Sambodhi 1972 Vol 01

Author(s): Dalsukh Malvania, H C Bhayani
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520751/1

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26 672 SAMBODHI TATUT DE (QUARTERLY) VOL. 1 APRIL 1972 NO. 1 EDITORS DALSUKH MALVANIA DR. H. C. BHAYANI L. D. INSTITUTE OF INDOLOGY AHMEDABAD 9

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ONTENTS pa he Poblem of a Historical Evaluation of the ncient Jaina Texts K Dixit Some Specimens of Carcari .C Bhayani abda vilasa or Parasinamamala of Mantri Saluksa ad Mahipakosa of Saciva Mahipa . P. Shah resh Light on Bhama ha viyarana M Kulkarni the Vestibules of Karma . G. Kalghatgi thala nibhAgIrI ane oDhA jAma tathA urvazI-purUravA kara caMdaravAkara garacada-raiu sIyAharaNa-rAsu cU mAyANI

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OF THE ANCIENT JAINA TEXTS tone THE PROBLEM OF A HISTORICAL EVALUATION . 266.72 K. Dixit il TRUPIT A historical evaluation of the contents of the ancient Jame task beset with several serlous difficulties The most formidablo of them 18 the circumstance that we do not know for certain as to which of the Jaina texts - or text-portions are really ancient Of courae, this particular difficulty is not peculiar to the students of Jain literature, for even in the case of an allegedly ancient Brabmanical or Buddhist text the question almost 10 variably arises as to whether it is really ancient Hence it is one of the foremost tasks of the students of ancient Indian literature - Brahmanical Buddhist or Jaina - to decide upon the criteria for determining the chronology of the texts sought to be evaluated In this connection we may speak of an external criterion and an internal one By external criterion la to be understood a specific reference made to the text under study by a documentarcheological or literary - that is of known date, by internal criterion is to be understood the specific character exhibited by this text - in respect of its form or in that of its contents The two need separate treatment Since hardly any ancient Indian toxt is of known date there is littlo question of such a text referring to the text under study, at the most wo Can say that a text making reference to another one must be posterior to the latter - this on the supposition that the roforence in question is not a later interpolation (which it well might be) Again, it is in extremely raro cages that an archeological document makes reference to a literary text An Agokan ingcription mentioning certain Buddhist scriptural texts is one such case and the same might in a way be said of a certain ancient sculptured relief- of known dato - depicting certain Jataka atories But on the whole, this class of evidence just like the class just mentioned is virtually unavailable to a student of ancient Indian literature Thug deprived of what we have called the external criterion for determining chronology he is bound to fall back upon what we have called the internal auch criterion And it is to this latter that we turn next Light might be thrown on the chronology of a text by the stady of its form as also by that of its contents - these being two aspects of the application of the internal criterion for determining chronology By the form of a text are to be understood ita language, its metre, its style of composit104

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and 10 the case of each it is often possible to distinguish between 20 & type and a recent one However, an allegedly ancient text might an archaic linguistic usage, metre or style of composition not becaus really ancient but because a recent author has deliborately resorted to aigms Similarly, an allegedly ancient text might be free from all dist recent linguistic usage, metre or style of composition not because it 13 ancient but because a recent author has deliberately refrained from reg to novelties It is only in case a text exhibits a distinctly recent lin; usage, metre or style of composition that we can legitimately conclud it is not ancient-again on the supposition that the passage in quest not a later interpolation (which it well might be) All this means the criterion of contents 18 the most crucial criterion for determining the ch logy of an ancient Indian text But the application of this criterio its own difficulties and pitfalls For in order to be able to apply the rion in question we must be in a position to aay that certain prol were raised in an ancient period but not in a recent one-or vice-vers how are we to say this except as a result of studying those very texts we intend to subject to the criterion in question ? In a word, w here apparently faced with a vicious circle The way out is to broader source of information and enhance our power of generalization Thi broadest possible consulting of sources and a boldest possible drawli generalizations should form the basis of oor aaying as to what prob were or were not raised in an ancient (or in a recent) period These preliminary remarks should facilitate one's comprehensior the historical evaluation of the contents of the ancient Jains texts that foll Jainism - liko Buddhism - 19 8 monastic religious sect - that is, a sec wbich intellectual and moral leadership is exercised by monks By wa contrast we may think of Brahmanism which is a religious sect where 1 llectual and moral leadership is exercised by the Brahmins usually lea the life of a householder Now in broad outlines this seo ms to be situation since long and one tends to think that in all details such it been since ever In point of fact, however, the whole thing is the re of a long course of evolution and it is this course of evolution that dese serious study in a correct perspective Taking Brahmanism first, it is obvious that it took its rise within fold of the Vedic Aryan society wbich, to begin with, was unfamiliar the fourfold division into Brahmins (correctly Brahmanas), Ksatriyaa, Var And Sidras, a division--the celebrated Varna aystem--which is the hall-m of Brahmanism and which was resorted to under certain specific conditio For it so happened that when the Vedic Aryans - for long confined within

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Historical Evaluation of the Ancient Jaina Texts borders of the present day Punjab and North-West Frontier regiona-started the process of an all-round colonization' of the country, they - at least, a good number of them - felt the need for having a hereditory warrior class and a hereditory working class - the working class being again subdivided into an upper grade and a lower grade It was the hereditory warrior class which was designated K salriya', the hereditory upper-grade working class which was designated 'Varsya' and the hereditory lower-grade working class which was designated 'Sudra' Besides there stood the hereditory priest class des gnated Brahmin' Much of all this information concerning the social conditions then prevalent we glean from the texts called Brahmanas' which the Brahmins thought fit to compose 10 order to serve their priestly purposes However, Brahmanism was not merely - not even primarily- & social phenomenon For essentially and primarily it was a religious phenomenon Cert. ainly, in the subsequent course of listory perhaps nowhere and never were the provisions of Varna system followed in all strictness But the theological twists and turns which the Brabm108 took care to introduce now and then profoundly inquenced the religious scene of the country Thus the Vedic Aryans were accustomed to offer collective worship by means of simplo ceremonies to their numerous gods - mostly the personfications of natural powers But the Brahmana texts recommend the performance of highly complicated rituals at which the Brahmin officiates and which the client pays for Later on these rituals were treated in a rather summary but systematic fashion in the texts called "Srautasultas' but it was at the same time realised that the period of these rituals was well-nigh over And so were composed the texts called 'Ghyasitras' which recommend numerous but simple rituals ostly needing the assistance of a Brahmin priest and to be performed by a householder on all sorts of occasions arising in his everyday life, All this multifarlous striving in the fields social and reilgtous was in the air when Buddha appeared on the scene Buddha was born and he had his movements in the midst of Aryan colonizers Of course, the Aryan colonies always included some amount of abonglnal population and may be 10 Buddha's time and in his part of the country this amount was comparatively larger Again, the Aryan colonizers were more or less lax in following the precepts of Brahmanism and may be in Buddha's time and lo his part of the country they were particularly so lax. In any case, Buddha thought it possible to substitute for the Brahmapical social ideal one of his own conception and to lay the foundation of a community that subscribed to the latter Thus in the eyes of Buddha the ideal man wag not one who led the regular life of an Ideal Brahmin, Ksatriya, Varsya or Sudra but one who took leave of the regular society and led the austere life of an ideal monk It is difficult to fathom Buddha's motive in its entirety but he seems to have been overwh

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* K Dixit elmed by the lust for worldly well-being that be found raging all aro himself in society So in order to mitigate the evil he thought it necessar place before society an ideal group of persons- the monks of his persua: who renounced all anch lust and reduced their worldly requirements to minimum But just like Brahmanism Buddhism too was not merely - even primarily a social phenomenon, for essentially and primarily it was a religious phenomenon Perhaps with the aboriginal population Buddha's part of the country it was an article of faith that one who le the life of self imposed austerities comes to develop miraculous powersother words, it had faith in what we nowadays call 'Shamanism' In case, Buddha seems to have been of that view Again, with the aborig population of Buddha's part of the country the transmigration of soul perhaps another article of faith In any case, Buddha did believe that s transmigration takes place there this notwithstanding his nominal opp tion to the doctrine of soul So when Buddha declared that man's summ bonum was to put an end to his transmigratory cycle - positively speaki to attain mroana - and that the sole possible means for it was the life an ideal monk he was in effect saying that the pursuit of an ideal generates in a monk the miraculous power to put an end to his transi gratory cycle Thus viewed Buddha's central religious preaching seems be a natural evolution out of the preceding thought-current available him just as the theological tenets of contemporary Brahmanism were natural evolution out of the preceding thought-current of the Vedic Arya One point of similarity between the two needs emphasis The entire rit of the Brahmin was a more or less powerful act of miracle while the do rine of the transmigration of soul he came to embrace at a fairly late di and in a rather stray fashion. As a result, one has the impression as Brahmanism is all miracle-working and its faith in the doctrine of trai migrtion but skin-deep On the other hand, the Buddhist texts speak much of transmigration and murvana while they are comparatively retice about the miracle-working capacity of a monk As a result, one has t impression as if Buddhism is all mreang-working and its bellef in mirac but negligible As a matter of fact it took no time for Brahmanism develop a very deep faith in the doctrine of the transmigration of so and for Buddhism to develop a very deep interest in the problem of miracl working This takes us to the next stage in the evolution of Indian religio thought - The aboriginal population of India, in the midst of which the Ved Aryans had spread out their "colonica', seems to have had some traditi of a polytheistic idol-worship Brahmanism now took up the thread a began to develop a cult of idol-worship based on a polytheistically tig monotheism. Thus various theological sects each believing in the efficacy

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Historical Evaluation of the Ancient Jaina Texts Idol-worship and each advocating the necessity of an attitude of devotion (bhakti) towards its chosen deity which it declared to be the supreme deitycame to be fostered within the fold of Brahmanism All these sects held out to their adherents the prospect of a success in worldly endeavours now and a cessation of the transmigratory cycle in the end The same sort of influences affected Buddhism as well But in this case idol-worship took a rather round-about course Of course, nothing new was offered to the monk, but the lay-follower of Buddhism was asked to pay homage to the stupas (funerary mounds) erected in the honour of holy men Thus devoted circumambulation around a Buddhist stupa promised to a Buddhistic layman almost all that devoted worship of a Brahmanical temple deity did to a Brahmanist layman For some time Buddha in an anthropomorphic form was not made an object cf worship - so much so that even sculptured reliefs decorating the exterior of a stupa would, in the case of need (as for example, while depicting a Jataka story), represent Buddha in a symbolic rather than anthropomorphic form But soon enough the attitude was given up and the anthropomorphic representation of Buddha began to find place in Buddhist sanctuaries Nay, the Buddhist now chose to worship not one Buddha but the numerous ones - and the numerous Bodhisattvas in addition Thus the second stage in the evolution of Indian religious thought culminates in a phase where almost the only thing that distinguishes a Buddhist layman from his Brahmanist counterpart was the name of the deity worshipped But that was after all a minor distinction, and in that respect even one Buddhist layman might differ from another or one Brahmanist layman from another By the end of this stage Brahmanism received its classical form - its standard 'Puranic' form and it is in this form that it made all subsequent progress which was fairly considerable For Buddhism inspite of - perhaps because of-ita Tantric innovations (which too had their Brahmanical counterpart but of meagre significance) was now definitely on the downgrade and gradually left the scene for good 5 - - It is in this background that we have to assess the vicissitudes undergone by Jainism as a religious sect An enquiry into the origins of Jainism 18 a matter of much controversy and much idle speculation and let us not enter into that Instead it will be profitable to establish on the basis of the tangible evidence at hand a relative chronology of the several trends exhibited by the corpus of Jaina tenets as we find it today Thus certain texts throw significant light on the motives that impel one to embrace monkhood The problem is of the first-rate importance and was in a way touched upon also by the Buddhists when they, in the course of elaborating the fourfold Noble Truths, contended that desire is at the root of all one's worldly miseries the implication being that a monk's life of destrelessness is an

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K Dixit effective antidote to the root-cause of these miseries But the Budd explication of what constitutes the life of worldly desires 18 rather jej By way of contrast the Jaina texta in question undertake a vigorous der ciation of the life of hankering after worldly possessions and of indulg in violence for the sake of the same One is left in no doubt that on Jaina's showing one embraced monkhood in order to protest against spirit of acqutsitiveness and the consequent spirit of violence that were mal themselves felt in certain social circles in the times of Buddba and Me Vira A casual reader - or even a thorough reader - of the Jaina texts m Dot be convinced of all this at once It will, therefore, be advisable to that a most clear-cut instance of the type of texts we have 10 mind oco in the Acarangasutra i Srutaskandha Il Adhyayana entitled Lokaviy iya very fact that this tread of argumentation is almost or entirely absent the other Jaina texts argues the antiquity of the Acaranga passages inqi tion Of course, the trend was not forgotten in toto For in these passi acquisitiveness or pargraha and violence or hushsa (for which a more u Jalna term 18 arambha) turo out to be the root-evils and the tradition o treating them persisted for some time (it is evident at other places in Acaranga I Srutaskandha aa also in the Sutrakrlanga I Srutaskandha) . Is particularly noteworthy because parigrcha and arambha are just two the five avralas (1 e jodisciplines) so well kaown to the students of Jaldi The idea is that the texta dilaling on the 5 avralas as root-evils must chronologically posterior to the just mentioned texts dilating on parigi and hinsa, nay, even after the doctrine of 5 ayratas gained full curre parigraha and arambha were attributed a special significance by being 10 porated in the lat (rather in one of the two lists) of 5 kriyas (1 e evil deer Tho items of the list are arambha, parigi aha, naya, apratyakhyana, and mit dardana Of course, the list as such has not played much important role the evolution of Jaina thought but it 18 this list that stands at the basi tho celebrated scheme of the gunasthanas as will become obvious if the ditional order of items 19 changed into the following mith, adarsana, ar yakhyana, parlgroha, Arambha, maya Then it can be seen that the sway the first itom extends upto the 3rd gunasthana, that of the second upto 4th, that of the third upto the 5th, that of the fourth upto the 7th, of the fifth upto the 10th Thus the trend of argumentation exhibitec the above Acaranga passages led to the formulation of the doctrinec apratas on the one hand and to that of the 14 gungsthanas on the ot However, the latter doctrine also incorporates the tradition of several o tronds and let us consider them in turn The Jainas had & tradition of cataloguing evil mental state and mitting that an ideal monk is free from them all In the course of 1

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Historical Evaluation of the Ancient Jaina Texts four of these got crystallized under the technical general damo kasaya , they were krodha (anger), mana (pride), maya (deceit), lobha (greed) In the gunasthana scheme it is conceded that even a monk - nay, even a monk who has given up violence altogether - might still be under the sway of kasayas Thus the monk free from all violence has to traverse the gunasthanas 8th to 10th just with a view to getting rid of kasayas Similarly, the Jalaas had a tradition of submitting that an ideal monk attains moksa at the end of his life But in the course of time it began to be added that a monk who is to attain moksa at the end of his life first becomes omoisclont and that he does so as soon as he gets eld of kasqyas Thus the monk who has got rid of kasa yas in the 10th gunasthana automatically reaches the 12th and becomes omniscient Again, since long had the Jainas been speaking of one under the away of kasayas and one not under their sway But in the course of time a distinc. tlon began to be made between one who has got rid of kasayas (calledksinakasaya) and one who has only suppressed them (called upadantakasaya) And It was argued that it is only a ksinakasaya who becomes omniscient and attains molsa in this life while an upalantakasaya must fall back to a stato vitiated by kasayas before he can make progress agaio Thus one who only suppresses kasdgas in the 10th gunasthang reaches the 11th and then falle back to a lower ono Lastly, since long had the Jainas been speaking of an ideal monk attelning moksa but they did not conceive of somo ritual accessarily preceding moksa Of course, it was lald down that a monk who, owing to old age or the like, 18 not in a position to strictly follow the rules of monasticism ought to pat an end to his life (presumably in order to ensure his moksa) but that is a different matter However, in the course of time it began to be maintained that a brief-duration ritual in the form of entering a state of absoluto motionlessness must necessarily precede the attainment of moksa It is this ritual - called sallonkarana - that is to be performed in the 13th gunasthana while moksa itself 18 attained in the 14th The full-fledged scheme of 14 gunasthanas is to be found in cortalo texts which prove to be of rather late origin precisely becauso a good gumber of other texts, even wblle containing what might be called steps immediately preparatory to this scheme (some of the most important of these steps being hinted in the abovo paragraphs), are innocent of this scheme itself A veritable Harpalne of the latter type of texts is the Bhagavansutra But the texts collected in the Acarangasutra 1 Srutaskandha and Salraktangasutra I Srutaskandha (also certain texts collected in the Ultaradhyayarasitta) are representative of an oven earlier stage - Dot only because they are in Docent of the so many technical

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& DIXIE terms which even the Bhagayatisatra employs (to say nothing of the late texts with finally standardized technical terms) but also because of the general outlook on life This leads us to consider a question of very gre. importance Today it soems obvious that the Jaina church should be divided int a class of monks and a class of laymen But thero exist certain Jaina tex to which auch division is perhaps foreign There we find the class of monk confronted with the reguler society as a whole - uodivided into a Jaida secto and a non-Jaina one. The reason 18 that in the time of Buddha and Mahz vira and in their part of the country the regular society collectively stoc host to the mass of mooks grouped in the form of numerous fraternitie Not that every monk was welcome at every door For people had the fre dom to make choice of the particular monks they would like to entertain as also the freedom to refuse alms to a monk But they were not groupe to the form of various lay communities owing allegiance to the respectiv fraternities of monks All this of course means that the society in questic felt the necessity of having in its midst so many monks - and the monks ko many persuasions The necessity was substantially of the same kind was served by the Brahmin - that is to say, essentially and primarily a relig ous kind of necessity Nay, the Brahmin himself was present by the si of these monastic fraternities and found himself almost in the same situ tion as the latter - that ia to say, be too was without a fixed cllentele Hc and why the situation took such a turn is a matter for investigation b that it did so seems certain Gradually, however, the regular society did g divided into several lay com muities owing allegiance to Buddhism, Jainisi Brahmanism eta But since most of the Jaina texts now before us postde this roligious subdivision of the sociely an impression is created as if the was no period when the Jaina monks catered to the needs of the socie as a whole rather than to those of a subsector thereof But a careful rea ing of the Acaranga I Srutaskandha, Sztrakytanga 1 Srutaskandha (as also certa chapters of the Ultaradhyayana) should convince one that these texts do I envisage the possibility of there belog a fixed community of Jaina laymi Here contrast is constantly made belween the life of a monk and that a householder - the former something to be commended, the latter somethi to be condemned In this connection the later texts make use of the cruc conoept of Sraddha (abbreviation for samyat-Sraddha and havlog for ita ayi nyms samyaktva, san yagdisti, samyagdarsana) and they tell us that what di ingqishos a Jalna householder from the non-Jajaa is that sraddha 19 presi in the former and absent in the latter Again, these texts detail a num of ath1co-religious performances which a particular Jaina householder und takes and which set him midway between an ordinary Jalga householt

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Historical Evaluation of the Ancient Jalna Texts and a Jaina monk Thus we hear of the twelve vows of a pious Jalna householder and of his eleven pratimas In the gunasthana scheme a kind of faal 8eal was put on the whole development and we are told that the gunasthanas 1st to 3rd cover a person in whom even fraddha 18 absent, the 4th a householder in whom fraddha is prosent but who undertakes no additional plous performances, the fifth a householder in whom Sraddha is prosent and who undertakes additional pious performances, (the gunasthanas 6th onward cover the various grades of Jaina monks but we need not consider them in the present context) of all this multifarious preoccupation with the problems of Jaloa laity there is virtually no bint in texts like the Acaranga I Srutaskandha and Satrakrianga I Srutaskandha and the conclusion is inescapable that they represent the earlier stratum of Jaina ethical speculation just as the texts delineating the gunasthana scheme in its final form represent its latest stratum , (a large mass of texts representing the intermediate stratum is to be found in the Bhagvatisatra - but a good number elsewhere too). In terms of absolute chronology the society's subdivisions into numerous lay communities was complete nearabout the time of Asoka whose policy of religious tolerance was partly a cause and partly a consequence of this subdivision For Asoka must have seen that the mutual antipathies of the riyal religious sects had the sinlster possibility of marring the peace of society, on the other hand, each such sect, as a result of being allowed the freedom of pro. pagation, must have found itself in a position to contribute its maximum to the wellbeing of society and thus wia permanent adherents In any case, ever since the problem of laity entered the thought-horizon of Jaina authors ever new themes and motifs began to oharacterize Jaina texts For example, texts like Acaranga I Srutaskandha and Sutrakrtanga Srutaskandha assured to a monk the prospect of moksa and nothing but moksa But a householder, however plous, could not be promised moksa and yet he had to be promised something He was promised the life of a god in some heavenly region , and then it was added that a monk too, in case bis conduct was somewhat short of the ideal, would be next born as some similar god This la its turn led on the one hand to an elaboration of a complete cosmography 10corporating an account of numerous beavenly regions and on the other hand to a composition of legends describing how a ploua householder or a Jaina monk came to earn the title to be born in ono of these heavenly regions This, for oxample, is the motif present in a large majority of legonds that have been collected in the Bhagavallstra Again, thus was given an impetus to the composition of independent stories narrating how a character received . in this life or 10 another - the good or bad consequence of his corrosponding deeds Thus, for example, came into existence the stories collected in the Jhardharmakatha, Upasakadaba, Antakyddaba, Anuttaraupapatikadaka, Vipakasrula, Nirayavalika - texts which stand at the head of that mighty and magnificent stream of story-literature produced by the later Jalne authors Particularly

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10 KK Dixit noteworthy in this connection are the biographies - often covering numero rebirths - devoted to what came to be designated maha purusas or falak purusas (i e mighty personages) These include 24 fundamental preache of Jelnism (Tirthankara), 12 universal monarchs (Cakravartin), 9 triplets of ty heros (Baladeva and Vasudeda) and one villain (Pratiasudeva) Lastly, the nec was felt for providing the Jaina householder with a daily short-service, ac it was promptly devised To judge from the Bhagavatsutra, samayika w its name and it consisted of a temporary mental renunciation of all one worldly possession (though we can form no idea of the procedure in all i details) But later on, this service came to consist of six steps - VIZ Samayik Gatiroinfatislava, Vandana, Pratikramana, Kayotsarga and Pratyakhyana, ster collectively called Avakyaka and described in the Apabyakesulra Curious the texts seldom touch upon the question of slapa-worship, Idol-worship or th like, though the archeological evidence definitely proves the prevalence these modes of worship among the Jalgas of the post-Asokan period TH Bhagavatisulra describes samayika as being performed in a place calle framanopatraya and it gives the same pausadhatala to the place where th householders undertake special pious performancos - but neither of these seen to be the description for a stupa-house or a temple It is in connectio with the cosinographical accounts that the texts speak of stapa, caitya-orky and jinalaya - as adoroing the various heaventy regions; nay, in this conte we even hear of the bones-of-a-Jina placed in a basket and hanging froi & peg attached to a column From this we might suppose that the authoi of these texts wore having in mind the fact that the contemporary Jain community was used to the worship of stupas, cautya-orksas, finalayas, th bones-of-a-Jina In any case, these modes of worship were specificall suited to the requirements of a householder and a monk had little use fo them That is to say, the impetus in this direction too came from the circu mstance that a body of householders had come to form a part and parc of the Jaina Church The developments detalled just above had their repercussion in tho vei organisational method of the Jaina monks themselves, and that deserves close study In the time of Buddha and Mahavira and in their part of th country the cult of wandering ascetias had become a recognized institution Most emphatically 18 it indicated by Asoka's bracketing together of Sramani and Brahmanas as the two types of holy men flourishing in his regime Fc Sramanas are none else but these wandering ascetics and their being place on a par with the Brahmins 19 significant Of course, the Sramanas ha their own differences on questions of theory and practice but that follov from the very fact of their being grouped in the form of various sects an is a different matter, In any case, the Jainas were one of the various Sramai sects of those times and they are the only such sect to suryive in the cour

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Historical Evaluation of the Ancient Jaina Texts try upto this day There exist bumber of Jaina texts that deal with the organisational principles of the life of an authorized monk The picture of such life that emerges from the texts like Acaranga I Srutaskandha and Sutra kylanga I Srutaskandha is one of extreme austerity Thus while incidentally mentioning where a monk was to be found seated the Acaranga speaks of the cremation-ground, the root of a tree, the open sky, the quarter of a potter - the implication being that these are the only places where a monk might seek shelter By way of contrast we might refer to the texts which lay down as to what type of quarters with a householder a monk might accept for residence and what type of them he might not But even these texts do not speak of a regular quarter specially meant for the residence of monks - not because residence in such quarters posed do problems but because it involved the violation of certain scruples Thus one of the most conspicuous injunctions addressed to a monk is that he should not accept food, clothibg, begging-bowl etc that are specially prepared for his sake And this means that he could also not seek residence in quarters that are specially prepared for his sake But archeological evidences definitely prove that since pretty old days had the Jaina monka been putting up in quarters specially built for themselves We have already referred to the Bhagavattsutra mentioning framano pasraya and though the context does not decisively settle the issue the probability is that we are here bearing of the residence-quarters shelterlog the monks Another evidence is also perhaps relevent in this connection In the narrations of the Bhagavali sutra Mahavira 18 usually described as takiog shelter in a caltya and the point seems to be that the Lord was in the practice of putting up at a public place but at a public place that was not specially built for his sake Be that as it may, Janda monaataries came into existence in all those parts of the country where Jainism found support-just as Buddhist monastries came into existence in those where Buddhism did A monastry was usually equipped with a shrine so that the laity would then have an occasion both to listen to the sormon and to worship the derty, (the Bhagavalisutra accounts of Mahavira's public addresses are perhaps but a prototype for this state of affairs) In later times, when constructing independent temples became a widespread practice the residence-quarters of the monks began to be built in atter separation from the temples Thus a historical study of the Jaina monk's quarter of residence is bound to throw interesting light on the ideal envisaged for him by his spiritual guides For the rest we have got special texts devoted to the problems of monastic life and they are broadly divislble into two sets viz (1) the problems of how a monk has to behave in relation to his fellowmonksto those senior to bim lo status, to those equal to him, to those junior to him, (11) the problems of how & mook has to behave in relation to the laity - wbile begging for food, clothing, shelter and the like. For the former

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KK Dixte set of problems the basic text is the Vyayaharasitra, for the later the Kalpa. sutra (plus the Parqusanakalpa of the Dasasrutaskandha), the Nisuhasutra is a somewhat peculiar sort of compilation of both the sets of problems The problem of explation - to be incurred in the case of the ylolation of monastio rules - is also dealt with in the Vyavaharasutra (while the peculiarity of the Nisithasutra lies in its arranging its entire material in terms of the explations to be thus incurred) The problems of begging etc discussed in the Kalpasutra etc are not arranged in a systematic fashion but a definite step in that direction is taken in the Acaranga II Srutaskandha I and II Adhyayanas For in this text ne stand almost on the doorstep of the celebrated doctrine of 5 samitis The 5 samitls are the five items 10 connection with which a monk has to be well vigilant , they are (1) esana (begging) (11) Trya (movement) (111) bhasa (speech) (iv) adana-niksepa (receiving things and put. ting them at a proper place) and (v) ufcara prastava (evacuation and urination) As can be seen, the first three items are of the utmost importance and they receive a considerable detailed and systematic treatment in the text in question, the fifth item too is here touched upon but the fourth is conspicuous by its absence) This proves that the text, though fairly late, was yet earlier than the dato of the formulation of this doctrine of samitis Lastly wo may take note of the popular-didactic texts devoted to these very problems which are the province of the texts like Kolpa, Vyavahara, Nisitha The most important text belongiog to this class 13 the Dasaugikatikasutra but certain chapters of the Uttaradhyayanasitra and many of the Dasasrutaskandha fall in the game category In the end one more facet of the activity of the Jaina authors deserves consideration It pertains to their preoccupation with ontological problems In a text like Acaranga I Srutaskandha the one ontological tenet to be treated at length 18 the noteworthy Jalna doctrine of the six classes of living beings According to this doctrine, a living being might belong to one of tho following six classes : earth, water, fire, air, plant, mobile being Of co. urge, the text also throughout presupposes that a soul resides in a body which it leaves at the time of death in order to take up another one - unlegg it has caracd the right of moksa But the ontological queries connected with this whole doctrine are not raised here In fact, it is in the Bhagaoatisutra that most of the fundamental tenets of Jaina ontology aro mentioned at a greater or lesser length Considering the logic of the situation it appears probable that the following has been the order of these tenets engaging the attention of the theoreticlans (1) the nature of soul (ii) the nature of body (ii) the nature of matter in geporal

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Historical Evaluation of the Ancient Jaina Texts (iv) the nature of akala, dharma, adharma (v) the nature of kala 13 Thus we have arrived at four viewpoints for tracing the historical evaluation of the contents of Jalna texts viz (1) the viewpoint of a systematic treatment of ethical problems (i) the viewpoint of a reference to the problems pertaining to laity (1) the viewpoint of an elaboration of the rules of monastic life (IV) the viewpoint of a full-fledged treatment of ontological problems Additional clues for determining the chronology of Jaina texts are provided by a consideration of their form- that is, their style of composition, their metre, their language As for style of composition, the earlier Jaina texts seem to have been of the form of ethical exhortation such as we find in the Aaranga I Srutaskandha, Sutrakrtanga I Srutaskandha, Dasavakalika and Uttaradhyapana The Uttaradhyayana also contains stories and parables which too seem to be rather old as is to be judged from an assessment of their contents A new form of composition 18 introduced in the Dasasrutaskandha viz a number-wise cataloguing of entities, a form whose classic efflorescence is to be seen in the Sthanangasatra and Samavayangastra which, however, contain material from all ages This was a form of composition suited to the most elementary level of theorization, but a more advanced such form appears in the Bhagavansulra where a question 15 posed, an answer to it is proposed and the reason stated for the same Really speaking, what we have here is the seed-form of the later commentary literature where too the reasoned statements are made in support of a theory under consideration Then there are texts which contain pure descriptive accounts such as the Acaranga 1 Srutaskandha ballad in praise of Mahavira and the portions of Juabhigamasaira and Jambudvipaprajhapti which seek to work out an elaborate cosmographic scheme Sometimes theoretical matters too appear under the form of a descriptive account and a classic such case is the Prajnapanasutra But this text is to be viewed rather after the manner of the Brahma nical sutra texts to which a commentary was to be provided orally That is to say, in the Prajnapanasutra theses are put forward but reasons in support of them are left to be understood with the help of a commentary-oral or otherwise As for metre, the Jaina texts are composed in Prakrit and the standard Prakrit metre is Arya But Arya is a later metre and we have before us texts which contain no Arya simply because they belong to an age when Arya was yet to make its appearance Thus the Acaranga I Srulaskandha

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14 K K Dixit contains (besides prose) Anustubh, Trislubh, Jagan, old Arya, the Sutakrtanga Srutaskandha contains Anustubh, old Valtaliya, Vautaliya, old Arya, Dasav 1 kalika and Uttaradhyayani mostly contain Anustubh (and rarely old Vartal and old Arya) That 18 to say, in all these texts (mostly composed in vera Arya in its later standard form 18 conspicuous by its absence It 18 in t Niryuktis which represent the earliest stratum of the commentary literatu that Arya in its later form comes to be employed rather exclusively and t tradition is continued by the subsequent versifiers As for language, the Jaina texts exhibit an almost regular uniforml but this is because they are mostly composed in prose and so in the cour of transmission even in the older texts the archaic linguistic forms come be replaced by their standard counterparts It is only in the case of t Acaranga I Sralaskandha that we find archaic linguistic forms present prose as well as verse The Sutrakytanga I Srutaskandha, Datararkalika at Uttaradhyayana are exclusively in verse and they contain a good number archaic linguistic forms Lastly, a word about a bit of external evidence useful for determini the chronology of Jaina texts The Jainas are unanimous in maintaining th the twelve texts classed as Anga are the composition of Mahavira's immedia disciples The Digambaras further maintain that these texts are all lost b the Svetambaras are in possession of what they consider to be 11 of then that is, all of them minus the Drstivada A close study of these 11 ter should convince one that they are not the composition of one time, it even difficult to point out to a nucleus that was composed at one time ai later on filled up with much extraneous material to give us these texts ours That is to say, the orthodox tradition regarding the composition Jaina texts 18 a later growth and substantially unsound Under these con tions what alone remains to be done is to establish the relative chronolo of Jaina texts-Angas and the rest-on the basis of an examination of th contents and form-particularly the former On all counts the Acaranga Srutaskandha and Sutrakrtanga I Srutaskandha contain the oldest mater and fairly old material is preserved also in the Dasanaikalika and Uttaradl ayana A close study of these four texts should form a good starting po for a historical evaluation of the anclent Jaina texts

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ON SOME SPECIMENS OF CARCARI (A type of verse Composition in Classical Sapskrit, Prakrit, Apabhramsa and Old Gujarati) HC Bbayani 1 Onwards from about the seventh century, we find in Sanskrit and Pra krit works numerous references to Carcari or Carcarika (Prakrit forms caccan, caccarla, Early Now Indo-Aryan forms camcan, cacari etc) as a typo of dance associated with the Spring Festival The dancing parties which, on these occasions, were taken out in procession, or whloh performed in the publio park, were also called Carcart The dance was accompanied by music and song We find numerous references to Carcari in abovo-noted senses in classical works eg Harsa's Ratnayali, Haribhadra's Samaraiccakaha, Uddyotana's Kuvalayamala, Rajasekbara's Karburamanjart and other works including several Apabhranga and Early New Indo-Aryan poems 2 Further, we find the terms Carcart, Carcarika, Cacari etc used also in one of the following meanings - (1) a type of musical composition (used in the Carcari dance) (2) different types of metres (mostly Apabhramsa) (3) a type of Laya or Tala (4) difforent types of literary compositions Obviously these meanings are interconnected In fact the history of the character, form and structure of Carcart over the long period stretching from about the sixth to the sixteenth century has multifarious aspects, and it requires to be worked out from very widely scattered bits of information that are mostly to be gleaned from vague descriptions and casual reforences. 3 Tho present paper, however, h88 quite a limited alm It seeks to give some idea of the form and character of Carcari songs on the basis of a few actual specimens traced in Prakrit, Apabbrama and Sanskrit works Ono considerably complicating factor in this matter is the fact that Carcart seems to be closely allied to some other Uparupaka types like Rasaka, Hallisaka and Natyarasaka All those had quite obviously several features la common, 80 much so that at times one of the types 19 said by some of the Alamkara authorities to be the same as some other one Rasaka 19 identified with Hallisaka or Carcari, Carcart is identified with Nat yarasaka, etc In fact thero bas been considerabio confusion and uncertainly about the shared and exclusive features of these types - especially 10 later writings, which had

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16 HC Bhayant no direct contact with a living tradition Thig atate of affairs appears more or less irremediable, because there is very little that is available by way o actual specimens of these literary types 4 Now we shall examine the following passages from some Prakrit anc Sanskrit works for the light they can throw on the form and featurea o Carcast (1) The Carcart song at Kuvalayamala,1 $ 9, p 4, 1 27 to p 5, 1 7 (2) The Carcani song at Kupalayamala, $ 235, p 145, 1 7-8 (3) The Carcart song at Caupannamaha purusacariyap 1,91 (4) The Rasa aong at Upaminibhava prapancakatha, pp272-273 (5) The Rasa song at Prabhavakacarita, p 60, 11 11-15 and Prabandhakotas (6) The Carcuri description at Karburamahjari, iv, v 16-19 THE CARCARI SONG AT KUVALAYAMALA, p 4-5 5 At Kuvalayamala $9 (pp 4-5) Uddyotaga narraton how Sodharmagvamin enlightened five hundred robbers by performing before them a Rasa dance during which he sang an instructive Carcart song? Fortunately for us, Udd. yptana has also given this song . It consists of four atadzas (Vastuka) and a refrain (Dhruvaka) It begins with the Dhruvaka which is repeated after each of the Vastukas if we symbolize the Dhruvaka by D and the Vastuka by V, the arrangement is like this DV, DV, DV, DVD 6. The metre of the Dhruvaka is to be identified as Magadh or Magadhika, 1o apite of slight difficulty in the third and the fourth Pada It is a Matrametre with the schome 4 + 4 +ucu - (14 Matras) for the odd padas, and 6 + 4 + v-v- (16 Mairas) for the even Padas The rhyme schomo 18 a, b, c, d The text of the third and the fourth Pada seems to be defective, as it is short by ono Matra in the later pact The metre of the Vastukas Is Mafjart 10 It 18 a Prakrit metre of the Khanjaka clana with the schemo 3 + 3 + 4 + 4 + 4 + w - (21 Matras) for each of its four Padas 7 From the typical pattern of arrangement of the Dhruvaka and the Vastukas in this Carcant of the Kuvalayamala we can easily identify its structure as Dvi padi A Dopady according to Virabadka consists of four Vastukas each of which is followed by a Guika Between a Vastuka and a Guka we can interpolate, if we choose, any one of the followiag four a Vidan, a Doipathaka, an Ekaka, a Vistartaka But when tho Interveniog Vidari is a Dhruyaka, 1o it is used as a refrain to be repeated after each Vastuka, the following uka was to be omitted This means that in the latter case the Dvi padi consisted of four Vastukas each of which was followed by the Dhrudaka, This structure of Dopadt is given by Virahanka on the authority of spyted prosodjsts Kambala and Agvatara, Satavahana and Hariveddha.

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On Some Specimens of Carcant 17 The Janalpay?l?, composed towards the end of the sixth centory AD, defines Dorpade as a complex of a Bhanga-dri pada and a Ginta in that order At times a Vidart was interpolated between the two Each one of the four lines of a Bhanga-dupadi stanza consisted of three to seven Ganas of either the Caturmatra or the Pancamatra type Bach one of the four liges of a Vidari stanza contained fourteen Matras The commentary on Janasrayi 5 44 says that Dripadt was among that class of metres which was in vogue with the common people 8 Moreover there 18 also some other significant information that we gather from Virahanka According to VJS IV 50 one class of the Rasaka type of Prakrit compositions was characteristically made up of Dolpadts that had Vastukas followed by Vislortakas or Vidaris The Carcant song at Kuvolayamala 89 closely resembles this class of Rasakas composed 10 Drupadis The difference between them was possibly this that as against the longer Rasaka, the Carcari song was made up of only one Dvipadi that contained four complex units The Janasrayt too has treated the Rasaka18 along with the Dvipadt 9 The form of the Carcari at Kuvalayamala $9 perfectly fits in the scheme of Virabanka's Dvipade In the absence of definite Illustrations the preotse character of the latter bas remained considerably obscure The metrical form of this Kuvalayamala Carcari provides us with a clear instance of the Dolpadt and this fact enhances its importance 10 We may digress here a bit and note that at Caupannamahapurisacariya p 186, st 90-97, for the description of the leave-taking of warriors prior to a march, Silanka bas employed a Dripadt The eight verses in the passage are made up of four metrically identical units, each of which has two constituents, viz a stanza in Mangart (or Khanjaka) followed by a stanza la Guka Similarly we have on pp 190-191 (8t 137, 139) of the same work two instances of the Manjarz-Gilika combination and it la significant that here the subject of description is spring season As already noted, the Janufayi defines Dupadi as made up of a Bhanga-Dvipadt followed by a Gitika 11 Thug our examination of the Carcart aong at Ruoalayamala 89 has yielded the following facts about the form and function of Carcari 1 Carcar was a song in Prakrit gung whilo porforming the Rasa dance It could be in the form of a Dorpadt which consisted of four Vastukas accompanied by Dhrupaka This type of Dupadi has been described by Virahanke on the basis of an earlier prosodic tradition

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18 3 4 H C Bhayan! One class of the Rasaka type of Prakrit poems closely resemble the Carcart in form The four-partite Dvipad 19 not treated by some well-know prosodic authorities like Svayambha and Hemacandra But the do treat its basic units under the Dubhangika and Tribhangika the Sirsaka class of metres Actually their scheme of metrical clas< fication has a different basis, while the VJS prosodic traditic appears to be based on a type of Prakrit poems that went out Vogue during the later times The Caupannamahapurisacarlya h specimens of both the uses of Dopadi THE CARCARI SONG AT KUVALAYAMALA, p 145 12 At Kuvalayanala SS 235, p 145, II 7-8 we have another specimen of a Carca 80ng14 Prince Dappaphallha, who was drugged and out of his mind, described there as daauing a Carcarika, which did not have any connecte meaning or acceptable grammar This nonsensical Carcarika song is in sligh ly Prakritized Sanskrit and it is made up of a rhymed stanza in the Ch ttaka or Tolaka metrels (Bach line has four Saganas 18 - x 4) Unlik instance has no connection with th song 13 modified Sanskrit and no and its metre is such as 18 commo the Carcart at Kuvalayamala SS9, this Spring Festival Tas language of the Prakrit Tha song has only one stanza to Sanskrit and Prakrit THE SONG AT UPAMITIBHAV APRAPANCAKATHA, PP 272-273 13 King Ripudarana is described at Upamitibhavaprapancakatha p 272-273 as forced to dance a tri talaka Rasa and the accompanying song 18 given in st 438-442 From the two Carcarts of the Kuvalayamala di cussed above we know that the song accompanying the Rasa dance was calle Carcan So eventhough the song in the above-given context of the Upami bhavaprapancakatha is not actually called Carcart, we may take it as the san functionally And a formal analysis of this song justifies our assumptio The song consists of four Vastukas, each of which is followed by Dhruvak But here the Vastukas and the Dhruvaka are in the same metre, while t prosodiats seem to prescribe different metres for them This deviation apa the metre of the song is significantly the same as employed in the Vastuk of the first Carcart of the Kuvalayamala, viz, Mangart. Eventhough it h been given the appearance of a Sanskrit Vrtta, and as such it has the for Ra+Na+Bha+Bha + Ra (i e---~), which would defi it as the metre called Sundara, Ramaniya or Manibhusana,17 really speakir its structure is intended to reflect the moraic form 3+3+4+4+4+ Employment of rhyme (clear rhymes in 438 a, b, 439 a, b, 441 a, b, c,

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On Some Specimens of Carcart 442 a, b) too gives out the Prakritic source of the metre We can therefore take this song as a Carcart with a Dvi padi structure THE SONG AT PRABHAVAKACARITA, P60 14 In the Vrddharadi-prabandha of the Prabhavakacarita, Viddhavadin is described as composing extempore a Rosaka song in Prakrit and giving a dance perfomance on the basis of that song, before a group of cowberde The actual song is also givenle (p 60 11 11-15) This incident la narrated also in the Prabadhakosa (p 16) with some variation Thoro the song 19 said to be in Ghindint metre No metre of this name can be traced in the available manuals of Prakrit metres. Actually the metre of the stanze can be identified as Chittaka (with some irregularity in the third line) And we know that the second Carcart of the Kuvalayamala is in this very metre, which is also found in one of the Apabbramga songs in the fourth act of the Vikramorvattya and is treated by Virahanka 19 So we see that for using the metro Chittaka for Carcai7 songs there was a well establis bed tradition THE CARCARI DESCRIPTION AT CAUPANNAMAHAPURISACARIYA, P 191 15 So far we have considered some passages which either contain a Carcart song 80 specified or a song that was used in the Rasaka dance Besides these, we have to note a few passages which Indirectly throw somo light on the character of the Carcari songs Theso passages purport to describe the performance of a Carcari dance or simply a Carcart at a spring festival, but the mode of description seems to have implications that aro useful for our present purpose 16 First we take up the description of Carcari occurring at Caupannamahapurisacariya, P 191 (st 143 and 144) This forms a part of the description of the Spring Festival for which purpose the author bas commonly used the Gatha metre, but as a significant variation, twice (la st 137 and 139) he has used Duipad 120 and in the two stanzas under discussion, ho haa used a special Samo-Catuspadt metre of twentyfour Matras per line The language of these stanzas is mixed with Apabbramga From the available works on Apabhramsa metres I have not been able to identify this metre But it seems to be a varlation of the Rasaka with two Matras added in the beginning and with the final syllable lengthened The general structure and rhythm is very close to those of the Rasavalaya (21 Matras per line divided as 6+4+6+- www with some variations, which was the standard metre of the Apabbramsa Rasabandha and wbich 18 also used by Jinadattasari for his Jinavallabhasar Carcari in Old Gujarati, composed in the beginning of the twelfth century

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C Bbayani THE CARCARI DESCRIPTION AT KARPURAMANJART, TV, 16-19 17 Simllarly in the vivid and detailed description of Carcart given by the Vidusaka in the fourth act of the Karpuramahjart (v 10-19), we find that the metre for the first six stanzas is Upajati of Indrarajra and UpendraDagra while that for the remaining four stanzag is Svagata The latter is defned as Ra+Na+Bha+Ga+Ga 1e --UU-WU-- As a Varnaurtta It resembles the metre employed in the Rosa song of the Upamitibhavaprapancakathaa in that if we cut down the last four syllables of the latter and treat the eleventh syllable (now final) as long we get Soogata Looked upon as a Matra metre its structure and rhythm are those of the very widely used Apabhramsa metro Vadanaka (scheme 6+4+4+2, the last four Matras having the form www or --> LATER DEVELOPMENTS IN THE FORM OF CARCARI 18 Thus our examination of the Sanskrit and Prakrit passages from various texts having some direct or indirect bearing on determining the formal character of Carcait songs has shown that in the earlier period Dvi padt was used for composing theso songs, but other metres also like Chittaka and perhaps Rasznalayas2 and Vadanaka were employed for this rurrove 19 Carcart became established in later Apabhranisa and Early Vernacular literatures as a literary type or genre And here also we can seo how the Prakrit studies are quite indispensable for a thorough understanding end assessment of Early New Indo-Aryan literatures In many a matter of language and literaturo thore has been a continuous tradition without break from Prakrit through Apabhramsa to Early New Indo-Aryan, and much of the last cannot be even properly understand without help from the other two CARCARI IN APABHRAMSA AND OLD GUJARATI 20 We know about two Carcar poems from the Apabbramsa literature One 19 the Cuccart composed in the twelfth century by Jinadattasuri to eulogize Jinavallabhagar123 It consists of fortyseven stanzas in the Rasavalaya metre. It is the same metro to which the Apabhramsa pocm Sathdasarasaka is principally composed 16 The other Caccart is known to us only by its name. While giving his personal acoouat Vira, the author of the Apabhramsa poem Jambusamicariya (11th cent) loforms us that ono of the four poems composed by his father was Sarlinahacaccanto io a Carcari about the Jain Tihankara santinatha, Nothing more is known about it,

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On Some Specimens of Carcar 21 Some six Caccaris or Cacarts are known to literature They were composed in the 14th Century them are given below*7 Title Carcarka Caccart Dharma-Caccart Author Solana Anonymous .. Form and extent 38 Dohas 30 20 19 39 us from Early Gujarati Some details about Subject Pilgrimage to Mount Girnar ww 21 Jain religious practices and VOWS Besides, Jina candrasun-carcart by Hemabhusana (25 Dohas about the greatness of Guru), Jinaprabodhasuri-carcart by Somamurti (a eulogy in 16 Dohas) and a Caccart by Jinaprabhasuri are still in the manuscript form 22 These Carcants in Apabhramsa and Early Gujarati were didactio works composed by Jain authors on the model of contemporary popular and purely literary compositions They indicate that during its long course of evolution Carcart got transformed from a short festive lyrical aong to a substantial poem with some narrative and descriptive content The connection with the festival and dance also altered substantially and the original metrical form and structure too changed beyond recognition 23 These general observations about Carcart with some inevitable elements of surmise can be verified only when huge gaps in our information are filled up, and that depends upon finding out actual specimens of Carcart from classical texts belonging to the period between sixth to the thirteenth century It was also a part of the purpose of the present paper to show that a close scrutiny of published Prakrit and Apabhramsa works is likely to be rewarding in such matters

Page #24
APPENDIX 1 Irlanda $ 9, p 4, 255,4 ___mahA teNa kevaliNA bharaNNa pavisiUNa paca cora-sayAi rAsa-NaccaNa cchaleNa mahAmoha-gaha-gahiyAi makkhiviUNa imAe caccarIe saMbohiyA / mavi ya - saMbunAha kiM Na bujma, ettie vi mA kiMci mujjhaha / kaurau meM kariyanvayaM, puga Dhukkai taM mariyanvaya // iti dhuvaya / kasiNa-kamala-dala-loyaNa-cala-rehatao pINa-pihula-thaNa-kaDiyala-bhAra-kilaMto / vAla-cali-valayAvali-kalayala-samo rAsayammi jai labhai juvaI-satyamo // saMbujjhaha 0 asui-mutta-mala-ruhira-pavAha-virUvayaM / vasa-pitta-duggadhi-sahAva vilINaya * / meya-mana-basa-phopphasa hA karakayaM kAma mesa-pacchAyaNa-juvaI-satyaM // saMbujjhaha. kamala-caMda-gIluppala-kati-samANayaM mUDaehi uvamijjai jubaI-agaya / dhovayaM Si maNa katthai jai ramaNijya malaiyaM tu sadhvaM ciya iya paJcakkhaya / / sabujhaha0 lAmisaMga evaM ciya estha asArae adhara mata mAsa kaya vAcArae / kAmammi mA chayAha mava-saya-kArae virama virama mA hiMDaha bhava-sasArae // sabujhaha0 2 Carpanetowarkapurisdranya, p 186, 11 15 27 tako kAravAyaNi paDibuddho sayalo vi sAmatatalavaggasaMdoho tti / salo ya ki kArDa payattA : adhi ya -- The word is recorded in the form facica as well as feclutz The former seems to to the pract form. Sen H, C. Bhayant, 'Studies in Hemacandra's Debenamamalt", 1966, RE piritipaka, R. N. Shriyan, A Critical Sudy of Mahapurana of Puppa TOBER

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3 On Some Specimens of Carcari sidiliUNa daiya piyagudalasAlarya, koi sihiNaghaNaphalaharavacchavisAlaya / NadaNa va virahuggayatAvapaNAsartha, sAmikajji bahu maNNai Navara pavAsaya // 90 aNNAe kaMThavalaya, moijjaha kaha vi osuhellayapi / suhaNa sAmikajjae, daiyAlaya siNehapAsaya va // 91 billuliyAsi dilakesa caTulIkayacacalavAlayaM, saThavesu devarataNutaralayavAlaya / bhai koi maha sundari / muya mANallaya, vayaNaya ca mA vubbhau bAhajalollaya // 92 uppatI kavaya, kIe vi rakkhAsaha ti daiyassa / AliMgijjai bahuso, guNANa rajjai jaNo Na rUvarasa // 93 jaMtadaiyamavayacchiya kIe visAlaya, uNNavevi muhamu bhaDajaNiyavibhalayaM / duNNimittasakAe visAyava subbhara, vAhao paholijjai loyaNamajjha // 94 supaDitthira parisappaya, ko vi samAruhai sasae vi miliyANa / vavasAyaM pi va turayayaM, sahAyayaM AvaIe sasiyANa // 95 ko vigaliyakaraDayaDapaloTTiyadANaya, guruvipakkhabheyakkha madIhavisANaya | NiyayapurisayAra piva parabhaDabhaMjayaM, Aruhei gurumayagalamaidappuJjaya // 96 kavi gabhatti dayao, viraha bhayAhitthaveviragayAi / avilambiyAi turiyaya, vayasiyAe vva Navara mucchyAe // 97 190, Ibid, p 11 25 28 avi ya - 23 surahiparimalladdAmapaloTTiyadANao cUyamajarIjAlavirNita visANao / gayavatINa vitthA riyavirahaduhAsao vAraNo vva paviyambhai mAhavamAsao // 137 kayaguru virahuvveyaya, bhamatabhasalA liyA samIvayammi / pahiehiM sabhamAula, paloiyA kuviyakAlasakalo vva // 138 Ibid, p 190, last line - p 191, 11 1-3 --- etthatara mmiya paDhiya badiNA ucchalantakalacaccarirujiyarasaNao ghavalamalliummilliyadIharadasaNao / caDulapallavuvvelliratara liyajIhao mahuNihAi | paviyambhai mAhavasIhao // 139 jaha jaha dAhiNapavaNao NarANa parimusad mAsalagayAI / mayaNaggiNA samahiyaM taha taha saMtAviyAI hiyayAi // 140

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24 4 Kuvalayamala, SS 235, p 145, 11 5 8 HC Bhayant kaiyA vikahiM pi paribhramamANo ima asaddhakkharAlAvara iyaM caccariya NaccamANo / adhi ya - yadi kazci vipazci na jAtu sakhe yadi sarkara sarkaralA na bhavet / yadi candra munIndramanaGga cita yadi so'sti namo'stu namo'stu tata S Upamitabhava prapancakatha, p 272-273, vv 439442 lAkha kartum | samatratArito'ha rAsamadhye / tato mAM nATayana dAtum, katham / bAdhakaM ca jagatAmanRta ca vadiSyate / nApnuvata nijapApabhareNa bhRza jana // dhruvaka // * pazyateha bhava eva jana' kutUhala, zailarAjavaramitravilAsakRta phalam / ya puraiSa gurudevagaNAnapi no nata, so'dya dAsacaraNeSu nato ripudAraNa || yo hi * 1 ** zailarAjavazavartitayA nikhile jane, hiNDito'hamanRtena vRthA kila paNDita / mAritA ca jananI hi tathA narasundarI, tena pApacaritasya mamAtra viDambanam | yo hi yo'tra janmamatidAyigurU navamanyate, so'tra dAsacaraNAghatalairapi hanyate / yastvalIkavacanena janAnapatApayet tasya tapananRpa ityucitAni vidhApayet || 1 nato'si pitRdevagaNa na ca mAtara, kiM hato'si ripudAraNa pazyasi kAtara nRtya nRtya vihitAhati devapuro'bunA, nipata nipata caraNeSu ca srvmhiibhujaam|yo hi 6 Prabhavakacanta, p 60, Il 11-15 sUrayastatsadabhyastagItahubaDakaistadA / bhrAntvA bhrAntvA dadAnAzca tAlamelena tAlika prAkRtopanibandhena satha sampAtha rAsakam / UcustatpratibodhArthe tAdRzAmIhagaucita tathAhi navi mArii navi coribhai para-dAra atthu nivAriara | thovAha vi thora dAibhai tau sagga TuguTTugu jAiai // The texts of the song as given in the Prabhavakacarita and the Prabandhe (6, p 1 8) slightly differ from each other The context of the eve differently given in the latter There the line preceding the song is as foll tato vRddhavAdI kAlajJa kacchAM dRDha badhdhvA / dhIndiNicchandasA kIr3ati /

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On Some Specimens of Carcari 25 7 Caupannamahapurisacariya, p 191, 1| 15-19 pecchaI ya caccariM / sA ya kerisA ? - aliulacalapamhauDaviyAsiyasumaNadalo unmaDamahumAso vi viyambhai bhUsiyabhuvaNayalo / unbhiNNacUyaNavapallavakisalayasabalae 'ko piu vajjevi vaccai ?' kUviu koilae // 143 / / jai daiyavioe vivajjai tA kahe duccarita iya ciMtaeto kalayaThie 'tuha tuha' uccrimo| iya eva viyabhiyamaNaharabahuvihacaccario NisuNatu jaNadaNo lIlae viyarai saccaribho // 14 // Kerpuramahjari, IV, w 16 18 kA-vi vAiakarAlahuDukkA rammamaddalaraveNa maacchI / dollamAhi parivADicalAhiM callikammakaraNammi pabhaTTA // 16 // kiGkiNIkaajhaNajhaNamaNNA kaNThagIilaantiatAlaM / joiNI va laaNaccaNalIla tAraNeurarava viraanti // 17 // kouhallavasajaGgamavesA veNuvAmaNaparA avarAo / kAlavesavamahAsimaloA osaranti paNamanti hasanti // 18 // 8 Notes 1 Date of composition, 878 A.D 2 Date of composition, 869 A D 3 Date of composition, 906 AD 4 Date of composition, 1278 A D 5 Date of composition, 1349 A D 6 Date of composition, first quarter of the 11th Cent 7 AN Upadhye bas suggested that the source of this episode is an almost identical incl dent given by Nemicapdra in his commentary on the eighth chapter of the Ularaljhaya which is attributed to Kapila The later 2 said to have converted five hundred robbers by dancing before them and singing a song which was the same as Uttarardhaya VIII, 8 Tor the text of the song gee the Appendix 9 Ch3,62, KD 2,18

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HC Bhayani 10 Sec Ch 41 K 2 22 Commentary AN Upadhye, the learned editor of the Avalaramala dennfies the metre of the Vastukas as Galitaka (with the Gana scheme 5-543-21 Matris) But Yamaka one of the defirung charcterastics of the (luaka is absent from the Vastukas under discussion In this connect it in y be noted that the metre of the verse expressly associated with Crear dance tikramorvasiya IV 11 (Sahitya Akademi edition) is Manjari, though the initial C Metras of the four th Pada thero are not divisible as 3+3 Turther way also note that the Tribhangi illustration at Ch 4,891 has Manyart 115 firt unit Ice VJS 2 4-8 12 J 26 5, G-63 13 Jilavi 9 69-72 14 For the text SLL Appendix 15 F the text of the Carcari see Appendix 16 In the rnnection we may note that the metre of Vikramarvastya IV, 14 18 also Chittaka In the stage direction that piecedes it the associated Laya or the specific Tala charaez n the thy thn dance movement is termed Bhinnaka VJS IV, 54 treats the Chattaka and the metre treated next, with the form -vv x 3, 18 called Plattal a wluch may well stand for bhinnaka 17 1 the text of the song see Appendix 18 Ch 2 25 Jayakirtis Chandonusasana, 2 191 1 For the text of the song sec Appendix The word ghindhni ( 1 ghinnana) occurs in a thriteenth century old Gujarati posm, unitha bolka, to be shortly published There it is used in the sense of a circular d'ance movement connected with the Rasa dance 20 Seu note 22 21 See p 18 22 Ste (b 5 26 Sanide,arosaka, Introduction pp 53-55 and the sources indicated thore 23 Sec Apabliramsakasjatrays, ed by L B Gandhi 24 SLC note 22 25 The commentator of the Caccart has wrongly identified the metre (Apahhra sakavyatrave p) According to Ch 5 6 the Gana scheme of Kunda as Kunda 4+ 5+ 5 TV-V+ and this is different from the Gana Scheme of the + 4 + 6 + 5 (the last three Matras to be all short) gaujai Santiu tarajasu, Jambasamicariya I, 4, 6 27 Of these the first two are published in the Pracin Gurjar Kavya Sangrah third is being published in the forthcoming Pracin Gurjar Kavya Samcay (L D Institute of Indology) Rasivalaya (Chi 5, 26), V1z 25 Caccariabandhi raiu saras 6 The REFERENCES * Apabhramsakavy atravi ed by L B Gandhi, 1927 Upamilibhavaprapancakatha of Siddbarsi ed by Chandrashekharvijay Part I, 1968, ed by Peter Peterson, 1899 (pp 721-722) Karpuramanjary of Rajasekhara ed by S Konow, 1963 reprint, * *

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On Some Specimens of Carcart * Kavidarpana ( KD) ed by HD Velankar, 1962 Kuvalayamala of Uddyotana ed by AN Upadhye, Part I, 1959, Part II, 1970 * * Caupannamahapurisacariya of Silanka ed by AM Bhojak, 1961 E Chandonusasana of Hemacandra (= Ch) ed by H D Velankar, 1962 ** Chandonusasana of Jayakirti ed by HD Velankar, in Jayadaman, 1949 Jambusamicariya of Vira ed by VP Jaina, 1968 Janasrayi (= Appendix to Chandonusasana of Hemacandra ed by HD Velankar, 1951 # * 27 # . P Prabandhakosa of Rajasekhara ed by Jinavijaya Muni, 1935 Prabhavakacarita of Prabhacandra ed by Jinavijaya Muni, 1940 Pracia Gujara Kavya Samgrah ed by CD Dalal, 1920 Vikramorvasiya of Kalidasa ed by HD Velankar, 1961 Vrttajatisamuccaya of Virahanka (= VJS) ed by HD Velankar, 1962 Samdesarasaka of Abdula Rahamana ed by Jinavijaya Muni Introduction by HC Bhayani, 1945

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SABDA-VILASA OR PARASINAMAMALA OF MANTRI SALAKYA AND MAHIPA-KOSA OF SACIVA MAHIPA UP Shah The Parasiprakasa, a bilingual koga of Persian and Sanskrit, composed by Kronadasa, a contemporary of Akbar, 18 well-kcown and was published long ago, in V S 1923 (= AD 1866) by Pandit Mannalal of Varanasil Some more works of this type have since then been found in different manuscripts collection 2 One such work is found in the collections of Sri Nitlvijaya Jalna Pustakalaya, Cambay It is a manuscript on paper, size 97 x 41 in, and has 20 follos Folios 1-8 contain the Apatarga-namamala of Jinabhadra suri, while folios 8-20 contain Sabdavilasa, also called Paras damamala The begining 1s as under - Folio da // ||AUM nama zrI sarvajJAya / nama zrI somanAthAya somAkArAya zaMbhave / bhavedyasya guNAnvaktu na kSamA'pi zrutirmadAt // 1 // yA vibhUSayati vizvamazeSa yatnato narapati zuciveSam / devatAzamiha sA'bhibhajantI zarma vo dizatu vAgvilasantI // 2 // sarvabhASAsu kauzalya ke necchanti narottamA / yato hi vijJatAsapat prApyate rAjasasadi // 3 // sarvadezaprasiddhA ye sarvazAstravizAradA / na te kasyA hi bhASAyA jAyante doSabhASiNa // 4 // Uce varAhamiha (hi)ro miha (hi)rottamazrI(zrI) sa kreyatAurimukhAnyavanezavAcA / meSAdibhiH suviditAnja(ja)natopakRtyai ka syAnna vAci kuzalI khalu vizvadRzvA // 5 // 1 2 A Weber also Published Para91-Prakasa Das Krishnadas (Berlin 1877, Glossary), (1889, Grammes) A manuscript of Parasi-Namanala, composed by Vedangaraya, preserved in the Oriental Institute, Baroda Vedangaruya says that he has highly favoured by Shah Jahan.

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0 UP Shah sacchrotriyo vidAM vareNyo vareNyavAco'yamapi prapaMca / nizcitya caiva giramAravIM sa pratApabhaTTo'likhadapyavocat // 6 // sarvajJateti padamastviha cetprasiddhayai nAjJAnRtAjJAnRtA (nAjJAtRtA) 'pi viSaye viduSa kva bhAtu / ukteritIlavaraNeza- haribhramasya nAmAlimAzu tanute sacivaH salakSaH // 7 // grAmyA paurajana jaDAzca sujana jAlmAzca vidvajjanaM nyUnA vijJajana khalA guNajana dInA vadAnya janam / sabhyA sabhyavara nirargalagiro nindanti sarga. kalereva satyapi tAvadastviha girAM gumpho'yamArabhyate // 8 // The author's Prasasti at the end is as follows Folto 20 a evaM devamanuSya kANDayorekaviMzati' / vargA saptepuvANADhayA zlokAH sarvAGkato'bhavan // 1 // asmin rudramahAlaye prathamadigdvAre praveze yAtAM ( yatA 1 ) / dakSAgasya(kSAGgastha)gavAkSapakSadRSadi zrutyaGgavRttAnvitam (tai ) paGktyarthairvivRta ca SaTAtamitairgranthairviracyottama zloka sragdharayA sudhI suvibudhA'bhISTa salakSo'likhat // 2 // so'yaM sUktilatAmalaGkRticaya, vAgdevatAyAH stavaM bhASyaM sUryazatasya cAtivizadA vRttiM tatazchAMdasIm / berI - svarArtharacita patha ca citrArNavaM kRtvA zabdavilAsamapyaracayadvidvatpramodapradam || 3 || varSe yatsamabhUccaturdazazataM zrIvikramArkAnnRpA dvAviMzatyadhikaM magho' samudaye savatsare'sminzubhe / zrI vidyAnilayeladurganagare rAjJo haribrahmaNo mUmIndrasya nidezato viracito nAmnAM nidhi sAnvaya Follo 20 b itizabda vilAsAGke (sAkhye) yAvane zabdavaibhave / dvitIyo mAnava kANDa sAGgopAGgo nirUpita // 5 // 11 8 11

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Parasinamamala and Mahi pakosa 31 iti zabdavilAsAkhyA pArasInAmamAlA samAptA // zubhaM bhavatu kalyA Namastu // 6 // savat 1670 varSe phAlguna sudi 13 dine tapAgacchAdhirAja zrI zrI zrI somavimalasUriziSyapaDitazrImANikyavijayagaNiziSya pa lakSmInandigaNiziSyANunA udayanandimuninA likhitA / zrIpUjyasomavimalasUrirAjakRte The author pays bis respects to Somanatba, the, siva at Prabhasa-Patan or Somapath in Saurashtra, and requests Vak or speech for happiness In the third verse, and the following verses, the author tries to defend bis composition of a lexicon of damos in a foreign language by showing that the learned alwaya desire to bave proficiency lo various speeches in order to obtain a place of honour in different royal courts In the fifth verse, he cites the example of the famous astronomer Varubanubira, who was resplendent like the sun (mihira), referred to the various rasis like mesa etc, in yalana torms like kriya, tauri (taurus) etc Hence Pratapa Bhatta wrote and spoke in the Arabic language We do not know of the Arabic work or works composed by Pratapa Bhafta The seventh verse 18 not quite clear, and there may be some scrjbal error but it suggests that due to a remark of Haribhrama (Guj Harabbama), king of Ilavarana (modern Idar, Iladurga), the minister Salaksa composes this list of names, ie, Parasjoamamala The name Haribhrama is spelt Haribhrahma in verse 4 at the end and this seems to be a Sanskritization of Harabhama or Harabbami, the name of a local ruler Ilayarana must be regarded as the same as Iladurganagara referred to in verse 4 at the end Idar was called fladurga Verse 2 at the end, suggests that the wise (orbudha, learned) Salaksa had composed and (got) written (1 e engraved) on the atone slab (or slabs) on the side (or sides) of the gavaksa on the south wbile entering the eas tern-gateway of the Rudramahalaya - a Sloka in the sragdhara metre, wbich had a commentary in six different metres, the extent of the commentary being 600 granthas or perhaps 106 granthas It may be difficult to imagine buch a long text of 600 granthas (18200 lettera) inscribed on one or both sides of the gavakpa Perhaps satsatamiiath has to be interpreted here as Sadadhikah fatam Sloka can here refer to a Stuti or Stavana, a hymn of praise (composed in the Sragdbara metre) According to verse 3, Salaksa bad composed a Sukta-lata, an Alamkrticaya (which was probably called Alankara-samuccaya ?), a Vagdevata-stavana, a bhagya on the Surya-sataka (of Mayura'), lucldly written work called Chandourtti, and a poetical work called Citrarnava, which latter was full of ben - flosa and then he composed the Sabdania sa 8 Soe Rasamala (Gujarati, 3rd ed), Vol 1, p 411,

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UP Shah In the verse 4, the author says that in the year 1422 of Vikrama era. in the beginning of the month of Caitra, he composed this corpus (ndhi) of name, (1e this Pirasinimamila) at the desire of king Haribhramha in The city of Madurga, which was the residence of both Sri (Prosperity) and Vidyt (Learning) Thus iccording to our author Idar was a seni of learoing and a progperous cits in VS 1422 (= AD 1365) when this work was composed The authors claim does not appear to be wholly unwarranted, since he himself had composed several works We do not know anything about the history of king Haribrahma (Har. ubhanji) or Haribhrama However, it would be interesting to note here that onc Rimadeva Vyasa, who composed three Chaya-attakas (namely Subhadr iparinaya, Ram tbhyud sya and Pandavabhyudiya), was patronised by king Haribhrania and his grandson king Ranamalla Rama havi refers to Hanbhrama as his patron in his Subhadraparinaya, but to "Raamalla the grandson of Haribhrana' as his patron in the Pandayabhyudaye A manus cript of Punday abhyudaya is preserved in the India ofrce Library (no 2353). from wbich, Shri Kbiste has quoted relevant passages in the introduction to his edition of Subhadraparmaya In Subhadraparinayi, the author clearly says that his patron was Raatr audha-cudamani, 10 & scion of the Rithod family We know that King Ranamalla, a ruler of the Rathod family of Idar was a valiant kin; who is the hero of lbs famous old Gujarati poem "Ran amal -Chanda' composed by one Sridhara, and who (Ranimalla) lived around AD 1390 - AD 1400 Muslin bistorians have referred to the Sucesylv. altack on Idar and the fights with the king or kings of Idar, especially Ranamalla who refused to pay tributes voluntarily Rana malla 18 certainly a bistorical figure But authentlo genealogy of bus predecessors 19 not yet known pp 415, 432) gives the following The Rasamila (3rd ed, Guj ed genealogy of the RTibods of Idar Rava Sonangaji Ehemalaji Dhavalamalaji Lonakaranaji Kbarchataji Rava Rajamala

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Parasinamamala and Mahi pakosa Thus it 19 likely that Lunakaranaji was probably also called Haribhrama or Haribrahma But the above genealogy may not be alsolutely reliable and more research is necessary Salaksa or Salakhana is a game known from Prajastis of Jaina donors, and it is not unlikely that Seleksa was of Bania-caste ___A manuscript (10 12121) of a lexicon (Sabdaratnakara) called Mahapakosa, preserved in the Oriental Lastitute has the following entry at the end of the first kanda (folio 10 b) - iti sacivamahIpakRtau mahIpakozanAmni zabdaratnAkare sAGgopAGga svargAdiprathama kANDa' parisamAptaH // At the end of the second kanda, we have, on folio 38 b, - iti naMdapadrendrasabhAsarojinImarAlasya sacivamahIpasya kRtau mahIpakozanAmni zabdAlaGkAre bhUmikANDo dvitIya // Then, at the end of the fourth and the last chapter, we have on follo 42b pANinyamarahemAdizAstrebhya, zabdasagraham / sanmahIpaH samatanoprAgvATanarapuMgavaH // 15 // __iti sacivamahIpakRtau mahIpakozanAmni zabdaratnAkare saamaanykaannddshcturthH|| xxxx sa 1493 varSe azvina zudi 13 gurau likhitA pustikA // Thus Mahips, a scion of Pragvata family was a minister in the court of the ruler of Nodpadca which may be identified with Naodod (alao called Rajpipla in modern times) la Broach district But at the end of chapter 3, on folio 39b, wo have iti saciva-salakSAtmaja-mahIpakRtau mahIpakozanAmni zabdaratnAkare pAtAlakANDastRtIya parisamAptaH // So minister Mshipa was the son of minister Salaka Now the manuscript of Mahi pakosa is dated in VS 1493 - AD 1436 The work was probably composed some years earlier The known date of compoaltion of Salaksa's Sabdaulasa Is A D 1365 It is, therefore, highly probable that minister Mabipa was the son of minater Salaksa, the author of Sabdanlasa Both father and son were learned scholera and ministers in different courts That there was considerable literary activity at Idar In this Age can be also gleaned from the fact that the Jaina monk Gunaratna suri composed his Kraqaratnasamuccaya 10 Idar in V S. 1466 = AD 1400 There apem to have been Jalna manuscripts librarlos hero from olden days, at

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UP Shah present there are two Bhandaras, one Digambara and the other Svetambara, the Svetambara collection has a well-known palm-leaf manuscript with llustrations, painted in c 14th century AD The Digambara collection also contains some illustrated manuscripts, recently discovered by Shrimati Sarayu Doshi, which go to prove continued and considerable art activity at Idar even in the fifteenth and sixteenth centuries 34 It may further be noted that Mahipa the author of Anekartha-Tilaka (Kosa) can now be identified with confidence with Mahipa, the author of Sabda-Ratnakara or Mahrpakoja referred to above At the end of the Anekartha-Tilaka we find the following verse zrImAnsomabhavaH salakSasacivo vAkaNThabhUSA saprAsU surta mahIpamamala saubhAgyadevI ca yam / sakorNAkhya ihojjvala samucite vidvadvirA pUrNatA granthe tadacite'same yamabhajAkANDa' caturthaM param // 213 // The editor of Anekartha Talaka, In his Introduction, has missed the real name of the father of Mahipa He writes: "In the verse, he (e Mahipa) states that he was the son of Soma (or of Lunar Race) and that his mother's name was Saubhagyadevi" Now we can see that the father of Mabipa was Salakse-Saciva (e Minister Salaksa) born of Soma (ie son of Soma or of Lunar Race) It seems that Salaksa was called Sarasvatikan habharans (Vakkanthabbosankabbr) M M Pathar the editor of Anekartha-Tilaka, has shown that the earliest ms utilised by him was copied in Samvat 1490 1434 A D He also notes that Stein (in Cat of Kashmir and Jammu mss p 52) records the date of composition of Anekartha-tilaka as Samvat 1430 = AD 1374, on the basis of a ms existing in the library at Jammu Since the known date of composition of Sabdavilasa by Minister Salaksa the father of Mahipa is 1365 A,D, it is not unlikely that Mahipa composed bis Anekartha-Tilaka in c 1374 AD and the Sabda-Ratnakara or Mahipakosa in about 1375 AD or even little later, but it is certain that Mahipakota was composed before 1436 A D and the Anekartha-Tilaka before 1434 A D It is important to note that according to the Yavananamamala of Salaksa referred to above, some more parts of Rudramahalaya were in situ around A D 1365 4 4nekartha-Tilaka of Mahipa, Critically edited by Madhukar Mangesh Patkar, publ by the Deccan College Post Graduate Research Ins'itute, Poona (1947) 6 Anekartha-Tilaka p 85 6 Ibid Intro, p 2

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FRESH LIGHT ON BHAMAHA-VIVARANA V M Kulkarni Till recently Udbhata'a commentary on the Karyalamkara of Bhamaha, generally known as Bhamaha-vivarana (BV) was presumed to have been lost beyond recovery In 1962, however, Gnoli published some fragments from this commentary1 Gnoit's identification of his publication with BV was doubted by Dr Raghavan In his paper on Punaruktavadabbasa3 Dr K Krishnamoorthy came to the conclusion that the published fragments do represent the genuine Bhamaha-Divarana of Udbhata himself The study of Kalpalataviveka (KLV), however, throws some interesting light on this controversy, and goes a long way in support of Gnoli's claims Numerous passages of the commentary published by Gnoli are, beyond any shadow of doubt, the source of numerous passages in KLV They shed abundant light on some of the obscure, ambiguous and knotty verses in chapter V (Nyayanirnaya) of Bhamaha's Kavyalamkara It borrows most of the passages from BV when treating of dosas A good many of its pratikas, referring to Bhamaha's text, present variant readings from the printed texts Some of them are convincingly genuine readings The text of BV bristles with uncertain and doubtful readings, it is often mutilated as syllables, words, phrases and occasionally sentences are partly or entirely lost I quote below about a dozen passages from KLV which throw light on and render the corresponding passages from BV intelligible (1) Fr 16 (a) 11 2-8 These lines which treat of anyartha dosa (Bhamaha I 40) could be reatored with the help of the following passage from KLV 1) Udbhata s commentary on the Kavyalamkara of Bhamaha, Roma, Istituto Italiano per II Medio Ed Estremo Oriente, 1962 2) Presidential Address, The Twenty-first All India Oriental Conference, Srinagar, October, 1961 3) Punaruktavadabhasa and Genuineness of the published Fragments from Udbhata's Bhamaliavivarana, The Journal of the Karnatak University VIII 1964 4) L D Series No 17, Lalbhar Dalpatbhai Bharatiya Sanskriti Vidyamandira, Ahmedabad - 9 5) Vide p 7 11 17-28

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VM Kulkarni nanu caiva zabdahIne'syAntarbhAva / viSayAntaraprayoge'pyapazabdo bhavati na kevala lopAgamavarNavikArAdInAmayathAkaraNe / tathA ca "asvagoNyAdaya zabdA sAdhavo viSayAntare" [vAkyapadIya 1 149] iti tena vipUrvo harati pAdavikSepe prasiddhasambandha , asya ca parimoSaprayuktAvapazabdataiva / apazabdasya ca svapne'pyaprayogAda nityadoSamadhye'sya pATo na sabaddha ityAha- upasargavazenetyartha / vItta iti / "aca upasargAtta" [pANini7-4-47] iti tattvam / vidattazabde tu na dRzyate tatvamiti vizabdasyAtra nipAtatvamiti siddham / vihRta ca iti vijahurini / viharaNa ca tat pAdavikSepalakSaNAyA kITAyAM prasiddham na tvapaharaNa ityartha prasiddhArtha iti prAsaddho'rtha pAdavikSepalakSaNAdi / 123 Fr 19 11 5-8 The commentator, when commenting on Bhamaba II 8 treats of the figure Punarukrabhasa and distingulshes it from Yamaka and Lafanuprasa The following extract from KLV is based on these lines of BV ayamabhiprAya / sarUpANA svaravyaJjanasamudAyAnA vinyAse punasktAbhAsataiva sagacchate, ko banunmatta punarukta brUyAditi / tatra cArthAbhede'pi tAtparyabhedazcettadA lATIyo'nuprAsa utArthabhedastato yamakAlaGkAra iti kuta punaraktadopaprasaGga , katha ca lATAnuprAsa-paryanuyoga iti / punaruktAbhAsatApi zabdasArUpye'rthekatvanAnAtvayo zabdasArUpyAbhAve'pi arthakatvAmAse bhavatIti trividhA / avAntarabhedApekSayA tu bahuprabhedA vakSyate / ata eva ca punarukkAmAseSu lAToyo'nuprAsa tadapavAdadvAreNa ca yamakAlaGkArazca bhavatItyetadeva vaktuM nyAyyamityartha / - 186 pa 24pR 1875 4 (3) Fr 27 a 11 3-4 In tho context of Bhamaba [[ 43 the commen tator endeavours to show that the upama-dosa, called Hinata, 18, really spea king, no defect at all the following passage from KLV which is, no doubt, adopted from BY makes these lines intelligible to a great extent hInatA' iti atra vikalpadvayam / upamAnopameyayoryayo sAmastyena sAdhaya tayorevopameti vA / upameye vA yAni padAni tAnyupamAnopameyavizeSaNabhUtAni sAdharmyavAcIni kartavyAni / tatrAdya pakSamadhikRtyAha-sarvaM sarveNa [bhAmaha 2.13] iti / na ca pakSAntaramastIti na hInatAlakSaNo doSa ityartha / - 245, pa. 25-1. 246 pa. 9 i from BY makes he following paseadosa, called Hinata 43 the commer 6) Read in thu connection Prof Krishnamoorthy's papar, mentioned in fo 3, supra

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Frosh Light on Bhumaha-Vrvarana 87 Gooli bas correctly hit on the right reading viklpadvaya ln bis fo 2 (p 25) (4) Fr 39 (b) 11 6-71 Gnoli discusses this passage in his Introductlon (P XXXVI, paragraph no d where he mentions this Fragment twice as fr no 27, which is clearly an error The topic, discussed here, is about the figure slista (that is flesa) A perusal of this entire fragment produces a strong impression that the commentator bas introduced here a discussion of the famous doctrine 'Arthabhedena tapat Sabda bhidyante. For restoring these lines the following passages from (Hemacandra's) KavyanuFasana and Kalpalataviveka should prove useful zrutyaikyagrahaNa lokapratItitulyatvaparigrahArtham / tena dantyauSTyauSThyavakArabakArAdivarNa mede laghuprayatnatarAlaghuprayatnatarakRte ca bhede yamakabandho na virudhyate / - p 299 1 14-17 And, ayamAzaya / vAkyAntarapratimA vA [ VL vAkyArthAntarapratibhA vA] iti / alaGkArAntaraparyavasAyitvenAlaGkArAntarapratyAzayA sagRhItApyupakramAvasthAyAmalaGkArAntarasyApratItervAkyArthAntaraprAtabhA pRthagupadarzitA / - P 258 1 3-7 The two lines of the fragment when restored would read as yatra tu zabdAnAmatyantasarUpANAmapi dantyauSThecalaghuprayatnatarakRto medo'sti tatra vAkyArthAntarapratibhA / tathAlaGkArAntare vAkyAntare vA pratibhotpayate / (5) Fr 45 (b) 11 5-6 The commentator intends this passage to serve as an introduction to Bbanabe V2 [na corresponding passage from KLV we have all the words of this fragment 10 tact, which fact clearly indicates that the author of KLV bas adopted the passage from BV The passage ruos as follows nanu kimiti sugatasiddhAntapramANayoreva vicAraNam / sarvasiddhAntAnuvartanaparo hi kAvyapravAhastena kA pakSapAto bauddhasiddhAntaM pratItyAha-prAyeNa [Bhamaha v 2] (6) Fr 47 (a) The text of this fragment ls, on the whole, quite inte. lligible This fragment may, however, be read with profit along with KLV (pp 57-59) A few expressions and lines of this Fr, however, need correc tion 12 zabdAbhivyakti x x x should be read as zabdAbhivyaktivAdina prati anyatarasiddha [ 7) In the Sanketa commentary of Manikyacandra on Kavyaprakasa we have almost an identical passage in the same context Probably they have adopted the quotation from a common source and this source was possibly the Bhamaha vivarapa 8) vide KLV P 57 1 18

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VM Kulkarni 1 3 1 should be read as sAdhayitumiSTo yo dharmastadanugamane ya sadRza pakSa sa sapakSa / tatra ca ya san sa heturityartha deg | 15 sAmAnyamiha savRtisaddhinAbhipretam from this line should be read as sAmAnyamiha savRtibuddhirabhipretA" / 18 should be read as ta ca darzayitumAha-iti dvayakAnugativyAvRttI lakSma sAdhunA / 25 // iti sA pUrvoktayA bhaGgyA1 x [ (7) Fr 50 (a) 11 2-3 Tals passage is easy to restore with the help of the following passage from KLV 'so ajJAno doSa" iti / asiddhatvamityartha / tato hi sAdhyasya jJAna nAsti / ime doSAH iti / itthameva samAso yukta / ye punarajJAna ca sazayajJAna ca viparyayazceti samasya tAn kurvantItyajJAnasazayajJAnaviparyayakRta iti vyAcakSate teSAmajJAnasya jJAnaprAgabhAvasyAnutpAdyamAnatvAt tatkaraNavirodha" / (9) Fr 50 (a) 16 The following passago from KL718 throws some light on this line nanapamAnamevAstviti / upamAne khalu bimbapratibimbopanyAso dRSTa / candra iva mukhamityatra mukhasya bimbatA, candrasya tu tatpratibimbatvam / dRSTAnte'pi ca "tanuriya kva vilocanahAriNI"tyAdau bimbapratibimbabhAvo vidyate, tat kathamupamAyAmantarbhAvo'sya na syAdityartha / (9) Fr 57 (a) 17 The following liae fro o KLV1should help us 10 restoring this liac : upamAnopameyabhAvavivakSA sAmyamivAdiprayogazca When restored it would read sAmyamivAdiprayogazca / te nAsti' iti nopamAyAmantarbhAvo'syAzaGkanIya. / (10) Fr 50 (a) 18 The following passage from KLV16 throws some light on this line na caivavidha lakSaNaM "tanuriyaM kva vilocanahAriNI" ityAdau dRSTAnte na vidyate / tanutApasayoryathAkrama navamAlikAkuzaguNAbhyA sahopamAnopameyabhAvasyAzAbdatvAt / | 9) Vide KLV P 57 11, 21-22 10) Vide KLV P B7 [ 22 11) vide KLV P 58 11 23-24 12) Vide p 70 11 4-7 13) Vide p70118-11 14) Vide P711,1 15) P70 11 18-19

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Fresk Light on Bhamaha-Varana The line "tariya " forms a quarter of a stanza, possibly the stanza occurs in the poem Hayagrivayadha, now loat 18 (11) Fr 50 (2) 11 3-5 These lines are easy to restore with the help of the following passage from KLV17 kiM puna kAraNa sAdhyasAdhanopanyAsa upamAne na kriyate / mukhamindurivetyatreti / etaduktaM bhavati / upamAne kutsita sAdhyasAdhanopanyAsa sahRdayahRdayaharaNabhraMzaprasanAt / yatheva kriyate mukhamidamAlAdakara kAntivizeSAtizayayogAdinduriveti tadA kliSTa kAvya syAt / yatheda vakSyamANamudAharaNam / etadeva darzayati-tadAha iti / These numerous passages, which have their source in "Udbhata's Commentary on The Kavyalankara of Bhamaha" clearly suggest that Bhamahavivarana itself must have been ready at hand for the author of KLV18 Finally, I refer to one passage from KLV which unambiguously corroborates this inference The author of KLV (pp 70-71) comments at length on Bhamaha v 56 In this comment we read "taduktam ivAderapratItApi zabdasaskArata. kvacit / upamA gamyate'nyatra kevalArthanibandhanA // iti / yavatra vivaraNakRtA upamAnopameyabhAvavivakSA sAmyamivAdiprayogazceti tritayamudghoSitaM tad bAhulyAbhiprAyeNa na tu lakSANatayA / " Now. the quotation "vaderapratilapt" etc is found introduced in his Laghuyru (p 29, Banhatti's edition) by Pratiharenduraja with the words "tadahuh" The author of KLV identifies this quotation as originating from vioaranakyt, ie Udbhata, the author of (Bhamaha-Vivarana and thus indicating that he must have had Bhamaha-ylvarana in front of him 10) Thus surmise is based on the context supplied by KLV (P 78 11 8-19) On a festive occasions Hayagriva sends hus son to brzog Narakasura with him He goes to his capital but learns from the subjects of Narakasura's death at Krpaa's hands, and his daughter's departure to forest on account of her bereavement Ho then proceeds to meet her in the forest with a view to offering condolences to her, seeing her practing austerities bez struck with love and points out the great disparity between her tender youthful body fit for love's joy and her bard penance But there is one serious difficulty which prevents u8 from making such a surmuse And It is the metre in which the two versea (1 tanuriya etc and 11 nava-yayasi etc on P 78) are composed The quarter, however, unmistakably. reveals the unfluence of Kalidasa (Kumaresembhava, centov 4) 17) p71 11 9-12 19) So it was to Homacandra who quotes come passages from it for a contrary view, however, unde Kane's History of Sanskrit Poetics (p 127, 1951 ed)

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IN THE VESTIBULES OF KARMA TG Kalghatgi I The sage Jabali turned round and looked at me," said the parrot Vaisampayapa akilled in the Sastras, "with an effort to recognise something that be bad knowo before spoke gently thus "this one too is reaping the fruits of his own misconduct" The Kadambari is a story of action and their fruits in the successive lives of living beings Yabodharacarlta presents a story of Yasodhara and his mother Candramati who suffered the effects of their misconduct in a senes of births The sage Sudatta said Yasodhara and his mother had to undergo countless suffering in successive births for having sacrificed a cock made of flour paste Similar stories bound in earlier Jaina romances like Samardiccakaha Jo the Buddbist literature we get narratives of this type It is reported that the Buddha described the previous life forms of men closely connected with him The Buddha as the Bodhisattva, paased through numerous previous births, as a lion, and Sumedha The Pali canon relates an account of a Brahmin, who was able to assess by seeing only the skull of a being, where his previous possessor was reborn". Apart from the interest in these accounts from the point of view of romance and literature, they present a deep-rooted concept of man, his action and his destiny The concept of Karma and rebirth have been woven to the very texture of Indian thought and society It appears that such prophecies of Karma and consequent rebirths were pronounced by intuition It is not only 10 India we have such experiences, but there are evidences to show that the beliefs in future births existed in other people like the Greeks and the Jews The belief in life after death has been present in varying forms in the writings of Khald Gibran The early stories indicate a belief in the doctrine of reincarnation that seems more than a literary devico In the Nymph of the Valley there is a story of two lovers who meet again after two thousand years in the ruins of the Astarte * But later, Gibran joined the Neoplatonlats in their belief in the return of the individual soul to God Karma and rebirth are the basic concepts which cannot be considered in leolation The two concepts present a chain of causation, perhaps two sides of the same coin The two have been woven in the texture of Indian belief The stories concerning Karma and rebirth in literature and mythology present the foundation of Indian thought and society "The common feature of all the religious systems of India is the dogma of retribution, causality of the 1 2 W Geiger Samyutta Nikaya Part I p 289 A tear and smile Introduction by Robert Hilager

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TG Kalghatgi existences deed (huin a) and conditioned by this, the beginningless chain following one another's Life in this planet is inexplicable in many ways Happiness and misery are facts of life Fleeting moments of joy are interspersed by moments of puin in his Serinon at Banaras the Buddha said to his disciples that the first noble truth is the tyranny of pain "Birth is painful, decay is painful, disease is painful, death is painful, union with the unpleasant 19 painful, painful as the separation from the pleasant" "What think, ye disciples whether is more, the water which is in the four great oceans or the tears which have flown froin vou and have been shed by you while you strayed and wandered on this long pilgrimage' Kant while refuting the optimism of Leibniz, sajd Would any man of sound understanding who has lived long enough and has modulated on the worth of human existence care to go again through life a poor play? Schopenhauer was exasperated with the false optimism of the inudera philosophers, as man is essentially a creature of pain Life is but a penduln swinging butween pain and pleasure, desile and boredom Happiness is negative state and only positive state is pain In such a sebe me of things there is no place for hope But there were others who saw that the world is a pleasure garden And man is the central figure in the drama of life With Robert Browning they said that "God is in heaven and all 18 right with the world " These are the alternating empbases on life and its Vicissitudes Happiness and misery are distributed in equal ways, some are bappy and some miscrable All seek the pleasant things of life, but only some get them while others eat the butter fruits Very often we find good men suffer while evil inen prosper 10 this life King Hariscandra suffered untold misery for his truthfulness The book of Job present the life of Job which is at once noble dad prognantly miserble In modern society incorruptible men suffer immensely and the dishonest prosper This kind of personal and social ine qualities have been a perennial problem of provident and social injustice Attempts have been made to find suitable philosophical solutions to this problein in the garden of Eden Eve ate the fruit of knowledge that was man s first disobedience and the fruit of that forbidden tree whose mortal taste brought death into this world and all our woo' 3 Trans E T J Payne 4 5 6 Glasenapp Inaniartality and Salvation in Indian Religion (Sushila Gupta 1904) Author a Preface Oldenberg Buddha pp 216-17 Kant Fallure of every philosophical attempts in Theodley Milton (Joku) Paradise Lost I Article

