીઓ : ૨ સુખ તેલ, અવર ન બીજુ કાંહી (૨).

Page #271

અત્ય જાવું છે
સગાં ન આવે કોઈ
પ્રભુ વિના મુકાવે
'
રૂધાશે કાલા જમિક કર
ભકિતનાં પદ
( ૧૩૧–૧૬૫ )
૧૩૧
જાંણુજે,
ઉઠી એકલા, હા સાથ હૈ, મરવાને ટાંણે (ટેક). કેાણુ જમ–મારથી, હેા જાણજે,
કાલથી,
દેખાય રે,
લાય રે,
નવ સે નવાણુ...ટે નાડિયું, ખાતર કાઠામાં લાગે રામ ક્રેટિ વીંછીની વેદના, હૈડ હાલોલક થાય ૨,
આત્ય ઉઘાડી અતિ વેદના, શેષે કાટિથી ન કેવાય ૨,
હા જાણજે. મરવાને ટાણે,

હા જાણુજે. મરવાને ટાંણે,
હૈ। જા ણજે, મરવાને ટાંણું.
હા જાણજે, મરવાને ટાંણે.
હૈ। જાણજે,
દુખ પાંમીને તન્મ્યા ઢેહને, નરસી મેતા, કરૈ કાણુ સા રે, મરવાને ટાંણે.
૧૩૯
[ રાગ : પરભાતી ]
આ જે રે હરિ જોવા સરખા, રાતે ને મઢમા રે, રૈણી રાસ રમી નંદાવન, આવે વાંસલડી વાત રે. આ જો રે હરિ....
છેલછખીલે ને છેાગાલા, નાચતા ત્રીજનારીનાં જુથ મલીને, હિરને
હિર આવે રે; મેતીડે વધાવે રે. આ જો રે હરિ...
મારચંદ્ર શીર મુગટ ખીરાજે, કું ડલ ઝલકે કાંને રે; અણીઆલાં લાચ’ન ચાલ રાતમાં, સેાહીએ સાંમલે વાને રે.
આજો રે ડર ..

૧
૧
ર
૩

Page #272

નરસિહ મહેતા કૃત હરખા સુરીનર દેવ મુનિજન, પુષ્પવરષ્ટી તાં
થાએ રે; રાધામાધવ જેડી જોઈ જોઈ, નરસીઓ બલ જાએ રે.
આ જે રે હરિ...
૪
૧૩૩
આવી છેકૃષ્ણ વધામણી, રંગ રાતી રે, વાલા ગોકુલની ત્રીજનાર્ય, શાંમગુણ ગાતી રે. કનક થાલ મોતીએ ભરી, રંગ રાતી રે, વાલા કણ વધાવા જાય, શાંમગુણ ગાતી રે. પાય તે નેપુર હિરીયાં, રંગ રાતી રે, આગની ઝલકે કાન, શાંમગુણ ગાતી રે. ચીર પેહેર્યો ચંપાવર, રંગ રાતી રે, વાલા કેસરની છે આ[3], શાંમગુણ ગાતી રે. નરસંઈને સ્વામી મલે, રંગ રાતી રે, વાલે ઉતારાં ભવપાર, શાંમગુણ ગાતી રે.
૧૩૪
[ રાગઃ પ્રભાત ] એહેવાં દુરમતિયાં ડાહાં થઈને, શાણા તે રહી સમજાવે રે, પુણ્ય ભજનમાં ભંગ પડાવે, અજ્ઞાન એહેવું ભણાવે રે. આપણા કલમાં કેએ ભક્તિ કરી નથી, તે આપણું કેમ કરીએ રે ? મેટા ફુલને વાસે રે વસવાં, હરિમંદિર નવ ફરીએ રે.
એહેવાં.
હરિમંદિર તાંહાં વૈષ્ણવ તિલક
આ પણ કહીને છાપ
જેહેવાં–તેહેવાં જાએ. કેમ જઈએ રે,
નાતજન હસે, નવ ધરીએ રે.
એહેવાં....

Page #273

ભકિતનાં પદ
શાણું રે થઈએ ને ઘરમાં રે રહીએ, (જાહ) કરતન થાએ તાંહાં નવ જઈએ રે, કણકથા કહેવાતા હૈએ તાંહાં, સાંભળવા ના રહીએ રે.
એહેવાં. કેટિ કેટિ ફડ ભરાં કંકાલી, સબલાં થઈ સમજાવે રે, અંત સમે જમ જાહા રે મારે, તાહારે આઘુ કેઈ નાં આવે રે.
એહેવાં.. લજા રે તજસાં ને ભગવાન ને ભજતાં, સેહેસાં માનવીઓનાં મહેણાં રે, ભણે નરસી પ્રભુને રે ભજતાં, એહેવી તે વાતે [ .................] રે.
એહેવાં...
૧૩૫ કૃષ્ણ કૃષ્ણ કહેતા તમે ઊઠે રે પ્રાણી, કૃષ્ણ વીનાનું જે બેલોમથાં રે વણી. કૃષ્ણ...૧ કૃષ્ણ નામે ગુણકા તારી, અહલા ઊધારી, કૃષ્ણજીના નામ ઉપર જાઊ બલીહારી. કૃષ્ણ૨ કૃષ્ણ માતા કૃષ્ણ પીતા, કૃષ્ણ સહેદર-ભાઈ, અંતકાલે જાઉં એકલડાં, શ્રીકૃષ્ણની સગાઈ. કૃષ્ણ... ૩ કૃષ્ણ કૃષ્ણ કહેતાં, કૃષ્ણ સરીખા થાશે, ભણે નરસૈઓ સહેજે વઈકુઠે જશે. કૃષ્ણ...૪
કુંણ છે...૧
૧૩૬
[રાગ કેદારે] કુંણ છે , કુડાં કલંક ચઢાવે, હું તે ઓઢણીયું નહીં એઠું રે. પાંચ તણે મારે પડપંચ ભાંગ્યો, મેંહે તે બે બાંધ્યા વિસવાસી રે; પ્રીતમજી નું પ્રીત્ય બંધાણી, હું તે નથી છુટી નાસી રે.

Page #274

2
નરસિંહ મહેતા કૃત
અગથી રે અલગા, સગપણ છૂટી ૨,
દસ દષા મારે મારી સાસુડીનુ` અગ થકી ઉન્નાવા ટલીયે; મારે પીયરીયાની પક્ષ ત્રુટી રે. ચ્યા૨ે ખાંણ્ય ને લક્ષ કે ચૈારાસી, હુ તા એટલે ઠેકાં જઈ વાગી રે; કલા ભાગ્યા ને કથે કેટલા ૨ મેહુલ્યે, ઘર માંડવાની ખડભડચ ભાગી રે. રજોગુ છુ તમાગું સત્ત્વગુણુ ચેષ(?), તેપુરાન ને પામી ૨, હૅતે કરીને હરિના ગુણ ગાતાં, સુને મધ્યે નરસૈયાના સ્વાંમી રે.
૧૩૭
ગઉ
ઘેર આવે
માહાવાજી,
ગઢ
ચારી ચારી ઘેર આવે (2); પીડા લેઈ પરવરી માહ'ન( જી ), મધુરી શી વેણુ ખજાવે (૨), ગુજા ફૂલહાર ચાર મનેાહર, મારમુગટ શીર શાઇએ (૨); શાંમ તણી સુંદરતા નિરખી, બ્રીજનારીનાં મન માહે (૨).
દેવડાવું,
(૨);
'કુ ચંદનના છડા માતીડે ચાક પુરાવુ નરશઇઆચે. સાંમી માહારે મંદીર પધારે, હું તા ફુલડે ક્ર
ભરાવું (?).

કુણુ છે....૩

કુણુ છે....૪
૧૩૮
[ રાગ :: વસ ́ત ]
રાતા રંગ
ગેપી આયાં રે આયાં મારા વાલા, માવાનું મુખ જોવાને; અદભુત ખેલ રચા પુરુશેાતમ, માંનનીનું મન માવાને
ગાપી......૧
કુણુ છે...પ

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ભક્તિનાં પદ
રાતી ચૂડી કર કામિની, રાતી ચરણા ચુંદડીયાં, રાતી આડ કરી કુમકુમની, તેને રૅરાતી ટીલડિયાં. ગેાપી......૨ રાતા હેાષ્ટકમલ કરી કમખા, રાતી ચાલી રુદે ભલી, રાતુ અંગ એપ અતિ અખલા, તવ તિકમને તરિયા મલી. ગેાપી.......૩
કાલેા રંગ
ટાલી કારનાં પેહેરણ પ્રેમદા, કાલા કમખા કસણુ કસા, કાલા દ્વાર ગેણે શુ થી, કાલા સુમનિયા સા. ગેાપી.......૧
દ્રુત
વિવિધ વલી, તરિયાં મલી. ગેાપી.......૨
કાલાં કાજલ નયણે સારિ, કાલી કાલાં કૃષ્ણે કાલિદીની તીરે, તવ તિકમને
વેણુ
લીલા રંગ
લીલાં નેત્ર પટેલી પેહરણ, લીલી ચાલી પાન ચરણાં, લીલા હાષ્ટકમલ કરી કમખા, લીલાં તારણુ તુલસી તણાં. ગાપી......૧
લીલું તરુવર ગિરિ ગેવરધન, લીલું વ્રંદાવન વલી, વીવા પાપટ પ્રાણ પદ્મમિની, તવ તિકમને તરિયા મલી. ગેાપી......૨
પીલા રંગ પીલાં પટફૂલ પેહેરણ પ્રેમદા, પીલી પીલે ચંપાના ચાસર કઠે, પીલી
આવે સાખ ધરી, કેસર આડ કરી.
ગાપી........૧ સેાનાસેર વલી,
પીલી આંબે સાખ મનેાહર, પીલી પીવું અગ એપે અતિ અમલા, તવ તિકમને તરિયા મલો. ગાપી......૨
સ્વેત રંગ
ઉજ્વલ સ્વેત સાડલા પેહેરણુ, ઉજ્વલ ચાલી ભરતભરી, ઉજ્વલ જાયવેલનાં તારણ, ઉજ્વલ ચ'દન આડ કરી. ગેાપી.......૧

ઉજ્વલ ચિત્ત રાખા હરી ચરણે, ઉજ્જવલ ઉજ્વલ વેહે જુમનાંનું પાંણી, ઉજ્જવલ વાણી
વિઠ્ઠલ રુદે ધણી, નરસૈયા તણી ગાપી.......

હે..

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નરસિંહ મહેતા કુત
૧૩૯
ટેક)
ગોવિદ... ૧
ગોવિંદનું નામ ઘણું રે મોઘું છે, સરવસ આપીને લીજે રે; વળી વળી એણે અવસર કહાંથી, ક્ષણ એક વિલંબ ન કીજે રે, માનવદેહ વેપાર રે આવે, તુ વચમાં કહા થઓ ખોટી રે; હરિ હીરે હાથેથી છે તે, હાણ થાઓ છે મોટી રે. કાચી રે કાઆ ને જુઠી રે માઆ, રાખી ન રહે કેઈથી રે; વીજલડીના ચમકારામાં, વીંધી લેને મોતી રે. વૈષ્ણવજનને શ્રીકૃષ્ણજીની કૃપાએ, હરિગુણ હેતે લાધું રે, નરસૈઈચા સ્વામી સંગ રમતા, સાગરપુર જમ વાધું રે.
ગાવિંદ... ૨
ગોવિંદ.. ૩
૧૪૦ ઘેર આને, નંદજીના લાલ ! માખણ ખાવાને, ઘણું કટોરા માખણ ભરીઓ આ ને, (માંહે) મીસરી અપરંપાર રે... આને. (ટેક) ઊભી રહી વાટ જે છું ચારે કેર, આવે નંદલાલ
માખણ ખાવાને, પુરુષોત્તમ પ્રાણઆધાર, નહી દઉં જાવાને
(માખણ ખાવાને).. ૧ તાહારે મંદીરીએ હું નહી આવું, તું છે ધુતારી નાર રે, તું તાં હંમને મંદીર તેડી, કુડાં ચડાવે આળ રે.”
માખણ ખાવાને... ૨ “દીનાનાથ દળ દામોદર, એ સું બેલા મહારાજ રે.” નરસંઈઆના સાંમી મલીઆ, જનમેજનમ ભરથાર રે.
માખણ ખાવાને... ૩

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ભકિતનાં પદ
૭૧
૧૪૧. જેણે તે શ્રીકૃષ્ણમાં ચરણરસ ચાખે, તેણે તે સંસારડે કુરો કરી નાખે. જે નર કૃષ્ણકીરતનના રે ભેગી, તે નર જાણે જે સદાયના જેગી. જે નર કૃષ્ણ કીરતનના ૨ રસીઆ, તે નર શૈકુંઠમાં જઈ વસીઆ. જે રસ ધરુ પહેલાદે રે લીધે, એ રસ અમરીસે ઉપાડીને પીધે. એ રસ નીસદિન જે રસ પિતા, ભણે નરસાંઈએ તે તે ભવભવ છતા.
૧૪૨
જેણે રે ગોપાલરાએ તમને વીસારા, તે તે મુરખડાં, ભવભવ હારા. તુમને વિસારી, જેણે કઉતક જેલ, કાચને સાટે લેઈ કુંદન બેઉં. તુમને વીસારી જેણે અવર કામ કીધું, અમરત ઢાળી વીસ હલાહલ પીધું. તુમને વીસારી અવર રંગ રાતા, ભારે મુઈ રે તેતેમની રે માતા. તમને વિચારીને જે સેજ સુખ સુતા, ભણે રે નરસેઈઓ તે તે ભભવ વગુતા.
પદ ૧૪૨નું પાઠાંતર :
[ રાગઃ ધન્યા(સી) ] જેણે રે ગોવિંદારાયે તમને વિસાર્યા, તે બાપલા ભૂતલ ભવ હારા. જેણે.. ૧ તમને વિસારી, અવર રંગ રાતા, વાંઝ ન રહી કાહાં રે, તેહની રે માતા. જેણે ૨ તેણે બાપલડે અવતરી સૂ કીધું, અમૃત ઢળીને હલાહલ પીધું. જેણે.. ૩ ભણે નરસૈયે હું એટલું રે માગૂ, જન્મ જન્મ તેરે ચરણે લાગું. જેણે. ૪