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In the Vestibules of Karma 49 Fatalists have tried to explain away the problem by referring to fate The moving finger having writ moves on and not a word can be changed of it "And that inverted Bowl we called the sky, Lift not thy hand to it for help - for It Rolls as impotently on as Thou or I". "Yes, the brst Morning of Creation wrote What the Last Dawn of Reckoning shall read " There are philosophers who have made both physical and moral evil, from the highest point of view, nonexistent The Universe is perfect and everything is good in so far as it extsts, as Augustine put it Spinoza identified reality with perfection Regarded sub specie eternitatis everything is good To Hegel also evil is unreal existing from partial point of view But all such theories of evil considering it as unreal cannot satisfy the craving minds of the individuals who do suffer and suffer unequally "Pain 18 a terrible reality to him who experiences it, and the higher point of view of pbilosophic wisdom 19 untrue to facts if it iguores the experienced reality of pain". There were others who blinked at the misery of life and its inequalities in the quietistic optimism, as in the attitude of Robert Browing Attempts were also made to relieve God of the responsibilities for evil by the Dualistic theory of making good and evil independent co-eternal realities Philosophic justification of evil has come from another side Evil 18 flavour to the sauce and "Our sincerest laughter, With some pain is wrought" And "Mere enjoyment is not our adequate end of creative purpose, nor is God (if there be a God) to be thought of as a kind of Santa clause whose one business is to make his creatives happy", "Do you not see", asked Keats, "how necessary a world of pain and trouble 18 to school an intelligence and to make a soul ?" To the question why one man has to suffer for another's wrong doing, "we can only say that this seems to enhance morality, for it tends to bind meo together in the bonds of social solidarity and helps them to realise that the life of all is involved in the life of cach,"1, Christianity has set the symbol of vicarious suffering But the problem of 7 Rubaiyat of Omar Khayyam L II L III 8 Mall Edward Philosophy of Religion (Progressive Publication, 1953), pp 245 8 Ibid 10 Ibid

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4 TG Kalghatgi moral evil associated with physical evil has been a mystery and attempts to solve this mystery have not all been satisfactory Why shoud the Good suffer and evil prosper We do out know The theories of accident and Necessity (Niyatluada) bave failed to satisfy the enquiring minds The advancement of empirical knowledge in the field of sciences has given command over nature but has not pointed to any solution of the problem Wo may have to say with Omar Kbayyam "Myself when young did eagerly frequent Doctor and Saint, and heard great Argument About it and about but ever more came by the same door as 10 I went " If we survey the ancient Indian thought, the doctrine of Karma has been suggested as a possible solution to this problem and it 18 intimately conneded with the doctrine of the reincarnation of soul It 18, therefore, necessary to study tbe problem of uncqual distribution of misery and happiness in this life in the light of this theory and to see whether we can justify tho ways of man to man and of God to man There are evidences to show that belief in future birth existed in other people like the Greek and the Jewish People Karma and rebirth are the two concepls which cannot be considered by themselves in isolation The two are causally connected They present the foundation of Indian thought and Society "The common basis of all the religious systeins of India is the dogma of retribution, casuality of the deed (Karma) and conditioned by this the beginningless chain of existence following one another "1 "The notion of retribution goveros all the great metaphysical systems in lodia so much, that Indian authors see in it the common fundamental assumption of every religious world view in general For all the great Indian systems Karma is foundational principle operating 10 the universe and is the driving force that keeps every individual existence permanently at work. The Indian systems of Philosopby could explain the mystery of the inequality of existence and all that is enigmatic in existence by the concept of Karma Ob Gautama, just as a sprout has a seed for its helu, as there 18 a helu for happineas and misery, since it is a Karya That hetu 19 the Karma "49 <Page #47
In the Vestibules of Karma 45 are released by wisdom 14 Some times Karma of the fore-fathers affects even their descendents 15 The doctrine of Karma is one of the most significant tenets of Indian thought it bas profoundly influenced the life and thought of the people in India 18 It is the basal pre-supposition of Hinduism, Jainism and Buddhism "One finds an unanswerable trutb in the theory of Karma, - not necessarily in the form the ancients gave to it, but in the idea at its centre, - which at once strikes the mind and commands the assent of the understanding Nor does the austerer reason, distrustful of first impressions and critical of plausible solutlons, find after the severest scrutiny that the more superficial understanding, the porter at the gateways of our mentality, has been decer ved into admitting a tinsel guest, a false claimant into our mansion of know ledge There is a solidity at once of pbilosopbic and of practical truth supporting the idea, a bed-rock of the deepest universal undeniable verities against which the human mind must always come up in its fathomings of the fathomless, in this way indeed does the world deal with us, there is a law here which does so make itself felt and against wbich all our egoistic ignorance and self-will and violence dashes up in the end, as the old Greek poet said of the haughty isolence and prosperous pride of man, against the very foundation of the throne of Zeus, the marble feet of Themis, the adamantine bust of Adapke There is the secret of an eternal factor, the base of the unchanging action of the just and truthful gods, deanam dhrupaura. tam, in the self-sufficient and impartial law of Karma "17 As man sows, so does he reap Our actions have their effects These effects cannot be destroyed They have to be experienced and exhausted If we cannot exhaust the effect of our actions in this life,"we bave to complete the cycle of births and deaths to earn the fruits of all that we have done No man inberits the good or evil of another man The doctrine of Karma is thus closely associated with the reincarnation of soul Every evil deed must be explated and every good deed must be rewarded If it 18 not posable to reap the fruits in one slogle empirical existence, it must be experienced on earth in a fresh incarnation Plato las made a reference to this theory in the Laws perhaps under the influence of Orphic mysticism, and refers to the tradition which la firmly believed by many, and has been received from those who are learned in the mysteries 19 In Indian thought, the doctrine of Karma has been developed on philosophical and scientific 14 16 16 17 18 Karmana badhyate jantum vidyaya tu pramucyate" Santi Parva 240 Cave (Sedney) Living Religions of the East p 31 Aurobindo The Problem of Rebirth, (Pondicherry, 1952), P 84 Ibid p 85

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bases "This truth of Karma has been always recognised in the East in one form or else in another, but to the Buddhists belongs the credit of having given to it the clearest and fullest universal counciation and the most Insis tent importance In the West, too, the idea has constantly recurred, but in external, in fragmentary glimpses, as the recognition of a pragmatic truth of experience, and most as an ordered ethical law or fatality set over against the self-will and strength of man " The Jainas have developed the doctrine of Karma on a scientific basis Karma etymologically means whatever is done, any activity It got associated with the after-cffects of action, both physical and mental Every ja (living being) is constantly active, expressing the activity in the thres fold functions of body, speach and mind it leaves behind traces of aftereflects in the physical and psychic forms I'very action, word or thought produces, besides its visible, invisible and transcendent effects It produces under certain conditions potential energies which forge the physical effects in the form of reward or punishment As in the case of a bond which continues to operate until, but loses its validity on, the repayment of the capital, so does the invisible ellect of an action remain in potential form after the visible effect has disappeared Actions performed in this life would be the causes 20 And the present life is the result of actions performed in previous lives So is the chain of life connected in the series of actions and their effects realised The Karma doctrine involves the idea of eternal metempsychosis Karl Potter in his Presuppositions of Indian Philosophies21 has tried to Interpret Karma as a form of habit Human being faces challenges from many sides which have to be met by birth, social action and by the appli cation of scientific techniques in order to be free from the bondage in life But the more subtle challenges lie underneath the surface, and arise from habits themselves, which continue after the conditions that engender them have been removed, and which engender new habits which in turn must be removed somehow This round of habits breeding habbits is a part of what is called in Sanskrit Samsara, the wheel of birth, which is governed by Karma, the habits themselves Karma is described in the Jaina Philosophy as a kind of dirt which accretus to the otherwise pure java by virtue of one's actions In the Bhagavadgita the dirt is described as of three kinds "one may think of these as types of habits "as I have not been able to 19 Ibid p 86 20 Glasenapp (Von II) The Doctrine of Karma in Jalna Philosophy (German Edition 1942) Preface 21 Presuppositions of Indian Phliosophies (Pronticu IIall, 1963) 22 Ibid

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In the Vestibules of Karma understand how Potter interprets Karma as a type of habit, Psychologists tell us that habit is a learned activity that lias becomc almost automatic, and habit has the same relation to learolog as the secondary automatic reaction bas to the reflexes The fuaction of habit 18 to simplify the movements required to achieve a given result, to make the actions more accurate and to diminish fatigue, because we have a structure weak enough to yield to an influence but strong enough not to yield atonce Karma 15 lcast to be considered as babit in this sense I cannot understand Potter s interpretation I can only say one must be steeped in the Indian tradition in order to understand the nature and significance of Karma CJ Juog, while distloguishing, Personal and the Collective Unconscious, hints at the possibility of comparing the archetypes of the Collective Unconscious to the Karma in Indian thought The Collective Unconscious stands for the objective psyche The personal layer ends at the earliest memories of infancy, but the collective layer comprises the pre-infantile period that Is the residue of ancestral life The force of Karmo works implicitly and determines the nature and development of personality The Karma aspect 19 essential to the deeper understanding of the nature of an archetype 29 Although it 18 possible to say that Kerme has essentially a reference to 10dividual differences and bence a personal acqisition, yet each individual has a common heritage which he shares with the community and which shapes his being The archetypes refer to the common beritage To this extent they refer to the Karma aspect However, Sung was primarily concerned with interpretation of dreams and fantasles in presenting his theory of the Collective Unconscious Had he developed the archetypes of the collective Unconscious, he would have reached the doctrine of Karma, the store-house of the physical and psychical effects of the past 24 Fundamentally, "the meaning of Karma is that all existence is the working of a universal Energy, a process and an action and a buildiog of things by that actlon, - an unbullding too, but as a step to farther building, - that all 1s & continuous chain 10 which every one llok 18 bound indissolubly to the past infinity of numberless links, and the whole governed by fixed relations, by a fixed association of cause and effect, present action the result of past action as future action will be the result of present action, all cause a working of energy and all effect too a working of energy" The moral sigoificance is that all our existence is a putting out of an energy which is in us and by which we are made and as is the nature of the energy which is put forth aa cause, so shall be that of the energy 23 Jung (CJ) Essays in Analytical Psychology (Personal and Collective or Transcendental Unconscious) p 76 Footnote Radhakrishnan (S) Indian Philosophy Vol I (1941) pp 109-110 24

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TG Malghargi #hich relurns as effect, that this is the universal law and nothing in the World Lall, being of and in our world escape from its governing incidence That is the philosophical reality of the theory of Karma, and that too 18 the way of seeing which has been developed by physical science 25 Il lt 15 difficult to say when and where the concept of Karma originated in Indii Some traced the origin of Karna in the principle of Ria Rin the ci smui principle it prevades the whole world, and gods and men 1,0 ob.) it It is the anticipation of the law of Karma The concept of R. nust have ben originally suggested by the regularity of the movement of the sun and the moon and the uniforinity in the phenomenal world The vedic Ru think that Rta exists before the manifestation of all pbenomena "The Maruts come from the seat of the Ria" isnu is the embryo of the Ria, and heaven and earth are what they are by reason of Ria It is diffi cult to say that Karma must have originated from Ria The doctrine of Karma docs not appear in the old hymns of the Rgueda The vedic seers were inalbly interested in the good of this life, and when death came they went the way of their fathers to the world where Yama, the first to die, ruled The doctrine must have developed against a number of other doctrines about creation Some regarded time as the dominant factor of creation Others belteve 1a nature (Srabhava) as the prominent factor There were other theories as well Some, like the Jainas, rejected these views and said that even time and Syablaya bre deler mined by Karma 20 The concept of Karma must have existed atleast a thousand years, before the beginning of the Christian era and has since become the basis and centre of religions "? It 19 probable that Karma and Rebirth must have been pre-Aryan doctrines which were important in the Sramana culture and later assimilated in the Aryan thought by the time the Upanisads were clearly formulated The Indian view of Karna was doubtless of non-Aryan provinance and it was a kind of natural law og The doctrine of Karma for the first time appears in the Upanisad and was considered a secret doctrine conveyed only to the initiates 38 It is possible that the concept of Karma was taken over from the pre-Aryan inhabltants of India, as it has been established that a bigh culture existed in the 25 Sri Aurobindo The Problem of Rebirth, pp 86-86 26 Tacia (N) Studies in Jama Philosophy (1951) P 220 27 Glassenapp (on H) The Dhitrine of Kai matul Jalna Philosophy Pregace to the Gerinin Erin Nmaan Smart Doctrine & Argument in Indian Philosophy (Allen & Unmin 1964) p 163 29 BUpanlad 9 2 13

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In the Vestibules of Karma Indus Valley before the invasion of the Aryan conquerors "Therefore a hypothesis could be advanced that the Indo-Aryans arrived at their doctrine of meternpsychosis in a manner similar to that of the Celtic Druids who also appear to have taken it over as a sacred doctrine from the pre-Aryan people "30 Karma was closely associated with the doctrine of rejecarnation of soul With the gradual emphasis of asceticism under the influence of Sramana culture, came the awareness of one's responsibility, here and hereafter Karma was linked up with the doctrine of reincarnation of soul However, Karma doctrine has been widely accepted in the ancient Indian thought except by the Carvaka Karma theory has been expressed in a variety of ways from the most extreme realism which regards Karma as a complexity of material particles infectiog the soul to the most extremo idealism, where it is a species of uewly produced jovisible force, in its highest unreal lo the Sanyasa Upanlsad we are told that jiuas are bound by Karma 31 A man becomes good by good deeds and bad by bad deeds 31 And while we thus live we fetter ourselves with the effects of our deeds in the Mahabharata the emphasis is on the force of Karma of the three kiada of Karma, Prarabdha, Sancita and Agami, mentioned in the Bhagavadgua, Aganu and Sancila can be overcome Karma theory was gradually being developed in the Brhadaranyaka and other Upanisads It has received prominence in the Mahabharata However fast man proceeds, the Karma of the past life always follows It is there when he sleeps, when he gets up and when he walks about He has to experience the fruits of the Karma of the actions 38 Karma is accreted due to vasana and vasand is created and inteosified due to the force of Karma, and there is thus the beginningless cycle of causation 34 Karma as the after-effect of action has been intimately lloked up with the Karma as action, as the effects of action have been primarily referred to the actions of the individuals Manu bas divided tho actions of men into bodily (kayika), verbal (vacika) and mental (manastka) as, for instance, murder and threat are kaylka, speaking untruth is sacika and desiring wealth of another is manasika 36 Karma as act has also been differentiated as sattvika (rigbt), ragasa (charged with emotions) and tamasa (ignorant) But regarding the effects of action Karma gets sancita, prarabdha and agami distiactions The distinction between sancita (accumulated), prarabdha (operating) and agami (in future) is also important Sancita has to be 30 Salvation in Indian Religions (Susbil 91 32 33 34 95 Glasenapp (Von H) Iminortality and Gupta, 1961) p 22 Sanyasa Upani sad u 18 Br Upani sad iu 2, 13 Santi Parva 181 Ibid 211 Manusmyti 12 8 7

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50 TG halghargi exhausted and it cannot be ctperienced at once as some portion of it may bear bad and some good effects For instance, some may produce effect in the 'starga' and some in the 'navala' and therefore they have to be experienced at dullerent times but all that Karma has to be exhausted that part of the Sun i han a which begins to operate is called 'Prarabd ha Karma The Tedaniu tra inentions the distinction between prarabdha and anarabdha harya The Karma which has started operating and which an individual bas brought with him out of Santa needs to be exhausted The anarabdha Karma can be destroyed by jnana However, one who has attained jnana has also to await till the pranubtha Karn that he brought with him at the time of birth gets completely cxhausted But if he forcibly decides to glve up bia life before the prarbuha karnis exhausted he has to be reborn to experience the fruits of the remaining Larma 80 In Buddhism there is no substance as soul What transmigrates is not a person but his KarmaWhen the series of mental states which constito. les the self resulting from a chain of acts ends, there would still be some acts and their clects which continue and the nijfana projects into the future due to the force of the elects of Karma The Buddhists distinguish acts accompanied by Osrria (impure acts) from pure acts which are not accompanied by asrara Sansara is the effect of Karma Our present happiness and misery are the fruits of what we have done in the past Operation of Karma can be considered as a principle of moral life, as a force limiting and particularising personality and as a principle of conservation of energy lo the physical world Buddhism also accepts the principle that inequalities 10 life are due to the accretion and operation of Karma in individuals In the Afrlinda Panha "venerabie Nagasena', asked the king, "why are men not all alike, but some short-lived and some long, some sickly and some healthy, some wcal and some strong, some poor and some rich, como base and some nuble, some stupid and some clever ?" "Why, your nie jesty", replied the Elder, "are not all plants alike, but some astringent, some salty, some pungent, some sour, and some sweet ?" I suppose, your Reverence, Because they come from different seeds" "And so it is with men. They are not allke because of different Karmaa As the Lord said "Beings each have their own Karma They are born through karma, they become members of tribes and families through Karma, cach ruled by Karma, it 16 Karma that divides them into high and low "Very good, your Reverence 199 36 Vedanta Satra 41, 13-15 37 Abhidhamma hosa Blava u 24 38. Milinda Putha (Trunckner), p 65

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In the Vestibules of Karma 51 In Buddhism Karma has an extensive function as it determines not only his individual qualities, the circumstances of his life and fate, but also creates an external world to be experienced by the being in question 39 According to Sarvastivadins, the sun, the mountains and the rivers are only contents of my consciousness determined by Karma Not only the fate of all oarthly communities but those of an entire world system are determined by the Karma of all the apparent individuals who were born in it 40 The fruits of retribution of acts include not only the sensation but also everything that determines sensation Three kinds of acts produce agree able (sukha-vedaniya), disagreeable (duhkha) and indifferent aengations Simi. larly, some acts produce immediate effects because their retribution cannot be interrupted by an act allowing the fruit in another existence as, for instance, matricide, patricide and murder of an arhat ctc In other cases the retribution may be arrested by an acquisition of spiritual stage called ksantt (patience), anagami (quality of a saint) and arbatship An existence is projected or caused by Karma and human existence cannot be projected except by good Karma The fruits of Karma may be of general kind as for jogtance towards the end of a cosmic period (antarakalpa) plants are crushed by raing and stones and they bear little fruits The creation of Karm is the result of Karma The idea of the pollution of the soul due to karma has been largely allegorical in other religious philosophiog in ladie, while the Jainas 'have adopted it in the real sense of the word' and have worked out into an original systom 41 The Jaina conception of Karma must have been completely developed after a thousand years of Mahavira's nirvana The Sihananga, Uttaradhyayanasutra and the BhagavatIsutra contain general outline of the doctrine and the details have been worked out in the Karmagrantha, Pancasangraha and the Karmapraksi la working out the details, there have been two schools of thought 1) Agamika and 11) Karmagranthika Jainism is, in a songe, dualistic The universe is constituted of the two fundamental categories Jiva (liviag) and ajtva (non-living), soul (floa) has been described from the noumenal and the phenomenal points of view, From the pure and ultimato point of view, stva 18 pure and perfect It 18 characterised by upayoga, the hormic enorgy It is simple and without parts It is immaterial and formlegs a It is characterised by cetana It 18 pure consciousness From the phenomenal polot of view flog is decribed as possessing four pranas It is the lord (prabhu), limited to his body 99 Yamakami Sogen Systems of Buddhist Philosophy (1912), pp 50-66 40 Glasenapp Immortality and Salvation in Indian Religion p 29 41 Glagenapp (Von H) The Doctrine of Karma in Jaina Philosophy p 15 42 Dravyasangraha 2

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TG Kalghatgl (dehamatra), still incorpore il, and it is ordinarily found with Karma 43 The Jiva comes in contact with the external world, aftra The jiva is active, and the activity is expressed in the threefold forms-the bodily, in speech and mental This is called 10ga Yoga brings its after-effects in the form of The souls are Karmic particles, which veil the pure nature of the soul contaminated by the Karma which is a foreign element, and are involved in the wheel of samsara This contamination is beginningless, though it has an end It is diflicult to say how the souls got involved in the wheel of samsara Caught in the wheel of Samsara the soul forgets its real nature and the efforts to search for the truth are obscured by the passions The inherent capacity of the soul for self realisation is also obstructed by the veil of Karma It is subjected to the forces of Karma which express themselves first through fuelings and emotions, and secondly, in the chains of very subtle kinds of inatter invisible to the eye and the instruments of science It is then embodied and is affected by the environment, physical and social and spiritual We, thus, get various types of soul existence 52 Karma, according to the Jainas, is material in nature It is matter in a subtle form and it is a substantive force It is constituted of finer particles of matter The kind of matter fit to manifest Karma fills the universe It has the special property of developing the effects of merit and demerit By its activity due to the contact with the physical world, the soul becomes penetrated with the particles of Karmic body (Karma sarira) which is constantly attached to the soul till it succeeds to be free from it 'Nowhere has the physical nature of Karma been asserted with such stress as 10 Jainism 45 A moral fact produces a psycho-physical quality, a real and not merely a symbolic mark, affecting the soul in its physical nature This point of view has been worked out in detail in the form of mathematical calculations, in the Karmagrantha The Jaina tradition distinguishes two aspects 1) the physical aspect dravya-harma and 11) the psychic aspect (bhava-karma) The physical aspect comprises the particles of Karma (Karma-pudgala) accruing into the soul and polluting it The psychic aspect is primarily the mental states and events arising out of the activity of mind, body and speech They are like the mental traces long after the consclous states experienced vanish The physical and the psychic Karma are mutually related to each other as cause and effect 18 The distinction between the physical and the psychic Tuttvartha-sutra 61 43 44 lbud 45 Glasenapp (Von H) The Doctrine of Karma in Jaina Philosophy Foreword by Zimmerman 46 Astasahasrt (N S Peas, Bomhay, 1915), p 51

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In the Vestibules of Karma aspects of Karma is psychologically significant, as it presents the interaction of the bodily and the mental due to the incessant activity of the soul 53 This bondage of the soul to Karman 19 of four types, according to nature (prakrti), duration (sthiti), intensity (anubhaga ot rasa) and quantity (pradesa)*7 Even as a pudding (modaka) having ingredients used for curing gastric the ailment, as does the pudding having ingredients removing biliousness or phlegm, so also the Karmic particles which have become Jnanavarantya Karma veils knowledge, darsanavaraniya veils dariana Similarly the effect of one modaka is restricted to one day and another for two days so the duration of Karma working for long time like Thirty Sagaropamas or short time of forty-eight minuites In the case of varied intensity, as the pill measuring a prasti or two, so have the Karma particles under the influences of passions (Kasayas) due to Yoga (bodily, speech and mental activity) the soul attracts Karmic matter (Karma pudgala) which is then associated with the soul As a lamp with its wick draws in the oil and converts it into the flame which 19 its body, so does the soul attract, due to attachment etc the material aggregates and transforms them into Karmic matter 48 Karma can be distinguished into eight types: 1) Jnanavaraniya, that which obscures right knowledge, 2) darkandvaranya, that which obscures right intuition, 3) vedantya, arousing affective states like feelings and emotions, 4) mohantya, that which deludes right faith, 5) ayu-karma, determinig the age of the individual, 6) nama karma, which produces various circumstances collectively making up an individual existence like the body and other special qualities of individuality, 7) gotra karman, which determines the family, social standing, etc of the individual, and 8) antarayakarma which obstructs the inborn energy of the soul aud prevents the doing of good actions Each kind of Karma has its limits in time within which it must exhaust itself The accumulated Karma brings a transcendental hue or halo to the soul which is called lefya There are six Lalyas These Lelyas have predominantly a moral resultant Karma is a substantive force It has the property of developing the effects of merit and demerit The Karmic particles build up a special body which is called Karma-tartra which does not leave the soul till its emancipation Karma has its psychic effects also Bhava-Karma 18 immediate to the Jia, while Dravya-karma belongs to the body Five classes of Karmic conditions are mentioned On account of the rise (udaya), suppre 47 Karma grantha, 32 48 Tattvartha Satra Bhasya Tika (pt I)

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TG Kalghatgi ssion (upasa na), annibilation (h saya), suppression-and-aanbilation, (ksayo pasama) and psychological elfect (par inama), the soul has five conditions of tbought and existence in the usual course of things, Karma takes eflect and produces results The soul is said to be in audayika state Karma may be prevented from its operation for sometime In this state it is still present, like hiru covered by ashes the soul 15 in the aupasamika state When harina is doohilated, it is in a Ksayiha state the fourth state 19 the mixed stail The last, unconditioned, slate leads to moksa The distinction between the types of karma is based on the types of mulaprahhi and a nuinber of ullaraprahtht They in turn get into smaller divisions of these we have eight mila praktis and 148 utiara-prakruus On the best of the five categories of koowledge, there are five types of Jnana Tarantza harma The first four produce greater or less degree of obscuration But the lost one destroys omniscience altogether There are nine (vpes of darsudi zanija karma The first tour (1) caksu (2) acaksu, (3) avadha and (4) kelala ob.cure intuition The effects of the remaining intuition obscuring karaia are fell in (1) slecp (mudra), deep sleep (ndra-nidra), (3) sleep while standing (placaia), (+) sleep while walking (expressing bodily action) (styanagrddla) This is analogous to somnambulism They produce psycho-physical conditions which exclude all possibility of perceplion The vedaniya karma has two types (1) causiog pleasant feeling (sardvedaniya) and (2) unpleasant feeling (asaraiedaniya) In gods and men satavedantya is predominant Mohaniya Karma has two groups (1) those deluding the right intuition, and there are three of them (1) mithyalua vedaniya, (11) samyaktva vedaniya, (lu) mistavedaniya The second group canlra-vedaniya has two sub-groups (1) kasaya vedaniya and (11) nokasaya vedantya There are sixteen kasaya vedaniya based on the four passions and four degrees of intensity of each passion The second group has nine types based on six quasi passions (nokasaya) like laughter etc and three sexes The Ayu Kurma bas four subtypes which determine the life span of an individual to bell, plant and anlmal life, human life and celestial world The Name Karma has a large number of subtypes according to the various forms of embodied existence, with reference to gari, jall and barira Gotra Karma determines the status of an individual as of high and low Antar@yaKarma is of the following types : (1) that which obstructs the inclination of giving gifts (2) that which prevents the enjoyment of things (3) that which lasts only for the period of enjoyment (4) that which prevents the enjoyment of things that lasts for some time and (5) that which prevents the free expression of energy 49 Pancastikayasara 62

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In the Vestibules of Karma 55 Of the eight main types of Karma, the four Jnanavaranly2, darsanavarantya, mohaniya and antardya are ghati Karma, as they obscure the capacity of knowledge and intuition, delude the soul into wrong ways and obstruct its inherent energy Some of them are completely obscuring (sarvaghali) and others are partially obscuriog (desnghat) But even in this the soul still retains an element of right knowledge and intuition, as a very dark and denge cloud cannot completely cover the lustre of the sun or the moon In that case it would mean the conversion of spirit into matter 50 The infinitesmal part of the pure and perfect knowledge ever remains, as a rule, uncovered in any form of existence of the soul 61 For example, Karma which covers Kepalojnana is regarded as sarva-ghat while other subtypes of Jnanavaraniya Karma are considered as deso-ghal Same is the case with Karma covering Kevala-darsana and that which covers other types of darsana The predilection for untruth (muthyalva) completely obscures the desire for truth Still the desire and capacity for knowing the truth about wordly things remains unobscured The analogy of the cloud is useful here also 12 The soul, thus, cannot lose all its characteristics even if it is infected by sarva-ghati Karma , otherwise it will be matter Defa-ghati Karma obscures knowledge partially It also obstructs in the same way intuition and energy For instance, even the least developed organisin has the minimum necessary energy for the process of metabolism and movement of individuals into different births due to antaraya Karma The aghat Karma (non-obscuring) consists of all the sub-types of (1) vedaniya, (2) nama (3) gotra and (4) Ayu Karma They do not obscuro any fundamental quality of the soul They only appear like ghati karma when experienced along with them 63 Karma bas also been classified into (1) auspicious (Subha) and inauspicious (Afubha) types Those which lead to enjoyment of pleasure are auspicious and those which lead to suffering are inauspicious However, perfect state is to be realised when all activities, auspicious or inauspicious, are stopped Thereby both types of Kacma are not accreted to the soul, Such activities lead to influx of Karmasrava by which Karma matter flows into the soul 54 The Buddhists have classifilod Karma on the basis of different princi ples There are four typos of Karma on tho basis of the functions they 80 Karma Grantha. 2 81 Nandi Satra 2 52 Ibid 83 Ibid 64 Tattvartha Saetra VI 1-2.

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36 I G Kalghargi perford U) Karma which conditions birth after death, (11) that which sue tains other harma but does not itself cause rebirth, (111) Karma which obstructs and muhula uthier harmi and (iv) Karma wbich obstructs and Oserpen is other weak Karma On the basis of the priority of fruition we get four types (1) serious Karina liku killing the mother, (11) that which is just before death(11) K wluch us repeatedly done and (iv) Karma which l of light in According to the time if fruition, we get (1) Karma ulich gncs ils chect in this life, (11) that which gives efect in the next life. (101) kurma giving cllect 17 some later life and (iv) that which 19 incffective On the bash of the plan of the life of fruition thure are () 10auspicious Kinn pruducing m ery, (1) auspicious Karnia producing belter life of desire (hamaigaa him), (111) moral Karina which produces its effects in the plane of form (Tiparrcana) and (11) that which pri duces Karma in the forniless in But Buddhin lutuins that involuntary actions whether of budy, specch ind mind, do not cinstitute Karma and Therefore cannot bring ibouit ibe results ccruine lu Karud It only means that unwilled Ictions do not modity character Visubindhu sus thul an act is karnically chlechte to the full extunt which has heen willed and carried out and whrcb is ipproved after completion If for instance, the carrying out of an action is omitted or the completed action is regrered, then the karmic effect is thereby Jessen.d In Buddhism the molive of the action is also important for determining the catent of creation of Karmy of in individual Wc hill now briefly inalyse the classification of Karma as mentioned by the Yogi School Tlie traces of action (Karninsaya) frucury into enjoy ment and sufferings and these are the merits and demerits The passions of (1) lust, (11) greed, (111) delusion and (iv) anger produce the traces On the basis of the nature of fruition of Karma, Yoga bas classifed Karma determining the nature of the next life 13 (1) various kinds of birth like human, subhuman and divide (11) different spans of life and (111) various enjoyments and suffering 5 These can be compared to the nama, ayu and vedanija Karma of the Jatias These karma fructify either 10 this life or 10 the life to come hereafter Yoga also gives a four-fold distinction of karma based on the consideration of the nature of the activity that produces it 66 The cruel activities are under the grip of passions and they give rise to the dark Kirma There are also mited activities which give rise to dark and white Karma Similarly, white karma traces are generated by moral activities, and the colourless karmic traces are produced by activities wbich are neither motivated by selfish nor by wordly desires Only the ascetics can express such activity The colourless karmic activity leads to emancipation, The 36 58 Yoga Darsana II Tbid

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In the Vestibules of Karma Yoga classification of karma traces on the basis of the colour of the action of the Individual souls can be compared to the Jaina conception of the influx of Karma (Karmairava) into the soul and consequent colouration of the soul 57 III It is difficult to give logical proofs for the principle of Karma as producing the effects for the cycle of birth and death Discursive and rational argument cannot be put forward for the proofs of Karma and its effects The inequality in the status of individuals is an evidence to show that there are some reasons which must have produced these inequalities In the absence of the belief in the Karma operating in the individuals as a consequence of good or bad actlons, it is difficult to explain the variety of living beings and their varying states in this empirical world Ideas of fate and necessity cannot explain the predominent inequality in the status of individuals 57 The doctrine of Karma is a self-evident principle which cannot proved nor need it be proved It is a postulate which no philosopher has found it necessary to prove For all the great Indian systems Karma is just the all-ruling principle operating in the whole universe, the driving force that keeps every individual existence permanently at work Even the theistic systems have never ventured to dispute the force of Karma that operates with iron necessity. God is not able to rule arbitrarlly without the law of Karma, on the contrary, Karma is the guiding force to which he must conform for the creation and the governance of the world The real proof of the truth of Karma theory is to be found in the words of the revealed scriptures or in the utterances of the great enlightened ones These revelations and utterances have been handed down for centuries to posterity In them they seek the really unshakeable foundation of their faith, just as Christian theologians derive the unassailable certainty of the immortality of the soul not from rational proofs, but from the revelations 59 The logical justification for the doctrine of Karma, the Jainas say, is not possible from the ultimate point (ntheaya-naya) It is the expression of the highest knowledge and experience of the seers We must accept it as authority Similarly when the ascetic, named Kaladevala, saw the newborn Siddhartha Gautama he was at once delighted and sad, delighted because 67 Sankhya Sutra V, 20, VI, 41, Karma Grantha I 58 Glasenapp Immortality and Salvation in Indian Religions p. 34, 59 Ibid

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I G Kalghatgi he saw the vision of Siddhartba as one to be the Buddha, and sad because he saw that he would not live to see that glorious day This need not be tiken us mere fable It has a great sigoificance in presenting the experience of a seer And, "Oh Agnibhuti, Karma is pratyaksa to me, the omnicient being, just as your doubt is pratyaksa to me" IV The problem is how to escape from the bonds of Karma In anclent India philosophers referred to it in various ways The Mimams school has found out a way for obtaining the release from the bonds of Karma by giving instructions for performiog certain types of acts Acts are divided into three types (1) Netya (dady acts), like Sandhya (2) Nalmittika (occasional) like performance of rituals and worships on special occasions Both these kinds bave to be performed (3) Kamya are actions motivated by destres and impulses Then there are acts which are to be problbited nisiddha as they are motivated by desires and impulses By performlng the kamya actions one has to take a series of births according to the effects of Karma accrued and has to experience the effects la these births These also should not be perforined as they bring the loflux of Karma One has to balance the effects of Karma by performing some actions like Nilya and Nalmuttika and avoiding Kamya and Nisiddha actions The prarabdha karma is exhausted by it being experienced in this life Whon suffering in this world, 10 heaven and hell ace exhausted, the Aiman reaches the state of rolease Thla 18 the karma mukli, and nalskarmya siddhi But the Vedantina do not think that by naiskarmya one succeeds in reaching the goal ag Nalskarmya does not result from abstenance of actions nor does one obtain release by glving up actiong 1 Moreover, sancita Karma cannot be exhausted in this way becauso of tho effects of two contrary sancila Karma like heavenly happiness and anffering in bell, and it is not possible to experience both at the same time Sometimes mori torious actions previously performed by a man walt for fruition until he has escaped from the pain of this wordly lifo Therefore, the Vedanting ady that by the Mimamsx way the release is not possible, Dor is it possible to give up action altogether as no one can even for a singlo moment escape karma (action in the world altogether 61 The only may to escape from the wheel of life is by jhana, knowledge in the sense of the realisation of the identitly of the self and the absolute In this sonse karmana vidyale jantuh, vidyaya tu pramuoyald 18 to be understood All Karma is reduced to ashes in the fire of knowledge o As the sced which has been burnt does not take root, so the Karma which has been destroyed by Inana 60 Vibesivasyaka Bhagya, Ganadharavada, 1611-1612 61 Bhagavadgria, 34 82 Ibid 63 Ibid

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In the Vestibules of Karma 59 does not fructify 64 One who has acquired knowledge 18 not defiled by Karma as the lotus leaf does not hold water 55 The Absolutist philosophy does preclude the possibility of detailed instructions of how to realise this atate of release on the basis of the attainment of jhana Some of the paths to be pergued would be yoga of Patanjali, meditation on the absolute and self, bhakti (devotion) and renuciation of the fruits of efforts The impact of the Karma theory was so profound in [odian thought that detailed and casuistrical attempts were made to calculate the fruits of Karma experienced by individuals in the cycle of births In the Manusmrti we get the description of the fruits of Karma one experiences due to various activities that he performs For example, one who steals gold will be asilicted in the next life with poor nails He who takes alchohol will have black teeth He who kills a Brahmin will suffer from consumption One who is unchaste with the wife of his teacher will have skin disease ca One who steals the property of a good mad or Brahmin descends into the hot holl of pasanakunda for as many years as there are hairs on big body, he is then reborn three times as a tortoise and so on 67 And for good actions he who digs a pond or improves an old one reaches the heaven of the gods He who gives food obtaids good memory and other mental gifts 10 the next life The story of Yebodhara and Amptamati 18 a narrative of the long series of effects of Karma in their chain of existences The Buddha Darrates the SUCCCDsive life story of a man who was greedy and was reborn as an elephant 88 Such statements cannot be laterpreted literally They cao be understood in the sense that a definite deed has a tendency to mature and fructify in a definite Karmic effect This tendency is strongly modified more or less by the effects of other actions The Indian doctrine of Karma is not merely, like the doctrine of retribution in western religions, a theory of rowards and pupishments which we have to expect 10 the future for our deeds in tbla existence, but it will abow the causes why we are in our present life precisely as we are in our present life and why we have the fate that wo are experiencing Schopenhauer said that the moral meaning of metempsychosis in all Indian religions is not merely that in a subsequent rebirths we have to atone for every wrong we commit, but also that we must regard overy wrong befalling us as thoroughly deserved through our misdeeds in a 64 85 68 67 68 69 Mahabharata Vanaparva, 190-206 Chan Upanisad 4 14 3 Manusmytt XI 49 and Y7lAavalkya smyte III 209 Devibhagavata Purana IX, ch 33 Anguttara Nikaya 10 M 177 Glasenapp Immortality and Salvation in Indian Religion, p 30

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I G Kalghargi former existence o This gives the double character of lodian doctrine of Karm is presenting retribution and also explanation for the present state of existence of an individul The analysis of Karma and (lie involvement of Jlia in the wheel of samsura due to the inpact of Karmid on it raises a fundamental question as to how the soul which is immaterial and simple is affected by the karmic particles which are natcrial in nature Sonic think such a contact between contradictory entities is difficult to accept But Indian philosophers have discussed the problem of relation of the spiritual and the non-spiritual from different points of view The relation of the spirit and the non-spirit 18 responsible for worldly existence Apart from the gross body, there is the subtle body (suksma sarira) which links the spiritual The Nyaya-Vaisesike and the Minis regard the unseen potency (adrsta) as a quality of the soul and is responsible for the formation of gross body with the help of the nijad (manas) According to Saukhya-Yoga linga salira is the subtle body and it is formed due to the perversion or the allliction (klesa) of the principle of buddhi wluch is an evolute of the prahy With the Sanikhya-Yoga purusa is immutable and it undergoes no change and the prakshi and its evolutes are changing The subtle body of the Jajna is a karmic body It has a number of potencies The nature of karmic body is determined by this integrated cxistence of the soul which is at any moment of existence 18 an integration of these potencies Due to its relation with karma the soul gets passions (kasayas) This relation is beginningless And the question w by the pure soul should come to be invested with the impurity of matter is one of fact as ultimate as its own cxistence We find that the soul is not free and perfect which the demands of logic makes us accept as the indubita ble presupposition As the soul is immortal agd timeless, so also is matter "It is aot profitable to question the possibility of a fact It Is there "71 According to the Nyaya-Valgesika the conditions of bondage like papa and punya lohere in the soul as qualities and in the absence of the bondage the soul becomes free The Samkhya-Yoga believes that the world process and thelr conditions belong to praksti The conscious principle, purusa does not belong to it although it is involved in the world process The Vedantio distinguishes the spiritual from the malerial But this distinction is empiri cal and karma belongs to the world of illusion and is not something belong jog to the spirit But the Jalgas do not accept the quality of distinction between Spirit and Matter The Jaina presents the relation of identity and difference between the spiritual soul and matter they become somehow identical in the state of worldly existence The material (murla) can affect 70 71 Parerga II, para 188 Talia N Studies in Jalna Philosophy (Banatas) p 223

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In the Vestibules of Karma 61 the spiritual (amurla) The existence in this world is a concrete association of the spiritual and the material, as consciougness which is non-material 18 affected by intoxicating drugs which are material in the state of worldly existence, the soul, 10 common with karmic matter, gets material form (murtatoa) which 18 regarded as only a characteristic of material form 71 Jalpas distinguish between material karma (drapya karma) and psychic aspect (bhada karma) Drapya karma and its psychic aspect are mutuaily related as cause and effect, each of other 73 The Jainas bolleve 10 the concrete identity of the soul and the karmic matter 10 the state of bondage The karmic matter mixes with the soul in much the same way as milk mixes with water or fire with iron In the stage of bondage the soul gets a kind of susceptibility to establish relation with the non-soul and this susceptibility is a state of the soul in conjunction with matter The Influx of karma (abrana) and the bondage (bandha) into the soul are due to the inherent activity (yoga) and passion (kasaya) The intensity (anubhaga) and the duration (sthiti) of the bondage of the soul with karmic matter depends on the passion. In the case of abubha karma the stronger the passion the longer and the more intense are the duration and the fruition of karma, But the intensity of fruition of fubho karma Varles inversely as the strength of the passion 74 The Jaidas have given a fabulous mathematical calculation of the duration and the intensity of karma ranging from thirty sagaropama kotikof years of the maximum for antaraya karma, seventy for deluding (mohantya) karma and thirty for ayu and nama karma The minimum duratlon is 48 minutes Tho intensity of karma depends on the depth of the pleasurable and painful experience In the case of abubha karma the depth of suffering varies directly with the intensity of the function of karma and the gradation of intensity is of four degrees , (1) eka sthanika, (2) dvi sthanika, (3) tristhanika and (4) catuhsthanika The first intensity group consists of those intensity classes Tasa spardhaka) whose groups have atoms of less intensity than in those of the second group Similarly less intensity wlill get the second as compared to the third group and so on 75 The stronger of the passione (anantanubandht) leads to bondage of the fourth degree group The second type of passions (a pratyakhyanaparana) belongs to the socond intensity Pratyakhyanaparana has the third Intensity and sathyoalana belongs to the first group of only seventeen types of abubha karma as (1) 5 anlaraya karma, (2) first four jnangvaraniya karma, (3) first three darbandvarasiya karma, (4) karma that arouges urge for male sexes, (5) and four types of karma giving 72 Dharma Sangraha Gatha, 626 73. Asfasahasrs, p 51 74 Karma Grantha 2 75, Ibid.

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TG Kalghatgi rise to fourth type of samyvalana kasaya 78 In the case of Subha karma the bondage is reverse The anantanubandhi kasaya leads to the second degree of bondage of tubha karma, as there is no bondage of the first 77 The Jainas have worked out the analysis of the bondage of intensity (anubhaga-bandha) of kirma 62 The influx of karmic matter into the soul is incessant due to the activities (soga) of the soul The bondage of the soul with reference to the volume of karmic matter and the space of the soul occupied by it is called pradesa bandha The volume of karmic matter entering the soul varies directly as the measure of the activity of the soul The function of yoga is twofold, (1) pradesa bandha and (2) prakri bandha, which determine the nature ind type of bondage like jnandoaraniya etc But the nature of the activity is determined by the types and Intensity of kasaya However, although muthyata (perversity), avirati (non-renunciation) and kasaya (passion) are absent, thega alone produces pradeta (space) occupied by the karma particlea around the soul Prakrt bandha of the vedaniya in some spiritual stage gives subsidence (upasama) of karma 76-77 lbid

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hAthala nibhAgarI ane oDho jAma tathA urvazI-purUravA puSkara ca daravAkara saurASTra, kaccha ane rAjasthAnamAM hothala ane oDhA jAmanI premakathA khUba lokapriya ane naNItI che te te pradezanI lekabelImA A lokakathA Aje ya aneka lokone vitavA che ane te te pradezanI lekabelImAM tene graMthastha paNa karavAmA Avela che hothala padamaNInI lakathAnA mahatvanA be pAko gujarAtI bhASAmAM sapaDe che temA eka che va zrI jhaveracaMda meghANI saMpAdita kathA "hAthalamA ane bIjo pATha maLe che 1. zrI jIvarAma ajarAmara gera sapAdita "u kera ane hethala ninAgarImA AdhArabIjanI vicAraNA mATe A baMne pATha mahatvanA cheA baMne pAThAvALI hAthalanI kathA vArtAvaLAnA-Trait studytulanAtmaka abhyAsa mATe khUba upayogI banI zake tema che lokabhogya banAvavA mATe jarUrI pheraphAra karela lakathAnuM kAThuM kevuM thaI zake. 3te mATe sva zrI jhaveraca da medhANInI kathA hAthalIne abhyAsa karavo savi jarUrI che, jyAre sva zrI goranI lokakathA "hAthala nibhAgarI ane ukela kera AdhAra bIjanA ukela mATe vizeSa khapamAM lAgI zake tema che purANakathA ane datakathAnA bhedane pAmavA mATe paNa A kathA upayogI banI zake tema che hai riTatha thompasane batAvelA lokavArtAnA vyAvartaka lakSaNone najara sAme rAkhI lokavArtAne abhyAsa karavA mATe paNa A baMne pAke khapamAM lAgI zake tema cheAma, A lekakathAo aneka daSTie lA kazAstrane abhyAsa sAmagrI pUrI pADI zake tema che. paNa ahI mAtra AdhAra-bIjanA abhyAsa mATenI ja carcAvicAraNA karavAnI che ane mATa va. zrI goranI lokakathAne pATha vadhu upayogI bane tevuM lAge che vAta-sAra A pramANe che. - hothalanA pAlaka pitAnuM nAma sAgaNa nibhAgaro vatanI karachano (gAmanuM nAma nathI maLatu.) hAthala tene ja galamAthI bhaLI hAthala rUpavatI hovAthI sau mAnatA ke te khAnadhana kahebanI kanyA hovI joIe hothalanA rUpanA kAraNe tene IndranI asarA kahetA jana sevI strI paNa mAnatA te devaganAmA khapatI hothala vayamAM AvI tyAre tenA mATe aneka mAgA AvavA lAgyA, paNa teNe pote ja tenA pAlakapitAne lagna agenI anirachA prakaTa karI hAthala rApara tAlukAnA saI gAmanI naiRtye Azare eka mAIla para hothala parAnA garamAM kAtarI kADhela bhoyarAnA gharamAM keTalAya divasa sudhI ekAtamAM rahetI, teNe hothI samAgarA nAma dhAraNa karyuM te ghaluDAnA saradAra bAbhaNiyA samAnI otha vALavA nIkaLela, pA rastAmAM tene bhAIe dezavaTe kADhela oDhA jAmane tenA rasAlA sAthe bheTo thaye A veLAe hAthale vezapalaTa karI puruSano veza sanyo hato, teo baMnee maLIne bAbhaNiyAnI bAya vALI ane ATheka divasa sAthe gALyA tethI paraspara premabhAva jo

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puSkara ca daravAkara teoe jhA paDatI vakhate du kha ane vedanA anubhavyA ATheka divasathI snAna nahI kahyuM huM mArI bayata vAsa- sAvaramAM vastro utArIne nahAvA paDI A eDanA vA nIkaLyo tene pADe tyADa dUra nIkaLI gayo hato, tethI tenI bhALa meLavavA ta vANavALI jagA-taLAvanI pALa para caDyo teNe hAthalanA ghoDAne jhADa sa ve bAvana ja tenA vastro jhADa nIce paDyA jayA ane hAthalane taLAvanA pANImA tatI tene jaI AvA kAma jhADa nIce AvI hothalanA vastro para besI gayo, tyAre dAyane tene varanA chADIne javA 63, paNa ADhA jAme te na mAnyu tyAre jarA krodhamAM tame hAna adA thI Apa jAo, pachIthI ApaNe vAtacIta karoza' tyAra oDhA jAme kahyuM tu mane paraNavAnuM vacana Ape te huM tane kapaDA Apu" te hAthala dahe kahyo uDhA arothI se, lage saravara pAra, kadhAsu, eja gAla, jike tene maname ! he oDhA, tu savaranI pALa oLagI Avo jA, pachI ApaNe tArA manamAM je piyA che, te karAze arthAt paraNIzu" pachI hAtha eDhA sAme zarato mUkI (1) ApaNuM na thayA pachI huM tamArI sAthe tamArA ghare nahI Avu, paNa jyA rAhu yA tamAre paNa rahevuM paDaze, (2) huM koNa chuM, mAruM nAma zu, A vigate koIne kahevI nahI, (3) A zastane bhaga thaze ke tarata ja hu tamane tyajI jaIza. oDhA jAme A varatAno ravIkAra karyo ane teo paraNyA teo yugaranI gUphAmA dazeka varSa rahyA jakharA ane jesa ga nAmanA be putro thayA eka divase oDho jAma tenA be putro sAthe garAnI pattharanilA para beTho hato, tyAre more DokanA traNa kaDaka karIne jhI gArava pe, jakhAe moranA mAthe pANunAne ghA karyo tyAre oDhA jAme jakharAne kahyuM ke merale visarAta sagAvahAlAonI yAda tAjI karAve che to tene mArIe nahI oDhAne te kSaNe vahAluM vatana ane sagAvahAlA yAda AvyA te udAsa bane te ja dhaDIe te sthaLe hAthala AnI caDhI, ne oDhA jAmane udAsa joIne kAraNa pUchyuM tyAre oDhA jAme kahyuM ke vatananI yAda udAsI banAve che, sagAvahAlAne viga have sAle che bane vacce lAMbI vAtacIta thaI ane chevaTe nakkI karyuM ke oDhA jAmanA vatanamA javuM khara, paNu vatanamA hAthana koI puruSa ke strIne maLaze nahI ane oDhA jAme hothala agenI kaI vAta keIne kahevI nahIM teo vatanamA gayA haithIe nAnA bhAIne svIkAra karyo tenI patnI mINAvatI mRtyu pAmI hatI tethI oDhAnA dukhatu have keI kAraNa na hatuM hAthIe oDhAnA hAthamA rAjayanI lagAma sopI oDho jAma meDIvALA mULa mahelamAM hothala sAthe rahevA lAgyA, hAthana keIne maLatI nahI, tethI hathalanA age sagAo vArevAre oDhAne pRcchA karatA paNa te me bahAra eka veNa paNa kADhate nahI, AthI kema vAta thavA lAgI ke eThA

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hothala-e tathA urvazI-purUravA jAme koI ajANI strIne parama rAkhI che, te loko oDhA jAmanI ane hothalanI ni dA karavA lAgyA ke khabara nathI ke te halakI strI koNa che ? oDhA jAma eka vakhate nazAmAM cakacUra hatuM ne ke tenI ane tenI strI hothalanI nidA karavA lAgyA, pRcchA paNa karavA lAgyA, tyAre oDhAe kahyuM ke mArA gharamAM aneka siddhione varelI svarganI devaganA ane bAbhaNAsaranA ghaluDA seDhA sAme bahAravaTuM karanAra prasiddha sAgaNa nibhAganI pALaka putrI che. ame lagnathI joDAyela chIe Ama, oDhA jAme guta vAtane pragaTa karI dovI te samAcAra hethalanA kAne AvyA ke tarata ja teNe cAra ciThThIomAM judu judu lakhyuM (1) tame kabUla karela zaratone bhAga karyo che, tethI tamane taju chuM (2) huM tamane nitya joI zakIza, paNa tame mane nahI jeI zake (3) hu tamArI ane baMne putranI kALajI atarikSamAM rahIne rAkhIza (4) ApaNu ane putranA lagna vakhate temane pakhavA AvIza A ciThThIo ApIne te cAlI gaI oDhAne jyAre A khabara paDI tyAre te viyoganA lIdhe gADA jevo banI divase kADhavA lAgyo oDhA jAmanA putra vayamAM AvyA ane thaLanA be soDhA saradAronI khubasurata kanyAo sAthe banenA sagapaNane vivAha thayA ane kuvaro paraNuM kheraDe AvyA, tyAre temane pakhavA heyara hAjara raho moTI vahue sAsu pAsethI navalakho hAra bhAgyo, je hothale Ape paNa nAnI vahue sabhALa ane nira tara sAmayanI mAgaNI karI hothale tene svIkAra karyo ane pachI kAyama oDhA jAma sAthe hAthala rahI kacchanI bhUmi paranI A datakathA anveda kALa jeTalI jUnI che RvedamAM urvazI purUravAnI kathA che, tenI sAthe A kathAne anuba dha che urvazI-purUravAnI kathA sAthe A lokakathAne ghaNu maLatApANa che " purUravA pRthvI para maryAM mAnava che, jyAre urvazI asara che, hethala paNa asara hatI, tevuM kahevuM che ane gadharva lagnathI paraNe che, ane paraNatI vakhate urvazI traNe zarata mUke che (1) divasamAM traNathI vadhu Aligana na levA (2) nagna dehe pururavAe urvazIne dRSTi samIpa na thavu (3) urvazInI IcchA virUddha sahazayana na karavuM ane je AmAthI kaI zaratane bhAga karavAmAM Avaze ke tarata ja urvazI purUravAno tyAga karI cAlI nIkaLaze paNa lagna pahelA ja purUravAe A zaratone svIkAra karyo hato ja svarga mUkIne pRthvI para Avela urvazIne viyoga gAdha na sahI zakayA, tethI teoe zaratabha ga karAvavA mATe yuktio laDAvIne purUravA nirvasana sthitimA urvazI samIpa upasthita thayA, adhakArane vidAravA vidyutane paNa camakAvI ane urvazInI nasa pururavA para daSTi paDatA tene zaratabha ga thayo lAgavAthI urvazI, hothalanI jema, cAlI nIkaLI ane purUravA urvazI vinA pAgala banI gayo hasarUpe snAna karatI urvazIe kurukSetranA sarovara tIre purUravAne jAye tene dayA upajI ane urvazIrUpe te purUravAnI samIpa thaI tyAre purUravAe urvazIne vinavaNI karI ke tu pAchI AvI ate denA varadAnathI purUvAe urvazInI puna prApti karI,

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puSkara ca daravAkara Ama nAka ,na- varSa jUnI purANuthA-Myth-sAthe hothala padamaNInA nAte ThIka ''- pAna khAya che unI-pura-khAnI kathA ati prAcIna premakathA che che tene karApaNa tA ama- bAve tavA baLavattara , vaLI A kathA pratIkAtmaka paNuM che 8 uva ropura- nAnI mAkhI vAdAra kathA vedamAthI maLatI nathI, paNa zatapatha brAhmaNamAthI sApa va ne mAtra eTA- navAdAeka sUto maLe che paNuM AkhI kathA zatapatha brAhmaNamAM i nA mata pramANe bhagAbhAnuM vipapurANa ane anya purANomAM paNa A kathA maLe cheda udhano-5. pAnI sthAne ATalA mudA tunAtmaka dRSTie upayogI che 10 (1) anya nAne mAnavane vare che (-) nana mATe nIkAravAnI vAte vAganA mAnavane kahe che (-) -bhaga thAya che ane devAganA mAnavano tyAga kare che (8) devAMganA vasamArI rUpe parivartanane pAme che (5) devAnA ekAtavAsa seve che. () Acita mAnava pratye detAganAne anukapA janme che ane chevaTe (9) puna milana hoyatanI lokakathA nIcenA muddAo para ja urvazI-purUravAnI purANa kathAne maLatI che (1) devAMganA jevI hAtha-nArInuM oDhA jAma sAthe lagna (2) nagna agenI hAthavanI zarato (3) bha ga ane oDhA jAmane tyAga (4) hAthanane ekAtavAsa (5) punarAgamana ane oDhA jAma sAthe kAyamI vAsa Ama oDhA jAma ane hothalanI datakathA AvedanI ane zatapatha brAhmaNanI urvarIpururavAnI kathA sAthe akaya sAmya batAve che urvazI-pururavAnI kathA purANathA Myth che jyAre 'hAthala'nI kathA sthAnIya darathA-Local Legend banavA pAme che te kathAmAne prasa ga navamI sadInA hovAnuM kahevAya che, tema ja tenA rAjava za, kuLa pitAzvAtAnA nAmo, vasavATa sthaLo, bhramaNasthaLo ityAdinA nizcita nAme maLe che Ama bhramaNazIla ane pAkhALI purANakathA datakathA banela che, paNa mULamA te urvazI-purUravAnI kathA ja che, kema ke A bane kathAnuM AdhArabIja eka ja che, pejhara lakhe che ke A AdhAra-bIja ha sakumArI (Swan-Maiden). nuM che, ane te prAcIna saMskRta sAhityamAM jaDe che saMskRta sAhityamAM A purANakathA pUrNapaNe vikasI ane rUpane pAmyA pachI te bhAratIya anya bhASAo ane bolIomAM le gya banI ane tema banatA ThIka ThIka samaya paNa vyatIta thaI gayA. jo ke urvazI-purUravAnI purANakathAnA pUrva ane pazcimanA dezomAM aneka pAtare maLe che a3 grIsamA te kathA kayupiDa ane sAIkanI kathAnA nAme, jarmanImA "sthAna meIDana15 ne nAme, phAsamA melasinAnI'* kathA tarIke, skoTaleDamA dha sIla vumana" tarIke ane jisIonI lokakathAomA dha vinDa meIDana"18 tarIke oLakhAya che "kathA saritasAgara' mA bharabhUtinI kathA che, te paNa Aja AdhArabIjanI kathA che 18 bhAgavata

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hethala-e tathA urvazI-purUravA purANamAM kRSNa gopIonA vastronuM haraNa kare che, te prasaMga paNa A ja che, te paNa atra nodha rahyo 20 Ama RgavedamAthI janmela A kathA bhArata bhUmi para lakhAyela zatapathabrAhmaNa, vikhaNapurANa, bhAgavatapurANa ane anya purANamAM vikAsa pAmI A dharatI para lAlana pAlanane pAme che 21 yuropanI prAcIna mULa lokakathAmA "ha sakumArInA AdhAra-bIjane jarAya aNasAra maLato nathI te kathA ane tenA AdhAra-bIja bhAratavarSamAthI yuropanA dezamAM Avela che 23 A ja rIte A purANakathA AphrikAnA ane madhya eziyAnA dezomAM prasArane pAmela che, bhArata para thayela muslima-AkramaNone lIdhe 24 pUrvanA dezamAM paNa A purANakathA ane tenuM AdhAra-bIja ghUmatu jovA maLe che jApAnamA urvazI-purUravAnI purANa kathAe nAma badalyuM ane tyA te jANItI che hikehAha-DemInA nAme25 mahAbhAratamAM zAtanu ane gagAnI purANakathA paNa A ja AdhArabIjanI kathA che rAjasthAnamAnI dhAdhalanI kathA paNa AnuM ja parivartana lAge che Ama, A purANakathA, khUba vyApaka, vaizvika che, 26 kema ke tenuM kathAvatu ati mehaka che jagatanA vArtA sAhityamAM AvuM advitIya kathAvatuM bhAgye ja jovA maLe che e kathAvastu che mAnava ane divya tattva vaccenA prema sa ba dhanuM AvI kathAonA lakSaNo ane AdhAra bIjanI carcA sTitha thempasane vigate karI che 27 ane sArarUpe tAravyu che ke devaganA joDe mAnava puruSa zaratane svIkAra karI lagna kare che ane zarata bha ga thatA devAganA puruSane tyajIne cAlI jAya che 28 TUMkamAM, be premIo laganathI ga ThAya che paNa temanI vacce zarata che ane zaratone bhaga thatA devaganA cAlI jAya che riTatha thompasane jANe hAthala ane oDhA jAmanI vArtA jANI hoya ane tenA para ja lakhatA hoya tevI adAe kathAvastunuM mALakhu ApatAM kahe che nAyaka devAMganAne vare che ane sukhamAM divase nirgame che 28 kaI eka prasa ge nAyakane vatanamAM javAnuM yAda Ave che patnI tenA mATe samiti paNa Ape che ane strI nAyakane kaDaka zabdomAM kahe che ke jeja zaratabhaMga na thAya, tenI pUrepUrI kALajI leje te paNa kahe che ke tenA moethI tenuM nAma na uccArAya ke tenI jIbhethI tenA nAmano sAda paNa nahI de | nAyaka vatanamAM jAya che ane potAnI patnI agenI Da hAza hAke che, tyAre te tenI patnIne gumAve che pati pitAnI patnInI zodhamAM nIkaLe che aneka muzkelIomA AvI paDe che tene te pAra kare che, chevaTe banenu puna milana thAya che hAthala ane oDhA jAmanI A ja lakakathA che tenuM AdhAra-bIja paNa "zaratabhAga ane tyAganu che sTitha themsana tenA bhAnaka (Type)ne kramAka 400 Ape che 30 hothala ane oDhA jAmanI sthAnIya datakathAne bhANata tu Ama, jagatanI aneka lokakathAo sAthe joDI zakAya, ane jagatanI lokakathAonA DAyarAmAM tene paNa mAnavatu sthAna jarUra maLe hothala ane oDhA jAmanI takathAmA vacanabha ganA AdhAra-bIja uparAMta paNa bIjA aneka AdhAra-bIje samAviSTa che, jenA mATe eka alaga lekha lakhavo jarUrI bane!

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1 puSkara caMdaravAkara sadarbhasUci nA 'kanI savAra, bhAga-' e pATha zrI jhaveracaMda meghANI, AvRtti pAcamI. ' ', pR 15 thI 49 ke A vRnI kavArtAo, sapAdaka sva zrI kavi chArAma ajarAmara gora, prathamArutti, The Oan of Story, 1968, prathe 8,5 10, 20, 21 - The Tolktale, by Stuth Thompson, 1946, 5 456 { 1,--, na pAda pa thI rAmagarbhA caturya saMjAba 1, 31, 4 5 741 7, 23 !! 8 95 TakA , pR 2- 6 thI 25 * ; na jI vAra vArtAo 5 241 saurASTranI rasadhAra bhA 4, pR 47 1 Tue Ocean of Story, graMtha 2, pR24 - zreya - 5 - 185, 24, 252 10 jana 2 2 2, 5 24/ ejana prara , 38 1- 8ne batha , pR 2.4 1 ejana, anya 5 -1 thI 234 14 A Handbook of Greek Mythology by HJ Rose 1964, pR 287 tenA pikIna : satya, pramANi 9 22 94 Dictionary of Folklore, Mythology and Legends, by Maria ech, ratha , pR 109 1 e na pR yr ... Dhoka sAhitya vijJAna pR 29 99 lolhiales fiom Scotland, by Philippa Galloway, 1945, 4 1 Gipsy Folktales by Dora H Yeats, 1948, pR 56 - Th Dean of Story, 4 thI 7, 5 58 - - ba, gratha 8, pR 18 ena dha , 5 217 che. ane pradha8 pR 26 -, ajanma, thi 8, 5 -6 ja ejana, atha , 5 2 -4 Thc Dutionary of Folklore, Mythology and Legend, 144 2, 5 005 - The Ocean of Story, graMtha , pR324 -7 ejana, gratha , pR 233 28 The Folk-Tale, 1941, 5 8-3 ejana, 5 9 10 eja, 5 88

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sAgaracaMda-raiu sIyAharaNa-rAsu saMpAdaka prAdhyApaka harivallabha cU. bhAyANI

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prAstAvika apabhraMzocara kAlakI paka virala rAsakRti jo tADapatrIya hastapatra se yahA para prastuta sAgaracanda racita 'sIyAharaNa-rAsu' kA sampAdana kiyA gayA hai usakA varNana isa prakAra hai sthAna eva svarUpa lA0 10 vidyAmadira amadAbAda usamabAI bhaDAra na0 1774 / 3 parimANa Adi patra saMkhyA 16 mApa 3945 pakti saMkhyA 5 bhakSarasaMkhyA 66 chanda saMkhyA 8. sAgaracanda ne apane ko saravAla gaccha ke 'vadhari' (varSamAnasUri ) kA ziSya batAyA hai| saravAla gaccha kI utpatti vikramIya 12vIM zatAbdi ke Aramma meM rAjasthAna ke zrImAla yA bhiNamAla nagara se mAnI gaI hai / usa gaccha ke bhAcAryoM ke isavI 12 vI-13vI zatAbdI ke ullekha prApta hai| muni kAntisAgara ke jaima dhAtupratimAlekha (prathama bhAga 1950) meM vi saM 1286 ke eka pratimA lekhameM saravAla gaccha ke vardhamAnasUri ke ziSya jinezvarasUrti kA nirdeza milatA hai (pR. 3) vahI hamAre sAgaracanda ke guru the yA usase bhina yaha nizcita rUpa se nahIM kahA jA sakatA / gaNaratnamahodadhi ke kartA vardhamAnaHi kA samakAlIna paNDita 'sAgaraca- IsavI bArahavIM zatAbdI kA gaNya mAnya vidvAna honekA nirdeza mohanalAla dalIcada dezAI ke jaima sAhitya ke sakSipta itihAsa' meM pAyA jAtA hai (pR 224 , 254) / yaha sAgaracandra gujarAta ke caulazya nRpati siddharAja ke mantrI udayana kA putra thaa| yaha sIyAharaNa rAsu ke kartA se bhinna jJApta hotA hai| bhASA dRSTi se hama dekheM to 'sIyAharaNa rAsu' kI bhASA IsavI 12 vI 13 vI zatAbdI kI jAma par3atI hai| yaha bhASA usa samaya kI hai jaba sAhitya bhASA meM apabhraza se prAcIna gujarAtI meM sekamaNa ho rahA thA / ina saba ke mAghAra para hama 'sIyAharaNa rAsu' kA racanA kAla 12 vI 13 vIM zatAbdI ke bIca rakha sakate haiN| isa samaya meM racI huI kRtiyA~ bahuta kama pAI gaI hai| rAmAyaNa-viSayaka prAcIna rAsa kRtiyA~ bhI atyanta virala haiN| isa dRSTi se 'sIyAharaNa-rAsu' kA mahatva svayapratIta hai| isakI joka kI kRti 'sIyAdeSi-rAsu' bhI isake pazcAt prakAzita kI aaygii| sampAdaka

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sAgaracaMda-rAu sIyAharaNa-rAsu [1B]navakArivi suyaevI suya rayaNa-vihUsiya potthaya-kamala-dharIyA kamalAsaNi saThiya // [1 saMvukka-vihANau~] pabhaNau~ rAmu gurUNa nameviNu maho jaNa nisuNaho kannu ghareviNa / / puSchiu~ goyama-sAmI seNiya-rAeNaM 'bhayava sIyA-haraNu kahi mahura-sareNa' // 1 tAvahi pabhaNai goyama-sAmI sAsaya-siva-suha-siddhihi gAmI // asthi purI maNa-haraNA sAvasthiya-nAmA maNi-kacaNa-dhaNa-dhannA vahu-rayaNaha~ jammA // 2 sA puri pAlae dasaraha-rAo unmaDa-bhaDa-parivAriya-kAmo // sayalaMteura-sArA tasu tinni pahANiya kegai mavara sumitrA vara gehiNi rANiya // 3 avaraha rAu~ sumittaha lakkhaNu kegai-jAyau bharahu sa-lakkhaNu // kegai vara-laddhAe bhaNiyau dasaraha-nivu 'bharahaha dIjai rajju piya hoi mahA-nivu (1) // 4 vaNi paTTaviyai rAmu sa-lakkhaNu sIyaha~ sahiyau meM kari ku-vi khaNu' // hakkAriu paumAbho lakkhaNa-bhara-sahiyau AsaNu deviNu tANa paramatthu vi kahiyau // 5 mUla ke pATha / 60 ||nmo viitraagaay| prAraMbha : pothaya 11. kaMnu. 3. tipahANIya 42. jAyao. 4.3 lapA 65 hunti 74 gamo, paThamAmu 5 pApajjA 82 pimivi. 9.1 chachane. 2 tiniSi, 5 lakSaNa 6 mAhie raMne.

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2 'paDivannau varu hutau amhehi so maggau kegai suNi tumhahi // avitaha-vayaNAraMbhA nara huti ji siTThA [24] teNa maI vaNa-gamaNe tumhi siTThA iTThA' // 6 tAvaha~ pabhaNa rAhavu vayaNu 'rakkheva mahU~ piyaraha Uu~' // sIyA lakkhaNa-sahio vaNi gau paumAbho dasarahu lei pavajjA mahi bhujai bharaho // 7 - gaMDA - hari-saraha - bharIe pattA vinnivi tahi aDavIe // esthatari paumeNa vuccai so mitI 'aSTahu~ bhAya suheNa chaDiya piya-bhutI // 8 bahu- girivara - taruyara - sachanne acchahu~ tinni bi DaDAranne' // gaya-gajiya haya- ghore vaNi acchai paume lakkhaNu cavala-sahAvo AhiMDaha ranne // 9 katthai khelAvai bhiMbhala kari katthai puNu uttAsaha kesari // katthada kalluNa-gieNaM mohai sAragA katthai kariNa kalAe damiyA mAyaMgA // 10 karathai puNu ummUlai taruyara muTThi - pahArihi katthai majjaNa salile katthada bhilla-puliMdA cUrai girivara || secchAi ra meha sagAmi jiNe // 11 katthai sIyArAma-gurUNaM ANai vaNa- phala levi tarUNaM // eva viha lIlAe vaNi acchacha lakkhaNu / tetthu puNu savukko sAhai vijjA khaNu // 12 10.1234 kathada 11 9 se chAe 5 kathai 12 1, kathai, guruNa 1 bIjA 1 sAgaracaMda raha humUlae tarUyara 2 curae 3 kayaha majaNa 2. taruNa 4. achara lakha 5 saMpuko.

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sIyAharaNa-rAsu kharadUsaNa anu caMdanahAe agaruho bhUsiu vijjAe // paisiu vaNa-jAlIe a[2B]si sAhai ranne lakkhaNu tetthu parAo savukkAsanne // 13 tAvaha tahi ravi-kiraNa-sahassu / dekkhai lakkhaNu khagga-pahAsu // ta leviNu hatyehiM vAhiu vaNa-jAlihi / chinniu siru savukkA siddhau~ phaLa Asihi // 14 dekheviNu tahi siru ruhirAruNu ciMtai lakkhaNu 'kiM eu dAruNu // agaNiya-sattu bhavohA gau rAhava-pAse | paNamivi khagga-karaggo sAhai vitta se // 15 'viruyau bhAiya pai~ kiu kajU Avesai ko gavisau ajjU' // patthatari tasu mAyA Avai levi bhattu / tA dekkhai mahi-vaDhe gaya-jIviu puttu // 16 sA dekkhai saMvukkaha maraNa royaha cadanahI ai karuNaM // 'hA hA putta sa-khyA guNa-nihi savukkA keNa tumaM mArate mAreviNu mukkA' // 17 puNu puNu royai karuNa-palAve sumaratI savuka duhAve // viyaliya-sogattAe laggiya paya-magge 'keNa puNu mahu putto padvaviyau sagge // 18 kettiya-magga-gayA sA dekkhai vinni kumara kIDaMtA pekkhai // picchivi kAma-sarUvA suravara-saThANA cadanahiya sa-viyArA sacaliyA pANA // 19 13 1 cadamihAe 2 bhukhika : sAhae 5 tathu. 6 saMpukA 14. 1. kiriNa, dekhai 5 saMpukA 6 siddhaTha 15 2 cintae 6 sa 16 1 kajju, maJju putaha 17. 2 yai 3 sakhyA 18 6 paTaviyamo nage 19. 2 pini.

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sAgaracaMda tA kijjai vijjAi valeNa taruNa-tarahau~ rUu khaNeNa // Adho-gava-kara-juyalA [3A] vihasiya-nayaNullA nava-joyaNa-saMpannA sasahara-vayaNullA // 20 mAi()vi caMdanahA sa-viyArA tA sabhAsiya ve-vi kumArA // koila-phala-kaThega pabhaNijjai rAm 'bhuji maI vara-taruNI saphalau kari jammU // 21 etthaMtari vuzcai rAmeNa 'na ya muMjau~ para-tiya niyameNaM // jo muMjai para-nArI visayAmisa-Thaddhau so nara narai paDei kasa-ghAya-samiddhau' // 22 jAvevaviha-kyaNahi vAriya __tAva pamohara nahihi vidAriya // toDiya-sira-kesAe taNu nahihi viyArita gaya royata naheNaM kharadUsaNa sAhiu // 23 'sAmiya paI nAheNa anAho mahu mAriu saMvukku guNoho // dasarahanAya-suehi lacchIhara-rAvahiM mAriu asi-laTThiehiM ai ninmaya-pAvehi // 24 toDiya kesa nahehi vidAriya tiNa royaMtI etyu parAiya' // rosAruNa-muha-nayaNo thiu bhIsaNu dUsaNu hakAriu daGvayaNo mArevau lakkhaNu // 25 saradasaNu cauraga-valeNe saccaviyaDa itau rAmeNe // 20. 1 bIjvara viijaae| 'paleNa' sudhAra kara 'paNa' 5 saMpattA 21.1 padanihA 12. 1. paratima. 3. muMgura, / lakhamA 5. narae 23 mahihi 6 sAhiTha 24 5 maNi 21. vireya 2. veNa, ethu parAeya. 6 mAraSau. .

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sIyAharaNa-rAsu 'lakkhaNa jo taI vahimo tamu kerau~ senna Avai gayaNayaleNa bhAiya AsannU' // 26 [3B] tAvaha~ lakkhaNi vuccai rAmo deva jiNevau maI sagAmo // acchi tuma rakkhato sAmiya vaidehI sIha-nInAu muesu jai jItu marIrhi' // 27 dhAvai tAvaha~ khagga-karaggo juttihi lakkhaNu para-vali laggo // ummUlai giri-taruNo mArai gaya-turayA mudvi-pahAra-bhuyAhiM sacUrai rahiyA // 28 jujjha kareviNu tetthu pahuttu mAriu kharadUsaNu valavatu // akkhiu seNiya tujhu savukka-vihANau~ nisuNaha sIyA-haraNuja vItu cirANau~ // 29 [2. sIyA-haraNu] etthatari laMkApuri-nAho vahu-bhaDa-caDayara-vIra-saNAho // puppha-vimANArUDho cAraNa-thUvato Avai gayaNayaleNa dekkhai sIya iMto // 30 'kiM saggaha hutiya vaNa-vAse mAiya macchara vammaha-pAse // tA kiM mahu rUveNaM vijJA-lacchIe jaha evaMviha-rUyA na ramau~ suhachoe // 31 26 1 kharadusaNu, paNa 2 rAmeNa 4 sennu 5 28 1. karagu, 2 parapali 5 pahAru 29 1 kharadu 4 vehANa meM dI gaI hai 5 baleNa 311 huntiya. yaLeNa 6. mAsena. 30 -6. mArjina

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AbhogiNi vIjA - nANeNa jANa rAvaNa san khaNeNa // dasaraha - suu eho rAmo anuvijiya sIyA o juna sagA lakkhaNu abhaiyA (2) // 32 asthi kiyau dohiM vi sakeo sIha - ninAi jANiu bhebho // mumbai sIha-ninAo rAvaNi kavaNeNa gaja rAhavu vegeNa lakkhaNa-nAeNa // 33 kArivi vijjae rUyau~ ataru nIjaha bahadehI desataru || rA[4]havi anu suha-sIle sA niru nehAula hIratI vilaveha guru-viraha-bhayAula // 34 'hA hA rAhava hA somittI ke iu~ hIrau vilavaMtI // ai- niThura ghorA niNivi sIya- palAvA royahi asu-jaladA vaNa- devaya- niyarA // 35 bhAvu muNivi vilavai horatI sIlArakkhANi daDha - niya- vittI // bahuviha sIya-palAvA nisuNivi bhAraDu paNa cacu-pahAre dahavayaNu payaDu || 36 jA niNada caMcU-pahareNa tA mAriu so pakhi khaNeNaM // 'ahava na joyasi suhara loyaNa-juyaleNa tA' jaipara dahavayaNo 'paNisu pAe' // 37 eva bhaNepiNu calliu jAvaha tasu vijjAharaM sammuha tAvaha~ || raNajarDinAmeNa bhAmaMDala bhIco niya - sAmihi niru bhatto vihuri vi nobhicco // 38 24 5 vilaveha 5 sa. 371. pahAreNa, 5 to 38 1 bhaNepiNu sAgaracaMda-raha 35 1 somelI, 'hIra' mArjina meM diyA hai

Page #81
sIyAharaNa-rAsu takkhaNe sIya-palAva suNeha vigjAharu tAvaha~ ciMtei // 'kA puNu vilavae nArI eha karuNa-sareNaM' jAva niyaha jA diTThA tA sIya khaNeNaM // 39 'eha mahu sAmihi bhaiNi niruttI ko puNa eho avaharai turaMtI' // tA pecchaha dahayaNo kAma-sarahi viddha ciMtai 'para-tiya-haraNo eho coru pasiddhau // 40 acchau sAmi-pAsi jAevau~ eu maI niya-pahu-kajju karevau~' eu ciMtevi maNeNaM so hakai rAvaNu kira pattau vegeNaM sIhaha pacANaNu // 41 're re pAva hayAsa suNehI kahi calliu harevi vahadehI // eha rAhava-[4B]vara-bhajjA mAmaDala-bhaiNI somittihi bhaujAyA mamhaha~ puNu pahuNI' // 12 eva bhaNiu so tasu AhiTTai niha gaya-kalahu gaiMdaha dukaha // viNhi-vi vajja-sarIrA niya-jANahi caDiyA jujjhahi paDipaharehi guru-macchara-bhariyA // 43 ekku valavaM anu samara-viyakkhaNu taha-vi hu dasasiru pADiu takkhaNu // so jaMpijjae teNa 'kira tuhu~ valavaMtau ki pakkhahi pahareNa muSchA sapattau' // 44 puNaravi xx kheu karevI uTThAviu dasasiru vijevI // 'kira tuhu~ rakkhasanAho bharahaddha[ha] sAmiu vijA-laddha-payAvo taha-vi hu ohAmiu // 45 39 1 citaI 5 niyae 401 avatarae / pecchae 5 vitae paritiyaharaNe 23 varaha 43 1 Ahihae, 3 piNhivi 1. caDeyA 441 palava. 3. , , saMpattAmo. 453 rakhasa,

Page #82
sAgaracaMda-rAu nisuNivi uTThai koha-palittau vijjA cheu karaha turaMtara // syaNajaDI hiya-vigjo so kiu paya-cArI rAmaNu sIya harekho gau lakaha pArI // 46 teNa sIya uvavaNi melleviNu madAyari mAiTTha seviNu // 'tuhu~ kiri vijja-guNohA miu vayaNa-viyakkhaNa tiha kari jiha eha bhajjA mahu hoi sa-lakkhaNa' // 47 madoyari tasu vayaNu suNevI pacA sIya pAsi vihasevI // puci samAsevI vuccai vaidehI sahi vahu-guNu hita patthu mahu vayaNu suNehI / / 48 sahi laMkAhi vija-saNAho bharahavaha vahu-khayaraha~ nAho // ji ladvau raNe ido digupAlahi sahi[5A]yau nava gaha huya vasi jAsu sura-khayarahi naDiyau // 49 jasu vara-vigjaha~ tinni sahassA siddhA huya jiha kiMkara-dAsA // jo sohagaha khANI lAvannaha kauTuu raha-ramaNihi maNa-haraNo sahi pa. sai diTThau // 50 jo tiGayaNa-ANaMdaNu sacchau so tuh dasasiru ANa-vaDicchau // tamhA so tuhu~ icche suhu mANaha kAmo amhahaiM sAmiNi hohI kari saphalau jammo' // 51 sA tasu taNau~ vayaNu nisaNeppiNu bhaNai sIya maNi hAsu kareppiNu // madoyariM tuha dhanA jA niya-pai-mattI ujAliya sai-lIhA pai anju turatI // 52 46. pamitabho 2 karee turato 471. saya, viyakhaNa, 6 salakhaNa, 495 ragaha50.1, nimi. 5. 6 mamo,

Page #83
sIyAharaNa-rAsu na pai~ rAmaNa-ce? pavannI ta mahu cIti bhati uupnnii|| kiM eha asaihi vase rAvaNa-carieNa tI mayarAyaha taNayA lakkhau~ bhaNieNa // 53 hau~ icchau~ rAvaNa sara jAlahi raNa-muhe cakka kuta-pharavAlahi // sira-cheo jiya-nAso rAhada-hatyeNaM lacchIhara-sahieNa kiM vahu-bhaNi[5A]eNa // 54 mahu mattAru rAmu jiNu saraNu annu na majjhu jai-vi jiya-haraNu // taha-vi na vayaNu karemI madoyari tujhu chaDi ehu tuhu gAho ehu nIchau majhu // 55 ja vIcae (1) dasaraha-niva-taNayaha~ ta akkhau~ suNi seNiya suyaha~ // dIsaha lakkhaNi rAmo niya purau susaThiu 'sIha-ninAu na mukko kiM rAhau Aiu' // 56 eu citivi tiM vuccai bhAiu 'viruyau~ pahu kiu ja tuhu~ Aiu // paDivollai 'hau~ patto tuhu sIha-sareNaM 'to maI vara pu()hu mukko' 'kiu keNa te Na // 57 'jAhi turma rakkhahi vaidehi mahavA ko-vi hareviNu neho' / tetthu na dekkhae sIyA sapattau rAmo Uvasihuyau tAma tasu idi[ya]-gAmo // 58 'hA hA sIe daie suha-lakkhaNe keNa hariya kahi gaiya viyakkhaNe // 532. Upamo 55 1 rAmdha 2 anu, jiddayaraNa 5 chaTi 56. 3 lakhaNi 57 2. palyAu, keNNa 58 3 tethu na dekhae,

Page #84
sAgaracaMda-rAu 10 kamalANaNi muha nette ghaNa-pINa-paohari 'suMdari suhave murUve tivaliya-khAmoyari // 59 kiM mai niThura-hiya nIkaruNa. sArasa cakka vioiya mi[5 BJhuNaI / / ki sura-khayara-jugAi vihaDiya dukkhattai~ kiM laya-valli gaNAi UkhaNiya phalaMta. // 60 hA hA rere vihi a-viyakkhaNa jai mahu dIna daya suha-lakkhaNa // tA avahAriya kIsa haya mukkha ayANA kiM tuhu sayaNa na vadhu suhi majhu samANA // 61 seNiya tAsu vilAva aNaMtA ko sakA vannevi mahaMtA // jA Avai somittI mAriu kharadUsaNu tA dekkhai niya bhAyA sIyaha viNu dUmaNu // 62 karuNa palAya kareviNu tatthA gaya pAyAlalaMka su-visasthA // vatta suNeviNu tANa vAnara-sUgIvo bhAvai calaNa-paNAme charivi niya dIvo // 63 calaNa namivi pabhaNai kavi-nAho 'nisuNahu vayaNu amha paumAho / / atthi piyA mahu taNai tArA nAmeNa sAhasagai-kumareNa UdAliya teNaM // 64 karevi vijAi vi mahu rUvo muMjai tArA vali(1) suggIvo // appAvahi mahu deva tuh ANA-kiMkara' puNu vi ya japae vayaNu suggIva-mahAnaru // 65 ni[6A]suNahu sAmiya vayaNu mahArau~ jaM nemittiI kahiu su-sArau~ // 1. 1. yavizvama 62 2 vaniSi 3. somettI 65 1 ruvo 5 mAhA'. -

Page #85
soyAharaNa-rAsu jo mAresai samare rAha sAhasaNa khara dUsaNu rAkha maraNa hattha ita // 66 kharadUsaNa lakkhaNi vAvAiu teNa samIvi tumha hau~ bhaiu // satta-dina jina majjhe siya-vatta lahemI to jAlAvali-jalie huyavahi paisemI' // 67 tAva gayA kekiMdhe naheNa mAriu sAhasagai kumareNa // bhuMjai rajju sugIvo sahiyau tArAe rAhava-hiyae na sokkho sIyaha vAhAe // 68 paviyA suggIva-niveNa gavisA vannara khayara naheNa // rayaNajaDiya khayareNa suggIvi kahijjaha 'nIyA rAvaNi sIyA rAhava kiM kijjai' // 69 tAvaha~ vannara - khayara- juyANA sajAyA samauliya- vayaNA // vAnara bhaDa miliyA avaropparu japatI 'aha~ pahu svaya-kAlo jama-rAeM giliyA' // 70 anna bhaNati 'ku vIhae tAsu jo rAma para - tiya-ahilAsu' tA pabhaNai jayaMto deva na jIpae samare amhA~ dahavaya // 71 // 'nisu [ 6B ]Naho mahu vayaNU jiM UpADiu giri kavilAsU girivari pANiu hUya hayAsU // nijiu dujjaya-rAo riu rAsa (1) khayakaru bhUya pisAya veyAlA asurANa bhayakaru // 72 66 6 maraNau 67 2 bhamIvi, AiTa 69 1 paTTaveyA 2 ghamara 70 2 ptiya se 'khayaMkaru' paryanta mArjina meM diyA gayA hai / 16 68 1 tASA 3 sagIvo. 4 saheyava 71 6 SayaNu. 72 14. giri'

Page #86
sAgaracaMda-rAja vaddhau jeNa jiNeviNu iMdo nava gaha vaha pAha sa ido // bhAi vihIsaNu jAm annu vi kubhayanno ghaNa vAhaNa-idaiyA puttehi saunnao // 73 jo vijApa sahasU dhareI jasu jasu jagi payaDatu bhaveda // jAsu purI vara lakA nava-joyaNa-pihulA dohattahi~ sA nIsA maNi-kacaNa-sAlA // 74 evaviha-vala-juttau rAvaNu dugjau variya-bhaDa-bhajAvaNu // tAvacchau raNu dUre jo naru tahi jAe patyu na dekavavi so-vi rAhava suNi bhAe // 75 ekku muyavi pavaNajaya-putto vimjAharu valiyau haNuyato' // hakkAriu siriselu paTTaviyau lakaha 'jAha jiNe tuhu~ samare vijAhara vahue // 76 sapattau laMkA-puri pAre veyAliya jItiya puNu samare // pAThau lakaha magjhe haNuyau nadana-vaNi sA dekhA vaidehI zAyatI raghu-maNi // 77 nAvai paumiNi ravi-atthavaNe nAvaha sA rayaNI[7A] sasi-virahe // viraliya-kesa-kalAvA maliNasuya-dhAraNi sayalAharaNa-vimukkA taha-vi hu maNa-hAriNi // 78 puNu paNamaha haNuyau paisevI sabhAsaha sIya vi vihasevI // 'khemu kusala re haNuyA piya-mAya-saputtaha~ kahi kusalaM suha-vayaNo lacchIhara-juttaha' // 79 7.1 gaha saTaha 2 'sA' sudhAra kara 'sa' 6 sautamo. 76 1 paSaNajaya kArita

Page #87
sIyAharaNa-rAsu 13 'acchahi~ kusalahi~ rAhava-lakkhaNa devAsura-nara-nayaNANadaNa // sAmiNi caDi mahu khadhe gammai AvAse jeNa muhuttaha majjhe nemi rAhava-pAse // 8. tAvuccai sIyAe haNuu vi 'agi na laggai mahu naru ko-vi // ekku ji mellivi rAmo dasaratha-niva putto vihasiya-sayavattAbho sulaliya-guNavato // 81 niyamu laeviNu sIyAevI jiNa-siddhAihi~ sakkhikarevI 'ja[i] rAhavaha milesu to mahu gihi-dhammo maha na milai vaya-gahaNe to sa selau () jammo' // 82 etthatari sirisela sa-vahari Upaiyau puNu bhajae nayarI // cUrai dhavalaharAi ghara-deula-siharA paNhi-pahAra-bhuyAhiM pADai pAyArA // 83 viyarai nadaNa-vaNi kIDAe ummUlaDha taruyara lIlAe // rAmA-yaNu tAsei[7B] moDae gaya-khaMbhA tAvaha rAvaNa-suhaDA dhAvahi" sAraMbhA // 84 sama-rathiu tasu iMdai dhAvai haNuvaMto appau~ vadhAvai // nIjai rAvaNa-pAse haNuyau suhaDehiM sabhAsai dahahvayaNo niThura-vayaNehiM // 85 ki re haNuyA taI bavahariu ja samANiu ta vIsariu // tuhu~ dhuyA-pai hovI vilosi ducariyai~ avasa na jAyau pavaNiM lakkhijjasi cariyaIM // 86 80 2 NadaNa 813 melivi 82. 1 sIyAetA (1) 2 sakhi 3 milasu. 6 samelamao 84 2 umulaha 851 tamu 2 padhASa 1 haNayamo 851 vavaharete. 3 taha 5 pucca 86 6 lamni

Page #88
sAgaracaMda-rAu tA haNuyau pabhaNai vayaNAi 'kiM rAvaNa japaha kaDDayAi // suNi dasasira mahu vayaNu sasahara kara-dhavalau~ mahaliu kula a-kalaku rayaNAsava-kerau~ // 87 avasa na jAyau tuhu~ rayaNAsaviM ja chavisi para-nAri[ya] tuhu~ na-vi // aji-vi kiM na gaya te appahi vaidehI // lacchIhara-rAmehiM sahu~ sadhi karehI // 88 acchisi bhujatau niya-rajju tuha samaragaNi maraNi na kajju // mahaba na Dhoyaha sIyA lakA-paramesara nittula maraha asaraNu para-mahilA-takkara // 89 jAvevaviha vayaNahi koviu tA haNuyau rAvaNi mArAviu // toDivi sakala-vadhA rAvaNa-dhavalaharU cUraha vAhu-valeNa maNi-kaMcaNa-pavarU // 90 ___ vahasannara puNu laka dahevI gau haNuyau rAvaNu kovevI // siyae dInA[8A]sIsA haNuyata naheNaM jAivi paNamai pAyA rAhavaha khaNeNa // 91 sa-harisu rAhavu bhaNaha turaMtA 'kahi re haNuyA sIyahe vattA // 'sAmiya tuhu viraheNa sIyA susiyaMgI niya-jUhaha paribhaTThA nAvai sAragI // 92 navi sA ramai na vollai sAmiya nIda paNaSTriya tejohAmiya // maMdoyari-pamuhAhi komala bhAsAhiM mannAvIjai vayaNu rAvaNaha priyAhiM // 93 882 Disi, taha. 6 mahu 892 tuhu 902 haNuyo, 5 curaeM, paNa. 152. iNuyabho, 5 papamaha 92 5 jUhaha paramA 93 1 polA 5 manA

Page #89
gara sIyAharaNa-rAsu to vi na mannae daDha-cArittA tuha virahe sAmiya dukkhattA / acchai pai samaratI tava-sosiya dehI eha cUDAmaNi devA pesiya sa-saNehI // 94 laMka sa-toraNa pajjAleviNu hau~ Aiu rAvaNu koveviNa // ko kira vIhai tAsU sAmiya dahavayaNaha haTTha-caritta-aNajjA- ai-nigdhiNa-kammaha' // 95 itthatari pabhaNai paumAho 'ke dUre lakApurI-nAho' // 'dAhiNa-lavaNa-samudde joyaNa-saya sattA ladhivi rakkhasa-dIvo lakA su vi bhattA' // 96 rAhavi vuccai tA kavi-nAho "dekkhevau ma. laMkA-nAho // pabhaNai avasara jANe nivu vAnara-nAho 'nisuNahu mahu vayaNAI sAmiya paumAho // 97 annu ja Nemittie~ parikahiyau~ ta amhaha evaDhaM samariyau~ // koDi-[8B]silA sura-sahiyA jo uppADesai tasu hatthahi jajjariu dahavayaNu maresai // 98 eu ciMtiu gau koDi-silAhiM uppADai lakkhaNu vAhAhi // kahiyau~ sIya-vihANu tuhu seNiya-rAyA eva~ha suNi sagAmo doha pi mahAyA(8) / / 99 94 1 manae 3 achai 4 devI 95 6 nirSiNa kamaha 96 3 samude 5 rakhAsa 972 dekheSamo 98 1 atuja paNemi, kaheyau 2 samare" 3 'su' ke pazcAt daNDa 5 haya hi jajarimo 99 1, cisiu gamo 2 lakhaNu pAhAhiM 3 kaheyarDa curae, para mamA.

Page #90
sAgaracaMdarADa [3 rAma-rAvaNa-saMgAmu] sila UpADiya lakavaNi jAvaha~ jAyA vannara raNa-muha tAvaha~ / / etthamari sa vilAsA samaragaNa-kerI aphAlahi satudvA pavaragaNa mero // 100 merihi sadu suNevi milatI nala nIlAi-maDa Avato // pavaNajau haNumato bhAmaMDala rAyA jayaseNu vi saha-puttA ravi-rikkha parAyA // 1.1 agaya kumaya-aNana-parakkama jayavataya-jayavaMta sa-vikkama // hayagaya-raha-johehiM vahu-maDa-koDIhiM vaddhaI gahava-sennu jiva cadu kalAhiM // 102 eva-viha bahu vannara-lakkhA miliyA rAhava-ThAhiya supakkhA // digdha vimANArUDhA lacchIhara-rAhava suggIveNa samaNA najjati surAhiva // 103 jati naheNa[9A] sa-sayaNA vAnara apphAliya-vara-tUra mahA-bhara / / hava-gaya-raha mArUDhA paharaNa-sapuNNA lakaha vAhiriyAhiM jAivi avaiNNA // 104 nisuNavi para-valu vAri parAiu tAva vihIsaNi vuzcai bhAiu // 'rAhava lacchIharANa suggIva-samANA miliyA vannara rAyA ekkekka-pahANA // 105 100, pADeya lakhaNi 2 ghanara 3 etha' 5 aphA 101 1 sadu moha, mAvanI 6 rikha 102 2 jayavanaya javadhA 1031 vamarasakhA. savA 104 1 mA 6 abahanA 105 1 pAri 6 ekeka.

Page #91
sIyAharaNa-rAtu Ava hi niva saMgAmi na bhatI ki-vi hoi na-vi jANahu~ atI // rakkhi kula-kkhau deva appaha vaidehI akhaliu bhujaha rajju mahu vayaNu karehI' // 106 tAvaha tasu so Avai ghAyahi paharatau dhariyai kuMbhAihi // 'avasahi chIjai jIhA volaMtaha eva pAva vihIsaNa tujhu vahariya-siru jeva' // 107 puNaravi suha-vayaNahi vujjhAvai hiu ji vayaNu tasu visu jiha bhAvai // maNai vihIsaNu 'deva parihari para-nArI iha-loe ayaso hoi] para-bhavi duha-kArI // 108 suNivi dasANaNu asuhau~ japai amarisa vasahi nirAriu kapai // 're re pA[9B]vaha pAsA pamAi duvolliu na suNau~ vayaNu vi tujhu gacchahi mokkalliu' // 109 dekkhevi hoNataNu niya pahuNo kiyau vihIsaNi rAhavu suyaNo // kovAnala-pajjalio tA pabhaNai dasasiru 'tADAvahi raNa-merI levau~ vairiya-siru' // 110 tAvaheM tADiya bherI turatI guru-sadahi dasa-disi pUratI // merihi sadda suNevI kei-vi bhaDa bhIyA annaha~ raNa-ukkaraso kei-vi gaya jIyA // 111 harisahi tahi sannajhivi rakkhasa Avahi" gayaNa-taleNa te sa-harisa // suya-sAraNa-mArIcI anu hattha-pahatthA vajjamuha-vagjakkhA veladhara-patthA / / 112 106 3 'khau 107 2 paharatabho 108 1 garI 109 6 bhokalliTha 110.1 dekheSi 2 kiyo 111 2 sadahi 3 sada 112 1 hatha 5 bajjakho, 6 pakSA

Page #92
sAgaracaMkAra raNakuMDala-raNagIva mahAvala evaM-viha milyiA bahave bhaDa // vhAo kaya-vali-kammo vara-vatya-vihUsiu siya kumumAbharaNehi dahva[ya]Nu alaMkiu // 113 ArUDhau pharivare dahavayaNo thuvvaMtau cAraNi guNa-gahaNo // caliyau lakaha huto so lakA-nAho SaNavAhaNa-idaiyA [104] puttehi saNAho // 114 tAva chinniu mAga ahINau~ haya hIsahi gaya gajahi dINau~ / varisahi jalahara ruhiro ai-nidara-dhArau naha-maggahi puNu sUro duhu~ bhAyahi jAo // 115 niThura-sahi siva phekkAraha paNa-devaya ai-karuNau~ royai // paDiyau~ rAvaNa-chattu sahu~ rAya-karINa viphurai dAhiNa-aMgo rAvaNa nArINa // 116 etvaMtari vuccai matIhi 'deva na gammai avasauNehi // vAva bhaNai dahavayaNo 'kiM japaha bhIyA ko avasauNa gaNei javuya-vahe caliyA' // 117 sapattau para-vala-Asanno jANAviha-maDa-ghaDa-saMpunno // etau~ dekkhiu niyaDe vala rAvaNa-kerau~ jema jalahi utthallo vAnara-maDa-sivirau~ // 1180 tA sannaddha ve-vi valAi AvaDiyai~ avaroppara tAI // 13 ra pahave 3 mo 1 ghaSa 114 1 thuvatao 115 1 kimina, 1.vidara. 5 bhAyAhi 116, 1. sada, 117 3 tApa

Page #93
sIyAharaNa rAsu Alaggau sagAmo dohiM pi valAI hiMsiya gajjiya dhorA haya-hariya-bhaDANa // 119 tahi apphAliya tUra-dhaNAi ka[10B]nni paDiyau~ [na] summaDa kAI // ucchaliyau raNa-rolo sahu~ dhUli-raveNa na-vi dIsai paharaMto suhaDo suhaDeNa // 120 rosa-mahAmara-bhariya bhiDaMtI uccAriya kula-nAma maratI // AvaDiyA kavi-senne bhaDa hattha-pahatthA mucaMtA sara-nivahe dhaNu-vANA-hatthA // 121 bhaggau~ vIhi vi vAnara-senna mosariyau~ dUreNa visanna / etthatari nala-nIlA vAnara-soDIrA uhi samuhA tANa vahu-rosa-sarIrA // 122 jujjhahi vinni-vi turayArUDhA nala-nIlA sayali-vi jagi rUDhA / / asi-moggara-sara-kutA bahu-paharaNa-lakkhahiM hattha-pahatthA vihayA nala-nIlahi dakkhahiM // 123 tAvaMtari bahu-suhaDAhiTThiya suya-sAraNa-mArIvi samuTThiya // jujjhahi paha[11A]riya rosA samaragaNi te-vI mAriya sara-nivahehiM nala-nIlA ve-vI // 124 haya-gaya-rahavara-gaNa-sajuttau~ rakkhasa-suhaDahi kiu parahuttau~ // 118 1, saMpatto , bhAsano 2 saMpumo 3 dekheu 5 upallo. 119. 1, palAi 1. dohi. 120, 1. tAhi aphAleya 2 kami, sumai 5 saha 121. 3 sene 4 harapahayA / 6. bANA 122 1 SIhi, sena , 2 bhosare, visanU 123 1 sUramA 3 mogara : lohi 5 hathapahathA 6 dahi 125 1 ramabhara 2 rakhasa /

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sAgaracaMdarAva deksivi-magga: sennu uTThaha haNuyato bahu paharaNa mellato suhaDA ghAyato // 125 ke vi hayA daDha-mudri-pahArahi anna muyA tamu nivvara ghAyahiM // bahu-paharaNa jajariyau devikhava niya-sennU ghaNavAhaNa IdaiyA uTThai kubhayannU // 126 jummahi te rakkhasa bhai-valiyA tAvaha nAsahi vannara bhIyA // tAvuTui suggIvo bahu-vannara-lakkhahiM" bhAmaDala-kumupahiM pavaNAi-sapakkhahiM // 127 jummahi avaropparu macchariyA niya kittihi khaMDaNa-bhaya-bhIyA / / bhAvaDiyA parsaratA asi-[11B] tomara-ghAyahi satyasa kuta-asehi moggara-saMghAyahi // 128 tAvaha~ tAhi ucchaliyau reNu acchAhau gayaNIyale bhANu // mayagala hariNa-bhaDANa turayA turayANa raha mAmiTa rahANa suDDA suhaDANa // 129 ke-dhi bhaDA jagjariya-sarIrA lehi mahili gaya toNIrA // mvaNi khaNi khagaha saho haNa haNa maNuyANa hAhAnau uTTeI saraNa na narANa // 130 ke-vi bhaDA ghaNa-ghAya-vimAriya jummahi aja-vi pahu-sammANiya // ke vi mahA gaya-jIhA loTTahi mahi-vaDhe udviya-vaisa karatI niya-pahu-kajjaThe // 131 125. / yi 5 melo 126 2. anna 5 dekhiSi, senU 6 kubhayana 217 marambAhi 128 2 koptahi., 3. pasaratA 5 jAhiM 6 mogAra. 12 varSa umeyamo 130 2. gANIrA. 3 sado. 131 2 saMmANiya

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sIyAharaNa-rAma ke-vi dIsahi kara-chinniya-pAyA ke-vi phurahi phuruphuriya ninAyA // moggara-sara-kutehiM ghAiya narayaMdA ruhira-pavAha vahaMtI naJcati karyadhA // 132 katthai dIsahi ruDa-nikerA katthai agovagaha niyarA // masa-rasAluddhAo siva-nivaha raDato adhAriya-raNa-bhUmI nahe giddha bhamatI // 133 dasa-disi bhUya ninAya muyatI veyAlA rakkhasa naccatI // tAvaha~ suggIveNa vajjhai Idai-bha[12 A]Da bhAmaDali kubhayanno haNuyae~ dhaNavAhaNu // 134 idai ghaNavANu kuMbhayanno vaddhA dekkhivi bhaggau~ sennU // avahatthiya-riu-dappo sa-parakama rAmo raNa-rasa-vasa-phuriyago avayarai nahAmo // 135 tAvatari galagajjiya-vayaNo paNai pavayagama dahavayaNo / / ucchaliyau raNa-rolo Ahesa-bhareNaM adhAriya disi-nivahA nai bhavuhareNa // 136 khuhiyA nahe sura khayara-nariMdA TaliTalihUyA girivara-yaMdA // utthallau jala-nivaho meyaNi phuTei kaDayaDa taru bhajjatI bhuvi-kapuDhei // 137 nai tihuyaNu mili[ya]u~ egaTThA bhaya-bhIyA vannara sura naTThA / / 132 1 chiniya 3 mogara 133 1 kathA 6 maThe gidha 1342 rakhasa 135 1 kubhayamo 2 dekhiSi, senu 136 6 mae 137 huyA 3 uthaslamo. 138 1 milemo (0) 1 dhanara - - -- " - tvNERALSenaka

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22 mellara sara jAlAo nAva vihIma bhAyA rAvaNu bhai-valiyau ahimuhu taha caliyau // 138 vi paNa dahavayazR "kihu AsannamaraNa || AmA didi-parAo anayAri vihIsaNa nAI juna mAra bhAyA samaragaNi' // 139 tAva vihINi 'ma mari bhAi idaDa-pamuhANa mahi jIvita deva virama sakirehI mannaha mahu cayaNa' || 140 jAveva vivi vayaNahi tAva vihINu chAu vANahi // ali-ula kajjala-vanno uttama mahAnaru tA dekkhaha niya purao suhaDau lacchIharu // 141 paNa rAvaNu ' osara vAlA sahivi na sakisimahu sara jAlA // jAhi vaNe phala bhuje ko raNi ahigAro lakkhaNa amaliya-mANo mAha sasAro' // 142 ca vayaNu t a-saraNu // [ 12 B] paNa lakkhaNu 'gajisi kAi jAileviNu dama vi sirAi // mu[iya] sumarevi rAvaNa sura-sattI sA diDa vacchayalo paDiyau somittI // 143 paDiyau dekkhivi mahiyali lakkhaNu rAmu samuTThi samara - vikkhaNu // suNi seNiya raNu aiso na-vi suyau na diu rahu-rAvaNa-rAyANa vittu aNiu // 144 sAgaracaMda ra 138 3. mela, 4 valiyao 6 caliyao 139 1 dekhe 2 Asanau maraNu 140 24 ida 1411 mikhavayabho pAhi 3 bano 5 dekhai 6 suhaDamo 142. 5 suyamo, dio 6 bhaDibho lavaNa 143 3 mukke 144 4

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kyA mara ha sIyAharaNa-rAsu ve - vi raNagaNi laddha-payAvA jujhaha avaroppa sama-bhAvA // melA sara- nivaho rAhavu rosa - vaseNa kIjas dasasiru sattA vATa tiM vi raho // 145 taha - vi na sakiu mAriu rAmaNu vijjA - parame saru ai- [13 A] dAruNu // puNu lakaha par3asevI sAhaha bahuruviNa tihare jhANattha nIkhobhu jahA muNi // 146 agaya -bhAmaMDala haNuyA hi japahi N miliya kumara - samudAya // 'satihare padasevI rAmaNa khobhijja vahu uvasagga karevI jiM vijja na sijjhai // 147 eva bhaNevi parvagama cavalA vepattA kaha jamalA // paisahi nayarihi majjhe jaNu nAsatu bhaNei takkhaNa tUratA / 'vannara saMpatA ' // 148 te satiharu niyata na pecchahi takkhANi nayari ko vi naru pucchahi // jiNa paDimaha~ bhariya tiM dasijjai tANa phalimayAvimalAe ss atariyau~ // 149 vei na ciyahi te rahasahi valiyA takkhaNi to AbhiDiu paDiyA || kAha~ vi maggA daMtA sira-nAsa - kavola auga - kopara anne mahi lolai~ || 150 kA takkhaNi udvivi bhaya satA kara phari sahi satIhari pattA // 145 2 avaroparu 4 melae 6 pArao 147 1492 tatraNi 6 atareya 150 1 vaLeyA 2 4. vekhai 5 akhabhAla, 2 miLeya takhaNi, paDeyA 23 148 6 dhanara 151 1 saMbhattA,

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sAgaracaMda-rAu mana-javaNi ghira-citto te dekvahi rAvaNu avamAna-kara jutto bhIyaha bhIsAvaNu // 151 bahu uvasaggu karahiM te ghora taha-vi hu maNu na calai jiha me[13B]ru || kada-vi gala vaMdhevi akkhamAla haratI dasasira baladu bhaNevI mUlahi vIkatI // 152 anla puNu tamu mAyA-piyara kaluNu cavatAM dasahi niyaDai // sahu ateura tAmu bhai niru nehAula vilavaha pAme pAmu vannaraha bhayAulu // 153 royaDa madoyAra vilavatI 'dekhi deva ma. vattha-viuttI // ki-vi gaMjahi tuhu rohu anni harahi niruttau~ ki vijAe karesI jaNavae vIguttau' // 154 to-vi na caliu cItu daDha-sattaha chammAsA utsagga sahataha // takavaNe siddhiya vijjA Avai tasu pAse pabhaNai 'kAi~ karemI mahu dai Aesu' // 155 so bhAesai vijja viyakkhaNu 'raNamuhe mAri sa-sennau lakkhaNu' / / pau muNevi kumArA sahu naTThA takkhaNi' rAhavu royai kallaNu mahi paDiyai lakkhaNi // 156 muggIvAi-maDehi nivArita 'bhatthi uvAu deva su-visArau // asthi visallA nAma kannA-rayaNa varu nAmu salila phusiyago jIvai lakkhaNu bhaDa' // 157 152. 1 akSamAla 6 vanaraha 154.0 dekhi, partha 6 vIguttao 156 1. vimA 1 sasenabho sakhaNu 3 kumAro 5 takhaNi, 6 paDeyae lakhaNi 157 2 mathi mAmo. avisAramo 3 athi 1 kamA, para 6. lakhaNu

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-yA 156, 1 2. zrI I sopAharaNa rA bhAmadala haNuyatu naheNa mahilAuri padaviya saNeNa // ANiya sAvisalA phasada lakkhaNa- uru nIsariyA saha sattI vacchayalArNa taNu // 158 tA uTThi [14 A] u agara moDanau rAhavu vannara vihasAvata // dasa sira sAhiya vijjA jANeviNu lakkhaNu thiu vikkama-vala- sahiu sagAmaha takvaNu // 159 dasasiru satiharaha nIkhattau thiu takkhaNi atthANi turatau || jANivi jIvaha vairI puNu samarasyo tA~ sumarivi dhAhA muya avaloyai niya bhuya // 160 tA sannaddhA vannara savva parahutA ke -iraviNa - jujjhe // tAvaha~ amilaya-mANA rAhavu anu lakkhaNu garuDaddhaya-sIhiM jujjhai lacchIhari sahu rA~vaNu vahuviha-paharaNarhi vIhAvaNu // chinna- kavaya- toNIro kiu dasasiru lakkhaNi bahurUviNi- vijjAe dI sai vara - sadaNi // 162 ja ja chinnai lakkhaNu agU taM taM vaddha du-guNau~ cagU // viyali [ya]-paharaNa-hattho samarai sahasAru taruNAruNa - ravirvivo ravi-ya-susAru // 163 tAvaha mellada viNu cakko jAivi lakkhaNa-hatthi vilaggo // ArUDhA takkhaNu // 161 25 5 sahio 6 takhaNu 160 1 nIkhatao samarathI 6 yabhU 1611 saMnadhA vanara 2 takhaNu 162. 3 china 4 lakhaNi 1631 158. 4 lakhaNa 5 nisareyA 1591 moDatao 2 vanara, batao 4 lakhaNu 2 takhaNi athANi turaMtao 4 vAhA 5 parahutA keya 4 lakhaNu. 5 garuDavaya sohihi, jinnii 2 cagu 164 1 mela lakSaNa 4

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sAgaracaMda rAu Upanna hala bhumalo rAvaha gvaNeNaM nAvaha vannara muhaTA harisiya citteNa // 164 upannA halahara-nArAyaNa jANivi masAsaNa huya dummaNa // [14B] pabhaNada lamgvaNa nAva 'rA~vaNa ki ciMtaha lAma mira anayAge tara Na tali phuttaha' (1) // 165 'phire dayarA gacu karesI na pAhANaha gvada vahe sI // lakSaNa lemi sira te kAraTa phi vahuNA sahu~ gahava haNuAhiM muggIva a(1)karuNA // 166 ta melA lAgvaNu sahasAru ti chinnai rA~vaNa-sira-sAru // ajaNagira-macchAo paTibhI dharaNIyali gau para loya-paheNa phiTTiya lakkhaNa-sali // 167 deksivi paDiu vihIsaNi rA~vaNu niya-churiyA jA pahai niya-naNu // tA dhariyau rAmeNa lacchIhara-juttahi suha-vayaNahi uvasatI takkhaNi niya-cittahi // 168 royahi madoyari pamuhImo bhAya vihIsaNu annu jaNIo / / 'hA hA rAvaNa puttA kiM mukka aNAhA leka sa toraNa rajju ateura-nAhA / / 169 patthatari mAriu dahazyaNo naccahi vAnara pUriya-yaNo / / vahu-bhaDa jaNa roleNa pattA lakA-puri koTa-tthiya-loeNa dIsahi hari halahara // 170 'ehu nArAyaNu cakka-vihatthau vIjau halAharu hala-musala-[ha]tha[15A]u // 164.3 panau 5 vanara 1651 upanA 1671 melai lakhaNu 2 ta chinai. , gamA 6.miTiya 1683 pariyo juttahi 6 tasaNi 1692 bhanu 1706, dIhi (1) 171 1 vihathao 2 pIjao dhamo

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27 soyAharaNa-rAsu tA dekkhai taru-heTe rAhavu vaidehI gaya-lAyanna milANA puNu duvvala-dehI // 171 ___tA uppADai kara-juyaleNa Aruhiyakarivari nAheNa // royai kaTha-vilaggA 'sAmiya vahuyAi rAhava tuhu viraheNa pattAi~ duhAi // 172 ajja-vi amaliya-sIlA sAmi[ya tai melleviNu annu na rAmiu / / idai-suhaDAIyA samaragaNi vaddhA mellAviya rAmeNa takkhaNi paDivuddhA // 173 'iha sasAri na ke-i sahejjA piya-mAyA bhAyA vi na bhajjA // ekku ji mellivi dhammo jiNamai-uvaiTTho sAsaya-siva-suha-phalao bhaviyAyaNi iTTho // 174 jeNa surAsura-gevejjANa pAvijjai uppari suha-ThANa // tA sevaha bhava-bhIyA jara-maraNa-paNAsaNu kamma mahA-vaNa-pavaNo(1) jiNa-dhamma-huyAsaNu // 175 eu ciMtivi pattA kevaliNo bhAvi ya ArAhai~ tasu clnno|| leviNa paca-vayAi chaTThAi-taveNa sosahi niya-taNu te-vI sajama-niyameNa // 176[15B] aNudiNu ArAhai~ jiNa-calaNaM paripAlahi puNu puNu guru-vayaNa // paca-mahavvaya-bhAro parivAliu teNa pattA parama-payammI acchati suheNa // 177 1723 dekhA 5 lAyama 6 duvala 1732 meleviNu anu 4 samaragaNi 5 melASiya 6 takhaNi 174 3 eku, dhamo 175 5 kama 176 4 chaThAi 177 2 puripAlahiM 5 payamI

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sAgaracaMda rahau janyu gayA siva-sokavaha pae na miva-muha su-pasihau~ loe // nA saNiya sasAre mahilA-vahama nari paTiyA sa'purisA vI Avaya maha sahari // 178 [u nisuNeppiNu dhammu kareho nimmalu jiNavara-vayaNu suNeho / miAre-magvAlA gacche vara-gayaNi miyakA ANadiya-jaga-nivaho padha-suri a-kalakA // 179 gasu rahagjaTa tamu sIseNa gaMvAyA sAgaracaMdeNaM // je ya pani suNatA anu jiNahare ditI sapurima-nAma gahaNa duriyai~ nAsatI // 180 178 1 jethu, sokhai bahasanari 6 bhae 179 1 dhamu 180 2 rAvayaNu thAta.. // // mIyArANA mamAna / magala mahA zrI ch|[16A] Trinting Prui Kankarla Rond Ahmadabad 22. Institute of Indology Ahmodabad 9

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raca-eja ucope Other Rules The Journal is primarily intended to promote researches in Medieval Indian Culturc Hence einphasis will naturally be on the languages, literature and coltural sources of that period But it will also give sufficient space to other articles which throw light on Ancient Indian Culture (1) Contributions inteoded for pabli in the Journal should be type (with double spacing) or legibl: written on one side only of the Copies should be retained by th authors (2) It is presumed that contributior forwarded for pubication in the Journal are not submitted elsew Forms of Contributions (3) The copyright of all the contri' published in the Jouroal will Jolotly in the L D Institute of Indology and the authors Contributions embodying original researcba", abstracts on theses accepted by the University, critical editions of tbe un published Sanskrit, Prakrit, Apabbramsa, Old Hindi, Old Gujarati sts, appreciations and summaries of Ancient and medieval Important original works, notices of manuscripts and textual criticisms will be published in the Journal (4) Ten offprints will be given to ti contributors (ree of charge (5) Titles of books and Journals sh be indicated by single underline Sanskrit, Prakrit, Hindi, Gujari terms occurring in the articles in Eagllsb should be underlined. standard system of transliteratio should be followed Medium of Articles They should be written in any one of 1 be following foor languages Sanskrit, Hindi, Gujarati and English Articles written la language otber tlian Englisb should be accompanied by a summary in English (6) Those who want their works to reviewed in tbe Jourdal sbould two copies of the same Remuneration The L D Institute of lodology will pay zonorarium to the autbors whose contributions are accepted Aanual Subscription All contributions and correspondenc nay please be addressed to nland Europe J. SA Rs 20/Sb. 30 Dollar 5.00 Director, L D lastitute of Indology Abmedabad-9 P. ter medabad 2%. medabad %.

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OUR LATEST PUBLICATIONS (1972) 32. Phllosophy of Shri Svaminarayana by Dr J. A Yajnik 34. adhyAtmavinduH - harSavardhanopAdhyAyanibaddhaH svopajJavRttyA yuta , saM0 munizrI mitrAnandavijayajI-nagIna jI zAha 35 nyAyamaJjarIprandhimAH -- cakradharakRtaH, sa0 nagIna jI zAha Rs 30/ Rs 6/ Rs 361

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Ad SAMBODHI (QUARTERLY) VOL. 1 JULY 1972 EDITORS DALSUKH MALVANIA DR. H. C. BHAYANI BEAC 10.72 SIL CARITAL CURAN * NO 2 L D. INSTITUTE OF INDOLOGY AHMEDABAD 9 BALTERN

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CONTENTS Karma - Its operation and an Appraisal T O. Kalghatgi Jaina Theory of Sound (S'abda ) JC Sikdar The So-called Sanskrit Drama K, R. Chandra priya pAnthamanuvrajet - A Note J. M Shukla Art Notes on Design-drawing, Painting and Picture-galleries in the Tilakamanjari N. M. Kansara AyurvedamA dhAne bApAlAla vaidya gUrjarezvara kumArapAladeva caulukyanuM dAnapatra amRtalAla mohanalAla bhojaka jaina guNasthAna aura boSicaryAbhUmi dalasukha mAladhaNiyA gulanakhimahattarAnikkha bhajanAsudarIkavAnaka magIna jI zAha, mamRtalAla mohanalAla bhojaka

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OPRAIS . 7, KARMA-ITS OPERATION AND AN APPRAISE TG Kalgbatgi L. We have so far given a brief analysis of the functions of yoga and kasaya in determining the intensity and the type of karmic bondage of the gou! It is not relevant for us to go into details about the problem The karmic matter undergoes different processes due to its quantitative aspect The Karma atoms may be found together divided into categories called harma-varganas The Karma atoms bound together arc skandhas (aggregates) Jiva assimilates Karmic matter within its own pradesas as fire seeks inflamable material which is lying within its reach Every part of the soul is filled with Karma particles, which, if necessary conditions are fulfilled, adhere to the Jiva as dust to the body besmeared with oil The Jiva seizes a Karma particle with all its part, because an exceedingly close connection exists between all the pardesas of a Jwa, as with links of a chain The karmic particles absorbed by the Jiva develop into erght species of Karma, as food consumed at a mcal changes itself into blood and other ingredients of the body The Karmagrantha gives the detailed analysis of the assimilation of Karma particles into the fiva do respect of the pradesa, sthiti, etc Karme pursues its course inexorably The work is rewarded whether it is good or bad There is no aunhilation of Karma1 Man becomes pure or Impure by his own acts 9 Yet there is the possibility of removing the effects of karma It can increase or decrease in intensity or can be prematurely realised As a damp cloth when it is spread out dries quickly than when it is rolled, the effect of Karma can be increased or decreased : The man who is initiated can cause bis Karma rapidly used up Effects of Karma can be neutralised by guch methods as meditation, penance and confession It is also suggested that Karms of one can be transferred to others, when a man 'shakes off' Karma, he can let his friends have the good Karma and his enemies bad Karma Accordiog to Manu there accrues to the king a 6th of the transcendent merit of bis aubjects when he protects them properly He gets a 6th of their transcendent guilt when he reigns very badly. It is also stated that merit of a man acquired in a 2 3 4 Sambodhi Vol I No 1, pp 41-62 Mahabharata XII 292 Dhammapada 165 Yoga Sutra Bhasya 115 22 Manusmyt! VILI 904

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16 Kalghatgi hundred existences, who has borne false evidence is put down to the person wronged farhandeya Purana relates the story of King Vipascit who presents his good works to the dwellers of hell so that they are released from their punishment In Buddhism also we find similar ideas Milinda Panha recognises theory of Patlidana' the transfer of good to others But Buddhism does not recognise such transfer of guilt, as the field with sea wiler cannot be fertilised The laruic matter undergoes different processes due to the various conditions of activity and these processes have been classified into eight types (1) Bandhana is tbe karmic process responsible for bondage The Karma particles float into the soul and they are assimilated into different types of Karma This process of bondage is without beginning, but it has an end in the cmancipation (2) Samhramana (transformation) It is the transformation of one type of Karma into another in respect of (1) nature, (u) doration, (1) intensity and (iv) strength of harmic matter For eg , asata vedantya Karma can be transformed into the salavedanty'a karnia Similarly a person having right faith,(samy akdr$ti) transforms the muthyalva Karma foto samyagmuthyalva and saniyah tva" But any Karma cannot be transformed into any other Karma Mutual transforma tion is not possible in the case of darsananiohaniya and caritramohaniya Karma nor between any two of the four subtypes of ayu Karma, similarly with any two among the main types of Karma Transformation is possible between the subtypes of a particular type of Karma except in the cases mentioned above A person having wrong belief (mithyata) cannot easily transform the nithyana into the mixed or samyaktya as it requires great energy A person of right belief is pure and it is not easy for him to fall back into the Karmic state of wrong belief (3) Udarlana (increased realisation) and (4) 1 pavartana (decreased realisa tion) are concerned with the transformation of sthin (duration) and anubhaga (intensity of fruition) of Karma The Jainas have worked out a complicated scheme of transformation of sthitt and anubhaga of Karma The most important aralarlana is that of ayu Karma The increased realisation of au karma is oot however possible with all beings, with celestial and infernal beings and with human beings in their last existence, with Cahravarti and Tirplankaas (5) Udirana is the premature realisation of Karma Karma does not imiti diately bear fruit as soon as it is bound It rises after this period of non production (nbadha kala) And it controues to operate till it fructifiea fully 5 yinas alkya sanhia II 77 6, Aarpia Prahtit

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Karma-Ils Operation and an Appraisal But it is not possible to attract the karmic particle much earlier to the time of their redaga and basten fructification (6) We now come to subsidence of karmic matter (upasama) It is the process by which the rise, premature fruition and other processes are operating the soul gets a glinipse of reality wben molunisa karma is held up Tlien it gets the 1oherent love of trutb The subsidence of Karma will be only temporary because in the end it has to exhaust itself completely, before it reaches the final goal Then there is the combined process of subsidence and destruction (ksayopasana) In this process some portion of Karma is destroyed and some portion is held in abeyance (7) Nidhalh is a process by which Karma is made incapable of all process except udvarland and spavarlana, increased and dccre,sed realisation Under certain conditions the Karma particles are so intimately glued to the soul that it becoines impossible to all'ect them in any wayexcept by increased or decreased realisation (8) In the Nihacana even these processes are possible in this case the duration, intensity and strength of Karma are determined by the very time of bondage of Karma ? Yesovijaya compares these processes with some concepts of Karma in the Patanjali Yoga The five afflictions of nescience, cgohood, attachment, repulsion and the will to live are the particular states of rises (udaya) of mohoniya Karma Prasupra state of Karma can be compared to abudha kala and tanu stale is compared to the state of subsidence of Karma Yoga recognised a state of Karma in which some traces may perish before fruition or they may merge into a more powerful Karma They may remain ineffective forever being overpowered by the more powerful Karma This may be compared to the Jaipa view of Samkramana The Jainas have worked out an elaborate and scientific analysis In fabulous mathematical details of the processes of the operation and fruitition of Karam Having given these astounding elaborations, the Jaina seers have said "alam bistarena' To seck frecdom from the miseries of this life, to seek deliverance we have to free ourselves from the Karma that has already been accumulated and to sco that no new Karma is added the soul gets bound by the constant flow of Karma This is called Bandha Mental states, like passion, attachment and aversion, which prepare the ground for the binding of the soul by Kaima are called Psychic bondage (bhavabandhana), and the actual binding by the particles of Karma is called drauya-bandha When passions overcome us, the particles get glued to our souls and biod them just as a 7 8 Karma Prahytt Bandhania Karana Tatia Studies in Javia Philosophy P 260

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TG Kalghargi heated iron ball when immersed in water, absorbs water But the first steps to the realization of the self 18 to see that all channels through which Karma has been flowing have been stopped so that no additional Karma cau accumulate This is samuara There are two kinds of samvara Bhava. sumoara which is concerned with mental life, and dravya-samvara which refers to the stopping of indow of Karmic particles This is possible by self-control and freedom froni attachment The practice of vows (ui ala), carefulness (samuti), self-control (gupti), observance of ten kinds of dharna, reflection (aruprehsa) and victory over the various obstacles like bunger and thirst and passion, will stop the indow of Karma and protect us from the impurities of fresh Karma Here, riglit conduct (caritra) 18 of help The next important task is to remove the Karma that has already accumulated The destruction of Karma is called nuljara Nirjara is of two types bhava-stirjara and diavya-nirjara The Karma may exboust itself in its natural course when the fruits of Karma are completely exbausted This is called savi paha or akana m ard, where no efforts would be required on one's part The remaining Karma has to be removed by means of penance This is a paka-ninjara The soul is like a mirror whicb looks dim when the dust of Karna is deposited on its surface When the Karma is removed by Nirard, the soul sbines 10 its pure and trauscendent form It tben attaing the goal of Mohsa The Ghani Karma is first removed Sull, the Aghani Karma like @yu, nava, gotra and vedantya have to disappear Last of all is the final ayogt state of Kerala The influx of Karma affects the soul and brings bondage The soul's activity (yoga) is due to its inherent energy (virya) The Infinito energy of the soul geta noperfect expression by wbich Karma accumulates and affects the soul, and this imperfect expression of energy 18 responsible for the various processes of the karmic matter Karmic matter undergoes various processes due to the different types of Activity The Pancasangraha describes eight processes of expression of energy of Karnia in its limited form These processes lead to corresponding karmic processes The soul activates karmic matter at every moment of its worldly existence and assimilates it with different types of Karma which express themselves in doe course and bring the disabilities and deflement of the soul The influx of Karna (Asraia) into the soul and the consequent bondage involve certain process like (1) transformation (sarkramana) of one type of Karma into that of another, (11) endurance of Karma for a certain time (satta), (1) endurance without producing the effect (abadha) and (iv) coming into effect (udaya) Transformation is a proceas by which the soul transforms the nature, duration, inteosity and extensity of Karma into those of another 9 karma Prahli Bandhanaharang

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Karma--Its Operation and an Appraisal This transformation is generally restricted to the change of one sub-type of Karma to another sub-type of the same klod as we mentioned earlier For jastance, in the Vedantya karna, soul can transform the Karnia producing pain (asata vedantya) into that producing pleasure (salavcdaniya) In the Jhanavaraniya Karma it can transforin caksu-darsaua into acak su-darsana A person having right intuition (saniyag darsana) can either transform the Karma leading to perversity (mithyalva) to that leading to partially right and wrong 10tuition (samyagmuthyatva) 10 But we are told any Karma cannot be trans formed into any other One cannot transform Karina obscuriog intuitive experience (darsang moha) with the Karma obstructing conduct (caritra-moha) into that of any Karma (determiding life duration) The explanation is screntifically plausible and logically acceptable We find that electrical coergy can be transforored joto heat or light energy Transforination of one Karma into another requires energy and thus euergy is determined by the degree of the purity of the soul A person having perversity of attitude (mythyalva) cannot convert, cannot change the mithyattakarma into the mixed or samyaktoa, because the person with wrong belief 19 not purc and oot capable of such transformation Transformation of Karma may also effect increase (udvartana), decrease (apayarlana), duration (sthite) and intensity of the function (anubhaga) of Karma 11 The Jalnas have worked out a scientific and detailed analysis of these processes with a vlew to explaining the process of the operation of Karma Karma may be made to express its etfect prematurely By this process the aouls attract back the karmic particles which are to fructify later Karm is made to realize its effect prematurely Through gradual destruction of Karma, the soul reaches the state of perfection wherein all the Karmas are removed the soul gets perfect expression It is possible that one who is free from energy-obstructing Karma may still coutinue to act In this world The enlighted one is perfect He may continue to work for the welfare of all creatures But his is a purely detached activity and therefore free from any contamination leading to the colouration of the soul (lebya) Il The influx of Karma affects the soul lo various forms and produces certain types aura' or colouration about it This colouration is the Letya But this colouration does not affect the soul 10 its pure nature The colour of the reflection does not belong to the soul When the soul becomes free from karmic matter and reaches tho Siddhahood, it becomes free from this foreign element of colouration 10 Ibid 11 Kar maprakyti Bandhanakarapa

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I G Kalghargt Lagya is of two kinds dravya lebya and bhava lesya Dravya lesya refecs tu thie Karinic material astucling the organistu and radiating the colour, which may be called transcendental colouration Thus, the effect of Karma is two-fold Drauja lisyu is due to the operation of iho Karma in watters affectiug the nature of the organisin It may probably refer to the colour of the body we are told that the denizens of hell arc black in colour Celestial beings get different colours on the basis of the impact of different Karma So is tlic care with human beings This distinction may be referred to the racial colours and the inaumerable distinctions in the individual shades of colour Bhiva lisya refurs to the psychic conditions affecting the individual in creating au dura round the organism The psychic conditions create relleses, and clicy, in turn, may give rise, tlirough some form of rudiation, to some kinds of colouration round the organis1 This may not be ordiuarly visible to the cye, but only to persons disciplmed in Yoga12 Further distictions are made in lesya Six types of primary colours are suggested Tlire of them refer to evil minded persons The six lesyas are - (1) black (Krsua) (2) blue, (nila), (3) dove-grey (Kapota), (4) yellow (pula), (5) pink (Padma) (6) white (Suhla) For instance a man who is wicked and cruel gets the black lesya A man who is affected by anger and envy and who loves pleasure gets the blue lesya One who is disciplined develops the red lesya One who has subducd the passions has yellow One who is engrossed in meditation of the dharma' and truth has the white lasya But the fully liberuted souls have no lesya at allia The ethical significance of this doctrine has been emphasized in this distinction The lesyas are treated as an index of temperament of character Lesyas have a moral bearing14 The Jainas give the cxample of six travellers in the forest They see a tree full of fruits They want the fruits of that tree But their ways of securing them widely differ The man with a black losya intends to uproot the tree, that with a blue, to cut the trunk, that with a grey, to cut the branches, that with a yellow, to take the twigs only, the man with the pink lesya intends to pluck the fruits, while the one who has a pure white lesya is content to take whatever fruits have fallen on the ground 26 There are degree of expression of lasya in terms of time and intenarty We are told in the case of black lesya the duration varies from half a mahurla to thirty-three sagaropama The effect of the blue lesya varies from belf a muhurta to ten saguropama plus one palyo para and part of asarhkhyeye Sa is the variation in the duration of other lesyas 12 Gomma, asara Jula Kanda XV also Ultar adh, ayana Sutra XXXIV 13 Uttaradhya) ana Sutra Iect LXXIV SBE VOL. II Footnote 14 Radhakrishnan (S) Indian Philosophy Vol I p 820 Tootnote 15 Gommalasara Jaakonda Ch XV-Y 507-609

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Karma-Its Operation and an Appraisal Colour and sense qualities are associated with Karmic matter flowing into the soul Karma is a subtle type of matter, and soul is associated with it from beginningless time Karma matter produces a form of subtle body known as the 'Karma sarira' 10 We have seen that the immediate impact of Karma throws a reflection on the soul, as a coloured flower does on a crystal The colour does not form part of the crystal, so lesya is not part of the soul It may also be noted that the liberated soul is free from karmic matter and also from any form of lesya Thus, the conception of lesya Is closely associated with the Karma theory In Buddhism too, Karma is classified according to colours (1) Black, (2) White, (3) Black-and-White, and (4) not-black-and-not-wbite 1. Similar classification was adopted in the Yoga school We have referred to it earlier But these systems do not accept the material nature of Karma Therefore, Dasgupta suggests that the idea of the black and wbite Karma in the Yoga philosophy was probably suggested by the Jaipa view 18 It is possible to interpret the lesja theory in terms of modern psychology, especially of parapsychology The Bhava lesya has a psychological significance It is an aura created round the soul due to psychic effects and yoga It is dependent on the activity of the mind Thc six primary colours are effect of the karmic 10flux arising out of mental states and events Every psychosis brings some after-effects which are both physical and psychic It is possible to show, by proper analysis and investigation, that such psychic phenomena exist and are detectable The effects of psychic states are transformed, through some form of radiation into the aura' of colour spreadiog round the organism, like the balo surrounding a prophet We have heard that the gods and the prophets, like Jesus and the Buddha, had a halo round them The Jainas have said that the enlightened ones still living in this world get a white halo around them Such aura, or colouration may not be visible to the eye, nor discernible by the ordinary instruments of science But men disciplined in the yoga and those who have developed an extra-sensory capacity can ace it We may perhaps find some methods pertinent to parapsychology by which we may discover the possibility and existence of such phenomena, It would, therefore, be a problem for the parapsychologists' research We may also point out that some have suggested a resemblance between losya doctrine and the theosophical view of the transcendental colours in the individual 10 We may refer to the theosophical writings of Mrs Besant, 20 16 17 18 19 20 Pravacanasala I 55-66 II 40 Digha Nikaya III 20 Dasgupta History of Indian Philosophy, Vol I 74 Jaini (JL) Outlines of Jaluism P 45 Thought fornis by Mrs Bensant & CW Leadbeater 1906

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I G. Kalghatgi The Jainas say that the soul is immaterial, consciousness and its states are also immaterial and colourless Colour is in matter, and matter certainly acts and reacts on the soul by the loflow and bondage (bandha) of the harmic matter due to passions and modification in the mental states III The soul has the inherent capacity for self-realisation But self-realisa llon is a long process in the course of its eternal wanderings 10 various froma of evstence, the soul at some time gets an indistinct Vision and feels an impulse to realise il The soul has to go through the various stages of spiritual development These stages are called gunasthana, and they are linked up with stages of subsidence and destruction of the karmic veil These are fourteco stages of spiritual development The first stage is chara cterised by the presence of nuthyadisti (perversity of attitude) We accept wrong belief and are under the false impression that what we believe is right This is caused by the operation of muhyalua-karnan However, we are not entiri, berest of a vision, though indistinct, of the right Still, due to pervecsits of attitude we do not relish the truth, just as a man suffering from fevus has no taste for sugarcane 21 The next stage is called sasvadanasamyagdrsk It is a baltiog and transitory stage in which one may get the vision of truth but is likely to fall back on falsehood due to the excitement of passions In the third stage, of samyagmichvardust we have a mixed attitude of right and wrong belief There is neither a desire to have true belief nor a desire to remain in ignorance It is like miring curds and treacle 21 Next comes the stage of right attitude, samyagdroft One gets a glimpse of the truth Yet one has not the spiritual strength to strive for the attajament of it In this stage we have attained knowledge, but we lack moral cffort, as we have not yet developed self-control From the next stage onwards there is gradual expression of self-control We may compare these four stages to the state of the persons 10 Plato's parable of the cave The prisoners in the cave would sce their own shadows and the shadows of other men and of animals And they would mistake the shadow for realities This is the stage of the atva If one were to be released, the glare of the light would distress him, and he would persist 10 maiotaining the superior truth of the shadows This is the stage of suspadang But once he gets accustomed to the change, he will be able to see things, and gaze upon the light of the moon and the stars and the spangled heavens And once he gets the clear vision, he will realize the folly of his fellow prisoners and pity them.99 21 Gominalasara-Ipakanda, 17 22 lbid p 22 23 llato The Pepublic VIII,

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Karma - Its Operation and an Appraisal Defaviralaramyagdrsfi is the next bigber stage of spiritual development, in which we get partial efforts for self-control in addition to the possession of the knowledge of truth There is a partial destruction of karmic natter which produces passions 24 Full practice of virtues would not be possible because there is the possibllity of the influence of passions In the next stage, the moral effort takes & inore definite shape, although it is not always successful A person has a more or less steady glimpse of the truth, and he tries to develop self-control But even here, the moral life and the spiritual struggle are not fully successful, owing to moral and spiritual inertia This inertia is called promada And pramada 19 overcome in the seventh stage of a pramatta-samyala Efforts to reach moral excellence take definite shape the operation of Karma preventing perfect conduct is very feeble, and minor passions are also subdued The process of adhahpravrtti-karnia, by which the soul on a lower level can rise higher, operates in this stage 15 The eighth stage is called apirvakarana It leads to greater and more definite self-control the self attaios special purification and 18 capable of reducing the intengity and duration of Karma The Gommatasara gives a detailed description of the process of apurvakarona operating in this stage One is affected only by the mild affective states It 19 possible to develop a stoic attitude In the stage of development called antorttu-badara-samparaya, it is possible to overcome even the milder emotional disturbance with grea ter confidence and ease some times slight emotional afflictions are, here, possible In the tenth stage of Saksinasamparaya, only greed disturbs us, and that too slightly Except for this disturbance, one is passionless and calm This subtle greed can be interpreted as the subconscious attachment to the body even in souls which have a hieved great spiritual advancement 10 But one is free from even the slightest passions in the eleventh Gunasthana, of upasantainoha, still the affections are not altogether eliminated They are only suppressed through the pressure of moral effort We are mostly free from the baneful influence of the Karma, except the deluding Karma (mohantyaKarma) This state is called chadmastha It is also callcd vtardga, as one is able to remin calm and undisturbed through the suppression of Karma In the next stage, of ksina-moha there is annihilation of Ghaul Karma and not mere suppression And when all the passions and the four types of ghata karma are destroyed one reaches the thirteenth stage of spiritual development, called sayoga-Kevali One is free from the bondage of ghati Karma, yet is not free from activity and bodily existence as the Aghani Karma, ayukarma eta 24 26 26 Gommajasara-Jivakanda, 90 and commentary Ibid 48, 49 Tatia (N) Studies in Jana Philosophy, p 27,

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10 TG Kalghatgi are still to be exhausted In this stage, we find omniscient beings like Tirthankaras, Ganadharas and the Samanya kedalins They attain enlightenment, but still live in this world preaching the truth that they have seen This stage can be compared to the stage of Iwanmukla The Vedantasara describe this stage as that of the enlightened and liberated men who are yet alive Though they may appear to be active in this world, they are Inactive, like the man who assists a magician 10 a magic show yet they kaow that all that is shown is illusory 27 Zimmer compares the attitude of the Kevalins in this stage of the function of a lamp lighting the phenomenal expersonality solely for the malotenance of the body, not for the pursuit of any gratification of sense of any goal 28 The final stage of self-realization is the stage of absolute perfection All empirical adjuncts, like the bodily functions, are removed The soul enters the third stage of Sukladhyana This state lasts only for the period of time required to pronounce five short syllables 29 At the end of this period the soul attalas perfect and disembodied liberation It is described as the state of Parabrahrria or Nlanjang It is not possible to give, as Radhakrish dan says, a positive description of the liberated soul 30 It is a state of free dom from action and desire, a state of utter and absolute quiesence Zimmer shows that, in this state, the ladividuality, the marks, the formal personal features are distilled away like drops of rain that descend from the clear sky, tasteless and emasculate 31 IV Karma theory has been found by some to be an adequate explanation for the prevalent inequalities in life It ja suggeated that the theory suffers from serious defects (1) Karma leads to the dainping of the spirit and men suffer the ills of life with helpless equanlmity of attitude slinply because they get the awareness that it is beyond their power to change the course of their life as it is determined by Karma Karma leads to fatalism It does not give any incen tive to social service The general apathy of an Indian towards the natural, social and political evils is mentioned as an example of the impact of Karma on our life The famous temple of Somanatha was destroyed, and there was no visible resistance because the common man in India was overpowered by the belief that everything that happens 18 the result of Karma But this is more an over-statement of a fact, if not a mis-statement 27 28 29 80 3) Feueintasara, 219 Zimmer (H) Philosophies of India (Ed Campbell), p 446 Dhyanasasaka, 82 Radhakrishnan (S) Indiun Philosophy VoL I p 233 Zimmer (H) Philosophy of India p 260

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Karma-11s Operation and an Appraisal It is not true to say that the Karma theory does not give any incentive to social service The Upamsids en jon social service and sacrifice, although on the highest level one has to transcend social inorality The five vows to be observed by an ascetic and the layman (sravaka) imply the recognition of digaity and equality of life Schweitzer maintains that the attitude in the ancient Indian thought was that of world and life-Degation Still the problem of deliverance in the Jaina and the Buddbist thought is not raised beyond ethics In fact, it was the supreme ethic The deliverance from reincarnation is possible through the purity of conduct, and the soul cleanses itself from the besmirching it has suffered and altogether frees itself from it What is new then, 10 Jainiso is the importance attained by ethics 3. An event full of sigaificance for the thought of ludia 38 And Karma is not a mechanical principle, but a spiritual necessity It is the counterpart in the moral world of the physical law of uniformity 31 Uofortunately the theory of Karma became confused with fatality 10 lodia when man bimsell grew feeble and was disinclined to do his work 85 Still the imporlance of Karma as aftereffects of our action and deteranging the course of use cannot be easily underestimated Karma has to be looked at as a principle involving expla nation of aclion and reaction Fatalistic theory of life was presented by Makkhali Gosali, a contemporary of Mabavica He considered himself a rival of Mahavira He said that lieppiness and misery Are measured to one as it were in busbels The duration of life and the transmigration of souls have their fixed forms No human effort can change them Mahavira and the Buddha opposed Gosala most vigorously 2 The theory of Karma explaining the inequality of human life and bebaysour as fruits of Karma bas been interpreted as determinism and fatalistism It is, therefore, necessary to study tbe problem of determinism and humaa freedom and to justify the ways of God to man and of man to man Determinism is a general philosophical theory which asserts that all events are caused Everything that happens is determined by preceding conditions (1) The development of physical sciences in the seventeenth and eighteenth centuries inspired the philosophers to deterministic theories All events are determined by preceding conditions Neither moral consideration nor the will of God determines human actions, but like other events they are determined by eternal and inmutable laws of Nature (11) With the advancement of psychology in Apecialised directions like Psycho-analysis and Psychiatry, the determloists have gained added strength All events 32 33 34 35 Schweitzer Indian Thought and its Development, pp 82-83 Radhakrishnan (S) Hudu View of Life, p 79 Radhakrishnan Indian Philosophy, Vol 1, p 224 Radhakrishnan Hindu Vieu of Life, p 76

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TG Kalghatgi including voluntary acts are caused Psychiatrists speak of specific uncons cious fears, defences and hostilitics The Psycho-analyst traces all human actions, including the willed ones, to the repressions and sex drive They trace the origin in the dungheap of the Unconscious And consequently man is not free and is not morally responsible The issue of Freedom is not philosoplucal but an empirical fact This is hard determinism (111) The Socratic dictum that virtue is knowledge and vice is ignorance has been the foundation of moral deteriniaism Secking the good is determined by the knowledge of the good If one knows the good one seeks it If one seeks something else it can be because he is pursuing the apparent, and he does not really know what is good Plato thought similar reasonings apply to any choice whatever This ethical intellectualism so central to Platonism is deterministic by implication 12 The determinists have constantly felt uncomfortable in the face of the problem of reconciling the determinism and moral freedom The consistent determinists do not shrink from such words as fatality, bondage of the will, necessity and the like William James called them 'hard determinists' Robert Owen, Schopenhauer and Freud were hard determini to But some determinists do not find any contradiction between determinisin and human freedom Neo-Hegelians, Hobbes, Hume and Mill hold this view Freedom consists in the choice of actions which are free from constraint Such actious are not uncaused, as every action is not uncaused But the difference lies in the kind of causes that are present On such occasions human beings act in a certain way because of their own unimpeded efforts, because they have chosen to act in these ways Thus, Determinism is compatible with Freedom la this sense, and hence, compatible with moral responsibility The problem of Determinism and Freewill has been shelved in the museum of Philosophy in recent times by the linguistic approach to the problems of analysis of peripheral issues Wittgensteia's criticism that Philosophers do not know what it means to call something action has created problems in this field Philosophers have been unable to analyse the distinction that some bodily actions are considered actions and others are not Aa long as ignorance prevails, it is contended, that there is little point in discussion whether men's actions are free Gilbert Ryle, in his The Concept of Mird has inaintained that volitions are fabrications of philosophy, corres ponding to nothing that has existed The concepts of desire, motive and choice have been similarly subjected to criticism This is the philosophical sea-saw of Determinism and Freedom Karma works as the inexorable law of causation, In its essentially mechanical way The theory in its entirety cannot escape the charge of determinism In this there is no human freedom, nor is the choice possible for man And men are to gods, like flies to wanton boys. The Universe is all a chequerboard of nights and days

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Karma-Its Operation and an Appraisal Where destiny with men aa pleces plays Hither and thither moves, and mates and slays, And one by one in the closet lays But determinism is here interpreted in a narrow seose as a mechanical operation of Karma to produce its effects, as does law of gravitation The question, now, is whether Karma theory implies determinism We have seen that determinism emphasises that events are caused Ao cvent is so connected with some preceding event that unless the latter has occurred the former would not have occurred The principle of causality operates 10 life This has been accepted by the Karma theory also Our actions are determined by the Karma theory also Our actions are deterinined by the Karma that accumulates due to the previous actious The after-effects of action in the form of Karma have to be experienced and exbausted In this sense, it is deterministic But the choice of action 18 with us In this connection we may mention the distraction drawn by some regarding the levels of judgeident of action On uprefective level a person s action 13 distinguished on the basis of the fact whether it is due to Impact of emotions or imbal ance of mind or that it has been acted 10 accordance of unimpeded rational desire Yet considered from the plage of refaction, each rational desire Is rooted and determined by the total character and personality of man. and the total character is formed by the total life and the environmental factors in this sense, the individual 19 free The individual's ability to be free 19 not impaired by the fact that his being 18 determined by Karma And moral choice, like thought and act, moves on different causal levels It achieves freedom just as they do, only when it 18 determined by its own appropriate necessity We are determined by the past and we can determine the future For the bondage we have so far suff. ered and for the kindly light of awarences of the power of self-realisation, we can say to God, with Omer Khayyam, 'forgiveness give and take 3 It 19 also said that the Karma theory 19 inconsistent with individual freedom of the will It does not guarantee true freedom to the adividual which is esaential to his moral progress 16 And in the background of caste system, the boon of individual loequality becomes a curse, 'if Karina had not to work with caste, a dar abrama-dharma, a wrong idea of the self and transmigration, we might reconcile Karma with freedom The charge of 'determinism from the polat of view of higher morality bolds good 37 Older Buddhism and Jainism were much concerned to defend self-regulative character of Karma, salvation was essentially through self-relia ace, and there was fear of the antinomian tendencies of the notion of reliance of other (eg The Suffering God (1932), p 60 36 37 Paul (OS) Ibid P, 60

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TG Kalghat gt th. Lord, * The answer to the charge of fatalism was that by our own efforts we can andibulate the existing Karma and neutralise its effects But it is difficult to determine the nature of this objection We are told thuit from the point of view of higher morality Karma theory cannot escape the charge of dutamiaism Yet, the objection is determined by and based on the individual's status 10 a particular caste it is more a sting against caste system than a criticism of Karma theory The objector appears to contusc thc essential from the accidental It is a fallacy of Ignoratio Elenchi Caste system is a sociological problem, and it is not essential for understanding the nature and operation of Karma In fact determinism is, here. interpreted in a narrow sense as & mechanical operation of Karma to produce its cllects, as does the law of gravitation 40 The present condition and nature of an individual is determined by the past Karma, yet the individual 13 fice to act in such a way as to mould his own future by reducing or desIroying the existing karma The present is determined, but the future is only conditioned '40 lo general, the principle of Karma reckons with the material in the context in which each individual is born 4 'But the spiritual element in man allows him freedom within the limits of bis own nature '12 There is room for the lowest of men even of animals to rise higher and purify their selves Allempts were made to reconcile the law of Karma with freedom of ma Karma is compared to a fire wbich we can, by our own effort, fan into a larne or modify it Human effort can modify Karma Such a saving of the soul is possible by one's own cfforts Grace of God has no place in Jaina etbics Self-effort in the direction of purification of the soul is the one way towards perfection A thief, for instance, undermines his owa character and being ticry tim. h commits theft No amount of prayer and worsbip will erase the stent that has been accumulated, although it may create a mental atmospher, for eliminating such future possibilities Shri Aurobindo says "It has to be recognised kaowledge and ignorance are tut absolute contraries, and liberty and the compulsion of Karma are not unbridgeablc opposites It is demanded of a man a choice between the right and the wrong way, between the will to an impermanent existence and the will to an absolute spiritual belog As such there is something in 33 Snart Ninian Doctrine and Argument in Indian Philosophy, P 164 39 Ibid P 164 40 Radhakrislinan )) Hindu Viep of Life, p 75 41 Illud 42. Ibid.

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Karma-Its Operation and an Appraisal the individual being which has some real freedom of will, some power of choice The world of matter seems to know nothing about freedom, everything there appears as if written 10 syllabic laws on tablets of stone We can think of no presence of soul to natural things " But matter is not all on the plane of mind there appears consciousness of possibilities and of choice And from this arises the idea of a free and Infinite Wul, a Will of illimitable potentialities Therefore absolute freedom of a Splait and Power is not determined by Karma, but it determines Karma On this basis we may understand the relation between Karma and freedom 'The soul of man is the power of the self-existence wbich manisests the universe and it is not the creature and slave of mechanical Nature Mind, life and body and its functions are subject to the action of Karma Man in himself, the real man is free, rather Karma is his instrument He is using it always from life to life for the shaping of a limited individual, which may be one day a divine and cosmic personality There is the individual power of the spirit and we have only to gee why here I am at all under the dominion of Karma I appear to be bound by the law of an outward and imposed energy only because there 19 a separation between my outward nature and my inmost spiritual self, and I do not live 10 that outwardness with my whole being, but with a shape tura and mental formation of myself which I call my ego There is still the feeling of relative freedom, and this freedom and power are influences from the soul "But the real freedom comes from the personality to the person The first stage of this is passive liberty, liberty of assent, but the assent is to the will of the Spirit There is the higher state of consciousgess in the supramental range In that stage, the soul 18 one with the Supreme in its essence of consciousness and expressive act There "Karma itself becomes rhythm of freedom and birth a strain of immortality "13 4 It has been objected that the Karma theory connects actions and its consequences in a rather mechanical way In its mechanical aspect, it mistakes the means for the end Io this, it is presumed that repeatence is the end and paying the due penalty 18 only a means It is said that Karma theory over-emphasises the retributive aspect of punishment But, here again, we find a confusion between ends and means Repentence has its place in life, but it is not the end to be achieved Repentence does purify the mind and has the effect of a catharsis This would be a means for the future development of an individual Even as a means it is 43 Sri Aurobindo Freedom The Problem of Rebirth (Pondicharry, 1952) Ch IX Karma and

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TG Kalghatgi not all The Jaina theory of Karma emphasises that by individual eff uits at local and spiritul development we can reduce the inteosity of Karma. surpress is effects or even doolbilate We have seen that one can, by suitable efforts, transformi ile energy of one form of Karma 1oto that of anulir' 19 we can transform electrical energy into that of heat and light Repetence is not to be taken as the final end It Ouly creates an atmos flere for moral efforts towards self-realisation It is at best a powerful psychological ineans which would help us in the attaigment of spiritual perfection If repentence were sufficient to lead to purifcation, the aftereffects of past action cannot be accounted for, nor can they be explalned wat, ns that would be contrary to the laws of physical and moral nature Karma doctrine implies that sin is a fiote offence that can be made goud by private temporary punishment It presupposes that we can make good our sio which is entirely beyond our power I is also said that the domloant impression that one gets of the Karma doctrine is that the individual is in the grip of power, which, beedless of his own wishes, is working out a burden of an immemorial past 46 Pringle-Pattison shows that the whole emphasis of the Karma theory is on retributiou There is nothing redemptive in its operation, and the process becomes an endless onc, leading to do goal of ultimate release He quotes Deussen and says that expiation involves further action which in turn involves explation, and thus the process 18 endless The clock work of requital, in running down, always winds itself up again, and so in perpetuity 40 Accumulation of nerit may ease a future life, but it would not suffice to eltect a release from the wheel of life Even when a new world follows after the deluge in the cycle of worlds, it does not start with a clean balancs lieet, as the operation of will proceeds from the point where it was suspended 7 Karina only perpetuates the curse of existence 48 So, the karena doctrine 'seems open to the criticism to which the viadictive theory of punishment has been subjected in modern times 40 To conceive this universe as primarily a place for dollog out punishment is to degrade it to the level of a glorified police-court The dominant noto ln the objection Is that to make good our sto 13 beyond our power and the emphasis on the retribution element in the doctrloc of Karma makes this world frightful 44 karma Grantha II 43 Sigfrid Esiborn The Christian Doctrine of Salvation (1958), p 68 46 I'rugl Pattison (A Seth) The Idea of Immortality (1922) p 115 47 Ibud 48 Ibid 49 Ibid p 119 SU Ibida, p 120

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Karma-Its Operation and an Appraisal and miserable, 'as a glorified police court' But this is far from truth It is not beyond our power, as we said earlier, to Improve our states of existence The Jainas bave shown that self-effort can shape the future The present is with us and the future is in our hands Retributive theory 18 a more consistent theory of action and reaction and not merely of punishment, than Reformative theory Man gets what he merits to get, and to withhold it would be injustice to him, unless he makes his own efforts to modify the effects of his actions Reformative theory may be full of noble and soft sentiments, it may be comforting to be told that by the grace of God, we would be better But that destroys the individuality and dignity of an individual and he would become a tool in the hands of a Higher Power or his agent in this world We refuse to be treated as things Moreover, it is good to tell men, though it is unpleasant to do so, that they are alone responsible for their present state To put the responsibility on the individual is hard truth And Radhakrishnan says that Karma 18 not so much a principle of retribution as one of continuity 1 17 6 Some have said that the doctrine of Karma leads to unbridled individual 18m It fails to see that we all belong to a community, that there is what 18 called joint Karma' corporate sin or guilt It allows the fortunate ones to boast of their 'self-merited happiness 'sa Explantion for the inequality is referred to the 'vicarious suffering' The ethical justice is to be found in the crucification of Christ, and the Cross is a symbol of taking over the sufferings of men upon oneself so as to lighten the sufferings of men But according to the Jainas, as also in other Indian thought, except in the Carvaka, self-realisation is to be attained through a moral effect which is essentially social in its content We have seen that the Indian ethics is essentially social in its significance Moksa is to be attained through the practice of goodness, charity, compassion and humility, although the Mokga is attained by one who practises the virtues and three-fold noble path It is therefore, more accurate to say that Karma theory awakens a man to his responsibilities to himself and to others, and does not make him Isolated and self-centred We may also add that Karma does not imply a hedonistic outlook in life Reward for pleasure is not a life of pleasure nor is the punishment for ain, pain The theory is not to be confused with hedonistic or a judicial theory of rewards and punishments Pleasure and pain are determinants Idealist View of Life, (1961), p 218 The Christian Doctrine of Salvation (1958), p 70 Idealist View of Lafe, p 219 51 Radhakrishnan (S) 52 Sigfrid Estborn Radhakrishnan (S) 53

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TG kalghargi of animal experience, but for human life the end to be attained is nothing short of perfection His efforts are to be directed to the attainment of this highest and The universe is, in the words of Tennyson, 'a vale of soulmaking and not a pleasure garden 7 (a) Objections have been raised agalost the theory of Karma on the 12515 of the theistic conception of God and the dispensation of justice by bim It is said that if God as a creator is omnipotent, must be partial and cruel as he nakes some people suffer and some enjoy pleasures in this life Sarihara in his conintentary to Brahmasutra replies that God cannot be con dered as partial and cruel because he acts with reference to Karma of csery individuals If he were to act without taking into consideration the Karma, he would be thought of as being partial and cruel But God should belled upon as the rain The rain is the common cause for the growth of use and wheat etc Similarly, regarding the inequalities among men in their status and enjoyment, the specific Karma of each individual is the cause We get a similar argument 10 the Brhadaranyaka Upanisad (32 13) which states that a man becomes meritorious by his good actions and sinful by bis bad actions (b) It is objected that pro to creation there was no Karma, so how can it lead to differentiation ? But it has been stated that the sarhsara 19 anadi (beginningless) Like the seed and the sprout the cycle of life and aliran goes on Just as in the case of a seed with its potentialities for becoming a tree, there is the need of rain, so also has God to depend on the Karnia for determining the status of an individual in this life Ramanuja shows that the inequality of creation depends on the Karma of a particular individual He quotes references from Brhadaranyoka Upanqsad mentioned above and Visnu Purana (c) It has also been objected that prior to the creation there were no being, at all so there can be ao Karma, then how can we account for the inequality ? But it is stated that the individual souls and their deeds form the eternal st.cam Prior to the creation souls abide in subtle condition. Nimburka adds that Karma done by the being in the earlier creation have, again, their antecedents Similarly, Vallabhacarya follows the same line of argument All the Jlsas merge into the Brabman along with their Karma in minute form and when creation starts they are born with their Karma Our happiness and suffering in this life are determined by our actions in the earlier life and those of that life are determined by the actiona of still earlier lifi So the chain goes on endlessly However, it is beyond the power of individual med to know how & particular soul started living In this sense karma is called anadi,

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Karma--Its Operation and an Appraisal It is however significant to note that the sprout comes into existence due to the seed and the same sprout develops the seeds for the future sprouts Similarly the Karma of an action leads to further Karma and it leads to further actions But if the seed is roasted the sprout will not grow from it Similarly if Karma is apoihilated through ta pas, bhakll or through arma dhyana the soul becomes pure and reaches the highest perfection Shri Aurobrodo states that we have not been able to see the pbilosopbical reality of Karma, for two errors first, It is the strenuous paradoxical attempt to explain the supraphysical things by a physical formula and a darkening second error of setting behind the universal rule of Law and as Its causo and efficient the quite opposite idea of the cosmic reigo of Chance In the theory of Karma, there is first assurance that in the mental and the moral world, as in the physical universe, there is no chaos, fortuitous rule of chance of mere probability, but an ordered Energy at work which assures its will by law and fixed relations and steady succession and the links of ascertainable cause and effectuality to be assured that there is an all-pervading mental law and an all-pervading moral law, is a great gain a supporting foundation That in the mental and moral, as in the physical world, what I sow in the proper soil, I shall assuredly reap, 18 a guarantee of divine gevernment, of equilibrium, of cosmos, it not only grounds life upon an adamant underbase of law, but by removing anarchy opens the way to a greater liberty 'Karma theory teaches us that the soul enters this life, not as a fresh creation, but after a long course of previous existences on this earth and elsewhere, lo which it acquired its present inbering peculiarities and that it is on the way to future transformations which the soul 18 now abaping It claims that infancy brings to earth, not a blank scroll for the beginning of an earthly record, nor a mere cobesion of atomic forces into a brief personality soon to disclose again into the elements but that is inscrlbed with ancestral histories some like the present scene and most of them unlike it and stretching back into the remoteat past The current phase of Ilfe will also be stored away in the secret vaults of memory for its uncong clous effect upon ensuing lives' Karma 18 wbat we have done, and we have to enjoy the karmic results Therefore it follows that the future is only the past It should therefore be possible to predict the future The astrologer feels, by means of his art, the unexpended Karma and tries to read it Planets therefore simply indl. cate the results of previous Karma and hence there is nothing like fate or destiny 10 its absolute sense controlling the spiritual self The ego accumulates a fund of individual character wbich remains as the permancot thread stringing together the separate lives The soul is therefore an eternal water globule, which sprang 10 the beginninglese past from mother occan

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1 G Kalghargi wind is de tined after an unreckonable course of meanderings 10 cloud and ruin, show and stuam, spring and river, mud and vapour, to at last return with the garnered cxperience of Il loncly existenccs into the central heart of all Ibat we have forgotten the causes producing the persent sequences of l ucy and rains, talents and defects, successes and failures is nu disproof or tlum and Juc, not disturb the justice of the schenue for temporary obhyon is thic anodync by which the kindly physician 15 bringing us through tle darler ends of sorrow into perfect bealth "The law of hurma provides a graded sanction or reason for tight living It prove that nienari in cssence one, and that any decd which burts one's nuighbourhood or the conmon weal is an injury to oneselt Above all, it rett & plast of Lusciousness where right becomes the most liw of bungan a un ducs right not because it pays tor because it avoids self T ut bulanse, beyond all argunent, he must Karma destroys the 1&u ottavy and jealousy and the consequent il-will It removes impatience It liguy cenoves the fear of death for where there is the oper conviction of north ard by the law of affinity reunion with those one lovcs, there is othing lu Horny The belict in the theory of Karma and reincarnation scattered through the ruilosophic writings of ladia reproduce the scientific theories of the involution and evolution of elements Accurding to Shri Aurobindo Karma is a Universal energy working in all cristence, a process, an action and a building of things by that action-an unbuilding top but as a step to further building-It is continuous chunge-tbat 14 the Philosoplucal reality of the theory of Karma, and that too is the way of een winch lids been developed by physical science but its seeing has bir hundil 741 17 thu progress to the full fargeness of its own truth by two erst ull crrors, 1 nentoaud carbus, urst, the straneous paradoxical attempt Iw Inlain supraphysical things by a physical formulo, und a darkening wnuror of setting behind the Universal rule of Law and ibe quite uppustiu 1904 of the COSI reign of Chance (1) The Shri Aurobindo present the four pillars of the theory of Kurma (1) There Is an all-pervading niental law and an all-pervading moral Law and in tiese fields, as in the Physical, what we sow we reap That gives the guaran tee of ilic divine Government, an equilibrium and a cosmos But if this energy were all I may only be a creation of an imperative force and my acts will be determined That would resolve everything into predestination of Karina Tooral Wl Tea de equilh. (2) Here comes the second step of the Theory of Karma It is the Idea which creates all relation and all is the expression and expansiou of the idea

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Kama-Its Operation and an Appraisal 21 Then I can by the will, the Energy of the idea in me, develop the form of what I<Page #128
TG Kalghargi Having discussed the arguments and counter arguments of the logical justification of (be doctrine of Karma, we may say that, from the real point of view niscaya-aya logical justification of the doctrine is not possible nor necessary It is the experience of the scers And Ob, Agnibhuti. Karma is pratyahsa to me, the omniscient belog just as your doubt 19 pratyaksa to me "69 59 Visesesas) aka Bhasya, Ganadharavada, 1611-1613

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JAINA THEORY OF SOUND (SABDA) JC Sikdar Introduction The Indian philosophical schools which have invented, developed and adopted the theory of sound by their speculations may be placed in five groups The first group 18 represented by the Samkhya-Yoga, the second one by the Vaibbasika school of the Buddhists, the third one by the NyayaVardesika, the fourth one by the Mimamsakas of the Bhalla school and the fifth one by the Jalpas According to the Samkhya-Yoga?, Sabda (sound) is tanmatra Infraatomic or potential energy) which generates akata (ether or space) because of being a radicle or centre encircled by masses (Bhutad), while the Vaibbasika school of Buddhism maintains that Sabda (80dnd) as an object of hearing is one of the fifteen kinds of Rapa (Matter) The Nyuya-Valseslka: conceives sabda as quality of akata (space) The Mimimaakas of the Bhatta school accept Sabda as a substance on the basis of the fact that it is perceived independently and diroctly, it exists as a self-subsistent real and it does not have the criterion of quality of being perceived lavariably as dependent upon a substance - substratum The Mimamsaka view of dependence is refuted by the Nyaya-Valserika on the ground that the perception of the substance 18 not an essential precondition of the perception of the quality and the dependence of quality upon the substance is not exclusive criterion of a quality because ovory positive real except an eternal substance is dependeat upon some substratum for its very existence The Nyaya-Vaisosika maintains the view that whatever 18 possessed of a universal (jarimat) and 18 cogalzable by aomo external senso other than the vigual sense 18 a quality? Therofore, sound is a quality It is not an incomposite substance aor a composito one, for the incomposite substance, e gatom, or space, or timo, or soul, 1a intangible to the external sense . It 18 eternal because of being anggusod, but sound is non-eternal, for it is generated under specific conditions 20 It la atated to be the product having atasa (ether or space) as Its constitutive substratum But the idea that "Substance producod by and inhering in a single substance is laconceivable, since one of the conditions of production, viz the conjunction of constitutive factors, which is the asamavayikarana (non-material cause), is lacking" 11 Hence aound is not

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TC Sildar substance According to the Nyaya-Varesika, it is the specific quality of wala (p ce or ether) 11 Jaing philusophy sabla (sound) 15 conceived as the manifestation of Mutter! The cause of it-natural or artificial, has been pointed out to As the striking of moleculcs (skantha) against one another, ie "sound is 1012411 b rolecul, when they strike one another, which inay be natural UT 11 14 hound 1 ly be indirectly associated with storus als 313 The secu of the theory of sound of the Jainas is embodied in the J419 I . In thrust igamic 19e Umasvatili had sown the seed of its netaphisical sect on the basis of its aganic conception, while Acarya Aindalundi 16 To Try 1 Pillid 1,16 Akalauk2,17 Vidyan andals and other Ijter 101 a, cradually developed it in the light of the theories of sound of other induin philosophie Thcy organized the entire system of the pohle ais un the huury of sound of tlie Sambhya-Yoga, tlic Buddhists, the X,7- Valeuki and the Mininisalas The Jana thinkers have returned the Buddhist tradition of manifestation (parpaya) of Rupa (Matter) by a.ce plugs und as manifestation of Pulgala (Matter), while discarding other tradition, in formulating their theory of sound It appears that the speculation on the theory of sound marks a stage of unicrgence and development of subtle thought in the field of ladian shtli puhv et the guna tla, wamottar kaln (post-agimic age) and darsa in da (ace of Indian nietaphysics) In this speculation the Simkhyn-Yoga, 163 Buddhista, the Nyiya-Vilsusibi thu Mimibukas and the Jainas buve alaked the problem in their respective manners The Sinkhya-Yoga plusph 1. the advocate of Prakrtivada Doctorine of the fundamental cause of the material unterse, nevertheless, it gives place to fabda (sound) Lanmutta (infra-atomic or potential energy) which generates alasa fether or space), while the theory of sound of the Valbhaska school of the Hindu 15 based on ksandkai ada (Doctrine of momentariness) as sound is conceived by them as momentary The Nyaya-Valsesika has propounded the theory of sound on the basis of dravyalva (substantiality) od unit a (attributiveness), hence its theory of sound stands on Drapyavada (Panciple of Substance) and gunawada (Principle of attribute or quality) The Bhalla school of the Mim imsakas has admitted the theory of sound on the basis of substantiality Jaina pbilosophy has conceived it on the principle of substantiality and modality, as three potent factors or laws, VIY origination (utrada) destruction (oyaya) and permanence (dhrauvya), operate in the material world by bringing about transformation in it through the forces of external and internal causes

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Jaina Theory of Sound (Sabda) 25 Thus the Jaina theory of sound makes a synthetlc view of the theories of sound of all other Indian systems of thought from the aspects of substantiality and modality Jalna Theory of Sound According to Jaina metaphysics, sound is conceived as the inanifesta tion of Matter This view is identical with that of the physical sciences on the theory of sound, as it is conceived by them as energy of Matter, le manifestation of it It"usually originates in vibrating bodies through the surrounding elastic medium, usually air, as wave motion of the longitudinal type When the compressional sound waves are passing through air, the amplitude of the vibratory motion of the layers or particles is surprisingly small, being only about 10-8 cm for a sound that is barely audiblc '10 Kinds of sound According to Jaina philosophy, there are stated to be mainly two kinds of sound, viz bhasatmaka (sound incorporated in speech or language) and abhasatmaka (sound which does not find place 10 speech or language) 20 The former is sub-divided into two groups, Viz aksaratmaka (articulate utterence or speech and an anaksardimaka (sound made by creatures or by the Kevalins), while the latter is also of two groups, viz prayogha (sound produced by human beings through the play of musical instruments ie musical sound) and valsrasika (natural sounds, such as the roaring of thunder, the rippling of water, noises in general, etc ) 22 Prayogha sabda (artificial or produced sound) is further sub divided into four kinds, viz tata (musical aound of tabia or drum, 10 a stretched membrane), vitata (musical aound produced by stringed instruments), ghana (musical sound produced by solid 10struments, such as, bell) and susira (sound prodaced by wind instruments, organ pipes or conch) 25 Modern acoustics divides sound into two classes, viz musical sounds and noises Prayogika sabdas (artificial or produced sounds) of Jauna metaphysics, viz tata, vitata, ghana and susira, correspond to musical sounds of modern physics, while oausrasika sabdas (natural sounds), such as, roaring of thunder, etc include noises-sounds of modern acoustics Bhasatmaka labda (sound incorporated in language or spoecb) forms a distinct class of sound by itself, but it may be placed under the category of nolses of modern acoustics The sub-divisions of musical sound into the vibrations of membra nes, atrings, rods and plates and alr columns of the physical sciences correspond respectively to the following kinds of sound of Jaine metaphysics, viz, tala, vitata, ghana and supera

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JC Sikdar Pltch, Intensity, Quality and Wave of Soand and Its Propagation It is explained that Bhasa (sound 10corporated in speech or language) 18 slated to belong to the beings, it originates from the body, it is of the shape of agra (thunderbolt) and it reaches the last border of the universe 24 Bhasa, having originated from the body, breaks forth by two samajas (instants) There are stated to be mainly two kinds of Bhaca, viz paryapuka (developed, and arany aplika (undeveloped) Paryaptikabhasa bas been sub-divi ded into two kinds, viz, satyabhasa (trae speech or language) and mysabhasa (u tong or false splech or language) They are again further divided and sub-divided into inany kinds, such as, Janapada-satyabhasa, Samyag-satya, stharana-satya, namasatya, rupasatza, etc In reality, there are two kinds of Bhaja, viz. dravjabhasa (physical speech) and bhavabhasa (psychical speech or language)" Dravyabhasa is sub-divided into the following groups, viz grahanam (Speech received by the self through transformation), mhsarana (that which is emitted by the function or action of lungs, pharynx, throat, etc) and paragharabhasa (speech sent out through the act of transformation by those emitted physical vocal substances) The beings receive bhasadranya (speech-substance) from six directions 20 Nihsaranad ravyabhasa is identical with the voice or speech of the medical Scicace, emitted by the beings In the medical science speech is regarded As material It comes out of the larynx or the organ of voice which is triangular box of cartilage and muscles situated below the pharynx and the root of the tongue It presents a considerable projection at the upper and front parts of the neck externally At the upper part of the larynx there is a lid of cartilage called the epiglottis 97 The voice is generated by forcing au from the lungs through the space between two stretched vocal chords which are stressed across the trachea with a narrow vocal slit between them, the edges of the slit acting as reeds "The two vocal chords (membraDes) aro attached to muscles by which their tension and vibration frequently can be altered" The edges of the membranes are set into vibrations like reeds by the air from the lungs and thus sound is produced, the pitch of which can be altered by altering the tension of the vocal chords, and the quality of which depends upon the air-cavities of the noso, throat and mouth which act as resonators, the shape and the size of which the speaker can vary at will 20 It u similarly explained in the Jaina Agama that speech which is breaking forth, while speaking, is speech, but not that which was spoken before nor that which dies out after the crossing of the speaking time to Intensity of Emitted Speech Bhaca (sound incorporated in specah or language) breaks forth with gentle efforts, 1 c with low intensity, some speeches are emitted with

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Jaina Theory of Sound (Sabda) intense efforts and some are unbroken, 1 e continuous The broken (emitted) speeches go to the last border of the universe, getting increased and increased infinitefold That 18 to say, some healthy speaker emits bharadravyas (speech-substances) with intense effort out of liking and they are broken forth into parts by the efforts of receiving and throwing out matters, while some sick person emits gross particles of unbroken (continuous) speechsubstances with gentle effort out of disliking These particles of unbroken speech-substance, getting increased infinitefold on account of their fineness and manifoldness and association with other material substances, such as, air etc go to the last borders of the universe in six directions, ie spread to the last borders of the universe1 Io other words, a belog emits speechsubstance which it receives for speaking as broken and unbroken (bhinna and abhinna) 39 Those speech-substances, belog omitted, touch (reach) the last borders of the universe, getting increased and increased infinitefold The unbroken speech-substances, having crossed countless points of immer 9100, broak forth and having gone to countable yojanas die out" in the borizon Paraghata Bhasadravya There takes place the force vosana called paraghala (impact or striking wave) of the prayoga-vasana-yogya-drapyas (Speech-substances produced or pronounced with the efforts of palatals, etc) That paragharabhasa 1s emitted as being generated by the striking of speech-substances against one another (dravyakaramblia) out of the straight line (1 e in a curved line) due to the fineness of emitted speech substances from the going in a straight line anusrent quagahana) Paraghatabhasa becomes also mixed (mitra-nilssta-dravya karambita) 10 a parallel line (samabhasa kadiga peksapradhvara Srent) Su it is stated in the Niryuko that paraghalabhasa goce la a curved line 6 In regard to the propagation of sound the early Nyaya-Vaisesika philosophers maintain that the first sound, generated by the Impact of vibrating molecules of sonorous bodies against contiguous molecules of air to the substrate akaba, 16 generates sound and so on, just as waves produced in water or ocean, until the last sound causes a vibration 10 the ear-drum (karna-taskull) This propagation of sound 18 effected by the air-wave as its carrier Akasa (space) 18 immobile, but the air-wave is not transmitted without the inter-connecting of air-molecules by akata Udyota kara86 holds the view that the first sound produces indefinile number of sounds in all directions, not one sound, in a circle, cach of them geocrates again another one and so on, in such a way that sound expands by successive concentric spherical layers, just as Kadambakoraka (bud of the Nancha Kadamba) expands by successive concentric spherical layers of filaments, shooting forth from one another Of theso two hypotheses the

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C Sildar first alr-wave implled in the transmission of sound is of the transverse waves, while the second is of longitudinal waves in the orthodox Miinnosaka view of Sabara Svanin the alr-wavc furming physical sound signilius a series of conjunctions and disjunctions of air-particles with the rarefaction and condensation and suggest longitudinal waves 27 Sound dis out it list with the growing of the momentum of the impact of suries feebler ind feebler in the course of transmission of sound through the 11-particles Another VICX is that the propagation of sound is not ellected from molecule to mlecul, but it Spread, in ever expanding c rcles just as evidenced in water-wavea, perhips in splicrical layers by thu compression of masses of air, the waves of which are very fast 33 There is a striking sinularity between the Jain view and the Nytya-Valsesiha theory on the wave of sound and its propiation Both of the agree on th: point that sound becomes refracted as well a diffracled according to the cause of its generation It increa es inhonefold on account of fineness and manifoldness and associa thon with other substances, like air, etc and expands in all directions and goes to the last borders of the universe The unbroken (continuous souud attains division and dies out at last, after crossing countable distance with the growing of the momentum of the impact of series feebler and feebler But there is the difference between the two views on the fundamental point that sound is accepted as the quality of akata in the Nyaya-Valgesika philosophy, while it is conceived as the manifestation of Matter in Jalna metaphysics The Jama theory of wave of sound and its propagation la well suppo rted by modern physics It is explained that "Sound waves, of course, exhibit the properties of reflection, refractiou and diffraction characteristic of all furns of wave notion Such behaviour of sound waves may be rendered visible by the method of spark photography The waves passing before the photographic plate are illuminated for a brief interval by a timed electric spark The slight screase in density in the condensation in the wave front causts soille refraction of the light and thus produces a shadow in the phutograph 33 "If a train of waves is filling a medium, a surface connecting at a given astant all particles which are in the same pbase of vibration constitutes a wave front In the case of sound waves in air, the vibrating source being quite sinall, such a surface will be spherical, and if the distance from the source is large, a small portion of this spherical wave front may be considered as a plane wave If the medium is homogeneous and isotropic, the direction of propagation is always at right angles to the wave front" "The behaviour of the wave fronts as a uniform medium, bends around obstacles (diffraction), rebounds from a surface (reflection), or changes

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Jaina Theory of Sound (Sabda) 29 direction when entering a new medium (refraction) may be predicted by using a simple method first proposed by Huygens (1629-169>>), a contemporary of Newton 41 According to his principles, "every point on a wave front may be considered to be a new source of disturbance from wbich spherical wavelets issue"" Here is the point which is explained by Jaina philosophy in this manner that paraghala bhasadravyas (generated sound-particles or waves generated by striking) increases lufinitefold and expand and go 10 a straight line, in & curved line and in a parallel line or in a mixed line to all directions The outlines of the Jajoa sound theory clearly reveal its scientific appro ach to the problem from the points of view of substantiality and modality in the light of the sound theories of other Indian pbilosophles even in the absence of critical verifying data of modern experimental science References (1) "advibexah tadyathi-sabdatanm tram ", Vyasabhasya, Satra 19, pada II "ahan karad Labdataom tranh ", Samkhya Pravacanabhagya, Vilnanabhik su, Chap 1, Sutra, 62 babdascanye nava dvdba ", Abhidharmakosa, Vayubandhu, 1 34 (3) abdalingavid-sadvisepalingabhavecca", Vaisesika Sutra, Kanada, II, I 30 "tatriikasaaya gunah sabdasamkhya," Prasastapadabhasya, p 23 (4) viyadgun atvarh sabdasya abdo dravyan sattve satyanasyatvat kalavat " Maname yodaya of Narayana Bhatta, Trivandrum, 1912, p 91 (5) " Ekratyam chanyatra nityadravyebhyah ", Prasastapadabhasya, p 16 abrotatvam glupave hi na prayojakam syate aannamapi padarthinin akritat vasya samblavat (dikkalaparamanvadinityadravyaurekinab kitab mad-aplayante padarthah kanabhojina" Jayantabhatta's Nyayamaalari, PL 1, p 210 (6) Studies in Nyaya-Vaisesika Metaphysics, Dr Sadananda Bhadur, p 167 (7) babyendriyugralyatvena pratibandhat babdo guno jatimattve sala asmadadibahya cikpusapratyakpatvat/gandhavat/yadi tu Diravayavadravyam ayat babyendriyagru hyam na syat" Vallabha's Nyayallavati (NLV) pp 274-4, SM (Siddhantamuktavali of Vulva natha), pp 190-1 (8) NLV and NLVK (Nyqyalilavat, Kanthabharana), p 275 (9) "antyabcayam keranatab , Vatsepika Sztra, II, 1, 28, VSU (Valsesika Sutra Upaskara) Ibid (10) "ekadravyatvanna dravyam" Valsesika Sutra II, 1, 23 (11) Studies in Nyaya-Valsesika Metaphysics, P 160

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JC Sikdar (12) Urtar dhe na Sutra, 23 12 , Tartvarthadhigama Sutra, Umasvati V 24 wid bhunido puggaladavvassa pajjaya" Drai yasangraha Nemicandra, 16 03. Judo khamuthappalhavo khamdho paramanusa rogasanghado putyberu teau jmy zdi sadilo upp dago niyado" Pancastikaja Sara, Kundakunda 86 (14) Tushthadhuganig Sutra, Uinasyu V 24 (15) Pancastikaja Sira kundakunda, 80 (In) Surinkusiddhi, Acirya Pajyapada, V 24 (17) Rajaratiha, Akalankadesa V 24 (18) blokavirttha Vidyananda V 24 119 Phuns-Primupies and Application by Margenau Watson and Montgomery, 38 1 P 50 (20) du dvedla-blasalaksanavipai Itatyat " Rajavartika, Akalanka, p 485 (21) blavatmaka ubhayathi aksarikstetaravakalpat," Ibid, P 485 (22) abigatmako dvedha prayog-vigrasinimittavat,' Ibid, P 485 , aua vasragiko balahakld prabhavah, Ibid (23) prayoga caturdba tmavitataghanasausurabbedat Ibad (24) bbasa pa jiy sarirappabhava, valjasamuthuyl, logamlapajjavasiya pannatta', Panrarana, Bhusapada 386 (25) lbid., 387, 388-90 nimalaikkhevi cauro caurehi ettha nayavva/davve tiviha gabenam taha ya Duirana parlglayo" Yasovijayaganin, Bhosarahas ya, 2 "puhannam davvassa ya, appahandadh taheva larynar | bhivassa ya Elambiya gabapatsu dayvavavacso' Ibid, 11 autlinam bhasi, nayavva ettha bhavabhisato uvaogo khalu bhivo nuvaogo davamitti kapu", Ibid, 13 (<6) govams tham ginhai no atthyllen gubai davvao vi ginhaj khettao vi katao u bhavao vi ginhai Pamavana, Bhasapada, 11 386 bhapakanan nyamattrarinadyamavasthancoa tesam. Saddiggatanam ava pudgala. nam grahanasambhavat alapakascatra prejdapanbyamevanwandhayah Bhan rahasya, fiki, p 2 (27) Physiolac), Dr V N Blive p B2 (28) Interniediate Physics, S C Ray Chaudhury and D B Sinha, P 571 (29) Ibid (30) Bhagaval, Sutra, 13 7 493 (31) Bhascrahasya 5 Pannarana Bhasapada 11, 998 Junubladra ganun ksama samana , Vesavasyak abhasya 336 337, 351, 352, 353, 334, 378, 377 (32) Panganga, Bha sapado 11, 398 (33) bhuamti-abluonatth, avagahanavaggana Asa cokhu/gamtum va joyanait, jam kbujjim vitijjarti/Bhasarahassa 6 um ablind nisirai tim wamkheijao oglihapavaggano gamA bhedam valja mtu samkhejkich Joyanim viddhamsam vajjahti-Pannayana, Bhasapada 11, 398