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નરસિ ́હ મહેતા કૃત
૧૪૩
[રાગ ઃ સાંમેરી]
હેને પ્રભુની વાત ન ભાવે રે, તેહને ઘેર સીદ જઈએ (ૐ), જેને આંગણીએ હરીજન [ન] આવે રે,
"3
સાસુ માહારી સાપણુ જેવી, નદી દીઠડે દાઝે રે, જેને તેને આગલ વાત કરાં, તે ઘડી એકમાં ઘર ભાંગે રૃ. ૨ ઓછામાં પાડાસણ ઝેરી, ખળતામાં નાંખે વાર રે, તમા ઝાઝેરાં ને હું રે એકલડી, તમેા છતાં ને હું હારી રે. ૩
આ ઘર ભીતર કારી રાખું, ન્રુઆ ભીતર રાચુ રે; નરસઇઆચા સ્વાંમી સંગ રમતાં, મગન થઈ ને હું નાચું રે. ૪
૧૪૪
(રાગ :: શ્રી )
તપથી હારમારગ છે દોહેલો, લાક કહે છે સાહેલા (ટેક) અધર અગ્નિ પર ધૃત ધરેવા, રતી એક ગલણુ ન દેવા, હીરા રતનચી ખાણે વસેવા, રતી એક રચન લેવા (૧) નક કામની કહેવાએ વાટપાલ, તેથી અલગા ટલીયે, ભણે નરસૈયા સાચું હાવે તેા, પ્રતક્ષ પ્રભુજી
મિલીયે (૨)
૧૪૫
(ટેક)
તમારા કેાખરની નાર, માહન જાને દે. દુધ દહી તમા કાહા જા'ના રે, છાશન કે પીવનહાર (૨).
૧
માહેન પટકા પાંમરીકા કા[હા] જા'ના રે, ધામલી કે એઢનાર રે.

સેના રૂપો તમે। કાહા જા'ના રે, કથીર કે પેરનાર (૨)
માહત......૨
નરસીઆના સંસી સાંમલા રે, વાલે ઉતારે ભવપાર (રે)

....
માહન...... ૩
માહન.....જ

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ભક્તિનાં પદ
૭૩
૧૪૬
[ રાગ : ધન્યાશી] ] તારા ગુણ સ્વામી ! મુને કિમ વીસરે, હરિ ગુણ લખ્યા મારા રદયા રે માટે ભવસાગરમાં બુડતા રે તાર્યા, યમપુર જાતલાં નિવાર્યા માહારે વાલે રે. ગુણવંત ગુણ સ્વામી તાહાર કેટલા રે લેખું, પ્રાણજીવન વિના રાતદિન નિ પેખું રે. ગુણવંત ! ગુણચા સ્વામી છે રે ભંડાર, નરસૌયાચા સ્વામી મહારા દેહના આધાર.
૧૪૭ તું તે હરિ ભજ, વહેલે રે વહેલે તારી કાયાના પડતા પહેલે. તે તે હરિ ના ભજે રે ઘડી, તારા મુખડામેં ધુળ પડી. તું તે હરી ભજી લેને અંધા, વિસારી મેલી ઘરધંધા. મીઠી ખાંડ સું લાગી રે માયા, લેભે લૂંટાશે લાડકવાયા.
જ્યારે જમરાજા જેર કરશે, રામચંદ્ર સાથે કામ પડશે. તુને કહાડે કહાડો સઉ કરશે, આગ દેતા રાધી સઉ રહેશે. શેક ચાર દીવસ પાળશે, પછી ઘરનો ઘધે સઉ કરશે. નરસૌઈ મેતે કહે રે ઊગરશે, ભાવે ભક્તિ ભુદરજીની કરશે.

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નરસિંહ મહેતા કુત
૧૪૮
દેતી.....૧
દેતી......૨
દેતી વેલામાં હાથ વાવરી લેજે, આગલ્ય લાફાલેલ નથી. આજ છે એવું કાલ્ય નથી કલે છેતરીયાં મોટા છત્રપતી. મનસાદેડી દેવતાને દુર્લભ કરી જાણે, એવું રે જાણીને તમે ભજે રે હરિ, પશુ-પંખીમાં અવતરશે પછે, દાંનપુચ નહી થાય ફરી. લખ ચોરાશીમાં ફરી ફરી પડશો, જમદુત આવે તેને શું રે કેહેશે; હાડયોડ કરીને સઉ કે હાકશે, એવા એવા અવતાર તમે કેમ રે સેશે ? કર્મ તણો કાંકરો કાઢી નાંખો, માથે મરણ તણી છે મોટી ઘાંટો; ભણે નરસૈયો ભજન કરી , પલવટ વાલીને થાઓ રે માટી.
દેતી.....
દેતી...૪
૧
૧૪૯ નામને વારી રે, દેવ તાહારા નમને વારી. (ટેક). કેશરી તીલક બનો છબી કાંહાંના, હાથમેં જળભરી જાહારી જળ જમનાને તીરે ઊભે, વાલ બ્રમચારી.
દેવ તાહાર... પાણીમાં જેણે પથર તારા, સેના [પાર ઊતારી; સીતાને વાલીને લાવે, ને રાવણને [ઠાર મારી.
દેવ તાહાર... કુરુષેત્રમાં જુધ મંડાણું દલ મલું છે ? છે) ભારી; કૌરવનું નિકંદન વાલું, લીધા પાંડવ ઊગારી.
દેવ તાહાં ... મામાનું મૂળ જ કાહા ડું, માશીને મારી; બ્રીજનારી--સું કીડા રે કીધી, ગોકુળ[માં] ગૌ ચારી.
દેવ તાહાર....
૨
૪

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ભકિતનાં પદ સુરનર મુનીને સપને ન આવે, મહેલા મુનીજન
વસારી; ભણે નરસઈએ એટલું માગું, રાખેની શરણ મોરારી.
દેવ તાહાર...
૫
૧૫o
૧
પિઉ-સું રંગે રમીએ, હાં રે એલા દુરીજન બેલડા
ખમીએ; તમ તમ નહોલીએ મન ગમીએ. પિઉ– નંદકુંઅર નાનડીઓ બાઈ રે, સુંદરી આ વ્રજનારી; વિધાતાએ વારૂ કીધુ, ગોકુળમાં અવતારી રે.
- પિઉ-સું.. આ જોબન અત દુલભ બાઈ રે, જાતા ન લાગે વાર રે, નંદકું અર સું સાહીડા લીજે, સફળ કીજે અવતાર રે
પિઉ–સું જેના મન જે સાથે માના, તાંહાં રમતાં છે રૂડું રે પ્રીત તે પ્રગટ જણાએ, રમતાં [..]
પિઉ- સુ.. જાહા જેવાની સંગત કીજે, તાંહાં તેવા એ રે, નારચા સ્વામી અતલુ માગુ, મારે મંદરથા
નવ જઈએ રે.
પિઉ-સું...
૪
૫
૧
બાન કી પત રાખ, હરિ તારા બાન કી પત રાખ; બાન માટે જે દુઃખ દેસે તે, કોણ જપે તારે જાપ.
હરિ તારા... હરણાકસપ ને હાથે હણીઓ, ને ઉગારો પ્રલાદ તેર કડી (૧) જેમ સીતલ કીધી, સુદામાને કાજ.
હરિ તારા... રોહીદાસના તમે સીફલ લીધા, ના જોઈ જાત ને ભાત, નરસૌઈ મહેતાને જારે માંડલીક કેપ, કેદારો આપે
મધરાત. હરિ તારા...
૨
૩