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Jaina Theory of Sound (Sabda) (34) bisa sa maredheo saddan jam sunai misaya gunail viedli puna saddamsunci niyama pardghe || Bhasarahasya 10 (36) Prasastapadabhasya, p 150 Nyayakandals, Sridharap 187 (38) Nyayavartika, Uddyotakara II, 2, 14, p 288 (37) Bhasapariccheda, Vibvenitha, sloka, 165 (38) yathi Kidyababdena kadambagolakavad-dasadin dasababda urambhanto thisca dagasabdasantana iti Tattvacintamani, Gangeba (39) Physics-Principles and Applications, Margenau, Watson and Montgomery, 38, 1, p 560 (40) Ibid, p 562 (41) Ibid (42) Ibid

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THE SO CALLED SANSKRIT PLAYS K R Chandra We have our vast ancient classical dramatic literature in which various characters are required to speak either Saaskrit or Prakrit as prescribed by our ancient dramaturgists The proportion of Sanskrit and Prakrit varies with the theme of the play and the status of the characters Without taking into consideration the actual space occupied by the two languages in the plays they are generally called as Sanskrit plays they are so called because of the fact that Prakrit bad till recently not attained its indepen dent status as an ancient spoken language of the vast majority and as a language of an independent literature When occidental scholars started taking interest in our ancient literature they first came across the vast Sanskrit literature and subsequently all went in the name of Sanskrit With the progress of research and thorough study it was realised that the language of even the sacred Vedas was not the same as that of Panin! which is known as Sanskrit proper but it was Chandas which is different from Sanskrit proper and so on Similarly our ancient available classical plays which were generally composed by Sanskrit poets and authors were regarded as a part of Sanskrit literature and they were as well as are still called as Sanskrit dramas How far it is correct to call them so ? This problem can be examined in two ways, viz (1) by taking tato account the actual proportion of Sanskrit and Prakrit la a particular drama and (11) by scrutinizing the comparative role of a language to the extent It helps on the action in a drama As far as the first problem is concerned done can deny that a particolar literary work is called Sanskrit, Prakrit, Hindi, Marathi, Gujarati or Bengali purely on account of its predominant language and the same principle should be applied to our ancient classical works Now if we examine our ancient classical plays from this point of view we come across the following facts (for details see the table given below specially Its Si No 3) 1 Svapnavasavadattam of Bhasa In this play the total speech of all the five Sanskrit speaking charaters comes to 182 grantbagras whereas that of all the eleven Prakrit speaking characters 18 221 grantbagrus, ie the porcentage of Sanskrit and Praknit in this drama is 45 and 55 respectively

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K R Chandra 2 Ciradattam of Bhasa In this drama three Sanskrit speaking characters have to their sbare 137 granth'tgras of speech whereas eight characters speaking Prakrit have 294 granthigras of speech to their share, ie in thts drama Sanskrit is 32% and Prakrit 18 687 3 Mrochakatikam of Sudraka It has eight Sanskrit speaking characters with a total speech of 721 grantbagras and twentythree Prakrit speaking characters with a total speech of 1159 granthagras, le ibis drama bas 38% Sanskrit and 62% Prakrit 4 Malavikagnimitram of Kalidasa There are six characters who speak a total of 294 granthagras of Sanskrit and the rest of the 14 characters speak a total of 345 granthagras of Prakrit It reveals that there is in this drama 46% Sansknt and 54% Prakrit 5 Ratnival of Sribarsadeva Five of its Sanskrit speaking characters have a total share of 292 granthgras and its ten Prakrit speaking characters have a total share of 374 grapthagras It is clear that this drama has 44% Sanskrit and 56% Prakrit 6 Priyadarsika of Sribarsadeva This drama bas five Sanskrit speaking characters whose total speech us 251 granthagras and seven Prakrit speaking characters whose total speech is 256 granthagras, 1e 49 5% Sanskrit and 50 5 % Prakrit lo view of this comparative strengtb and quantity of Sanskrit and Prakrit in the above mentioned plays how far it would be correct to continue to call them Sanskrit plays and in the name of which how far it seems to be proper when we see that Prakrit portions of the plays are altogether dropped out from our study and are even replaced by Sapskrit in the revised editions-appearing these days Now let us examine our ancient classical plays from the second point of view as mentioned above Our dramas have dialogues, descriptions (of persons, objects, situations, emotions etc) and expressions of maxims, Proverbs and saying. The fundamental difforence between a work of drama and that of poetry is that the former is made up of action and dialogues whereas the latter has descriptions Action constitutes the pivotal

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The So Called Sanskrit Plays element of a drama, and it is helped on by dialogues and the dialogues in our ancient plays are composed in prose Therefore, it is important to see how much prose portion is there in our plays and that also in what proportion in Sanskrit and Prakrit When we scrutinize our ancient dramatic literature with this point in view we arrive at the following findings (see Sl Nos 4, 5, 6 and 9 of the table given below) 35 (1) Verse portion in the full-fledged dramas is merely one fourth and the remaining three fourth portion comprises of prose (Sl Nos 4 and 5) (1) Verse portion is mostly in Sanskrit (SI No 4a and 4b) (u) Verse portion appropriated by the hero (King or main characters) alone comes to approximately 60% (SI No 68) (IV) Prakrit portion in prose is nearly 60% and therefore Prakrit occupies a predominant position (Sl No Sa and 5b) (v) On the whole the speech appropriated by all the characters other than the hero has larger portion of Prakrit than that of Sanskrit (SI No 9a and 9b) The above findings reveal that all the dramas of Harsadeva and the major dramas of Bhasa have Prakrit as the predominant language of the dialogues and therefore of the action too Rest of our anclent dramatic literature can also be examined in this light and the findings will not stand otherwise In this connection Prof A B Keith has rightly remarked, "the verses do little to help on the action, as in the epic, they express descriptions of situations and emotions, when movement of the play is requisite resource 18 had to prose, or the verses serve to set out maxims 33 It is therefore, quite clear that movement or action in our plays depends on prose and Prakrit-prose occupies predominant position A work bereft of movement and action can not become a real play Since Prakrit language plays the most important role in our classical dramas it should be given its due place in the study of the dramas in our University curriculum Let us see for ourselves how far it is justifiable to drop out Prakrit portions from our studies and even from the text of the new editions of our classical plays It is obvious that the language of the classical plays 15 Sanskrit and Prakrit The dramas are nelther exclusively in Sanskrit nor exclusively in Prakrit Therefore, we would be equally justified in designating them as 'Sanskrit dramas' or as Prakrit dramas' and as such 1 The Sanskrit Drama, p 76 (1964) 2 Except Saffakas

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% K R. Chandra they sbould be included 10 any historical account of Prakrit literature Further, in view of the above findings would it not be advisable that we should introduce an additional combined and integrated course of study of all our ancient classical languages in our Universities with special papers in any one subject, viz Sanskrit, Pali, Prakrta or Apabbran'sa Guide to the Table given below (Figures indicate Serial Nos in the table) Lauphtative Golde Percentage Guide in relation to 3 is equal to 4 plus 5 38 to 3 6A to 4a 6b to 5a 7 to 3b 3 minus 8 7a to 46 36 to 3 4 to 3 4a to 4 46 to 4 5 to 3 Sa to 5 7b to 5b 96 ~ 36, 7 8 9 to 3 to 3 5b to 5 9a to 3a 6 to 3a 96 to 3b

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Analytical Table of Language Portion in Prose and Verse in our ancient Classical Plays ( in slokapramana and percentage ) 1 Svapnavasayadattam Sl pra percent 403 100 100 3 Pratijoayaugan SI pra perc 425 100 230 195 45 2 Carudattam SI pra perc 431 137 32 294 80 73 182 221 54 55 81 100 77 1 Names of the Dramas 2 Quantum of Language 3 Total Quantity a Sanskrit b Prakat 4 Verse portion a Sanskrit b Prakrit 5 Prose portion a Sanskrit b Prakrit 6 Hero's Sanskrit portion a Verse b Prose 7 Hero's Prakrit portion a Verse b Prose 8 Hero's Total portion 9 Other Characters' portion a Sanskrit b Prakrit 322 101 221 351 64 346 153 193 121 The So Called Sanskrit Plays 82 121 321 80 12 55 100 221 382 88 294 304 109 195 100 100 47 100 34

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1 4 Avimarakam 5 Balacaritam 6 Pratim.yoxtakam 7 Ratoavali 8 Prayadarski 9 Naganandam 2 S1 Pra Perc SI Pra Perc si Pra Perc Sl Pra Perc SI Pra Perc Perc 100 100 507 100 3. a b 665 415 250 100 62 38 416 292 124 100 80 20 666 292 374 44 Si,Pra 590 475 115 218 218 X 100 49 5 50 5 61 722 443 279 251 256 30 56 39 131 20 131 100 147 99 20 218 143 x 8 9 161 150 11 212 4 3 X 534 80269 53 149 250 47 120 372 257 115 63 69 31 505 142 363 408 155 253 504 231 273 K R Chandra 238 Vasudeva 71 Damodara 42 100 andKamsase Rima 13) and 125 [Bharata 50 52 so 182 114 132 66 188 106 7 X X X xxx X X X X X kh X X 194 29 171 238 * 182 2 7 132 26 188 26 59 73 14 a b 471 71 221 53 250 100 245 121 124 352 237 115 60 50 100 484 110 384 375 119 256 38 100 534 255 279 100 57 100

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fah TPHCEST - A NOTE JM Shukla While commenting on So u nd Patanjalt discusses the point that among compounds, the Anyayabhava only should be understood as ladeclinable to prove the point he gives an illustration from the common usago of the world In the common usage a person accompanies bus dear visitor till the end of the forest is seen and till the other bank of a reservoir is reached Here he quotes a maxim current in his time, 'T hracialFaisa Ferganta We have an echo of this in Vatsyayanai and Kalldasas My attention was drawn to another reading of the Bharya passage viz. for ste a I, in Kspraswami's (1100 AD circa) Kajrataranginis on Panioi's Dhalupatha In the course of our discussion we shall sec that Ksiras. wami cefers to an earlier reading and the meaning of the root current in his time Leibisch bas missed the point The Rgvedic mantrag contain a number of verbal forms arrived at, from the root va fer (ster) to sport, viz protha' (imperative) 'Prothant (Present Participle), 'poprutha' (intensive) praprthya" (Gerund) and so on The meanlog of the root in these forms comes nearer neigbing or sporting? of a horse or something puffing out this may explain the later meaning of the nominal form 'pratha' as the 'sport of a horse' However, the root has also, in later Vedic literature, the shades of meaning to he equal to, to bo 1 Panini 1 4 56 2 Kamagitra 3 Abbiy Manahakuntalam wv, after verte 15 4 by Dr H C. Bhayani, Head of the Department of Linguistics, Gujrat University, Ahmedabad Ksiratarangin! (Ajmer 1967) site for at I caffer gotat i stedet i stufa apuprothat / protho azvaghoNA / priya prothamanuvajet / 6 Ksiratarangini (Breslau 1809). He wrongly refers the illustration with the words 'priyam protham to Patanjali 7 Cf Meyrhoefer Sanskrit Etymological Dictionary Prothau - Keucht, Schuaubt (Vom Pferd) pants, snorts) (Rv, U v), prothatha 'm - des Schnauben 7-9-2 'prothad asvo na, Ry

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40 JM Shukla a match for, to be able to withstand, to be free, to destroy, to subdue, to user power and so on In the Sanskrit Romantic Tale and Compu works the word 'Protha' stands for a snort and the word Prothin has come to mean a bore or a hog This may suggest that the nominal word prolha came to stay AS meaning sunething lollow, a round linb like hip, a cave or womb (In literature un niedicinc), a hollow or a protruding object being capable of containing a number of objects or something able to resist outside pressure The root sutte', might have acquired by then the meaning to be equal to (paripta.") In the (unipalha related to the Asladhyayi of Panini the word 'protha' is found among the 'ar harcadi classe Vardhamana while commenting on the aml says 's andinam nasa The lexicographers remain faithful to and therefore refer to the above tradition of the meaning of the word 'protha' Amara tries to explain it away as the muscle formation on both the sides of the girth Trikanda sesa and Vukasa also explain it awaylo a similar manner However, the author of Medirikuga refers to the word as meaning a traveller One cannot come to cogent conclusions from these references The word may have meant & treveller (pantha) along with the word short of a horse (prolha) as early as the composition of the Unadisutrag The Unadi work derives the word from the root 'prn' in the sense of activity It quutes formalions similar us "protha' ie the words like that prstha, Fuha and gutha 11 By this time ie sometime around the second century BC the word protha' lost its relationship with the root 'prth' in the sense of to be equal to and acquired a new one with pri' in the sense of activity Tbe nour-forming saftix 'tha' is traditionally koowo us early as Yaska 19 The first account of the prolha' instead of the Bbasya reading "pantha' 15 given by Jinendrabuddhi (700 AD curca) 18 He explains the words of (be Bhayakara and in the course of the explanation says: 8 af gaz | Pi, 24 31 O Canaratnamahodadhu , verse 65 and the com theroon. 10 Amaiakosa (Adyar 1970 afegiteit Fin stat ateroost, and afteRITHMETI 11 Unldi 11 12 genat fegy T T ! 12 Nnukta v 29 y gta ar OT i that 13 Nytis un kasika 1 4 56 (R.yasall 1913-1916) * U ma festa seragasta fa ya evAnantara udAntastameva gatvA eva bAndhavA nivartante | The editorsC Chakravarti unnecessarily puts a lue of explanation which does not suit the point at hand

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priya pAndhamanujena - Note leoke odakAnta priya prothamanuvrajediti Haradatta (1200 A D circa) another commentator of Kasika (650 AD) on Astadhyayi does not make the point clear 14 It may be assumed now that the meaning of the old word 'protha' became confused and therefore fell into disuse People and scholars began to use the word pantha' instead Nagesa (17 th century) has summed up the position where he tries to clear this confusion 14 Padamalijari on hisaki on 1456 (Reprint from the Pandit 1895) laukike yodakantA priya prApyAnuvrajediti ya evAnantara udakAnta A tato'nuvrajanya vAndhavA nivartante tadvadatrApi tatrAha-prothamiti paryAptamityartha / protha paryAptau pacAdyaci kiyAvizeSaNatyAnnapusakam / 15 Uddyota on karyata on Bhasya on Pi 14 56 bhASye priya prothamiti kvacitpATha / tatra protho'dhyaga | protho'strI hayaghoNAyA vA kadayAmadhvage triSu / protho'dhyage'zvaghoNAyAM kaTIlI garbhayorapi iti medinIvizvokte / yattu haradattena protha paryAptamityarthaka kriyAvizeSaNa 'propa' paryAptAviti dhAto pacAdyajiti uktam / taduktakozAnukte tasya dhAtorabhAvAcca prakRte'rthAsa atergathayathothA ityuNAdisatreNa 'dha'pratyayAntatayA sAdhanAccopekSyam /

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ART NOTES ON DESIGN DRAWING, PAINTING IND PICTURE-GALLERIES IN THL TILIKAMAVARI NM Kansara The first scholar to notic long bick SIOLf the will rulunun to painting etcetira and some technical teris in Dhanapali's 7 tlakuamant was Shri Shivaramanuri, whose pioneer researches pertaling this aspect of the Sanskrit prose rom.dices of Bana and Dunaj ild have been serving to testify to the adva acenient of the concept of Art and Art Critcism that obtained in Ancient ladia, tht conservalions of princes and painters and other masters of the art being rightly cited as instructive edification As to Bana and Dhanapala, we know that the period during which they flourished was characterised by a mudiliceot rujal patronage to sculptors, painters, poets and craftsmen and all such gifted sorts Instead of being a stray thing preserved in museums and kept aloof and dissociated from daily life, Art was an element throbbing in the very veins of, active and vigorously alive in, all walks of socio-cultural aspects of coatemporary Irfe The present paper is confined to all account of art notices as are found in Dhanapalas Tilakamafjarl (about 1025 AD), with special refereace to personal and domestic decorations design-drawings, paintings aod picturegalleries I. Personal Decorations Among the desigos utilized for personal decoratlon, Dhaoapala has mentioned Patrangull, Tilaka, Vitesaka and Pattraccheda Of these, Patr angult seems to bave consisted of various types of curved lines, or dots arranged in curved lines, forming leaf-motifs drawn on the surface of the breasts and the cheeks of women with a paste of fragrant substances such as Sandal, Saffron, Camphor, Musk, and etcetara 1 Pandit Radhakentadeva is not sure when he gives two alternative explanations However, Dhana 1 Cr TM (N), p 18 (23), 247 (11) All references to the page and line numbers glven here are with reference to the Tilahamanjars, 2nd Edn, published by Nirnaya Sagar Press, Bombay, 1933, 1be readings however an accordmg to the Cntical 1 ext determined by me on the basis of a number of original Mas 2 Sabdakalpdrum, Vol III, p 29, Col! patrAguli -patram azguliriSa yatra / yadvA bhagulibhilikhita racita patra patrAkRtiratra / patramA / stamakapolAdau kastUrikAdiracitapatrAvalI ityamara // 2 / 2 / 122 //

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N M Kansara pali's description is confirmed by Pandit Vislinudatta, the author of the Namacandrika commentary on the Amarah ora, who explains this word as denoting a type of Tilaka drawn with saffron, black Aguru, and other fragrant substances on the breasts, cheek, and etc. Tilaka and Visesaka seem to decote the auspicious tiny round or vertical mark put on the forehead between the eyebrows. This also is supported by Pandit Visbno datta - About Paltraccheda Dhanapala has not given a definite idea, except that it was of many kinds like Dravida and others, and that it was one of the fine arts which could entertain refined persons. Bhagavatsimbul has noticed this term as the name of one of the sixty-four arts to be learnt for the perfect fulfilment of the Kama Pue usartha? But Vatsyayana, the author of the Kamasutra, lists, not 'Pattraccheda', but 'Pattracchedya' or Visesakacchedya', which, according to Yasodhara the author of Jayamangala commentary on it, is a sort of a Tilaka consisting of trimming leaves of troes like birch, etc, 10 different shapes and figures to be applied to the forehead. Srinivasacarya, the coinmentator of Sudraka's Mrcchakatika explains the term Pattracchedya as referring to a type of picture in which artistically cut tiny pieces of fine leaf-thin sheets of wood or metal were utilized for cohancing the effect of variety * This art seems to be very old one as it is mentioned in the various texts of the Jain Canon, such as the Samaviyaaga sutta and Ayaranga sulla 10 Sridhara, the commentator of Srimad ! C Nim on Amarakosa II, vi 122 patralekhA // (9) // patrAlguli // (2) / / same striyAm // dve stanakapolAdau kesarAvinA ravisasya tilaphavizeSasya, TM (N) P 161 (31) satkalitakAlAgurutilakazomam / 4. TM (N), P 289 (44) rAjamalyAnAmalikalekhAsu silakAnakArSIt / ahamapi svahastaracitavizeSakA AvAya padamA valokanavyAjena maNidarpaNam / 5 Cf Nia. Can. ou Anarukora II, v, 123 samAlapatra .tilako citraka vizeSako catvAri lalATakRtasya tilakasya / / 6 TM (N), p. 363 (13ff.) dAvigaviSu paschedamedeSvanyeSu ca viSajanavinodayogyeSu vastavijJAneSu / 7 of Bhagavad-goniandela-hosa, Vol VI, P 5294, Col 2 8. cf Jayamangala on Km Su ! 1 16p 30 vizeSakastilako yo lalATe dIyate, tasya bhUrjAdipatramasyAnekaprakAre chedanameva cchedyam , patracchedyamiti vaktavyam / 9 of harmarkar - Notes on Micch V 5, p 428 patrANAM chedo'sminniti pAchedya patrAkArANA lohadAdiphalakAnA bahuvidhAkArakartanena mimpAdyamAna citra ptrcchedymityucyte| 10. The Katas by A. Venkatrubbuab, Madras, 1911, P16

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Art Notes on Design-Drawing etc in Tilahamanjari Bhagavata, seems to differenciate Pattracchedya from Visesakacchedya which he explains as the art of tattooing or makrog of spots, lines or figures on the person by puncturing and staining " The term 'Pattraccheda' might be aynonymous with 'Pattrabhanga', whicb, accordiog to Shri Atrldeva Vidyelankara, 11 refers to a practice in which leaves of some trees were cut in Artistic desigos and were fixed on to the forebead to serve as a Tilaka mark Elephants for royal procession were also decorated by painting their bodies Thus, prince Samaraketu's rojal clephant named Amaravallabha was besmeared all over the body with a paste of white powder, 18 and its broad temples and head were paiated red with vermilion 14 Similarly, the principal royal war elephant (pradhana jaya harin) of the Vidyadbara emperor Harivahana was painted white with saodal paste sbining with tinges of powdered Camphor particles16 agd its teniples and head were painted red wilb powdered red chalk (gairika) 16 11 Desigo Drawing Or Raggavalt and Other Interior Decorations The floors of the courtyards of thatched buts in the hermitages were plastered possibly with cow-dung, and artistic floral and Svastika designs were drawn on them 17 Besides these leaf-design (patralekha) and Svastika Dhanapala has also mentioned the Rangavali, 18 wbich Shri C Sivarama murti seems to understand in the sense of colour creeper' 10 It should rather mean 'a pattern of colours' This type of design-drawing is prevalent even to this date almost all over India under various Dames, such as 'Rangoli' in Gujarat, Maharashtra and possibly in Rajasthan, as Alphona 11 Opal, p 33 12 Prachina Bharat-ke Prasadhana p 61 13 TM (N), P 115 (19) sitapiSTapakkapANDaritagAtram / 14 TM (N), p 115 (20) sindUrapAThalavikaTa kumbhabhAgam / 18 Op cit, p 425 (214) dalitakapUrakaNacUrNarociSA candanabaveNa pANDaritagAtram / 16 Op cit p 931 (5) ___ maciropaliptAsu parNazAlAgaNavitardikAsu darzitAne kalalitapatralekhAn svastikAmami foreren 1 17 Art Notes from Dhanapala & Tilakamanjars, in Indian Culture, Vol II, No 2 Oct 1935, p 210 (ANFDTM) 18 TM (N) p 76 (11) rajJAvalIyogyaratmAnayanAya / 19 ANFDTM, P 202

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NM Kansara in Bengal, and as Kolam in South India 20 Dhanapala informs us that the floor of the pedestal for the purpose was first smeared with sandal paste and then drawings Slastika in colours consisting of powdered pearls were laid on it with dexterous car 21 Shri C Sivaramamurti here sees, though without proper evidence, a reference to the 'Rasa citra' corresponding to the Ishaik holan of South India drawn with a white paste solution 12 We are not sure whether the figure of Sasthidevi and the Jata-matrpatala, 28 mentioned by Dhanapala in connection with the description of the lying in climber of queco Madirgyti, were of the nature of a Rangavali drawn on the ground, but it is certainly understandable that the niystic line drawn with chacinid ashes for the protection of the bed of the new-born child and the nother was a sort of simple drawing consisting of scattering the Ashes 10 a continuous circular lide arouad the bed 24 Threshold was the principal place for the Rangavali both 10 the case of domestic houses and the temples There is a reference to drawing auch Sias ha designs in front of the house, i e, just outside the main door 2u Similarly, the threshold of the temple of Cupid at Kance was adorned with different patterns of creepers all drawo 10 goumerable trots 20 However, Shri C Sivarannamuct is rather mistaken in understanding the term 'Balilarma' in the sense of beautifying the floor of the temple or place of worship it rather indicates that along with the other offerings like riceheap, a pitcher full of cane-sugar juice, and etc, such desigas on the threshold were thuruselves considered to be sacred offering, and also a fit place for other offerings That is why while invoking the help of some unknown spiritual entity for carrying the message back to Harivahaga, prince Kamala gupta had the threshold specially purified by besmearing it with cow-dung / 20 Ibid 21 TM (N) p 77 (68) kuruta haricandanopalepahArimadirAmaNam , racayata sthAnasthAneSu ratnapUrNasvastikAn p 372 (231) vilikha prazastalalitAnitastata kSIrodamauktikakSodai svastikAn / 22 ANFDTM p 204 23 TM (N), p 77 (97) bhAharata paSThIdeSIm , mAlikhata AtamAtRpaTalam / 24 Ibid. p 77 (11) nidhata paryanteSu zayamasya sadyomantritA rakSAbhUtirekhAm / 25 Op. cit, p 192 (19) purolikhitaruciralekhasvastikamASAsagRham / 28 Op at, p 305 (4FF) alindakAlikhitabahuvarNacUrNapatravallinA balikarmaNA / 27 ANFDTM, P 203

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Art Notes on Design-Diawing etc in Tilakamanjan and fragrant flowers were scattered over it, before the precious jewelled pedestal was put over it for placing on it the letter to be carried away by the divine agency 28 Not only the thresholds, but even the wide platforms between the pillars of the swing-couch in the courtyard of a temple was also purified by plastering it with cow-dung or sandal paste, and over the drawiog of Spastika design on it, multicoloured flowers were arranged for heightening the beauty 29 A few stray references to interior decorations are scattered in the TM It seems but customary to spread flowers like lotus, end etc, on the paved floors in the palaces Thus la the Dinning-Hall (bhojana-bhavana manda pa) the paved floor of the canopy was smoared with a thin layer of congealed sandal paste and fresh Mandara flowers were arranged thereon lo beautiful desiensao Similar is the case with the floor of Citrasala an Floral wreaths and garlands of green leaves of trees like Jambu, Asoka, Candana, Cita, etc, were suspended on the arches of the gates 89 III Paintings Painting was one of the important arts 10 the curriculum of the princes and princesses who are depicted by Dhana pala as possessing encyclopaedic knowledge about them Prince Harivahana bad specialized in this art as in music,a and had matured into a connoisseur in these helds Similarly. In the long list of different branches of koowledges mastered by princess Tilakamanjari, the art of paloting finds the first place Not only that. 28 TM (N) p 194 (7) kSitipAlasano pratilekha svymevaalikht| mahAhamaNipIThapratiSThApita ca ta nivezya pratyagragomayopa lepamazucau surabhikusumaprakarabhAji prAGgaNavitardikotsale / 29 Op at, P 3.0 (6ff) tatkSaNopaliptAmitastato racitarucirasvastikAmaviralanyastapuSpastabakazavalAm jAyatamamaNDapa mAlAmaNasajhimI vipulAmindranIladolAstambhavedikAm / , 30 Op at, P 374 (3f) mandAzyAmaharicandanopaLepe sarasamandArakusumopahArasmeramaNibhuSi upariniSaddhavitAne / 31. Op cit,P 41 (10) citrazAlAsu . hAricandanapaDkopalepanam / 92 Op cit, p 431 (5) See Supra ft nt 16 930p cit , p 79 (14) vizeSatazcitrakarmaNi vINAvAye ca pravINatA prApa / 94 Op cit , p 183 (14) nRtyagItacitrAdikalAzAstrapArahazvA harivAhamo nAma kumAra / 35 0p cat, P 383 (111) yadi ca kautuka natazcitrakarmaNi vINAdivAze pRcchainAm /

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AM Kansara and-servants of the royal barem were expert in this art a Lots 17th professional nod amateur, carried their pieces to such priticisin and appreciation 87 Loog hours were spent by the princes ng with expert teachers and others well-versod 10 art, the auty (carfiatalna) of pictures 8 So great was the passion for ole day, were sometimes spent by prices in looking at beauti of extraordinary beauties of the day, setting aside all other daily The art had advanced to such an extent that Nature was brought in the canvas 40 Infinite modes and varities had developed in the ling s of painting and other arts were employed as teachers and ad on festive occasions the king oged to specially honour them ing thein to execute various codimission, such as producing porrinces and princesses for being sent around to various kingdoms to find uut suitable matches for marriages 1 The extremo P170 (5) balekhe, va hi citrakarmaNi paraM pravINA / P 163 (IST) / nagaranivAmino vaidezikAzca kokA kalAsu prakApayitumAtmano vicakSaNatAmanukSaNa p 184 where Cancurvaha asks the prince to pass his judgment on a picture P 117 (148) pAdhyAyairanyaizca anaparamparAamitakutahalaicitramavalokayitumAgatairAlekhyazAstravirnigara hA vicArayanavicAryacArutvatasya tasyAbhicatrapaTaputrikAyA rUpamapasAritAparaSimodA niyat / .P.18 (10) mAlola iti matvA nipuNacitrakAraizcitrapaTeyAropya sAvaramupAyamIkRtAmi rUpAtizaya mavamIpAlakanyAnA pratibimbAni parityaktAnyakarmA viSasamAlokayat / p 165 (136) cataralinAni trAsAvihAyasyuddhIyamAnAnyuDInAni ca sAkSAt sacetamAmIva prakAzitAmi methunaani| ,P 171 (17) bahuvikalpazilpena / 10 170 (77) makalanijaparivAravArAzanAcitrakauzaladarzanaSyAjena darzaya nisargasundarAkRtImAmavanarendradArakANA piddhasmANi / / (61) tvadupalambhAzayA divamukhakhyAtarUpasampadA rAjakanyAnAM visarUpANyAvara pravartitebhicatrakRtiyAbhiliyopanItAnyajanamavalokayata me gatA katipaye divasA.

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Art Notes on Design-Drawing etc in Tilakamanjari 49 humility of the artist is evinced in their propenegs to invite discussion and suggestive corrections of any possible blemishes in their executions, au in the case of Gandharvaka who asks prince Hariva hana to express his fraok opinion on the portrait of Tilakaman jari 48 At the same time he was too meticulously purposeful to incur the shortcomings resulting from insufficient knowledge, inattention during work, lack of the sense of propriety and want of proper practice 44 A few interesting details as to the method of the painter in producing a picture are also given by Dhanapala in his beautiful, though brief, picture of Tilakaman jarr who, during ber separation from prince Harlvahana when he returned to Ayodhya, engaged herself id drawing a picture of him Close to her was placed the casket (samudga) full of brushes (varitika), an extensive board (cltra-phalaka) was placed before her by the maids, during the work, she pauged again and again mentally visualizing anon the model transfigured in her heart and adding touches while comparing the effect with it 45 Here the accessories liko Varttika, Samud ga, Cltra-phalaka, and A type of picture called Viddha-rupa are also noticed by the poet The term 'Viddha-citra' also occurs once 48 Sometimes the canvas (pala) also was used for painting and at times the wall itself served the purpose (bhitti citra) Pictures drawn on canvas appear to have been carefully rolled ip and preserved in a long narrow silken sack, from which they could be drawn out and unrolled when required 47 There is a reference to the diffi. cult art of depicting enotions in the pictures, such pictures are technically nown as Bhava clira' or 'Rasa-citra', the latter term belog sometimes 18ed in the sense of Draya-citra algo in which liquid colours are utilized 3 Op at, p 165 (218) 4 Op cit, p 167 (104) tenAparijJAnamanavadhAnamanucitajJatAmamabhyAsai cAraviSaye na me saMbhAvayitumaIti mAmamAI / 5 Op. at, 391 (38) kadAcidantikanyastavidhidhadhartikAsamudgA praguNIkRtya paricArikAbhi puro'vasthApite pRthumi citraphalake nipuNamAlocyAlocya makaraketubANavAsaviddhA devasyaiSa paM viddhamabhilikhamsI. / i Op cat, p 372 (14) 1 of Op cit, p 164 (GF) prakRSTayonakarmaTapraseSikAyA sayatnamAkRSya citrapaTamemamupanItaSAn / and P 162 (48) tathA tatkSaNameSa vistArite purastAt tatra citraputrikA dadarza / 3 Opat, P 179 (98) AviSkRtAnekabhAvavibhramANi likhitAni kenApi nipuNacitrakaraNa digbhittiSu prati bimbaani|

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MM Kansara IV Citrusalas From the references to Citrasalts in the TM, Shri C Sivaramamurti 40 has deduced that (1) there were three kinds of Citrasalas, the public art galleries, the private ones in the houses of wealthy people, noblemen and others and the art galleries of the royal palaces, (11) of the last defialto duisions have been inade by Dhanapala, (111) though almost every apartment in the palace was filled with pictures, we have the Jalamandapa and the Anlahpura inentioned specially as containing art treasures, (iv) from the keparate mention of the Citrafalas of the harem, we are led to understand that th: Kings had Citrasalas of their own different from those in the queen's apartments, and that (v) apart from the art galleries of the harem. there appear to have been special, though minor, Citrasala of bedroom (so1ana grha citrasala) On closer examination of the evidence the learned scholar's conclusions appear to be slightly farfetched Dhanapala has mentioned Citrasala,60 Citrasalika, 61 Sayana-cltrasala, Savana citrasalika , and Cifravalabhiha 4 Looking to their respective context we find that these refer to (1) the Bed-Chamber of King Meghavahana and Queen Majirivati in the barem of the royal palace at Ayodhy6 (11) a group of Cutrasalas of the Jalamandapa in the public park at Ayodhya," (111) the Clirasalas in the royal palace at the city of Rativisale, 57 and the bed-chamber of princess Malayasundari in her palace at Kance 1 49 ANFDINI, pp 201-202 50 Op wit, pp 41(10) 107(14), 292(21) SL Op cit pp 294) 265(12), 327(2) 52 Op cit, 302(15) 53 (p cit, p 327(1) 51 Op at P 902(15) 55 Op at p 29,4) bhavirudhAnta puraNAsAdamimamasyAcitrazArikAyA prAGgaNapitadikopaviSTA samAzliSya devIm / 56 Op at p 107(14) bhativicitrAnekacitrazAla jalamaNDapam / 57 Opcil. P 41(10), sel supra ft at 31 SA Cp cit p 265(12) bhamavalokayanmI cAtmano bhavana citrazAlako zayanIyam , 292 (217) raNitamaNinA bhUSaNacakvATema pAcAlayantI citrazAliko zayyAmamuzca / , 302 (0) pravizya dhumuda dvitIyA zayanacitrazAlAm 327(1) bhAropya ca zayanacirazAlikAyAm 927 (2) citrazArika dhirohaNa /

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Art Notes on Design-Drawing etc in Tilakamahjart Dr Vasudev Sharan Agrawals thinks that the term "Citrasala' connoted the bed chamber where the king and the queen used to meet together in privacy, and that many types of paintings were drawn on the walls of those chambers Similar bed-chambers for unmarried princes and princesses were also known by such names Later on, according to De VS Agra. wal, to the palaces of wealthy persons and big merchants came to be known as "Curasalas' The walls and the bed-chambers and houses definitely had pictures painted on thema for luxurious decoration and entertainment In the modern tipjes also it is customary to decorate both the lonermost and outermost apartments with prioted, painted and photographed pi tures suitably framed and fixed as bracketed panels on the top of the walls But these are not meant to be 'Art Galleries' However it should be conceded that the luxuriant abundance and variety of such paintings were responsible for the nomenclatures like "Cutrasalas', 'Citrasalika, Sayanacitrasala', and 'Sayana-citrasalika', all of which were were synonyms and do not connote different types of art galleries in the case of the Citrasalas of the city of Rativisila, we are aot sure whether the poet referred to the bed chambers or to the picture galleries Only in one case can we be justified to take the reference as indicating an 'Art Gallery proper, and that is the reference regarding the Jalamanda pa which is sald to have had aumerous Citrasalas Being situated in a cool place in a public park, it is possible that pictures of famous painters were exhibited therela for the benefit of the citizens The term 'Citravalabhika' also seems to be a synonym for the word 'Citralala' as the word 'Valabhr' of which the word 'Valabhika' is but a diminutive, denotes, according to the lexicographer Rasabha, the topmost apartment of a palace. The word Valabhr" is noticed by Purushottamadeva in the sense of 'Depigrha in bus Trikandasesa-kosa, 62 and it has been interpreted as a temple, but it might as well mean "the chief queen's apartment 59 Kadanbari Eka Samskytika Adhya yana, P 61 60 Ibid 61 of TM (N), P 74 (16) pradIpaprakaTitaprazastabhitticitre 74 (14) patrabhAcitritacAmIkarastambha / 62 cf the Nam Can commentary on the Amarkosa, II, 4, 15 where he >> quoted as zuddhAnte valabhIcandrazAle saudhovezmani / 69 of TSK II, 3, 5 a qui 64 of Nam on TSK II, u 5, which u explained as devIgRhaM balabhI iti dve devAyatamasya /

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N N Krasara There is a mention of a 'Javanika-pola' in the Jain temple at Mount Etegi Such curtains, as Shri C Sivaramamurti observes, were generally painted ones and adds that, according to Mr. P Brown And Dr Ananada K. Coomaraswamy, they are to be found oven today in Nepal and Tibet. 65 ANFDTM, P 210.

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AyurvedamAM dhAnyo bApAlAla vaidya dhAnya zabda saMskRta che. gujarAtImAM pazu dhAnya zabda ja che. badhI jAtanA anAja mATe dhAnya zabda vaparAya che. dhAnya zabdanI nirukti AvI che-je zarIranA paNa bhAre sArA che--'amarakAmAM dhAnya, mItta, kSambare AvA traNa pA dhAnyanA ApelA che Dhamaya kAcA nA niSaddhopa'mAM dhAnya saca lIsya zrIhipa sampatti mAvA pAca pAMce| ApelA che. rAjJaniyanTrakAre dhAnya, soya, moham, mantram, navasAdhanam nA paryAya ApyA cheH keTalAke 17 jAtanA dhAnyA gaNAvyA che 1 kIrtti, 1 cava, rU masUra, joma, dha mudna, 6 mAtra, tti, 8 vaLavA, 6 gaNu, 1 priyA, 11 vaya, 12 manu, 12 jAya, 17 5, 11 4, 16 1, 17 matanI hemacadrAcAya nA vakhatanA gujarAtamA nIce mujabanA khetInA pAka gaNAvyA che mudra, zAli, va, mara, trIhiM, pachI, aNu, gAya, umA, bhagA, tila ane anAbUda ahIM paThThI vRtti mATe che. samA eTale aLasI mA e zaNu aNu eTale cINA nAmanu dhAnya mattu eTale tA tubaDIyA sudhI paNa dhAnyanI yAdImAM dardI samAvI zakAya nahIM zAkamA gaNIe tA te vakhate ekalI dUdhI ja zAkamAM vaparAtI harI - AmA tuvera nathI eTale annAjI tuvera tA nahi ya yada eTale javanI halakI jAta 10 bIna ardhI spaSTa che. upara 17 dhAnyAnI yAdI che temA priyavru eTale kAga, zeva eTale kAdarA, mA--maTha, kAyalAgu, va-kaLathI, maDa e aa karI ema lAge che. bagAnA a tA zatru thAya che, bhAga nahI cALA jaNAtA nathI vAva paNu nathI matalI aLasI khavAtI haze kharI ? zaNu paNa anna tarIke bhAgye ja khavAya che. eTale A viSayanA jANakArIe A upara AtApAra karavA joIe 1 dhAme pote sApu ti mAnam / ( bhAnujI dIkSita ) 2 pampate dhAnyama pIyate yA dhAnyam| nidhaTuropanI TIkA 3 sasyave sukhamanena / 4 sItayA sahata sItyam - mIleyare dipati gIrdi (mI) 6 stamba karoti stambakari / 7 zAsyAdipozo varga 8 madhyakAlIna gujarAtamA vaparAtA khAdya padArtho e lekhamAthI 6 nu nAma tuvara karyAMya jovAmA AvatA nathI bhalAbu 10 vatta, tAnyAnAM ayyatane pratano mahi (2 ma-24 ) thA dhAnyamA sauthI nikRSTa kADhInuM gaNuAma che.

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bApAlAla vaidya navu dhAnya-navu ghAnya jinsa che jyAre eka varSanuM jUnuM dhAnya pacavAmAM halaka che be varSanuM jUnuM dhA ya paNa pathya ane ladhu che bethI vadhu varSenuM jUnuM dhAnya kasa vinAnuM jANavuM ane te na vAparavuM joIe te durjara ane zaktihara heya che paraMtu kaThoLa mAtra navA ja vAparavA joIe caNA, java, ghauM, tala ane aDada-ATalA dhAnya navA ja levA joIe (rA ni) dhAnya vizeSanA guNa khetI karI vAveluM dhAnya khAvAmAM zreSTha che eka vakhata pAka lIdhA pachI pharIthI bAkI rahelA jaDIyAmAthI kuTenA choDavAnuM anAja (jhinoma) mAdhyama che jyAre Apa Apa UgI nIkaLeluM dhAnya adhama che sAmo, namAra vagere ApeApa UganArA dhAnyo che janmIna upara kacaro nAkhI bALI nAkhelI jamInamAM UgADelI DAgara pacavAmAM halakI che ane te jhADe pezAbanA vegone rokanAra che arthAta bhadhumehanA daradIo mATe A dadha jamInamA thaelI DAgarane bhAta hitAvaha che eka varSanA jUnA cekhA paNa madhu mehIo mATe sArA che khetaramAM thanArI DAgarane bhAta-kapha-pittane haranAra che, kaSAya che, vAyukata che kayAraDAmAM pAkatI DAgara-rasamAM madhura, vRSya (vAjIkaraNa), balya (nika), pittane haranAra, a85 mala bahAra kADhanAra, kaphakara ane vIryavardhaka che dharU upADIne bIje repIne taiyAra thayelI DAgara-pacavAmAM halakIjaladI pacI janAra, guNamA zreSTha, balya, vidAha na karanAra (esiDiDI na karanAra), pezAba vadhAranAra che eka vakhata kApI lIdhelI pazu pharIthI phUTelI (jhinomavA) DAgara-rakSa che, jhADAnI kabajiyAta karanAra che, rasabhA tikata ane madhura che, pittahara che, pacavAmAM halakI che, khArI jamInamAM UgelA dhAnya-kaphanA upadravane haNanAra che sArI snigdha mATImAM UgelAM dhAnya-ja ane bala ApanAra che je jamInane sArU khAtara maLatuM hoya te ja mATI nigdha kahI zakAya retALa jamInamA thatA dhAnya-bala, puSTi ane prabhAvane haNanAro che 1 jini ne artha to je dravya pitAnA pirizya ane guru guNane laIne rasa vahana karanAra srotanA mukha badha karI zarIramAM bhArepaNa janmAve che te paratuM A arthe karatA abhiSyani eTale ke kapha karanAra evo sAdo artha ja amAre mana barAbara che, upalI vyAkhyA mujaba te dahI abhiSyani che dahI vRSya, balya che ane tene abhivyani kahevuM yogya nathI kaphakara artha le ja ucita che gurutA ane snehasva bhAvane laIne ja abhiLyakti hoya che,

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AyurvedamA dhAnya dhAnyanI pAMca jAtA 1 zAlidhAnya 2 nIDhidhAnya 3 zrAdhAnya 8 vimmIdhAnya 5 kSudradhAnya. A dhAnyapacaka gaNAya che 3 keTayAka zUka ane rAmAM dhAnya - airI dhAnyano che ja natA gabuAve che eka dhAnya eTale jene mUtaLA hoya che te janma, uvagere2, agrejI nA sindhi ma cereals che . zamIdhAnya eTale zi gAnALa AdhAnya - kALamAtra - vAla, vaTANA, turta, maga, aDada vagere zI dhAnya che--agrejI nAma Legumes legyumsa nIcenAM dhAnyA tyajavA joIe anAva--Rtu sirAyanA samayanA pArkanA dhAnyA vyAdhidvaita--amuka gAthI AkrAnta enu dhAnya paLu yavuI e Aje A mATe ja tunA chATavAmA Ave che e paNa mArI rIta teA nathI ja vadhu paDatI jatu navAe chATavAthI anAjanA eneA ana utare che ja cheDavAne pazu rAgA thAya che '' 'Atrita mAtinA dUtam' (Dablyu) vAmA aTa nAmanI dhvA vaparAya che te paNa dhAnya upara canAne eka jAtanA phUga ja che gujarAtamA e rAgane 'marI lAgI' ema kahe che Du yu Adhu kALu mazIvALu thaI jAya che aparNAMgata--apakva arthAt barAbara pAkaTa thaelu na hoya evu abhUmija--anucita dezamA thaelu je dhAnya je bhUmimA thatu hoya te dhAnyane anya jAtanI bhUmimA vAvelu keTalAka mAne che ke upara (khArI-kIsavALI jamIna) bhUmimA ane patharAvALI jamInamAM thaelu e abhUmija a- bhUmija eTale kharA bhInamA thaelu evA artha paNa thAya khAtara vinAnA khetaramA enu e paNu abhUmija gaNAya kharu je khetaramA gAya bheMsanu khAtara pUrelu na hAya te khatanuM anAja kasa vinAnu hAya che--balke jhero--na khAvA jevu hAya che prayAgAthI A vAta siddha thanmelI che. Ane ja anucita-abhUmija-gaNAya meTA talAva pAmenA kyAraDAmA thaela DAMgara bIjA pANIthI dUra AvelA kayAraDAnI DAgara karatA guNunI dRSTie badhu peApaka gaNAya che mA khatara ane pANI pUratA pramANamA je bhUmine maLatA hoya tevI ja bhUminu anAja upayAgamA levu joI e AthI viruddha anucita gaNAma anAja kharIdatA pahelA e kaI bhUmimAM pAkeluM che te nIlevu jarUrI che kyAraDAmA pAtI DAgara khetaramA pADelI DAgara karatA guNunI dRSTie vaNI yiAta) hAya 1. suzruta TIkAkAra DamhaNu tA vAnya zabdathI zUkadhAnya ane zamIdhAnya ene ja gaNAve che ane te ja kharAbara che " zukavanti dhAnyAni zukadhAnyAni (abharakASa) gujarAtI mULA 2 '' (ca 6) eka eTale blyutIkSNa agrabhAga

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bApAlAla vaidya che khAta- vatrA bAramA pAkanuM anAja kama vinAnuM hoya che. AjanI paribhASAmAM vAba tA enA nathI hotA pUratA riminsa ke thiI hotA pUratA khanija (minerals) nava-na, vanya pacavAmAM bhAre hoya che te kara kara che ane pacatuM nathI eka varSanuM jUnuM anAja (dhA ya khAvAmAM levuM joIe su kahu che ke navuM vAnya Adi ka ya ka aa - jana supA-5, baya, pApaNuprada hoya cheeka varSa karatA 1 vakhata anAjane khI mukavAthI tenA ja gurutA-bhArepaNu -hoya che te ja kamI pAve che tenuM vIrya enAthI jatu rahetu nathI dhAnyanuM vIrya te krame karI e thAya che " vadha eTale Aje jene alkaloids A kevA kahe che te athavA manama- 14 panuM A niyama phana dhAnyane (cereals) ja lAgu paDe che gamI dhAnyane (legumes) nahI -LamAtra te navA ja khAvA joIe ? virata khAtA ke bugAtA dhAnya -akuritadhA -jene ApaNe vaiDhA kahIe te vAM ane gAyone khAvAthI temAM viTAmino vadha che ema Aje bhanAya che Ayuveda veDhAne khAna-Akha bagADanAra-mAne che ke dravyane vipAka amsa thAya, ja viraha karanAra rAva te dravya levI bagADa che eTale vaiDhA vidAhi (acid base) kavAthI temaja te vAya, vikhabhApiTamAM guDaguDATa macAvanAra hovAthI khAvA na e ema Ayurveda mAne che. vida-ne a kurita dhAnya-eka artha che bIje artha e che ke je anAjanI A kurita thavAnI zakita ja naSTa thaI hoya evA dhAnya paNa virUdra gaNAya che paratu vika' ne artha vaidrA-akurita dhAnya-ja sAco lAge che suzruta AgaLa para ( sa. 45-805) paNa bhArapUrvaka kahe che ke fkAranA mA gunitA | vivAhopakhananA kSA radhipradUSaNA // a -braNagAna dhAnya pacavAmAM bhAre, vAta ane pittane karanArA, vidAha (gujarAtImAM kana dAjha-chAtImAM agana baLavo te ane ukaleza (maeNLa) karanAra, rUkSa (lu khA mA nahane bhAga AchA hoya te) ane Akhane bagADanArA hoya che laghutara dhAnya - vAvyA pachI je ja nadI UgI nIkaLI pAke che te pacavAmA laghutara bAna nA pavavAmAM vizeSa havA-gaNAya che. ema carake kahyuM che "calAujhara bodhita dhAnya paritya ati gauravam / na tu tyajati tavIrya kramazo vijahAti tat // "SaSa nauSA samitina rAte " = [ 27-202 "mAlItama parata (ce che ayAna eka varSa rAkhI mukayA 5chInA caraka lUka ane zamI dhAnya bane nA-eka varSa bAdanA-vavA kahe che che ane te sArA nAnA vA ni muzruta uparanI bhAnumatI vyAkhyAmAM saMpAdina (ju su 46-51)

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AyurvedamAM dhA fkSaka tariyutara tam T (ca - 27-30) vAvyA pachIthI je jaladI pAkI jAya che tevA dhAnya pacavAmAM khUbe ja hatama gaNAya che. A dakia da cAkhA (60 divamomAM thanAra DAgara) cotho-so dhAbA -lakAne utara bhanAya, kAmuke te 60 dimomAM pAkI janAra che "bAti ne artha vAvyA pachI ja thanAra temaja khAdhA pachI jaladI pacI janAra - banne thAya che kudhAnya, tRNadhAnya, kSudradhAnya carakamAM mAnya varga Apela nathI ke dUdha (kara, rayAmAka (sAme), cInaka cIna), juvAra vagere sAmaga ApIne e bavAnA gugo sAmA (rayAmAka) jevA che ema kahyuM che (ca sa. 27) suzrute phugAthA varga Ape che. nIcenA kudhAnI yAdI ApelI che -oradUSA (kedarA) - cAma-sAme -nIvAra-namAranA cokhA -zAntanu 2 (varaka 18A-ja gathI kodarA -triya -kAga 3 mi-ivarSanI nAnI jAta / nandImukhI "nanIya' triIhinI jatemAM che -kuruvinda --kasaI sara-bharU - -zaNubIja -to() - tocapaLa carakanA che -kunA (pabikanI jAtemA ene gaNAvyuM che) vgva-vAsanA kula - bIja 1 carake zyAmAkanA be bheda janma samAja, stiImAna banne Ape che. vadhArAmAM nIcenA dravyo che prazakti, Dhaudhruitya, ag, fTa, TI, phivira, 3, 9 ATalA suzrutama nathI, carakamAM che 2 carake padanAnI jAtemA bannene samAvI lIdhI che. 3 ghaunI jAta hovAthI joma mA carakamAM a targata eva che 4 carake yavanA peTAmA vaipucava rAkhyo che bane yAdI sarakhAvatA zAntanuM, nTi A traNe subrutamAM adhika che, jyAre prazAntikA vagere upara batAvelA dravyo carakamA ja che, suzrutamA nathI

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bApAlAla vaidya aAgAhadAphAra kagu, kedra1, nIvAra rayAmAkAdi vargane vRdhAvyo kahyA che hemAdie "kAvya gu ja" kahyuM che ane A dhAnyanA guNomAM "zIta, laghu, vAtakara, lekhana, kapittahara" ( -1) ATalA gukha AyA che suzrute badhA vRdhAnyanA guNomAM ubu, kaSAyamapura, sata vipAkamA , mUna, bahaniSyanta (mavasagrahaNa), vAna pittaprako' Ama karyuM che tenuM 8-2). vAbha A dhAnyone hima, kaphapittahara mAne che tyAre suzruta uSNu, pittAprApaka bhAna che A dekhAte virodha che hemAddhi A virodhane parihAra karatA kahe che ke pA- kaphana, maniSada, vadhu, lekhanavAdanuM uSNavIryamA darzana thAya che zItava AvyuM che te pagathI pittana 1 vAta sRSTa pittane laIne che-vAtapittopaST" A racanathI pina nana kasasa pirAne laIne che "#vihata enI sAkSI pUre che vanyatA niti-'kRzvina ni hAni arthAta mudhAnya eTale halakA dhAnya yAdi dhanya tRSA ja taraskRtam !" arthAta suzrata jene vRdhanya gaNe che tene bIjA tRNadhAnya, mudhAnya gaNe che vAga, kodarA, sAme, nabhAra vagerene kuSabhA bhane lIdhA hoya paraMtu emA badhA kaThoLa (vila gho) ne samAveza suzrute karyo che te kaI rIte yogya nathI ja' nivayuge mAthAjamA ja badhA dhAne temaja mudhAne lIdhAM che tRry judA ja Apyo che paraMtu A tRNavargamA tRNa dhAnya ApelAM jovAmAM nathI AvatA zeraDI, kisIra vagere tRNa che carake dunya zabda vAparyo nathI, paraMtu kera-zayAmAka vagerene zaka dhAmA nAkhyA che e ThIka karyuM che mudhAnya ke suda dhAnyamA piSaNa malya ochu che beTI, bAvare, kaidarA, kAga, namAranA cAkhA makAI vageremAM pApaNumUtha bahu nathI ja-java, ghaunI sarakhAmaNImAM sute juvAra jUda nathI ApI e navAI jevuM lAge che suzrutamA ife ke cAlanArA jevA zabdo ja nathI te vakhate juvAra khavAtI nahi hoya ? kudhA caraka suta vADmaTa (aSTAga sagraha) roja kedarA gadI sAmAsAmAM varuNapAdikA zAntanu niramA sAmAnI jAna zilvikA uhAlaka nIvAra namAranA cAkhA zizira madhUlikA 1 suzrute sarvaprANione mATe padhdhatama evA AhAranI yAdImA kudhA paNa gaNAvyA che (juo se sa. 20-5) e ja sUcave che ke kudhAnya phekI devA jevA nathI ja garIba no e AhAra che

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AyurvedamAM dhAnya toyaparNI gavedhUka prazAtikA janma rAmA sAmAnI jAta lauhitya uddAlaka madhUlikA bhantanirgaNDI yeNuparNI bhaNDa (mAhitI) nandImukhI kulavinda sara todaparNI veNuyava aNu thi-kAga jhiNTi gaTTI varukA varakA zivira utkaTa jUfha-juvAra have ApaNe rAdhAnya (Cereals-sirialsa) laI # eTale meM kaLA ghauM, javuM vagerenA le jevAthI A zaka zuM te samajAze zUkadhAnya AyurvedamA mAnavidhi mA (caraka sUtra ra7) sau prathama sthAna baka dhAnyane ApavAmAM AveluM che kAraNa ke AhAramAM enuM ja prAdhAnya che carake lAkamA rekhA java, ghau, kadarA, juvAra vagere samAveza karela che jyAre suzrute vimA kakana zAlio-bhinna bhinna DAgaranA cokhAnI jAte ApI che ane ghau java, kAdarA vagere zaka dhAne mATe vArika apIne emA kaThoLane paNa samAveza karI dIdhuM che sukRtanI A paddhati A dRSTie dUSita lAge che, kAraNake kaThoLa ghauM jevAne pAnanI yAdImA ApavA keIpaNa rIte yogya nathI carake eTalA mATe zamISA"no jude varga ja Apyo che ane te jagyA che kudhA-baTI, bAvaTo, kedarA, lAga, maNe vagere-zakadhAnyamAM ja samAvavA jaIe carake ema ja karyuM che. caraka ane sukRta banee traNa prakAranI gera-tenA cekhA-varNavyA che--tri, paSTika bhane vohi ji eNe mittika dhAnya-hemata RtumAM thanAra DAgara dila 60 divasamAM taiyAra thanAra DAgara-e grISma RtumAM thanAra DAbera che trI zarada RtumAM pAkanAra DAgara zAlinI aneka jAto caraka suzrate ApelI cheA badhI jAto Aje eALakhavI muzkela che rAjanidha Tue gya ja kahyuM che ke dezAntaramAM thanArI A jAti oLakhavI

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mApAlAla vaidha devanA bhATe paNa zakaSa nathI eTale amee emAthI keTalIka theADI ja jAtA varSoMvI che, jaina yAka upayAga kare che caka TIkAkAra cakrapANitta paNa kahe che ke "vividha dezAmA dravyeAnA vividha nAmeA pracalita hAya chaeN mATe dareka dezanA nAma tyAnA loko pAsethI jANI levAM joIe je bagAsabhA prasiddha che te ja nAme ame ahIM ApIzuM ane anya deza prasiddha je haro te paNu zakya haze teTalI ApIzuM' e kahe che ke-- 'ma' zAlinI eka jAta (gujarAtamA kalama nAme oLakhAya che te haze ) vedAmalAmAM svanAmaprasiddha che. 'nAdatta' zrAvatI nagarImAM vakranAmA' tarIke oLa khAya che zmA ja 'zakunAhata' ne paricaya suzruta TIkAkAra huNu nIce pramANe Ape che mahAtmA garuDe A zatrunAhatane bIjA dvIpamAMthI ANIne ahIM dAkhala karela che eTale tenu A zakanAhana (zatruna=patI, Adyuta eTale lavAyalI) nAma paDayu che ane ene paryAya 'ga' paNa che Aje paNu DAgaranI aneka jAteA thAya che, prAte prAte nAmeA judA haiya che dvArA jAtAnI mAhitI kAI bhegI kare te eka mADhu pustaka thAya 3 zAhinA guNa badhI ja jAtanA cAlinA samagra guNu kSItA rame vipAke ca madhurA vAlpamAstA / baddhaspaSacaisa snigdhA bRhaNA zukramUtralA // 10 // zAlimAtra rasanA ane vipAkamA madhura, zItavIrya, sheja vAyu karanAra, jhADAne mAdha nA, snigdha, bRhaNu, zakya ane mUtrala che (caraka slR 7) madhurA vIryaMta zItA laghupAkA malApahA / pitA'lpAnilakaphA snigdhA baddhAlpavarcasa // 5 // zAlimAtra vIya bhA madhura, pAkamA laghu, zIta, khelaprad, pittana, apavAtakaphakara, snigdha, jhADAne bAvanAra che (suzruta su 46) vakatavya-caraka ane vAgabhaTe zAline mUtrala kahI che, suzrute tenA ullekha nathI ( svarUs| bIDI bakSue kahyu che ke badhI jAtanAM zudhAnyAmA ceAkhA ja evA che je 1 deze deze bhUkadhAnyeSu saMkhyA jJAtuM zakyA naiva tadaivatairvA / tasmAdeSAM yeSu bhogopayogA tAnyasmAbhi vyAkyinte kiyanti // 2 caraka mUtra A 27-8nI neTa jue 3 'aSTAMgahama' nA TIkAkAra saphaLA kahe che "buddhanA kAlamA uttarakurumAthI 'zatrunAhata' haMsA thakI lAvavAmA AvyeA hateA mRgArimAtrA' nAme vizAkhA nAmanI vyakitae te vAmyA hatA ane khuba vistAramA te phelAyalA hatA ethI ja enI AvI sattA che"

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AyurvedamAM dhAnya mUtrapeDa upara bahuzrama-Aja nAkhatA nathI ' arthAta e pezAba sApha lAvanAra ke mUtrapiDa upara ka ajugata be paDatuM nathI cokhA jhADAne bAMdhanAra devAthI atisAra saMgrahaNInA cAkhA upayogI che mA rIte, vipAkamAM madhura kalpe jhADApethANa sApha lAvanAra hAya che paraMtu gAvi vipAvALI hovA chatAya prabhAvathI jhADAne bAvanAra bane che ? madhara rasavALA ana hamezA kaphaDara-lema hoya che parantu pUrANA jAti, 5 yava ane ghauM-emAM apavAda che (ca m 27-4) vAlio nIti ane bakura ! chatAya e kaphakara nathI e enuM vaiziSTa che pa" laghupAka eTale vipAkamAM kahuema sAmAnya manAya che paraMtu ahI guNa e zAline svAbhAvika guNa levAyo ene vipAka vadhu eTale kaTu che ena samaja nathI AthI te carake (satra 6) zAlipasTikane "ggtina" kahevuM che bhAvo zAli ladhu che eTale ahI vipAka sAthe ene sabava nathI rAtinA ahI a vidhava madhyapaThita ladhuguNutA ane zIdhrapAkAraNutA che tyAmAM raheluM guruva ane putra dravyono svAbhAvika guNa che, guruvaghuvipAkathI e anya che ema samajavAnuM che , TIkAkAra bhAnu vyAkhyAmAM dAkhalA ApI A matanuM samarthana kare che tene vi madhura che evuM kahIne 5NuM tane guru kahyo che tAva laghu che ema kahIne tene kavi jaNAvyo che eNa(kaliyAra haraNu) pAkanA madhura che ema kahyA pachI tene ladhu kahyo che AvA ja vidhAnathI gurulaghuvipAkathI bhinna sahaja gura dhutva ahI darzAvavAmAM Ave (ce da) carake ahI zAline madhura vipAka jyAre sute laghu vipAka gaNAvyA che A paravirAdha che paraMtu ahI pAkane artha rasa vizeSa" e levA joIe ane rase eka ja dravyamAM aneka hoya che e saune anubhava che Ama aSTAgahadayanA TIkakAra hema kahe che ane virodhano parihAra kare che. vADmaTa aNagahadayamAM zAlimA kapAyane anurasa batAve che ane ene pUjavAjIkarA pathya (svabhAvathI ja hitakara) ladhu banAve che (A huM sUtra 6) raktazAli badhI jAtanI zAliomA rA isaubhA zreSTha che ema caraka sukRta vagere badhA jamA 1 "of all the cereals it 18 the rice that taxes the kidoey least 1 baddha prathitamalpa ca varca purISa kurvantIti baddhAlpavarcasaH, te eva kAraNe kopacArAbulA (aruNudatta) laghu zIghra pAko yeSAM te laghupAkA laghuguNayogAt zIghrapAkA ityartha / tantrAntare'pyuktam " annapAnavidhAvuka yad vyaM gurulAghavam / aminA sad vijAnIyAt pacanena cirAcirama iti (zivadAsasena)

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bApAlAla vaidya che" thanArA kRSama/TE I (ra) ktagati tRSNAne vanAra ane tridoSahara nacata banAvinAne sAcI zrada bAnAkhA rAoi ane tija nAma ApyuM che) che e nidAna ke, mRta , cakSaya , paryA, ane balya che parya ane hada ,, 5 kAna, vaya, jana-jana , sa aa ane vizvane anAra che (sama 46). guNanI daSTie zAlione anukrama mA, badhI vAta ta AniyA gAne utarano ') thake raktazAlithI mAri, te pada ma ane te pachI bIjI badhI jAte gaNAvI che paraMtu bhinna bhinna granthamA A krama eka nA javAba ApatA nathI mATe A vistAra abhyAsIo mATe choDI yavaka yaghaya hAyanA pAmuvApyanaipadhakAdaya / zAgenA bhAlaya kurvantyakAra mRNAguNai // (caraka) papa-, bAna, pAnuvAva, naiSadha- na- zAlie-kanazAlinA je gukhe (tRSNAhnava. vinApaha1 I pAdi) i tenA agA-guNa viparIta depo-sAthe anusaraNa kare che arthAta navAjama vAliomA zrata che tema thava ga; dhAnyAmA-apabhA--sauthI zreSTha che ? A yavana, jenA upayoga ja na kara joIe (na zIta) enI yAdImAM gaNavela che A 51 - cha te Aja nakkI karI nAtuM nathI upasaMhAra nAviAnA upasahAramA sute keTalIka navI vAto kahI che je jamInane bALI nAkhavAmA AnA chAya te baLanI jamInanA aMta sudhI bhavana khAtA) zAlione pAkamA manA karAya, tuM ane 6 rApaNuM karanAra temaja jhADApezAbane bAdhanAra ja che - natA mamatAo mATe AvI naLanI jamInanA ugADelA cokhA hitAvaha che ema pUvAra thAya che. A eka navI vAta mumate e che 1 A nA ke nAstika adhyAya (mutra 5) sApa anA anonI yAdImAM prathama sthAna ane kayAre bIjuM sthAna jJAtine ApyuM che nukana kikA- Daba yogya ja kahyuM che ke DAyAvi vagere dhAre te te dezamAM vividha nAnAthI mALakhAya che, ekaja dravya jinna bhinna dAmA bina bhinna nAmathI oLakhAya che ane keTalAka kahe che jyAre likhAtyA ene ja huM che dAkSigyo jene mA kahetA hoya che te anyaprAntanA kara pAmathI prasiddha hoya che. AthI karI zakadhA ne paricaya vividha dezanA kheDUta pAsethI meLave joIe mRgeno paricaya vyAdha pAsethI, pakSIone zAni pAmetho, kada ane kune paricaya ane ane tApasa pAsethI, pAkane pacaya grAma ane araNyavAsIo pAsethI, katAnone IAo pAsethI, bajArU ADIvAne e vecanAra vepArIo pAsethI meLavo joIe 3 vA zukravAnyAnAmapadhyatamatve prakRSTatamo bhavati / (ca sU-05)

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AyurvedamAM dhAnya jA gava bhUmimAM thayelA pAkelA nAvi kaka ane pinane unA, kapAya, kaTu, ki cita tikana ane madhura che, kaIDa vAyu A gaDhine pAnAra che. maLamA pUrA nAda che, ane jeno artha ganabhUmi bhavA" e Ave che khetaramAM pAkanI kAra A jAtanI gaNI jAI e kayAraDAne pAnI DAgara ma, ya, bhavya, pittanuM nibaddha karanA, Iti kapAya, apamAna gaTa kapha ane guna gAnAra che ya eTale vAchaTa!, jenA mabAgAkina pavAre hoya e dravya e kahevAya che bhAtakhAu manane prapani vidhi thAya che e ja cacAne viSaya che tenA anusa vAnamA cAkhAne A guNa vivAra gaya che ja DAgaranA dhaDanuM prathama dha banA pAme Ave che te be veta jarane choDavA thatA tene upADIne bA pAnavAmA Ape che gADI pagane ropya che jyAre ekathI vadhu vAra upADIne vAvavAmAM Ave to koNa chI che to A natanA cA nAnA yugamAM la, zIdhrapAkI guNAmA zra, gadAdi (-rInA kAra paNa bhAgamAM dAha maLatA hoya to TALanAra,) depahara(gahara), bhavya ane mUna vAnA che ? mahAzAli janA traNa bhedo prAcIna sAhityamAM maLe che (1) nUgAli (-) mahAti) ma carakamA A traNene ulekha che caka TIkAkAra cakrapAditta (Isa 10 ) lakhe che ke janma vaivAdipura" arthAta kA jAnanI rAtri veda ane agraharamA thAya chebrAhata NonA bhojana mATe- temane jamADavA-bhATe rAjadhanamAthI je khetare judA ApavAmAM Ave te brahAbhojana eTale agra athavA to anaromAthI dhAnya vAvatI vakhate brahmabhojana nimitte je bhAga judo rAkhavAmAM Ave te agrabhAga ana kanana AtanI cokhAnI jAna agrabhAga mATe kADhavAmAM AvatI hatI ema manAya che dvArA magadha dezamAM thAya che ane tyAM te prasiddha cha cInI musAphara hyu ane sa ga (I sa 640)nuM jIvana caritra agrejImAM prasiddha thaelu che (Trubner & co taraphathI) AmAM nAyadA yunivarsiTInA chAtrone je bAjana ApavAmAM AvatuM temA A mahAzAvi vize nIceno ullekha che "A cAkhA 'blekabIna jevA moTA che rAdhatA temAthI sugadha prasare che, te cakacakita hoya che. bIjI kaI cAkhAmA A jAtane guge jovA nathI maLatA A jIta phakta magadhamAM ja thAya che. bIje kayAya e 1 zIkapama ti zIvra jaTharAzinA purA (zinAdAsa sena) jaTharAgni dvArA je zIdhra pacI jAya te rIdhrapAThI 2. suzrata TIkAkAra DahaNa "mavardhanA'no artha A Ape che "E , azveta kavivarSanA mArSiT hita kRtya " arthAta mUtra e lAvanAra eTale pramehIo mATe hitakara e artha TharahaNa kare che ene te ja kema lAge che 3 agrahAra:-apra brAhmaNabhojana-tadartha hiyate rAjadhanAt pRthakRkriyante te kSetrAvaya (nIlAkaTha), kSetrotpana zasyAduddhRtya vAhaNodezena sthApya dhAnyAdi, gurukulAdAsabrahmacAriNe deya kSetrAdi, grAmabhadezca / (vAcaspatyam)

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bApAlAla vaidya ma thatAM nathI A cAkhAnA bhAta rAjAone kA dharmAdhyakSAne athavA khUba ja nAmApti ne mATe banAvavAmAM Ave che ane eTale te enuM nAma Kung-fa jinmai mA sthAne ApavAmAM AvatA bhAna) jevuM che ? jika aTala mADI zAkhA- 0 vimAne pAranArA cekhA -mAdi mananA thanA- cAkhA e brAvi jyAre zrImamAM thanAra cekhA e pazcika ema lakhA mAna che prakRtithI ja ta che temAM Tika ane bAli bane gaNAvavAmAM aAvA che (2 ) caka mukRti padane mata na jAta gaNI che. paranuM vAgabhaTa ane vArikA -manana - che cakrapANi 5nuM kahe che ke paTika e vIhine ja bheda che pharaka phakta eka ja che ? nAri vipAkI che jyAre padi nI pAkI che aSNudA kahe che ke himAnA chika zreSTha che je paTikanA guNa ti, riya, anu(bhAra nahI, vadhu), madhura, tridoSa ane thira ane vALane paNika che (caraka) caraka pariktA raSTi ane prakAdika evA be bada bhAvavA che bIjI jAnA nAme rara, 3, cIna, za4, 3Sya, ra, jyanA nubhUti dhanA dhana jAtinA nAma ApelA che jevA ke-- baguka, mukundaka, pInaka, pramodaka, kAkalaka, asanapuSpaka,mahASa STika, cUrNaka kuravaka, kegara 3 A badhAnA mAmaTA -A badhI pazcika jAte rasabhA ane vipAkamAM madhura, vAtapittanuM mana kannA, khU vaNa, kapha karanAra ane zukra vadhAranAra che paSTikakhAnI jamA rakata bAli vA ( che sUma 4) A jotAmAM Tika zreSTha che guNa-kAya eno anarasa cha va4, mRda, sina-2, tridevana aiyaMkRta, balavardhaka, vipAkamAM madhura, grAhI, zAvinA ja guNavALo che bIja pabdike AthI utaratA che (sUtra 46/10-11) rAzi ane piki ane guNubhA samAna che lora zaradamA thanAra cAkhA e zrIdi jenAthI dehano upacaya-vRddhi-thAya te trAhi evI enI nikina cakrapAdita kahe che ke zatunA jIthI pAkanAra e trAhi amarasiha ' para ja javI pAkanAra trIline pATala jAta kahe che bhAnujI dIkSita ahI The mahasali variety of rice in Magadha' by late Shri PK Gode in New Indian Antiquity, Vol VI no 12, March 1944 2 ra ja (A mutra 6-7) 3. rina sipu, peja phora vitha tijanIti artha (naB) 1 lAbA vakhata sudhI zarIrane ja kArya karavA mAM sthira banAve te dravya risthara A guNane laIne zarIra nirogI rahe che, jvaramA ane rasAyana prAgamA paddhikedana" no upayoga dhyAnArha che. 1 ki vAra jAta ! "i karI 5 prIhiriti sAradAzudhAmyasya sakA /

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H AyurvedamAM dhAnya muhAsA cha ra Azu, nIhi ane pATala gArA M nAmA mAtama latAnI nadimAnA AzunAmA bohi pATana ubhyata iti nAmadayama iti muni / mA. trAhi e pATala kahevAya che ema kahe che ke ghAtine gubA nIce mujaba ApyA che-- brAhi rasamAM mayura, vipAkamAM anna, pitta, pacavAmAM bhAre, jhADA, perAga ane ubhA-trane vadhu pramANamAM karanAra che AmA pAra nata dipakara 5' ( 2-15) yAvinItA gAvI nathI muate kRSNavIhi, zAlAmukha, janumukha, nandImukha, lAvAkSaka, tvaritaka, kuSakuTANDaka, pArAvataka, pATala 2 gte| gayI - I gavAnA sAmA gugA A pramANe che. zaninA cokhA camA kapAya ane mama 9 vipAkanA anu. (pata asvabhAdhura) anIya che (ma-18) yA ma tAmA kRSNanohi bhAgAbhA anurasa kapAya che pacavAmAM halakI che kRNazAhi nA bIja jAtA athI unAnI che zIhionA nAme jenA e ragana ho ema lAge che A gujarAtamAM ja cAkhA ApaNe parIe chIe te nadabA pAnanAra I A ghAdi kATine A khare ? trayI (caraka, suzruta, kArabharTa)mAthI nA traNanI yAdI kane ApavAmA Ave che zAlinI jAte caraka saMhitA suzruta saMhitA aSTAgahada (vADmaTa) raktazAli lohitazAli raktazAli gehavAlAkhya mahAzAli kalama mahAzAli kadamaka kalama paNDuka kalama zItabhIruka zakunAhRta sugandhaka tUrNaka patA zakunAhRta zakunAhRta tapanoyA dIrghazUka puSpANDaka sAgamukha yAvakA gaura puNDarIka dIghazUka hAyanA pANDuka mahAzAlI rozUka pAsubAma lAgula zItabhIruka sugandhika sugandha rodhrapuSpaka lohavAla dIghazUka sArivAkhya kAJcanaka puNDarIka pramodaka mahiSa pramoda patA mahAzUka gaura tapanIya hAyanaka sArivAkhya pANDa dUSaka kAzcana mahAdUSaka mahiSa zUka dUSaka kusumANDaka lAbhalA tUrNaka naiSadhaka 14114.4.21 puNDa pANDu

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bApAlAla vaidya pabdikanI jAne vA-khera nAme AvyA nathI pAyaka cuta pAraka bAguka mundaka aAgaura panika cIna pamodaka kAkanaka ganapuSaka mahAparika narNara ka kayAra prabhRtaya / gandhanA vindA ya vAgabhaTa paSTika gaura vIhinI jAte muta kRSNavrIhi zAlAmukha janumukha nandImukha sAdhaka tvaritaka phulakuTANDaka pArAvataka pATala prabhRtaya amitagaura mahAnIhi kRSNavIhi janumusa kukkuTANDaka lAyAkhya pArAyataka zakara gharaka uddAlaka ujjcAla cInaka zArada dadurA gandhanA kuruvindA ( )

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gUrjarezvara kumArapAladeva caulukyanuM dAnapatra 5 amRtalAla mehanalAla, bhejaka nAmrapatra upara kerAyelA A dAnapatravAsananA be patarA che temanI vabAI 28 se bhI ane pahoLAI 23 5 se bhI che. pahelA pAnA nIcenA bhAgamAM ane bIjA patarAnA uparanA bhAgamAM 15 semI vyAsavALuM kANuM pADe cheA kAkhAmAM tene anurUpa vyAsavALI bane patarAne sAthe joDI rAkhatI eka tAbAnI karI hatI jaIe je Aje upalabdha nathI AvI kaDI tAbAnA bALa saLiyAnI sAda paNa hoya che, te koIvAra tenA upara rAjamudrA paNa chApavAmAM AvatI hoya che ane tAmrapatanuM vajana 2 835 kilogrAma chepahelA patarAmAM 16 ane bIjA patarAmA 14 patie che te samayamAM pracalita nAgarI lipimAM lakhAyelA A abhilekhanI bhASA saMskRta che vakhANamA azuddhi nahIvata che, je lekhanI vAcanAmAM sucavelA sudhArA uparathI jANI zakAze prastuta dAnapatranI vAcanAne sAra nIce pramANe che prAra bhamA kAmArapAladevanA pUrvajonI rAjAnalI jaNAvI che, temAM anukrame malarAjadeva, cAmuMDarAjadeva, durlabharAjadeva, karNadeva ane jayasihadevanA nAma che A rAjAvalImAM pratyeka rAjAnA nAmanI pahelA paramabhaTTAraka, mahArAjAdhirAja ane paramezvara A traNa vizeSaNo che A traNa vizepaNuM uparAMta karNadevanA nAmanA pahelA "rolamala' vizeSaNa che, jyAre jayasihadevanA nAmanA pahelA ukta traNa vizeSaNa uparAtu avaMtInAtha, tribhavanagaDa, babarakajiSNu ane siddhacakravatI' ema cAra vizeSaNa vadhAre cheA pachI kumArapAladeva nAma Ave che, tenA pUrve paNa mA bhamAM jaNAvelA traNa vizeSaNe ja che. kumArapAladeve potAnA rAjyanI aMtargata viSayapathanI maryAdAmAM rallA rAjapu rUSone, brAhmaNa sameta adhikArI vargane ane prajAjanone jaNuvyuM che keme kamArapAlade Aje vikrama saMvata 1199nA poSa vada 10ne zanivAre aNuhilapATakanagaramAM uttarAyaNa parvanA divase snAna karIne, bhagavAna bhavAnIpatinI pUjA karIne, saMsAranI asAratA vicArIne. kamalapananA upara rahevA jalabindunA jevuM ati arithara jIvana jANune tathA A loka ane paralokanu phaLa svIkArIne mAtA-pitA ane pitAnA puNya tathA yazanI vRddhi mATe mUvadvagAmamAM be haLathI kheDI zakAya teTalI bhUmi padamalAdevI rANInA zayAgrAhaka madA nAmanA nAgarabrAhANane jaladAnapUrvaka A zAsanathI samarpita karI che mahadAnA pitAnuM nAma Izvara jaNAvyuM che, tenI jJAti nAgarabrAhaNa hatI. dAnamAM ApelI A bhUminI cAre bAjunI sImanI aMdaranA bhAgamAM vidyamAna suvarNa-dhana, kATha, tRNa ane pANI vagere tathA tenI upaja sahitanuM A bhUmidAna che" prastuta bhUmi be vibhAgamAM ApelI che tenA pahelA vibhAganI vigata A pramANe che

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5 amRtalAla mehanalAla, bhejaka liMbAnA DhaganAthI bhUmi pa (vigho) 1 bhA 1, tathA dhAdhuyAnA kSetramAthI bhUmi vi (vivA) : nA , A banne maLIne vi (vighA) ja che A bhUminI pUrvamAM mahAdevanA ghananI mAsana kami che, digamAM kAlahejanA nI zeDhAnI sonA che. pabinanA khUNavadanAmanuM pAda cha ane uttara nA ThAkaranI vAsanabhUmi che" bALa vibhAganI vigata A pramANe che-- sAjaNanA vanamALI bimi vi (vighA) 4 bha ( bhA) che ane dhaNasIhanA namAvI babi pi vinA , ema banne maLIne vi (vivA)jA bha ( bhA) gA che A abhine pUrva rAjaguru kelDaNanI zAnabhUmi che, dakSiNamA ThAkuranI rAsanabhUmi che, pabinamAM mahumUyaNa-mananI vAsanabhUmi che ane uttaramAM kathAravIgAma tarapha javAne - bhAga che upa- jakhAvA bumi rahI jaNAvelA nAgarabrAhmaNa mahadAnI che, evI rAja nAna 5 denA sAjanee mAnya karo A sAmAnya kaLa vaLagIne amArA vizajoe tathA bhaviSyanA rAjAoe A dAnane bhavR- rAma bhagavAna vyAse kahyuM che ke-bhUmidAna karanAra 60 hajAra varSa sudhI vana nA rahe che ane bhUmidAna paDAvI lenAra teTalA ja varSa narakamAM rahe che pUrvanA rAjaoe je ja dAna ApyA che te nirmAlya ane vamana jevA che, temane kaye sajajana pachI ? sagara Adi aneka rAjAoe pRthvI upara rAjya karyuM che je jenA tAbAmA bi hoya tenuM phaLa te te jAne hoya che. eka hajAra taLAvo karAvavAthI, eka so adhivata kampAthI ane eka karADa gAyanuM dAna karavAthI paNa dAnanI bhUmine paDAvI banAvanuM pApa dhAvAnuM nathI brAhmaNone ApelA dAnane paDAvI lenArA janmAtaramAM pANIvinAnI vidhavAcaLanI apIone suna keramA rahenArA kALA sarpa bane che. A zAsanane gauDakAyasthava zIya vidyArAmanA putra AkSapaTalika lakSamaNe lakhyuM che ane taka mahAsAdhivihika Tha zAlige kotaryuM che 'AtamAM amadAva' A rIte tamArapAnadevanA hastAkSara che" kumArapAlana najArohaNa vikrama saMvata 1199nA bhAgasara suda 4nA divase thayu hatu A dAnapama vi sa 1199 ne poSa vada 10nA divase ApyuM che kumArapAlanA mAhyA kA sA samayamAM koI mahatvano aitihAsika prasa ga na banyuM hoya te svAbhAvika che. tethI ja, prArabhanA jaNAvyuM tema, kumArapAlanA nAmanI AgaLa anya pUrvaja rAjAonI "paramabhaTTAraka, mahArAjAdhirAja, paramezvara" A traNa ja vizeSa che vizeSa mahattvanI vAta e paNa che ke kumArapAladevanA saMbaMdhamAM Aja paryata je kaI abhilekhe prApta thayA che te badhAmAM sauthI prAcIna abhilekha A dAnapatra che pahelA patarAnI chI paktimAM AvelA gumAva' zabdathI ane bIjA patarAnA manamAM AvelA "arabano' A kumArapAnanA hastAkSare lakhAyelA zabdathI e spaSTa thAya che ke lokavyavahAramAM kumArapAlanI vyApaka oLakha imara54 zabdathI thatI haze,

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gUrjarezvara kumArapAladeva caulukyanuM inapatra pachInA samayamAM upalabdha abhilekhAmA kumArapAlanA nAmanI AgaLa Avatu jinamanAmaNAnavanikanarArvimUtra' A vizraNa mukhya cha A vigevALA sothI prAcIna uvekha vikrama sa ta 12 01nA kumArapAnanA dAnapatramAM che A dAnapatranA A tamA kumArapAtanA hatA.pe Apano "yumara' nAda paN tenA nAmanA vyApaka uracAraNanI puSTi Ape che. A sivAya upalabdha abhilekhA paikI keTalAka abhilekhAmAM paNa vumanapatra" ke "puSparavAI' zabda maLe che upara jaNAvelA vi sa 1201 pALA dAnapatranA sabaMdhamA pe zrI rAmavAva meMdI A pramANe jaNAve che triIja dAnapatra kubhA-pAnanuM che tenA mini sa + 01, pika suda 2, zanivAra che A mini paNa gaNitathI mArI Thare che kAraNa ke A tithie nAmanA- hAvAna gaNitathI siddha thAya che. vaLI kumArapAnanu birU 'vinirjitanAtha bharIbhUpAra' vaLyuM che, te 5NuM ItihAsanI viruddha che, kAraNa ke kumArapAla rAkabhInA kAna a ne sa 12 07mAM harAvyo hato ema tenA citoDanA zilAlekhathI siddha thAya cheA pramANe teNe zAka bharIbhUpAnane sa 12 07mAM kAvyo hato, te te 1201mA uparanu birada dhAraNa karyuM hoya te asabhavita che." (buddhiprakAza, sana 1944 jAnyu -mArca, pR. 20) upara jaNAvelA zrI modInA vidhAnane AdhArabhUta be kANe che tenAthI bIjA kAraNamAM jaNAvelA cittoDanA zilAlekhanA saMbaMdhamA puna vicAravA mATe najanonuM dhyAna deva chu tAkabharIbhrapAna arAja jayasiMhadevane bhAI hatA, ane tenA dika 5NuM hatuM, juo gujarAtane madhyakAlIna rAjapUta itihAsa' pR. 296 pAtAne uttarAdhikArI kumArapAla thAya te jayasihadevane ISTa na hatu nA jayasihadevanA mRtyu pachI kamAra pAlane rAjya maLyuM A vastu arNorAjane cikara hoya te sa bhavita nathI arAja, kamA rapAlane tenI sthiti susthira karavA mATe 80 varSa jeTale lAMbo samaya ApIne sa 127 mA zAka bharI upara caDhAI karavAnuM nimitta Ape te karatA sa 199nA uttarArdha mA ke 1200nA varSamA Ape, e sa gata anumAna thaI zake A anumAna ucita hoya te sa 12manA dAnapatramAM AveluM kumArapAlanuM 'vinirjitazAkabharIbhUpAla biruda yogya samaya che ema ghaTI zake cittoDanA zilAlekhanI vAcanAnA aMtamA kevaLa "saMvata 17 suraja " ATaluM ja che, juo gujarAtanA etihAsika lekhA bhA ku" lekha ne 146, pU0 37 ahIM mAsa-tithi-vArane uvekha nathI vikramanA 12mA zatakanI ane 13mA zatakanA prAra bhakALanI lipimA 1 (eDA)nI nIcano cheDe vAcanAranI DAbI bAja sahaja moha letA hoya te hoya che ekaDAnA AvA aneka ake tADapatrIya pratimA vidyamAna che A zilAlekhane keTalAya bhAga aneka sthaLe ghasAI javAthI avAsa che sAvatanA ekamanA ekaDAnI nIce DAbI tarapha moDa leta cheDA je sahaja TocA hoya to te "1nA badale 17 vacAya Ama banavuM asabhavita nathI "nithivArane meLa nathI maLata" evA zrI modInA prathama kANunA sa ba dhamA tapAsa karatA gaNitanI dRSTie sa 121 nA poSa suda 2nA divase magaLavAra maLe che ahI vimAsaNa eka ja che ke gujarAtanA aitihAsika lekha bhA " nA A dAnapama kenI pAse che ke te jaNAvyuM nathI tene pratyakSa

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5 amRtalAla mehanalAla, sejaka javAnI I-brA ta azakaya devAthI anumAna karavuM paDe che. A dAnapatramAM je paNa sa 2 nA badale pa sa aa2 hAya to upara jaNAvyA pramANe te divase zanivAra hoI zake A manapatramAM addhA evA paNa che eTaluM te jAgI rokAya che, tethI kadAca 'pila mu 1- nAnA ekaDA pasAdI gayA hoya ke a-paTa '' AvI UbhI lITI jevo thaI gayA hova ane vAcake te na na hoya prAcIna lakhavAcananA niSNAta abhyAsImana A anumAna asa gata nahI vAne A rIte paNuM nithi-vArane meLa sAdhI wAta ya te pa sa 101nuM kumArapAnanuM dAnapatra banAvaTI nathI ema kahI zakAya ahI tene bhautika mAnavAnuM ucita anumAna karo mATe prathama ane traNa muddA sUjhaSA hatA, te A pramAi-na banAvaTa karanAra tithi-vAranA meLa vinAnI banAvaTa kare te keTaluM kAcina hoI zake ? 2 ahI pratuna ma 1199 ane sa 1001nA dAnapatrane lekhaka eka nAnusa che banenA vakhANunI zani paNuM samAna che. te ekamAM vinitarAyamaradmaka bhi-ra nathI ane bIjAmAM kema che ? 3 sa ra01ne inapatranI zili vagere sa 110nA dAnapakane anusare che, te je banAvaTa hoya te te paNa samayanA ucita Ana 5 sa bhale ahIM prazna e che ke mAtra datakanuM nAma bhinna kema che ? aho nA kartha Agane prabhAkara munirAja zrI purijI mahArAjanI "sAdhananA vaya ya te rIte nidhittanIyA kathanane lakSamAM rAkhIne ati TakA niSphaLa lo" A savanAnuM sahaja bhAve maraNa thAya che astu manuna ghanapatramA bhUmidAna lenAra nAgara brAhmaNane padamaladevIrANInA zayAgrAhaka tarIke oLakhAve che yAmAhakane artha "zAlenAra ema karIe to padamaladevInA mRtyu pachInuM phaLyAdAna lenA- ema ghaTe AthI kumArapAlanI A padamaladevI nAmanI rANI dAnapatranA samayanA asAmA gujarI gaI haze ema jaNAya che pramomAM A pAmadevI vi kAcita ja je clekha maLe che te samayanI ekasAI vinAne khAya che punAnavAcArya muni zrI navijayajIe sa pAdita karelA ane sighI jaina kanyamA ThAma prakAzita "kumArapAnacaritragraha' gata "purAtanAcArya kRta kumArapAla madhamA (58) jaNAvenI padmAvatI rANI te ahI tAmrapatramAM jaNAvelI padamaladevI devI jaIe Ama nA prabaMdhamAM jaNAvelI padmAvatInA samayanI sagati padamaladevI sAthe sAdhI zakAtI nathI nArapAle surA brAhmaNavATaka, canada, sidhu-sauvIrAdi dezone dayA pachI pramadhamA padmAvatI rANIne prasa ga A pramANe jaNAvyuM che hiMtare papasare pApaputrI paginI papAvatInAmnI svapratihArImukhena zrIkumArapAladevasyAtirUpAdisvarUpa yA samasanithakA piyA visaSTA samakoTIdravyayatA saptazatasaindhavaturAmaparivRtA svsmaanssoddrajakAnA rAjA rAgA nA, kumArapAlanA rAjyasamAroha pachI bIjA mahinAmA apAyelA prastuta dAnapatramAM jaNAvelI padamaladevI sAthe pramadhanI hakIkata susa gata nathI khAna nA prakAranI pa5ra 5AmA kumArapAlane pAvatI nAmanI paNuM rANI hatI enuM nAvI zakAya che je "rAyAgrAvaka' ne upara jaNa tenAthI bIjo artha rAya te prAdhamAM jaNAvela hakIkatanI sa gati thaI zake A padamaladevI sivAya amAM mukhyatayA palaravInuM nAma parANI tarIke vizeSa maLe che tema ja anya jarUNa nAmanI rANIne uvekha paNa pAzrayakAvyamA maLe che,

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- 1 gUrjarezvara kumArapAladeva caulukyanuM dAnapatra mahesANAthI pATavu jatA relamArga mA cAcA revenanananuM nAma mAsuda che A sTezananI najIkamAM magu dagAma che. te ja prastuta ghApAmA jAnu mUyvagrAma che dAnabaminI sImAmA ke thArAvI gAmane ja bhAga jamAvyo che te kathArAvI gAma Aje paNa katharAvInA nAmathI vidyamAna che, ane teno mArga paNa maNa dagAmanI sIma pAsethI jAya che DA zrI hariprasAbhAI rAbIe che bAkaLIyAnA vidhAno virahamA dAhathakane rathaLanirNaya karyo che (juo vidyApITha dinAsika varSa - eka che, tenA viSayapathanI je mayadA jaNAvI che tene A dAnapatramAM jaNAvela viSaya5thaka - puSTi Ape che prastuta dAnapama bhUminA pramANanA a kanI AgaLa lakhenA 'vi no atha "vivo' karyo che, ane chabhA , bhA ke "bhanI sattA vinAnA amuka bhAgane sUcave cha A dAnapatra zrI lA da bhAratIya saMskRti vidyAmarimA rahelA viThadarya AgamaprabhAkara munirAja zrI puNyavijayajInA bahumU5 samUhamA sugadita che. Ane upayoga karavA mATe vidyAmaMdiranA mukhya niyAmaka bhAratIya darzanazAstranA UMDA abhyAsa pa dalasukhabhAI mAlavaNIyAjIe je suvidhA ApI che te badala temanA pratye AbhAranI lAgaNI vyakta karU chuM A lekhamAM jaNAvelA dAnapatranI vAcanA A pramANe che - patarU paheluM (pakti 1] svasti rAjAvalI pUrvavatsamastarAjAvalIvirAjitaparamabhaTTArakamahArAjAdhirA japaramezvarazrImUlarAjadevapA[2] dAnudhyAtaparamabhaTTArakamahArAjAdhirAjaparamezvarazrIcAmuDarAjadevapAdAnuSyAtapara mabhadhArakamahArAjA[3] dhirAjaparamezvarazrIdurlabharAjadevapAdAnudhyAtaparamabhaTTArakamahArAjAdhirAjaparama (ra)zrImavivA[4] dAnudhyAtaparamamArakamahArAjAdhirAjaparamezvarazrImatrailokyamallazrIkarNadevapAdA nudhyAtaparamabhaTTA[5] rakamahArAjAdhirAjaparamezvarAvaMtInAyatribhuvanagaMDabarakajiSNusiddhacakravartizrIma jayasiMhadevapA