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નરસિંહ મહેતા કૃત
પંચાલીના પટકુલ પુરા, રાખી સભામાં લાજ, જલ મધે જિમ બુડતે રાખે, એની પેરે ગજરાજ
હરિ તારા. ૪ અર્ધામ ભીલડી અજાત ગુણકા, બેસી વીમાને જા; નીચ કુલ (તે) ઊચ પડી, (એ) ભજનને પરતાપ
હરિ તારા. ૫ વખ હતાં તે અંમરત કીધાં, ને મીરાંને માટે મારાજ, સેનાને માટે તમે કુરણું કીધી, નાઈ થઈ આવા તમે નાથ
હરિ તારા. ૬ એટલા જણનાં તમે કારજ સારાં, મને હતે વિસવાસ; કર જોડીને કરુ વીનતી, નરસીઈઓ તારો દાસ.
હરિ તારા ૭
૧૫૨ ભજી લે ભગવાન, સાચા સંતને મલી; સંતને મલી રે, સાચા સંતને મલી.
ભજી લે.” વચનમાં વિસવાસ રાખે ભજનમાં ભલી; પુરવ કેરાં પાપ તારા, તે જાણ્યે ટલી.
ભજી લે... એલખીને અવિનાસી, રખે જ્ઞાનમાં ગલી, રીઝથે રંગરેલ, વાલો અઢલકી હતી,
ભજી લે... કાલ શે વિકરાલ વેરી વીખશે વલી, કામની કુંટુબ તુને નાખશે દલી.
ભજી લે... સત્ય ત્યાં સુખ ધર્મ , કુડ તાં કલિક નરસી મેતે કે દુનિયા કેરી અકલ આંધલી.
ભજી લે.”
૧પ૩ માણસને અવતાર મું ન મલે ફરી રે ,
,
મલે ફરી
, માણસને.

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ભકિતનાં પદ
(
માંન બડાઈ મોટપ મેલી ભજી લે હરિ; ને તે જાશે ચોરાશીમાં જનમ બહુ ધરી.
માણસને.. દુઃખ તો દરિયાવ મટે નહિ શકો તરી શામલિયાને શરણે જાતાં આ સમે ઉગરી.
માણસને.. નીલજ ! તુ નવરો ન ઘર કરી; માયા માયા કરતે મુરખ ન બેઠે ઠરિ.
માણસને.. ચેતી લે ચિતમાં વિચારી ચાલજે ડરી; નરસી મેતાને નાથ ભજે પ્રેમમાં ભરી.
માણસને.
૧૫૪
[ રાગ ગરબી ] મારા પ્રાણજીવણ પાતલીઆ, બાઈ મને વાલા રે
સામલીઆ, હું તે તેની પુંઠલ ભમતી, તેને જમાડીને જમતી.
બાઈ. ૧ મુને એ વિના નહી ચાલે, તેની મીઠી વાતો સાલે
બાઈ... ૨ મને ઘરધંધે નહી સુજે, મારો જીવડે પળપળ ધ્રુજે.
બાઈ... ૩ મુને ભેજનીઆ નહી ભાવે, મારે નહીણે નીદ્રા નહી
આવે. બાઈ... ૪ વાલે વણબેલા આવે, તેને પ્રેમતણે રસ ભાવે
બાઈ... " તમે માનો સહીએર મારી વાણી, મેહે તે ટેવ કાનુડાની
જાણી. બાઈ... ૬ હું તે પુને હરીવર પામી, મલો નરસઈઆન સામી
બાઈ... ૭

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નરસિંહ મહેતા કૃત
૧૫૫
રાતલડી અંધારી રે, હે(?)રણ વહી ગઈ રે, ઉગ્યા ઉગ્યા અગેચરના રે સૂર. ત્રણ રે ભવન રે બાઈ ! દષ્ટ પડાં રે, મટી ગયુ માયા કેરુ પુર. રાતડલી... ૧ સરવે તે અંગે રે જાગી સખી સુંદરી રે, જેવા જોવા જોગેશ્વરનું રૂપ. કેટિ તે કંદ્રપ રે બાઈ ! ઉદે હવા રે, નરખ્યા નરખ્યા બ્રહ્માદિકના ભૂપ. રાતલડી. ૨ અનેક કમલ રે બાઈ ! માહારે વીકસાં રે, મધુકર પાંચે છે કાંઈ મેખ. નરૌઆને સ્વામી રે બાઈ મૂને તાહાં મલે રે, પુરા માહાંરા મન તણા સંતે ખ. રાતલડી.. ૩
રામકૃષ્ણ સું...૧
રામકૃષ્ણ સું નેહ નહી જેહને, તે રે માંનવી ખર સ્વાન તાલે. ભૂતલ ભાર કરવાને રે અવતરા, પ્રેતની પેરે તે સંસારમેં ડોલે. દ્રષ્ટ થઈ તેટલો ભાગ હેના [...] શિલા પડી તેહના સુખ માંહે. જીવતા નર તે જમ સમાં જાણવા, જેહનું ચિત્ત નહે રામકૃષ્ણ માંહે. જે તણે મુખ શ્રીકૃષ્ણકીરત નહીં, તેહ તણે મુખે દેવરાવ તાલુ. ભણે નરસીઓ જેહને રામ વાહાલા નહી, તેહ તણું કુટુંબ સરવે કાલું.
રામકૃષ્ણ સું....૨
રામકૃષ્ણ સુ...૩
૧૫૭
(રાગ : કેદારો] વાલાજી રે ! તમારી કૃપા વિના, સંસાર દુખ યમ ટલે, અન્ય ઉપાસે તે ભમે ભૂલે. તુજ થકી વેગલા, કર્મબંધન કરે, પડે જમજલ યમ મીન તોલે. . વાલાજી..૧

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ભકિતનાં પદ
વાલાજી રે ! ભક્તિ માહાત્મ વિના ભૂર ભૂલા ભમે, કરી કરી કલ્પના, સવ ખાચે,
તત્વરસનું રિદે નિમિષ માહાતમ નહી કરે, પરપચ પાખ'ડ' માહે મેહુ
વાલાજી રે ! ધૂમ્રપાન તપ સાધતાં વાધતાં, તેહને' અધિક એઉ કમ વિલગાં, નરસૈયાચા સ્વાંમી સંગે વિલસતાં, આદ ને અંત બેઉ રહ્યા રે અલગા.
૧૫૮
[રાગ : આશાવરી]
વાલાજી રે ! તમારું મુખ મૈથ્યું નવ જાયે રે, તમે છે! અમારે મન ગમતાં,
બ્રહ્માદિકને માહ ઉપાવે રે,
રૂપ લક્ષણ ગુણ સુંદરતા.
વાલાજી રે ! વેણુ વજાડા ને મધુરે' ગાવે, ચંચલ લેાચન ચપલતા. સરવે સાદે ધેન મેલાવે,
માનનીયાચા મન હરતા.
વાલાજી રે ! સુરીનર મુનિ તેને ધ્યાને નાવે, તે વ્રજસુ દરી-સુ` રંગ રમતા, નંદના નંદન તુને કેણે ન કલાણા, તારી લીલા ન જાણે વેદ વક્રતા વાલાજી રે ! અગમ વારતા સર્વે જાણા, જાણે! છે। જનની મમતા. નરસૌયાચા સ્વામી, તુષ્ટને ન જાણે, તે નર હેડે ભૂલા ભમતા.

વાલાજી રે !....૧
વાલાજી રે...૨
વાલાજી રે !...૨
૧૫૯
[રાગ : : આશાવરી
વાલાજી રે ! પ્રાંણ થકી મુને વૈશ્નવ વાહાલા,
અને
રાત્યદિવસ
તપ
તી માહુરા કૌરનવ
વાલાજી રે... કું
વાલાજી રે !...
વાલાજી રે !...૪
રુદે ભાવું, વૈકુંઠ પદ હોય ત્યાં હું આવુ રે.
મુકી,

વૈશ્નવ....૧
૭.

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૮.
નરસિહ મહેતા કૃત
અને'
વાલાજી રે ! રાજા અગ્નીષ મુને અતી ઘણું વાહાલા, દુરવાસા એ મન ભગ કીધુ રે; માહારુ અભિમાંન તજીને, અવતાર લીધા રે.
મે
દસ
વાર
વાલાજી રે ! લક્ષ્મીજી અરધંગી હમારે, તે તા સ'તની દાસી રે. અડસટ તીરથ માહારા સતને ચરણે, તા કાટ ગંગા, કાટ કાસી
મે' આગલ ચાલુ,
વાલાજી રે ! સ`ત ચલે તે અને સ ́ત સૂર્ય તાં મે જે માહારા સંતની નવા તેનુ કુલસહીત હું વાલાજી ૨ ! ગજને કાજે હું પાલે પલીયે,
અને માહારા સંતની
સાહે કરવા રે. જે 'ચ ને નીચે હું... નવ રાસુ, મુજને ભજે તે તા માહારા રે. વાલાજી રે ! માહારા રે આંધ્યા વૈશ્નવ છેડે, અને વૈશ્નવના મધ્યા મે' નવ છુટે રે. એક વાર જૈનવ મુજને' બાંધે, તા ફેર જવા ય બેઠા બેઠા ગાય ત્યાં હું અને ઉભલા ગાય માહારા ૨ વૈશ્નવથી ભણે નરસૈયા એ

જાગુ રે;
કરે છે, ખાઉ. રે.
૧૬૦
વાલાજી રે ! માલા તે તે મૂકી કમ જાય રે. જો નીચે માલા રે મુકે તેા, પ્રથવી પરલે થાયે ૨. નવસે નવાંણું અવલી ચાલે, અને' સાત સમુદ્ર સકે રે. મેરુ ચલે, રવી પશ્ચીમ પ્રગટે, તાહે નરીયા માલા નહી મુકે રે.
મારા પ્રાંણ સધાતે,
વાલા....૨

વાલા...૩
નવ સુઝે ૨. વાલા...૬ સેા ઉભે સાંભલુ, ત્યાં હું નાચુ રે. ક્ષણુ નહી અલગેા,
૨.
સાચુ
વાલા...૪
વાલા...પ
વાલા...છ
માલા ..૧
માલા....૨

Page #287

ભક્તિનાં પદ
સઘલા સંન્યાસી તમે બનવ થાવા, માહારી પુઠે તાલ ખજાવા ૨; ભગૢ નરસોયા તમે ભેખ ધરીને, મુનસાદેહ ભુજાડા
૧૬૧
[રાગ રાંમગરી ]
શ્રીગાવિદ્ય સાથે મારે ગેાઠડી જોતાં ને જોતાં રે આવી મૂરત
સૂતાં ને એસતાં રૂદે મહારે જો રે
ને રતાં
પ્રભુ
કેવળ
પૂર ણુ પૂને રે હું તેા ભગતવછલ મળીએ. મૂને મેહેતા નરસૈઈના શાંમી
એ વ૨ પાંમી;
૧૬૨
[રાગ : માલવ ગાડી]
મગલ
ર.
હરિ-મુખ જેવા, હરિ-મુખ જોવા, આવી બ્રિજની નારી રે. હુઈડા-માંહે હરખ નાં માએ, સાજ સમારી નેણાં માંહે અમીરસ હલીએ, નાંઘડીઆને જોઈ રે. નરસહીચા સ્વાંમી ત્રીભાવન માંહે, એ સરખુ નહી કઈ રે.
૧૬૩
હરિ વાહાલા કેમ જાણીએ રે,
બાધી;

ખાધી
કાંમ,
સંમ
માલા...૩
જેને હાએ તે હરિજન વાહાલા રે, ભુતના ચાલા રે.
હરિજન વિના જે ક્રૂ તે, સરવે હરિજન આવતા દેખીને, ગાતર જેડેના [ના] તેને છબીલાજી સપનાંતરમાં, કહેરના [À] ભુલે ૨.
ખુલે રે,
૧૧

(ટેક)
ર
૧,
૩
૧
२
“

Page #288

નરસિંહ મહેતા કૃત
હરિજનની કે સેવા કરે, તેહનાં તે કારજ થાએ રે, ભવસાગરમાં બુડતાં રે, છબીલેજી નાવડી સાએ રે. ૩ હરિજન આવતા દેખીને, ઘાઈને જે કંઈ મલશે રે, ભણે નરસૈઈએઃ હું શું કહું, તે જમના ભેથી ટલશે રે. ૪
હરિ.(ટેક)
૧૬૪ હરિ વિના હિતકારી બીજુ કોઈ તારું નથી, કઈ તારું નથી રે, બીજુ કઈ તારું નથી. પ્રભુ ભજ્યાનું વેદ પુરાણે કહ્યું છે કથી, અકલહાણું આલસી બેઠે પામર તું પથી. સ્વારથિ સંસાર, તેમાં રહ્યો લથપથી, સંત પુરુષની સેબત વિના, સી થર્ચે ગતિ. અકલવંતા રાજ્ય કરતા, મુવા મારથી, નરસી મેતે કે આપણે જાવું કયું ઠેઠથી.
હરિ..૧
હરિ..૨
હરિ૩
૧૬૫
૧
હેલી! જેવા સરખું આજ, રંગભેર મલઉં રે, લાડકડે રૂપનિધાન, અંતર ટલીઉ ૨. ગરી ! હરિ ભીનલે વાન, રંગભેર મલીઉં રે, લાડકડો રૂપનિધાન, અંતર ટલીઉ રે. જેનાં વેદ કરે રે વખાણ, રંગભેર મલીઉં રે, જેહનાં મુનિ ન ધરી સકે ધોન, અંતર ટલીઉ રે. નરસંઈને દીધા રે અભેદાન, રંગભેર મલીઉં રે, લાડકડે રૂપનિધાન, અંતર દલીઉં રે.