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5' amRtalAla mohanalAla, bhejaka 6) dAnubhyAtaparamabhaTTArakamahArAjAdhirAjapAmezvara zrImatkumarapAladevaH svabhujya mAnaviSayapathakAna:7 pAlina samAnarAjapumpAna brAhmaNottagamtanniyuktAdhikAriNo janapadAnprayo ghayatvAtya)stu va sAva 18, dina yathA / zrAdi kamAdityotpAditasavatsarazanAve kAdazatu navanavatyadhikeSu pauSamAyabalapa 19 sadanamyA gA dina yatrAno'pi sapat 1199 pauSadi 10 zanAvasyA sabama(mAmAmapakSavArapa.ibikAyA niyAvayeha zrImadaNahilapATake uttarAnayana(gayaNa)parvaNi snAtvA cAcaraguru bhagavana bhavAnIpa 11] nimamaya samArAsAratA vicitya nalinIdalaganajalalvataralatA prANitavya mAkalayahika [121 mAmugmika ca phalamagIkRtya pitorAtmanazca puNyayazobhivRdvaye maNavadranAme halaradvayabhUmI sasI13 mApayaMtA savRkSamAlAlA sahiraNyabhAgabhogA sakAThatRNodakopenA sadaDadazApa rAdhA sAdAyasamenA [15] rAjatriIpadamaladevivI)sAkaza yAgAhakanAgaravAhmaNaIzvarasutamahadAbhidhAnAya sAmananAdakapU[15] mammAbhi pradattA / ygy| vivaro yathA / lImvAkSetrAta bhUmi vi ? ___ 'rabhA ' dhAMdhuyAkSetrAta gami vi 3 116 mA 1 ubhaya bhUmi vi (1) || asyA bhUmerAghATA yathA / pUrvato mahAdeva sAkamAsanabhUmau mImA patarU bIjuM [1] dakSiNata kAlahajAkSetramerikAyA somA / pazcimato mRNavadragrAmapAr3ha / uttarata ThAkurasatkazA

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rAjAvatIpta umarAva nAmadAraka mahArAjAvigaMja parane drviildidpaa| " 12.12.12 ka mArA paserAtArAjAdavapAdA ughAtaparasadAra mahArAjA (rAsArakhesAra cAitirAditamAmA pApa ramatahAraka.madArAkA paramadhIla bhAdavA / "dAna para mAra kanahArA mizvara pAvalokazAlI dinapArAotapasmatA 2kamAtA)rAjadAja na ka rahinihatakAta mahAyasiMdevapA: '3AparamAra kAma skaaraatprkoriiyaalaadtaasaanaatishypksstiH| mana rA. gurumAtA rogAvarAnavAdhikAriyo manapadIyAtAyAta vaH maMdira dvitIya zrImahakamAdilolisadasarAlA nAvana nAyavikeSurapAlapAsavAla.pa. , sAnidineyacI kA nosmitA zikSA tazI gatasaramAsapakatArataH / kAnAvayehI pani nagadena kA lAvAvaraMgurUtagatistAnI / timasaMsAramA tAninovAka lAla catAralataramANitadhamAkalatyAdinA / kinnara gIhAtAlA hitagrAmeilara iyatamItatara mAtA dAhAla:timA jita DalazA rArAmatIdAdAsrotA dasalakA sAnA dalAlitmana:prazAsanenATakAH lIlA...pAlakA 19 paTanA sivira / 15 agale sAsanamAnImA .... / gUjarevara kumArapAladeva caulukyanu pAnapatra (vi saM 1166 )-patarU pahelu

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nidAna diyA tArAjaputakAsAsA sa mAropAvara pAkharAsahI rAsabaranAvata gAnAko sAmAjaka rAjArAbavilAlAnagAtAra vAsijanakrayAvAdI yAnamArogA rahivAzAmilAmAvagaravAyA lenA'mAsamapannAlAlakilocinan / upacanekA / / smazAjarAyarapitAmahaviramapadale tanadAyo pAvanatama pAlanAyA / latA uttagabanAsijAtiIsacA (zativAnanida pAzAvAramatavatAvAsa / satAsAna attAni rAjA ninirsiyasa rAmazani-nAlyatAtipratimAnimaje kaa| nAmasAja didItArakhAtirvA rAjaniHsagarapisi pica padAvanimapatya / tApalAi sadasaDAgAnAmadhaneza navAgavIkAhinAmiha tahiyAnA vidhA lIcAlAyAmazatakoTara mAlika salamayata bAdIyAgArakAmapani vA : | midaMzAjanaMgAikAcAvayavatamahAmAyA vidhArAmasatyAdA malinA zrImA nAtAnAdhamahAna ( (nAdikA bAlAligati pAUmarapAlAra hun / gUrNarezvara kumArapAladeva caulukyanu dAnapatra (vi sa 119E)-patarU bIju

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gujarezvara kumArapAladeva caulukyanu dAnapatra [2] sanabhUmI / iti caturAghATopalakSitA mUmimenA / tathA dvitIyasthAne sAjaNa kSetrabhUmi vi 4 bha 2 // dhaNasI[3] hakSetrAt bhUmi vi 0 // ubhaya bhUmi vi 4 // bha 2 // [1] asyA bhUmegaghATA yathA / pUrvatA(to) gajaguskelhaNasa kazAsana[4] bhUmau sImA / dakSiNata ThAkuramatkazAsanabhUmi / pazcimano brAhmaNamahasUyaNa satkazAsanabhUmI / uttareta [4] kaMthArAvIgrAmasatkagajamArga / iti catugaghATopalajJitA bhRmimenAM cAvagamya tannivAsijanapadairmayA dI[6] yamAnabhAgabhogakarahiraNyAdima sarvadAjAzravaNavidheyairbhUtvA'muSmai samupana(ne) tavya / sAmAnya caitat [7] puNyaphala matvA'smagajaignyairapi bhAvibhoktRbhirasmatpradattanamadAyo[5]yamanuma tavya pAlanIyazca / [8] ukta ca bhagavatA vyAsena / SaSTivarSasahasrANi svarge niSThati bhUmida / Acche ttA cAnumantA ca tAnyeva naraka [9] vaset / 1 yAnIha dattAni purA narendrairdAnAni dharmArthayazaskarANi / nirmAlya vAtipratimAni tAni ko [10] nAma sAdhu punarAdadIta / 2 bahubhirvasudhA bhuktA rAjabhi sagarAdibhiH / yasya yasya yadA bhUmistasya tasya [11] tadA phala / 3 sahasreNa taDAgAnAmanyamedhazatena ca / gavA koTipradAnena bhUmi hartA na zudhyati / 4 viMdhyA[12] TavIpvatIyAsu zuSphakoTaravAsina / kRSNasarpA. prajAyate brahmadAyApahA rakAH / 5 limvita[13] mida zAsana gauDakAyasthAnvayaprasUtamahAmAtyazrIvidyArAmasuta bhAkSapaTa lika Tha0 zrIla (kSma)[14] Nena / dUtako'tra mahAsAdhivigrahika Tha0 zAliga ini / zrIkumarapAladevasya /

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jaina guNasthAna aura yodhicaryAbhUmi' dalasunna mAlavaNiyA bhAratameM yogaprakriyAkA saMpUrNa itihAsa likhA jAnA abhI bAkI hai| kintu yaha saMbhAvanA to vidvAnoko saMmata hai ki siMdhukI mAryapUrvakAlIma prAcIna saMskRtimeM jo mubAeM milI hai umakA saMbandha yogase hai / bhadyatana bhAratIya saMskRtimeM vaidika aura bhavaidika donomeM yoga kA sthAma mahattvapUrNa hai / itanA hI nahIM kintu yogakA aMtima lakSya nirvANa za mokSa samAna eka jaisA hai-yaha sUcita karatA hai ki samagra yoga prakriyAkA mUlasrota eka hI hai| yahA~ saMkSepameM bhavedika saMskRti jaina aura bauddhako yoga prakriyAkA sAmya-vaiSamya dikhAnA abhipreta hai| kintu yaha dAvA nahIM ki yahA~ sapUrNa bAtoM kA nirdeza hai| kucha ho mahatvapUrNa tathyona nirdeza karamA abhISTa hai-yaha isa lie ki vidvAna isa viSaya vizepa abhyAsake lie prerita ho| jainoMmeM AtmavikAsake sopAna kA sAmAnya nAma jovasamAsa yA guNasthAna hai / mahAyAna pauDomeM bihAra yA bhUmi nAmase inakA nirdeza hai| jainomai guNasthAna caudaha hai aura yomeM mahAyAnameM bihAra 13 haiM, bhUmi sApta yA daza haiM / bhAcArya agaMgane vihAra aura bhUmibhoga samIkaraNa kiyA hai / hInayAnI bauni sotApasti bhAdi cAra sopAnokA nirdeza hai-para pastuta bhati saMkSepameM vikAsakramake sopAna samajhane caahie| vaidika aura avaidika-donomai mAdhyAtmika vikAsake lie svAmakA mahatva svIkRta hai| bhUmi aura guNasthAnoMkI isa bAta sahamati hai ki prathama sampaSTikA kAma jamI hai| usake bAda vizuddhazAmakI prApti hotI hai| usake bAda koza yA pAryo mivAraNa hotA hai itamA hone para hI sarvottamazAna kevalajJAna yA sarvazavakA lAbha hotA hai| yahI prakriyA rika samata yogamArgameM bhI dekhI jAtI hai / klezake nivAraNakI prakriyAma mI sapazama aura sabadonoM prakAra sarvasaMmata jaise hai| upazamakI prakriyA meM upazAnta doSa jaba bhapamA parvakaranA ena. zurU karatA hai taba patana hotA hai aura aisA patana kSayakI prakriyA saMbhava nahIM, vaha mI sarvasaMmata bApta hai| mahAyAna meM bhaura hInayAnameM mI kalezoMke mApAse nirvANa mAmA mayA hai| sarvazatyakI prApti nirvANa ke lie bhanivArya nahIM / mahAyAnake anusAra dezAvaramakA miSAraNa vahI karegA jise sampapasaSuda honA hai| mahaMta ke lie klezAvaraNakA nivAraNa hI paryApta samajhA gayA hai| kintu jaina tIrthakara ho yA sAmAnya vItarAgI-donoM ke lie zAmAvaramakA nivAraNa anivArya hai itanA hI nahIM kintu klezAvaramake nivAraNake hote hI sAmAvaraNakA nivAraNa ho hI jAtA hai / aura binA isa ke nirvANa yA mokSa saMbhava hI nahIM / mahAyAna yAvarama ke nivAraNakA vizeSa prayatna apekSita hai| 1 vArANaseya saMskRta vizva vidyAlaya meM tA0 21-1-4||ke dina honevAle bauddha yoga tathA anya bhAratIya sAdhamAnoMkA samIkSAtmaka adhyayana seminArake lie lisA gyaa|

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yahA~ itamA dhyAna lenA jarUrI hai ki jaina ho yA bauddha donoma jina siddhAntoM ko pAcI kI gaI hai unakI vyavasthAke lie paryApta samaya vyatIta huA hai| ye siddhAMta prAthamika bhUmikA meM hI sthira ho gaye ho emA nahIM hai| jaina aura aura donoM adhyAtmamArga para bala denevAle dharma hai| ye donoM sAdhanA ke rAmivANa prAlikA mAga dikhAte haiM / jainake matameM AtmA eka svatantra dravya hai jinake vividha pariNAma hona hai kintu bauddha dharmakA mAnanA hai ki AtmA koI svatantra dravya mahI ti cintA dhArA yA samarikA mAma almA diyA gayA hai / AtmA mAmA jAya yA mahI ndiogAne anAdika rame janma-paraMparA yA sasArakA caka to samAnabhAvase mAnA hai aura rona kA usayasa jamarAkA nirAkaraNa kAnA yaha hai / AtmAko dravya mAnakara jaina samake vividha pariNAmoka dvArA punarja ma gaura sasAracakra kI ghaTanA samajhAte haiM aura bauddha go-bhaye kilaki bAda yA citlasanAmake dvArA samAracakrakI upapatti karate haiN| bauddho meM eka pamA bhI maprAya hA so pudagalake nAmase AtmA kA svatantra astitva mAnatA thA aura pajanmake cakakI upapatti karanA thA kinu AtmavyakA svIkAra bauddhoke dvArA samata dharmabamizanya, kevala dharmako kalpanAke sAtha saMgata nahIM honese usa mAnyatA ko bala milA nhiiN| ra bhI pare hA mahAyAna bhAlayavijJAnake nAmase bhAtmA jaisA tattva mA hI gayA jisase inArA pAnA dArzanika kAlake bauddhake lie kaThina ho gayA / jo bhI ho kintu jaina-bauda tenAne mamAraka kATaneke upAyoM ko mAnakara nirvANakA mArga prazasta kiyA hai-isameM to madeha nahIM hai| bhavahArika bhASA jaina aura bauddha meM antara hone para bhI lakSyakI dRSTise donoM eka hI rikA nAmI hai-aisA kahA jA sakatA hai| zAstrame jainoM ke dvArA sacetana padArtha ke lie AtmA mAjIva zanda kA prayoga hotA hai| ki tu bauddhoke dvArA masva yA pudgala zabdakA prayoga hotA hai| yahA~ hama donoM ke lie AtmA dhandakA hI prayoga kreNge| prekSakI prAptiko yogyatA rakhanevAle AtmA ko jaina bhavya sajJA detA hai aura usa yogyatAse paramAtmA samaya hai| arthAt mAnyatA aisI hai ki sasAramai jitane bhI bhAtmA meM aise bhI hai jinakA mokSa kabhI hogA ho nhiiN| aisI hI mAnyatA baukhomeM bhI dekhI jAtI hai| unakA anumAra AtmAke do meda hai gotra bhaura bhagotra / gotra kI tulanA mAse aura bhagotrakI tulanA bhabhaSyase hai| jaina aura bauddha donoMke anusAra nirvANa ho jAneke bAda bhavabhramaNa mahIM hotA arthAta puma marenekI koI gumAIza nahIM / yadi sabhI kA nirvANa ho jAyagA to sasAra bhAtmAse rikA jAegA isa prazna uttara kI talAzamaise yA mo jina yA mukhake batAe mArgakA kamI anusaraNa nahIM karatA to usako kyA gani ho-aise prazna ke uttarakI talAzamase bhavyaamamya aura gotra-agotrakI kalpanA kA janma huA hogA-aisA saMbhAvita hai| bhavya aura gotramaise momabhI mokSamA nirvANa ko prApta hoge hI- aisA bhI niyama nahIM hai| yogyatA hone para usa yogyatAke kAryakArI hone kA bhanivArya nahI-aimA bhI jaina-bauddha donoMne mAnA hai / jaima aise mammoM ko durbhaya hate haiM, aura yauddhome use Atyantika anairyAmika bodhicitta mahA

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jaina guNasthAna aura bodhicaryAbhUmi hai| japa ki nirvAga prApta karanevAloM ko naiyAmika bodhicittakI mannA dI hai| isa kalpamAna mala anubhava hai| lokasaM ThekhA jAtA hai ki bIjameM gempAdanakI yogyatA sohai kintu kAraNa mAmagrIko prApti na hone se akura hotA nahIM hai / emI hI bAta durbhaya maura bhaneryAnika ke lie kahI jA sakatI hai| jainauke anusAra bhavya japa apanA dhyeya siddha kara letA hai taba vaha kevalA hokara nirvAna prApta kara letA hai| aise kevalI ke bhI do bheda kie gae haiN| mAnya kevalarI aura sAdhakara / sAmAnya kevalI dharmazAsanakI sthApanA nahIM karatA aba ki tIrthakara dharmazAsama kI sthApanA karatA hai| hInayAnI bauddho meM bhI ahaMta yA pratyekavuddha aura yuddha aise do prakAra kI kampanA hai| mahaMta dharmacakrakA pravartana nahIM karatA aura buddha dharmayakakA prapatana karatA hai| anaune tIrtha kara ko- mahaMta bhI kahA hai / mahAyAnI bauddhoMne yuddhaprApti para bhAra na dekara bodhisatvako caryA para bhAra diyA aura yaha Adarza upasthita kiyA ki bodhisattva samyak sabuda honA cAhatA hai kintu jaba taka sasArameM sabhI prANImAko mukti nahIM ho jAtI taba taka yaha apanA nivAMga mahI cAhatA / isa prakAra jainatIrthakara yA hInayAnI ke ahaMta kI apekSA mahAyAnI dharmameM zeSi patvakI hI pratiSThA ko bddhaayaa| aura bhAgraha rakhAki bodhicaryAkA bhAdarza kevala apanA mokSa hI nahIM honA cAhie kintu samagra prANIko mukti honA caahie| yaha matavya honayAna mora jaina donoM ke bhAdase Age bar3ha gyaa| janoM ke tIrthakara aura hInayAna ke buddha- ye donoM apane mokSako mahattva dete haiM, zAsamako sthApanA prAsagika hai / jaina saMmata anya sAmAnya kevarIyA hImayAnake pratyeka yuddha zAsanako sthApanA mahI karate yAni mokSa mArgakA upadeza nahIM dete aura tIrthakara yA yuddha mokSamArga kA upadeza dete hai isa medakA yahI kAraNa mAnA gayA hai khAdhamAke prarambhameM apane aura parake kalyANa kI dRSTi homA yA na honA yaha hai / kintu homayAnI yuddha yA jaina tIrthakara apanA nirvANa sthagita nahIM karate yA bhagita karanekI bhAvanA bhI nahIM rakhate kintu mahAyAnokA bodhisattva apane nirvANake lie utAvalA hai hI mahA~ / usane to samapra prANIkI mukti apanA dhyeya banA liyA hai| yahI donoM ke Adarza meda upasthita karatA hai| jaima tIrthaMkara upavezaka avazya hai| kintu anyake mokSa ke lie kriyAzIla mhii| hImayAnI buddhakI bhI yahI sthiti hai| jaba ki bodhisattva kevala upadeza dekara saMtuSTa nahI ho jAtA prANimauke kaSToM kA nivAraNa apane prANa ga~vA kara bhI karanA bodhisatvako iTa hai| aura samyaksabuddha ko bhii| bodhisattvakI cameM aura jaina tIrthakarakI caryAma isa dRSTimedake kAraNa meva devA kA sakatA hai| hImayAnI buddhake pUrvajanmakI kathAoMmeM bodhisatvakI varyA arthAt pAramitAmoMkI prAptikA jo mirUpaNa hai, vaha mahAyAnI baudhisattvake Adarza kA pratiphala hai kintu hImayAnI rAtra jo citra mUlapiTaphase upasthita hotA hai usameM jAtakakathAse phalita honevAlA pukharjIvana dikhAI nahIM detA / kintu jainatIrthaMkara ke samAna upadezaka pradhAna jIvana dikhAI detA hai, bodhisattvakA Adarza usase upasthita nahIM hotaa| arthAt yaha hama kaha sakate haiM ki du khaniyAraNa kA mArga dikhAte hai kintu nivAraNa meM sakriya nhiiN| kintu podhisatya yA samyakasadudaSa

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dalasukha mAlavaNiyA mAyAmamata bhAdo sakriya vyakti upasthita karatA hai| vaisI sakriya vyakti buddhakI pUrvakAla dekhI jAtI hai, pAlipikarme anyatra nahIM / yaha jAnakA mahAyAna ke prabhAvakA yAnaka hai| jaina tIrthakara aura hanayAnI gha donoM apane kleza aura bajA ke nivAraNa ke lie manazala hai pirabhI jAtakoM ke vRddha aura jaimoMke dvArA tIrthakarvarita ma varNita pUrvabhavA ko kamA dvArA upasthita tIrthaMkara meM bheda dikhAI detA hai| pAlipiTakarma mUlme jisa prakAra buddhakI darzana hai vaha aura jaina Agama gUla tathA vAdake mAhityamaM varNita pUrvabhavoM kA sAdhana kA varNana eka jaisA kahA sakatA hai| donoma apane kleza aura ajJAna nivAraNakA prayatna svAda hai| janani bAda ke sAhitya meM bodhimattvakA mArga upasthita honepara bhI umeI nahIM kiyA aura apane mokSake mahattvako kama karake bodhisattva ke sakiya marga kA nahIM apanAyA / jaba ki bauddhoMne apane mokSa mahattvake sAtha paraphe tu svanivAraNake efer ko apanAyA rAya aura tadanusAra hI jAtakoM kI racanA kI / sArAMza yaha hai ki jiyAno paudane mahAyAnake Adarza ko yuddha ke pUrvajanma kI kathAoM meM le liyA kintu buddhaabako kathA meM usakI koI asara hone nahIM do / mahAyAna meM to buddhacaritakI apenA ghoSi kA ho carita buddhacarita kA sthAna le letA hai / aura buddha ko to laukikakI apekSA alaukika ho banA diyA hai| aura avatAravAda ko prazraya de diyA hai| janatIkarake jo pUrvabhavoM ke carita haiM unameM apane hI klezake nivAraNakA prayatna spaSTa hai kintu jo vizeSatA dekhI jAtI hai vaha dUsarI hI hai| bauddhoMne cittakA vizleSaNa karake abhidharma liyA kintu janAne karmakA vizleSaNa kiyA aura usakA eka svataMtra zAstra banA liyA aura karmazAstra bhU siddhAnta jaise karma vaise phala ko tIrthaMkara carita dvArA upasthita kiyA / matvaka aisA vyakti hai jo apane gurgoM kA pradarzana karatA hai kintu jaina tIrthakarake pUrvabhavakI kathA to aise vyaktiko upasthita karatI hai jo sAmAnya mAnavI hai jisameM guNadotradAna haiN| aura jo apane doSoM ke kAraNa mAnAbhava karatA hai aura apane karmakA phala bhogatA hai| lAbha yaha hai ki pUrvabhavakA varNana isa dRSTiko samakSa rakhakara kiyA gayA hai ki choTA ho yA vahA vaha apane karmakA phala avazya pAtA hai| ataeva sAdhakako cAhie ki dUre karmA se bace, akarma na ho sake to satkarma kareM kintu bUre karma to kare nhiiN| kisI guNa karake parAkASTA taka pahucAnA, pAramitA prApta karalenA - yaha Ataka kathAoMkA rahasya kahA jA sakatA hai to tIrthaMkarake pUrvabhava kA itanA hI rahasya hai ki tIrthaMkarako bhI apane karmake bhogane par3ate haiN| kisI khAsa vizeSaguNako uttarottaravRddhi aura parAkASThA kaise hotI haivaha dikhAyA tIrthakara caritake pUrvabhavoMkA uddeza phalita nahIM hotA / yahI kAraNa hai ki bodhicaryA aura soca meM bhI meda ho gyaa| noMne marat unnatikA ma karmake kSayake kamase affs hai ki bodhicaryA meM guNaddhikI aura dhyAna kendrita hai / kintu antameM jAkara AvaraNa nigakaraNa donoM meM samAnarUpase mAnA gayA hai| jaina yogamAcanA aura bauddha yogasAdhanA meM jo maulika bheda hai, usakA vicAra karanA jarUrI hai| honayanakI sAdhanA aura mahAyAnako sAdhanA meM bhI bheda hai| yogasAdhanA meM jaina

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jaina guNasthAna aura yodhicaryAbhUmi aura donoM meM to sAmya hai vaha itanA hI kibodhilAbha vA mabhyaSTi ke binA yogamAdhanAmeM praveza hI nahIM mila sakatA hai| miyAdRSTikA tyAga hI bauddha hInayAna, mahAyAna donoMkI prathama zarta hai / mithyASTikA tyAga hI janamAdhanAko bhI prathama zana hai| yahI mamyATi eka mI hai o donoMke anumAra janma janmAntara meM sAtha raha sakatI hai| usake bAda kI jitanI bhI yogyatA samyaksayodhike lie bauddhani aura kAlajJAnake lie jAne mAnI hai usake viSayoM baudokI mAnyatA hai ki yaha yogyatA kaI janma-janmAntaroma grAma ho sakatI hai unakA kAma bhI kara janma-janmAntaromeM ho sakatA hai / jara ki jenAkA mAnanA hai ki mamyagika malA jo bhI yogyatA prApta kI ho, yadi apane dhyeya taka pahucane ke pahale mRtyu ho jAya to yaha samAna ho jAtI hai naye janmameM naye sorese usa yogyatAkI prAptika rie prayatna karanA par3atA hai| jana-cauddha donoM kI tattva-vyasthAga bhI bheda hai| ataeva dhyAnakA viSaya bhI bhinna ho jAtA hai| itanA hI nahIM kintu no meM dhyAnakI parAkASTAma pasnukA sAkSAkAra hotA hai to mahAyAnI aura hInayAnI donoM baudoMma vastu kA pratibhAsa yAnakI parAkASThA meM sthAna hI nahIM paataa| __isa prakriyAmedake kAraNa jana aura bauddhako mAnya sAdhanAke mopAnomeM meda par3a jAtA hai| phira bhI itanA kahA jA sakatA hai ki prathama kalezAvaraNa kA pUra homA aura bAda meM zAnAvaraNa yA jJeyAvaraNakA dUra honA isa mAnyatAme jaina aura bauddhoMsa aikamanya hai| bharthAt yaha kahA jA sakatA hai ki binA klezake dUra hue vizuddhatama jJAnakA sabhava nahIM-yaha mAnyatA donoM kI samAna hai aura yahA~ Akara samagra bhAratIya yoga paramparAkA bhI aikamatya hai|

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guNasamRddhimahattarAnibaddha aMjanAsuMdarIkathAnaka saMpAdaka nagIna nI. zAha paM. amRtalAla mohanalAla mojaka

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prAstAvika prastuta ajanAsundarIkathAnaka kI kevala eka hI prapti upalabdha hai aura yaha jamalamera ke zrI jinabhavamUri jaina jJAna bhaNDArAntargata vegaDAcchIya jaina bhaNAra kI hai| bhaNDAra meM isa prati kA kramAka 1278 hai [dekho jesalameha durgastha yugapradhAna bhAcArya zrI jimabhari samthApita tADapatrIya jaina nAma bhaNDAra sUcipatra pR0281] / 504 AryA chada meM racita isa raghu kathAmaka kI prati ke kula 23 patroM meM se 1,45, 11-12, aura 14-02 patra aprApya hone se isake kevala 9 patra hI vidyamAna hai| isa prati kI labAI cauDAI 1943 haba kI hai| sthiti macchI eva lipi supAcya hai| isa kathAmaka kI racanA vi sa 14.7 ke caitra zuklA 13 ke dina jesalamera meM zrI guNasamRddhi mahattarA ne kI hai| racanA savata va sthala kA ullekha gA 5.1 me hai / aura racanA kA nAma mata meM bhAI huI gadya puSpikA meM hai| uparokta kathAnaka kA mAdhe se bhI kama hissA upalabdha hone para bhI isakI racayitrI eka nindhinI hai aura isakI racanA meM kahIM kahIM bhAne vAle lokabhASA ke zabda prayogoM kI upayogitA ko dhyAna meM rakhakara isa kathAnaka ko yadhAlabdha svarUpa meM prakAzita karanA ucita samajhA hai| vaise to isa kathAnaka kI racanA ko eka sAmAnya koTi kI racanA kaha sakate haiM / isa bAta ko svaya grandhakI ne gA0 19697 meM sahaja bhAva se svIkAra kiyA hai| chadomela ke lie isa meM 'kalA' ke badale 'kala' (gA 25), 'abaNA' ke badale 'bhajama' (gA 501) jaise prayoga milate haiN| bhAge cala kara to 'kadappasamarUvo' ke padache 'karappasamo spoM (gA 25) jaise anAdeya prayoga kara ke bhI chada kA mela biThAyA hai| do sthAnoM meM mAtrA ghaTatI hai, dekho (gA 32 bhaura 45) / usa samaya kI lokabhASA ke prayoga bhI isa meM milate hai| jaise 'rati-rAtri meM, gu rAte, (gA 116), 'rayaNi'-rAtri meM, gu rAve (gA 119), 'na vi' ke badale 'nava' (gA 127), 'maI'-gu ma (gA 151), 'bhASamAi'bhASanA se, gu bhAvanA baDe (gA 270) / isameM apabhraza zabda prayoga bhI hue haiM / dekho-'puNu' gA 147, 'mAgaccha' gA 158, 'aNujANahu' gA 277, 'micchAdukkaDu' gA 198 aura 'aNatasaMsAru gA 573 / __ kahIM kahIM vibhakti lora bhI kiyA hai, jaise-'mIra' gA .9, 'vAhalaya' gA 29, 'bAyosa parisa' gA 156, 'sAyaNa' gA 503 / 176vI gAthA meM 'mahannAe' ke sthAna para 'ahassa' rakhakara liMgavyatyaya kiyA hai| jaise ki hama upara kaha bhAye hai-isa caritra meM lokabhASA ke dhanda prayoga tathA apakSa ke zabda prayoga hone se ise hama vizuddha prAkRta racamA nahIM kaha skte| isameM lokabhASA ke prayoga isa prakAra Ate haiM huya huu, gu thayu gA 15, sukumArIyA-gu supALI, pUrI gA 1., 'vacchaga'-utsuka, gA 114, 'ucchakiya'-utsAhavAlA gA 115, 'ima'-aisA, gu ema, gA 168, ghaDanAlamAlA, gu garanAlu gA 182 bhaura rANI-rAjJI, gu rANI / taduparAnta gA 151 aura 159 meM usa samaya kI lamaSidhi eva rItirivAja bhI jAnane ko milate haiN| saMpAdaka

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siriguNa samiddhimahattarAviraiya aMjaNA suMdarI kahANa [Folio 1 missing ] jiNabhavaNatugasihare | nahu maNuyANa daDo karei rAyA muTTho vi // 12 // tattha pure naranAho sUro vIro payAvabharakalibho / palhAyaNu ti nAmo loyANa badhavasariccho // 13 // tassa nivassa u gharaNI sayalateurapahANavararamaNI / nAmeNa keumaI kulake umaI mukeu-maI // 14 // sukulINA varasIlA dakvinnamahoyaho saralacittA / viNayAiguNapahANA jubaikalAsIlaNa sujANA // 15 // pacapayAra sukkha aNuhavamANANa tANa voleI / kAlo jaha devANa suraloe vaDDhamANANaM // 16 // aha annayA kayAI keumaIuyari uttamo jIvo / avayario jaha muttAhalarayaNa sippauDamajjhe // 17 // Bre paMcamammi mAse Dohalao dhammarkeraNe sajAbho / rAyaNa pUrio so saTTA vahaha varagarbha // 18 // sapunne vihu mAse jAo puttI pahANarayaNIe / suhalagge uccagahe sumuhupte suha tihI karaNe // 19 // vRddhAveya rAyA kArAvara sayalanayaramajjhammi / aibahuviSTheNaM taha cAragasohaNAyAre // 20 // mAyA- piyarehiM tao pariyaNasahiehiM garuyakuDeNaM / pavaNajaotti nAma vihiyaM se ucchaSeNa samaM // 21 // vara paMcadhAikalio bIyAcaMda vva vaddhae kumaro / sayala jANadakaro visesao mAya - piyarANa // 22 // 1 " kulasya ketumatI - dhvajasamAnA" iti pratau TippaNI // 2 " zobhanAmi keni-parakSaNAni, matiH- buddhiryasyA sA suketu-mati " iti pratau TippaNI ||3 aNuvaimANA pratipATha / "karaNa pratipATha // 5 NayaM rannA kA pratipATha //

Page #194
guNasamiddhimahattarAdhirayaM amavara se kumaraM vajhAyarasa piyaro samappati / bahumANadANapu kalAkalA va gahaNahe u // 23 // paDhai kumAro tAhe ubajhAo sakkhimittao kuNa ( hava) i / siksvada kumaro acira kalAkalAva samaggamavi // 24 // bAhrattarikailakusalo sajAo yo divasamajjhammi / kaMdapyasamo rUtro, kiM bahuNA ' guNagaNAvAso // 25 // taruNIjaNa mohakaraM aha kumaro juvvaNa samaNupatto / abhiramaha mittajutto nAjjANoiThANesu // 26 // sapai ajaNacariya mUlakahAsatiya ahamahata / bhaNimo sagvatreNa jaha nimuya vibuhajaNabhaNiyaM // 27 // lavaNa samudasamI visAlaDaccattaNeNa apamANo / vaNarAiakario supacao datinAmeNa // 28 // jhagjharajharati ni raNanIra vAhalaya jattha [ pa ] vahati / vitaira kinnaradevA AgacchaI kIlaNa nimittaM // 29 // tarasovari dAhiNadisikhusaThiyaM viviharidvihiM samiddha / nANAgama jalAsaya maDha - deula - keliharakaliya // 30 // uttagacagadhayavaDasuvannakala mehiM daDajuttehiM / bahujiNapAsAhi alakiya alayanayari vva // 31 // nAmeNa mahiMdapura nayaraguNeNaM jayammi vizvAyaM / tattha ya loo nivasaDa pamuhao riddhisajutto // 32 // tassa nayarassa majjhe cAI bhogI suvacchalo loe / mAhiMda nAma rAyA pAlai rajja susattama // 33 // jassa nivassa i rajje loyANa no karo na daDho ya / kiMtu karo loyANaM bAhupase, na annattha // 34 // puhavI sarassa gharaNo hA jaha rohiNI ya caMdassa / nArAyaNassa lacchI taha iTThA naravariMdarasa // 35 // nAmeNa hiyayasudaridevI naradeSavallahA hutthA / jIe pamaNakamale sakamio niyayamaNabhamaro // 36 // " jabajamA pratizaTha // 2 "kuzala ityartha // 3NAI pratipAThaH // 4 nirjharano rAmasya // 5 vyatara kinaradeva AmacchantItyarthaM //

Page #195
aMjaNAsuMdIkahANaya toya viNaNNa rAyA ya rajimo niyahiyayamaJjhammi / ahavA viNaiguNehiM ko kassa na vallaho hoDa / // 37 // satyesu imaM bhaNiya 'nahu~ maNuo kassa vallaho hoi / jo viNaDaguNapahANo so iTTho savvahA loe' // 38 // muMjai bhoe vivihe rAyA vi [ya] hiyayamuMdarIha sama / jaha sakko suraloe rabhAi samannio sayaya // 39 // jaha sayaagasameo mahAraho taha mahiMdarAyA vi / araviMdapamuhamuyasayasahio jAo supunneNa // 40 // eya saccAhANa sajAya tassa naravaridamsa / 'sayasAhA pasarijau' thivirI ja diti AsIsA // 11 // ovAiyasayamahimA koi jio hiyayasudarIgavme / avayarimo punnajuo jaha hasI kamalakhaMDammi // 42 // sapunne navamAse sumuhune hiyayamudarI devI / pasavai kannArayaNa tatkAla pamuiyA piyaro // 43 // sayaputtANa uvariM kannArayaNa ima huya amha / iya puttajammaahiyaM u( ' mahu)cchava kAravai rAyA // 4 // vitte ya bArasAhe samaggabadhavajaNANa mamavAga | ajaNasudarInAma vihiya piyarehiM kumarIe // 45 // dhAIjaNakiyakammA hatthA hatthAo sacaratI ya / parivaDDhai sa' bAlA meruvaNe kappavalli vya // 46 // jaha jaha vaDaDhai bAlA jaha jaha bAlAi mammaNullAvA / taha taha mAyApiyaro harisijjaI bAlalIlAe // 17 // jAyA kameNa paDhaNassa juggayA jANiUNa piyarehiM / uvajhAyassa i dinnA gaeNa ucchaveNa sA // 3 // lakkhaNa-vijA-joisa-chaMdAlakAra-gaNiya-takkAI / sasamaya-paramayagathA paDhiyA uvajhAyapAsammi // 19 // causaTrikalAkusalA sajAyA rAyakumari macireNa / uvajhAo rAyasuya ranno ampai parikkhAe // 50 // 1. sthaSirA ityartha / 2 sassamapara pratipATha //

Page #196
jaMpar3a rAyA 'vacche / pucchAmo kiMci tumha paasaao| akvehi dhamavisaya visamapaya vA, bhaNaDa rAyA // 51 // 'bhabuhANa ko bohai / kumuyANa ko viyAmA vacche / / sAmannakevalINa majjha ko uttamo hoi " // 52 // rAyakumarIya vRtta 'tAya ! hama mukA mA nAya' / vithasamaya (1) matthaM ci takpaNa bhaNaha sA vAlA // 53 // miNacaMda imo andho imAi gAhAi tAya / me naao| esa pasido attho sugamayaro tAya ! jANAmi' // 5 // puNaravi gayA pucchaha 'vanche ! akvehi maza paramatthe / 'ko devo / ko dhammo / ki tana' sA paTuttaraha // 55 // 'gaga homavimuko amahApADihegsajatto / dudrukammamahaNo so devo nAya | no anno // 56 // dhammo puNa mo vuccA jIvadayA jatya vijjA samma / paramadhe muNi [ Follos 4-5 missing ] va panhAyaniyu bhaNai // 102 // maha mAhiMdo pabhaNai 'amavi jANAmi mitta / juttamiNa / parisao puNa jogo bhavaha mahaneNa punneNa // 103 // jaha pUgIya phalgaNa muhajogo nAgavillipatehi / vIrassa sakarANa rayaNassa vi kaNamuddAe // 104 // taha tuha kurmaraNa sama sabadho havai majjha kumaro' / evaM mahidasumA dohi kaya tattha varaNamaha // 10 // evaM butte sata bhAhUyA tattha pavarajoisiyA / 'samma kaheha lAga pANiggahaNassa ja jugga' // 106 // samma paribhAvittA joisiyA U kahAna nivapuramao / 'taidivasammi lamaga diNasuddhIsatvagahabaliya' // 107 // tANAmo bhanmuTThiUNa saimmANayittu joisie / sapasA niyaThANe palhAya-mahidanaranAhA // 108 // vinAharA mahiMdo kAravaha vivAhasayalasAmaggi / samudramatyartha / 2 sammANiyana pratipAThaH /

Page #197
asaNAsuMdarIkahANaya khagjaga moyaga naha mosaTTi (1) sukumAriyApamuha // 109 // taha kaNayamayAbharaNe vatthapaDi(DI)-patRliyApamuha / kAravaDa dhUyajugga tahA ya nAmAujugga ca / / 110 // palhAo vi karAvaDa niyasunhAjuggaya mahAbhagNa / muttAhaleNa jaDiya kei ya maNimayamahAbharaNe // 111 // taha ghaTTapaTTa-varavattha-vatthusubahUciyANi kAravaDa / / hallupphalasacAreNa dunni pazvA pavati // 112 // eyammi ya patthAve ajaNaruvAvaloyaNe gADha / pavaNajao u kumaro ai ukkaThiyamaNo jAo // 113 / / pahasiyamittassa tao kaheDa kumaro maNogayaM attha / so bhaNaDa 'muhi / kimucchaga : tahayadiNe icchiya hohI // 11 // kumaro pabhaNai 'vallaha ! ucchakiyANa diNa va egaSaDI / diNamavi mAseNa sama, tA kiM vudhcaha tigadiNassa " ||115 // to pahasiyamittavaro jANittA dussaha virahadukkha / ajaNadasaNakaraNe rati kumara tahiM nei // 116 // jattha i ajaNasuMdari rAyamuyA sattabhUmipAsAe / sIhAsaNe niviTThA sahIsu bhusuhmnnuhvtii||117|| pahasiyamitto kumaro houM pacchannamegadesaThibho / pikkhai ajaNavisayaM siMgArakalAsaruvAi // 118 // suNai samitto kumaro itthatari rayaNi sAvahANamaNo / annunna salAva sahIjaNANa kuNatINa // 119 // pabhaNai vasatatilayA 'sAmiNi / dhannA si loyaNasalayo / pavaNaMjao u kumaro appaNuruvo ya te vario' // 120 // aha seNAe vutta 'kaha ruyaDo so bhaNijjae bhayANa / pavaNasariso sulahubho teNa pavaNajao nAma' // 12 // itto raiseNAe vutta juttaM sasAmiNisamakva / 'vigjuppaho kumAro sato satosu(sa)bhagganihIM // 122 // tA kaha imo na varibho ! khayaravaro sAmiNIi' maha vutta / taM pai puSphalayAe 'na yANase bhayaNi ! se caritraM // 123 //

Page #198
guNasamitimahattarAdhirasya mAuM covaM vijuppahassa mukkhAbhilAsiNo tasma / sajamamiriairatto kahamucio sAmiNiM emo // 12 // namo bhaNiya duiDho mukyo mUge akulIgo agahINa rogI ya / nihanyo mukammamaNo kannA pyANa na hu deyA' // 125 // aha sudarIDa bhaNiya 'vinjuppabhAramo vara sa varI / thAva pi muha amiya, na kici visabharasahasseNa' // 126 // iya japaMnINa sahIjaNANa pugo ya ajaNAkumarI / saglamaNA miyavayaNA nava vAraha kici nava bhaNai // 127|| no kumaro kohaggahagahio uppADa niya khagga / moNaTiyaM rAyamaya dunvayaNahi ca haNaNAya // 128 // 'lo amalA avajhA iya japato ya pahasio kumara / kahamavi sambaggamavalabiUNa niyaThANi nei balA // 129 // kumaro japai mitta 'emA nikkiTThaduddhayA pAvA / visaaggisara(ri)sadehA kuDilasahAvA nayasaricchA // 130 // jaha eyAe citte vijuppahu asthi teNa moNaThiyA / annaha kaha saheI majjha viruvANi vayaNANi // 131 // tA na pariNemi Nya mitto japai 'kumAra | sA taiyA / maNai na kiMci hirIe tA ko doso hu eyAe / // 132 // mA kuNa ima asaggahama'ha kumaro bhaNai 'mitta ! tuha vayaNe / guruvayaNe vA kamavi pariNissa to na bhAsemi' // 133 // vIvAhadiNe dunha vi pakkhA vijjAharANa kulasahiyA / savvadIpa pattA mANasasaravarataDe muiyA // 13 // tatya ya ThANe ThANe taliyAtorANavarANi bajjhati / phullaharA kIrati ya vaMdaravAlA vitANA ya // 135 // parigjati ya taha sasthiyANi muttAhalANa jhucca(ba)kkA / magalababale gIe incAi mahasavo hoi // 136 // lopa hA pratipATha // 2 avaghyA ityartha, 3 madIsahazA itparya //

Page #199
aMgaNAsuMdarIkahANayaM vIvAhadiNe kumaro pacchimapaharammi vihiyasiMgAro / kayamagalokyAro AruhaI kuMjare parvare // 13 // dhariyadhavalAyapatto vIDajjano ya seyacamarehiM / acchAi[ya varavattho salio pANigaNattha // 138 // ThANe ThANe thakkaNayapikavaNe (1) bhaTTacAraNayathaTTe / kittikolAhala khalu kurNati kumarassa aggeNa // 139 // patto kameNa kumaro toraNadese mahiMdasIhassa / magaladhavalayapuca gayavarakhaMdhAo uttaI // 14 // jUsara-mUsala-idAyaNAi taha do ya cadaNAINi / magalakajjANi ya kArijaNa to maMdira patto // 141|| tatto mAyaharammi ya joisio niyaha kumara-kumarINa / pabhaNeI joisio 'tArAmela miho kuNaha' // 142 / / tatto khaNatareNa vehI (be hI) maDavayaveiyAmajjhe / mahayA vizchadreNa uvaviTThA kumara kumarI ya // 143 // vajjate tUrarave gijjate gIyamahurajhuNisade / joisiyA veyajhuNi padati annunnamahurasarA // 14 // hatthAlevo tANaM vippA kArati veyajhuNipurva / homati tila-javAi AvaraNaTThA tahiM jalaNe // 15 // digjani dhavalamagala paDhati joisiya veyajhuNipuncha / huyavahapuDhe tinni ya payAhiNaM diti te do vi // 1 // paDhamammi magale taha rAyA dAvei vattha-AbharaNe / bIyammi magale puNu dAvAvaha thAlkancole // 147|| magalae puNa taie deI varasigja-tUliyApamuhe / taha sasuravaggajugga mahagghavatyANi dei nivo // 148 // magalae ya cautthe kumarIhattha na muMcae kumaro / to dei varanimitta varahaya-gaya gopamuhavatyu // 19 // palhAya-mahiMdANaM saparIvArANa hiyaimamammi / sajAo mahariso putta[ya]-dhyA vivAheNa // 150 //

Page #200
guNasamitimahatsarAviraiye vitte vivAhakamme kumaro niyamadire vhshio| patto vichoNa niyapariyaNa-mittaparivAro // 151 // mANasasarovagamo mahiMda panhAyapamuhakhayaravarA | kAUNa kamjasiddhi pattA niyapuri saparivArA // 152 // itvatAra majaNamuMdarI aiamuhkmmpnbhaaro| dunnisaho dIhaTiI ullasio punvabhavabaddho // 153 // taM maNurattAmadi sIladhArgiNa katapemasavbhAva / suguNaM mulakavaNAmavi kayA vi kumaro na pikkhei // 15 // tIya samaM [jaM] sabhAi( si)ya pi na piyassa hoi kaiyA vi / dUre tA visaimuha hA hA se kammadAruNayA // 155 / / mAcIsa varisa evaM AsAvadhaM mahAsaI gamai / ico varuNeNa sama ghera jAya dasasirassa // 156 // to palhAyasamo rAmaNadUmo ya tammi kajammi | bhAgatUrNa paNamiya tatto rAya ima bhaNai // 157|| 'deva'mhe varuNasama jAe vere lahu tume sabalA / mAga chahu paDigAho rAvaNa iya ANavai tumha // 158 // vaha samhANe dunha vi mahAsiNeho vivaDDhae puvaM / saha kAyanva tumae jaha puNaravi vaDDhae neho' // 159 // panhAmo bhaNaha hama 'bho dUya'mhe sirovari karemo / rAmanaravarANa pIIe rAyanIIe' // 16 // puNaravi dUmo pabhaNai 'palhAya ! vilavaNe na patthAvo / amhA varuNasuehiM baMdhiya khara-dUsaNA nIyA // 161 // palAyaNeNa vurta 'jai evaM dUya ! tA lahuM amhe / niyasAmimahAkajje baLajuttA bhAgamissAmo' // 12 // isa bhaNie nipaThANe dUo sammANibho gamo siggha / to palhAyanivo phyANameriM davAvei // 163 // paye daDu sarUva paNamiya tAya ima bhaNai kumaro / 'mai viznamANaputte itthatthe tumha na hu juttaM // 16 // vA tAya ! me pasIyasu Aeso dijau niyasuyassa / zreNAhaM gacchAmI rAvaNapaDigAhakajjammi' // 165 / /

Page #201
ajaNAsuMdarIkahAryaM 1 jaNaeNa tayA vRttaM 'vaccha / tuma khIrakaThabAlo ya / kaha parisamma kaje kaha juna tattha gamaNe ya " // 166 // kumaro sAhasabhario japai tAyarasa vinayaputrvamima | 'paTUvau majjha tAmo pUreu maNoraha ittha // 167 // devagurupasAyAo tumha pasAyAo kajjasasiddhI / hohI nUNa tuha ima suyassa tA tAya / peseha' // 168 // iya nibbadha jANiya rAyA kumara aNegaraNatUra / sAmata - mati-pasiyamitta juyaM tattha pese // 169 // callato kumaravaro cauragacamUalaMkibho puvva / piya-mAya-bhAya-gurujaNa-su ( sa 2 ) yaNANa karas mupaNAma // 170 // sappaNaya ta paNaya AsIsamimaM khu te pajati / 'sAhiya kajja jayasirimAliMgiya kumara / Aija' // 171 // sirivIyarAyapaDimaM vihiNA pUittu paNamiya kumAro / callaiya maggaNANa maNo rahe pUramANo u // 172 // suNiUNa peyapayANa pAsAyA uttaritta sahisahiyA / ciTThaha ajaNasudari pAsAyaduvArathaM matale // 173 // patthAvaM daTThUNa ajaNa vinnavai sAmisAlarasa / 'majvaraM suhadirdvi dehi tahA kiMci Aesa // 174 // ittiyadiNANi AsA sAmiya ! maha Asi tujha dAsIe / ajjai piva kalla piva kuNau pasAya maha nAho // 175 // saMpai tumhe caliyA majjha ahannassa kA gaI hujjA | pasiUNa dehi sikkha kiM kAyavva mae sAmi / // 176 // japai ta par3a kovA 're mukkhe | nimbhae ! vigabalajje / / hNAlaviyA : ko iha patthAvo dUrimosarasu' // 177 // pyArisakharavayaNa savaNeNa suNiya aMjaNAdevI / puhavI pIDhe paDiyA niciTThA chinnarukkha vva // 178 // pavaNaMjao ya calibho sapatto kaDayasajuo kamaso / mANasasaravaratIre sinna AvAsiya tattha // 179 // 1 pratiprayANa mitthaM // 2

Page #202
guNasamitimahattarAdhirazya stha vivaha pAsAyamappaNo garuyamatasattIpa / sthAmdo kumage katya(?)paga niyaha subha[ga ]sara // 18 // vyayalayA'soyalayA punnAga-tamAla [nAla] pUgavaNa / lerI-nAggiI bijaurApamuhavaNarAI // 181 // govANamahamapanA kandha ya ghaDanAlanIra kallolA / hantha ya pimbaDa kumage kamalavaNa surabhipaNavanna // 182 // kavi baga-sArasa-gayaraMsa-sihi-cakvAyamihuNANi / mimANANi jahincha pichar3a pahasiyajuo( muho)kumaro // 183|| tanya saMga jamkI -phalabhogAsAya-gRhaviNohiM / kivi muhamaNuhavato kumaro sanvaM diNa gamai // 184 // mattI yajhAsamae atyamipa diNayo duve tattha / sAkicca 'kucA barasimjANa nisIyati // 185 / / nattha nisannA pinchai AyAse kumuyabayavasamANa / solakalAsayunna uggamiya punnimAcada // 186 / / sajaNajagasAniTo samaggaloyANa suhapamoyakaro / parisibho u miyako kuNa ggANa satAva // 187 / / mANamasarassa tIra gA piyaviravihuriyA karuNa / vilvanA kumareNa pikvijada cakravAI ya // 188 // ciMtaha ya tao kumaro 'sayaladiNaM ramaha piyasama cakkI / tasviraheNa varAgI ekavaNa dukkhiyA gADha // 189|| ittiyamitto vi na parigvahiM sAkajae viogu jai / kaha bahuvara saviogo sahijae maNuyanArIhiM / // 19 // vIvAhadiNaM ArabhiUNa jA maha paloiyA na kayA / nA''laviyA mahu girA sA katA hA kaha hohI / // 191 // jacAsamAra vi maga jIe na vayaNasuha pi me dinna / sA nUrNa maha virahe mayaavagaNaNe viNassai ya // 192 // maha pApiyassa ghiddhI thIhaccApAvAo gaI kAme / tA inha pi piya ta jIvAmi sadasaNaraseNa' // 193 // iya ciniya mittapuro saciMtiya kahai so vi bhaNai ima / 'inhi pi kumara / suhi / sAhu sAhu ciMtiyamaho tumae // 19 // svetyartha /

Page #203
ajaNAsuMdarIkahANayaM AsAsae u sA tuha jujjaDa niyasagabhogadANehiM / aNujANAviya kata mahugirA puNa ihAgaccha' // 195 / / bhogatarAyakamme khINe ajaNamahAsaIe u / / piyasagasuhuttAlo tattha na ciTThai khaNa hakka // 196 // AruhiUNa vimANe Agacchai kamara, pahasiyA do vi / vaddhAvaNiya leu pahasiyamitto gao agge // 197 // tatto mitto gatu vaddhAvai majaNAsaha taiyA / 'bhadde ! tuha bhattAro samAgao tuha samIvammi' // 198 // devI japai pahamiya ! sabhavai kaha samAgao mAmI / / ko uvahAso sapaDa kijjaha maha madabhaggAe / // 199 // jeNa suhadiTThIe pasAyapatta pieNa na kayA ha / mo sAmI kamehI mama devahyAi pAsammi " // 20 // 'na hu uvahAso kiMci vi sacca makkhemi he suyaNu / tumha' / iya pahasie bhaNate samAgao kumaru tattheva // 201 / / bhattAAgamaNeNa hariso no mAi ajaNAage / ahavA jutto attho piyamele kassa no hariso / // 202 // jaha dAridinarANa nihANalAbheNa jAyae hariso / taha ajaNAi jAmo ANado tassa mAgamaNe // 203 // aMjaNasudaridevI bahuharisabhareNa viNayapuvva ca / pavaNajayassa abhimuhamanmudrANa karai sahasA // 204 // paramarasabhariyacitto kumaro tIe samaM jahicchAe / pacaviha visayasukkha sammANai savvarattimavi // 205 // vutta kumareNa 'mae mUDheNa kayAi tujjha pANapie / / suhadiTThI vi na dinnA kA vayaNakahittiyaM kAla // 206 // tA phate / savvamiNaM avarAha khamasu mamjha mUDhassa / saMpai mama gurukaja kAya tA'NujANehi // 207 // aha vuttamajaNAe 'ko doso ajjautta ! re ma( tu)jcha / doso puvvakiyANa kammANa esa sajAmo // 20 // bhogatarAyakammodaeNa jIvehiM bhogasAmaggI / pattA vi hu na lahaMtI bhogasuhAi kayA vi piya / // 209 //

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12 guNasamiddhimahattarAvirazya taM kamma aNuhUyaM tujjha pasAeNa raisuha jAyaM / sapada tuha gurukagja tA sAhijjau lahu deva | // 210 // satu sivA tuha pathA vijayasirI havau sagurujjammi / puNa AgamaNe geha mahApasAya kuNasu sAmi | // 211 // anna ca riunhAyA inhimaha sAmi / jai vikammavasA / hohI ganbho to me gurujaNamajjhe kahU~ ThANa ' // 212 // kumaro niyanAmaMkiyamudda sA''gamaNasUyaya dei / 'dasijja ima samaya paccaiheu gurUNa pie' // 213 // tadvANAo kumaro kata AsAsiUNa mahuragirA / patto vihAyarati mANasasarakaDagauttAre // 214 // aha tIya ajaNAe tI [ Fohos 11-12 missing ] khaMDamma | sirimaMdira sunayara riddhisamiddha purA Asi // 260 // tammi ya nayara lobho cAUvanno sayAi parivasai / piyanaMdI vANiyabha vaNiyakalAkusalao mAsi // 269 // tassa puNa jayA jAyA, jAyAruvAi ( 'jAya'NurAyAi) sajaya tANa / visayaM sevaMtANa damayato naMdaNo hutthA // 262 // savakalAsapunno visesao dhammakajji ujjutto / vijayAIhiM guNahiM piyarANa rajae hiyaya // 263 // annadiNe damayaMtI samANamittehiM saha nayarabAhi / ujjANe ujjANIkIlA sukkha aNuhaveh // 264 // kIlato damayato tatthega jhANamANasa sumuNiM / muttimaMta va dhamma daThu bhaiharisibha jAo // 265 // pacagapaNAmeNa ta paNamaha, sAhuNA tabho dAu / saddhammalAbhaAsI, pAradA tassa ghammakA // 266 // 'bho madda ! ima savvaM ridviphala tujjha dhammao jAye / tA indri pi vimoho caritaghramme Siya kuNaha( su)' // 267 // muNivayaNA saMsArA (sasArassa' ) niccaya jANiUNa muNipAse / ginhai sajamaraja tiNa va chavi gihivAsa // 268 // pAler3a sajama so sikkhaha kiriyAha (o) paDhaha nANA | apamanto damayato kuNai tava bahuviha sAhU // 269 //

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ajaNAsuMdarIkahANaya ate aNasaNavihiNA suhajhANa bhAvaNAi bhAvano / mariUNa samuppano IsANe devalogammi // 27 // divvasuha bhujato sammatta nimmala kuNemANo / Au paritta tao caviUNa miyakanayarammi // 27 // haricadanivassa piyagulacchikucchinbhavo suo jAo / nAmeNa sIhacaMdo cado iva bahumalAjutto // 272 / / vaDaDhato tassa gihe sapatto kamakameNa tArunna / annadiyahammi picchai sAhuM guNarayaNasapunna // 27 // cadayaso bhAveNa samma dhamma paravaDa muNI se / lahakammo so jAo [sa]samaNadhammammi egamaNo // 274|| aha kamaro piyarANa pabhaNai niyacaraNadhammaucchAha / te biti 'vaccha ! dukkaracaraNammi u taM(ta) kuo melo' // 27 // to japei kumAro 'na dukkara kici dhIrapurisANa / mahaba viNA dukkaraya chuTTijjaDa bhavaduhAu kaha 1 // 276 // tA pasiUNa tumhe aNujANahu me, maNoraha pare / jANiya tannibbadha tassa'Numannati phahamavi te 277 // tatto kumaro ginhai muNipAse sajama susaviggo / pAlei nirA(nirai)yAra ujjutto ugjuyavihAre // 278 // sAmanna pAlittA suvimudra sIhacadamuNipavaro / kAu aNasaNamaMte uvavanno devalogammi // 279 // AukkhayAu tatto jabuddIvassa bharahamajjhammi / veyaDDhapavvae mo vAruNanayare samuppano // 280 // naravaisukaTha-rANIkaNagoyarie ya puttabhAveNa / sajAo so jIvo nAmeNa siMhavAhaNabho // 28 // bhuttaNa cira rajja titthe vimalappahassa devassa / lacchIharamuNipAse padhvaja ginhae so u // 282 // so rAyarisI taviu ghoratava vi [ Folhos 14-22 missing] tthI kAUNa te mahApurise / vAnararUva kAu patto lakApurImajjhe // 489 // sIyApauttikusala ginhittA rAmacaMdapAsammi / patto kaheha savva tANa haNumatamao viNayA // 49 //

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guNasamikhimahattarAvirAya haNumanapamuhamvayarasahio rAmo karittu sagAmo(ma) / ni,hANana gamaNa so mANaha sIya tamo ThANA // 491 / / mA puNa raja paliya pancajja ginhiUNa kariya tava / khAvaga kammamUla patto paramaM paya ThANa // 492 // mA puNa ajaNamudari gihidhamma pAliUNa sasahIyA / pavaja gi-hAI bhAveNa sAhuNIpAse // 493 // mAmannaM ca pAliya aNasaNavihiNA gayA ya suraloya / natto caviNa sA gamimsaI sAsayaM ThANa // 49 // pya samveveNa ajaNamudarimahAmaIcaryi / baha jaNavayaNAu mA jaha nimuya taha iha nibaddhaM // 495 // jANa na sadabuddhi na athasuddhiM ca na 'kiriyayAsuddhiM / na huda na hu badhaM na hu kavimagga ca jANAmi // 49 // annANavaseNa maga jA ajaNamudarIkahA vihiyA / ja kiMci yaha aliya soheyavaM buhehi taya // 497 // masa vi mizchAdukkaDDa micchakahA-annahAparUvaNae / pAraNa adarasaNa mujhai citta karatANa // 498 // praya samvaveNa bhaNita cariu mae ipparu( sa-para)heuM / vidharamavaloimjA rAmAyaNapamuhasatyesu // 499 // ajaNamudaricariya jo eya muNai citaI citte / taNa'pamuhaTAe na hu kujA jiNavaraabhI // 50 // cariyamiNa nimuNatA ajaNamudariguNe ya dhAritA / bhavA naNa lahihI sagga kamaso sivasuha ca // 501|| siribasalamerapura vikramacaudahasatuttara varise / vIrajiNajammadivase kiyamajaNamudarIcariyaM // 502 // jo AsAyaNa kuNaI aNaMtasasAru bhamai so jIvo / jo AsAyaNa rakkhaI so yAvai sAsayaM ThANaM // 503 // ||iti zrIa naNAmuMdarImahAsatIkathAnaka samAptam // kRtiriya zrIjinacaMdrariziSyaNIzrIguNasamRddhimahattarAyA // kisAzuvimityartha // - - -

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LALBHAI DALPATBHAI BHARATIYA SANSKRITI VIDYA MANDIR LD SERIES Name of Publication S No Price Rs 1 Sivaditya's Saptapadarthy, with a Commentary by Jinavardhanasuri 42, 5, 15, 20 Catalogue of Sanskrit and Prikrit Manuscripts Pts 1 iv 160/ 3 Vinayacandra's Kavyailkan Editor D H G Shastri 10/ 4 Harbbadrasur's Yogasataka, with auto-commentary 51 6, 16, 24 Ratnaprabhasari's Ratnakaravatarika, Pts I-III *7 Jayadeva's Gitagovinda, with king Mananke's Commentary 8 Kavi Lavanyasamaya's Nemirangaratnakarachanda 26/ 8/ 6/30/ A study 9 The Natyadarpana of Ramacandra and Gunicandra 10, 14,21 Xe Jinabhadra's Visegrvalyakabhanva, with Auto commentary 56/11 Akalanka's Criticism of Dharmakirti's Philosophy A study 304 12 Jinamanikyagani's Ratnakaravatarikadyaslokasarthr 8/ 13 Acarya Malayagina Sabdanuissana 30/32/ 17 Kalpalataviveka (by an anonymous writer) 18 Hemacandra's Nighantusesa, with a commentary of Srivallabhagant 30/19 The Yogabindu of Acarya Harbhadrasuri with an English Tra 10/22 The Sastravartasamuccaya of Ac Haribhadrasari with Hirdi Tra 20/ 23 Pallipala Dhanapale's Tilakamanjarisara 12/ 25, 33 Ac Haribhadra s Neminahacariu Pta 1-II 26 A Critical Study of Mahapurana of Puspadanta 27 Haribhadra's Yogadtamuccaya with English translation 28 Dictionary of Prakrit Proper Names, Part I 29 Pramanavartikabhasya-Karikardbap dadasuci 30 Prakrit Jaina Katha Sahitya by Dr JC Jaln 31 Jana Ontology by Dr K K Dixit 32 The Philosophy of Srl Svaminarayana by Dr JA Yajaik 34 Harsavardhana's Adhyatmabindu with Avto-commentary 35 Cakradhara's Nyayamanjarigranthibhanga Out of stock, 80/ 30/ 8/ 32/-- 8/ 10/ 30/ 30/ 61 361

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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 Priater's Name Nationality Address Ahmedabad Quarterly Swami Shri Tribhuvandasji Shastry Indian Shri Ramanand Printing Press, Kankaria Road, Ahmedabad-22 4 Publisher Name Nationality Address 5. Editor's Names Nationality Address Dalsukhbhai Malvania Indian Director, LD Institute of Lodology, Ahmedabad-9 (1) Dalsukh Malvania (2) Dr H C Bhayani Indian (1) L D Institute of Indology, Abmedabad-9 (2) School of Languages, Gujarat University, Ahmedabad-9 LD Institute of Indology, Ahmedabad-9 6. Names and Addresses of Individuals who own the Icwspaper and partacrs or shareholders holding more than one-percent of the total capital I, Datsukh Malvagna, hereby declare that the particulars given above are true to the best of my knowledge and belief Da leukh Malvania Signature of Publisher,

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Other Rules Journal is primarily intended to Goto researches In Medloval Indian laro. Hence emphasis will naturally on the languages, literature and igral sources of that period But It also give sufficient space to other ples which throw light on Ancient van Culture fins of Contributions ributions embodylog original arches, abstracts of theses accepted Rhe University, critical editions of the tablished Sanskrit, Prakrit, bbramsa, Old Hindi, Old Gujarati appreciations and summaries of went and medieval important original les, notices of manuscripts and textual elsus will be pablished in the (1) Contributlops intended for publication in the Journal should be typo-writton (with double spacing) or legtbly written on one side only of the paper Copies should be retalned by the autbors. (2) It is presumed that contribullons forwarded for publication in the Journal aro pot submitted elsewhere. (3) Tho copyright of all the contributions published in the Journal will rest jolotly la the L D. fastitate of Indology and the authors, (4) Ten offprints will be given to the contributors free of chargo (5) Titles of books and Journals should be indicated by slogla underllao. Sanskrit, Prakrit, Hindi, Gujarati terms occurring in the articles written 10 Eaglish should be ondorilaed. The standard system of transtoration should be followed. (6) Those who want the works to be reviowod la tho Journal abould send two copies of the same. ..dium of Articles ay should be written in any one of following four languages Sanskrit, a, Gujarati and English Sticles written in language other than Yosh should be accompanied by a mmary in English muneration HOLD Institute of Indology will pay cobrarium to the authors whose tributions are accepted, land pual Subscription Rs 20/grope Sb 30 Dollar 500 All contributions and correspondent may please be addressed to Director, L. Dlostitute of Indology, Abmedabad-9

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OUR LATEST PUBLICATIONS (1972) 32 Philosophy of Shri Svaminarayana by Dr J A Yajnik 34 adhyAtmavinduH- harSavardhanopAdhyAyanibaddha svopajJavRttyA yuta, sa0 munizrI mitrAnandavijayajI - nagIna jI zAha 35 myAyamaJjarIgranthibhaGgaH cakradharakRta, sa0 nagIna jI zAha 36 New Catalogue of Sanskrit and Prakrit Mss JESALMER COLLECTION Compiled by Muniraja Punyavijayaji -

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SAMBODHI: 7-12 72 (QUARTERLY) _VOL. 1 VOL, 1 OCTOBER 1972 OCTOBER 1972 NO. 3 NO. 3 _. EDITORS DALSUKH MALVANIA DR. H. C, BHAYANI LD. INSTITUTE OF INDOLOGY AHMEDABAD 9

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CONTENTS Rebuth - A Philosophical Study T. G. Kalghatgi ! Janism and Sankhya Nagin J. Shah mintipathy to the Rajasuya Why? Canesh Thite A Rocent Study of Bhagavatisutra Reviewed K, K. Dixit bhAtakartRka sIyAdevi-rAsu mAvANI

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7-1272 REBIRTH - A PHILOSOPHICAL STUDY TG Kalghatgi 77 I Karma and transmigration of soul are closely linked principles They are the basal presuppositions of Indian thought Indian philosophers have not tried to prove them as they have taken them as postulates of their philosophies and objects of intuitive experience Transmigration of soul is a corollary of the principle of Karma If Karma is to be exhausted, a series of births have to be taken, as it is not possible to exhaust all the accumulated Karma in one single life The prophets, hike the Buddha, had to take successive lives for exhausting the Karma accumulated in the past, after getting a glimpse of enlightenment about the highest truth. The first tirthankara Rsabha had to go through ten lives to become a tirthankara after the enligh tenment Vardhamana Mahavira, the twenty-fourth firthankara went through thirty-six lives after getting a glimpse of truth, to attain the state of firthankara, At the time of Raabha, Mahavira was Maric who was preaching KapllaSiddhanta Rabha had predicted that Marica would be the twenty-fourth Arthankara These principles of Karma and rebirth are universal principles accepted by all, although the advancement of knowledge in the empirical sciences has given rise to fashionable agnosticism in respect of these princi ples Yet there is something very impressive in the unanimity with which man, from the beginning of his planetary existence, has refused to see in death the end of his being and activities In a still remoter past, the cavemen of the Paleolithic age, laid their dead reverently to rest with the same belief as a further life Explorations in France, recently made, have brought to light a number of instances of ceremonial interament, exhibiting the excavated grave, the carefully disposed skeleton with offerings of food and implements laid beside the body for use in the life beyond Justification for the principle cannot be established on purely logical ground But the belief is widespread from the primitive times and has also been held in the philosophical world in the West, with the Orphica and the Pythagorean, and in ancient Indian religious thought Apart from prevalenos of the bellef in the primitive races of the world, the modern minds have been trying to find out justification in the fields of extrasensory perception and parapsychological phenomena The Universality of this widespread belief points to the fact that there must be some truth implied in it Indian seers have mentioned it as an act of faith and as an intuitive knowledge of the enlightened men,

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T. G. Kalghatgl It is therefore necessary to investigate this article of faith of the trans migrations of souls from the historical and the psychological points of view It is necessary to survey the field of investigation and thought that have covered centuries of plailosophical and religious thinking 2 II To primitive times man began with vague awareness of the life beyond He was vaguely aware that some life persists even after death In the tribal religion we find traces of ghost worship and totemism which have their roots in animistic conceptions James Frazer says that there is a necessary connec bon with the forms of worship and the belief in immortality Among savage races, a life after death is not a matter of speculation and conjecture, hope and fear, it is a practical certainty which the individual as little dreams of doubling as he doubts the reality of his conscious existence He assumes that man continues to live even after death He finds that during sleep be is not aware of himself, yet after he gets up he finds himself in the same body Similarly in dreams he finds himself moving about in different places After he wakes up again he is in the same body Therefore, he concludes that he is enclosed in the body and is different from the body There is the beginning of the distinction of man's soul from the body Frazer saya that the primitive man assumes without Inquiry that there is a life after death, and acts upon it without hesitation, as if it were one of the ascertatned truths within the limits of human experience Many savage tribes believe that death is an unnatural thing and it comes only by unnatural incidents like accidents Even after death the person continues to live and Inhabit the body There have been customs of keeping necessary equipment and food for the person even after his burial We find this in the Egyptian mummies The ghost theory of the origin of religion also points out that the individual survives death and continues to inhabit the body and nearby places even after death Some Meanderal skeletons have been found deposited in graves and equipped with materials useful for the dead in the other world On the basis of these burial practices we may say that Meandertal man must have had a belief in an after-life Yet the primitive man is not able to concelve the immaterial and purly spiritual being Soul is vaguely considered as an ethereal image of the body and has the power of flashing about quickly from place to place As to the nature of after-life and its locality we can hardly expect to be able to reduce savage beliefs to a coherent system There is a general belief that in the interval between death and the burial the apirit hovers about in the 1 Mischa Titlev Introduction to Anthropology (New York, 1961), p 118

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Rebirth-4 Philosophical Study neighbourhood of the body The unburied dead are supposed to be condemned to wander for ever, aimless and miserable But some rites seem to imply the belief that soul inhabits the grave or lingers in its vicinity The aborigines of Australia imagine that the spirits of the dead continue to haunt their native land, specially in some important places like a pond of cool water or a solitary tree These are the crude beginnings of the concept of the immaterial nature of soul and survival of soul atter death However, belief in a further life is not a belief in immortality in the strict philosophi cal sense although we are approaching towards it And as vet conception of the retribution involved in the judgement of souls and their wanderings 19 not formed These can be said to be only theories of continuance of the soul and not rebirth on the basis of retribution The idea of retribution would bring a new element in the scheme of the wanderings of soul This would bring the conceptions of rebirth and transmigration The theories of retribution and the consequent idea of rebirth and transmigration are based on deeper experiences than the theories of continuance in this there is question of moral order We find this element in later religious thought as in the case of the popular beliefs of the Hebrews and the Greeks In ancient Egyptian religious practices there are three different Ideas which refer to the changes in the personality (1) the union with a God (2) tranamigration of soul into an animal for a life time, (3) the voluntary metamorphosis of the person into another for his own benefit 2 The belief in transmigration among the ancient Egyptian does not seem to be quite pronounced, because there is no reference to it in the Egyptian texts Two scenes have been supposed to indicate it, these are judgment scenes. But the belief in metemorphosis was general as a magic process The earliest Egyptian tale turns on a wax model being transformed into a living crocodile, The Book of the Dead has a series of magic practices to giving power to the dead person to get transformed into whatever form he pleases The Egyptian mummies point out to the evidence that there is a widespread belief in the continuance of life after death Among the Hebrews Sheol was the gloomy abode of the dead It is a land of darkness and of shadow of death without any order Jehovah was the national God His dominion was limited to the world of the living and his jurisdiction did not extend to Sheol. With the compactness of national life of the Hebrews, the relation between Jehovah and the worshipper became more personal Nowhere do we find in the Old Testament a clear and definite doctrine of immortality We only get scattered anticipations in the Psalms and a few others However, among the Jewish mystics we get reference to the problem of the transmigration of the soul In the Jewish tradition Zohar gives Encyclopaedia of Religion and Ethics Vol. 12, p. 431

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TG Kalghatg! coupledance to some theory of tramsmigration of souls It is necessary upon Neshaman to climb back again to the Oversoul and be united with it, and in order to effect this end, it must previously have reached the summit of purity and perfection Therefore its sojourn within the confines of one body may be inadequate to enable it to reach this high and exacting condition It must experience other bodies, and it must repeat the experience till such a time as it shall have elevated and refined itself Zobar contains some such theory although for the fuller treatment one has to look to the Kabbalistic writers who built upon the Zohar To the minds of the Kabbalists, transmigration is a necessity on the grounds of their particular theology, and it is a vindication of Divine justice to mankind It settles the harassing query which all ages have raised Why has God permitted the wicked to flourish while the righteous man is dlowed to reap nothing but sorrow and failure ? The only way for reconciling the fact of child-sulfering with the belief in a good God, is by saying that pain is a retribution to the soul for sins committed in some of its previous states The Jewish literature on this subject of transmigration is an exceedingly rich one: The Greek Hade closely resembles the Hebrew Sheol It is also the common abode of the departed without regard to moral distinctions According to the old traditional religion of the Greeks, the common men bave to go to the gloomy realms of Hades and the few heroes and heroi04s, personally related to the gods such as Achilles, are sent bodily to the Island of the Blest In the Western sea, Soul is here considered still as the Rhostly double of the living man The idea of the Hades 18 not very condu crve to the belief in after life After-life is not very attractive Acbilles says "Nay, speak not comfortably to me of death, Ogreat Odysseus Rather would I live on the ground as a hireliag of another, with a landless man who had no great livelihood, than bear sway among all the dead that are departed " Yet the desire to live somehow after death persisted and the old belief of continuance of Ilfo after death and the primitivo practices continued to be predominent With the Orphic religion comes the idea of the essential diguity of soul along with the concept of sin Body is the prison-house of soul and true life of the soul will be realised only when it is finally delivered from body It is not easy to escape the cycle of birtha and deaths to which soul is condemned by its impurity Soul has to be purified before it attains the highest goal of deliverance The Golden tablets found in the tombs in the southern part of Italy and 10 Crete give careful instructions of the 3 4 Abelson (J) Jewish Mysticisna (Bell & Sons, London, 1913) P 163 Odysseus XI 488

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Rebirth-A Philosophical Study departed regarding the route the sout has to follow jo the underworld On your left, you will find a stream, and near it is a white poplar Go nol Dear the stream, but you will find another, cool waters flowing from the lake of memory, and by it are guards Say to them, 'I un a child of the earth and of starry Heaven but iny place is of Heaveo only The influence of the Orpluc idea of destiny of the soul is to be found in the poems of Pindar 11 the first half of the 5th century BC and in the verses of thu plulosophers like Empeducles "Immediately after death the law-less spirits sufter punishment" "And the s103 committed in this realen of Zeus are judged by one who passeth sentence stern and inevitable, while upon the good the sun shines ever more through equal nights and equal d.lys, and they receive the boon of life of enlightened toil, aot vexing the soil with the strength of their hands, no, nor the waters of the sea, to gain a scanty livelihood, but in the presence of the honoured gods, all who were wont to rejoice In keeping their oaths share a life that knoweth 90 tears, while others endure labours that none can look upon' When the life immediately following the present 19 thus conceived as an intermediate state of coward and puqishment, it 19 clear that we have gone beyond the primitive theories of mere continuance, Orphic mysticism ofluenced Pythagoras and his disciples There 19 a far closer agreement between Pythagorianism and the Indian doctrine, not merely in their general features, but even in certain details, such as vegetarianism The formulde wh.ch summarize the whole creed of the <Page #218
TG Kalghatgi that Comperz thinks that Pyth gorean thought must have been influenced by the doctrine of relocarnation prevalent in India at the time of and before the Buddha But some others would say it is possible that both these thoughts must have originated simultaneously The doctrine of transmigration and rebirth is so prominent in Plato's scheme of thought that we find it presented in some of his dialogues like the Phaendo, the Meno and the Repubim various forms He gives arguments for pre-existence and the continuity of life He sometimes speaks in mythical language also, as in the Nepublic In Plato's dialogues we get a systematic picture of the nature of soul and its destiny Socrates was primarily concerned with the care of the soul "I spend my whole time in going about persuading you all to give your best and chicfost care to the perfection of your souls, and not till you have done that, to that of your bodies or your wealth" Crito asked Socrates how they should bury him "As you please" said Socrates, only you must catch me first and not let me escape you" "My friends, I cannot convince Crito that I am the Socrates who has been conversing with you and arranging his arguments in order He thinks that I am the body which he will presently see a corpse, and he asks how he is to bury me" And Of the things which a man has, next to the gods, his soul is the most divine and most truly his Own and our opinion he ought to honour her as second only to the gods" Therefore when we are dead, the bodies of the dead are rightly said to be our shades or images, for the true and immortal being of each one of us, which is called the soul goes on her way to other gods, that before them she may give an account Belief in the divinity of soul and its immortality is a primary conviction in the Dialogues of Plato The Phaedrus gives the most brilliant account of pre-existence of soul and its heavenly origin 'The soul is immortal because it is simple and eternal It belongs to the world of pure ideas and forms-because of their rational nature-the souls all pass into the human form Their second incarnation depends on the kind of life they have led in their first earthly pertod of probation, and each subsequent incarnation is similarly determined by the use made of the preceding life In the Tunarus Plato represents the soul and body as everywhere uasted throughout the created universe He speaks of the human soul as implanted in bodies by necessity.10 6 Plato gives an imaginative picture of the states of the soul on the basis of the work that has been done previously Those who appear to be Incurable from the enormity of their sins are hurled down to Tartarus, 8 The Apology 9 The Laws, 959 10 Timosus, 42.

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Rebirth-A Philosophical Study whence they never come forth again Those who have sufficiently purified themselves with philosophy are set free from the body altogether and ascend to the heavenly sphere from whence they came But this is hardly to be accomplished in a single life The soul of a philosopher or the soul of a lover who is not without philosophy may attain deliverance at the end of 3,000 years, if thrice in succession they have chosen lives aright, but, for the majority, a cycle of 10,000 years must be completed before, by the repeated experience of good and evil, they learn eventually to choose the good 11 7 According to Plato soul is perfect and is associated with the world of ideas It is immortal and indestructible However, Plato suys that souls are immortal and industrictible in time They are not eternal in the sense in which that is true of the Ideas 13 Yet by feeding on proper food, the soul may, appropriate the absolute content and make the true and the beautiful its habitual element and become the partaker of Eternity Plato gives arguments for establishing the immortality of soul He says that the soul partakes of the eternal because it is rational in nature By its rational nature it has kinship with ideas and as such it has eternity imbedded in it As a concrete existence it is grounded in time But as an immaterial substance it partakes of the eternity 13 (2) Plato speaks of the three parts of the soul The rational part Is the highest Next comes the noble irrational part which is constituted of sentiments, and the lowest in level is the ignoble irrational part which comprises of impulses aud passions The rational part is the real soul and it is immortal The divine principle is located in the head The nobler part of the moral soul is endowed with courage and is settled round the heart so that it might be within the hearing of reason The baser part of the mortal soul which desires meat and drinks and all things where of it has need owing to the nature of the body is below the midriff. There the desires are bound like a wild animal which was chained up with man and must be reared with him In the Republic Plato speaks of the combination of man, the llon and the many-headed monster, combined in the external semblance of the man This gives the threefold division of man 14 The rational soul alone will survive the death of the body Aristotle drew similar conclusion in his doctrine of Active Reason Plato says that everything which has an opposite is generated only from its opposite A sleeping man awakes, and a waking man goes to 11 The Phaedrus, p 248-49 12 The Laws p 904 13 The Phaedo, p 79 14 The Republic, p 588

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TG Kalghatgi sleep, the two states alternate Slnilarly as life and death are opposites. they are generated one from the other, wbat dies must have been alive. and what is alive must have been dead The souls of the dead must exist somewhere, whence they return again into lifo 15 (4) Again Plato argues that soul is indestructible because nothing can be destroyed except by its own proper and specific evil The cyes for example are liable to the evil ophthalmia, the body could suffer and timber rot The specific evil of the soul 15 wickedness Therefore if the soul is destructible It must die of wickedness But wickedness cannot kill the soul and notbing else can destroy it 10 (5) Plato gives a further argument for the priority and eternity of the soul because it is self-moved It is the cause of all movements in the universe The argument centred round the priciple of self-movement Other things in inotion get their motion due to some external impact while bis soul is self-moved Therefore it is eternal (6) In the Meno Socrates is represented as eliciting a geometrical theorem from a slave boy by a series of appropriate questions The soul must have always possessed this knowledge and the boy is only recollecting it If the truth of all things always existed in the soul, then the soul is immortal. This argument is based on the theory of the recollection 17 In the Phaedo, the Phaedrus and the Symposium the argument for precxistence la presented in a poctic form The soul uses sight 'the noblest of the senses' It goes back from earthly beauties to the heavenly beauties and finally Beauty in itself - the idea of the beauty We see two objects to be equal Yet they only approximate to the idea of equality which is perfect equality We must, therefore, have had knowledge of equality before we first saw equal things and preceived that they all strive towards perfect equality and this falls short of it 18 Such knowledge must have been received by us before we were born (1) The soul is indestructiblo because it is simple and has no parts Plato argues about the immortality of soul on the basis of its simplicity and its unity We find these arguments in the Republic and in the Symposium (8) Finally plato gives mythle picture of the state of soul after death In the Republic, we have the myth of Er Plato gives a beautiful description of journey of the soul after death into strange lands and its choice of life to 15 The Phaedo, p. 70-71 16 The Republic, P 608 17 The Meno, p 85-86 18. The Phosdo, p 75.