Page #289

તત્ત્વજ્ઞાનનાં પદ (૧૯૬-૧૭૨)
૧૬૬ ઘણુ ગ્રંથ ગરબડ કરી, વાત નવ કહી ખરી, જેણે જેમ જાણું, તેણે તેમ કીધું; આત્માનું કારજ, કઈ થકી નવ સરું, પછે કરમને માથે દેશ જ દીધું. ઘણું...૧ ખેલું ભરમાંડ પણ, પાર પામો નહીં. અંતરઘટ જોતાં, પાર આવે; વિધિનિષેધથી રહે જારે ઓસરી, તારે મન વડે ધ્રડ વિસ્વાસ લાવે. ઘણું.....૨ વિદ વેદાંત ને શાસ્ત્ર એ સરવને, જાહારે રહાં અહંને શીશ નામી; ભણે નરશઈઓ જારે ભરેમમાં ભેદીઓ, તારે કરમની વેદના દૂર વાંમી. ઘણું.....૩
૧૬૭
તેહ તું...૧
તેહ તું, તેહ તું, જેને જેતે ફરે, આતમ-અનુભવે જો વિચારી આતમ-દરસે તું, આપ સંભાળી જે, શું ભમે સપને તે જેને ધારી, તાહરા ખેલમાં, તું જ ભૂલે પડે, અણછતા જીવપણે જઈને વળગે; જેહને તું થઈ ફરે તે તારું રૂપ છે, દેગ ઘટાવીને એને અળગો. શા અદબદ ખેલ છે, તું ત્યમને ત્યમ છે, આવે ને જાએ, ઘટે ન વધે, વસ્તુ રૂપે થઈને એ તું જ વિલસી રહે, અખિલ બ્રહ્માંડ એ વિશ્વ બધે.
તેહ તુ૨
તેહ ..૩

Page #290

નરસિંહ મહેતા કૃત
આપ અગનાનની ઓટમાં આવીને, આપ આપ શું આપે લોભે; નરસઈ એપણુ લેઈને ઊર્મિઓ અનુભવે, તાહેરા ખેલમાં તું જ છે.
તેહ તું....૪
૧૬૮
૨
૩
દેહડલી મૂકીને જે, એક દંન જાવું છે, તે માટે કહું છું, કરી લે હરિનું ભજન રે,
જીવ તાહારે જાવું છે. ખાઓ પીઓ ને ધન વાવરો રે, જેહવું જેહેને હાથ રાવણ સરખે રાજી રે, તે તે કાંએ ન લેઈ ગએ સાથ રે. જીવ તાહારે... મગરે કરીને પિસીએ રે, તેહે નાં મૂકે મહેત; ચેતનહારા ચેતજે રે, ગોફણ જાશે તે ગેલા સાથ રે. જીવ તાહારે... લખમીનો બધો પિટલે રે, સ્વરગ ના પિતા ઠેઠ; સજન કેરી ગોઠડી રે, ટાંકે છે ધાબા હેઠ રે. જીવ તાહારે.. કેહના છોરુ ને કેહોના વાછરુ રે, કેહનાં માએ ને બાપ; અંતકાળે જાવુ જીવને એકલા રે, સાથે આવશે પુન ને પાપ રે. જીવ તાહારે.. વેણુવને વિમાન આવશે રે, સકુટને(?) જમદુત; શૂરાને વરશે અપછરા રે, પેલા દુરીજન સરજે છે ભૂત રે. જીવ તાહારે... જે પાણીને પરપેટડે રે, એહવું કાયાનું મૂલ; ભણે નરસીઓ વીનતી રે, જેહવું બેડે તે માથે ફૂલ રે. જીવ તાહારે...
૪
૫
૭

Page #291

તત્ત્વજ્ઞાનનાં પદ્મ
૧૬૯
પાંમર તે પ્રાંણી ! વિસાર્યો વનમાલી, મિથ્યા સુખ માયામાં માહ્યો, મૃતૃષ્ણા જલ ભાલી ૨.
પાંમર...
આઠ પાર અંતરમાં ખલિયા, ઘણાં ઘણાંને ધાયા, રક્ષી ખપી ધન ભેવું કીધું, નાં ખરચ્યા નાં ખાય ૨.
નારી આગલ્ય નિલજ થૈને, ખીતા પીતા મેલે; હડકાલાવે, હસી ખેલાવે, કરી તરણને તાલે રે.
સગાંસ`ખ ધી,
સાસુસસરા તેની સેવા
કીધી; નરસી મતા કે સાધુજનની,
તે સેવા તજી દીધી રે. પાંમર...
૧૭૦
નાંમનુ
વાલાજી રે ! અનંત છતા ભાગ્ય હાય તેને વૈશનવ વૈદને પાસે તે। વિશ્રુત તેને
ઘે

પાંમર...
પાંમર...
એશડ છે મારે,
ભાવે રે;
વીએ,
નાવે રે. અનત....
હરિ હરડે નેક સુય સારંગધર, અને અવિનાશી અજમાય ૨૬ કહે કૅન ને સાકર સાંમલીયા, સ'ચલ શમરસાયણુ રે. વાલાજી ચામુ ચૂરણ ચૈત્રુભુજ કહીએ, અને બહુનાંસીની મુકી 2; ગાવિદ્ય નાંમની ગેાલી રે વાલી, માંડુ હરિચર્વાદક
મુકી
રે !...
રે. અન'ત...

૧
R
3
ર
૧
h?

Page #292

નરસિંહ મહેતા કૃત
વાલાજી રે ! પુસ્કરમૂલ પુરુષોત્તમ કહીએ, પડી પરમેશ્વર પામી રે; કુવાથ અઢાર કમલાજીને સ્વામી, તે તુલસીદલ પી જામી રે. અનંત... વાલાજી રે ! એવાં એવાં એશડ તે અંગ લાગે, જે કરીએ રેવાયે રે; મેહ માયા ને મછર ઘણેરે, તે પાછો ખીલે થાયે રે. અનંત.. વાલાજી રે ! ક્રીપા કરીને એશડ દીજે, જજ્ઞપુરુષ જદુરાયે રે, નરીયામ્યા સ્વામીને સંગ રમતાં તે, જમશર જાંગીના વાયે રે. અનંત...
૬
૧૭૧
સ્વામીનું સુખ હતું, માહારે તાંહાં લગી, જાં હાં લગી હદ હતી રાત કેરી; સ્વામીના સુખને સ્વાદ ભાગી ગયે, જારે ઓચિંતે ઊદ સૂર વેરી. સ્વામીનું... ૧
સુરના તેજમાં, સાવ સમરસ થઈ સેહેજમાં પીજી માહાએ ગએ સમાઈ, પીને પગલે, હું ખાળવા ગઈ, પીને ખેળતાં, હું બેવાઈ. સ્વામીનું.... ૨ એહવા અટપટા ખેલમાં, આંખ ઊલટી ફરી, . હું તજી, હું રહી હાર ખાઈ વાણુમાં અનુભવ, એહ આવે નહી અનિર્વચન કે નીગમ ગાઈ. સ્વામીનું ... ૩
અચરજ વાત એ, કોએ માને નહીં, જેહેને વીતી હએ, તેહ જાણે, વસ્તુને સાગર, સાવ સમરસ ભર્યો, અણછતે નરસઈ એ થઈને માણે. સ્વામીનું... ૪