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Rebirth-A Philosophical Study come "I shall tell you a story not of Alcinous, but of seliant moan, Er, on of Armenius, of the race of Pamphelia Once upon a time he fell in bultie. On the tenth day they took the dead who were nou stinking but his body was found fresh " On the twentieth day Er came to life as he was lying on the pyre and he told them what he had seen yonder His soul juurnyed along with great company until they arrived at a certain ghostly place where there were two openings in the earth side by side, and opposite thm and above two openings in the heaven In the middle sat judges These, when they had given their judgement, ordered the just to take the rjad to the right wbich fed upward through heaven, first binding tablets on them in front signifying their judgements The unjust were ordered to take the road to the left, which led downward They also had tablets bound on their backs They encamped in the Meadow Each company passed seven days in the Meadow On the eighth day they had to rise up and go their way The Arried at a place where lots were shown "Let bini whose lot falls first ba,e first choice of a life to which he shall be bound by necessity' Different patterns of life wbere laid on the ground and among them were lives of famous men, of unknown men and also of women "And when all the souls had chosen thele lives they went into Lachasis in the order of their choosing And she gave each the angel he had chosen to be a guard throughout his life and to accomplish his choice The Angel first led the soul towards clotho passing it under her hand and under the sweep of the whirling spindle, so ratifying the fate which the man bad chosen in his turn He touched the spindle, and then led the soul on to where Atropos was spinning, so that the threads might be made unalterable. Thence the man went without turning under the throne of Necessity, and after coming out on the other side he waited for others pass through At last they encamped by the river of Forgetfullness whose water 10 pitcher may hold All had to drink a certain measure of this water Then they went to sleep And at once they were carried up from thence along different ways to their birth, shooting like stars" After Plato's attempts to establish pre-existence and immortatity of the goal, it persisted down to the later classical thinkers, Plotloos and NooPlatonists in the Hebrews, there are traces of it in Philo and it was dcial tely adopted in the Kabbala The Sufi writers accept it Jesus's disciples tell him of the rumours that he is John the Baptist or Elijah or Jeremiah Julius Caesar finds the belief in rebirth among the ancestors of the British, for in his History of the Gallic Wars he writes that the Druids Inculcate this as one of their leading tenets' In the Middle Ages the tradition was continued by the numerous sects known as Cathari At the Renaissance Bruno upheld it. In the seventeenth century Helmont adopted it Swedenborg

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T G. Kalghaigl ated it in a modified form Hume and Schopenhauer mentioned it with respect Rod among contemporary philosophers there are some who are Inclined to accept it for want of inadequate evidence and proof In general the Westera philosophers did not persue the problem seriously The Christian theologians talled of immortality in the sease of continuance of soul after death and not in the sense of rebirth and transmigration Some sections of modern Philosopby were influenced by the sudden encroachment of science in o her fields of enguiry and discredited the belief in inimortality and survival of the life after death because consciousness and mental states, they say, are only products of the brain function They are epiphenomena The Question of survival of the soul after the destruction of the body does not arise ILL In the modern western philosophy, Dr McTaggart leans on the proHem of immortality of the soul involving pre-existence and continuance of soul after the destruction of the body The present attitude of most Western thinkers, he says, to the doctrine of pre-existence is curious of the many wbo regard oor life after death of our bodies as certain or probable, scarcely one regards our life before the birth of those bodies as a possibility which deserves discussion Yet it was taught by the Buddha and by Plato, and it 19 usually associated with the belief in immortality in the far East In modern Western thought the great support of the belief in immortality has been the Chrisisa toligion, and a form of belief which was never supported by the religion was not likely to be considered of any importance Aod, for some reason, Christians have almost unanimously rejected those theories which placed pre-existence by the side of immortality 10 Dr McTaggart accepts both pre-existence and recorrent earthly embodiment of the spirit He believes ibat any cvidence that proves immortality will also prove pre-existence The most effective way of proving that the doctrine of pre-existence is bound up with the doctrine of immortality would be to prove directly that the mature of man was such that it involved a life both before and after the putsent life 10 Dr McTaggart points out that the usual ethical arguments to prove immortality are not adequate to explain the belief in pre-existence He says that modern demonstration of immortality bas largely been ethical is character and not purely metaphysical and this explains why it has often been held in modern times that immortality was proved, although pre-existenot bas almost always been disbelieved on the basis of purely metaphysical arguments" Dr McTaggart says that any demonstration of immortality Some Dogmas of Religion (Edward Arnold, 1930), 19 McTaggart U M.) PP 112-13 20. Ibud

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Rebirth-A Philosophical Study is likely to show that each of us exists through all time - past and future - whether time is held finite or infinite Every individual self is an eterually self-subsistent spirit, timeless 10 experience Self expression of the jodividual self in and through time process should assume the form of a vastly long chain of repeated births He takes his stand on metaphysical ground and says that it is capable of yielding apriori ccrtainty Sell is a substance existing in its own right and the UDICESC consists of a society of such eternally self-sub.istent selvcs As substances, seles have neither beginning nor end of life and therefore each of us cxists through all times, past aad future 21 As we bavc no ineniory of any previous existence, we inast assene a plurality of livus linked together by successive dcath, and rebirthia Lt McTaggart presents the doctrine of plurality ut lives - of future and past lives He says that the consequcaces of the truth of pre-existence and plurality of lives would be that the cristence of a person before and after the present would be divided into many luses each bound by birth and death Dr McTaggart mentions and answers a few objections against the doctrine of pre-existence and plurality of lives on the basis of metaphysical and psychological considerations We may here state a few of his conside rations 1 Man's progress has been in the direction of attaining perfectos gradually as it is difficult to believe that full perfection will be attained 10 one single life And if our existence immediately after the present life 1 imperfect and a state of improvement and advance, this life would be followed by others like it, each separated by its predecesson and succe 880rs by death and rebirth 2 There are many features of our present life which can be explaided more satisfactorily by the theory of pre-existence than by any other (a) Two persons are often drawn to each other by a force equal to that which is generated in other cases by years of mutual understanding. Similarly love at first sight and decper attachments of individuals seen only for some time arc examples which can be explained by the theory of pre-existence ? (b) As a man grows up certain tendencies and qualities make them - selves manifest in him These are innate as they cannot be entirely due to environment Some men have innate powers of judging men, some others have calm and sereno virtucs Attempts are made to explain the precoce of such innate qualities by heredity But such innate dispositions may ofico occur in cases where nothing of the sort can be traced among apuestors 21 McTaggart (JM) Some Dogmas of Religion p 125 22. Ibid p 124

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12 TG Kalghargi Therefore explanatia of these facts by pre-existence is better and more satisfactory is 3. It is said that the theory of rebirth is incunsistent with the priociple of heredity The parents are reflected in the child both in physical and psy ch ical traits It is unnecessary to assume that it comes from another life due to its own traces acquired in the past But this difficulty will hold good for curry thur* l' is simpler to hold that the self seeking for rebirth obtaios embodment in the fruide offering the necessary conditions The physical budy derived from the parcats according to the laws of heredity is appropriated bt the LONECIOUS self If this theory is not acceptable, much less is the other sieh which holds that a sort of supernatural essence is thrust into the bodily context of the appropriate nioment The soul draws around it the forces nccc4ry for its proper embodiment It is therefore natural that the child should be bike the parents 24 If the creation of the whole nature is to be credited to the pbysical birth, then the body, life and soul of the individual are only a continuation of the body, life and soul of his ancestry, and there is no room anywhere for soul's rebirth Heredity cannot explain the psychic force other than the ancestral conti avity Heredity has shown that there is no soul, no psychic force which lorms its material according to its pre-dispositions 4 Another consideration is from memory Here we may raise a question # (9) from the Fut of loss of memory and (il) desirability of the loss of memury. w We bave no memory of the past life and there seems to be no reason to expect that we shall remember our present life during subsequent lives Now an euskave that is cut oft into separate lives, in none of which mem ory extends to previous life, may be thought to be of no practical value We might as well be mortal, it has been said, as be immortal without a memory beyond the present life It is sometimes asserted that rebirth without memory of the previous existence would not be immortality at all Without memory of the present lule, the lifu would not be mine at all Rebirth of a person without uncmury of the previous life would be equal to annibilation of that person But McTaggart porots out that the self 19 not a thiog in itself whoso nature # indepsodent of its qualities Self 19 a substance with attributes, 23. MeTaggart Some Dagmas of Religion, p 124 24 Ral'lakribuan 'S) An Idealist View of Life p 235

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Rebirth-A Philosophical Study and it has no nature except to express itself in its attributes if the chartcter of the new self, under certain circumstances were exactly similar to my character under the same circumstances, its attributes would be exactly similar to my attributes Then the substance also would be the same, and I should not be aonibilated at all But if there were a new sell, then the new self would not be of cxactly similar character to what I should have been under the same circumstances, and therefore the creation of a new self would not be exactly equivalent to my rebirth Thus exact similarity of attributes is always sufficient to prove personal identity, not because it would be sufficient if the substance were different but because it proves that the substance is the same 25 5 Another objection bas been raised by some Even if supposing that in spite of the loss of merdory, the same person continues in the succesive life what is the value of such immortality and survival for such a person But McTaggart maintains that loss of meniory need not render immorta lity valueless if it would not have been valueless without the loss of memory If this life has value without inchiory beyond itself, why should not future lives have value without memory beyond themselves ? And desire for immortality has importance because future will be, we believe and hope, a great improvement for the present, 6 It is also objected that if the chief ground for belief in the successive lives after death is for the progressive improvement of the person, then loss of memory would destroy all the achievement of the previous life, It is doubtless that boundless items of our experience lapse from conscious memory and survive only as dispositions and tendencies But although much may persist in the unconscious some continuity of consciousness and memory 18 involved in the ordinary personality Pringlo-Pattson points out that McTaggart's position is paradoxical and musicading when he asserts that in spite of loss of memory it is the same person who lives in the successive lives' He quotes from Leibniz and states that it is not useful to have immortality without mcmory "Graoting that the soul is e substance and that no substance perishes, the soul then will not be lost, as, indeed, nothing 18 lost in nature But this immortality without recollection 18 ethically quite useless What good, sir, would it do you to become King of China, as a condition that you forget what you have been ? Would at not be the same as if God, at the moment he destroyed you, were to creato a king in China ?" Only an illusion of imagination permits us to speak 25 McTaggart Some Dogmas of Religion, p 129

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TG kalghalgi the identity of of Immortality where there is no memory to maintain ser" But ne nory is useful in preserving our experlences and wisdom It is also useful for promating virtu' and streagthening the love of the present on the basis of the past However, the past could help the present in these aspects without the aid of memory and the absence of memory need not destruy the chance of improvement spreading over many lives 27 6 Loss of memory is a blessing in disguise it would have been a painful trag dy to have carried the burden of past lives and their mainorles. depressing and pleasant lo that case life would have been a burden Very often to forget is a boon, perhaps it is in our nature that for smooth working of life and for the preservation and promotion of values of life it is necessary that we forget a large portion of our owe experiences even in the present life Freud, 10 bis Psychopathology of Everyday Life, has discussed the various motivation of forgetting Forgetting 13 a defence mechanism in some cases Unpleasant experieaces are forgotten or else they would be an unbearable burden on the mind and would distort the personality traits He gives copious instances of box in everyday life people forget unpleasant experiences Therfore if forgetting 13 useful 10 everyday life, it is much more useful in the case of transition from one lite to the other As Radhakrishnan puts it "If we did not lose memory it might turn out a positive nuisance Oor relations with our fellow men are sufficiently complex without adding to them reminiscences of past lives" (6) If the theory of rebith 18 wellgrounded otherwise, the question of lapse of memory does not touch it Memory may be necessary for a retribulive theory of the universe, but not for moral continuity Death may destroy memory of our decds but not their effects on us Loss of memory does not obliterate cherything. Every experience leaves behind some traces which become the foundation of personality development Such dispositions and memory traces become the spring-board for the development of personality What we are today is largely due to the dispositions and traces that we have acquired The nature of cach individual is moulded by the experiences of the past. Every state is conditioned by the prior and leads on to another (111) Morcover the purpose of memory is to enable us to be wiser by experience, and virtuous by effort The facts we learn may be forgotten but the cultivated mind will remain All our experiences consolidate themselves in forming our personality and that is what is important Therefore 26 Pringle-Pattison The idea of Immortality P 126 27. Mc l'aggart Some Dogmas of Religion, p 132

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Rebirth-A Philosophical Study 15 the objection on the basis of the loss of memory cannot be seriously maintained 28 It is possible to say that the loss of memory at the end of every life may imply to some extent a loss and breach of continuity In losing meinory, It is said, we lose that in which we have found great balance But we only lose comparatively worthless forins which the lapse of years would chaoge to a positive evil And as we conic to unde-stand life better we shall shrink from such a loss less and less The value of immortality would not be lessened much, if at all, by pre-existence (16) And then it is not always possible to say that the memory is fully destroyed at death and a person will not remeruber anything of his past life in the next birth There is an ancient tradition in Indian thought which states that one can remember one's past lives by means of (a) constant study of scriptures, (b) by purification by austerity and (c) by the love of all creation 20 In the Meno Socrates is reported to have cliclied a geometrical theorem from a Negro boy although he had not studied geoinetry at all. Modern Psychical Research has been working on this problem The investigations have shown that the phenomenon of mediumship leads us to suppose that everything is not destroyed after death The spirit that has lost boduly existence can present itself and its experiences through a piedium CD Brond's analysis of mediumship shows the stream of inter-connected events which constitute the mental history of a certain person is continued after the death of his body and communicates through a medium "There is no doubt at all that the best phenomena of trance mediumship involve paranormal cognition of high order The only question is whether this, conbined with alternations of personality and cura-ordinary but not paranormal powers of dramatization will not suffice to account for the phenomena which prima facte suggests so strongly that some persons suryk ve the deaths 30 CD Broad has developed a compound theory of mind The mind emerges into existence when the body and the psychic factor suitably combine, just as water is formed by the combination of hydrogen and oxygen He maintains that on the death of the body the psychic factor continues to exist and scems capable of being united with other suitably developed organisms It carries modifications due to experiences that happened to the person who is dead In mediumship phenomena the psychic factor of a dead person is temporary uoited with the body of the entran. 28 29 30 Radhakralinan (S) Au Idealist View of Life (Unwin, 1961), p. 238 Manusmrti 1v 148 Broad ( C D) Religion, Philosophy and Psychical Research (Routledgo & Kegia Paul, 1953), p. 25

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16 I G Ralghargi ced nedtum, But Dr Broad's conception of the persistence of the psychic factor does not explain the idea of rebirth 1 Apart from the investigations of the modern psychical research and ils ir plications on the problem of rebirth, we have evidence to show that in some cases there is no los, of memory of the past life we have instances to show where a person remembers the incidents of his past life at least during the carly cars of bis succeeding lifc For example, Sadguru Kesbavadas reported to me two cases of the revival of menory of the past life 0) Dr Gastone, an Italian Dentist used to dream that he was a priest in India He could fully visualise the procedure of worship in the temple in India When he came to India recently he remembered his past in a tample ut Kanchipuram He claims to say that lie was a priest 10 his past life (11) Sadguru Keshavadasji says "while I was delivering a discourse at New York Indian Consulate on Indlan Philosophy, a Negro gentleman got up and began recting "Lalita Sahasranama'' and he said that he was born in India in his past Life 91 There is a famous case of reincarnation of Shanti Devi recently investigated to Delbi Kumari Shanti Devi is a Lecturer in Hindu Philosophy at Delhi In her young age she suddenly became depressed and began to say that she belonged to Mathura and her husband was a merchant at Matburt. She gave the name of her husband as Kedar Nath Chaubay A Committee of experts was appointed to study the case, and, strangely enough, tbc details of the narration of the girl came out to be true For instance, she bad told that she had kept some money hidden underground in a certain room of her house at Mathura, and that came out to be true She wts taken to Mathura and she could recognise every corner of the place that sbe llved and moved. She recognised with affection her husband and her son in the past life" I had the privilege of meeting this lady at Lucknow during a seminar on parapsychological phenomena and I waa CORYIDCd of the roports glven by her Dr. H N Banerjee has been doing some work in this direction and bla results have been usefol. 8 The sages in Ancient India were reported to be capable of describing the previous births of others The Buddha enumerated the previous Hfe forms of persons closely connected with him He was also in a position 31 A personal discussion with Sadguru Leshavadasi, Disarama, Bangalore 32. Kuran Shanti Devi A Case of Re-incarnation, (Adarsha Sudharak Subha, Delhi, 1953.)

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Rebirth-A Philosophical Study to say where deceased persons bad found their rebirth Even the different arts of fortune telling have been put to the service of ascertaining past or future courses of life The Pali Canon relates of a Brahman Yangisa who from the skull placed before him was able to ascertain where its previous possessor was reborn It is also said that from the horoscope of a person it is possible to determine the past and the future incarnation of a person ** Dr McTaggart concludes "pre existence, indeed, as we have seen, renders more probably & plurality of future lives and the prospect of a great number of lives-perbaps an infinite number, though this is not a necessary part of the theory - glves us the prospect of many dangers, many conflicts, many griefs, in a indefinitely long future Death is not a heaven of rest It is a starting point for fresh labours But if the trials are great, 90 is the recompense We miss much here by our own follv, much by unfavourable circumstances Above all we miss much, because so many good things are incompatible We cannot spend our youth both in the study and in the saddle We cannot gain the benefit both of unbroken health and bodily weakness, both of riches and of poverty, both of comredeship and of isolation, both of defiance and obedience" But though way is long, and perhaps endless It can be no more wearisome than a single life For with death we leave behind us memory, and old age, and fatigue "And surely death acquires a new and deeper significance when we rogard it no longer ag a single and unexplained break in an unending life, but as part of the continually recurring rhythm of progress - as inevitable, as natural, and as benevolent as sleep We have only left youth behind us, as at noon wo have left the sunrise They will both come back, and they do not grow old " As Radhakrishnan says, if we do not admit pre-existence we must say that the soul 19 created at blrth of the body Such a view makes all education and experience superfluous" McTaggart's position has been criticised by some, Pringle Pattison says - Every reader will feel the austained beauty of the words, the illusion les in the recorrent 'we' and 'us' Otherwise the idea of supplementing and enlargiog our limited earthly experlace is a natural and attractive boe Bet It is a prospect equally open to the ordinary believer in personat timor. tality, and in his case the enrichment of the personality would be real, whereas on Dr McTaggart's theory, the varied experiences remain distributed among a number of different individuals Agalo it is good to rejoice that 'tbo sunrise with its gloncs old' will gladden young eyes and hearts ages 33 Glasenapp Immortality and Salvation in Indian Religion, P 33 34 McTaggart, Some Dogmas of Religion, p. 138-39 35 Radhakrishnan (S), An Idealist View of Life, Unwin, 1961, p 230

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18 TG Kalghatgi after our own eyes have closed in death, but it is an illusion to think that it is we who shall look through their eyes or feel the beat of their hearts 1 Pringle-Pattison says that McTaggart's metaphysical argument seems to rest entirely on his definition of the sell, and the definition I am bound to say seems to be no better than a dog na' 3 Dr McTaggart's use of the lerin substance (though he tries to safeguard himsit) carcies us back to the discredited soul substance which we have so fully criticised 88 Dr McTaggarts supposition that self is a metaphysical substrate in which personal identity lies is not an adequate explanation for the continuity of successive lives, as continuity is never realised owing to the absence of memory Pringle-Pattison senses a difficulty in accepting the theory of reincarnatlun on the assumption of determinate aumber of souls Plato said "The souls that exist' 'must be always the same. They cannot become fewer, nor yet can they become more numerous 8 In the Tunasus he says their number is equal to the number of the stars, o "for McTaggart also the selves are 'fundancotal differentiations of the Absolute, determinate in nature and number 'It is the nature of the Absolute to be manifested in precisely those differentiations 10 which it is manifested "1 "Bradley pointed out that there is one scose in which the immortality of souls seems impossible We must reincmber that the universe is incapable of increase And to supposc a constant supply of new souls, none of which ever perished, would clearly land us in the end in an insoluble difficulty "42 According to Pringle-Pattison the difficulty arises due to the wrong onception of substance which is based on physical analogy It has been said by a woman cntic that Reincarnation makes childhood, which appeares beautiful and holy, a gigantic lie She says it is hard to conceive bow day mother can look into the dawning latelligence of her child's eyes, and be satisfied to believe that in innumerable past lives that same sout has gone through experience savage and civilized, has probably been in turn harlot of rake, victim or tyrant, wife or warrior, Jayman or priest, und perhaps all these a hundred times 45 eyes, me that same ad civilized - Pringle-Patron (A.S) Idea of Immortality p 127 47 lbid. P 127 38. Ibul, p. 123 39 The Republic, p. 611 40 The Timeus p 41 41 Tringle-Parteson ( A S) Idea of Immortality, p 187 42 Appearance and Reality, p 502 43 Pringle Pa tuon, Idea of Immortality, p 129,

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Rebirth- Philosophical Study Again unless we are possessed by the idea that the dumber of souls pouring in from this world to the next world would seem to togaire proportionate drain, for else the country might be overstocked, we seed not be driven to the theory of reincarnation to obviate this lamentable result Such Malthusian anxieties about the overpopulation in the spiritual would would appear to be ludicrous Apparently profound criticism indeed! But this criticism has been based on the wrong foundations Western thinkers have been particular about justifying the belief in buman immortality without accepting pre-exist ence or future life We fiod only a few philosophers like Dr McTaggart who have accepted immortality with pre-existence and a succession of lives There is here a shifting of emphasis in the concept of substance and attributes Dr Martineau studies the problem in light of the psychological and metaphysical analysis of death and presents a case for immortality, without however, accepting pre-cxistence or future life in its physical aspect death presents simply a case of transformation of energy, the organic compounds of oxygen, hydrogen, Ditrogeo and carbon losing their precarious equation and resolving themselves into trore stable inorganic combinations themseIves destroyed hereafter, to be partially taken up into sew living form Bat we should mix in it any element answering to thought, affections and politions They are the concomitant of the living man. These mental eoengles continue to exist as the law of conservation of energy in the physical phenomena of death there is nothing to prejudge the question of life beyond They amount to only vadising of the evidence of life and leave it there, But even if all life were drawn from an eternal given stock, the scene and its continuity would belong to the whole and it would not imply unbroken identity between that which was quenched and the succooding elements The lion in which, according to Plato's myth the soul of Ajax was reborn, would not remember bis defeat aboot the armour of Achilles, or the swan, tonanted by Orpheus, look back upon his visit to the shades, and the joy and despair of the won and lost Eurydice The plain of Lethe that had to be crossed, and tho waters of its river 'Careless' that had to be tasted before the second birth, effectually served the unity between life and Ilfe "And we must acknowledge the justice of Lucretius' stiticum." Oo similar ground Fiske merely presents the belief in the Immortality of the soul not in the sense' in which I accept the demonstrable truth of 44 45 Ibid Dr Martineau Study of Religion, Vol 2 Clarendon Press, 1926, p. 320

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20 TG Kalghatgt Kience, but as supreme act of faith in the reasonableness of God's work as Through the vaticinations of intellect and conscience, Dr Martineau comes nearer the cross-roads suggesting belicf in future life without specifically accepting the doctrine of rebirth He is shy of accepting the beliels of conuouity and rebirth as he has been careful not to appeal to the widespread hope and belief of a future life, which has prevailed in the world, for it 1 bardly warrantable to argue from the mere prevalence of a belief to its truth, unless it can be classed with the primary assumptions that are the conditions of all inference - a position which cannot be claimed by tbe doctrine now under consideration 17 Honcver the conditions of a responsible existence involves two stages(1) a probationary turn and (11) a retributory sequel but it may be said, there is no need to separate these and assiga them to different lives both may be provided for within the present experience of the agent's own personality And it is maintained that retributive aspect of future life bus an educative influence for persons in the earlier and cruder stages of moral culture To them it represents, under hedonistic symbols, a spiritual consummation which will fulfil the promises by transcending them The hopes and fears of future retribation are needed to play upon the conscience only in its rudimentary period 40 Dr Martineau concludes "From this wuivey of the great lines of human experience two 10ferences seem to force themselves upon us (1) that everywhere, - in our conscience, in qur physical nature, in the sentiments of associated men - there are indelible marks of a morally constituted world, moving towards righteous ends (2) That romkere within us or out of us, do we find the fulfilment of this idea, but only the incipient and often baffled tentatives for realizing it by partial approximation This is what we sbould expect to see, from the ficst station of an unfinished system, and it irresistibly suggests a justifying and perfect seyuel The vaticinations of our moral nature are thus in harmony with those of intellectual and spiritual, distractly reporting to us, that we sland 1. Divine relations which indefoltely transcend the limits of our earthly years so Dr Martineau and other Western philosophers like Phleader, stop at the crossroad to immortality and are shy to accept the logical implications of retribution and the progress of the individual to intellectual and moral 4 47 48 49 50 Fake Dewany of man *quoted by Martineau Dr Martineau, Study of Religion, p959 Ibid. p 96! lbid. P 362 lbid p. 362

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Rebirth-A Philosophical Study perfection. They are steeped in the Christian tradition and they do Do wish to take a step further lest they overstep the limits of their tradition, I wish Dr Martineau and other westera phliosopbers had studied the problem by taking a synoptic view and comparative picture with reference to the discussions in the ancient Indian Ibought However, some modern psychologists like Cr McDougall have given thought to this problem and they are in sympathy with the concept of Continuance of life and rebirth In bis Body and Afind Dr MuDougall says "I am in sympathy with the religious attitude towards life, and I should welcome the establishment of sure empirical foundations of the belief that human personality is not wholly destroyed by death For, as we serd above, I judge that this belief can only be kept alive if a proof of it, or at least presumption in favour of it, can be furoshed by the methods of empirical science for every vigorous nation seems to have possessed these beliefs and the loss of it has accompanied the decay of national vigour in many instances " "Apart from any hope of reward or fear of punishment after death, the belief must have, it seems to me, a moralising influence upon our thought and conduct that we can ill afford to dispense with it The admite able stoic attitude of a Marcus Aurelius or a Huxley may suffice for those who rise to it in the moral environment created by civilization based upoa a belief in a future life and upon other positive religious belleft; but I gravely doubt whether whole nation could rise to the level of rustere mort lity or even maintain a decent working standard of conduct, after fontes those beliefs A proof that our life does not end with death even though wo know nothing of the nature of life beyond the grave, would justify the belief that we have our share In a larger schome of things than the varierte described by physical science " Again "I should prefer myself of conbdeal anticipation of total extinction at death to belief that I must venture abow Upon a life of whose nature and condition we have no knowledge, I desire, on impersonal grounds, to see the world-old belief in a future life established on a scientific foundation " Yet Dr McDougall seems to be besitaat accepting continuity of life in the next series as he wants to find scientlic evidence for such a beltof TY Western philosophers have looked at this problem of rebirth only from the empirical point of view They wanted to test this principle on the basis of rational considerations They did not want to go beyond the limits of discursive reasoning Moreover, they considered this problem in isola 51 McDougall (W) Body and Mind Bacon Preus, Boston, 1961, Preface,

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TG Kalghargt tion from the principle of retribution and Karmd Such Isolated study will not lead to the proper understanding of the problem of rebirth The two Minciples are intimately linked up with cach other and transmigration implies the retribution and Karma Again this phenomenon has to be looked ut from the higher point of view of the insight of the seers and the testimony of those who have known this problem by intuition and higher Loowledge Their words have to be considered with respect The Indian philosophers, on the other bind, have always looked at this problem of rebirth in relation to the Karna and the principle of nioral retribution Indian thought had buca careful and had the philosophical acumen not to separate the two principles of Karma and rebirth In order to understand rebirth we have to take a synoptic picture of moral retribution and its effect on the self The Dotion of retribution governs all the great nietaphysical systems of India and it is the common fundamental dssuinption of the philosopbical and religious view 10 general The Indian Weltansaung 19 woven in the matrix of the two fundamental assumptions All the systems of Indlan tbought, except Carvaka have accepted Karma and retribution The association of the idea of immortality with the moral retribution has been a selfevident principle in almost all the systems of Indian thought However, in the Rgveda it is ineptioned that evil doers are cast into the bottomless darkness and the pious to heaven 02 In the Brahmanas the reward of heaven has been mentioned but not particularly for moral action Emphasis is given more on ritual and worship For 10stance, the man who performs borse sacrifice (asvamedha) is valued more than the man who lives a moral life It has been described that even the correct procedure of burial of the dead is important for the attainment of heaven But at the time of Upanyads there was a gradual emphasis on moral action and not 10 much on the ritualistic practices for the sake of getting pleasures in bonven The doctrine of Karma and Its jpplication ID rebirth, as we mentioned earlier, is common to most of the systems of Indian thought it is difficult to trace the origin and development of this doctrine There is no mention of this doctrine in the older Vedic literature Later in the Upanisads it was formulated as a secret doctrine conveyed only to the initiates 8 "The view frequently advocated, that it was taken over from the pre-Aryan inhabitants of India bas, therefore, much in its favour, the more so as recent investigation has established that a high culture already existed in the lodus valley 52. Raude, 1, 164, 30, 53 Dyahadananyaka Upanijad, 3, 2, 19

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Rebirth-A Philosophical Study 23 before the invasion of the Aryan conquerors Therefore, the hypothesis could he advanced that the Indo-Aryans arrived at their doctrine of metempsycbosis in a manner similar to that of the Celtic Druids The Karma with its principle of moral retribution has been worked out by Indian philosophers in calculable details For instance, Manusmrit describes the rewards an individual gets in the next birth for the deeds that he does in this world As we have described earlier, One who steals gold will get poor pails, one who drinks alcohol will have black teeth One who kills a Brahmin will suffer from consumption One who is unchaste with the wife of a teacher will have skin disease - In the Buddh. it Texts we get similar descriptions A man who is greedy and cruel will be reborn as an elephant One who is charitable and who gives food and drink to the Brahmins and monks, will get abundance in his next Ilse In the Devi Bhagavata Purana it is stated that one who commits murder for money and other needs, first comes to Majjakunda bell He stays for a hundred thousand years He then becomes a fish seven times in successive existences, seven times a mosquito, three times a bog, seven times a cock, and so on If one steals the property of a Brahmin he goes to the hell Pasanakunda He is then reborn three times as a tortoise Ig the next three existences he becomes a leper, and so on Such statements need not be taken literally They suggest the foundations of the principle of Karma and relabution which nobody can avoid The graphic picture of the suffering mentioned here are meant as a deterrant to the common man who is not able to grasp the philosophical implication of the fundamental assumption of Karma and retribution It was reported that the Buddhe forctoid the rebirths of other persons who were associated with him. The Buddhist tradition gives a number of births which the Buddha had to go through before the attainment of the Buddhahood The Sajna Tirthankaras were able to describe the consequences of the actions of an individual 10 his successive births Religious atories of the Jainas give interesting description of the transmigradon of the souls in a chain of lives due to their actions The long catalogues of good and evil deeds which definite existences have as a consequence, therofore, rightly show that a simple and abstract teaching Is sufficient only for a few, that it 18 capable of satisfyiog the feeling of the masses only when it gives concrete details and 19 trimmed with fanciful combinations 6 Aud such statements have to be understood in the sense that a definite dead has a tendency to mature a definite Karma, but this tendency is also modified by the effects of other deeds Glasenapiiri, Book Xily and Salvatlon in 54 Glasenapp Immortality and Salvation In Indian Religion, p 27 55 Manusmrti, Book XE 56 Glasenapp Immortality and Salvation in Indian Religion, P 90

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TG Kalghatgl The individual soul has to go through the various forms of existence according to the nature and intensity of Karma accumulated by him Indian thought four forms of existence have been accepted viz (1) divine (dra), (2) buman (manua), (3) animal (tiryak) and (4) the residents of bell (Maraka) The Buddhists have recognised the fifth form of existence called *prelagar Spirits wandering on earth seeking for some form of existence and those belonging to the kingdom of Yama are to be found in this form of existence Some Buddhists recognised the sixth form of existence called asura gan (demons) Life in hell is painful, while living in heaven is pleasurable However for the attalament of the highest state of purification one has to be reborn as human being, even when he has secured a place in heaven The Jainas have said that attainment of moksa is possible only through the human life Existence of the human being is considered as a blessing, Man is a rational being and it is only man who can reason out the consequences of his own action Western philosophers have also recognised this essential nature of man The Bhagavala Purana describes the human life as a gateway to liberation In the Garuda Purana it is stated that of the 84,00,000 different types of beings, knowledge of truth is attained by the human being But it is difficult for lower forms of life to be rebora as a human being unless they have accumulated the auspiclous Karma Buddhists and the Jainas have developed detailed theories of the 'gatts' through which an individuel soul has to go according to the nature of Karma earned by him In all the varied presentations of the lives of the different 'gatis' one has to go through there is always the foundational principle of Karma with retribution operat ing In this also we flad a fine blending of philosophy and mythology with a view to making all types of men understand and accept this phen omenon of transmigration 24 There is also a widespread belief that thoughts of a dying person in his final moment are important for rebirth as they are able to alter the intensity of Karma during the life time It is stated that a man is reborn in the existence about which he thought intensely at the time of death 57 It is said that Bharata was reborn as a gazelle because he had taken care of a small orphan gazelle The guilty Brahmin Amila called his son Narayana at the time of his death and repented for his action, and consequently he went to heaven The relatives and friends of the dying person offer music, incence and flowers to the Buddha so that he will secure a good rebirth The Buddhist tantrism developed an elaborate ritual and offering for the dead and the 'preta for the sake of better life for them The question of the transition of the soul from its old body to new existence in the rebirth has been discussed by the Indian thinkers Very 57 Bhagavadgita VIII 5 58 Bhagavala Purana V 8

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Rebirth-A Philosophical Study ofton metaphorical language has been used As a caterpiller crawls from one loaf to another, and as goldsmith melts the gold of an ornamcot and pre paros a new ornament, so does a soul, create a new body in the new birth The soul creates its new body out of its existing element just as the potter ahapes his vessels from the existing clay As we change an old garment and put on a new one, so does a soul change the old body to a new one in the next birth The Jainas explain the process of transmigration on the basis of the five bodies At death, the soul surrounded only by fiery (taujaso) and Karma body, sets out in a few minutes, still in the form it has 10 the last existence, to the acode of a new birth Having reached there, it assimilates matter and the structure of the new body According to the Buddhists of the aggregates which form the self, the paychophysical component of the individual aro destroyed Only the Aana remains Vilang is projected with all its disposition, formed due to the Karma, in the next form it forms the genesis of a new individual and the dispositions in the form of Karmic process samskara produced by avidya (ignorance) are fixed in vijana The new formed acts produce Karma and become the cause of another birth The Jainas and some Buddhists believe that new births directly follow death Sarvastivadins assume an intermediate existence between deaths and births duo to Karma The intermediate being is gifted with the higher faculty of Vla1on and the capacity for peactrating space without resistance It becomes & nucleus for a new birth Vagabandbu says that the intermediate being has the size of a five or six year old child and the form of being 11 which it will be later reborn The idea of intermediate being and the idea of the soul furnished with a suitable body are analogous, but with a difference that intermediate belog is newly created only for the span between death and birth The theosophists have described the passage of the soul from birth to oxlatence on the basis of the five shells of the self the form of delicture of the common se types of local In Indian thoaght there has been a harmonious blending, as we mentoned earller, of the philosophical conception of soul, the peychological process of disintegration and relategration in the concept of sobule bodies and the mythological ideas in the form of description of the journey of the soul after death, In order to give a coherent plcture of the transmigration into various forms of existence which would appeal to the common mon also. For Instance, regarding the journey of the soul to now life three types of Idou hevo been presented (1) the idea of pruta, (2) of the judgement of the dond asociated with the function aod field of Yama and (3) the idea of the asconsion of the soul to heaven It la believed that the spirits of the dead roaldo for sometimo round about their old abode Gifts are offered to pacify 59 60 Byahadaranyaka Upani sad 4 4,9 Yalaavalkya Samhita III 146

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26 TG Kalghatgi them and for their sustenance They sometimes make their presence felt through a medium when they are not satisfied or when they want to convey something specific to their living and their relatives Modern Psychical Resercb has voucbsared for this phenomenon alter carrying careful Investigation in this direction All the souls must go to the judgemeat seat, where God Yama with the help of Citragupta passes judgement The good are brought to Yama by the messengers of God in stately chariots and sent to heaven The wicked have to wandes for a long time ia the terrible places and have to cross the river Yaitarasil Then they are hurled into hell The theory of the way of the Gods (desayana) and the way of the father (pitryana) has always existed alongside of the idea of judgement by Yama This doctrine was first mentioned in the Upanisads and since remained a dogma with some of the Absolutist philosophers The moon is considered to be the heavenly abode and souls destined for rebirth enjoy rewards of their good action on the moon for sometime and then descend to earth We have given a description of the journey of the soul after death as described in the Myth of Er in the Rep ublic Thus we find that la the ancient Indian thought, the philosophical conception of soul, death, and rebirth have been combined with popular mythological narratives with a view to presenting an acceptable picture even to the common man The secret doctrine 'only to the initiates' mentioned in the Upanigads presented an appealiog way to the common man and that was admirably done in the Indian thought and literature Theosophists have made metaphysical and psychological approaches to the problein of rebirth "It is only the knowledge of the constant rebirths of une and the same individuality through the life cycle, the agguranco that ibe same MONADS- among whom are many Dhyan-Chohans, or the "Gods" themselves- bave to pass through the "Circle of Necessity", rewar. ded or punished by such rebirth for the suffering endured for crimes committed in the former life 'e Closely connected with Karma is a law of rebirth or of the re-incarnation of the same spiritual individuality in a long almost interminable series of personallties "The latter are like the various costumes and characters played by the same actor, with each of which that actor identifies himself and is identified by the public, for the space of a few hours "" Theosophists explain the phenomenon of rebirth on the basis of the idea of seven-fold natore of man. The seven factors constitute the nature of personality 61 62 Blavatsky & Judge, Reincarnation, U L Ibud p 4 T Pamphlet, No 12, p 2

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Rebirth-A Philosophical Study 27 (1) Physical body (Rapa) composed of matter in its grossest and most tangible form (2) Life principle (prana) - a form of force, indestructible (3) Astral body (Linga Sarlia) - the Double or phantom budy, composed of highly etherealised matter which is electrical and magnetic to its cssence (4) Passions and desires (Rama rupa) - It is the centre of animal man, (5) Miod (Manas) - the intelligence which is the higher human mind, whose light or radiation loks the Spiritual belog to the moral man during life It is the dual priociple to its fonction (6) Spiritual Soul (Buddhl) - the vehicle of pure universal spirit. (7) Spirit ( ima) - the worversally diffused "divine prlaciple" Manas reincarnates and carries the results and values of all the different lives on earth It uses the human brain to reason from premises to conclusion Intellect is the lower aspect of man and intuition is the higher aspect The Lower mind retaios all impressions of a life-time and it is involved in the brain with memory and sensation when man dies lower three principles (1) body (2) prana (3) linga fartra leave bum The remzining principles - kama, manas, buddhi and Atma - find themselves 10 an intermediate state called 'hama loka' It is there that the astrals of all beings await second death or further dissolution of the elements The natural acparation of the principles brought about by death would be in throc parts the visible body with all its elements is left to further disintegre. tion on the earth plane (11) The kama rupa, made up of the astral body and the passions and desires, begins to disintegrate on the astral plane (Ill) The real man (the triad of Atma-Buddhl-Marsas) begins a period of Assimilation of the experiences of the life last lived in a purely subjective state analogous to dreaming The soul may be detained in the kama loka if the desires are unfulfilled The principles will be soon separatod if the man is pure. The bigber principles then will go to the subjective state of Drachan which is a stato of porsonal happiness 10 the real being This will remain entirely on the plane of mind and soul The state of Davachan would be proportionate to tho unexhausted psychic impulses originating in earlier life Those who were greatly attracted to material gains are drawn back to rebirth here 63 States after Death, (Theosophy Co., California, U S A ), p 14.

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T G. Kalghatgi Such persons will remalo for a long time in the stupified state in the De achan and then they are reborn on this earth According to the naturo of the intensity of impulses which varies with individuels some men may remain in the Devachan state for one, ten or a number of years in accor dance with the force of the impulses generated in life and the time reqpired for the average person to exhaust psychic energies and Impulses generated in life is from 1000 to 15000 years, and as the masses of persons return from Devacban in that cycle, it must follow that the Roman, the old Aryan and other ages will be seen again and can to a great extent be plainly traced Only when the force of the soul's asplcations and higher desires has been exhausted can tho Ego be again attracted to the earth, drawn by the pulling or magnetic force of the thirst for life inherent 10 all belogs and fixed in the depths of their cssential nature "4 This is the picture, the theosophists have given, of the journey of the soul and reincarnation Sri Aurobindo calls at the attempt of religious philosophers to justify the belief in the theory of rebirth on traditional inoral grounds It may be comforting to believe that good men will be rewarded and the wicked will suffer in the next life The ideas of after-life and rebirth as fielda of punishment and reward were needed at a lower stage of development But after a certain stage, the theory ceases to be really effective The true foundation of rebirth is to be found in the evolution of the soul, or rather its efflorescence out of the veil of Matter and its gradual selffinding Buddhism contained this turth Hinduism knew it of old, but afterwards missed the right balance of its expressiou Now we are again able to restate the ancient truth 10 a new language and this is already being dono by certain schools of thought, though, sull the old incrustations tend to tack themselves on the deeper wisdom Sri Aurobindo explains his concepts of cosmic and individual evolution, The individual plays an important role In evolution "The mense inportance of the individual being which loc cases as he rises in the scale, is the most remarkable and siguificant fact of a universe which started without consciousness and without individuality In an unduferentiated Nescience this importance can only be justified if The Selt as individual is no less real than the Self as Cosmic Being or Spirit and both are powers of the eternal ". From this, Sri Aurobindo concludes that rebirth is a necessity, and an outcome of the root nature of our existence The individual is a product of plunge into self-oblivion by which ibe sense of identity with the universe is lost and a consciousness of a 64 65 86 Ibid 15 Sri Aurobindo Sri Turolando Problem of Rebirth Pondicherry, 1962, p The Life Drine, Vol II Pt II P 704 12

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Rebirth-A Philosophical Study separate existence comes to him As a result the body la formed and cosclousness of a separate ego and through it the individual sell can develop Staelf and maintala Its relation with the Cosmic spirit. Through it only the individual can receive its unity with God and get rid of its sepanteneu and ego consciousness But this truth cannot be an isolated phenomena Jt must be followed by rebirth and that by another rebirth and so on This succession of births will stop with the emergence of the Supermod Tbere the isolation of the individual soul with the Spirit comes to an end According to Shri Aurobindo's Philosophy of Integraliam, Immortality can be considered in three aspects () the psychic (11) the spiritual and (lui) the material The spirit in its transcendental aspect is Brahmma, in the Universal aspect 18 Isvara and lo the individual aspect is the Jirdim. The spirit in all these aspects is immortal 10 the sense of non-lemporal This is the spiritual immortality, as it does not connote persistance in time, but a sort of ineffablo timeless being There is also something la mia which survives death and carries bim along the road of gradual spirtual development This element is called a psychic belog which is the highest representative of the jipalman in man The persistance of the psychic belog through birth and death is called psychic immortallty The eternity of the spirit assumes the forms of Immortal existence ensuing through a long succession of births The empirical self steadily advances through the succession of birth towards the timeless perception that belongs to the transcendental ipurit Shri Aurobindo points out, that it is a psychic being that survives the death of the body and then goes to the psychlo plane for a thorough rearrangement of the past experiences and the final determination of the next birth. "I the psychic being that descends into the evolution of the empirical se evolves with it, suslains and secretly guides from within the physical, Vital and mental elemeots of its nature and serves as the central representative within the evolving empirical self of the transceadental Individuel Self As the spark of the Divine in the evolving creature, the psychic being candy guides the individual through the long succession of births towards the 109liaation of the transcendental Self as an elernal portion of the Divise Being and as a centre of the working of the Divine faktu,"7 During my discussion with Padmashree Dr Beadro, the conen Karnada poet, on the problem of Rebirth, Dr Bendre suggested that the term rebirth is not appropriate It is better to use 'Ac# incarnation,' as the old self is not bora in its old form It is in the process of evolution towards the Transcendental Spirit It would not be correct to look at the problem of rebirth as a process of doling out punishments and rewards, as an act 67 Shri Aurobindo, The Problem of Rebirth Sagaficance of Rebirth

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TG kalghatgi of moral prevalence That would be looking at it in a narrow sense It transcends moral implications and expresses the process of evolution from mind to spirit Rebirth, 10 this sense, is not merely a cycle of recurrence, besitating fluctuat on' within a few set types, but it is a soul experience, a progress towards higher realisation And rebirth tells us that what we are is a soul performing constantly the miracle of self-embodiment as "What we are is a soul of the transcendent Spirit and Self unfolding itself in the Cosmos in an evolutionary embodiment of which the physical side is only a pedestal of form corresponding in its evolution to the ascending degrees of the spirit, but the spiritual growth is the real sense and motive What is behind us the past terms of the spiritual evolution, the upward gradations of the spirit already climbed, by which through constant rebirth we have developed what we are, and are still developing this present middle human term of the ascension " 30 The soul needs no proof of its rebirth any more than it needs proof of its immortality For there comes a time when it is consciously immortal, aware of itself in its eternal and immutable essence Once that realisation is accomplished, all intellectual questionings for and against the immortality of the soul fall away like a vain clamour of ignorance around the selfevident and ever-present truth "-0 We have so far surveyed the whole field of investigation of the problems of Karnia and Rebirth We have found that the Western approach to the problem was mainly on the basis of empirical investigations and from discursive reasoning It has, therefore, become fashionable in the philosophical world to discredit the belief in Karma and Rebirth The principle of verifiability has become an attractive criterion of truth To the modern mind the principles of Karma and Rebirth have never been proved by the methods of modern science and to the satisfaction of the new critical mind brought up la a scientific culture But neither has it been disproved "Modern science knows nothing about before-life and an after-life for the human soul, knows nothing indeed about a soul at all, nor can know, its province stops with the flesh and brain and nerve, the embryo and its formation and its development, Neither has modern criticism any apparatus by which the truth and untruth of rebirth can be established "71 But reason cannot go beyond the limits of discursive thinking As Bergson said, thinking cuts reality into pieces and cannot grasp the inner essence 68 Shri Aurobando The Problem of Rebirth, p 45. 60 Ibad, p 53. 70 Ibid., p 13 71 Ibad

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Rebirth Philosophical Study of Reality It only presents a partial and fragmentary picture of It is, therefore, through intuition and the experiences of the seers trans-empirical truths have been grasped and realised And the Karma and rebirth 18 as ancient as civilization itself We my ac as the fruit of ancient pyschological experience The doctrine of Karma and the consequent principle of Rel expressions of the highest knowledge and experience of the seers justification is neither possible nor necessary The ascetic Kaladevala tion of young Siddhartha Gautama that he would be the Buddha ne taken as a mere story It has a great significance In presenting the e of the seer The story is told of Pythagoras demonstrating wit who was beating a dog, because in the howling of the animal he re the voice of a departed friend Broad says that speculative ph should take into consideration the religious and mystical expe mankind It is they who are in constant touch with the innermo of life and to them we are to look for guidance Such enlightene or 'sages' are the firsthand exponents of philosophy 72 Contemporary British Philosophy (Ed. by Murhead H, 1924) Gr Speculative Philosophy 79 McTaggart Some Dogmas of Religion, p 129

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The Sankhya and the Jaina, along with the Yoga and the Bauddha, philosophies seem to represent the different branches of the main thoughtcurrent of Non Aryans of India that was prevalent before the advent of the Vedic Aryans This thought-current went underground in the days of the Vedas but afterwards having gathered strength it seems to have asserted itself and influenced the Upangads and Dharmalastras That the Sankhya (-Yoga), Jaina and Bauddha philosophles belong to one tradition is suggested by the fact that Mahavira, the 24th Jalna rthankara, was a sankhyacarya in his previous birth2 and that Buddha had become a siya of Alara Kalama and Rudraka Ramaputra who were sankhyacaryas In this context the declaration of Ac Sankara that the Sankhya is a Vedaniruddha tantra new meaning and magnitude Even Badarayana declares the heterodox character of Sankhya (Br Sa 115) This has prompted me to bring out the points of similarities between the Jane and the Sankhya philosophies JAINISM AND SANKHYA Nagin J Shah 2 The Jaina and the Sankhya maintain clear-cut dualism Jalna theoreticians hold that five and ajiva are two radically different elements, Similarly, the Sankhyas contend that purua and prakyti are two ultimate reals Under the head of ajioa the Jainas count dharma, adharma, pudgala, 1 "These ideas (ie Sankhya-Yoga deas) do not belong to the original stock of the Vedic Brahmanic tradition Nor, on the other hand, do we find among the basic teachings of Sankhya and Yoga any hint of such a pantheon of divine Olympians, beyond the vicissitudes of earthly bondage, as that of the Vedic gods. The two ideologies are of different origin, Sikhya and Yoga being related to the mechanical system of the Jainas, which, as we have seen can be traced back, in a partly histor cal, partly legendary way, through the long series of the Tirthankaras, to a remote, aboriginal, non-Vedic, Indian antiquity" Philosophies of India, Zimmer, the Bollinge Series XXVI (1953), p 281 'If Dr Zimmer's view is correct, however, the preAryan, Dravidian religion was rigorously moral and systematically Dealistic yes before the birth of Zoroaster This would seem to suggest that in Zoroastrianiko a resurgence of pre-Aryan factors in Iran, following the period of Aryan supremacy, may be represented-something comparable to the Dravidian resurgence in India the form of Jainism and Buddhism" Zimmer Philosophies of India, p. 185, Note 8 by Editor-Campbell Avasyakacurnl I p 182 & p 220, Nava Nalanda Mahavthar Research Vol. II p 48 kapilasya tantra vedavidam 2 3 000mA0 2111 /

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Nagin Shah ataka, apd kala. These are considered to be indeperdent substances Under the beed of prakrn the Sankhias count mahal, ahamkara, tanmatra and bhita These are regarded as the evolutes of prakrti Scholars are of the opinion that dharma and adharma come very near to rajas and tamas. It is so because tok rajas dharma causes m on and like tamas adharma causes nera or rost 471 placala roughly cor pond, to prahri Both ore Matter 3 According to bh the Jarras and he Sankhas, ou are nonmeersladacids cetana Eventialy hey are donid of miserut but c outer 10 avd b con miserable due to their chancction with Manure Thur conde. 1011 i Mier 15 tae c.1!ot dieha t'r mithvatna which is without beg ning but who could be reined As a result of thus connec.190 there emerge physical and psychiu prenomena According to the Jains, psical ph amena take place in M ter wrereas Psychical ahenomena taketrce in soul They vew Matles as the liaterial cause and soul as a casting Lause in the production of physical phenomene, and Mathe material care and Matter as an occe.in7ng caus in the productwa o psycbical phenomena 10 This is the result of their contention A Doleworny that dharna adharma akasa Rud kala are lately recognised u moepenuent pabalans and counted unrer ajira Hut in olden days by aliva wa anni peyala only Now S hya I realon of Indian philosophies has likewise tried to explain moliem mod led as being caused by two substantial principles rajal and tamah Bor radniecary for monton, and iminubility is caused dy ramah Immobility oft *, however but one spect of tamal, Another is 'inequity adharma Thu character ol lama consating in adkarma proves the rear relation between Sankhya LO ) and Juba adharma and explains at the same why the statue of mobility berseped by the fainas by the si auge natul elhurmu - "Tuultes in Juinism, De Herren Jacoby pp 84-89 11 / yogo lakSaNam' tttvaarthsuu028| cetanAlakSaNo jIva / mevAca 2.53 / nigerm / sa0 10 1162 / sadeva puruSamya du mva syabandhazUnyanvam / sA0 pra0 mA.1 12 1 taha soca sayamAdA / pravacanasAra 167 / me rakAhirakata saMboNe heyotu asya kAraNamityartha / yogabhA0 217 / samAyoga sakA 21 mAmakarmaNoranyonyaprazAnupravezAtmako bandha sabasidi 14 // . taladeviyA / yogs.224| mithyAdarzama bandhahetava |tttvaarth samayaniyaat bho / tattvAryasU. 102 10 vipadikamAguce bobo kamma taheva jIvaguNe / anyoNimittaNa du pariNAma jANa donapi Hanaa heca kAravedha cha kAla maad| baeNa bhAveNa / pumgalakammakadANaM Na du kattA sannamAmAla Real -sAvasAra

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Jainism and Sankhya that soul s variable constant 11 On the other hand, the Sinkhvas consider all phenomena-nhysical 1 well as psychical-to be takiny place in Mater onls That N, Matter is the naterial use of all the e phenomena This Is the result of their vicw that soul 15 ab.olutels changeless 11 But * * goteworthy that the Sarkhvas concede that soul experiences the povchical phenomena taking place in Matter ii e cula, an evolute of Matter) through the process of reflection (praribimha) 13 And it is interesting to note that the Jainas occasionally declare that these emergent psychical phenomena are materiel 14 in this way the difference between these two philosophies with regard to the point in bend is narrower down According to the Janas soul is karta, brokla and jnata.1s Th- Sankhvas hold it to beakaran But it is akarta only in the sease that it is changeless' in its mundane state it is bhukta dod jhata It experience, suh ha aod dunhta through the process of reflection The modes of suhha anit duhha taking place in mato rial Intellect are reflected in soul This is how it becomes the enjover of suhha and duhhha 18 Again the material Intellect gets transforiaed into the form of the object which it cognises and this form or Intellect is reflected 10 soul In this way soul knows external objects to 4 The Jainas consider Infinito knowledge (anantajanal to be 10 essential nature soul That', om i cience l'Datural to soul whereta other knowledges are contingent upon the vents of material karmes When these veils are completely destroved, the natural omdisC180ce s e sa to 11 svaparAbhAso pariNAmyAtmA pramAtA / pamANamI0 11.42 / 12. sA. kA0 10, 11, 22 / 13 sA0 pra0 bhA0 18.7, yogavArtika 14, 17 / 14 eva ca rAgAnyAtmapariNAmAnA porikavipAkamanyavAna kANAnuvidhAvi mamma nyAyAt sadbhanavyavahAreNAcetanamvamapi simiti gAya / adhyAtmavindavivaraNa 15 tatra jJAnAdibhamenyo bhinnAmiko vipatamAna zubhAzubhaka ko bhoja kalasa SaDadarzanasamu0 48 / svaparAbhAsI pariNAmyAtmA pramAnA / prmaannmo011.42| 16 aRrtRbhAvazca / sAM0 kA 19 / 17 Hence whatever change it appears to urdergo are exolained through the proces of re Hection in it of the changing Calta. karteva bhavatyuvAsIna / sA0 kA0 20 / uparAgAt katRtvam / sAM0 sU0 1165 / bhoktabhAvAt sA. kA. 17 / apariNAmitvAt puruSasya viSayabhoga pratibimbAdAnamAtram / -sA. pra. bhA. 1104 / 19. sA. pra. bhA. 187, yogavArtike 121 17 / pramA aAkAratAlA cetane prAta bimbamam / yogavAtike (17) caddhatam / 18

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36 Nagin J. Shah own light on the other hand the Sukhyas do not regard omniscienco as natural to soul It is dependent on citla (material Intellect) When all the obstructions of lamas are overcome the citia becomes pure and undergoes transformations of anan'a objects, and soul (purusa) possessed of this type of pure citta has the bodha of ananta objects through receiving the rellection of ananta modes of the citla Thus in the Sinkhya philosophy omni science is possible through citta only But the hevala (free, emancipated. isolated) purusa (soul) being completely devoid of cuta could not have omniscience in that state of halval ya 2 In Jainisin all knowledges except omniscience are contingent upon soul's Association with Mutter whereas in the Sankhya all knowledges without exception (1 e including even omniscience) are contingent upon its association with Matter S The Sankhyas believe that in the process of perceptual cognition sense-orgaps get transformed into the form of their proper objects as soon as they come in their contact After that mind operates upon that form presented by the sense-organ and finally there arises a determinate form of that object in the material Intellect, eg this is a potas Thus the Sankhya accepts formal transformation of the sense-orgun and the material Intellect The Jainas maintain that there are four stages of the process of perceptual cognition, viz avagraha, tha, avdya, dharand el The Sankhya describes as to what happens to the concerned instruments at the concerned stago, whereas the Jaina philosophy siniply describes the development of the cognition itself The Jaidas do not say specifically as to whether or not the mind assumes the form of the object But it is notewortly in this condoction that Jainas have recognised material manas which gets transformed into the form of the object thought of This becomes clear from their description of manah paryaya nana 24 20 anantavamalAmbIyAnandamayAtmane / pramANamI. maGgala / tat sarvathAvaraNavilaye cetamasya svamAvi ko mukhya kevalam / prmaannmii01115| tathA sarvAvaraNamalApetasya zAnasyAnamtyAjJayamalpam / yogasU0 431 / AvaraNa tamasAs bhibhUtamAtamananta jJAnasattva kvacideva rajasA pravartitamudghATita grahaNasamartha bhavati, tatra badA sarverAvamamalerapagata bhaSati tadA bhavatyAnantyam / yogabhASya 431 / sadA draSTu svarUpe'vasthAmam / yogasUtra 13 // yathA apApAye sphaTikasyAlohite svasvarUpe'vasthAna tathA tvapAye puruSasya battiprativimbazUnye svasvarUpe'vasthAmamiti bhAva / yogavArtika 13 / 22. sAMkyataHkau0 27 / viSayasamparkAt tAdU pyApattirindriyavRtti yuktivI. 28 / Also see Yogasura 1 7 with Tattvavatsaradt and Vartika 23 bhavanohAvApadhAramA / tattvAryasU0 115 / tasvArAjavAtika 123 /

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Jainism and Sakhya he finite and variabis. alpervedings were the body which it c 6 Accordingto the Sankhyas, soul isallpervading whereasaccording to the Jainas its size 19 finite and variable, being always co-extensive with the body which it occuples from time to time 4. Let us take note of the fact that what the Jalna theoreticians say logically applies to the mundade souls because the emancipated ones have no body at all the body, the limiting condition being absent the soul should pervade the entire loke. But the Jaloes do not accept this They contend that the size of the Kiberated soul is almost equal to the size of the body which it occupied in its last birth 27 It is noteworthy that the Yoga, a philosophical system supple mentary to the Sankhya, maintains that citta is sadkocayik sasula, that is, according to the Yoga, citta assumes the size of the body which it Occupies te 7 Both the Jalna and Sankhya philosophies believe lo the plorality of souls * This plurality is not unreal like the plurality of many reflections of one thing It is natural and real Hence it is found even in the sale of Hberation 30 The doctrine of Karma is not compatible with the tbeory of One Soul Even the Buddhists who believe in the theory of Karmi mat tala the plurality of cittasantanas 8 The Jaloa and the Sankhya-Yoga philosophles use the term Stevati for the emancipated soul This term denotes both 'Isolation' and 'perfoction, 25 niSkriyasya vibho puruSasya gatyasambhavAdityartha / sAM.pra. mA. 142 // 26 pradezasaMhAravisarpAbhyAM pradIpavat / tattvArthasUtra 5.16 / bhamUrtasvabhASasyAsmano'nAvinya pratyekatvAt kathaJcinmUrtatA vidhrana kArmapazarIravazAnmaharANu ca zarIramaritiStastAsAta pradeva saharaNavisarpaNasvamAvasya tAvatpramANatAyAM satyAmasahAyayabhAgAdiSu vRttiApapayate, zrIpAda sarvArthasiddhi 516 / Of course Jainas have accepted the possibility of soul pervading the whole Universe (Loka) in Kerallsamudghata 27 usseho jassa jo hoha bhavammi caramammi u| tibhAgahINA tatto ya siddhANogAhaNA bhve||6|| -uttarAbhyayana, madhyayana / 28 aprAsAdapradIpakalpa socavikAsi citta zarIraparimANAvaramAtramitvapare pratipanyA / vRttirevAsya vibhunavittasya socaSikAsinIsyAcArya / yogabhAgya 41.1 mAcaH svaH ttvvai.410| apare sArakhyA ..... / bhAvArya patambAki... yogapAtika 410 / 29 sasAriNo mukkAca / sattvArthasU0 2.10 / jIvAzca / tasvArthasU. 5.3 / sAra syakA. 18 / 50 saMsAriNo mukkaac| tattvArthasu0 2.10 / kaivalya prAptAhi panti bAda rciv| yogamASya 124 /

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para MEAtwitmenye bfieve in the doctrine of Karma Both PostalytonsiderKiram0b icreat to give their proper fruits: Wy l ormade without the agency of omniscient God Whatevet ** Betting dous # Followed by the change in the psychophysical rut called spelarther or Karmanasarira This change is of the pable of addition, wtberation and subtraction of subtle material particles The particles that suffer this change on acc sunt of the activity a . Thos bang toro alvo called Karma It is well known that the the roche waterla! Karmas. But let us note that on this point even M istaymprem with the Jaioas Th. Scherbatsky in his Buddhist Logie y n Sathya terma is explained materialistically, as consisting in a poedel solocation of palautest Infra-atomic particles or material forces as the nation the good or bad" (Vol I, p 133, fn 3) *Re' Rememoire of the Taines rosembles the siksma-sarira of the ar bolh yost dannes tro araulahan, nirupabhoga, nitya and prate m a layas hold that there are eighteen constituents of kthdantathakhara, indriyas, tarmatras The karmanatarirg. m a ma conneckearted of jhanavarantya, darsanavarantya, vedariya, mahin a and antaraya karmas All the elghteen consti rakim m e-Jarira are almost covered by these differents ko bhI prANimA kuzotpAdaka iti kRpAchatvahAmistahi karmaparataant mammI ko naphalopamosatvasya tassavyapekSsya tadutpAda kalpanA parihavA bhavati / sammatiTIkA pR0 130 / imeti samaya prekSAbata. karmAdhiSThAnema, tadananiSThAmamAtrA ma sorennitrayaviSayAnutpattau du khAnutpatterapi sukarasyAt / kAma / saoNsa. 192 / Ra m erienAni moDaki / paramparaM sUkSmam / pravezano'sLyeyaim a pare mind mamAvisambandhe / sapasya / tadAdIni e - / tasyAyaratra 5.36-44 / maSIna vivAdi kA sevasAdharmaNe / mityAsambandhinI a vimotpannamasata niyata mahAvisUkSmaparyantam sAvitam / sa kA 40 . hAsya mArga prAmAHom e pahanAte vinityanema pratipuruSAvasthA S R start va / mohaniyAyiyadhvasanmAnaparyantam siauna

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Jainism and Sachya 11 According to the Jaldas, subtle karmlo matter laparta colond (lesz a) to souls This imparting is carried out got through the prices of reflection but through the process of interpeneration These colours are six in number 1 white (sukla) 2 pink (andma) 3 red (telas) a dove-grey (kapota) 5 blue (nila) 6 black (krina) 34 "These six types fall into three groups of two, cach pair correspondtag precisely to one of the three gujas of the classic Seakhya La sum, the six Ja na lesyas seem to represent some system of arcbac prototype hog which the basic elements of the vastiy influencial frier theory of the part was evolved". 15 The Saakbyas too seem to believe in the theory of tarte colours which are imparted to pururas through the procent of recation The Sankhya inetaphor of pure crystal assuming red colour by the proces of reflectiun when placed before a red japa fomer y romly maar of this Sankhya view "The theory of karmic colours ( not poole to the Jainas, but seems to have been part of the generad prostyu til ritance that was preserved in Magadhe." This theory of the colour represent the naive materlalistic psychology 12 We are strock with wonder to find siribles sallesity betwee the Jaina and Yoga philosophies The Jains concepts of minhyudarte bandhahetus, a4 karmasrata," savara, sanoaro pay fowfald Hat (maitsi etu ),- foursold karmas (Sabha etc), soparkramen-Hontepute 4 * sA pavidhA-kRSNaLezyA nIlalejhyA kApotamA tezyA pAsA rthasiddhi 26 / 98 Philosophies of India Heinrich Zimmer, The Bologer Section 1 pp 229-23) 36 Ibid p 251 97, Tattavarthasutra (with Bhajya). . 88. Ibid, 81 39 Ibid, 6 1-2 Ibid 91 obis, or Ibid 76 Sihananga (Agamodaya Samiti Ed.) 4411

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Nagin J Shah mmas (krima banca manau buruaj atijn r term, u shologa-paralagantpoedantya Kamma, pancamahayrata, twofold Aytu (alkagyom and anlamirodha), fourfold sukladhyana, jatismarana, dN, murahperyaya," Koala" respectively correspond to the Yoga conoopts of avidya," kleta, karmasaya, 65 nurodha, nurodho paya," fourfold Whanand," fourfold karmas (krsna etc), sopakrama nirupakrama dyu-karma, dyskustalanmayedaniya karmataya," panca mahdorala, samprajnata-asamp annidhi, a fourfold (samprajlata) samapattis, purvaj atijnana, sukimanyomelite-wprakriljnana," paracitfaghang and tarakagnana e respectively 13 The Jainas believe that the ultimate uoits of this matorial world ere Moms which are not qualitatively different. All the atoms possess the quakcios sparka, rasa, gandha and varna Over and above these qualities they possess the properties, viz salgdhata (cohesiveness, principle of attracton) and ritkala (aridnesy, praciple of repulston) And the difference in the degrees of their snigdhata and rukfata makes possiblo the composition of atoms tato aggregates ? Now let us examine the Sankhya position with torted to tbis point The ultimate unit of Matter consists of three gunas the bid., 2.32 4. Danakiteatta-Apart yaslidaha cuml (PTS), p 57 *. They (work Daya) 7 1-2 Th. 9,41-46 Chardingen 19 7-8. Thuth ire (with Bhinya), 1, 21-23 28 lil, 1 34-26, 2. # # Youtine (wita Bhaga) 25 31. D 1 12; 2. ht, 114 3. Ibid., L 144,81, 84. Thid, L 65. Thid, 9.18. 66 Ibed. 325 67 Dhad., 3 19. 86. Ibid., 3.64 09 Introduction to Paaparank (MahNvtr Jalan Vidyalaya Ed.) P 291. 20 smiparakSAvA pampa / ma bapannaguNAmAm / guNasAmye pahanAbhAm / padhikAdieko DIRTETO 438-341

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Jalnism and Sankhya because all the three gunas are always found together Mormore, the Sankhyas should maintain that all of thom porscus all the quichon, Apa, rasa, gandha and sparta la potcntia, otherwise their theory of star pavada would be contradicted Thus even according to the Storbryts the ultimate units, say, atoms are onlform Each ultimate colt of the mother consists of saltva, rajas and tamas Rajas and Lamas are functionally ident cal with snigdhata and ruksata respectiyely 71 And difference in the departe (guna-pradhana-bhava) causes the formation of different regula. The gwna-pradhanabhapa of sultoa, rajas, and tamas does not with that ou substance proportionally becomes more than the other two but it that though the proportion of the substances romaior the same, the diagnolia of their manifestness or unmanifestaess varies a This is the natural coto ary of the Sankhya view that every satira individpal le invariably soare ; nied by rajas and lamas individuals, every nejas individual la nicompraded by saltoa and tamas individuals and cvery lames Individual i kompendid ; by sattua and rajas individuals Again, the state of briant thonia that the individuals of sativa, rajas and tamas are equal la noster a that their degree of manifestness is also equal But to the state o n bance, in every voluto or aggregate the individual of the two remain equal because it is a rule that an ndividual of this or te k always accompanied by the lodividuals of the romanlaing two they what happens in the state of disturbaboo that the degrees of festness differ When all the three gupas are of the man dogte ? 20 formation of ovolutes or aggregates Similarly, Jutaas attend to t he there is a proper difference in the degrees of saydhale and reput 72 MATPS Phe 1 mithumavRttayazca guNA / sAMkA 12 / upaSTammaka bala ca raja / guru paraNakameva tamaH, RI samleSajamakam / sArabodhinI (so0 kA 13) / ... bandhakama / sadasyatA kau0 13 / battavAryaprati bodhinI sAM.kA13 / snigdhatvaM cimaNyA emattee sarvArthasiddhi 533 / / 23 anyonyAbhimavavRttaya eSAmanmavamemArthavAvaradezamA : saMyogavibhAgadharmANa itaretaropAzrayeSopAniyamoyA - skhalyajAtIyAtulyagAtIyAktimevAsupAtima / prania vyApAramAtreNa pradhAnAntIvAmitAstitAH / yoyanAya ' manu tadA pradhAnamudbhavatayA zaksamasta am pramANamityAha--guNatve'pi ceti / api mm sware vyApAramAtreNa sahacaritayA pramAnelAta miti w ant 2.18 // - - MAN

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Nagin J Shah by two atoms, then only they can combine and form an aggregate, but Iwo atoms having equal degrees of snigdhata and ruksata cannot combine For the formation of aggregates snigdhata and ruksata the two only being necessary the Jainas have not conceived anything corresponding to saltoa, 14 The Jalnas and the Sankhyas believe in the theory of parinamavada The Jaina conception of drama corresponds to the Sankhya-Yoga conception of dharmi and the Jaina conception of paryaya corresponds to the SadhyaYoga conception of dharma Dharmi or dravya means substance whereas dharma or paryaya mchos mode or transformation A substance 18 characterised by ananta paryayas or dlarmas Both believe that allla mode is not completely destroyed and that andgata mode is not completely non-existent For both production is not an absolutely new phenomene Both believe that karya is potentially present in its cause before its actualisation in production 74 In the Sankhya parinamdvada guna (quality) is not referred to Similarly, In old Jaina parinamacada gund 19 not prominent But it is noteworthy that the Jainas recognise only this standard of reality, whereas the Sankhyaa recognise two standards of reality-one for Matter and another for Spirit or Soul 15 Jainism and the Sankhya do not accept the authority of the Vedas Both denounce the Vedic rituals which involve kulling 76 Both declare that the means that lavolve killing can nover lead to Liberation This is so because both are extremely fundamentalist with regard to nonKliling. Both maintain that as every act of worldly enjoyment involves kulihas one should renounce the world and take recourae to asceticism 76 The Sankhya and Jaina opposition to the Vedas and vedic rituals, their belief in the clearcut dualism of Spirit and Matter, their acceptance of plurality of souls, their denunciation of God as a creator of the worid mod as a dispenser of the fruits of karmas, thoir fundamentalist atutude towards non-Violence aud their belief io karmic colours unmistakably suggest their common Pre Aryan or Non Vedic origin 74 [error] 34715quongea azi am 4381malfear-49274 wafgerai wat i ATTEE 881 at. Fito 75. Tergulus #gfagtannlampe i afarla qr 7|1574a sfarsit 11 ATTRI 78. mAnupAtya bhUtAni viSayabhoga saMbhavati / sAtAko 50 / ucarAdhyayamastra WOR3, 097 98-951

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ANTIPATHY TO THE RAJASUYA WHY? Ganesb Tbite The Rajasayn (ancient indian royal cousecration)' is one of the major sacrifices in the Vedic ritualism Even though this sacribce has been sometimes bigbly glorified, it is worthy to be noted that some things in both the Vedic as well as Puranic literature there appears tu be some kind of antipathy fowards it Thus if one wants to know how this sacrlice bas been praised highly, one may refer to the Moh IC 11 55, 62 where it is described to be "a great sacrifice (muhakratu)" (see also II 3117, cp II 11 61-"mahaya Mo" Elsewbere the Rajastya is benoritoalistically described as the best among the sacrifices (kratusreptha Mbh 11,42, 46, IX 48 14 Cp Mbh VIU 80 23 makhabrestha, IX 48 13 kratuvara, XII 836 kratuttama) The otber side is, however, more interesting and more worth paying attention to Siace, no earlier autbor, as far as I can see, has paid attention tu the puinerous reforences showing antipathy towards the Rajasuya, let me first collect them together and then try to give an explanation of this attitude In the Vedic literature many times Rajasuya is described to be dangerous and leading to loss of valour Thus AV IV & Ic, it is said, "Death at tends bis royal consecration (tasya mptyus karalt rajasujam)" When Varona was consecrated his valour went away (SB V 451, TB 181 1, cp. SB V 4 3 2, TMB XVIII 9 1f) In order to avoid this fear of losing the valoar of the sacrificer-king, there are numerous sites inserted in the course of Rajasaya-sacrifice Thus MS IV 31, it is said that power and valour po away from him who performs the Ra jasaya * Therefore, a sacrificial cate is to be offered to Indra and Agai Then these deities furbish him with the power and valour (ojasa 1a esa uzryena vyrddhyate jo rajasuyrenabtropical 10 viryam indragni ojasalvainam virgend samardhayatah) This cake was disc uvered by Indra who had, after baving kuled Vttra, lost his valoar aad poworlodra obtained his valour back and similarly the sacrificer ako 1 For the Rajastiya sacrifice in general cf the following excellent literatur - Weber Uber die Konigshethe, den Rojsiju (Abhandlungen der Konig! HTXT5 Akademuc der Wissenschaften zu den Berlin), Berlo, 1883, J Ganda Ancient Indian Kwshup from the religious point of view, (reprinted from Numen III and IV with addends and index) Leiden, 1966, p 797 ) C. Heesterman Ancient Indian royal consecration, 's Gravenhage 1957 2. Cp Weber Konigsweihe P 13)

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Ganesh Thite obtalas bus valour Similarly MS IV 31 further says that the milk and valour go away from the performer of the Rajasuya (nayasa va efa Ultyena vyrddhyale yu rajasu) enabhisincate) When an offering of curds is offered to Mabendra the sacrilicer gets back his milk and valour The sacrificer loses his sense-power and valour when he perform the Rajasuya indriyena va esa whyena wyrddhy ate ju rajassiyenabhisincale) But by giving the above-mentioned curds-offering, these things are also obtained back (MS IV 31) As the Sacrificial fee for this offering, a linen cloth is to be given to a priest For be performer of the Rigasuya becomes devoid of deities The cloth belongs to all the dcities By glving cloth one reobtains the contact with gods (deratabhir 1 4 wrddhyale go rajasuj'enabhisincate, sarvadalratyah idsak, jad vasah kyaumin daksina decalabhrevainam samardhayuti" MS IV 31) Since power and valour go out of the sacrificer of Rajasuya, in the Rajastiya-sacritice Vacuvantiya saman 13 to be used for getting them back For by means of this saman lodra obtained back his power and valour gune out at the time of killing Vrtra (MS IV +9, cp TMB XVIII 11 3) And because the Varavantiya-saman is identical with the sense-power and volour, it is to be used in this sacrifice for reobtaining them, for the performer of the Rajasusa luss them (AS IV 49) Moreover, one wbo per forms the Rajasuya becomes devoid of speech (10c) Therefore the Yajayamiva sman in anustubh-metre is to be sung in the course of the Ransu & For the Yajnas aniya is identicul with speech When this sama becomes sung, sap becomes put in the speech of the sacrifice (Vaca va esa unidhyale ya rajastiyenah husthcale, vaganustubh pod unustupsu yanayojnilyan bhanal vacy asra rasam dadhani MS IV 49, cp TMB XVIII 11 2) At the end of the Rajasuya, Sautramani-offering is to be performed The reason, yun, is that the performer of the Rajasuya becomes devoid of sense-power and valour The Sautramani serves as an expiation for performing the Ramsuya and replaces the things which are lost (MS II 41) In this way it can be clearly observed that in the Vedic literature, the Rusay was considered to be a harmful sacrifice Efforts were, however, made to pacify the evil results of this sacrifice But when we come across the epic and puranic literature we notice thut tbe antipatby towards the Rajasnya has become greater Thus the Henadn's Caurlargacintamani, danakhanda (Calcutta, 1872) P 590 quotes Garudapurana According to which the following sacrifices are not to be performed in the Kali-era Asramedha, Purusamedba, Gosava and Rajasuta (na kalau kriyale yajao' seamedho'pi ca gosavak / naramedho ksala nari devarat putrasantatehgarhitam saptakan hyetad rajasiyan kamandaluhl) Rajastya is regarded as the root of many calamities and leading to personal as well Garudapurana uttargacintaman, dan Jesuya bas become

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Antipathy to the Rajasaya Why ? social disasters, particularly to wars The Rajasuya many times becomes ae object of censure on this ground Thus for example, when Varunt performed the Rajasaya on the Yamunatictha (a ford on the river Yarnuna)" he bed already defeated buman as well as divine heroes in the battles But after the performance a great war between gods and Dernons took place and it was destructive to all the three worlds Having told this to Janamejaya, Valsampayana concludes in general that after the Raksuja-performance great war takes place (granatumasa lila ajas uyum nalipule palig dilet mahabhago varino jai sitaprabhuh/il// tafra kira samyran manusandarvalinstarha/ varam kratum samagahre tarunah paranraha //'ll tasin kratinate Me sangramah samruyalal deranan danaldnash ca trailoky arya hajataks/19/1 rajasthye kralubresthe nulle jangme jaya / jajate Junal an ghoruh samgramak kze prarl//14// Mbh IX 48 11 ff The King Hariscandra bad to suffer numerous calamuties and the reason of this misfortune is as follows The sage Vigvanutra asked for the dakyan of the Rajasuya sacrifice and in fulfilling his demand the king had to unde no severe troublesome events (Markandeya-purana VII 25 A) Mereover the Rajasaya of the king Hariscandra was indirectly the cause of a great world. annihilating war between Adi and Baka For when Vasistha came to know that Visvamitra made Hariscandra soffer many pains be cursed him to be Baka (a bird connected with water) Visvamitra, in return, cursed Vasiat dan to be Adi (another bird connected with water) The curses, of course, proved to be effective But the dispute did not end The two scers, now di and Baka fought tremendously and their war was troublesome to the whole carth (Markandeya-purana, VII 89 ff, IX 27) In the Yogavasistha (ILI 106 I ff) we read the story of king Lamal who was the grandson of Hariscandra He bad mentally to become * Candala and to lead low kind of life of a Candala While expluplay why the king Lavana had to undergo this misfortunr, Vasistha tells Rous followe - I shall tell you how Lavana became Candgla due to his pental doradgoment One's mind has to undergo good or bad result according to its own activities Once upon a time Lavana belonging to the family of Hariscandra began to think in the following way--My grandfauber performed the Rajasuya-sacrilice I, born in his family, perform that sacrifice to my miod Then he mentally gathered together the secuficial materiah and invited priests and became initiated He hanured sages, avoked gode, 19flamed fire in this way be performed the sacrifice, gave dakpinas to the priests and at the time of evening canuo tu awareness Thus be performed the Rajasaya mentally and therefore had mentally to undergo the life of a Candala) Therefore, O Roma, it is the miod which receives the pleasure

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Ganesh Thile or pain Yoke if therefore to good activities (Yogavasistha III 115 25 ff In the Yogavasitha it is further expressly said "Those who perform the Ramsuva have to suffer calamities, full of various pajas for twelve years (vajavasia haridro ye ha le da latahdikan / apadduhlliam prapruvanli nanaka To YathaTara" III 1165) The stories of Hirtsrandra und Lavana indicate that the performer of the Ryjasill ha, personally lo suffer many difculties But the authors of cpics and Puri205 also intend to prove tbat the Rojasuya leads the whole Society to destruction Ther, for when anybody w lits to perform the RajaSuya his well-wishers try to disuade him from puiforining it Tho person desirou. 10 perfrutti Rujanya is also at time, aware of the evil consequences of the Rajusuya Thus for example in Valmiki-Rixyani (VII 835 ff) there is the following cyent Rimal desirous al performing the Rajasuya Ho expresses bis intention before his brothers viz Bharata and Laksmana "I want to perform the Rajasuva with the help of you two There is eternal religion lo 1t Only having correctly perforined the Rajasuya, Mitra, the killer of edemies becami Varun Soma, the knower of religion, having performed the Rajasuya obtained fame and firm place in all the worlds" Then Bharala said to Rama "You are a good king taking care of the people The welfare of the people depends upon you Still why do you perform much a sacrifice in which destruction of the families of King on the carth evident All the beroic mun, full of valour, will be annihilated in it Everything is in your command. It is aot proper that you may destroy the whole earth" Having listened to this speech of Bharata, Rama became pleased and sald, "I shall leave away the Rajasiya , for a wise man should not do anything that will be troublesome to people and should accept the counsel of even a small boy Therefore I accept your opinion" ! - - -- --- Yovavitha III 115 25 ff arra te simu vaksami vyttantam imani uttamam lavano'sau wwka .as cendalatvam manobrainal 125/1 manal hai niphalash bhukte subhain vasubhameru va arhaitad buddhyase ninath fathohanaya raghava 112611 hariscardrakulattkena lwamena puranughalekan tenopavisena Lintitah nanasa ciram ||27|| pitamaho me swunakan rajatuyas ya yajukak/ahan tasya kule jolastart yaja manasa wakham 1/28/1 tt Samcintya manasa kita sambiniraniidi tuk/ rajasujassa diksayam praviveca mahzparis 1/29/twus cahtaj emusa pujajamasa sanman devanamantiayamasa jvalayamasa Brokam li jarheschure Jajamanas ya manasopavanantare/ ya yau Sami atsarah sagro derardwijapuhuva 31/ bharebhyo dyljapanebhyo durva sarvasvadah stram / vibuddhyata dinasanze sa thepan ane nypak 1/32/ cia sa la ano raja rajasuyamava plavan manaSarah lupang tuhur tasya phalena ca 133/1 atas cittah caran viddli bhoktarart sink haduwa nchi tunnu inth puvanapale sat ie yojaya raghava 1/34 Talmlkirimayina VII 83 51 yabhyani atnubhul abhyam rajasUyon anultantam sahuta m ern Icchami tatra dharin.. tu sasvalak 115|| /f/vusu rajasuyeng initrah satrimibarlanab/

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Anil pathy to the Rajasiya Why? Tben Laksmana requested him to perform the Asvamedha-sacrifice wbick purifies the performer from all the sins Here it is worth noting that the Rajasuya is regarded as destroyer of the kingly families Moreover Rama describes Soma as the knower of religion and mentions his performance of the Rajasuya wbile praising the Rajasuya In Padmapurana (V 34 153 ff) the same discusstun takes place in thu text also Rana praises the Rajasiya by sayiog that Suma, tbe knower of religion obtained name and position and Mitra obtained Varunabood by means of its In this text also Bharata blames the Rajasuya as the destroyer of all the beings But the Padmapurana differs from the ValmikRam yang because in the Padmapurana Bharata uses the cuinple of Soma's Rajasaya in proving that this sacrifice is dangerous to all He says 'After having performed the Rajasuya, Soma took away Tara, wife of Bphaspati and this siaful act led to a great war of stars in which many gods and demons were ruined in war that followed the Rajasaya-sacrifice performed by Varuna many acquatic creatures like fishes and tortu ses were killed. The Adi-Baka war was a consequence of Rajasa performed by the king Hanscandra and there all the worlds were annihilated Thus the Rx Musaya leads all the creatures on the carth as well as in the heavea to death Therefore think of the safety of the beings" Theo Rima agreed with Bharata and declared his decision not to perform the Rajafuya. suhutonta sulalaena varunahanupugamor 1161 somasca rufanivete i ri dharma dharmavit praptasca sarvaloke'u kirlsthanare ca sissaram (171) asmakow Jaccareer cintyatani tan masa saha / hitam cajariyuktam ca pravaruk maklumar hath 118// (the Bharata says to Rama You are a good krug" and then adds- tromlerdha mo Hamakaratasi hatham ipalithivyam rejaan ini maso yatra desyatal/13/ ye ca purusa rajan pauru sanagotak / sarve sam bhavia tatra sawah payah saraton 1411 sarvarh purposardila gunair atulavihrama/pything. narhase hansah wese Atlan t a 111511 bharotasya fu tadi ih jam survimy tuinayam Jarha / Preteramat Adam Labera satyaparakramah 111611 Then Rama sud e padas mudabhipro) adrojaskya kwa nryarta)ami dharmana taya suvahtend ca 1/1911 luhapod.karom harmd Ma artar vlcak sahalh balinin sublium uhjam grahyan lakonanapunaja taimacky nomidor you sadhusuktam mahobala 1/2011 Rama says to Bharaua and Lukmane ispa ha rajaswyone some diarme darur 1/159/1 praprah anew lokesh kurtisthanam anulamami in rammer fatrunibarhana) 11134|| muharretty sus dathend varungivamupipotala //155/1 Audumpulan V 34 153 fT Bharata skys to Ratna - prwaha pilsvadrajan paisani tra makandle 1 phone porta bhuto'si praniminiha raghuva|/15 levannidhanach salonam walau m a i putin sari abharanih vinasa des vale yatak // 159/1 sruyale rajasardila song and mural jronisaati sunahadyuddham samgrame final ama ye /160] tara by har poler Skarya hyla no. mana kamatan tatra Juddham mahad viftane domadanangangam 1/161/| Kama kraam ghore sargrume marsyukacchapadinite ralosurdula arve kiwi Malwarw 182pherds candrasya yalaante ralastyarya raghavatagbakad mahatyudhak darnatakari

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Ganesh Thite We get in the above mentioned discussion from the Padmapurana # reference to the performance of Rijasuya by Soma as an example of all destructiveness of the Rajasuya This story of Soma's Rajasasa and its subsequent events is alsu found in some other Purane-texts Thus in the Vayapurana 190 22 ft) it is told that Somu, after having obtained a big kingdom, perfuroied the Rajasuya in that sacrifice various gods per formed the duties of the priests Thus Hiranyagarbha was the udgatr, Brabma was the brahman and the lord Vidu was the Sadasya The sacri ficer, vz, Soma was surrounded by the great seers like Sanatkumara etc He gave the three worlds to the priests as daksina Then Sioivali, Kubu, Vapus, Pusti, Prabhu, Vasu, Kirti, Dhrtt and Laksmi (having left their own husbands canic to him and served him After the Avabbrtha-bath at the end of the sacrifice Soma began to shine in all the directions Having obtaard the glory which cannot be obtained easily and which was worthy to be praised even by the seers, Soma lost his conscience and abandoned all the moral Then he took away the wife of Bphaspati, named Tara and that was the cause of a great war (Cp Agaipurgna 2742 ff, Matsyapurana 23 23 ff, Padmapurana V 12 19 ff, Visnupurana IV 6 7 ff, Bbagavalapurana IX 14 4 ff) Mbh IX 42 39 f and IX 50 1 we get a reference to the Raja suja-performance of Soma and to the war of gods with the demons But bere no meation of the story of Tars is to be found The kings used to hesitate to perform the Rajasuya as they were aware of the evil consequences of it for this we may give the following example of Yudhashira Yudhisthira once asked Narada "Having what done, Hariscandra oblined great same and became a competitor of Indra'? Then Narda said, "Hariscandra was a valourous king He conquered all the other kings Thus he became superior to all of them Having won the whole arth he performed Rajasuya, the great sacrifice Then he became glorious The kings who perform tbus sacrifice, they enjoy along with Mahendra" stva portuvenem ca rajasije dhrunan ksaya} ||164/ sa ivan purusasardula buddhya Sumeya partkiva / pratam cintasu subham puna(-a) dharnain samacara |/165/| Thea Su, Rama wad prito sini tava dharmajna vak yenanena safruhan / nivartita rajasayan matume dhern argisala |1166|| Padmapurana V 94 158 ff Viyupurdas 40 22 ff -sa lat prapya mahadrajyarit samak sainavatam prabhu) / samajajne rojatyam sahurrasatadak fram 112211 hiranyagarbhascodgata brahma brahnialvameylvan sodaspastura bhaguran harinarajanah prabhuh sanatkumura pramukliair adyatr brahmarzabhur vetenll2 duk ramadadal somas tren lokan iti naharidam tebhyo brahmarsinrukhyeshyal sudaryebhiaca vai diwak//241am sinasca kuhiscaiva vapus pusil prabha varual kirtir dhuis ca laksmisscu nava devy ah si serire 1251 prapyavabhytham avagrah sarwa drrar pujitan / atrejyatirajendro da adhatapa) ad disah 1126|| tada tatprapya dusprapa lsvaryam sarkistutam sa ribhramamatir vipra vinayo'vinayahata) 1127|| byhaspatek #wal bharyash far nama yasasyim Jahara sahasa sarranavamatyangirusutan 1/28/1

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Antipathy to the Rajaskya Why? (Mbh II 11 49 ff) Then Narada conveyed the message of Pepdo to Yudhistira (Mbh II 11 65 ff) "You are able to win the earth Tho bro thers are under your control, therefore perform the Rajesuya" Having told the message, Naerada requested Yudbitbira to fulfil the desire of bits father Narada accepts that the Rajasuya is full of many calamitles The Brahmaurykasas who are desirous of destroying the sacrifice creat defeels la the sacrifice (bahuvighnasca nfpate kratutesa smrlo mahan/chidedayatra he changi yaj naghna brahmaraksasah |/6818) Agato, he says, & war, anotblating all the earth takes place after this sacrifice Something that leads to topihilation happens in this sacrifice (yuddhah ca prsthagamanas puhuvkorakaratom kincideva witam ca bharofyatra kayasaham 1/69/1) Narada Faros Yodhisthira to perform the Rajasuya only after having taken into the consideration the grave consequences of it Then he gives benedictions to Yudhuthtra and goes out Then (II 121 ff) Yudhisthira began to thlok about the Rajasaya and became puzzled He became attracted to the Rajasdya looking at the other worlds obtained by the ancient kings especially by Harlacaodra with the help of the Rajasuya Then he discussed the matter with his advisets and they strongly recommended the performance of the Rajasuya. But Yudhet sthira, still hesitating, consulted his ministers and brothers agan and again. They then said, "A king desires to get the complete empire by that work fice because a king goes to the state of Varuna-hood by words of it (yenabhisikto ng patur varunam gunam sachalillena rajapi sax krim sex guqam abhipsatt 1/11/8) It is a right time for you to perform the Rujant for you now deserve the empire (lava samadguxarhaaye bhanalak kurwandows/ rajasuyasya samayah manyanse suhrdaslada 1/12/1). All the spoon-offerings and all the sacrifices are included in this sacrifice At the end of the sacrifice, there is the consecration and thus sacrifice, on docount of the called "all conquering" one You are powerful, o king! and we are to your control Decide therefore to perform the Repuuya". The soons liko Dato mya, Dvaipayaoa etc also were of the opinion that Yudhithira should per form tho Rajasuya " Then he invited King and said to him, "The king who is able to do everything, who is worshipped everywhere and who is the land of all, he can obtain the Rajastiya (yasmin saron Sambhandli xaba #r pugyale yatca sarvefoaro raja rajastayath sa bidalt 1/3611 Adviso me, therton, whether I should perform the Rajastya or pol." Thea Krupa told hitam, You aro completely deserving to perform the Rajurage (II. 13.1) Betty essential to win the klogs like Jarasandbe before performing * Until 8 Mbh II 12 14 darwhomarupadaya sarvar yas prapamte krami shabake an alle sarwalt tana cocyata / op SB V 2.3.9, Harvia ja roti marehe arva Iffirapt darvthoman yo rajana yalate, cp. alto SB V 2.3.10 4.14 , 3.10 11.

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50 Ganesh Thite Jarruandha is living yon cannot obtain the Rajasaya according to my opinion in tu sahyarh Jarasandhe jan amiane mahabalarajasuyastvayz praptum era rajan matir mama" // Mbh 1 1361) When afterwards Krsna describes the power of Jara andba, Yuddisthira again feels that he should not perform the Rajasuva (samniasar rocaje sadhu karasjasza janardana/pratihani mano nic'da rajaso durisadah" // 11155) Then, however, Yudhisthira and his brothers decided to defeat Jarasandha and became successful in tho tasi Jiravandha was killed in the battle Many kings were liberated from the prisonuent of Jardandha and Krsna made them agree to cooperato in the Rytiva which was about to be performed by Yudhistbira (11 22 35 f); Sularly Arjuna, Bhima ctc went out for victory over all the directions (Wig ala-11 23 9 ) and brought a large amount of wealth having con . querred many kings Then Yudhisthira performed the Rajasaya (II 30 28, il, cp for all this story Bhagavatapurana X 74 3 ff) At the time of this sacrifice Yudhanthira olfcred worship to Krsna and then Sisupala becamo angry This evcot euded in the death of Sisupala The famous Bharatiya war between the Kauravas and Pandavas must be judged tu be the result of this Rajasuyd sacrifice oply For, having seen be successful accomplishment of the Rajasuya and the wealthiness of Yudhisthira, Duryodbana became very much disturbed (II 431 ff, soe IL 43 12 fr, a prahrstenu manasa rajastlye mahakratau/preksya tam ad bhur am ddhim jagama yajasa wayam 1/12/1 pundavalripramaitasya dhyanaglanasya gacchatah duryodhanas, a nipatek papa malimnjajala 1/13/1 parthan sumanaso drstoa pathivamsca alanugan hrtsnam capi hitam lokamakumaran kuruldvaha //14/1 mahimanam param capi pandas anath mahatmanam/duryodhano dhartarastro LI arah samaprasata //1511). Sakuni asked him the cause of his disturbed. Bess Then he replied, "I am burning, as it were, after having seen that the whole carth has been conquered by valour of missiles of Arjuna, and is under the control of Yudhisthira and that Yudhisthira has successfully ccomplisbed the Rajasuya performance Krana could kill Sisupala only because of the valour of the Pandavas Various kings paid tribute to Yudhistbira by offcrlog him jewels I am being burnt by anger Let me enter into fire or swallow polson or drown myself in the water I cannot live now Who, being a powerful man and seeing the success of the enemy and defeat of oneself can bear it? I em toleraing such a wealth of the enemy and therefore I am neither a man nor a woman nor a eunuch For I can tolerate such a wealth of the enemy Is there any man like me who y Cp Agaipurana III 18 disab pandavuls tu ra]yah cakre ynidhi shira / bahusvarnate Tojsijun nu seke lat sujohana Hcp also Bhagavatapurana 75 32 eh adanta pure tunya tiya duruthunun artm alapjad rijasuyasja nahityun cicyntatianap/ See fursher, bhagavatapurana V 74,53

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Antipathy to the Rajastya Why? will not be angry after having seen the rule over the earth, 60 much wealth and that kind of sacrifice? But I am alone and cannot rob away that klody glory I have no helptr I am, therefore, thinking of suicide After having Been the stainless glory of Yudhisthira I feel that "luck prevails valour is useless Soine years ago I tried to destroy him, but he crossed over all the calamities Therefore, it appears to me that the luck 13 superior to all and valour is useless For the sons of Dhftar Astra are continuously at loss and the sons of Prthu are continuously getting profit "10 Then Sakun adviser him to invite Yudhisthira to play dice (II 44 18) Duryodhana describes his mental disturbance created by the Rapsyperformance of Yudhisthira before Dhstara tra also He first narrates bor lofty the Rajasuya sacrifice was and how Yudhisthira received various pro scnts from different kings Then he adds "Yudhisthtra was shining In Hariscandra How do you, then O Dhrtaraztra' feel that my life is worth living ? (yalharimatram kauntejah siya paramaja yulah rajasiyamardpyalam harib andra iva prabhuh 1/22/1 etam distrz Srijam parihe karricandre year het nibho hatham nu jivitar frey'o maina palyasi bharata" //23// Mbh IL49 221) As is well known, Duryodhana accepts the advice given by Sakunt and the dlce-play lakes place Pandavas lose everything is that play They po to exite And when they return, the famous world-annihilating war occan. It can be here rightly surmised that the root-cause of the Bharutrytwar was the Rajasuya-performance of Yudhisthira. At first Yudhisthin wus hesitating to perform it becaose he was aware of the future calamito 10 Mbh II 49 19 ff dr siveman prihlah kylsnam yudhisthiyarasangam p r apa apena svetassasya mahatmanah 111911 tarile ca Fanat tashabkutan har matulalyatha Sakrasya deve su thabhurain mahody ute 1/2011 amar son supporna okyo mano divanisam suciskrogame kole su sve tayamivalpak am 2111 parha s tartthyme itsupalah niparitam na ca fatra pumanasit kaicutasyu padaugal 112211 folyam hi rojanah ponda otthena vahninalk antavanlaranto' paradhau tak ko wl tank k marhatt 1/23/1 vasudevena fal karma fathayuttan mahut kylam / siddhas a wenye nam pratapena mahatmanam ||24|| tatha kt ratanyadaya yoldand mp pompe Isthanti kaunteyade valsya iva karapradaki 4251/ sriman lahandi rspp jalan pandave | amar savasama panno dalye hamalarhocial 172611 nohumina akixd bhak ayisyami va vi samlapo vapi praveksyami na hl Jak syao ffrica 11ml ko nama purnan loke marsavisyarl sartravan sapatnanrdithyara dyra ha me ca 1|28|| sa'hain ng strena copyastry na pumamapumanapiyo he Lake Mary tadrspuh Sriyamagatam |/2911 isvaratvam prthivyaf ca variamartial a r a tadraih drstva modrlah ko na sahranet ||3011 asaktalcalde de fin an nypasriyamsahayanasca na pabyand tera Mytywi vicintax 113111 de Mar nianye pauru'sach the nirarthakam drs/va kuntrate subhra kriyet (multe tanha 1/32|| kyto janno maya purvan vinase tasya squbala/ tacco formampiran N . popiva pankajam 1133/ tena dalva para manye pour sa tu nirarthato r lardir. hi hyalite partha vardhanti nityasal 113411

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Ganesh Thite which would arise from the performance of the Rajasuya My surmise viz the root-cause of the Bharatiya-war is in the Ramsaya-performance has a direct support even in the Mbh and Harivamsa Thus Dhitaristra says to Samjaya, "I abandoned the hope for any victory alter having heard that Pandavas conquered all the kings by means of their power and performed great sacrifice viz the Rajasuya (adairausan digjave panduputrair vasikrtan bhimipalan prasahya/mahakratum rajaiyah krtam ca tada nalamse jayaya sajaya/Mbh I 38) The dialogue between Janamejaya and Vuisa occurning at the Harivamia III 2 14 ff is also very instructive in this respect Janamejaya says, "It is my frank opinion that Rajasaya must be regarded as the root-cause of the annihilation of the Kurus I consider the Rajasuya to have come into existence for the sake of war only, for ksatriyas are killed due to it la the ancient times Soma performed the Rajasuya and then there was a great war of stars When it was performed by Varuna, then a war between the gods and Asuras took place and all the belogs were ruined due to that war Hariscandra performed the Rajasuva and then there was a war between Adi and Baka and this war too was all-killing Next, Yudhisthirs performed the Rajasuya Then why didn't you oppose the performance of such a sacrifice ?" $2 Thus we saw above how Yudhisthira was hesitating to perform the Raya, how discussions took place, how Duryodhana became angry after having seen the Rasuya performance, and how the Kauraves and Pandavas played dice and how ultimatel, there was an annihilating war, When Duryodhana obtained kingdom by means of dice-play, he also desired to perform the Rajasuva Then again discussions arose Even after getting the kingdom of Yudhisthira, Daryodhana was not satisfied He remained always disturbed Once he said to Karna, "I covet the Rajasaya-performance of Yudhisthira Fulil my desire, O Karna (rajasajam pavasya drva kratuvarah tadajama sprha sanut panna tau sampadaya staja Mbh II 241 19) Karna then encouraged him to perform the Ruya in the following words, "All the kings are now at your command O great king Let the best priests be invited, let the materials of the sacrifice be collected in the right manner (.lavadya prthipala vaiyah sarve nepottam//20//ahuyantah dijakresthah sambharaica yathavidhi/sambhryan 18 kurusrestha vajmopakaranani ca 11211 bahrannapasahyuktah susamyddhagunntaki pravartalan mahajajhastavapi bharatrabha //23// Mbh III 241 20 ff) Duryodhana's Purohita, however, opposed to the idea of Rajasuya by saying, "It is not possible to perform that great sacrifice (viz, the Rajassa) until Yudhisthira is alive Similarly your father Dhitarasten is also still living Therefore it is wrong to perform the Rajastya there is another sacrifice equivalent to the Rajastya Please listen unto me Let all the king: who pay tax to you should offer gold to you, then let

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Antipathy to the Rajastlye Why? a plough be prepared out of that gold and then let the sacrificial ground be ploughed by means of that plough Lel then the sacrifice with ample food and well fashioned one be performed on that ground in right manoer This Valsnava-sacrifice is worthy to be performed by the great peTHODS, Nobody except the ancient Visnu has performed this sacratice This great sacrifice competes with the Rajasuya sacrifice We will like this sacrifice and you will be profitted by this sacrifice Moreover this sacrifice will creat DO problems Your desire will be fulfilled " (Mbh 11( 241 26 A) Then Duryodbana performed the Vaignait-Sacrifice (Mbh HI 242.4 FT) Many persona praised it, but some said to him "This sacrifice was not Like the sacrifice performed by Yudhisthira This sacrifice is not even to much as the sixteenth part of that sacrifice " Then Karna said to Duryodhana, "Luckily this sacrifice has been well performed thall bodour you when you will perform the Rajasaya after baving killed the Pandavas " Duryodhane agreed with it and ags10 began to think of the Rajasuya He then asked his friends, "when shall I, after having killed the Pandavas, be able to perform that great and wealthy sacrice' (Mob III. 243 3 ff) Thus we observe that the performance of Rajasuja done by Yudhisthira was so disturbing to Duryodhana that he was always thinking of performing it and for that he wanted to kill the Pandavas Thu the once performed Rajasaya kept the fire of anger in Duryodhans always burning The result of all this was the great Bbxratiya war If we recapitulate the position of epics and Puranas 10 conaccios of the Rajasuya, we can conclude that these texts were antagonistic towards the Rajasuya-performance From the stories of Soma and Lavina we know that the performer of the Rajasuya loses his conscience and indulges himself in some mean actlyttles Rama does not perform the Rajasuya being afraid of the world-agalhilation He prefers the Air medha sacrifice Yudhisthira's attitude towards the Rahusaya was also lurking one But Krsna encourages him to perform it and be per forms But the dreadful results which followed it, justify the lurking attitude Duryodbana, too, wanted to perform the Rajasave but was opposed to do so He, instead, performed the Valpaava-sacrifice Thus the epice and puranas express antipathy towards the Rajasaya It is now a problem viz why there is antipathy towards the Rajasuya To try to solve this problem let us turn to the vedic literature where we get description and explanation of the vedic ritual From the vedic texts wo como to know that the alm of the Rajasiya was to assert one's being a klog Thus SB V 1 1.12, 13, we read, "one,

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54 Ganesh Thite veril, becomes king by performing the Rajasuya (raja val rajasiyenes Kharan," Sometimes it is said, "He, verily, kills Vrira ("Opposition" persunilied) who gets consecrated by means of the Rajasaj (vrtram va esa hanti tu ralasiyenabhisicate' MS IV 31,4, cp TMB XVIII 11 1) The sacrificer, on the other hand, makes so.ne of the important personalities holding the political, official posts favourable to hun Thus there are the Ratnahavirist (jewel-oflering,ju" which are offered in the houses of the Commander of the army, Purohita, Headman of the village etc By offering these offering the sacrilicer raakes them his own, and non-violating (lam In anapairangam kurute) (SB V31.1 ) After the Devasu offerings are offered, the Adhvaryu touches the right orm of the sacrificer and says, "Quicken him O gode to be unrivalled (amah asabatnara susadhram" VS IX 40) While explaining this formula, the SB V3312 says, "Quicken him, "O gods, to be unrivalled", he thereby, Quicken him, "O gods, to be without an enemy' 'For chiefdom, for great lordship, in this there is nothing obscure-for manrule' for the ruling of men' be thereby says (Imam devah asapatnam suva dham, imam deva abhratryyam sunadhyam ityevaitadaha, mahate hstraya mahale jyaisthyaya ili natra tirohitomivasti, mahate janarajyaya iti mahate jannam rajyayelyevastadaha") Thus here a prayer is made to gods to make the king devaid of enemies for the sake of great kingdom Similarly the Adhvaryu further says to the people in general-"This man O ye (people), 15 your king Soms is the king of us Brahmanas" (SB V 3 3 12) Thus the R1jasuya sacrifice, it seems, was to be performed for the sake of asserting and declaring the kingship Before performing the Rajasuya, the king used to conquer many other kings, The Prayujam havima! (for the description of which see Katya XV9 11 ) seem to be ritually symbolizing the kingly expedition for victory While giving the significance SB V521 says that the sacrificer by means of these offerings yokes the seasons as it were and then these seasons, having been yoked, carry the sacrificer Further, SB V 523, it is said, "yetha alire yuktva pranca apravrsam yuyuh/ turn yunkte ta enam tedrtavo yuktah prancah apravrnam sahontijsadvar Dopravukian apavisam anucaranii" Thus to offer the first six out of the 11 box Ritmahavim STS I 86 TB I 73, MS II 65-6, IV 3 8-9 KS XV 4, SR J If Bailass II 4 Apas XVIII 10 12 ff Satayks XIII 4 4 1f Katya \ 9 10 12 tam ter example the king Bhagiratha got victory over many kings He performed the Pajavuva fut eight times But he tells to Brahma that lus obtainment of heaven not due to that died -Mbh XIII 106 13 Vuutya nrpathe sarvan makhalristva tubo ajusujehhyo nu cu tenahamagatall

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Antipathy to the Rafasiya . Why? twelve Prayujam havimas! is Hike going on an expedition baring yoked the chariots in the spring, until the rainy season comes Further, to offer the next six Prayujam havimi is to come back, as it were, at the time of ralny season (yarha punardvarteran varsikam abhi SB V 5.2 4) The Kuru. pancala people used to say, "The seasons being yoked, verlly, carry us We march after the yoked seasons, They said like this because their kings were performers of the Rajasaya" (SB V 425 -taddha smantal hurupalcala ahuk tayo na asman yukta sahanti rtun prayuktan anucarama y adesin rajano rijasvavalina asuh )18 Thus expeditions and invasions are included in the Raja siya-ritual in a sybolical way The actual expeditions etc must be taking place before the ritual of the sacrifice We have already mentioned the expeditions made by Pandavas before the performance of the Yudhihira's R asuya Thus there are expeditions before the Rajasuya-performance and therefore there is a danger of annlbllation 10 the war The epic and purinic texts, therefore, oppose the Rajasaya-performance But now a question will patuarally arise - What is then the duference between the danger of the Agvamedba and that of the Rajsuya? For before the Asvamedha sacrifice also there are expeditions , there are battles. there are annihilation. But no objection is raised against the Asyamedbr from this point of view On tho contrary in the case of Rome, Bharata advised him not to perform the Rajasaya and prescribed the Asylmedha before the performance of which many battles did take place. Thus it 18 not merely the battles which make the thinkers oppose to the Ranstva Then, what is it? The epic, poranic and vedic texts have not raised this question at all They naturally have no answer to it Now lot me try to give a possible answer One of the very loterestiog peculiarity of the Rajasalye sacrifice is that in the ritual of this sacrifice the king's relative (presumably a younger brother) has to take an expressedly lower position and to perform some self 10sultog activities Thus when the king is being consecrated one of the persons who have to make the king consecrated is the king's relative (SB Y 3 5 12. Katyass XV 530) After the consecration 16 Over, there a 4 symbolical expedition and the sacrificiog king ritually wing the cows of his own relative Thus, towards the north of the Abavantyt-fire one hundred or more cows of the king's relativo are placed (SB V 431) The max equipped with arms etc as if he were golog on an expeditwa He has now to win those cows SB V 4 3 2 gives the reason why cows are to be won Tour according to it, when Varuna was consecrated his valour departed from him. 13 For the expedition in the Rajutya soe Weber Konigswie, p 58, 93, 06. 14, Cro & Jaiminiya-avamedha I 508

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Ganesh Thite be found it in cattle Therefore one has to win cows For the sake of winning them, & chariot is to be taken down from the stand For whatever turns away from the warrior, that be overtakes with b/s charlot At the time of taking down the chariot, one says, 'indrasja vajro'si' thou art Indra's thunderbolt (VS X 21) (SB V 434) When horses are yoked to the chariot, the first, right horse 19 to be goaded with the words "marular prasa vikt Jaya (ennquer thou by the Impulse of the Maruts)" (VS X. 21) (SBV #38) Then the sacrificer-king takes his chariot towards the cows and step it in the midst of the cows (SB V 4 39) Then be touches & cow with the end of the bow with the words, "samindnyena finanitmak kuna makiti gether with the sease-power, I conquer them, I seize them" VS X 21) Commenting on this, the SB V 4 3,10 says "The cows are Identical with the sense-power, valour It is the sense-power, valour, that he thereby takes to himself" Thus the sacrificer wins symbolically the cows of his own relative (cf also Katyass XV 6 12 ff) SB V 4311 cxplains why the cows that are to be won are of one's own relativa "Now as to why he stops admidst the cows of his relative, whatever Is tending away from a man be it either famo or anything else, that passes over to his relative foremost of all, that sense-power, valour, be now takes again from his relative to himself, that is why he stops amidst the cows of his relative (tadyat suasya gosudyacchati yadvai purusat parag blanti jaso 12 kiscid 17 sath halvassa tat pratamam (vabhyatikramatl, tat svedes alta dondriyan lipan punaralman dhatte) In this way the one's own relative is thought here to be one's foremost enemy Therefore the ritual texts teach to overpower one's own relative of course in the ritual itself the sacrificer overpowers his relative only symbolically The real overpowering, it may be assumed, must be taking place befure the ritual But in order to give sacredness to that victory, this rate might have been included in the ritual of the Rajasaya Therefore, after the cows are symbolically conquered, as many or more cows are returned to the relative "For assuredly, he, the sacrificer, is not capable of a cruel deod, but cruelly indeed he acts when he says, "I conquer them, I seizo them and thus that is without cruelty, this is why, in return, he presents to him just as many (cows) or more (tasyaitanmdirir va bhuyasi va pratidadah , na va esa krurakarmans bhavati yadyajamanak, krilramiya va etat karoti yadaha Junamimah kurva Ima It, tatho hasyaitadakrilrath kytarh bhanall" SB V 4 3 12) In Latyavanasrautasutra IX i 14-22, this rite has been decribed in the following way, Weak relatives, along with their possessions are to be brought together At the time of offenng the daksunas, these relativos) arc Lo bo plundered He shoots arrows towards them Thoy (the relatives) brlog tbem (arrJwa) back, saying, "Be victorious, o King." The one third

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Antipathy to the Rajastya Why ? of their possessions 19 to be given to the priests, one third to thote who perform prasar panam at the time of Dasapeya, and one third should be returned to them only He should also give villages to them Erca though they are ksatriyas, they will not deserve concecration benceforth (abalanasya jnanin savittanahareyah 14 10n jiniyad daksinarelayam 15 - calbhyo' syet 16 tamsta eva pratyahareynir vijayasra rajanniti 17 teabe nicesya 1rtivamt yigbhyo dadyat 18 dasapeya' nuprasrptibhyastriyah 19. sesam tebhya eva pratyurspjet 20 gramanebhz o pi dad) 44 21 rajansaste jyur ata Ardhvam anabhisehyah 22) In the Rajasuya-sacrifice thero is one rite for making the brother of the sacrificer less powerful than the sacrificer In thls ate a brahmana or the Adbyacyu or the Purohita hands over a wooden sword isphy a-) to the sacrificer-king He thereby makes the sacrificer less powerful than himself "A king who is less powerful than a brahmana, is more powerful than his cnomy (yo vai raja brahnianad abaliyan amitrebhio cai sa bahiyar bhavari" SB V 4 4 15) Then the king hands the wooden sword over to his brother with the words "indrasya varo'si tena nie raddhya , thou art Ipdra's thunderbolt, therewith serve me" YS X 28) Thereby the king makes bis brother to be weaker than bimself (SB V 4 4 4 16, cf Katyass XV 12 12) MS IV 37 mentions a rite in the course of the Rajasaya, for makta the sacrificer's relatives his followers Tbas after the Tripamjatnya offerte one should offer offerings to Valsvanara and Varupa "Agoi Valyzotru Identical with the year, seasons are his own relatives The consecrated (king sacrificer) becomes their king Among the gods, Varuna is the coun crated Both of these (Vaisvaenara and Varuna) are the lords of ostigaclou. They instigate hlm (the sacrificer) As many there are relatives of the sacrificer, all of them become the followers of the sacrifioer Gode are the followers of Varuna As many relatives there are, the Adhvaryu makar them all followers and non-disputers ( yayanta erisya Syllabus anukanayivadinah karott)" Thus the king sacrificer, before performing the Rajasaya subdues ad and in the performance of the Rajasiya subdues his relativegis also la ! ritualistic way He also makes them his followers and tries to assert Parts kingahlp But this kungship is at the cost of other relatives who also might have claims for being klogs But not only the klagship is robbed from them. It is also ritually denied to them even in the future (see especially Latyag X 1 22) They naturally would feel insulted. They would saturally 15, For the work of the king's relative in the Rajulya mo Weber Konigspreide, p 51, 56, 132

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Ganesh Thite remala disturbed in the mind and would wait for an opportunity to revolt Thus there remains constant possibllity of war between a brother and brother And when an actual war takes place as for instance in the case of Yudbisthura and Duryodhana, the whole family will then be des. troyed Therefore instead of performing the Rajasaya immediately after having come to throne and creatlog enemies in one's own family, the king should rather try to expand the kingdom and perform the Agvamedha (seo for example the story of Rama mentioned above) Or the king should perform some other sacrifice like Yalsnava sacrifice (see eg the Duryodhana's story, in which he is advised to perform the Valsnava-sacrifice which of course could not be a sufficient substitute of the Rajastya) This seems, in my opinion, the reasoning behind the antipathy towards the Riyasaya The main points in this paper may be repeated in the following way 1 The Vedic literature prescribes the Rajasuya for asserting one's kingship. 2 Even though in the Vedic literature and in the later literature, this sacrifice has been praised as a great sacrifice, in both of those literatures It is also described to be dangerous to oneself and to all the people in general The later literature regards it as the root cause of war in particular and of all the evil disasters in general (3) In both the Rajasuya and Advamedha there is a posslbility of wars, But in the citual of the Rajasuya the sacrificer treats his own relatives and members of family in an insulting manner They are ritually dented any chance of being kings even in the future Thas the Rajasaya causes innor #ruggles which would lead to ruin of the sacrificer's whole amty and of his own people

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A RECENT STUDY OF BHAGAVATTSUTRA REVIEWED KK Dixt the author enoueheling what they aply Bhagavaro Prof Jozef Deleu, the Belgian scholar specialising in Jaina studies, bts recently brought out a full-fledged study of the Janda canonical text Iiyakapannatti (better known as Bhagaalsutra or simply Bhagawari) * The slutas and character of Bhagavati being what they are the students of Jalaun cannot thank the author enough for his painstaking labours The author, taught by Schubring, well realizes the enormity of the task awaltung one gpecializing in Bhagavan, a text bristling with difficulties of all sorts This, however, has not prevented Prof Delca from attempting his utmost to do justice to that rather modest part of the task which he has chosen to wat in the present case His book is divided into two main parts--one as Introduction (pp 17-69) where certain important problems concerning the composition of Bhagaval are dealt with, the other the main body (pp 71-315) where the contents of Bhagavan are presented in a summary form. In connection with the latter the chapter division and sub-division into Satakas and Uddebakas has been retained as in the original but the peal within an Uddesaka have been re-grouped so as to facilitate the cxhibition of Inter-connections that obtain between consecutive passages, (as we shall 800 such exhibition of inter connections 18 & major achlevement of Prof Deleu's present study) And frequently enough a summary of contents to supplied with notes emphasizlog polnts that need emphasis To undertato a critical appregation of all this is the purpose of the present noto. It will be conducive to a better appreciation of Prof Deleu's perfor, mance if a few words are first independently said about the status and character of Bhagavatt Bhagapart belongs to that most fundamental division of the Jaina canon which is designated 'Anga' and is of the forma of a group of twelve texts (Including the long lost Deftlauda) And among tho Anga-texts Bhagavan alone is of the form of a huge collection of passages where Jaina positions on the most diverso- and more or lowe important-theoretical questions have been laid down and dofended. Now the very fact that Bhagavan has been included among tho Antefecte would argue the relative antiqulty of its contents but the surmise lo farthaar strengthened by the fact that 80 many of its passages cahiblt marked 1 Josef Delou year 1970 Viyahapannati (Bhagarat) Ghent Unmukty publicatioe of the

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KK Dixit archalsms-of form or of content of course, even Bhagayan includes passages which, on the basis of their form or of their content, prove to be relatively modern To make matters worse, in the first 20 satahas which form the bulk of the text (they covering 800 out of the 980 pages of the edition published along with Abhayadeva's cominentary) the relatively anclent and the relatively nodern passages stand fornuing a liopeless tangle, as for the last 21 sutakos, they are made up of passages that are in almost all cases relatively modern fn this background it shonld be easy to realize the importance of the Ihrec questions sought to be solved by Prof Deleu in bis Introduction, viz. (1) Are the larahag 21-41 (minus 25) a later accretion ? (2) Is the sotaha 25 a later accretion ? (3) What is the characterizing speciality of the fatahas 1-20 ? Obviously, these questions have been thus formulated because Schubring following a hint of Weber) liad argued that the satakas 1-20 constituto the original kernal of Bhagalati and that the sataka 25 well goes with them while the rest of the satakas 21-41 are later accretion As for the latakas 21-41 (mir us 25), they were divided by Schubring into the following sub-prous" 21-23, 24, 26-29, 30, 31-32, 33, 34, 35-40, 41 AU hoe latur sotahas discuss one question (rather series of closely related questions) cach-each of them discussing its question in connection with several types of being, these types being different for different sotakas but there also being cases when several satakas share the same series of being-types It can bu seen that Schubring collects several satakas in the same sub group wh24 th questions discussed by them are somehow interrelated (nor, suv, Wen they happen to speak of the same scries of beingtypes) Prof Deleu stapy reports Schubring and then goes on to supply hus own anser tu hus first, second and third questions As we have seen, his first question relates to the satakas 21-41 (minus 25) For arguing that tbese satchas aru latu accretion his grounds are two viz (1) their uniform contents', and (2) the uniform structure of their dlalogue, Goyama inyariably questioning Mahavira in the Gunasilaya sanctuary near Rayagiha' {p 19) Or Ihese the first ground ancounts to saying that each of these Kalahas discusses but one question, a consideration which was also somehow present at the back of Schubring's calculation and which, taken by itself, is not adequate to prove the relatively modern character of the Salahus in question, and the second ground does not amount to much, for the circunstantial selling of a Bhagavati dialogue is essentially a matter of literary manners and has little connection with the contents of this dialogue Prof D-luu thus fails convincingly to argue that the fatakas in question are relatively modern He however says certain more things about

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A Recent Study of Bhagawattsatra Reviewed the content of these fatakas and let us see if they help us in deciding the point at issue 61 a As was noted earlier, the futukas 21-41 (minus 25) have been divided by Schubring into sub-groups and in doing so he has been guided by the consideration of similarity which the contents of two consecutive salakas might possibly exhibit Something of the same sort is done by Prof Deleu Thus he feels that the satakas 21-21 deal with the topic of rebirth, the first three with this topic as applied to certain particular vegetal types of being the last with it is applied to all the types of beina (P 20) As a matter of fact, the satakas 21-23 discuss thirty-three general questions in connection with certain particular vegetal types of being and it sheer accident that the first two questions here ask as to what being types and in what manner are possibly born in the midst of the vegetal types in question, the third as to what happens in case members depart from the midst of these vegetal types. (subsequently too, two or three questions deal with the problem of rebirth) Be that as it may really strange is Prof Deleu's characterization of the satakas 26-41 as an application of the Jaina method of quarternary arithmatic to the enormous doctrinal field of rebirth' (p 20) Since the doctrinal held of rebirth is so enormous one might plausibly say that all the salakas in question (perhaps, barring 30) have something to do with some aspect or other of this eld, but to say that is not to say anything much significant And as for the application of the Jaina method of quaternary arithmatic Prof Deleu himself concedes that it is absent in the satakas 26-30 and again in 33-34 By way of explaining the anomaly he suggests that surakas 33-34 since they say something about the one-sensed beings, have been prefixed to the jalaka 35 where quaternary artithmatic is applied to the case of the one-sensed beings, and as regards the satakas 26-30 he feels that they may have been conceived as a suitable introduction to the whole' (P 22) The whole explanation in as clear as mud But what is most disturbing is the circom tance that even in the Satakas 31-32 and 3 41 the application of quarternary arithmatic' is perhaps the least signincant part of the discussion Thus in these satakas when a question raised in connection with the members of a being type numbering Arta, treta, drapara kali-whether 'gmail', 'big' or 'general-then barring trivial exceptions the answer that is given is absolutely the same as would have teen given in case the question was raised in connection with these memte s as such (not in connection with them as numbering this much or that) The fact of the matter is that the Bhati sataka, 21-41 (minus 25) have been composed chiefly with an eye ou her formal structure - not on their contents For, in the course of bustorical development there took

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K. K. Dixit place within the Jajna camp a maturization of systematic thought and the process took one special turo Thus the Jalna authors would often formulate a list of items and would pose questions and offer answers to them in terms of these items in the simplest case the question would be asked about these items themselves, in a ralatively more complex case the question would be asked whether a being-a being in general or one belonging to this or that type-is or is not characterized by this or that item and if it is then in what precise form, in the most coin plex case the question would be asked whether a being--& being in general or one belonging to this or that type-as characterized by this or that item does or does not satisfy a given description Ad illustration of the first type is list that repeatedly occurs in Bhagavalt on P 80b, on p 95b, and as part of a bigger list on p 5718, lo the first case the question is whether it can be said about any two items taken at random that one precedes the other, in the second case it is whether this or that item is heavy or light or neither-beavy-oor-light, in the third case it is whether this or that item 15 or is not possessed of a colour, taste, smell, touch An illustration of the socond type is the list that occurs on p 508b, here it is asked about several types of vegetal being whether they are or are not characterized by the 33 items of the list 10 question and if they are then in what precise form AD illustration of the third type are the two lists that occur on p 5% , bere it is asked as to how many hellish beings characterized by the Items of the lists 10 question can be born simultaneously [All these illustrative lists are golog to be used by us in some connection or other] The following is a catalouge of the most important of the other such lists Occurring in Bhagavan (1) P 686 (6) P 762a (also 773b) (2) R. 2576 (7) p 770b (3) p. 2602 (8) p 772b ( p 345b (9) P 790b (5) p 731b The poteworthy point is that in almost all these cases there appearsckber 18 the original text itself or in Abbayadeva'a commentary-A summarizing verse enumerating the items of the list concerned, a procedure aimed not only at facilitating the memorization of the passages in question but also at cmphasizing the importance attached to the pressently reviewed process of 118l-formation that importange WAS certainly attached to this process becomes clearly cvideat from the perosal of the Bhagavati Satakas 21-41 (minus 25) All these fatakas without an exception discuss this question or that in terms of a pre-formulated list of items Not only that, thero art alao Jataka that share the same llat of items and they ought to be

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A Recent Study of the Bhagavamsaira Reviewed grouped together-even in case thelr contents happen to bo sharply different Viewed thus the whole lot gets divided into the followlag subgroops (1) 21-23 () 24 (iu) 26-30 (iv) 31-32 (v) 33-34 (v) 35-40 (VII) 41 This is the same division as that proposed by Schubeing but with two exceptions Thus Schubring detaches the fataka 30 from the group 26-29presumably on the ground that the two are sharply different in contents, similarly, be detaches the Satakas 33 and 34 from cach other-again, presumably on the very same ground But in viow of what has already boco said the differences in question will have to be ignored, for it is rather & strong point of a list of Items' that it can be used to handle questions which sharply differ in contents Perhaps, it needs no arguing that discussing questions in terms of pre formulated list of Items 18 & relatively late phase in the progress of systematic thought On this ground, not only are the Bhagavan Jalakas 21-41 (minus 25) proved to bo relatively modern but so also are those carlier catalogued passages which occur somewhere in the Jalakas 1-20 and which make use of this or that list of stoms However, in the Bhagavan Jatakas 21-41 (minus 25) the process of list-formulation itself appears in a rather advanced form and that would prove that these fatakas are in any case particularly modern This aspect of the situation deserves special consideration That discussions conducted in terms of a pro-formulated list of Items represents a relatively late phase in the progress of systematic thought might be easily granted, but that taken by Itsell will not prove much For It Is Just possible that these discussions are the outcome of some way ward tendency exhibited by some stray group of Jalna theoreticians at some obscure period of history So what has to be proved is that those discussions are possessed of somo gerlous significance for the history of Jaina theoretical speculation Fortunately, that can be proved and as follows The Jaina theoreticians of the classical period, particularly the Karma specialists among thom-that 18, those who have composed special treatizes devoted to the doctrine of Karma-had got ready with themn 1 standard list of 14 items-technically called murgasasthanas ( = points of lavestigation)-in terms of which they would discuss quotions of all sorte,

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K. K Dixit The items are as follows (1) gati (life-species of four types) (2) indriya (3) kaja (4) yoga (5) veda (6) kasara (7) lesya (8) samyaktya (9) jnana (10) darsana (11) samyama (12) aharaha (13) sanjnin (14) bhavya of these, inost items exclusively pertain to the mental sphere while things pertaining to the bodily sphere are said in connection with the Items 1-4 and 12 And these items bave been made use of in two ways, viz (1) by asking as to whether a being is or is not characterised by this item or that and if it is then in what precise form, and (2) by asking as to whether a being characterised by this or that item satisfies a particular description (which description might possibly be fairly complicated) Now the Bhagarant 'lists of items' earlier catalogued are also mostly an amalgam of the items pertaining to the mental sphere and those pertaining to the bodily sphere, and as we have seen these lists too have been made uso of in the just mentioned two ways [The list that repeatedly occurs on pp 80b, 95b, 571a is an exception on both these counts For firsly. It includes not only such items as pertain to the mental and bodily spheres but also such as pertain to the cosmographic and ontological spheres, and secondly, in connection with it questions have been asked about tho concerned iteins themselves Perhaps, here we have one example of a wayward tendency exhibited by some stray group of Jalna theoreticians at somo obscure period of history] The conclusion is inescapable- at least it 19 very plausible to conclude--that the Bhagavati passages containing the lists under consideration are representative of that process of groping which ultimately led to the catablishment of the classical doctrine of marganasthanas Viewed in this back-ground the Bhagavani batakas 21-23 and 24 are found to be employing a list of items 10 essentially the same manner in which it has beco employed in the earlier fatakas As a matter of fact, the Satakas 21-23 simply reproduce without any change the discussion contained on p508b (=the uddesahas 1-8 of the Sataka 11) What happens Is that the same discussion which to the earlier passage 18 connected with one vegetal type of being has been connected with certain other such types in the fatakas 21-23, but since all the vegetal types whatsoever stand in practically the same relation to the concerned list of items these later tatakas have practically nothing to add to what has already been said

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A Recent Study of Bhagvaratra Reviewed in that earlier passage As for the fetaka 24, it certainly has sowa list of items and the being-types taken into consideration by it are does Dated in a fairly complicated manner, but so far the sono of the matter is concerned this baraha stands on the same fooding as the fatahas 21-23 For here too it 18 asked about oertale belege types whether they are or are not characterized by the items of the list concerned and if they are then in what precise form Therefore, one might plausibly maintain that the material contained in the Bhagman katakas 21-23 as well as 24 can woll be transferred to the earlier Sarakas Of course, in those satakas this material will have to be attributed to relatively modern sub-stratum but since such a sob-stratum is already pro sent there in these Jatakas the transfer will create no special problem The case is different with the material contained ja tho saratas 26-41 For in these fatakas an attempt is invariably made to work out a list of Hong where two sub-lists of simple items are joined to a third sob-lut of such compound items as are got by combining one Item of the first BUB-IIst with one of the second Thus suppose one sub-list consists of the items P, 9, . (the total number of items belog m) And another consists of the Items , b, c (the total number of Meros belng n), then the third aub-list will consist of the items -como-> a-cum-9, a-cum-| b-cum-p, b-com-4, 6-cum- c-com- c-com-4 c-cum-r (the total number of items being m 1,m-mukulpted-by-w). Logically speaking, the sub-list with compound items is practically redte dant, for If we know (say) how a belng behaves as characterized by p and also how it behaves as characterized by a, then it is automatically know how it will behave as characterized by p-cum-a But thla cherestado did not prevent the Jaida agthors of the farakas In question from working out lists containing a sub-list of compound items. However, the that thout in those fatakas osc has been made of such ista la not apparaat on the face of it, so let us consider them one by one - rather groep be proup. On the basis of the Identity of their formal structure the farakoa 26-30 are found to constitute ono group, 31-32 another group, 33-34 a third group, 35-40 a fourth group, 41 a fifth group] In the latakas 26-30 there are two sub-lists with Il aod 10 tons respectively The first yields the number of clauses in an uddahaka- tholt number being 12 (1 0 1 + 11), the second the number of wadahatan themselves--this number being 11 (1.c 1 + 10). Here foretak In A unit 18 added to the number of items because the case of a balny wych is to be considered before considering the o ne of # 'As character and by

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K K. Dixit Moslem of the given list." (A simple employment of the two sub-lists in aostios--that is, their employment as independent lists in connection with one and the same question --occurs on p 5968 (ie the first uddetaka of the Salake 13) A comparison of that with their present employment will gtre an idea of how loflated the latter 18] In the latakas 31-32 & sub-list of 3 Items 18 straightaway combloed with a sublist of 6 items and the combination yields the number of uddebakas-ibig number belog 28 (1e (1+3) > (1+6)] IIL In the fatakas 33-34 the manner of the Satakas 31-32 is followed for combining a sub-list of 3 Items with one of 2 items and the combination ylelds the number of arantara Jarakas--this number belog 12 [ie (1+3) X (1+2)]. (Here the first sublist is the same as the firat sub-list of the Jatakas 31-32, the second a selection out of the second sub-list of those satakas) And the number of uddelakas Is given by the second sub list of the Satakas 26-30--this number being 11 (1 e 1+10) (Here a minor moleworthy point is that 4 out of 12 ayanlara fatakas have only 9 uddesakaa, the circumstance ylelding the remaining two uddebakas bolng an Impossibuity in their case) IV In the facolas 35-40 the aumber of ayanlara fatakas-ie 12-Is obtained to the same manner as in the fatakas 33-34-the one cxception being the batala 40 where, on account of the first sub-list having 6 items rather than 3, this number 19 21 [1C (1+6) X (1+2)] rather than 12 [le (143) * (1+2)] And the number of uddebakas in an avantarabataka Is ylelded by a new sub-list of 10 itenis--this number being 11 (1 1+10) In the saraha 41 the manner of the falakas 31-32 is followed for combining & sub-list of 6 items with another of 6 items and the combination ylelds the number of uddetakas per species-this number being 49 [1 e (1+6) + (1+6)] (Here the first sub list is an extended version of the firat sub-list of the farakas 31-32, the second sub-list the same as the second sub-ft of these fatakas) Aud since the number of species is 4 the total Aumber of uddesakas is 196 (le 4x49) Viewed thus the satakas 26-41 might seem to posacss an imposing #ructure indeed, But much of it, shace it has to do with those well nigb number of hose forakes) And he second sub-list the

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A Recent Study of Bhagawattsutra Reviewed redundant compound items of the lists concerned, is pretty bollow More over the questions raised in these Jatakas are such that even in cowbooting with the simple items the answers that are yielded are la most cases the same as would have been yielded if these were not take no accoma (The same can be said about the numeral qualifications that are ascribed to the concerned being-types in the fatakas 31-32 and 35-41 That # to say, in this connection too the answers that are yielded are in most case the same as would have been yielded if these numeral qualifications were not taken into account Hence our misgivings about Prof Deleu's thess thet the ascription of these numeral qualifications--'the application of the futet method of quaternary arithmatic as he calls it--Is the characterizing speciality of the Satakas in question] All this becomes evident coough when it is noted that the latakas 2641 which are 16 out of the total 41 cover bardly 55 out of the total 980 pages of the text. The conclusion och to bo that these fatakas are more of the nature of 'excrcisCS 10 a particular methodology' than of the nature of the elaboration of particular content The features of the Satakas 26-41 that are bere being emphasized Prak. Deleu too has noticed though 10 his own way Thus he recamarks "The sub divisions show clearly that XXVI-XLI have been conceived a a whole by itself the sub-saya-subdivision of XXXIII-XL and the uddew-subdivision of XL follow the uddesa-subdivision of XXXI-XXXII, nord the uddesa-subdivision of XXXIII-XXXIV follows that of XXVI-XXX". (p 22. But instead of drawing any far-reaching conclusion from the Pour Deleu rather counsels caution 'This does not mean', be says that the wholo has been built up of one piece', (ibid) Prof Dolou's fat seem to be that somebody might come out with the suggestion that those who are all from the pen of one author, a fear which he spelu to duped by polnting out that the application of quarter pary anhmatic # abront le the fatakas 26-30 and 33-34 [Then he goes on to offer blow apua tion of this absence, an explanation we have alrcady consideredy. As a matter of fact, what needs to be surmisod 19 just this that the lomban x41 are from the pen of authors who shero certain typlont methodologies tendencies Not that the problems discussed by there authon are not going devoid of interest, but they are here used merely as pretende for phulung vent to the methodological tendencies in question As for the authorship these fatakas it is quite possible that someone wrote foro than one OK of them but it is equally pagsible that each of them was written by 1 d orant person, the point is not much in portent Then we come to Prof Delou's second question which relates to the bataka 25 and asks whether it too is a later accretion, Schubeing bad malan tained that this fataka well goes with the latakas 1-20 which are original

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K, K. Dixit and so might Itself be orginal On this question Prof Deleuls of two minds but he is more luclined to disagree with Schubring His discussion of the problem brloga to light certain aspects of his understanding as to the criteria for judging the originality or otherwise of a Bhagavan passage As a matter of fact, the lataka 25 chiefly consists of two longsustained systematic expositions-ope pertaining to ontology, the other pertaining to ethics in the former copious information is conveyed about the substances (dravyas) of all sorts (le of the sorts posited by Jaida Ontology), about their constituent units (pradeta), about the configu. ration (sansthana) exhibited by physical bodies, about the lines (sreni) CAcompassing the world and the not-world In this connection numeral calculations are undertakon frequently where use is made both of the numbera sankhyata, asamkhy ata and ananta and of the numbers krta, treta, dva para and kali la the part containing the systematic exposition pertai. nlng to ethics three topics are treated one by one, viz nirgranthas (=monks) of five types, samyatas (=the self disciplined odes) of five types, tapas (apenance) of two types The Jataka closes with a brief treatment of certain problems related to rebirth and It begins with certain discussions of a ruther miscellaneous nature This much information about the coutents of the fataka 25 should enable us to evaluate Prof Delcu's pronouncements regarding it (1) Thus about the passages containing a systematic exposition of those ethical topics be rays "they present all the characteristic features of a secondary pannatti' (p 23) By a secondary pannatti be understands the later Upanga texts like Prat pena, Joabhigama, Jambudotpaprajnapti, Suryaprajnapti and his idea Is that the Bhagavan passages to question contain as systematic an exposition as any of these texts He is correct Certainly, even earlier there occur in Bhagavalt passages that contain a systematic exposition of an ethical topic but so far as systomatic character la concerned the Bhagayati pasaupo la question definitely surpass these earlier passages (1) Prof Delau's remarks about the passages containing an exposition of those ontological topics is less apt. For he describes them as dealing with two topla (sedhi and jumma) that will play a leading role to XXXI seqg' (ibid) As a matter of fact, frent and yugma (the numbers krta, treta, dva para and kall) are but two of the so many ontological topics discussed in the pasager la question. And as regards the fataka 31 etc-rather as regards the Satakas 26-41-we have already soon that they are noted not so much for any of their contents as for their method The concept of yugma plays I minor role in the discussions of the Satakas 31-32 and 35-41 while the conoept of frent plays in important role in the discussions of the fataka 34, but that is almost all to it, that is to say, these concepts just happen

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A Recent Study of Bhagatanistra Reviewed to be involved in the discussions of these later batatas lo passing lat also be noted that in connection with the present exposition of potological topics Prajnapana bas been referred to several times but this text bes no use whatsoever for the concept of yugma, the conclusion is incacapable that this concept had attracted the attention of an early generation of Jaina theoreticiaus but had been abandoned by the later on.s (11) Prof Deleu's observation regarding that concluding portion of the lataka wbich touche upon the problem of rebirth is also not enlighting enough. Thus bo mys, 8-12 clearly introduce XXXI seqq' (ibid) As a matter of fact, the uddesaha 8 raises a few questions about the mode of reblito sed the subject of its enquiry is 'a soul as such', in the uideiglas 9-12 the same enquiry has been mechanically repeated for a soul that is bharya, kod that is abhavya, 'a soul that is samyagdrsti' 'a soul that is makida 'mechanically' because in relation lo the questions rused a noul ta chat rized in these four ways chobot bebave in a fashion differeat frum 2 soal * such This is a good example of four reduadant enquiries superadded to : significant one la the fataha 31 a similar performance 13 hlaged on an even bigger scale For here too certain questions pertaining to rebirtb barve been raised (one important question being repeated from the datata 25). And the subject of inquiry here are first the bellish beings aumbering krta, freta, dva para, kall' and then the same beings as characterized by the 77 items of a pre-formulated list It can easily be seen that the answer that are here given to the questions raised are identical in the case of the numbers and all the items considered, (a trval exception is the question about the number of beings purveyed, for this pumber is kyta 10 the care of the beings qumbering krta, treta in the case of those numbering there, and to on and so forth-an obvious fautology) Thus what has happened is that the relatively simple inquiry of the uddelakas 8-12 of the Jalaka 25 har 10spired the author of the talaka 31 to conduct a similar enquiry 10 torent of a pre-formulated list of Items (Such relationships obtaia ia the cast of other later salakas as well For example, the content of the lataka 26 kas Its clue in the uddelaka 8 of the sataka 8 (P 383 b)- just as its forme his its clue in the first uddelaka of the lataka 13 (p. 596) Thu bere too the later sataka simply makes uso of the contents of an cartier lalakad It docs so in the interests of a particular mothodology belag worked out) (Iv) Lastly, we consider Prof Deleo's estimate of the malscellaneous Jlacussions occuring towards the beginning of the falaka 25 (Prof Deleu bere brackets together the uddelakas 1, 2 and 5 But as a matter of fact, the uddesakas 2 and 5 are a well planned part of the ontological discossion that also covers the uddelahas 3 and 4). The fact that the passages in question are miscellaneous in character-composite as he calls them - makes Prof Delou incline to gcoop them with the carly satakas 1-20, a inclination

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K K Dixit which 19 further strengthened on discovering that here as in those early tatakas references are made to the texts like Prajnapana and Jivabhigama But since these passage do not exhibit stylistic variations of the early salakas Prof Deleu becomes hesitant and then surmising that the references to Prahapana and Jnablagama might be a later Interpolation he gets ready to grant that the passages are a later accretion As can be seen, Prof Deleus whol. position heavily depends on the considerations related to style Thus hiding these passages to exhibit two stylistic tendencies - viz to be uniposite and to refer to other texts-h is inclined to group then with the earlier satakas while finding them to luck certain other stylistic tendencies he is inclined to treat them as a later accretion The procedure is considerably vulnerable, for decisive in this connection ought to be the considerations related to content For example, one passage in the first uddelake of the jataka 25 (p 842b) speaks of 14 types of being But these 14 being types are unkown even to a text as late as Prajnapana on the other hand, under the title jwasthanas' they are well known to the classical Jaina authors, particularly the Karma-specialists among them Under these circumstances it should be only natural to think that the passage in question is a later interpolation in Bhagatan Be that as it may, In order to do full justice to Prof Delen's present argumentation it must also be considered how he answers his third question which relates to the Jatakas 1-20 70 As was noted in the beginning Prof Deleu's third question is 'what the characterizing speciality of the latakas 1-20 7 By way of answering this question Prof Deleu has done two things viz (i) To classify passages into types taking into consideration their styllatic peculiarities of which five have been pin-pointed Thus we have la all the following five types of passages (1) Ordinary dialogues (2) Dialogues narrating episodes (abbreviated as E) (3) Dialogues referring to the rival views (abbreviated as A) (4) Dialogues referring to other texts (abbreviated as R) (5) Non-dialogue passages (abbreviated as ND) (i) To discover the principles that were possibly fullowed while arrangging the passages into uddelakas, the uddelakas Into Jatakss, the fatakas into the total text In connection with both a good amount of solid research work has been done Let us consider them one by one,

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A Recent Study of Bhagavattura Reviewed Call convided into radi Bhagavart is essentially a record of the theoretical speculation toder. taken by several generations of Janda thinkers-all considerably ancient. Hence It is most desirable that the Bhagarati passages be divided into those narrating episodes and those dealing with the problems of theory a rather purt form For it is not at once easy to get at the theoretical consideratione underlying the narration of an episode. Prof Deleu, by collecting in one group the entire lot of Bhagavant cpisodes, facuitates the task of studying them in & connected form Also helpful is bus sub-division of these cpisodes into what he calls 'conversion stories and what he calls 'worse abont gods' of course, the two sub-divisions are not wbolly varelated, for a Jaiba convert is most likely to be a god in his next birth while a podle most likely to have been a Jaina convert in his past birth As suck both the subdivisions of episodes are aimed at glorifying the Jaina crood and # Is the task of a researcher to point out as to what aspect of the crood u brought to light 10 this episode or that. Prof Delcu's introductory aanhala of these episodes should serve as a good starting polut for fruitful recarcha work in this direction Then there remain the passages which deal with the problems of theory in a rathor pure form Here & fondamental sudbivalon should be made between the dialoguos referring to other texts and the remaiBIR passages In connection with the former there arises the important question 88 to what is signified by certain Bhagavati passages thus referring to other texts Prof Deleu has made a complete text-wise catalogue of these rote rence dialogues, in each case indicating the precise location of a dhulogue within the body of Bhagavatt But he has aot thought it proper to ak na to when and wby these reference dialogues were at all composed A# Me shall sec, the question 18 most crucial and remains to be raised. Lastly, there remain the ordinary dialogues, the dlalogues referring the rival views and the non-dialogue passages No line of warlow theorotical significance divides these three groups, though specific points of minor afgnificance might be noted in connection with ouch. For carmaple, Prol. Deleu bas discovered that a good number of non-dualogpe pasme 270 auch as also occur in Sthanangasutra and it might be an interesting query whether the rival views considered in Bhaavall were actually upheld by any group of Indian theoreticians. But seca in a proper perspective wuch points are after all mjoor points All this has to be sald because the three groups of Bhagavatt passages 10 question are posstased of most serot siguificance and among them the most important and also the mout botky It the first group And what is rather lo portant u what is common 20

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142 92 KK Dixit these three groups-viz their pre-occupation with an examination from the Jaina standpoint of certain more or less important theoretical questions One has a feeling that Prof Deleu tends to emphasize what is peculiar to In any each of these groups rather than what is common to them all case, an assessment has to be made of what Prof Deleu contributes towards an understanding of these three most important groups of Bhagavat passages Prof Deleu himself makes no over-all evaluation of the contents of these three groups of passages -not, of course, of Bhagavatt as a whole Maybe he feels that the time has not yet come for making such an evaluation For in most cases there is so little continuity of contents between one Bhagavatt passage and one that follows that all attempt at evaluating the contents of the text as a whole torns out to be a frustrating experience And yet what Prof Deleu himself has done should facilitate such evaluation on the part of the future students of Bhagavatt Even so, what he has done has to be examined with a view to guessing as to what his evaluation of the whole text is likely to be, in other words, It is necessary to make a critical assessment of Prof Deleu's summary analysis of the contents of Bhagavan (occasionally supplemented by his own explanatory notes), an analysis that constitutes the main body of his present study However, before that is done let us cast a glance at the last thing-a very important thing-that Prof Deleu has done in the course of his introduc tion, viz. his sarmising the possible causes that led to the present arrangement of the Bhagavan passages into uddesakas, of the uddesakas into latakas, and of the latakas into the total text. ( 11 ) On the face of it, the Bhagavatt arrangement of passages into uddejakas seems to be most disorderly possible And since no single author could have composed such a huge mass of passages so loosely connected with one another the surmise was natural that here we have before us a case of some traditionally received material indiscriminately reproduced lu the form of the present text by some tradition-bound and dull editor or group of editors After Prof Deleu's study the situation undergoes an interesting change Of course, Prof Deleu too concedes that a logical interconnection between the consecutive passages is hardly ever present here, (he even goes to the extent of hluting (p 45, footnote 53) that in case such an interconnection is actually observed anywhere then It ought to be treated as being a result of some interpolation) But on his showing two types of extraneous connection are a frequent enoug occurrence within the body of Bhagavant, they may be designated 'associa tion of ideas' and 'association of sounds" The presence of both thes types of extraneous connection in the Jaina canonical texts was firs

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A Recent Study of Bhaganerstra Reviewed noticed by Schubring who made & special study of them as occurring to Acardngasutra (I Srutashandha), Prof Deleu's study of them as occurring in Bhagalan is a mighty step in the same direction illustrations of both are quoted by Prof Deleu in his Introduction but stray illustralsons i hr not convince a skeptical reader What is needed is a careful sud of the Conspectus glven at the end of this Introduction and taking noxeuf all the relevant cases Prof Deleu has been able to discover Then Prof Deleu bas detected on his own certain types of editorial work inaaship This he find. that at places a passage serves as an introduction or 49 & cunclutun to a group of passages, at places a passage recal) (recurs to us Prof Ixeleu's phrase) an earlier occurring passage, at places ho passages cafrane the intervening group of passages, at places (40 passages are found situated in a parallel position of these too, all the cases Prof Deleu has been able to discover are taken note of in the Conspectus Again, Prof Deleu has drawn an empirical deduction to the effect that certain topics are usually found towards the beginning of a fataka, certain others towards the end of a jataha He makes a catalogue of such topics and takes role of their at due places in the Conspectos Lastly, Prof Deleu points out that "at least one group of texts was ordered according to the numerical stres 'one, two, three,' and at one time this series most probably went og in the immediataly following texts" (P51) What these texts are is meahpad and they are taken note of at due places 10 Conspectus All this makes Prof Deleu's Conspectus a really thrilling document Only let us not craggerate its importance For a close perusal of this Conspectus should convince one that the editors of Bhagavani had a rather strange nosion of an eur's job And even if several generations of editors bale worked on this text they are all proved to have shared a broadly similar mentality Tale on example The passages which are of the form of a bare relerence to other texts like Prajnapana etc could not have been composed carlier than the composition of these texts themselves which are all of a more or less late origin And yet Prof Deleu's Conspectus dicarly shows that the occurrence of these reference passages in the text is governed by the same subsidorutlon as that of other passages Similarly, the occurrence of tbe passages which on Independent grounds are proved to be of a late origin is govergod by the same considerations as that of the passages of contrary nature So, Prof Deleu's Conspectus serves one great nogave purpose in that it convlaces one that the things it brings to light are of th direct value to one seeking to work out a chronological strenfication of the Bhagavatt passages, Perhaps, it is not accidental that in the main budy of Prof Deleu's work--that is in the part containing a summary analysis of the Bhagavani (occasionally accompanied by explanatory notes)-the problems portaining to the historical evaluation of Jaina doctrices Ire Jaised almost

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14 KK Dixit never However, even this part has got its own merlts and so by way of concluding let us make a critical evaluation of it as well Some 240 pages of Prof Deleu's book provide us with a seat summary of the contents of Bhagavait In this connection the chapter division and sub-division into Satakas apd uddesakas bas been followed as in the original but the passages within an uddesaka bave been re-grouped by Prof Deleu himself In the case of the later katakas 21-41 Prof Deleu's analysis makes possible a clear comprehension of the concerned formal structures and ag we have seen in these fatakas It is these formal structures that matter most, 10 addition, this analysis also enables one to grasp the essentials of the contents concerned for whatever they are worth. Hence the reader must be really thankful to Prof Deleu 60 far as the latter's performance in conDection with these small but significant later Jatakas of Bhagavatt is concerned The case is somewhat different with the early salakas 1-20 In tho case of these falakas the consideration of contents is the chief consideratrop even if the consideration of formal structure is not entirely negligible But towards these contents Prof Deleu adopts an attitude that is essentially unhistorical-virtually as unhistorical 89 that of the medleval commentator Abhayadeva, Thus it often happens that even when Prof. Doleu understands a passage correctly he fails to emphasize polnts that should Interest a historical minded student, and as is natural with all men there are cases when the learned professor simply misunderstands a passageoften repeating the folly of a Schubring of an Abhayadeva. Let us cite examples. (1) The phrase kriyaya sprstah is of frequent occurence In Bhagavalt Abbayadeva always equates it with harmiana sprstah and translates it as Toucbed by the karmic physical particles An unhistorical minded media val Jaina scholar could not bobavo otherwise But as a matter of fact the phrase krigaya sprstah has its historical roots in the primitive man's understanding According to which a criminal act gets hold of the agent and retains bold of him so long as it is not avenged Kriya is a technical Jaine term meaning an evil act let us for the moment forget that a monk's Ideal conduct too is one type of kriya) but the Illustration of a popular phrase parallel to kriyaya sprstah 18 vairena sprsiak which too occurs in Bhagavati (p. 92a) In the course of historical evolution the Jains theoretictang must have argued to themselves that if an evil act can touch the agent It must do so through gonerating something physical which alone can do any touching. Thus came into existence the celebrated Jalna doctrine of the karmic physical particles, Considerations like these apo absont from Prof.

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A Recent Study of Bhagavartsutra Reviewed 75 Deleu's mind So at one place be translates hriyaya sptfak u Tonched by action (P80), at another place as "touched by karma' (p 100) while a third place he seeks to distinguish between 'com.pitting a knya' and being touched by a hrya' (p 111)-a non-exin.cat ditiadeon (2) In connection with its elaboration of the Karma-doctrine Bhagaver often uses peculiar designations wbich are unknown w tbe classxal faida scholars and which Abhayadeva does his best to equate with the deg. dations actually known to him lo this connection Prof Deleu tus fails to take note of the Bhagavati archaisms Here are a few cumples (1) Bhagavati speaks of a karma type kanhsamokon va and the context makes it clear that the designation is a precursor of the classical darsane mohaniya Abhayadeva always cquates kanksawuhanja with darsan.mohanty but the archaism involved fails to attract the attention of Prof Deku too wbo in this connection only disputes Abbeyadeva s translation of the phrase kanksamohaniya (p 77) The dispute appears to be puintless For Abbaya deva's translation is "Karman that confuses, in consequence of greed,' Prof Deleu's one that causes greed' But since Prof Deleu s translation too abould cover the phrase-part mohaniya his tragslalion ought to be 'ode (ie the karman) that causes greed and thus confuses', but as thus completed this translation is virtually identical with Abhayadeva's (il) Bhagavati uses several designations for a karma-type endlog 10 rodyt; they are varnavadhya (P 89 a), vu yavadhya (P 94a), indrapadhya (p 952 a), vedavadhya (952 a) This ending first occurs in connection with marnadhya and there-but only there-Abhayadeva suggests that yarnabahya might be a alternative Sanskrit reading of the original Prekrit phraso vonkabatha Now in connection with all these phrases Prof Deleu has made k a point to Bay that for the Prakrit bajha bahya 18 a better Sanstrit rendering thes padhya His preference is unfortunatoas should become evident from a Ilttle historical consideration Thus the context makes it dear that owlybajha is the same thing as the classical Viryantaraya ind it is easy to see that otryavadhya deserves to be a better precurtor of vrywariye than Wiryabahya. However, much more important is another aspect of the matter and that escapes the attention of Prof Delcu altogether For warndpadky Indriyavadhya and vedanadhya Are the karmi-types for which there are 00 classical equivalent and they seem to incorporate an older understanding of the problem Thus in the case of cach of these Kurma-types which are all evil the classical theory would posit two Karma-types--one good and the other evil, so according to it, the possession of a beautiful complextion is due to a good karma-type, the possessions of an ugly one due to an evil one, the possosaton of five sense-organs is due to a good

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KK Dixit Larma type, the prinsesjon of less due to an evil one, (the possession of all sex is due to an evil Larina-type-but here considerations are soinewhat different) Of course both the old theory and the classical would be iscant to count f the identical groups of phenomena and in an essentially identicul fastion, but the refusal on the part of the old theory u pusit a good lur -yre > iemakable (As a inatter of luct, much evidence tends to suggest that thu concept of a good karmu-type is a later gronitat (1 Tha tuul Juind authors posits four cvil karina type--uf which two lidic al tron ending in diaranija, onic that Luding ju antaraya while the two) uh-typu, vf the lourth have a designation unding 111 mola 11 Nr : Rhygli p.3sd(P 430 a) us rather peculiar designu tin 11 tbt LL011 Here Jaandharanlja is the same as with the Classical auth , but instead ot darsanamohanlal and intramuhuniya we have dursana Yanina and curitrai vanlia while there are three altogether 14 d 9714011 Wulundurumta, adhy.nasaya aranzid und dhumanlardja Clearly, we are liar face to lucu with a stuge in ductual evolution wlun the ta lucal terniulug' was in a melting-pot Abhayadeva fuls to approciate this historical circunstance but it escapes the attention of Prot Deleu tuo (3) the blugar passuge last mentioned (rather a series of passages of which it is the first) exbibits Curtain other peculiarities a well Thus it fon P 474 by Cechy tu decribe the process through which person fiually gets rid of his larme dumulation Now this process under the tittle kuin h und (= Jestruchon of karma) is kuown to the latir authors in standarde tor 11 which is very different from its present torm Abhay que notives the discrepancy but has no explanation for it except that the blandardized version in question is for some reason not sought to be described in the present pusbage Prof Deleu tou does not tell us that what He has before us in the present passage is a historical precursor of the standardized version in question What is still niore disturbing, Prof Deleu in his uimary ( 161) notices only the first sentence of the desuuption concerned, appeading it to a sentence of an earlier descciption and oftering a translation of it which conveys a sepse just opposite of the intended one These are some of the cases where a historical minded student fails to receive from Prof Deleu the help that is expected But this is not to say that be receives from bumu au hulp whatsoever As a matter of fact, Prof Deleu' beuk is an extremely handy guide for all those who have to wade through the labyrinth that is Bhagaralt We have already recognized its cxtremne uslules for a study of the satakas 21-41, its usefulness is not very much less for a study of the early salakas

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1 Recent Study of Bhaganatishira Reviewed Strictly speaking, our review of Prof Deleu's book should corae to 20 end bere But by way of concluding let us comment on some of Prof Deleu's linguistic usages and translations wbich to us appear to be queyo tlonable English not being Prof Deleu's mother-tongue he requests the reader not to take erception to his linguistic loadequacies. That is his sheer inodesty For the truth is that few authors specializing in Jz10150 - in any case, few among them who base themselses on canonical material have shown as good a command over English language as Prof. Deleu So, the following criticism is directed not against Prof Deleu's linguistic inadequacres but against some of bis deliberate practices and socidental crrors (1) The phrase orgrahagall means 'transmigratory inution' but it might also mean 'Iransmigratory notlog involving a turning' AS is clear from his remark on p 307 Prof Delcu has just the opposite understanding of the matter and he seerus to have been misled by Abhayadeva's practice However, in order to save himself some inconvenience Abbayadevt translates a-vigrahagati as reuther no transmigratory motion at all or transmigratory motion pot involving a turning (8 p 85a). and at one place (le P. 641 a) where his usual practice would lead to an absurdity he explicitly adopta the contrary one Prof Deleu does not employ Abhayadeva E strategem and sticks to his usual practice even in that impossible case, As a result big position on this question is more unenviablo than Abhayadeva's (2) Describing the range of somcone's thursana Bhagavan oflen says It is the lisaj amatra of this lkurvaga' Prof Deleu understands thing to mean that vikuryand is a case of illusory perception. What the phrase actually ineaps is that so much is the possible ringe of the vikuron in question--the contrast thus being not between real range and Wusory range but between possible range and actual range [The intended contrast betrayi an element of anomaly but that is a different matter). The phrase as it occurs on p 154a might be open to the interpretation offered by Prok Deleu but the same as it occurs on P 170a sbould leave him in po doubt on this score (3) Prof Deleu has simply misunderstood the sentence tamlo chuaplatul masanath' etc occurring on p 92b It really means "If the victim dias within six months the assailant is gulity of fire kriyas, if #dia after six months he is guilty of just four' (4) (a) Following Schubring Prof, Deleu bas misunderstood the phrase Sekasamayenan kevatiya hoga' occurring on p 4351, The phrase also occurs on p908A and in connection with it he himself translates it correctly

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78 KK Dixit (b) Similarly, following Schubring Prof Deleu bas misunderstood the words sanlara and mirantara occuring on p 439a The words also occur on p 975b and in connection with it he himself translates them correctly (5) The famous word arambha as occurring on pp 228a, 237a etc has been misunderstood by Prof Deleu , it plainly means 'violence' (6) Prof Delcu's usual translation of the word vedana--a word of so Cruya iniportance for the karma doctrines extremely unhappy He translales it as 'perception' though on rare occassions (eg on p78) he also offers the proper translation 'experience' (7) The fmportant word ahara is translated by Prof Deleu as 'attraction of inatter ' As a matter of fact, ahara is just one special case of 'attraction of matter' - which phrase rather has pudgalagrahana for its Sanskrit equivaJent Share on Its part incans nutrition - wbich meaning Prof Deleu adopts only rarely (eg p 82) Of couse, these cagnot be the only cases where Prof Deleu has in all probability misuuderstood the original text But even an exhaustive catalogue of his errors of this nature will not detract much from the high value of his great study

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ajJAta-kartRka sIyAdevi-rAsu saMpAdaka prA. ha. pU. bhAyANI

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prAstAvika jisa tADapatrIya hastaprati se yahA para prastuta 'sIyAdevi -rAsu' kA saMpAdana kiyA gayA hai usakA varNana isa prakAra hai : sthAna evaM svarUpa : lA da vidyAmaMdira ahamadAbAda, ujamabAI bhaMDAra naM. 1774 / 5 nApa* 39 x 5. paMktisaMkhyAH 5 akSarasaMkhyA 66 chandasakhyAH 79 parimANa AdiH patrasaMkhyA 8 (29 ka se 36 kha ) dUsarI kati kA ke rUpa meM utpana yaha 'saMbodhi' aka 1 meM prakAzita 'sIyAharaNa -rAsu' kI jor3a kI kRti hai / usakA racanAsamaya bhI I sa. 1200 ke lagabhaga hone kI aTakala hai| eka hI tADapatrIya guTake meM donoM saMgRhIta haiN| prathama kRti meM rAmakathA kA rAvaNavadha paryanta nirUpaNa hai| ayodhyA meM rAma ke punaH praveza se Arambha hotA hai aura sItA ke maraNottara abhyutakalpa meM indra honeke sAtha usakA anta hotA hai / donoM kRtiyoM kI bhASA, bahuta sA sAmya jAna paDatA hai / isa taraha racanAdRSTi se ve ekadUsarI kI samakAlIna hone kI prabala sambhAvanA hai / tathApi 'sIyAdevI rAma' meM kartRNa ke viSaya meM pratyakSa yA parokSa rUpa meM koI bhI nirdeza nahIM hai / antima paMki meM nirdiSTa kiye gaye RSabha aura pradhumna kavi ke AzrayadAtA bAga paDate haiM / zailI hatyAdi meM 'sIyAharaNa-rAsu' aura 'sImAdevI -rAsu' meM chandoracanA ke bAre meM vibhinnatA hai / 'sIyAharaNa-rAsu' ke pratyeka chanda meM prathama do caraNa vadanaka ke aura bAda meM 12+10+12+10 mAtrAoM kI antarasamA catuSpadI hai / isa taraha pUrA chandakA nApa isa prakAra hai :

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6+4+4+2 (= 16 mAtrAeM) prathama caraNa dvitIya caraNa " " tRtIya aura paMcama caraNa }} " " 4+4+ (= 12 mAtrAe) caturtha aura SaSTha caraNa 6+ - - ( = 10 mAtrApa) (prathama aura dvitIya tathA caturtha aura SaSTha caraNa prAsabaddha haiM) 'soyAdevI rAma' meM bhI prathama do caraNa prAsabaddha aura vadanaka chanda ke hI haiM / parantu bAdakI antarasamA catuSpadI kA svarUpa bhinna hai / unake caraNa ke nApa 13+16+13+16 isa prakAra hai / isameM 13 mAtrAoM vAle caraNa dohA chanda ke usI nApa vAle caraNa se abhinna hai / aura 16 mAtrAoM vA caraNa vadanaka chanda ke hI haiM / ye donoM purAnI rAsa - kRtiyA~ chandoracanA kI dRSTi se viziSTa haiM / svayambhu aura hemacandra ne rAsAbandha ke chandovidhAna ke viSaya meM jo niyama diye haiM, 'sadezarAsaka' aura 'upadeza - rasAyana - rAsa' jaisI apabhraMza rAsa-kRtiyoM meM aura 'bharatezvara bAhubali - rAsa' aura 'revantagiri-rAsu' jaisI prAcIna bhASAkRtiyoM meM jo chandoracanA kA DhAcA milatA hai unase ye do rAsoM meM prApta DhAMcA vibhina hai aura yaha racanA-paraparA kI vibhinnatA kA ghotaka hai / erpabhraMza se kekara prArambhika bhASA-sAhitya paryanta rAsAbandha ke svarUpa Adi meM jo vikAsa huA usake adhyayana ke liye bhI yahA~ para uttarottara prakAzita kI gaI donoM rAsa-kRtiyoM kA mUlya ananya hai / prakAzanArtha hastapratiyA~ sulabha karane ke lie aura prakAzana kI saMgati dene ke liye maiM lA da vidyAmaMdira se anugRhIta hU~ / sampAdaka

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ajJAta kartuka sIyAdevi su [29A] sIya cariu nipuNehu jaNa muNi-suvvayahu titthi meM bica / jiha vaNi valliya kamini rAhU dujjasa-bhIeNa // 1 kahi viNu sadhArevI / rajju cihIsaNa sa-balu vi devI // laghavi uvahi paTTu puri guruyaNi puNu paNimATha karebI | samANavi suhi- bhiccayaNu nAyara-loDa suddeNa gharedI // 2 vihu tihi puri rajju karatahu / sIyai~ sarisahu suhu mANatahu // jAi kAlu sura loe jiha devahu dogudugahu asveviM / dosi Dohalau sAhiu viha so mahAsvI // 3 'jAu~ jaNa jiNa bhavaNu karAve / gabbhaha puNu maNi kaMcaNa-paDima bharAva // nhavaNuka[ra] u paramesarahu dINANA takkuyaha~ pUri sagi bhattie samaNa- saghu hiu~ / puNu vijacchi dAdA // 4 'maha sura- sudari tuhu~ sa-kiyathA / kula-mayaka tuhu~ vahaNa samasthA // maNoradda iMdiyaha~ hiyaicchiya haiM tuma (hu) saMpAva tAva tuhAreNa hau ji mahima jiyA-hirA // 5 imva jA~va sA acchA raliya / kuDahuDa sIya ThAi sohaliyA~ | mahata tAva vihi AesiM pAva-hala kilikiliMtu vahu amarisa-bhariya | laTThayaru rAmaha pattiya taM avabhari tA~va tetthu jaNavaha // 6 vollijjai / 'hale sahi so[29B]li kA vi kijja || mUla hastaprati ke bhraSTa pATha 6.5 vihi 71 ikasa

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ghari macchatiya rAvaNahu sA ki va hoi akhaDiya-sIla' / bhai-viyAu~ bhaNai jaNu ADhattiya duccAraNa-lIla // 7 gahu pavAu suNevi mahatA | takvaNi miliyAsesa turaMtA // Alocai naravaDa-bhuvaNe paDihArahu jANAviu tehiM / 'miliyAsesa vi Aya vahu e nAgariya deva tau gehi // 8 gau paDihAru rAu jANAviu / 'sIha-vAri Nhu jaNavau Aiu' // 'bhare paDihAra ma khalaNa kari ANi vatta sAhijjau iTTa' / mANiya turaya-turateNa pahu paNivAu karevi vaidra // 9 pAhuDu levi bhaNiya 'kiM kanju / paura mileviNu Aiya ajju' / / bhavarupparu x x x x japahi tharaharata karpatA / 'nagaru visaThula tuhu taNau~ sIyahi kAraNi' bhaNahi mahatA // 10 'pari ghari rAhava eu vollijjai / / khaDiya-sIla soya ANejai // paMsuli hoi ja kA vi tiya vahai gavu iu~ jaNi bhallArI / sayaNahi sA samANiyai sIyahi vatta suNevi asArI' // 11 ayasa-kalaku ja loehi pADiu / moggara-ghAhi na siru tADiu // masaNi-daDDu nai uri paDiu sIya-sou asahatau rAhau / paura-vaggu ghari pavavi moccha jAi hakkArai mAhau // 12 taM lakkhaNaha gujchu akkhijjaha / vaiyaru sIyahi taNau~ kahijjaha // kara apphA[304]lavi dharaNiyali miuDi karevi arNate vuccai / 'ko visa-maMjari khAi kira ajju kayaMto vi jIviM muccaI' // 13 cakrapANi ja vehAiddhau / nAi ghieNa sittu dhUmiMghau || 86 geho 9.6 karaSi 10 2 pavaru 3 prati truTita hone se yahAM kucha pAThAMza luma hai| 13 5 kira,

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so uvasAmiu halahareNa 'etthu vaccha kiri kina kAi / kovaliyai~ sarihi jiva ko jANaDa mahilahu~ cariyAI // 14 ketti lamva tuhu~ jagu vAriti / tiga- caukka caccarahU~ nivArisi // vari mare~ cattiya ja[Na ] ya-suya jiNa-i-vaMdaNa chaleNa ma mahu ayasa - paDachu jAga vajjau | DaDAranni mIya chaDijau' // 15 maMtiu vAsudeva- valadevahi / jAvi ( ) hakkAri viNu viM // 'pUrau jo tuhu Dohalau vadahi jiNa bhavaNA haiM sa sattie / jammu nANu nevvANu jahi tuhu~ titthayaraha~ paNamahi bhattie // 16 eha volla nemmAiya jA~va / daaarNu hakkAriu tA~va // so UsAravi vuttu puNu kahiu gujchu ja kAraNu kajaha | duhi kAraNa jagaha aNagma' // 17 'tahi sIya vaca ( da ) Na - chaleNa ta Ae lahavi jamavayaNi / hiyast khuddhau mauliya - [ 30 B] nayaNi // sajjavi rahavaru gau turiu jetthu bhuvaNi Thiya sIyAevI / 'uThu bharA DiecaDahi rahi vaMdahi titthayaraha~ jAevi // 18 caDu vaidehi na kiMgja kheU / aggai sacalliu valadeU' // nivviyappa sA caDiya rahi annu viloya dAhiNau~ bhuya dAhiNiya coiu rahu ne avaza muyavi sA calliya jAna 1 gaya uttara -disi sammuha tA~va // pekkhatiya gAmAgara hU~ jAvahi dUra-desi sa parAina / jahi muha kAlo jieNa sAvaya-sakula aDavi parAya // 20 diTTha aDavi taruyarehi visAleha / sarala-tamAla-tAla-hitAlahi || phuriya tAvehi / bhANuya velahi // 19 15.5 cAlleNa ccha Dijala 16 5. amu 19 1 devi 3. niviSa 5. anu 20. 1 avaza 2 sammuha 4 dekhi parAiba, '' mArjina meM

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sajjagjuNa ajjuNa (1) dhaNehi dhava-dhammaNa-bahu-khayara-palAsahi / bhava-karyavehi javuehi bhannehi vi vahu-rukkha-sahAsehi // 21 vAdha-sIha-bhallukka-tiricchehi / gaDA-gavaya-riccha-vImacchehi // sUyara saraha varAha tahi citrA hasthi rojjha haraNAi / mhahasa virAlA gorahara kettiya akvai~ jIva-sayAha // 22 peksavi aDavi ghora bhIsAvaNa / khuddha muddha ciMtai kamalANaNa / / 'hA kiyata kahi mANIya(31A] ja pai~ pADiya dukkha samudde / jiu bhamaI sasAri jiha phAle aNaMtai ghora-raudde' // 23 taM nisuNavi rahu sArahi khacaDa / bhAvari tinni devi paliyaMcai // puNu paNamavi kama-juyala 'vinaSemi nisuNehi su-sAmiNi / vari maDalla ma bhiccayaNu jo taI chAu~ vaNa gaya-gAmiNi' // 24 masya-punbu ta vayaNu suNevi / na siri tADiya vajjaI devI // paDiya dhasa-tti [sa] dharaNiyali ceyaNa lahavi pavollai imva / 'hau~ saMdesau demi tau rAhavahu () tuhu~ askhahi imva // 25 payaNu duvela jiNacariu suNejjaI () / nikaleku muNivarehi kahijjai // miadidi aNega nara avaguNa liti jiNiMdaha sAsaNe / jiva a-parikkhiya mukka hau~ ti va jiNa-dhamma ma mellasi niya-maNi' // 26 mellavi sIva jA~va sacalliu / hiyaDai nAi~ tihiM salliu // vegeM patu avajma-puri kahiu jeva sIyai~ sadiTThau~ / citA-sAyare paDiu pahu suNavi kayatahu vayaNu aNi?u~ // 27 21.. baba 6 pahalaihi 22. 1 malluka 2 vibhaccheSThi 25 1 asuyapuchu. 3.patti 26 / duvaisA crih| macchAhiDi

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dasaraha-naMdaNu maNi saMtattau / muyai thAha nayaNa. maulaMtau // muccha jAi somitti-suu ujjiu vijiu camara-sAhi nara [31B] nAgarie naravarehi siha karavi parunnau tehiM // 28 ja valadeviM muccai thAha / bhaNai jaNadaNu 'hya aNAha // viggahu karavi sa ghoru raNi mAravi lakahi rAvaNu rANau | niggamaNi jaNayaha taNa. mujjhai kajju su savvu sayANau' // 29 lou bhaNai puNaravi bhAyA / 'chaJjiya sIya a-kAraNi rAma' // bhavA dosu na ko-vi tau jiu bhujai dukiya mukiyaa| taM nimittu para hoi tau dosu payANA dijjai kA // 30 kettiu jaNaha taNau makkhijjai / sIyahi ranne ja vittu kahigjai // mukta ruyatI kaluNa-sara dasa vi disahu joevi parunnI / kalaNa-palAvehiM jAe puNu tAya-bhAi-piya-sayaNaya-unnI // 31 'hA hA lakkhaNa rAma suvaSchala / ranni ruyata mukka pai~ kasu khala // taiya viou na pai~ sahiu jaiyahu~ rAvaNi harI Asi / evahi bhai-niThura-hiyau ekallI ghalliya vaNa-vAsi' // 32 viviha-palASehi kadai jaav| vajajaghu tahi Aiu tAva // pAraddhiM kujara-kaeNa bhAga-seNNa ku-vi sadu suNijaha / 'kA-vi mahila kaluNau~ ruyaI' pAikkehi narava[32]hAhe kahignaha // 33 nihuyau~ sadu suNavi tiM jANiya / sara-maDala-lakkhaNeNa viyANiya // 'eha mahila jA ruyai vaNe sA rAhavaha patti kiu nicchau / dasaraha-vaMsaha kula-ghavala jo jiNa-sAsaNe mANa vahichau // 3 // 281 vajita 29. 2. aNadaNu 31 5 rane 32 mi 5 miTavala 12 bajajaghu 346 bhASacaTicchAsa,

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pahAvanna-satta maI lakkhiya / taha niya pariyaNahu vi ti makkhiya / gau ekallau tetdhu vaNi jahi paesi acchai vaidehI / samasa-bhaya-ucigga-maNa vadiya 'sAhammiNi nisuNehi' // 35 ja vadaNaha saha nimuNei / jANai appau~ saThAvei // bhaNiya naridi 'vahinna tuhu~ sAhammiNi mahu vayaNu suNehi / vajajaghu mahu nAu~ kira chaDi sou mahu madiru ehi' // 36 mIya bhaNai 'tuhu bhAya sayANau / kiM na muyau~ pahu~ jANa AhANau // jeveM mahAtaru kadarahU~ vahuyaha~ sauNa-sayaha~ AvAsau / tiveM nArihi dukkhAviahi vadhau hoi niyANi kuMyAsau' // 37 jAu [32B] tAha vIsabhu paropparu / makkhiu tANa tAsu niya-kulaharu / "dhIya homi mihilAhivahu paraNiya dasaraha-vasi visAlai / daiva-vasi dhammaha chaleNa ANavi ghalliya peyaha Alai' / / 38 vagjajaghu puNaravi vollei| 'dhammu ahiMsA-sAru kahei // vahine a-sAsau pahu jagu naraya-tiriya-maNuyAsura-loehi / mAya-bhAya-piya-sayaNa jaNu hoi marataha~ ko para-loe // 39 tAvahi vara-kareNu DhoyAviya / siru nAmeppiNu khadhi caDAviya // 'puMDAvadaNi nayare muhu~ tetthu nemicadaha jiNa-bhuvaNahaiM / desahu sAmiya tAsu hau bhuji suhai~ karahi mahu vayaNa // 40 vgjjgh-bhugunn-annuraaiy| puDAvaddhaNi nayare parAiya // 35 3 ekalA tethu sAhamiNi 36 3 vahina / sAhamiNi 6. ehi 37 6 bara 381 paroparu 3 mahilAhibahu 39 2 yamu 3 asAsAra 403 mAmepiNu, 3 pugavademi / tethu

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nayara-vAre naranAhu Thiu niya-kiMkaraha~ dei Aesu / 'haha-soha sohiya karahu maDahu bhUsahu nayaru asesu // 41 ANa paDicchavi tehi na[33A]riMdahu / puNu pekkhaMtahu naravara-viMdahu // divAharaNa-vibhUsiyA nAi suraMgaNa diTTha jaNeNa / pInaMtI nayaNaMjalihiM vanajaMgha-gharu ANiya teNa // 42 vajjajaghu aMteuru dakkhai / 'dhamma-vahina eha' loyaha aksai / / vaddhAvaNau~ nariMda-hari paDaha-sakha-tUrehi varjasehi / khajju pejju digjai jaNahu khujjehi vAvaNehe nacaMtehi / / 11 dinna naresareNa ANattI jiNa-bhavaNehi mahima bhADhattI // agara-dhUya-puNphaccaNehi vali vihANa-maNimaya-ulloehi / caccavi bhavaNaIM jiNavaraha~ netra-paTTa-cINaMsuya loehi / / 14 jaNaya-taNaya rAI sahu~ Aiya / sa-harisu jiNavara-bhuvaNi parAiya // diThu bharAuu muvaNa-guru karavi payAhiNa thui mADhattI / jaya-jaya-saIi jiNavarahi saccuya(1)-guNehi thuNA sA bhalie // 45 'jaya-jaya tihuyaNa-siri cUDAmaNi / jaya bhava-rukkha-dukkha-mUlAsaNi / / thuNavi thuihi" emAiehi vahu paNimAu karevi nirNidahu / loya sahassehi pariyariya gamai kAla Thiya bhavaNi nariMdA // 4 // suheNa gambhu sA viddhihi nei / kulaharu sumaravi siMkha kareI / / adrama rAidiehi bhannu vi mAsehi nahi garhi / pasaviya ju[33B] yalau~ sIya tahi dasaraha-basa-jagaha pugnehi // 17 naMdai vaddhAviu naranAhu / annu vi jaNavau harasiu sAha // 42 2. pekhatahu naravaraviduhu 5. pa julihiM / pakhaNa 43. thama 44. 3 pupha 47 5 abalama 6. puhi 48. 1 mA

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dANu jahicchau~ dinnu tahi harisa-soya sIyahi uppannA / ajju agi navi maMti kira vala-kesava suNevi kayaunnA / / 48 vinni vi kelibhAbha-sukumAlA / gyaNAharaNa-vihUsiya vAlA // lavaNakusa taha nAu~ kriu hatthAhatthi gheppai ve-vi / rUviM deva vi vimhiyA ko taha~ sakkai guNa vannevI // 49 jovaNa-samau patta lavaNakusa / saya-kalAha~ vitthinna-mahAyasa // patthatara mahilA-kameNa samarArabhu mahatu payau / jiNavi sattu lavaNakusehi bahuyaha vairihi bhaggu marada // 50 to tahiM bhavasari Aiu nArau / kuDiya-bhisiya-gaNettiya-dhArau // 'aho nariMda ki vimaNa-maNa rAvacaMdahu suya uppannA / tehi vadheviNu mukka raNe gamahi kAla ihi Thiya pacchanA' // 51 nAraya-vayaNu suNevi kumArehi / pucchyi jaNaNi vatta guNa-dhArehi // kahai vatta lavarNakusaha~ jANavi(i) ai niru sogAUriu(ya) / 'tumhi putta rAhavaha phuDa kahavi samAsiM dukkhAUriya // 52 tumha putta sakheviM makkhau~ / ___ kaha rAivahu jalaMtI pekkhau // jeNa ruyati mukka hau~ [34A] ranni saraha-saela-bhayaMkare / ANavi melliya vihi-vaseNa vajajagha-naranAhahu niya-ghare' // 53 jaNaNihi vayaNu suNevi pajaliya maNa / te daboTu-miuDi-bhIsAvaNa // tahi ] kiMkara-apphAliya dinna payANa-mairi turatI / cAuraga-vala pariyariya savva-senna avajhAuri etI // 54 483 dina, 1 upanA 6 kayaThamA. 42 . vinivi 5 ruvi sAha, banevI. 50 / vairihi 516, paccha nA 53 1 ranni, sabUla. 54 3 aphAliya 6 avajmA, etI

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hi harisa-soya sIyAhi upcaa| kira vala kesava suNevi kAlA ma-sukumAlA / / vAlA // hatthAhasthi gheppar3a se mi| ko taha~ sakkara guNa vadI lavaNakusa / na-mahAyasa // samarAraMbhu mahetu payAu / vahuyaha~ vairihi bhaggu marada | mAiu nArau / 'ya-dhArau // pa rAvacaMdhu suya upnaa| ' gamahi kAla ihi hiya / kumArehi / guNa-dhArehi // . vi(i) bhai niru sogAmImAMga ve samAsiM dukkhAmariya |23 khau~ / kkha u // 4A) ranti saraha mAna-maryako ra jaMgha-naranAhahu misa vo 1 pajaliyA-maNa | .. rAmi pahAya-kAle etvaMtari / ve mayagala diTThA mumiNaMtari // seya-kasiNa-cannujjala vinni-vi gayaMgaNi kalahulmA | durudulleSiNu matta gaya pavisatA sa tosa DahachallA / / 55 sumiNaM pekkhavi jAveM viuddhau / hakAriu lakkhaNu bahu-vuddhau // sumiNa kahai pahada-muhu ai rahasi gemaciya garAu / tAva akhi dAhiNi(ya) phuriya pabhaNai vAha jalolliya metaDa 56 'majju vaccha kira koI vi hosaha / paI samANu ko annu misai' // lakkhaNu pamaNai 'bhAya suNi maJjha vi maNu ulchohimA jAva paropparu eu bhaNahi tA vala pattau~ tUra-ninAI // 5 // para-vala muyavi (1) rAu~ Asakiu / 'aho lacchohara evahi kaha kiu' / uTThiya raNa kaDuggahaNa suhaDa samacchara maha nika[B] AA vajajaMgha-vala abhiDiya kalayasa-sadaI tUra-nidhosi // 58 kumarehi sahu~ bhAdatu mahAhara / lacchi-nijhana bhannekvahi rAhau / / coiya rahavara rahavarahi hakka vokka mellatA kA / bala kesava divyAuhehiM jiNavi do-vi puNu mohami mukA dharaNidharahu maNi vimhau jAu / 'cakku na paharai kavaNu uvAu' // tAvahi aksiu nAraeNa 'muNahu vara meM ahama hohu / sImahi naMdaNa rAma-suya vajanadha-dhari bakhima -bi' // nAraya-vayaNu suNevi visidau~ / amiya-vayaNu naM kanni padau~ // te nivaDatA gharaNiyale levi karehi vinni vi mAsAsiya miliya ciyAri vi moha gaya cadaNa-rasa-jaLeNa bAsAsiya 55.1 sayaMgami 56 3 maI 57 2 . 5. paropara 65... E payANa-mairi turaMtI senna avANari pratIka yabhA. 4. vinitA ." ranni, apUla, A

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te kumAra nayarihi paisaMtA / savvaha nArihi khoha karatA // tUra-saya, apphAliyaI jo ANadu jAu tahi bhavasari / naravara-viMdahu sayalaho vi lavaNakusa paisatA puravari // 62 tA, nievi rUu bhai sudaru / [35A] aMguliyai~ dAti paropparu // dhIya gavakkhehi kA-vi tiya 'rAhu lavaNu mayaNaMkusu annu / joijjai nAri-saehi sIyahi ve-vi putta utpannA // 63 lavaNakusa niya-bhavaNi paTThA / pura-loehi sAmatehi diTThA // aparAjiya somitti tahi salla visallA e mahaevi / mAmaDaka nAraya-jamahu puNu vaiTTha guruyaNu paNamevI // 64 je puri paTTaNi gaya hakkArA / te sAmaMta mAya vahilArA // vinnappaha rAhau jaNeNa soma deva na vi paTTaNu pAvai / mANahi sIya ma kheu kari dehi suddhi amhaha maNi bhAvai / / 65 vayaNANatara rAhavacadi / puppha-vimANu levi ANadi // pavarNabau suggIva gaya dovara rayaNAsava-nadaNa / pratti parAiya puDari joyavi iya kiya calaNahaiM vadaNa // 66 peksani rahasiM agi na mAiya / 'sAmiNi tau hakkAga Aiya' // manai sIya 'niThura-hiyaeNa mahu valadeviM kiM pi na kajju / tumha(mha) (vi)varohiM jAmi hau~ ayasa-kalaMkahu pADau~ vagju // 67 [35B] caDavi vimANi sIya sapAiya / naM sarasai himavaMtaha mAiya // mahiya soi jANavi niyavi punniva-cadahu sA akalakiya / bhaNai rAu~ AruTTha maNu 'mahilA hoi nilajjAsakiya' // 68 31. Tha 2 paroparu 3 gavakhehi 4, manu 64 2 vahillArA 6 muba 65 1. putra 5 pustari 67. 2 peyi 68 4 puniva

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sIya na bhIya saittaNa-gadi / bhaNai 'rAu~ ki ei sacci / / tula cAula visu jala jalaNu pacaha eka dibbu mahu dijau / tAvi chegji kasi nivvaDiu kaNagaM je va tumhaha darisijau' / / 69 jaNaya-taNaya-lakkhaNa-lavaNakusa / bhAmaDala-suggIva mahAyasa // 'sAhu sAhu' jaNavau bhaNai rAmahu eha volla mAvaDhI / svAi khaNavi tri-hattha saya triNa-kaTThaha bharevi sA cahI // 7. jAliu jalaNu jaliu sa(sa)ghAI / miliya deva nara naravai ghAI // bhaNai sIya sIlahu valeNa 'dahu dahu huyavaha Aiya gannahu / jiNa-sAsaNu rAhau muryAva maNu ma. jaba kiu uppari mnnhuN||71 loehi dhAhAviu ethatari / sIya vaiTTa diTTha vara srvre|| kahai surAhiu suravarahaiM 'pekkhahu sIlaha ja mAippu / teya rAsi jala niDiu *[36A] xxxxx nnau~ kSu // 32 rehai uvari tAsu tAmarasahu / kaNaya-pIdu pihu nAi sureshu|| pekkhavi rAhau citavai 'loyaha chadi kiyau~ akAju / ta marise jAha]xxx puttAha parimiya mujahi rajju / / 73 'valikiu rajju majjhu bhaMDAru / AI gammai narayaha vAru // bhutta bhoga saya-vAra mai~ maNuyAsurehi marNatA kAI / xxx vosiriu pacaha~ muTTihi ukkhaya bAla ||75 sIyahi cariya rAhau mohiu / chiDu lahevi gau uvavaNi sohiu / / diThu silAyali nANadharU desa-viisaNu vaMdara dhannI / 'dIha xxxx mahu bhava-sasArahu iu nibbInI' ||75 70 5 tRhaya tRNa / gahu , sapari, tIsace patra vAma senTimiTara jitanA prArambhika aza saNita hone se kucha pajiyoM kA pATha mata truTi hai| 74 2 gamai 75, 1. abhI

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12 lakkhavi sIyahi bhAu mahati / dinna tAhi pAvana turaMtI // Aiu lakkhaNu halaharu vi sahu~ pariyatti( Ni ti-)bhAvari devI / muNivaru vaMdavi jaga-pava[ru] vaidiya xxx sIyAevI // 76 vahU-kAlu tava caraNu covI / chaTTamehi deha sosevI // vaidehI pacatti gaya abhcuya-kappi iMdu umpannau / paDhai suNai jA guNai naru ehu rAsu so max[4]nnau // 77 parameTThihi pacaha~ paNamevI / suyadevihi navakAra karevI // jAhe pasAi bhagavaihe kiyau rAsu sIyahi savadau / / majjhu khamejjau bhaviya-jaNu jo hINakkharu tahiM [36 B]x ||78 jA~va meru jA caMda-divAyara / jova puhai cattAri vi sAyara // rAsau xxxi x hovi deu vohi dukkha-kkhaya-kArau / usamahu tahu pajunnaho vi deu ghohi jiNa vIra marA[Dau] // 79 76 . bhAvari manta sIyAdevirAsaya saMmatta / / Printed by Swami Tribhuvandas Shastri, Shree Ramanand Press, Ahd. Published by: Dalsukh Malvanta, Director, LD Insittute of Indology, Ahmedabad-9

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ournal is primarily intended to to researches la Medieval Indian Hence emphasis will naturally the languages, literature and sources of that perlod But it so give sufficient space to other which throw light on Ancient Culture of Contributions butions embodying original thes, abstracts of theses accepted University, critical editions of the shed Sanskrit, Prakrit, tamsa, Old Hindi, Old Gujarati appreciations and summarles of and medieval important original potices of manuscripts and textual ms will be published in the im of Articles hould be written in any one of owing four languages Sanskrit, Gujarati and English. written in language other than should be accompanied by a y in English eration D. Institute of Indology will pay tam to the authors whose tions are accepted Subscription Ra 20/Sh. 30 Dollar 500 Other Rules (1) Contributions Intended for publication in the Journal should be type-written (with double spacing) or legibly written on one side only of the paper. Copies should be retained by tha authors. (2) It is presumed that contributions forwarded for publication in the Journal are not submitted elsewhere. (3) The copyright of all the contributions published in the Journal will rest Jointly in the L. D Institute of Indology and the authors, (4) Ten ollprints will be given to the contributors free of charge (5) Titles of books and Journals should be indicated by single naderlins. Sanskrit, Prakrit, Hlad, Gujurati terms occurring in the articles writion la English should be underlined. The standard system of transliteration should be followed. (6) Those who want their works to be reviewed in the Journal should sead two copies of the same. All contributions and correspondence may please be addressed to Director, L. D. Institute of Indology, Ahmedabad-9

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OUR LATEST PUBLICATIONS (1972) 32. Philosophy of Shri Svaminarayana by Dr. J. A. Yajnik Rs 30/ 34. adhyAtmabinduH -- harSavardhanopAdhyAyanibaddha svopajJavRttyA yutaH, saM0 munizrI mitrAnandavijayajI - nagIna jI zAha 35. myAyamaJjarIgranthibhaGgaH cakradharakRta, saM0 nagIna jI zAha 36. New Catalogue of Sanskrit and Prakrit Mss. JESALMER COLLECTION - Compiled by Muniraja Shri Punyavijayaji 37. Prakrit Proper Names Pt. II Compiled by Dr Mohan Lal Mehta and Dr. K. Rishabh Chandra Rs. 6 Rs. 36/1 Rs 40

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1127 SAMBON (QUARTERLY) VOL. 1 JANUARY 1973 NO. 4 EDITORS DALSUKH MALVANIA DR. H. C, BHAYANI L, D, INSTITUTE OF INDOLOGY AHMEDABAD O

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CONTENTS Fpithets of Lord Mahavira in Early Jaina Canon Dalsukh Malvania Some Obscure Expressions in The Mruchakatika RP Poddar Thc Target of Criticism in Blamaha's Karyalau hata IV 39-47 N. M. Kansara Did Castana Start The S'aka Era ? Rasesh Jamindar SamLhya-nasaka Madhava Esther A, Solomon Gunaratna's Saradipika T.S Nandi Some Doubtful Readings in the Kuvalayamala Anantalal Thakur bAdamAM dhAnya bApAlAla vaidha kadivatika paM. masUtakALa mo. mojaka kirAtArjunIya me vimarzasandhyaGganirUpaNa rupamA kulazreSTha mAnAkRtaM meghAbhyudayakAvya zAntisUrikRtavRttisahitam paM. harizaMkara ma. zAstrI

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quin EPITHETS OF LORD MAHAVIRA IN EARLY JAIN CANON Dalsukh Malvania There were many groups of the Sramanas, each of them baving a fonder This fact is proved sufficiently by the Pali-Picakas AU soch londen ese given the following common epithets in the Palt canon 'Het ta, 7, Tarakat , , THEN, Facest, resammato bahujanassa, ratta, cirapabbajito, bhadhagato, vayoanupphAto'-dIpaka sAmaJaphalasutta / lo addition to these common epithets in Pall coon Lord Maharn the leader of the group of Nigganthas, was further given sach epli hets m, "nigaNTho, bhAvuso nATaputto saba sambadassAvI, aparisersa bAmadasAna parijAnAti carato ca me tiTThato ca suttassa ca jAgarassa ca sakta samita mAmadarasA pacupatiM ti"-majjhimanikAya, devadahasusta Here in this paper I want to discuss the epithets of Lord Maha as are found in some of the texts of the carly Jaina canoaxcal literature, at these texts are not of the same time, I shall take them one by one accord ing to their chronological order This procedure will belp us to know u to how a cluster of epithets was devoloped in the course of thes and to how the final one was arrived at, not only that but as to hor some of the common cpithets became the property of e particular group-louder The discussion will also make it clear that the epithets ven to Lord Moly in the Pall-pitakas do not belong to the early period of time Again will prove the Acuranga part I to be earlier than that of the Pdl pakn. It will also be clear from the discussion that is time passed on some of theso epithets acquired the status of name having lost their nato of adjectives The epithets, viz. Arthanta, Arhat, Buddha, llan, Vor, Mabevera and Tathagate were not the sole property of a loader of a particular Hot whether Brahmin or Sramana Bot it seems that they became popular amongst the Sramanic sects especially for Mahavira, Gourla and Buddha with the result that they were dropped by the Brahmin sects for their leaders. Similarly 1, Read At A, I Oriental Conference, Uljalo, 1972.