Page #293

તત્ત્વજ્ઞાનનાં પદ
૮૭.
૧
૧૭૨ હું ખરે તું ખરે, હું વિના તું નહી, હું રહીશ તાંહાં લગી, તું રે હઈશ, હું જતે તું ગએ, અનિરવાચી રહે, હું વિના તુને કણ કહેશે ? હું ખરે... સગુણ હેએ જહાં લગી, નિરગુણ તાંહાં લગી, તમ કેહે સદગુરુ વાત સાચી; સગુણ સમતાં નિર્ગુણ ગએ છે શમી, શેખ પૂરણ અનિવાચી.
હું ખરે... શિવ ને જીવ તે, ના એ છે હેક જે, જીવ હેએ તાહાં લગે, શિવ હિએ, જીવ શમતાં, શિવ સહેજે સમાઈ ગઓ, ટલી જાએ ધંધહ નામ દેએ. હું ખરે... તાહેર માહરા નામનો નાશ છે, લુણ ને નીર દ્રષ્ટાંત જેતે મેહેતે નરશઈ કહે, વસ્તુ વિચારતાં. વસ્તુરૂપ થા, વસ્તુ પિતે. હું ખરે....
૨
૩
૪

www.jajnelibrary.org

Page #294

મેાધક પદા
(૧૭૩–૧૭૫)
૧૭૩
[ રાગ : : કેદારા ]
નુગરા નરને સંગ ના કીજે, નુગરાના સરંગ ભારી રે; નુગરા સંગે નરકે જઇએ, અથવા નર કે નારી રે. (ટેક) નુગરા સંગે વાત કરતાં, લખચેારાસી જાએ રે; ભૂતલ મનસાદેહ ધરીને, ફોગટ ફેરા ખાએ ૨. નુગરા નરને..... નુગરાનું જલપાન કર'તાં, કેાટિ એક ક્રમ તે થાએ રે; માત માત પાડોશી મલીને, નરકકુંડમાં જાએ રે. નુગરા નરને.... નુગરા નરના દોષ ઘણા છે, જે કહીએ તે થાડે થાડા ૨; ભણે નરસીએ : સુણા નારાયણ, નુગરાના અંધ છેડી રે. નુગરા નરને.....
૧૭૪
સતગુરુ મળ્યા, વાલે મારો જનમ સ`ઘાતે; જેણે તેણે મારગડે, હુ* ભુલી ભુટ્ટી જાતી હૈ.
સતગુરુ મલી, વાલે મને પડેલ ઉતારી, વાલે મને
અસનપણામાં વાલા ! મારી ભવસાગરથી જે વાલે મને,
સતગુરુ... સીખાંમણ્ય દીધી; દેખતી રે કીધી.

સતગુરુ....
બુદ્ધિ હુતી ખાલી; બુડતી રે તારી.
સતગુરુ...
મુગતીની માલા, વાલે મારે ઉર પર લીધી (?ઢીષી); અમર એઢાડી, વાલે મને... સાહાગણુ કીધી.
સતગુરુ... નરસૈંયાચ્ચે સ્વાંમી ! વાલે મારો પ્રેમના રે બ્યાસી, મારા વાલા સોંગ રમતાં, હું રંગભેર રાચી રે. સતગુરુ....

૩
ર

Page #295

૧૭૫
સુ ૨ જા
સાંભલ સુઉંદરી ! વાત કહું છું ખરી, જોબનરગના સગ દિન ચાર અત્ય એ સંતે જોની કાચું.
માંન્ય તું માંન્યની ! કાં રે ભુવાં છાં, જિમ્ય રે સરિતા પૂર અત જલ રહે,
ગૌર તનનુ અભીમાંન નવ આંg', એ સુંદર દેહ તે ખેાહ ગ્યણુવી, મદ-મરે તજી, ચિત્ત કેાંમલ રાખવું,
પઉપકાર
ધરવી.
મેાધક પદા
દીન વચન સુણી, હું તુજથી આણુ નરિસહ્યાચે સ્વાંસી
જામ
આઠે
એ વચ'ન ત્રણ તું, શ્રવણ ધરિ કાંસ્યની, છાંડિ અંતર સ, લાજ લેાપી; માલપણુના સનેહ, ત્યાગૃ ચિત્તે કરી, તન મન ધન તું મેહેલ્ય સાંપી.
૧૨
આંતરી,
માંન્ય સાચુ';
છે,
પચ કે વરસમાં સનેહ પૂરા હતા, ખટદશમાં હવે કાં વીસાર્યા', અધુર અમ્રુત રસપાંન પ્રેમે કરી, કર ગ્રહી કાર્ય તુંહ સાર્યા.

પરા
માંન માગી કહું, આ દિન અલેખે; આવે એક સાંમટુ', જે હાય
લેખે
રહુ'
દયા ચિતે ધરી,
નથી
એમ.
ક
૨ અલગી,
ઇચ્છું છું, વલગી.

૧
*
3
૪
ce

Page #296

દ્રૌષ્ણવ વિશેનું પદ
૧૭૬
દુક
જ મૈઈ
ઢુકડુ માહારે,
માહારે હાં ૨ પેલા દુશષ્ટ તણે મંત ક્રૂર, રિજનને
મહારા
હજુર. પીપળ—પાન ના તેડીએ રે, નવ મેાડીએ વડલાડાલ જલને કાંઠે નવ થુકીએ રે, હરે નવ દૈઇએ ગરુને ગાલ
વૈકુ’૪.૧
જીભાએ જુઠુ નવ ખેાલીએ રે, મુખથી નવ કહીએ માર, ચત ચારી નવ કીજીએ રે, જ'મ પરહરીએ પરના૨.

વૈકુઠ...૨

સપત . દેખીને વમેાખીએ રે, ભુખાંને દીજે અન; ભણે નરસીએ ભાવસુ રે, વ્હેવા સાચા વૈશ્નવજન
બૈકુ....૩
વૈકુંઠ... ૪

Page #297

હેને કેઈ. ૧
હેને કેઈ..૨
આત્મચરિતનું પદ
૧૭૭
(રાગ : સેરઠ) હરિ આવા છે નારીને વેસ રે, હેને કઈ નીહાળે રે, સીવ બ્રમા જેનુ ધાંન ધરે છે, તે જોઈ જોઈ દુખડુ બેઉં રે. માતપિતા રે એના મનમાં વીમાસે, કેને એ કાં થકી આવી રે, અચરત સરખુ સોઉને ભાસે, એ તે જલનો લેટે કાંહાંથી લાવી રે. ધાઈ પિતાના તતખણ ઊઠા, એ તે આવા મંદીર જાંણું રે, રતનબાઈ ગુણવાકુલ ફરે છે.
લને મહેતાજી તમે પણ રે.* પુતીને પરમેસર જાણું સભા વચ્ચે આંણી રે, અંતરધાન થએ અલબેલો, એ તે વાતે સગલે જાણું રે. જેજેકાર થઓ જુગ બાધે, હરખ વધે છે હઈઓ ઘણે રે; નરસીઈના સાંમીની સંગ રમતા, એના ચરણકમલમાં રહીએ રે,
હિને કેઈ....૩
હેને કઈ
હેને કે
...૫

Page #298

ગાજે..૧
ગાજે..૨
પ્રકૃતિનું પદ
૧૭૮
[ રાગ : : મલ્હાર ] ગાજે મેઘ બારે બલવંતા, વચ્ચે વચ્ચે વીજ કરે ઝમકાર; હરિએ હેલાં ગવર્ધન ધરી, સાત દિવસ તે છત્રાકાર. કે ઇંદ્ર આહેરાં ઉપર, મહેછવ માટે મઘવા મંન; ગાય – ગોપ – ગોવાલાને રેલે, વેગે વરસવા મેકલ્યા ઘન; મુસલધાર વરસે જલ ઉપર, ધરતી માંહે પડે ધડધડી; તૂટી ટૂંક પડે પર્વતનાં, વહે વૃક્ષ સમૂલાં જડી?). ધ્રુજે ધરણ, કાયર નર કંપે, દશ દિશ દીસે ઘોર અંધાર; હરિએ હેલાં ગોવર્ધન પરીઓ, ગોકુલ વતે જયજયકાર. પાણી પણ દીસે પ્રથવી, જલ જમુના થલ એક ભર્યા ધન રે કૃષ્ણ લીલા અવતારી, ઇંદ્રાદિકનાં માંને રે હર્યો. અતલીબલ પ્રાક્રમી પુરંદર, દેખી આવીને લાગે પાય; નરસિહા સ્વામી ગાય ગુણ, ગોપી આનંદ ઉલટ અંગ ને માય.
ગાજે...૩
ગાજે..૪
ગાજે...૫
ગાજે...૬

Page #299

પ્રકીર્ણ પદ (૧૭૮-૧૮૩)
૧૭૯ એક દિન યમુના તટ આવી રે, કૌતક કીધું કાનુડે સરવે ગોપી લાવી રે, બે ગ્વાલન સાથે સૂતા રે, ,, ત્યાં ખબર લેઈને પિતા રે, ,, કે સખિયું ક્યાંથી આવ્યાં રે, ,, કાંઈ વાલાની સુધ લાવ્યા રે, તેણે વાત કરી વિસ્તારી રે, , સુણી ન્યાલ થઈ વ્રજનારી રે, , કહ્યું એક સખીને છાનું રે, , લઈ જાવે તમારું બાનું રે, , સુણું ગોપી આનંદ પામી રે, ,, તેડ્યા નરસી મેતાને સ્વામી રે, ,,
૧૮૦
[ રાગ : ગૌડી ] ગઉ દેહની હમ જોતાં ગૌ દેહની હમ જોતાં, મેંઘા શું થાઓ છે રે મેહનજી! જે આવડે [ ગૌ] દેહતાં. વેદ પઠતાં પંડીત ભુલા, ચકાં પાનાં ને પથાં નરસિઆચે સ્વામી ચતુર સીરામણિ, સેહાંના દીસે છે ગા [ દેહ ]તાં.
ગઉ....૧
ગઉ.૨
છોકરી ! તારા મનમેં, તું તે સ્યું જાણે છે રે, બેલતાં ચાલતાં વાતમાં, તું અહંકાર અણે છે રે. તું તે..૧

Page #300

નરસિંહ મહેતા કૃત
તુકારે દે બેલીએ તેને, જે હોયે પિતા તેલ, મુજ આગે તું સ્યા લેખામાં, બેલ છે આવા બેલ. તું તે..૨ મારો મહિમા બ્રહ્મા જાણે, શિવ જાણે કે શેશ, નારદ ને સનકાદિક જાણે, ઈદ્ર જાણે કાંઈક લેશ તું તે...૩ હુ સારુ તે તપ કરે કે, જેગી વનમેં જાય, આસનથી ઉઠે નહીં, નિત બેઠા ધ્યાન લગાય. તું તે...૪ તુજને ક્યાંથી સુદની છોડી, બે લવું મારે સાથ, નરસી મેતો કે તે ભરી અલી ! આભ સંગાથે બાથ, તું તે....૫
૧૮૨ રે છે તું જેવા બહુ ગોકુલમેં,
ચું જાણીને બેલે બલમેં. હમણાં ગાયું થઈ ઘેર તારે, તારે તું અમને રેકે આરે. નો'તી નંદ તણે ઘેર છાલી. કરતે ઘેર મારે ગવાલી. તેનો પુત્ર થયે તુ આવે, બાંધ્યે રાજા સામે દાવે. દાસ નરસી કે સારું થાયે, ગાયું રાજાને ઘેર જાયે.
૧૮૬
[ રાગ સિંધૂડો ! સારમાં સાર અવતાર અબળા તણે, જેણે બળે બલભદ્રવીર રીઝે પુરુષ પુરુષારથે શું સરે હે સખી, જેણે નવ નાહોનું કાજ સીઝે. સારામાં સાર...૧ જી રે મુકિત પર્યત તે પ્રાપ્તિ પુરશને, જે કઈ સેવકભાવ રાખે; રસભરુ રૂસણુ નાથ નહેારા કરે, ન કેઈ નાર અવતાર પાખે. સારમાં સાર૩

Page #301

પ્રકરણ પદે
જી રે ઇંદ્રને ઈશ અજ અમર જે મહામુનિ, મહીપતિ ગેપિકા ચરણ વંદે, અધિક અધિકાર તે અધમ કરી લેખ, નરપણું નવ રૂચે, આપ નિંદે. સારામાં સાર...૩ જી રે સ્વપ્ન સાચું કરે, શૈલધર શામળા !, પ્રણમું પ્રાણપતિ પાણ જેડી, પળચવું પશુ જેમ પઠે લાગુ કરે, એમ ફરે નરસઈઓ નાથ ત્રોડી. સારામાં સાર...૪

Page #302

Page #303

जैन कर्म सिद्धान्तः बन्धन और मुक्ति की प्रक्रिया सागरमल जैन
जैन यक्षी अजिता (या रोहिणी ) का प्रतिमानिरूपण
मारुतिनन्दन प्रसाद तिवारी
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OUR LATEST PUBLICATIONS 45/ 69. Treasures of Jain Bhandaras Ed, Dr, U.P. Shah (1978) 250170. Proceedings of the seminar on Prakrit Studies (1978) 401Ed. by Dr. K. R, Chandra (1978) 71. Catalogue of Gujarati Manuscripts : Muniraja Sri Punyavijayaji's 120/= Collection, complied by Muniraja Punyavijayaji, Ed. by Dr. Vidhatri Vora (1978) 72. Samdhikavya-Samuccaya (Collection of 20 Apabhramsa Samdhikavyas) Ed. by Dr. R. M. Shah (1980) 73. The Inscriptions of Imperial Paramaras Ed. by Dr. A, C. Mittal (1979) 74. Wall Paintings of Rajasthan by Y. K, Shukla. (1980) pp. 31+2 66/ Colour Plates, 4 Line Drawings and 48 Black and White Plates 75. Samkhitta Taramgavai kaha (Tramgalola) 307Edited with Gujarati Translation by Dr. H. C. Bhayani (1979) 76. Jaina Darian ka Adikal (Hindi) by Pt. Da sukh Malvania(1980) 78777. Silopadesamala-Balavabudha by Merusundara Gani, 107Ed. by Dr, H, C. Bhayani, Dr. R. M. Shah and Gitabahen (1980) 78. Some Aspects of Indian Culture by Dr. A. S. Gopani (1981) 487 79. The Central Philosophy of Jainism (Anekanta vada) by Bimal 16/ Krishna Matilal (1981) 80. The Ramayana In Pahari Miniature Paintings by Jutta 108/ Jain-Neubauer (1981) 81. Padmasundara's Jnanacandrodayanataka Ed. Nagin J. Shah (1981) 82. A Study of Civakacintamani by R. Vijayalakshmy (1981) 83, Appcintment with Kalidasa by Prof. G, K. Bhat (1982) 30/84. Studies in Indian Philosophy (Pt. Sukhlalji Memorial Vol.) (1981) 60/-- 85. Facets of Jaina Religiousness in Comparative Light by 181Dr. L. M. Joshi (1981) *Aspects of Jaina Art and Architecture : Editors Dr. U. P. Shah 1507 and Prof. M. A. Dhaky. (1976) [Sole distributor) *Mahavira and his Teachings Ed, Dr. A. N. Upadhye 50/*Sambodhi (The Journal of the L.:D. Institute of Indology) 320/ Vol, I-VIII (Rs. 40/- per volume) 81 541