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Dalsukh Malvania the term Buddha (139, 177, 882, 204) was used for an intelligent person but after Gautama It became the sole property of Buddhism and became the special name of Gautama The term Buddha though used as epithet In early days for Mahavira does not denote him in later pcriod The terms, Vira and Mahavira were common for a heroic persons but we see that they have become the real names of Lord Vardhamana Thus in course of time the original name Vardhamana was thrown in background giving place to the terms Vira and Mahavira The terms Jina, Arbat were common for all the leaders of Sramanas and we see that the word Jaina was not the pro perty of the followers of Lord Mahavira alone It should be noted that the followers of Buddha were known for a long time as Jainas but now the case is not so and only the followers of Mahavira are denoted by the word Same is the case with the term Tathagata and now we see that only Lord Buddha is denoted by it 2 In this way the denotation of these words though broad in early daya has become limited in course of (ime In this context I shall try here to collect the various epithets given to Lord Mabavira in the earlier canonical literature of the Jainas Acaranga Part II As an ascetic The first part of the Acaranga can be sub-divided in two sections The chapters in the beginning giving the gist of the preaching is the one section and the last chapter giving the picture of the ascetic life of Lord Mabavira is the second section Let us see the epithets used in them for Lord Mahavira la his mendicant life Mahavira calls himself a 'Bhikkhu (9 2, 12) He is also called 'Nayaputta' and Nayamiya (9 1 10) indicating his clan but both of these terms have became his names also He is sometimes given an epithet 'mun (9 19, 20) which is generally used for an ordinary ascetic or monk That even the Sramanas were using the term 'Mahana'-(Brahmana) for their respected persons is welknown from the Dhammapada (26) of the Palt canon, as well as from the Uttaradhyayana (12) of the Jaina canon So it is but natural that Mahavira's one of the many epithets is Mahana (9 1 23, 9 2 16,93 14,9 4 17, 9 2 10,9 4 3) He is also called 'Nam (9 1 16) and 'Meha' (91 16) which indicate that he was not only a person of good character but was endowed with knowledge also He is again and again given an epithet 'Mahatra (9 1 13,9 3 8, 9 4 14, 9 2 1, 9 3, 13) for his valour shown with regard to his ascetic life And we see that it

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Epithets of Lord Mahavira in Early Jains Coor has become his real neme He is respectfully called 'Samaye Bhagan Oil) and the terms Bhegavam, Bhagavante, Bhagavaya Accute so many dima that we can casily surmise that during the period he had become very respectful person amongst many such ascetics (914, 15, 9 2 5, 6, IS, 9 3 12, 16, 9 4 1, 3, 5, 9 37, 94 9, 12, 91 23 9 2. 16 It is also mentioned that though he has a non-omnlclent person (Chaumatthe u 9 4 15 ) he was ahasi-without any deflement and was also olgazagehi-without any longing (9 4 15 ) From all these cpithets It is clear that though he is given u epitha Bhagavam yet he is not called here in this portion Tirthamkara And ** regards Bhagaw am we shouid note here that even in the second part later than this portion of the candon evea the ordinary samanas and the art called Bhagavanta (11 71, 162) Not only this but there wus & rule that an ascetic shouid address even an ordinary woman as 'Bhagaw' (II 134) This indicates that the term 'Bhagavam' was not used for a loader or the head of the sect, and though a term for showing respect it did not had the meaning of an exalted person As a preacher and head of a sect. Now we turn to the preaching portion contained to the first step toe chapter of the Actranga part I Here in many places the term Yurd" and Mahavira' are used but it should be noted that they do not refer to Lord Mabavira but to other persons who have showa the valour to their ascetic Jife (1 172, 1 185, 188, 1.140) We should also note that though whalke, we havo seco, describing Mahavira's ascetic life be is called Pond' wel as 'Mahavira', we must conclude that there is tendency towards the fact the Mahavira should become his naine This also is clearly established by the fact that Pali Pitakas mentions Mahgvira As Nigtatha Nata-petta and not as Mahavira So we can conclude that ford Mahavira bocome a moth by that name after the time of Pali Pitake In this part also Lord Mahavira is refered to as 'Ny putta (t. 2. 12). 'Mahanena maimaya (200,206), and Bhagaraya I, 10, 15, 16, 23, 43, 52, 54, 90, 185, 214, 216, 220) Once he is refered to as R o tarpit AMAT, THT (200) Here we see that he is called Alupraja and also baving nothing and damsana At other place he is called Kusala' (166) Bex bowbere be is refered to as a Tirthankara In Dighanikaya etc, though be given the epithet Tirthankara it is algoticant that in Acartaga's first part no where he is refered to as auch This may slgnify that this prouca of the harde is anterior to Dighanikaya

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Dalsukh Malvania Lord Mahavira in this part is called 'Muni' (153, 159) which put bim in the Uno with other such 'munis' Here we find the use of 'Arahanta Bhagavanta' (126) and Jinehin (55) which shows that there were many such persons who were called aruhanta or Jina and Lord Mahavira was one of them The epithet of "Araha' was also used for the Buddha and the use of this term was not absent in the Vedic literature But when this word was used frequently for their leaders by the Sramanas the word was dropped by the Vedics Like Mahana the term 'Veyavi' was also 10 vogue in ancieat days for the learned and so it is used in such a senso in the Acaringa (139) Such is also the case with the term Ania (146, 207, 179) 'Mahest' (160) and Medhavi (191) The term Vina' though used (162) in Acuranga part I it is surprising that it is not used with special reference to Lord Mahavira Sattha (188) though used only once for Mahavira 19 such that it was frequent for the Buddha To conclude, we can say that bere Muni, Mahana, Nayapufta, Vira, Nahavira and Bhagawath, these terms were the main epithets for Lord Mahavira, Bat we must bear in mind that here also the epithest Tirthankara is nol wed In Pall Pitaka, as we have seen, Lord Mahavira is refered to again and again by the terms savahtu and savvadassi but here in Acaranga we do not come across such terms, Instead, we find the terms such as abhinnayad ahsane 9 1 11), Ayayacakkhhi Logavipassi (3) paramacakkhu (150) alvilja (3 2 9), savvasamanndgayapannina (155), Anelisannant (9 1 16) Some of these terms may convey the meaning of Omniscience but it is significant that the proper term Savannu 18 not used We will see that this torm is frequent in later literature of the Jainas, so we may not be wrong if wo conclude that this term is introduced in the period later than the time of the Acaranga part I and this will show that the Acaranga part I is oarlier than the portions of Pali-Pitakas in which this term occurs for Mabavira Sutrakstanga Part-I In Sutraktyoga part I wo see further development Here we can have the common epithets like Samana and Mahana, but many more are added ind some of the early epithets have become names in this part of the Sutrakpanga In Acaranga Vira and Mahavira were simple epithets but in

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Epithets of Lord Mahapla in Early Jaina Canon Satraklanga they have become the names (111,1 1 27, 14 2 22: 1. 924, 1 14 11 ) For the first timo Mabavira is given an epithet of "iggantha' (1 14 11) which is found also 10 Pali-pitakas es Nigantha Mula putta Naya, Naya putte aod Nayasuye are also used in Sutrakpanga (1 1 27, 2 3 22, 2 3 31,6 14, 21, 23, 24, 26) Like Mahavira now be 18 Mahamuni (1924, 2 2 15, 2 1 14) Indicating his gotra Kasave is added in Su (2 2 7 2 2 25, 2 3 20,3 3 20, 34 21, 11 s. 32. 15 21.6 7) Showiog his relation to Vaisali be is also kaown as I esalia (2 3.22) The previous tradition of Nina, Araha and Bhagan 18 also continued (2 3 19, 2 3 22, 6 26,6 29, 2, 3 22, 16, 1, 2, 3 14) LA Sutrakrtadga it is quite clear that there was an order or the religion kaowa Al Jinasasana (3, 4 9) or Jinana Dhamma ( 67) or Bhagannussan (2 3 14), and we find the meation of Jingdayana (14 13) and Jurura ( 96). The torms Buddha and tathagata are also not absent (11 25. Ii 36. 12 16, 12 18,15 18,13 2 15 20) but as meationed above later on they indicated only the Buddha and not Mahavira Hence also like Ice nga the term Savvannt 18 absent but instead wo find a GT marfa aul ( 6 24), Anantacakkhu (6 6, 6 25) Savoadahsi abhibhulya (2, 5). damsana-nanasilo (614), Apantananadanhst (924) and even se wat anut taranantanuttaradansi anuttaranaqadarsanadhare arha - Niya pulte bhagavan Vesalie (2 3 22), Tilogadansi (1416) and Jagasaonadohet (2 331) Here a technical torm for an ompiclent person is used for the fint time, pucchisahaM kevaliyaM mahesI-5. 1 1, evaM kevaliNo mayaM 11. 38, kevAyaM mamAhi This foilowing gatha is corious because there is no mention of JHL varana jamaIya paDuppanna mAgamissa ca nAyao / savvaM mannaha taM tAI dasaNAvaraNatae // 15.1 The following traditional terms are also present in Sa.niggantha ( 924), mahana (11, 1; 9 1), makest (6, 26), paramamahest (6 17), Muni ( 67), pabhu ( 628), samana (6 14 23) But it should be noted that the term Titthayara is not used Acaringa, Part 1 In the second part of Acaranga the life of Mabgvira as a householder is also given (2 175) It should be noted that nothing of the kind i found

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Dalsukh Mahania in the Acaranga part I and also in Sutrakrtanga Here he is depicted as Sramana Bhagavao Mahavira (2 175) which shows that now be became wellknown by this title The original name kum Tra Vardhamana given by his parents to mentioned (2 176) It sellis ibat the tradition that the epithet 'Mahavira' was given by the gods is cstablished here for the first time (2 177) Here the whole varnaka for Mahverthus Samane Bhagavam Mahavire Nae Naya putte Nayaku lanculle I weke I uchunune ladehujusce idelasamale (2 179) Here we can cu the teudency of depicting him with the epithets derived from the naines of the lincages of his father and mother We are sure that his mother was called idehad inna (2 177) The epithcts which were well establisbed such as Jina (2 179), Jonaiara Vira (2 179) etc are also found here But here for the first time the element of mythology enters into the field in the foriu that the guds performed the Titthayarabhisea (2 176) and also that he was requested by the gods that nutihan pavarteht 2) 179) which can be Cuippared with such a request to the Buddhu by the Brahmu And here for the first thing bu is called tho Tuthayara (2 179), not only that but for the first time here he is called Savvannu the epithet by which he is known 10 Pali pitaka-se Bhagavam Araham Jine kevali Savvannu Sauvabhavadarist (1 179) And here we find 'Kevali pannalta dhanna (2, 179) and again and again 'Kevalt buya' (2, 13, 17, 26, 36, 38, 115, 116, 146, 152, 179) which shows that due to his being an omniscient person his preachings were to be accepted. Sutrakrtanga Part II By the authority of the Niryukti (6) on Aca Part II we are sure about the second part of Aciranga that it was added 10 later times But auch ia not the case with the second part of Sutrakitanga Yet we can say that the second part of Su is later, because even the epithets for Mahavira establish this fact Wo can prove this also that it 19 not an earlier text than even the second part of Aca Thero is no mention of twelvo angas' in the Aca but the Su, mentions the Ganipitaka (2 1 11) Io Su we find the mention of Dhamnalutha (2 1 8) and titthayara (2 7 11) The mention of 'Coyae pannanagarh evam vayasz' (2 3 2) and Icarya ahu' (2 4 2, 4) definitely go to prove its later date The traditional epithets such as Samana (2. 6 1) Mahana (2 6 4). Samane Nayaputte (2. 6 19) Nayaputta (2 6 40) are found And we also find the Buddha (2 6 42), Muni (2 6 42) etc Which are of the same type Here even the pupil of Mahavira, la called Bhagaian (2 7, 4) The knowledge of the Lord is called Kevalena punnena manena (2 5 50) Here the teaching of Lord Mabavira is described as Wiggantha Dhamma (2 6 427 and Mggantha pavayana (2 2 23, 27, 2)

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Epithets of Lord Mahavira in Early Jaina Canon the epithet which is found in Pali Pitaka also Here for the first time we have the mention of the three Jewela Jnana, Dartana and Caritra (2114) Again it 18 here that we are told that the followers of Parsva were known as Nigganthas and they were speclfied as 'pasavaccijja' (214) In other Angas In the Angaa wbich are later than Acaranga end Sutrakrtanga generally we find Samane Bhagavan Mohayire But we must take note of a Varnaka which was well established during cononical penodsamaNe bhagava mehAvIre Aigare titthayare sahasabuddhe purisuttame purisasIhe purisavarapuNDarIe purisavaragandhahatthIe loguttame loganAhe logappadIve logapajjoyakare abhayadae cakkhudapa maggadae saraNadae~ dhammadesae dhammasArahI dhammavaracAurantacakkavaTTI appaDihayavaranANadasaNadhare viyaTTachaume jiNe jAvae buddhe bohae multe moyae savaNNU svvdrisii|' bhagavatI sU05 Here we may remember the importance of Purufa stoce the Rgveda In various names of Visnu we find Purusottama, Purusapundarika and Pure usavara Gandhahasti 18 an epithet of the powerful elephant and Gandhagaja is found in Caraka Lokanatha is also used for Visnu etc Lokapradipada used for the Buddha in Buddhacanta of Asvaghosa With this Varnaka we may compare the welknown Varnaks of the Buddha which is explained in Visuddhlmagga (p_133)- 'so bhagavA marahe sammAsabuddho vijAcaraNasaMpanno sugato lokavidU anuttaro purisadammasArathI satyA devamanussAna buddho bhagavA'-aguttara 3 285 1 In Mahavyutpatti one name of the Buddha u Vira 2 In the Mahi Buddha is called Narottama and Sukyaastha 3 Bodhisattva is called-Gandhahasti-Maha 704 4 In Maha Saranya and Sarane sson also-dhammAyarie dhammovaesae samaNe bhagava mahAvIre uppalamANadasamapara marahA ki kevalI tIyapaccuppannamaNANayaviyANae sampanna sambadarisI-bhagavatI-1.

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SOME OBSCURE EXPRESSIONS IN THE MROCHAKATIKA RP Podder The Mochakauka bas some obscure expressions and in spite of Attempts made by annotators and translaters the obscurity in a number of cases hus not been finally dispelled So efforts in this directson have to be kept op. It is in this spirit that a few such expressions have been take up bert for consideration zoztarka In the first act sakara sends a message through Vidawela to Ctrudatta that the latter should return Vasantasepa to him, failing which be will bear bim an endless enmity He recites a versel and then says to Vidak, Thea UFT 3 HOTEL It has generally been translated as, "you shall say this well, skal may this crafltlya" ( ET ART I 19547 Horath I ) Etymologically the word 27 seems to be 'Httare meaning with praise' or with the 'hyma in praise By Na Sakara probably means his own vente met wants Vidusaka to recite the same before Carudatta in an artfal tomar (ar = to apply an art ) as done by himself kaTa, tretA, pAvara In the second act the terms 2, tar nad grat denote lucky throwi w the game of dice Prthvldhara explains thosen pUrA, tIvA and emA, anem rospectively four, three and two points p Is a Prakritization of hand 1. Thesaferacer w a fur bhImahematimalattiziddha loNe yethe pAhodi pUdo // 5 // Kalo : Speak well and speak crastily Karmarkar You shall say (thu) well, shall say crafuly Pannjape Say it well, way it quick. Ryder : Tell it to him pretuly, tell it to him craftily harakatAmasarvasva pAvaraphtamAravazoSitazarIra / mastidazitamArga phaTena vibhipAtito zAmi // //

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RP Poddar pAvara nall probability has come dawn from dvApara- through assimilation (*vApara) and metathesis (pAvara ) But these, namely, kaTa and pAvara became current in Sanskrit, as is evident from the context, like face which 18 popular derivation from kRtavid = well-versed in obtaining kRta.' the highest throw at dice (even decentfully) kali Against the lucky or the winning scores kRta, tretA and dvApara there is the unlucky or the losing score termed pfe ? In this way the names of the four yugas in order seem to have been adopted to indicate various throws at the game of dice These respectively denoted four, three, two sad one points Dice marked with numbers one to four on the four faces are common arcboological finds on ancient Indien sites vIhatya There is one word aflat in Act II, verse 17 Samvahaka, who has boen disgraced as a gambler, decides to become a Buddhist monk After having made this resolution he reads out the following verse jUdeNa taM kada me ja vIhatya jaNazza zavvazza / ehi pAbhaDazIze NaliMdamAgeNa vilizza // 17 // and I have been used in the Mahabhrata also in the sense of throws at the game of dice nAkSAnkSipati gANDIva na kRta dvApara na ca / jyasto misitAmbANAstIkSAgkSipati gANDivam // 23 // virATa 15 5. The word continues in journey further since the Hindi phrase 'paudhAraha par3anA' seems to have been derived from the by popular etymology The phrase denotes somo lucky achievenient and related with sore lucky throw at the game of dice su evident from a meaning "tlrose 6. At Jataka VI-228 th connection with kaTa (kRta) s evident, cf 'kaTama akAto garAhAti kiyA sikimbato yaSA' / 7 of Vidbura Jataka (91-92) te pAvisu makkhAmadena mattA rAjA kuruna puNNako nyApi yakkho / rAjA kali vicina aggahemi magahI puNNako nAma yakso / se satya jUne ubhayo samAgate ramya sakAse sakhiJca mAjhe / ajesi yakso maravariyoTa tatthapamAdo tumulo babhUSa /

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Some Obscure Expressions in the Mechakatika L Both Mr Kale and Mr Karmarkar render algas ged. The former translates the expression as beyond the power of all people' By way of elucidation he adds, pUtena me tat dazAntaraM (referring to his resolve of becoming Buddhist mandicant) Ha vihasta ( vigata. hasta. yasmin) in which no man can lay his hands on me, no man will get me into his clutches, for gambling has led me to renounce the world' Mr Karmarkar translates the expression as 'helpless [or Inc pacitated ] In the whole world [or among all people}' By way of checkdation he adds 'Samvahaka finds himself in high spirits at his resolve of becoming an ascetic He contrasts his former state of a gambler with the new state of an ascetic The first line refers to the gamblers state. As a gambler he was always perplexed ( vigata hasta yasya sa vihasta, hi sage) and afraid of people, he had to more about furtively in lanes and by lanes, in order that people may not see him or catch him unawALNA, now as an ascetic holding his head high up, he could roam about boldly on king's highways' He rejects unceremoniously all other interpretations which donot maintain that two different states are described-one is ench Mas This explanation is convincing no doubt, but the problem here, as in the previous one too, is about the transition from fig to her, ordinctly one gets fargePage #322
12 RP Poddar frequcot In Apabhramsa and in the Mechakatika the language of the gamb ters has some traits of Apabbramsa Thus the whole verse may be trams Istod as, 'gambling bas done to me that (referring to his resolution of becoming 40 Ascotlc) which makes me trustful to all, now I shall, with my hoad aloft, walk on the highways' It may be noted that his particular diagrace was that he had lost the trust of people He promised to pay back the debt of the gambler and the persident of the gambling house but they would not take him at his words He offered to teach Vagantasena's maid his shampooer's art But she declined He doubts that it was because she could not trust her mald Into & gambler's band - he gives his reaction in a soliloquy Naturally wbat he coveted most was the trust of people which us he had aeticipated was achieved by him through ascetician - as an ascetic he could lead Vasantasena to a monastery and could walk with her on the bighway with confidence, without the fear of incurrlag any censure evaM pavesibha dubhArasohA NimmidA In the 4th Act Vldusaka ridicules Vasantasena's mother on account of ber being extremely plump Finding her scated in the middle of a parti cular apartment he remarks, 'Is it that the door of the houso was contructed after having first put her inside, like the idol of Mabadeva p' This remark has a particular bearing opon the ancient practice of cutting a door into a room after the walls have been erected specially in kacca structures The door generally bad to be arched so as to bear the weight of the superincumbent mass In case the idol which was to be put inside happened to be too big for the planned door, it had to be put logide before the cons truction of the wall And then the wall having been erected the door of the appropriate size was cut into it huli Lastly we come to a word as lo the 8th Act Sakaca Intending to ut Vasantasena sends Vita away under the pretence of wooing her in private But he suspects as actually happens to be the case, that offa might chose to conceal himself behind some tree to see what he really intends to do Ho says, "bhodu mAlAsza madhavA kavaDakAvaDike eze bahmaNe vuDDhakhoDe kadAvi movAlidazalIle gaDhima zimAle bhavibha hulubhuli kledi"| Here the word ' TO' has generally been translated as cheating or playing a trickio This word both morphologically and orthographically la very 1 ki pada pavesima mahAdeva vibha dumArasohA iha ghare NimmidA / 10 The expression Wife goufe safe has been tranalated by Mr Karmarkar as, '(he) might play falie', by Mr Lale as, "lie) might cheat, by Mr paradjape as 'Chey might play me a trick', by Dr Ryder as, (he) might raise a howl'

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Some Obscure Expressions in the Mccchakarifika close to 640 used in the present castern dialecte of Bihar, depoking poeplog in a deceptive manner Initially the word might have been ryto denoting the deception usually practised by a byena, The usual practice of this animal is to run away a little distance and then to conceal itself and cast stealthy glances at the hunter There are but a few of the obscure words and phrases found to be Mrccbakatika a complete list of which is appendedu While some of these bave been explained away by scholars, others yet require careful consider tion u Some of the obscuro expressions used in the Muchakafika are cather mading of modified to become more comprehensible in the corresponding context in the Carudatta. This fact further strengthens the opinion that the Carudatta later stage version of the first five acts of the Mrcchakatika APPENDIX Act I varaNDalamvuma, Navavahukesahatya, zoztaka, lastaka Act II gadahI, zattI, kattA, tretA, pAvara, nardita, kaTa, pedaNDA, goha, gosAvimA, vIhatya, vAmacalaNa, gaNDa, rAyavatthahArI Act III kanakazakti, brahmaNyadeva, devavata, bhAskaranandA, ramaNasaddhi Act IV movaggidA gavakkhesu vAdaM gehadi salilagaggarIbho, eda pavesima ... dumArasohA NimmidA, cAutthI, juvatijaSaNappamANa pAdolA, pAduantarappaviTThA vija chehumA kavaTThaDAiNI Act V AkhaNDala Act_VI khasa, khatti, khaDa, khaDayovilama, kaNNa, pAvaraNAma, cINa parvara, khera, khANa, mukha, mahudhAda Act VII zalAke kozTake kombhakAle vA, hulamuliM, patolimA, lekhAmA, zubandha, philAgadazza, NANaka, kahAvaNa, voDima gaNaThI, jUlaka, bAma, kuntala Act VIII zvetakAka, dvAvi, piNDAraka, Act Dx AhIntA, tattilla, zamavAsiNi, huDa, zAmitra /

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THB TARGET OF CRITICISM IN BHAMAHA'S KAVYALANKARA IV 39-47 N M Kansara In the fourth Parlccheda of his Kavyalankara, Bhamaha (7th cent A D), while illustrating fifteen poetic faults (dogas), defines the fourteeatbose, viz, that which is opposed to the Sastras (nyaya-Yirodhi), and pastes! few remarks with reference to the lacident of a dummy clepbent resulting in the capture of Vatsaraja by Inlmlcal forces The question of identifytas the target of this cnticism of an incident of the Udaya DA-story has been touched in passing by veteran acholars like Mm T Ganapati Sastri and Dr S K De and discussed in brief by Mm Dr P, V Kane In his remarka on the speech of Hamsaka, Mm T Canepaul Sastr notices that while discussing the lack of propriety in the incident Bbumaba bas quoted both verbatim and in substance this passage of Bhusa's Prauijnyaugandharayana, although without mentioning the work by nagel Ma. T Ganapati Sastri thinks that this is an attack against the Prarthaya arayana of Bhase, hus theory is that Bbamah preceded Kdedu iad followed Bhagad and he relies upon the fact that in the speech of Hass aka the words anena mama bhada hado anera mama pida anena mana sudo mama vaassa iti annaha bhattina parakkamam varnosnia, care are almost the same as the words 'hato'nena mama bhra/2., etc. quoted by Bhamaba. In the opinion of Dr De, the ruse of the ardicial elephant la Bbasa's Pratiynayaugandharayana appears to bave been criticized by Bomba 48 incredible, especially as Udayana is described as obo well- w od la the clephant lore, but he defends Bags on the ground that it is a clarian w blat is not unusual in the popular tale and need not be urged as a serious dimino Dr S N Dasgupta too has touched upon the question with relantage to its chronological implioations outlined by M T Ganapati Sustri, and has remarked that the argument of Mm Ganapati Sastri based on the priarty of Bhamaba to Kalidasa and Bhamaha's possible refercoce to the story contained in Bb sa'a dramas, seems to bo oxtremely improbable, adding that his statoment that Bbamaha was prior to Gunadbya is also wbolly I CF Prat, Yaug (PRY) of Bhix, ed by T Ganapad Saatn, 1912, p 13 I. note 2 Hut of Sans Poet, by Mm P, V Kano, 1981, p 118 9 Prat Yang (PRY) Aet I, p 19, op cit 4 Bhimaha's Kavyalankara, IV, 44 8 Hist. of Sans. Lit., Vol 1, Calcutta, 1962, p 110.

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NM Kansara uabelterable Men Dr P V Kane, however, thinks that the origlaal atory is probably that of the Brhatkatha (referred to as 'havel') and Bbamaha is criticizing some drama or poem based thereon, and that there is no force in saying that Bhumaha refers to the Praulnayaugandharayana, when besi des the Byhatkatha, there were about a dozon dramas and poems on the Udayana Saga and when there are important discrepancies? Even then some of the modern editors of Bbasa's Pratinayaugandharayana ignore the discusslon on the point and bliadly follow the opinion of Mm T Gajapati Sastri and Dr De without looking into the problem in greater detail or trying to arrive as nearer to troth as might be possible ia the present cir cumstances in the light of some frosh data revealod by further researches It should be noted here that since Dr Kane was touching this problem just in passlog in his survey of Bamaha's contribution to Sanskrit Poetics, he could not discuss the problem in greater detall for want of space, and confined bis discussion to the most important thing to be noted, viz., that Bb Isa's Udayana was accompanied by twenty foot-soldiers and hence could Dot be llable to belng criticized as 'ekakir' as bas been done by Bbamaba Let as first examine the polnts of the relevant incident criticized by Bhamaha Bhamaba here seeks to Illustrate the polots of the incident of Udayana's capture which are contrary to the prevalent politico-administratve code (nyaya-virodhi) Having first defined the term nyaya' as consisting of the Sastras that treat of threefold end of human endeavour (triyarga) and ako statecrafts, he further deilges nyaya birodh' as that which does not confirm to the above. In the opinion of Bhamaha, the points that contradict the codes of statecraft are the following (1) The king of the Vatsas, i c, Udayana, has beon depicted as dealrous of conquest and as farsighted as an aged person and hence wise In the semo breath he is described as being devold of sples The point of criticism , how can an ambitious statesman cager to subdue his enemy move near the enemy frontiers without adequate precautions of being accompanied by sples who could have gmelt the danger of the impending mischler (2) The ambush in the guise of an artificial elephant consisted of a hundred soldiers posted in it under the command of Salankayana How was 6. Hist. of Sans Poet, 116 7 Ibid 8. Bhimaha's Kvik, IV 39 nyAyaH zAstra trivargoksidamAmotiM ca hA vidyA / bhato nyAyavirodhISTamapeta yattayA tathA / 9, Op. dt IV, 40

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The Target of Criticism in Bhamaha's Kalakar it that such an experienced king like Udayana could not get a report about the true nature of the deceitful elephant although it was located in his own territory ?10 (3) Could it be that inspite of their being duly informed in the matter, the ministers had themselves an axe to grind and hence they deliberately showed negligence in taking proper precautions for the king's protection? In that case they would be liable to be accused of being either blockheads or devoid of due devotion to their master 11 17 (4) The adversaries consisted of several angry soldiers who wielded strong bows The arrows discharged from such bows would invariably hit the vital parts of the victim How could Udayana have been possibly spared If he was, it would be nothing short of a miracle 12 (5) Udayana had killed the close relatives, like brother, son, father, maternal uncle and brother-in-law, of his adversaries who were consequently overcome with rage How could so many soldiers discharging number of missiles or weapons at a single individual, and that too in a forest, fail to kill him 718 (6) The intelligence of the learned men would be questionable in so far as they explain the poet's intention as being of the nature depicted above in contradiction to the accepted codes of the Sastras and popular practice (loka) 14 (7) Even a child would be easily able to distinguish between a living elephant and a stuffed one How, then, could it happen that soch an expert In the elephant-craft like Udayana failed to notice the difference A close examination of Bhasa's version as embodied in his Pratisyongandharayana reveals that the dramatist has sailed clear of the above objec tions, thus (1) Bhasa's Udayana has nowhere been emphasized as being desirous of conquest nor a cool-headed wise man On the contrary, it is suggested that be was likely to be misled 1 Besides, he is accompanied by twenty foolsoldiers, though having seen the elephant from the indications of steaks 10 Op at, IV, 41 11 Op at., IV, 42 12 Op at, IV, 43 13 Op at, IV, 44-45 14 Op. clt, IV 46 15 Op. clt, IV 47 16 PRY, I, p 4 yaugandha .... exdiarii carich) gauften e emai

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NM Kansara the king dismounts from his charger and proceeds on foot with a lute in his hands 17 Thus, the charge of Udayana having been left alone and uapro. tected could not apply to Bhaga's version (U) Bhasa's mentions that the ambush was not easily recongnizablo aince, according to the spy's report obtained by Yaugandharayana, the artificial elephant was located among numerous wild elephants,de and the ele. pbant could not be located except by its tusks, undistioguishable as it was from the shade of Hke-coloured Sxle trees 19 It was only when the clophant juddenly rushed towards comparatively isolated Udayana that the latter Immediately divined the conspiracy of Pradyote and proceeded to foll tho ambush by informing the foot-soldiers and encouraging them to fight the enemy out 2 Bbasa has depicted that Udayana started for the Nagavana before his minister Yaugandharayana could convey to him the report of the spics regarding Pradyota's conspiracya Thus, Bhasa has devised aufficient grounds due to which the spy-report could not reach the king in time (lli) The ministers in Bhaga's version are very active in operating the apy-ring ass clear from the fact that Yaugandharayana gets in advance the Information about a foot-soldier who informed Udayana about the Nila 17 Opcit. I p to haMsakA- sundarapADaLa NAma massa bhAluhima aNadAgae suyye bisadimattehi padAdihi maha pamAdo mA / op at, Ip 11 diggvaarnnpristthndo| op dt, Ip 11 haMsaka-tado bhaTTiNA modarima bhassAdo bhAbhamima devadANa paNAma karibha gahodA vINA / Opa, Ip 4 yaugandha-. mo / vanagajapacchAditazarIra nIlahastinamupanyasya pradyota svAmina chalayitukAma iti pratirupagatA ma / 19 Opat, Ip 10 isaka- sAnukkhachAbhAe savaNNaNaThaNILadAe parunmAsidehi asarIraviNikkhittehi vibha dasta jugaLehi saido ghaNumadamaNa vima divo so divvadhAraNapasischando / 20 0p ct. pp_10-111 isaka-sado NAmagotsaggahaNeNa samassAsiNa kuLavuttajaNa savyathA pajjodapaobho eso, aNuga hama timaNina bhaTTA paviThTho eva paravaLa / 21 Op. cit, I pe yaugandha -isakana khalu gata svAmI nAgavanam / hasaka-ayya / hijo eSa gado bhttttaa| yaugandha-hanta niSphalamanupreSaNam / chalitA sma / bhayAsti pratyAzA, athaiva prANA moktamyA /

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The Target of Criticism in Bhamaha's Kavyalankars elopbant 28 He also makes arrangements for delivering the message to the og before he sets out for Nagarana - It was due to the rash busto add oredulous nature of Udayana that precluded the possibility of fore-warning him 4 Moreover, the faithfulness of the ministers is beyond doubt in Bhara's version as is clear from the remarks of Yaugandharayana with respoct to himself as and Rumenvana And Bhasa's Udayana is said to have prevented bis minister Rumanyan on oath from following him 17 Hence the non-Applicability of Bhamaha's charges to Bhase's version (Iv) and (v) In Bhasa's version Udayana is said to have madly rushed alone Into the enemy ranks although his foot-soldiers seem to have followed him instantly but were outoumbered and killed only Hamsaka could save himself to flank and guard his master till the latter was overcome with fatigue and fell unconscious Even then it is a fact that the king fought for the whole day It is natural that in accordance with the military code 22. Op at, I P9 yaugandha-tiSTha / isa krozamAtre mallikAsAlacchAditazarIro nakhadantabamenIko hastI mama izyata ityupavAn nanu / 29 Op cit, P : yaugandhA- atha veNuvamAt triSu gahaneSu bhAgavama va prayAsA svAmI prAgeba smbhaavssivyH| 24 Op cat,P 6 yaugandha-hasaka / na khalu gata svAmI nAgavanam / hasaka-apya ! hijo emagado gyaa| 25 Ibid sa Supra ft nt 21 28 Op st, P9 hasaka-Nahi Nahi / pasAdikSa bhaTTA amaracaNa viSNAvido-gahu de paLASaNAdoSa giraNAganAtha gahaNa Na sambhAvaNIma / bhaSidu durArakkhadAe bhAsaNNadosANi SisamantarANi / tapAdimattAhiTida jUha karima samdha ebdha garachAmo, Na ekAiNA sAmiNA gantabya ligama bhapi mahAjana samakSamevamuka svAmI rumaNvatA / eSamapyavaktavyAM svaamibhktimicchaami| a7. Op, clt, P 10 ha saka-tado attajIvidaNihiSTaNa savahega mivAriNa bhamaya vidimatehi pAhiri pabhAvo bhaSdha / 28 Op cit. Pp 11-12 hasaka- maha dANi parastra upaNAsa visamArambha parakameNa samIkaromiti bhaminamA paSiko evya ta prplN| ibid p 12 madibahukadAe paravaLassa bhadipasajjamANavAbhAmo visaNaNasambapariNo gae ekAimA pahi Nahi bhaTTiNA egva, rakkhimamANo amubadadiSasajukhaparissanto bAppahAraNiyavinataramo tammAbhamANamugyadAruNAe veLAe moha mado majha

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NM Kunsara of those days he was spared during this unconscious state But the moment he come to his own the enemy ranks did close on him and one of the soldiers did try to behead bim It was first by accident and then by the Intervention of Salankayana that Udayana was saved so Thus Bhasa's version provides sufficient plausible grounds for justifying the fact of Udayana's being spared inspite of his suicidal mad entry into the enemy ranks (vi) and (VII) In the opinion of Mm Dr Kane at the words abhiprayam kaver imam' of Bhamaha amount to this that some poets first narrated the story of Udayana and then others, referred to as 'vidvad bhyah adopted (nayanti) the story for their own purpose (in a Mahakavya or drama), where they made the king unable distinguish between a real elephant and a sham onc and made him start on an adventure single-handed Dr Kane thinks that Bhamaba seems to refer probably to Gunadhya, the author of the Byharkatha, as 'kavl' Dr Kanes view is plausible Anyway, Bbasa is very clever in the execution of bis plot in his Pratijayaugandhayana in which Udayana is decieved due to threefold circumstaoces, viz, 0) the sham elephant was camouflaged by a number of real ele phantsa (u) the sham elephant was well-covered with creepers of jasmine and thickets of Sala tree and only the tusks and nails could be marked, ** 29 Op cit p 13 Isaka- mabhiduhA de pAvA / op cit 14 hasaka-eko pamido akayya kattu / so dakSiNAhimuha parivattibha bhaTTAra samaravAbhAmasakho vidAvi NivAra sahikhavina kesANi pIDima kareNa karavALa pahAravega uppAdaidukAmo bhaassaamnto| 30 Opat, PDF isaka- tado hiLapaDaLapicchiLAe bhUmie so Nisasabho saraNa veeNa oghaTTidacaLaNo pabihadArambho hado prido| op cit p 15 isaka-do bhaTTiNA punama kuntappahAraaNimoho sALakAaNo NAma pajjodassa amacco 'mA ru mAra sAhasa' ti Nima ta desa sadadiThaho / hasaka tadA takALaduLaLaha paNAma karima sarIramantaNAdo teSa moido bhttttaa| 31 Hut. Skt. Puelics, P 115 32 PRY,P4 caugandharAmaya -. banagajapracchAditazarIra nIlahastimamupanyasya / 33 Op el.p9 caugandharAyana - anikAsAsakchAditazarIro nakhadantavarjamekanIlo hastI /

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The Target of Criticism in Bhamaha's Kavyalankara 21 and (w) it was early morning time 34 Tbus Bhasa bas put forth circumstas. clal evidence for what would otherwise be improbable or amount to childish neglect It is, thus, clear that Bhasa's version fairly absolves itself on all scores from the charges levelled by Bhamaba Not only that Bhasa seems to have foreseen almost all the pitfalls of the traditional story as they arc revealed in the questions of Yaugandharayana Thus, Bbasa draws our attention to the following points (1) Yaugandharayana had an apprehension that Udayana might be deceived 86 (2) The king should not have proceeded to Nagarana in hastest (3) What did the minister Ruinanvan do? And what happened 10 the king's cavaliers who accompaned him ? How could Rumanvan neglect the bag87 ? (4) How could Udayana be isolated from his forces on (5) Fate is more powerful than a vigilent person " (6) Did the king swoon pao (7) Was the king Insulted a 94 Op ait, P 8 isaka-sado isukSamatosthide suyye.. taDAmapAkukkhitta maNimbhivabhiLAkama piya visama dasaNaM diTha No NAajUha / 85 Op ct, P4 ___ yaugandharAyaNa - . apIdAnI svAmimo buddhapatikramo na syAt / 96 Op ct. P6 yaugandharAyaNa-hasaka, na khalu gata svAmI mArAvamam / 37 Op cat,P7 yaugandharAyaNa -idAnImanutpanakAyapaNDito kamaNvAn gata / idAnImazvArohaNIya vAgatama also, p9 atha kathamupekSitastadAnI svAmI rumaNyatA / 38 Op cit, pT yaugandharAyaNa -kathamasamaprayoSabalaparivAro nAma svAmI / 39 Op at., P9 yaugandharAyaNa -hasaka, jAprato'pi balavattara kRtAnta / 40 Op ct P 12 yaugandharAyaNa -katha mohamupagata svaamii| tatastata / 4 Op cat, p 18 yogaparAyaNa-katha pradharSita svaamii|

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NM Kansara N (8) Fortunately the wretched murderer slipped off 119 (9) What did salankayana say to the king 24 (10) Indeed the king was taken away to Ujjayini u Incidentally It may be reinarked that in ylew of the objections of Bhamaba to various points of the original story, the above points raised and poetically and rationally rendered the plausible in his dramatised version speaks volumes for the dramatic imagination and a poet's aye to reallty in Bbasa It is thus clear that the contention of Min T Ganapati Sastri, Dr S K De Drs AC Woolner and Laxman Sarupa, Dr Krishnamachariar, Dr Keitb, and Shri Bholashankar Vyas' that Bbqmaba's criticism 19 aimed at Bhasa's Prailinayaugandhardyang stands disproved, while the conclusion of Man Dr P V Kane to the effect that the story criticized by Bhamaha is not exactly the same as fouad 10 Bbasa's PRM seems to be based on solid foundations Pandit Batuknath Sharma and Baladev Upadhyay bavo therefore sided with Dr Kane s opinion 69 Now, let us examine the view of Dr AD Pusalkar 1 Ho thinks that Bhimaba's criticism 19 aimed at the Vinavasayadatta drama ideotified by some with the lost Unmadarasavadatta of Saktibhadra, and placed by Shri V Varadecharya in the early centuries of the Christian era & The fact that Dr Niti Adaval does not agree with the supposition of the formor in the 42. Opet p 14 caugandharAyaNa -patita pApa eSa / 43. Op at, p 15 yaugandharAyaNa-bhaya ki pratipanna tena sAdhunA / 44 Ibid yaugandharAyaNa-nIta svAmI / eSa so'naye / 45, Thirteen frivedrum Plays, Vol 1, p It ft nl. 2 46. Hut al Skt Lut , p 562, st nt 2 47 Skt Drama p 135 (Guj Tr by N B Purohit) 48 Sanskrit Kavi Darshan (Hmds) p 250 ft nt. 49 Hist Skt Poetica, p 115 50 Kvlk of Dhiman ed by Pts Batuknath Sharma and Beldev Upadhayay, Intro. PP 30-31 Bhiu, A Study, p 79 52 Hut Skt. Lit, P 301, it nt 3, according to Dr De, this identification to ea uosupported conjectura, 53 Hat Sam Lit, P 220.

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The Target of Criticism in Bhamaha's Kavyalatkara 23 abgence of convincing proof and the unsupported conjecture of the latter scholor, ghould not detain us here in examing the veracity of the view of Dr Pusa)kar. The author of the Vindyasayadatta (VVD) 18 too careful to fall victim to the shortcomings of the original story of the Brhaikana (BK) It is interesting to examine the story in the VVD in the light of Bhimabas objections (1) In the VVD, Udapana 18 depicted neither as one destrous of conquest, nor faraighted por wise as an aged person Of course he u depicted as a king too proud of his birth, poner, totefligence, handsomeness, valoor, knowledge, miniaters and skill in welding weapons to care for other langs 66 He la rather overconfident and valorously careless king losofar a he asks Visnutrata to concentrate on catching other elephants in the nearby places, while he himself captures the Mila clephant and returns with tt to the Saptaparna gate In the evening (0) Contrary to Bhamaba's second objection, the ambush in the VVD coosisted of not a hundred but four hundred foot soldiers, under the com mand of a Sabara chieftain, assisted by a well organized and widely sprend spy-ring 17 Not only that, Bharatarobaka, the chief-minister of Pradyota, had got prepared at one but four sucb artificiclal elephants with a view 10 exploit the weaknes& of Udayana who was rather tos fond of capturing elepbanta & It is not clear in the VVD that the ambush was locutod 10 Udayapa's own territory It appears that Udayana was skillfully led beyond hla frontiers by the disguised spy who reported to the king about an extraordinary Nila clopbant Again, the soldiers were not inside the artificial 34. The Story of King Udayana, Intro Pp xxvlxxvi. 55 VVD, Act I, p. 7 rAjA-saha-kulabalamatirUpaSikamadhatisacivAstravizeSadAma / na mamavati marevarAma mitI mRgapota isa dvipezvarAn // 11 // 56 Op cit, Act II, p 20 rAjA sakhe viSNutrAta, mahamena gRhItvA sAya saptaparNavedikAdvAre pApAmAgamiSyAmi / 57 VVD, Act II, p 15 dvitIya-ayyo mALa kAmaNo sahi tahiM cauragAcha jahANumaya uSima paThasparehi padArga ATTI 58 Op at, P 11 rAjA-kimasti punastayogAnurUpo hastI / bharatarohaka-deva asyaiSa kAryasya hetogUDha kalpitAzvApAro istima / bharatarohakA-sarveSAM rAjJA (rAjA) chipamupalabhya chidrAnurUpo vidhi prAgeva mayA kinave....

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NM Kansara elephant in the VVD, they were rather hidden in the bushes outside among which the carefully covered artificial elephant was posted And Udayana could not be restrained from proceeding to places previously unreconnaitred Moreover, according to the VVD, Udayana was, in his childhood, cursed by Muni Ane zraka at whoni the former threw dust wbile playing as elephant. Thus, the author of the VVD has 10 corporated the motif of a curse to justify the capture of Udayana at the bands of his enemy through the instrumentality of an elephant Go Bbqmeba's objection, therefore, cannot apply to the VVD (10) The ininisters of Udayana in the VVD can neither be charged as devoid of falthfulness, nor ag negllgent, nor as blockheads, since they have taken care to see that the king 18 accompanied by adequate forces consi sting of two thousand foot-soldior, two hundred strong cavalry, and twenty elephants - Morcover, 10 cage the kiog proceeded to previously unobserved places, they have dispatched a troop of twenty soldiers as advance guard under the command of Katyayana a (11-91) Although the adversartos consisted of angry soldiers who wieldod strong bows, spears and etc, the authour of the VVD has fully provided the reasons why, and the circumstances in which, Udayana was spared The conspiracy of the elephant-rusc was meant for capturing Udayana alive and unhurt with a view to make him the son-in-law of king Pradyota, sinco this objoctive could not be achieved otherwise and Vasavadatta could not be given over to him in the normal way 61 Wheo Udayana comes to know of the ambush, salankayana, the minister of Pradyota approaches him and with due courtesy requests him to submit, assuring him that no harm 10 59 Op at, p 10 bharata-tatastena mahaSiNA samupajAtaroSeNa hastihetoreva bandhana zatruvazatAM ca yAsyasIti a 60 Op at., p 14 cAra -pRcchAmi tAvadenam / kinimitta sa rAjAlpebha baLena parizramati / etc 61 Op cit, p 22 vidUSaka-bho eso kaccAdaNo visavimatteNa baLeNa parivudo aggado gayo / 62 Op. cit, Act, 1 p 8 yaSA pratijJAdAne trayo doSA , zambhorabhiprAyavyatikrama , kozIya , rAjapuzyA dukhabhAgitA ca / alo, p 9 zulkAt viguNa triguNa vA manu tasmai deym| . vatsarAjasya svaya pradAne sabjaye pratifor etc

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The Target of Criticism in Bhamaha's Kavyalankara 25 meante. It is only when Udayana refuses to surrender that the fight ensues And it was only when Sylankayana was hit with the spear of Uday pa that the latter's horse was killed, and as he fell down from it he was captured allve, bound with creepers and carried away by the chieftains of Pradyota The sun had set by thenu Bhamaha's objections noy 1vv, and vi could, therefore not apply to the VVD (vii) Although, normally even a child would casily be able to distinguish between a living elepbant and an artificial one, the poet has uply justified his use of the motif of Udayeo's failure to dy s) by introducing the elements of destiny and curse, the former in the very beginning of the VVD and the latter in the very first Act,as In view of the above facts from the VVD, one finds it difficult to accept the contention of Dr A D Pusalkar that the criticism applies in all particulars to the incidents described in the Vinavasavadalta "and that "the situation and incidents mentioned by Bbamah are all found in the Vina,"se Is totally groundless and hence untenable Both the PRY of Bhasa and the VVD being out of question, the deck 1$ again clear and the question of the real target of Bhimaba's criticism still gapes us in our face Let us, then search for some other work wbosc author Bbamaba means to criticise Pandits Batuknath Sharma and Baldev Upadby aya have suggested that Bbamaha "may be criticizing Gunadhya's, Brhatkatha itself which was indeed 6s 64 Op ct, Act II, P 26 pAlaGkAyana-kuzalimamakSata tvA iSTamizchati mahAsena / also, ibid, p 27 zAla0-prayota mA muktapAstra zreya syAte mahattataH / dezakAlau hi vidyate amAvAstejaso'pi ca // 12 // Op cit p 29, ibid, ceTa -haddhi gabhArohaeNa himanappadese tomareNa hado bhaTTiyo turbho| p 30 ceTa -bhayya atthagado bhamayo sarayo / dhumAbhadi su saba bhagApam / P33 cora-hachi, pabdio bhaTTA / 34. cora --atulabalaparAkramaprabhAva:, prathitayazA samarAnAgAtra 1 parapatiriminiyama nIto, paliriva bhogipabhogapAzabaddha // 2 / 30 // VVD, Act I, m2 vivAho janma maraNa yatra yena yathA mavet / tatra tena tadaivatajjAyave kila mAnyathA // 2 // also ibid, p 10 Bhutam, A Study. P 79 . 66

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NM Kansara the oldest compendlum of such stories, the Prakrit portion common with Bhamaha's Bloka might have a similar representative passage there also "87 This is not impossible, especially la view of the fact that, as has been shown by Dr V Raghavan, the original Brhaikntha of Gunadhya in Peisaci was composed in a non flamboyant, extrasimple, most direct, plais, unadorned narrative prose style, to which effect the passages quoted by Bbuja and Heracandra testify . These passages indicate that the stories treated in the BK were very simple in narrative details too, and Gunadhya might have fully deserved the attention of Bhamaha who found the treatment of the nutif quite inadequate and irrational in view of accepted norms of statecraft But, it should be noted that Bhamaha does find fault with Gunadhya whom he refers to ag Kavi', rather his criticism 18 directed against those later poets who borrow the motif of Gunadhya and copy the treatment of it wilbuut improving upon it in the light of accepted norms of conimonsense and statecraft so as to render the story poetically rational Dr Kane's interpretation of Bbamaha's verse IV 46 is quito correct That the faults enumerated by Bhaniaha might have really existed in Gunadhyas BK is evinced to certain extent from the attempts at the defence of Gunadhiya on the part of Sonadeva the author of the Kathasontsagar (KSS) and ksernendra the author of the Brhatknthamahjari (BKM) in their treatnient of the incident so as to vindicate the author of the original Let us see in detail how both these Sanskrit epitomists of Gunadhya's original Paisack work defend him (1) In the BKM Udayana stationed his cavalry at the entrance while he himself entered the forest alone, and he tried to capture the elephant by means of the musical effect of the melodies of the lute 72 Ksemendra Mustifies this incident by putting the burden of the blame on the addiction to elephant catching on the part of Udayan 1 (u) The ASS depicts that Udayana was desirous of conquering CandoAbasena who had insulted him by asking him to go to Ujjayini and 07 Lvl eln. Introduction p 91 LO Mhwa's Spigara Trakis pp I'16-855 69 Ilost Skt Petics p 115 sce supra 70 BAM, II, 31 dRSTA ta turagaprAya sainya kRyAmvImukhe / gajendrabandhakuzalo vivezako mahatvanam / / 11 Oput, 11, 39 49 ISKTALA144 storagiallafat o foggar atut Safafea gear !! 72 Opat, Il 40 kva yantrakRtrimo hastI yoNayA ka ca tadgraha / prAyeNa vyasanAsaktirmohAya mahatAmapi /

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The Target of Criticism in Bhamaha's Kavyalankara ach music to Vasavadatta * The artificial clephant was a mechanical device with a number of soldiers bidden it it" These detals tally with those enumerated by Bhamaha Justifying Udayana's temptation for the extraordipary elephant, Somdevi mentions that the king was in need of such an elephant that could face and fight the lovincible famous elephant Nadagin of Candamabasebr whom he would then be able to subdue 75 And this temptation was so powerful that he would not listen to the advice from bis minister Thus. Samadeva has absolved the ministers from the possible charge of negligence or want of faithfulness (1 [defence of Udayana's entering the forest elmust alone, although handful of spies accompanied him, Somadeva puts forth the reason that this was due to the fear that the elephant would be alarmed otherwise 77 (lv) As a justification for Udayana's failure to distinguish between the real elephant and an artificial one, Somadeva declares that when the sples showed the elephant to Udayana from a distance, he found It to be almost real one.78 which impression precluded any scope for doubt or suspicion Thenceforward as he proceeded alone and, says Somadeva, since the king's mind was engrossed in the threefold meotal activities like playing the lute, thloking out fresh melodies meant to captivate the heart of the elephant, and glaging melodiously, and since it was almost dark due to the Sunser be did not notice that it was but a fake elephant (v) Narrating the situation in which Udayana was captured alive and spread, Somadeva tells us that in the first nastance Udayana was made to go a long distance in pursuit of the elephant Then suddenly the armoured 78 KSS, III, 11, 28 eva kRtvA ca sacivAn vatsarAjo jagAda sa / yAmi caNDamahAsenamiha badalA bayAmi / 74 Op at, II, v, 6 _____ta cAntavIrapuruSai kuravA chan radhiSThitam / vindhyATavyA sa nidadhe rAjya mantrAvara m|| 75 Op at,, II, wv, 10 te ced gajendra prApsyAmi pratimalla naDAgire / tatamAmahAsemo parayo bhavati me mm|| 76 Op at, II v, 12 prAtaca mantripayana nyakkRtvA gajatRSNayA / puraskRtyaiva tazSArAmbako vibhAToM prati // Op cit, II, 1v, 14-15 prApya vindhyATI tasya majasya kSobhazayA / vatsarAja sa sainyAni deva bavAyat // cAramAtrasahAyastu vINA ghoSavI padhat / mijavyasamAvistIrNa videza mahAbom // 78, Op qt, II, rv, 18cd1 gaja satyagajAbhAsa ta dadarza na bhUpati //

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NM Kansara soldiers surrounded him Udayana drew bis dagger to deal with them, obviously because the use of his bow and arrows was out of question due to the closeness of the enemy ranks While he was engaged with hia adversaries in the front he was caught by the soldiers stealthily from behind 80 We, thus find that Somadova has tried to defend Gunadhya on all counts against the charges of Impropriety and ureality And this is not unnatural or improbable if we remember the aggertion of Somadeva in the very begioning or his work to the effect that while he has followed the original faithfully without adding anytblog of his own, he has tried as far as possible to maintain the elements of propriety and continuity of the narratives, bas rearranged certain sections of the work to achieve the harmony of the narrative interest g1 And all these attempts by Somadeva at justifying most of the shortcomings of the story (to which Bhamaba has drawn our attention would have been unnecessary if these shortcoming did not exist 10 the original story of Gunadhya But inspite of all these faults of Gunadbya - faults which were genuine in the narrative and hence were meant to be originally intentionale! - he did not disqualify as a 'Kavl' in the eyes of Bhamaha, obviously because the Byhatkatha was a repository of folktales first and a poetic piece only secondarily Bhamaba'a objections are against the blind borrowers who borrow the faults too of the narrative Still, the question remains as to whom does Bhimaba criticize for borrowing this faulty incident of the Udayana story without guitably improving upon it in the light of the accepted norms of common sense and statecraft The criticigzn could not possibly be directed against the Jaina, and Buddhist and the Puranic versions, since Bhamaha would hardly accept tho 79 Op cit., II iv, 17-18 ekAko vAdayan vINAM cintayan bandhanAni sa / madhuradhvani gAyazca zanairupajagAma tam / mAnyavadattacittatvAt sandhyAdhyAntaSazAstha sa / na taM dhamagaja rAjA mAyAgajamalakSayat / / 60 Op cit, II, wv, 20-21 tato'kasmAca nirgatya tasmAdyantramayAd gajAt / parasezvara ta sannaddhA puruSA paryaSAyaran / tAndRSTvA nRpati koSAdAkRSTachuriko'tha sa / aprasthAnyoSayanmanyairetya pazcAdagRhyata / / 81 ASS I, 1, 10-11 sthA mUla tathaivaitat na manAgapyatikama / pranthavistarasaMkSepamAtra bhASA ca bhidyate / aucityAnvayarakSA ca yathAzaphi vidhIyate / kathArasAvighAma kAvyAzasya ca yojnaa| 2 of Kvik of Bhatraha, IV 41 mamo'stu tebhyo vivabhyo ye'bhiprAya kaverimam / zAstralokASapAsyaiva bhayanti mayavedima // and it interpretation by Dr Kane in Hut Skt Poetica, P. 118

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The Target of Criticism in Bhumaha's Kahyalankara versions as poctic preces And from amongst the eleven orber Saati works based on the story of king Udayanas eight of them, do not seem to treat the elephaat episode at all In the present circumstances, the likely targets of Bhamaha's criticism might have been any odc or all of the following three works, viz, Udayanacarita cited in the laty darpare, Vatsarajacarita of Sadraka and Vasacadatta-nafyadhara of Subeodhu if of course they be pre-Bhamaha But our knowledge of these works does nox 4o. for the present, beyond their mere titles Till these works are des covered, the problem of the real target of Bbamaha's criticism must retra unsolved and hence open 88 cf The Story of king Udayana by Dr Nit Adval, Intro WP XIN-TAUX

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DID CASTANA START THE SAKA ERA > Rasesh Jamindar There are many mooted problems which Indian history has had through Its course of time Many of these problems have fetched and are fetching the scholars, from time to time, into the battle of arguments and counterarguements Sometimes the new findings or discoveries, such as dated epigraphical records, coins etc, offer historians to change their views or help them to arrive at precise conclusions or assist to advocate quite a novel interpretation or come to their rescue to put forth a new theory Saka Era is one of such problems which have brought and are often bringing scholars across the table for hot discussions Many scholars, so far, have advocated different theories ruggesting different rulers responsible for starting this era This writer does not intend to mention, in this paper, all those theories that were and are current on the era under review and to subject them for a detailed examination There Is no such need of describing them all here as have been well discussed at great length by many scholars, particularly DR Bhandarkar1 and RD Benerji" But, even then, I think it is desirable to discuss few of those arguments for showing their limitations and make new propositions regarding this cre The theory that the king Vonones was the founder of the Saka era was firat propagated by Dr Bhagwanlal Indrajis, but later on he corrected himself and suggested that it was Nahapana, a Kshaharata Kahatrapa king of Western India, who started this era to commemorate his victory over Satakarni and as he was a feudatory of the Kusana king Kaniska that he named this era in honour of his overlord But this theory of Dr Bhagwanlal Indraji was based on insufficient Information and therefore It is not acceptable for the following reasons (1) It is quite obvious that Nahapana had not but was defeated by Satavahan king Gautamiputra Satakarni, so the question does not arise at all of commemorating any victory by Nahapana over Satakarni (2) The dates mentioned in the Nasik caves inscriptions of his times are but regnal years which were not continued by any of his successors (3) He was, la any case, not a viceroy of Kusana king Kanika but was an independent king as it is proved by this author (4) Kanlika was not of Saka origin

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Rasesh Jamindar as thought by Dr Indraji, 80 even if Nahapana wanted to honour hig overlord how can he justify himself by calling the era as Saka ? Dr DR Bhandarkar? also supported Dc Indraji that Vooones was the founder of the Saka era He established his thesis on the ground that neither Nahapana por Castana was the originator of the Saka era as they were vassals of Kaniska But bath these krogs were independent as stated above 8 Ho further argues "that unless the saka nationality of Kaniska is estab lished, all attempts to show that he was the founder of the Saka era mugt be futile", and so considers that Vonones started the said era But what has been argued for Kaniska can we got argue the same for Vonones that unless the Saka nationality of Vonones 18 proved, his arguements to show that Vonones was the 10augurator of the Sake era must be in vain ? Vonones was & Parthiano and therefore Dr Bhandarkar's theory 18 untenable Again it is quite obvious that Vonones flourished during the first century B C in Scistan So this again proves that in no circumstance he is congi dered to be the founder of the Saka era It was Fergussonde who first started the theory that Kaniska was the Inaugurator of the Saka era This view has been adopted by most scholars in the past and even today, but only be and Oldenberg bad given reasons in favour of their thesis, while others have simply followed them Fergusson's main source was numismatics He mostly depended on Roman coins of the Consular peciod (43 BC) which were found along with those of Kaniska in the Manikyal Tope This Topo was built by him shows that he flourished after that date 1 e 43 BC But even Ferguson did not say how many years after that date Kapiska lived Therefore, bus view falls to the ground He further took the help of coins of Kadpbises, Kaniska and Haviska found from Ahio Pose Tope near Jelalabad together with the Roman coins of Domitian, Trajan and the Empress Sabina Domitian and Trajan flourished during AD 81 to 96 and AD 98 to 117 respectively." while the Empress Sabina lived in the middle of the second century A D This shows that the erection of the Tope cannot be earlier than 120 A D 15 Thus this is also not acceptable According to Oldenberg's Kaniska was Sake He based his arguments upon the third word EAKA which occurs on the colag of Kaniska He mostly depended on Kaniska colds and then aasoned that he reigned about the close of the first century AD He also assumed that there was no other Indlan king at this time so famous and popular aa Kaniska And fipally he propagated that he was the founder of the Saka era It was Percy Gardener!4 wbo first published Kaplska's coin and read the third word as 'Saka', and on this ground Oldenborg advocated that

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Did Castana Start the sake Era? movere, Was the third case of a An ka was of that origlon But later on Cunnlogbama chrefy kladd the coin and arrived at the conclusion that the third word soust be Strab. Therefore, now, the correct reading of the third word Is SANAB and not Sake So the theory of Oldenberg har do ground to stand upon Though, now a days, the eminent scholars we of the opelon that Kaniska was responsible for this cra, 1 Is bard to find out a step evidence in favour of the theory of Kaniske being the founder of the site ere. Therefore, one "must admit that there is so direct evidence to show tbat Kaniska founded the Seka era and it is doubtral whether any na evidence will ever be found "#$ Secondly, "we have no informatiog to shor that he held direct away in the provinces wbere the reckoning bad i Mosse Thirdly, Kaniska, as stated above, was not in any case of bake sutionality He bailed from Turuske race and was the third king of Kot Dynasty Fourthly, as he was a tighty monarch and is frequeoily mentioned the te literaturo, then the era must bave been known as esther kun en of Turuxka era if he is the originator But this is not the case Fifthy, Windo argued that the Western Ksatrapas, who were the viceroys of the Kinta, used the same years for more than three ceatures and so ally not on these years were kaown As Saka an, 19 also gou wameble we author has already stated above that the Western Kontrapes wert fudopendent kings From the above accounts it is now quite understandable that moder Vonones, nor Nahapana gor Kaniska seems to bave started them to question Then who was really responsible to start tbas questioned er It was Cunninghamle who first advocated the theory that Kerdasaka Katrapa klog Caftana was the origldator of the one weder med Meta support for his arguement was the chronology of Kedhu pyskate Kpatrapas Ho puta Nahapana in about the middle of the Ark ofary B.C and considers that Gautamiputra Sarkuni externetpd Khaters who were, according to him, the descendant of Nahape. He believe that Gautamiputra Satakarni and Caetana, u well u thelr tous Patucat tad Jay adams respectively, were contemporanea He further mayor the reign of 25 years to Jayadame This is 10 short Canaloghan's view "The chief characteristic of this wlew in that it is based on a number of improbablo supposltions "this statement made by Dr. Dbaadarkart L In every sense appropriate and therefore Conalogham's angements do not staim any value About thirty yours after Cangiagam his completely abandonad theory by Jogvoe Dubrout. On Pas boldly asserted the basis of archeoloty.

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34 Rasesh Jamindar numismatics, paleography and philology Dubreuil puts Nahapana near beginning of Christian era suggesting that inscriptions of his times are not dated in the Saka era He also positively thinks that Castana flourished between 75 and 85 AD He further argues that it is but natural to suppose that the founder of the dynasty was also the founder of the era used by it Outside the kingdom of Catana and his descendants not a single inscription has been found which is dated in the above era "'"1 This is in short the views of Dubreuil His main weakness is that for Nahapana be uses all the archeological etc sources, while for Castana he does not consider those sources worthy and he just dares to surmise that the Castana was the founder of the era simply because he was the founder of the dynasty This, therefore, can hardly be called an argument After Dubreuil the theory of Castana being the originator of the Saka era was again completely abandoned for about 50 years a I now bere intend to maintain very positively that the Castana was the real originator of the Saka era for the following reasons (1) The Saka nationality of the Western Kaatrapas is now above doubt Therefore, it is quite obvious that the Castana was a Saka (2) The era of 78 AD is unanimously considered as Saka era by all antiquarians (3) The Western Ksatrapa kings were Independent and were not the vassals of the Kutnas is proved by this author (4) Suppose if the Western Ksatrapas have the same era started by Kani ka than they must have imitated the coins of the Kusnas, which is not the case The coins of the Western Ksatrapas were wholly unlike to those of the Kunas Therefore, the era used by the descendant of Catana must be the Saka Era (5) As stated above Nahapaos was defeated by Gautamiputra Satakarni and the latter conquered the southern territodes from the former, but these lost territories were in tura regained by Castane So it 19 but natural that to commemorate this worthy victory Castana might have started an era now known as Saka era because he was of a Saka origin (6) To support the above arguments we are lucky enough to have our rescue the recent discovery of an Insonption This inscription was found from Andhau, a village 24 kms southwest of Khavada in Kachobha district of Gujarat State, and published by Dr (Mrs) Shobhana Gokhale a Before the discovery of this inscription, we have had four other inscriptions from the same place, dated saka 52 Thus was the only earliest known

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Did Castana Start the Saka Era ? date of the Castana Famlly till recently. But the inaception recently diacovored from the same place offers the earliest date of Castana ie Saka 11 This shows that his reigo covered the period between suha 11 and 52, It may further be stated that this inscription does support the theory that Cistana was the real epoch-maker of the most mooted Era It is qalto possible that in future we may come across an inscription which perbape may offer still earlier date to support this theory In the end let me conclude with by saying that this is the most ample, most natural, most convincing and the most logical theory this anthor hne put forth before the world of scholars to consider and comment upon that the Castana was responsible to start this Saka Era in the present state of our knowledge References 1 JBBRAS, Vol xx, 1902, PP 2708 2 LA, 1908, pp 25ff 3 Bom Gaz Vol. xv, P 617 4 It was the general belief that the Kardamaku continued it, but the recent darcovery olan inscription from Andhau daproved thus bellef 5 Umeshamuhra Commemoratian Volume, 1970, pp 703 F 6 Kalhana's "Rijatarangin." (I, 170) mentions that Kanigla was of the Turn rice Al Biruni also tells us a legend which speaks of Kanika a descendant of the Tud family (Sachau's Al Buruni, II, P 11) 7 JBBRAS, VOL XX, 1902. PP 283 to 298 8 See note no 6 9 Says Sten Konow, CII Vol II, part 1, mtroduction lxxxvin 10 JRAS NS, XH, 1880, PP 264 ff 11 Encyclopedu Britanica, 1964, Vol 19 pp. 509 and 508. 12 JBBRAS, Vol XX, 1902, pp 270-71 13 LA, 1881, pp 213 ff 14. NUM. OHRO, 1874 Vol XIV, NSP 161 15 Ibid, 1990, PP 111-112 18 LA, 1908, P 63. an, Vol. II, part 1 Introduction LXXXVlu. NUM, OHRO, 1888, PP 232-233 , 1892, P 44 19 JBBRAS, XX, 1902, P 278 Ancient History of the Deccan, 1920, pp 26 Ibld, p 35 Dr Raj Bali Pandey also thinla that Canada was the founder of the dela kek (Indian Paleography, 1952, p. 186) But he does not mention any of us argument He has simply made the statement only 29 JAIH, Vol II, part 1-2, pp 104 ff My thanla to her for sending me a copy of him Article

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SAMKHYA-NASAKA MADHAVA Esther A Solomon A Samkbya thinker is referred to in Buddhast, Mimimax and Nyy works as Samkhya-Ngiaka or Samkhya-Nayaka This means that he was either an 'unfaithful exponent of Samkhya doctrines to which such berm must have been done by his views, or he was a great Samkhya exponent We may note some such references to Madhava (a) In the first chapter of the Pramana samuccaya (with its auto-conamentary), Dianaga criticises the views of a certain Samkbys teacher who was hown as the destroyer of the Samkhya (Sakhya-alaiska) because of his holding a theory that goes beyond the limit of the older Sarkbyns Jinendrebaddhi commenting on this portion quotes lengthy passages from a treatise By Madhava In order to find out in what respect Madhava violated the Bankys temets it is necessary to examine Dinnaga's arguments in this connection. Dinanga objects to the Sarkhya's recognising five sense-organ for apprehending sounds, tangible objects, colours, tastes and odours and at the same time holding that every thing is constituted of three guna. 1, the Samkhya says, a sense does not take for its object those things that are to be apprehended by another sense, and so each sease works only on its abject, then the senses should be infinite, or just one sense-organ should office as the three gunas are the same everywhere The Sukhya tries to justify the dutinctions between sounds and other objects (tangibles etc) on the basis of the difference of the configuration of sattoa and other gunas A lengthy argument follows, the main stand of the Shkchya belog that there is approbrasion by the sense, ag. the vowel souse of ons and the same class (ja) of objects, og. colour, variously, in accor dance with the difference among the many configurations (of different loure, such as blue, yellow, etc.) Dings would say that he that ce, the conformity of a sense to only one configuration is not experienced. If the Samkhya still urges that the classes of objects are dustingalabed from B. Raghavan has written an article on Sathya-Nabaka Made The acce published in Sertips Bhimi (1954). See also Shikka 553-6-Udayavira Sastr! I na andebeed to these contribution aleancy puldanded.

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Esther A Solomon each other according to difference of configuration, there would follow the absurd conclusion mentioned before that the senses should be infinite lo number 38 it is at this stage that Dunnaga refers to a Samkhya Vainasika, whom Jinendrabuddbl identifies as Madhava Madhava holds that from the three gunas composing sound (sabda), the three gunas composing tangibles and other objects are different in kind (jati) It is unreasonable that there should be apprehension by different senses of that which by reason of the uniformity of its cause is uniformi Thus, we should admit that among the objects of the senses there is a difference in kind among the three component gunas which are of the nature of sukha, etc It is because of this difference that each sense functions only on its own objects Dinnaga says that in this theory also there is Implied the absurdity that the senses are infinite in number, and so this theory is not different from the standard Samkhya theory so far as the apprehension of the varieties within the class of objects peculiar to each sense 18 concerned Yet Dinnaga admits that Madhava's theory, though not faultless, is better than that of the older Samkhya teachers in explaining the distinctions among the classes of objects In order to bring out the drawback in Madhava's theory, Diangga reproduces it precisely, of course, as he understood it In Madbava's view, says Didanga, the atoms differ everywhere (10 in different classes of effects, each possessing its respective nature) They are called pradhanas Sukha, dukkha and moha, likewise sound, tangibles and other such objects are distinguished from each other in accordance with the difference of class (jati-viteja) The atoms which when combined turn into all of these are called pradhanas (primordial entities) Thus according to combinations which vary from class to class there are different effects, each possessing its own nature but not going beyond the boundary of a particular class and these effects become the objects of the senses, Here Jinendrabuddhi quotes a pasaage from a treatise of Madhava The gist of it is as follows Every atom is composed of three gunas, but some atoms differ qualitatively from other atoms because of the difference of the arrangement of the three gunas Thus the sound-atom and the tangibleatom are heterogeneous, and the difference between sounds and tangibles is due to this heretongeneity of atoms At the time of evolution homogenous atoms combine and their varying combinations give rise to various thingswhich, however, are included in the same class inasuch as the component atoms are homogeneous Prior to evolution atoma exist dispersedly, and in this state they are called pradhanas

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Sarakhyamaaka Kadhara It may be noted that the Samkhya theory of colutloa (paripile) frote * primordial matter is substantially changed by Midhaya, bo in setting the plurality of primordial matters, stand closer to the Vauterikes them to the orthodox Samkhyas From another passage quoted by Jinendrabuddhi from Madbhava's treatise we know that Midbava differs from older Samkhya teachers in holding that pradhana possesses ripa, etc, consists of parts and evolves by the energy which is preceded by karman, aod the Sathsara is beginningless Madbhava's "unding that pradhana pored by kormonly Madbava further states that one sound-atom, for tuample, in trekt constituted of the three gunas, and therefore hus three characters, Auth, duhkha and moha Sound being composed of sound-atoms has these three characters, still each particular sound is characterised as swth, duit o moha, According to wbether sativa, rajas of tands predominados. And no one apprehends a souod as sukha, dukkha or moha, but not # sound in general possessing three characters. Dinnaga argues that the samo principle would hold for troglblar and other such objects That is to say, one would apprehend these obyects as sukha, duhkha or moha, not as tangibles, etc porsessing the three characters. Consequendy all kinds of objects would be appreheaded by the Mme som Therefore, this theory of Madhava is inappropriate Still, says Dias , POUR ita dethroning the view of the older Samkhyal, Madbara's doctrine of the possession by atoms of each its own nature is excellent Disor comoodus that the portion of bus theory, 18 which setting aside the view of the renowned older Samkhya teachers, Madhava explains that the destination (jati-oisesa) among the effects (1e sounds, tangibles etc.) resulta from the distinction among atoms possessing their respective nature, u erorteat. However, the doctrine that the three gunes form as aom which point only one quality is something Diapaga cannot accept. It seems that finding it difficult to explain the evolution froe Prush as admitted by the older Samkhya teachers (1e-08c, undtierentiated, and so on), some revolutionaries among the Sankhya fet secondary to modify the doctrine The atom-theory of the Vascyika a chuowledged to have been introduced into the Samkhya system of thought at the time of Vindbyavasin, and in his wake Mydhan tried to make the system periaat by removing glaring anomalies finendrabuddhl very pointedly ways that according to Kepila and others, the Oature of pleasure, etc. one everywhece, whereas according to Midhave, they are different everywhere "kapiladayo manyante sakhad a sorpresh sarrara ekam est; Mudhones tu sarpalra tani bhldyanta itt-Pranayasamuccayo, Pratyakra, 31 (Mytor Edition-HR Rangaswami Ayangar)

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10 Esther & Solomon This can be clearly understood on the strength of the fore-going disCUSSION" Madhave recognised & plurality of atomic primordial entities (pradhanas)-this would mean a thorough change in the concepts of the Simkhya system, or even its anathilation, and so Madhava is regarded as Santhya-nataka, and hailed as such by others (b) Kumanla in his slokarartilka (Codang sutra, 249, pp 112-113, Madras Univ) criticises the view of a teacher who finds fault with the Mimgmsakas for advocating the slaughter of animals for sacrificial purposes Umbeka in his commentary on the Slakavarttika states that it 18 Madhava, * prominent Samkhya exponent who is referred to and criticised by Kumanla Keeping aside inference, etc Madhava proved the sinfulness of agnisomiya, dc only on the strength of the dependence of dharma (merit) and adharma demeclt) on jojunctions (vidhl) and probibitions (nusedha) 'Ma himsyat sarua bhufants' prohibits the slaughter of animals, which is therefore sinful irrespective of whether it is donc for a sacrifice or otherwise as this does not make any difference (Sarakhya-nayaka-Madhavas to aha-Vlkayanumanadin vidhi-pratisedhatoantbandhanatoam ea dharma dharmyor avalambya'gnisomiyadisi adharmatam tha kvacid iti flokatrayena ) c) Commenting on agamabhranbakarinan aho-purusikaya anyatha rocanasambhavar' of Dharmakirti's Pramanavarttika (p 595), Karnakagomin says that here Dharmakirti affirms the possibility of the sacred texts being violated and the tradition of the texts disrupted or distorted by persons on Account of their sense of cgo or the like they can distort the tradition of the sacred texts by composing differently As for example, "Samkhyanalake Madhava' composed the Samkhya-siddhanta' differently due to his cgo (Agamabhramba-karinam ity adina Sampradaya-vicchedena racanantarasambharam era samarthay ate; agamabhrama-karinam pursam anyatha piroq. racana-vaiparltyena racanadarlanad iti sambandhak, anyatha-racandyarh karajam aha-aho purusikayet) adi, ahopurusikayely ahammanitvena, yaiha Sankhyanafaka-Madhavena Samhhya-siddhantasya'nyatha racanam krtam) (d) In bts commentary, Vipancltartha op Dharmakoti's Vadanyaya, Santaraksta writes, "yad aha, dharmasya dravyad arthantaratvath syad itt, athapy asmad-vaiphalye syat purvakan Kapilan ati parya Samkhyanath fakeMadhavavar" (Vipancirartha, p 52, Mababodhi-sabba, Beoares, 1936 AC) 2 This exposition of Dunaga s criticism of Madhava's vlewu is wholly based on Dignaga, on Perception' (op 87-59, 188-157)-Masaala Hatton I gratefully acknowledge my indebtedness to this work. See the 'Geschichte der Indischen Philosophie' I. Pp. 404-408 (Reihe Wort und Antwort Bd, 6, Sukaburg. 1953 (I Bd ), 1956 (U Bd )

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Sankhyanalaka Madhava 'Sankhyanam Saka-Madhavaner' obviously requires to be amended as 'Salepalaka-Mad hasarat Here also S'gutarakalta is referring to Madheve's unfaithfulness to the Samkhya tradition. (e) Refuting Satkaryavada, Bhasarvaja says to his auto-commentery Bhusana on the Nyayasgra that if the view of Madhava were to be accepted, the Samkhya doctrine would surely meet with destruction. If a novel attribute, 'manifestation' or some other, which was non-existent be created the reasons put forth, viz because what is non-existent otamot be produced', and the like, would be ineffectual reasons, and thes aatkaryavada not being proved, valivartipya etc. would not be proved, and so Pradhana, etc could not be established There is no for according this differential treatment of holding in the case of the effect, cloth or the like, that it could not be brought out if it not-existent, and it could not perish if it were existent, and at the etme time accepting that this is possible in the case of one of its attributes (viz. manifestation) (Madhava-matabhyupagame tu Sankhya-naia katham yadi hy abhivyaktir anyo va kaseid dharmo' sannera kriyata tasasadakaranad ity evamadayo'samartha hetabah syus tatah sakaryatida valtrarupyadyasiddhek pradhanadyasiddhir it, no ca tra hesap kebod yena paladikaryasyawasatah karaga sata mahanabad taddharmasya tu kasyacts sambhavaty evet-Nyayabana, p. 569. B, 1968) According to this, Madhava had no objection to airpaksi (manikatatlon) being regarded as a new attribute that is brought about by the act of production, but being a Samkhya he would not accept that the affect was not there in the cause even before its production. But by this the ones of qatkaryavada is actually marred We find a reference to a Samkhya 'doctor' Madhava in the description of the travels of Yuan Chwang in India, Madhava is said to have ved in Magadha in the vicinity of Gaya. He was very much honoured by all and had received vast stretches of land by way of gift. He was challenged by the Buddhist, Gupamati Bodhisattva for a debate and le said to have died on that very occasion. This debate was arranged by the then ruling king at the instance of Gunamati According to Yuan Chwang, Medhave was defeated in this debate and the king being impressed by the Buddhist's learning got a Sangharama constructed at the place where the traethe took place Now Gunamati of Valabht is said to be a pupil of Varabandhu, A contemporary of Sthiramatl, and teacher of Paramartha. Paramartha, a ative of Ujjaylor was a disciple of Gupama Paramterthe boome proficient 'In all branches of learning and probably settled down in Palipatra, At the request of the Chinese emperor, he was went to China

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Esther A Solomon lo 546 A D, where he stayed till his death in 569 AD Paramartha translated into Chinese ths Samkhya Karika with a commentary In the period 557-567 AD Thug sinco Paramartha's dato is 499-569 AD. Gunamatl can be said to have lived in the period 450-530 AD and Madbave was perhaps his senior contemporary Madbava can be sald to have lived in the fifth century, and been active in the latter half of it Gunamati is knowo to have written & commentary on the Abhidharmakosa, whereln be refuted the dualistic teaching of the Samkhya school as also the Madbyamika view of Bhavya (Bhavaviveka) There was a constant struggle for royal patronage in the times of the Guptas, right up to the times of Paru Gupta and Narasimha Gupta (-467 AD and later-) and It is understandable that Gunamali should have challenged Madhava to a debate. That Madbaya's ego was powerful can be seen from Yoan Chwang's Account also His last wish was that his wife should continue the debate with Gupamati and she too concealed by ber dress and the like the death of her husband, but the sbarp Gunamati detected it from her sad face and bitterness of speech even at the beginning In Madhava's own days bla fume was great and surpassed that of former teachers, and outwelghed all then living. The king honoured him exceedingly and named him the "treasure of the country' He hed as bis means of subsistence two towns in the district and the surrounding houses paid bim for the privilege of buildIng (tenant dues ?)" It ts no wonder that philosophers of other schools mention him with almost a sense of awe, and ibat Gunamati should have sought to Arrange a debate with him so that the interests of Buddhism in the kingdom phould not in any way suffer and the Samkhya school should fall from the high position it occupied in the eyes of the kings and learned circles 9 Prof Hatton too arriver, in a slightly different way at the following date Dagniga - 470 - 630 A D (Hattorl) -480-540 A, D (Frauwallner) Gunamati - contemporary of Dignaga Midhaya, saya Prof Hattori, was not alive when Dignaga composed tha Pramanasomurcaya, ha last work (See Dignega on Perception', Introduction, pp 4-6-Hattori) According to Frauwallber, the debate between Madhava and Gunampati took place in about 500 A D 4 See 'Travels of Houen Thsang', Vol III, PP 936-340-Samuel Beal (Susil Gupta Ltd., Oculta 12. New Edition 1958) On Yuan Chwang's Travels in India', II, P 108-Thomas Wutara (London, Royal Asiatic Society, Vol 1.1904, Vol II 1905), Origin and DevelopFrant of the Samkhya System of Thought, pp 154 155-Pulibebari Chakravarti, Calcutta, 1960), Sumkhya Darsana Ka Irihasa PP 593-536--Pandits Udayavira Santa

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Sankhyanasaka Madhana I have edited & hitherto unknown commentary (I call it :-) ca the Sarkhya-karika from a single palm-leaf manuscript The author's Dame unfortunately cannot be known, as the corner of the patoslaat broken exactly here and all that we find 15 'ma' followed by a fragt of a letter which could bave been dha' of that and there is (genitivo case-affix ) 10 the Dext line A letter or in kems to be missing at the end of the line This contentary is very much file wbut now known as Mathara-vrtul, but unlike the lalier, it does not have quotation from the Upanisads, Gua, Visnu Purana, Bhaga ata Pu7474, Hastaisiaka slotra and the like I have shown elsewhere that V, 15 carlier then the Yukti-dipika and that even Paramartha kocw this cum ivealar The mother of V, has a fancy for something novel and I have I suspicion that Mschere was the author of this commentary, and that what is town u to orld is but a revised and enlarged version of it with a Vedant that we bave seen above for what things in particular teachers of other schools remembered Madhava We may see if these could be detected in the orini, (a) V, criticises more than any other compenlari (except M uld to a copy of it-) vedic rites and ethical recommendations based on the In Its explanation of Ka 2 . (b) The author of V, made a pumber of changes in the brita Bola In an attempt to improve on the origioal wording of the kit concerned A glance at a table of the different readings of certain kuka thot be dotected in the several commentaries enables ope to see her on the the ploncer in this respect was the author of V, and that othon (cthy the author of the Yukli-di pika, and also Gaudapeda and the mchor of the Jayamangala) attempted to improve cved on the text in V, A t instances would suffice to show this (1) Ka 24, second homistitch ekadalakas' ca ganas tanmalrapancakas cairo (V, TI aindriya ekadasakas tanmalrakah pakcakas calm (1) aindriya ekadatakas tanmatrapalcakaf caiva on ekadalaka ca ganas tanmatrah pancakas culow (G) aindriya ekadasakas tanmatra-pancakat caira (N) V scems to have altered the lloc so the interest of the use to me conveyed-to bring forth that the group of eleven endriya Y adalah The Commentaries of the Sainkhya Kariki - Sud (Accepod by the Crepro trenity for publication ) on my article 'The Text of the Sankhya Kar (Vidyr, vel. XV. pp. 3-2, J . 1972 - Journal of the Gujarat Untversity, A - Harta)

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Esther A Solomon this but tries to bring it la confirmity with the line D V by means of to expression 'ranmatra-pancakas' caiya' There is one mira too few in V JT, Y and also M which last has 'tanmatra-pancaka'calva' instead of Janmalrakah pancakas calval of V, 10 which there is one matra too many The arya in G which follows V, is free from any metrical defect, though the expression fanmatrah' is rather odd (It may be noted that Ikvarakrina himself has used it in ka 25) co-ghrana-na-nasikanthyant (G) (H) Ka.26, first line buddhindnyani caksuh-srotra-ghrana-rasana-sparsanan (V) buddhindriyani srotra-tvak-caksa-rasana-nasikakhyani (V1) buddhindrlyani karna tuak-caksu-rasana-nastkakhyant (Y) buddhidriyani caksuh-Stotra-ghrana-rasana-sparbanak ani (G) buddhindriyanl cakun-Srotra-toag-rasana-nastkakhyani (J) buddhindriyani coksuh-frotra-ghrana rasana-ivagakhyani (T) buddhindriyant frotra-ivak-caksu-rasana-nasikakhyani (M) v seems to have modified the line in V, 60 as to mention the sense-organs in the proper order The line 19 metrically defective, but Y rectlfies this G follows V., but the line 19 metrically defective The line 19 defective in J also, unless there was 'rasana' in the place of 'rasana' (-J actually says 'rasanath rasyate yena') The lae in T is an improvement on that In G, and the line in M is an improvement on that in V It may be noted that V, has retained 'rupadifu' in ka 28, even though it bas changed the order of the mention of the sense-organs in Ka 26 (srotra) and the author of Y criticises this saying that there should be 'sabdadisu' In confromity with the reading in kae 26 (W) 6.27 sankalpakam afra manas tac cendriyan ubhayatha samakhyalam, antas trikalavisayam tasmad ubhaya pracaran tat (V r ) wbhayatmakam atra manah sankalpakam Indnyam ca sadharmyat , guna-parinamansesan nanaivam bahyabhedac ca (1) GJ, T and M bave the same karika-text as Vi, only G, J and T have 'bahyabhedas ca 10stead of 'bahgabhedac ca' and M has 'grahyabhedac ca'. In Paramartha's version, the first llae is the same as in V, and the second line the same as in v It may be noted that the second line as found in Vi can be derived from V, on ka 27 Morcover karikas 72 and 73 (the latter being found only in V, and M) secm to be the composition of the author of V1, as Paramariba quotes Ka 72 saying It is a verse composed by an intelligent man of this (school)' Tho Yuk dipika also seems to quote it and in the Jayamangalam

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Samkhyanakka Madhara and the Tattvakaumudi we find the kartka tecluded in the origlual text. The Yuktidipika (p 2, v 14) has a verse wbich is clearly sa Imitoon of 73 "al pagrantham anal parihar sarvals tantragunav pular, parmarsasya tantrasya bimbam adarlagath yather The author of V, seems to be fond of povel interpretations He interpreta ka 18 (Janma-marana) in his own way, and then refers to the traditional interpretation He gives a two-fold Interpretation of "liAgam' in kg 10, her arthan lingayan o lingam' being found for the art trae la , it was roadily accepted by the later commentators (See 1, J) Similarly betw is ka 10 is explained as both karaka (causal) and jupata (pogolthe) and the author of the Yuktidrolka makes a special effort to show that i knot jnapaka here In V,, on ka 2 the author quotes the verse "Pancavitar-rattuajho yatra yatrasrame ratah, prakrtljno vikarajnah sarvair duhkhair vimucyate", lo which the second lino is different from the one ordinarily fowed Jap mundi fikht vapt mucyato na'tra saklayam It is not in vain that Karnakagomin holds that Dharmabinti la rela ring to 'Samkhya-Nasaka Madhava, when he says that some out of 80080 of ego make alterations in the traditional text landed down uolnterruptedly till then (c) Jinendrabaddhl says that in the view of Kapita mudahan pleasure etc are everywhere one and the same, while to the wow of Madhava they are different everywhere Now, in the introductory p age * kg 12, only V, and following it the Mahara-optii stints a jotta # the effect that sattaa, rajas and tamas are not up to the Samkhya holds that they are satyantaros'-) (no ha ettari jatyantarani) Now, this can be interpreted simply Marging that sets, rajas and tamas are not numerically different, but are didapen mapects of ono entity Hero the word Jar cannot be taken lo aay pocalitter but must be taken as signifying simply wipe - thome lo so small pablade In the gunas, they are not different entities. The Samilya ay that they ate different Or, 1 importance be attached to the use of the word 'And, this would mean they are not three differeat / The Stahya rejoida would be that they are different faris This would mea that there was many sattvas constituting a saltpa Jul, and so also with the other two Could Jinondrabuddbl be referring to this ? (d) According to Santarakolta also, Medhan # 2 specimen of 10 Tanfaithful exponent who violates the tenets of bis Achool and this con. to somo oxtont, bo explained by what we have fou abort

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Esther A Solomon (c) lo y, we do not food anytbiog specific whicb could explain Bbasarvamia's criticism that Madhava recognised abhiyyakti (manifestation) as a new attribute brought about by the act of production, though he would not accept that the effect was not there in the cause before its production I would also like to draw attention to an unwarranted reference to a 'kltbaraja' 10 V, 33 "yatha bhavisyanti" gunasyante gudakathah ya[tha] la asahtekliharaja bhavisyati' or "yat hayatha) va subakta[1] khbaraja bhaveyati' or 'bhavuyati gunasyante gudah kasayavasa[ h]saktaklbaraja bhavisyati" (The expression in the manuscript is 'yatha bhavisyanti gunasyante gudakatha ya va sasaktakltbardja bhavisyah', which clearly requires to be cmended) We have seen above that Madhava bad to enter into a debate with Gunamati, pupil of Vasubaadhu and preceptor of Paremgrtha (499569 A.D This Madhava must have lived in the latter part of the fifth century and been a senior contemporary of Gunamati ? He died whule tho discussion was 1a progress and then the ruling king got a Sangharama built to commemorate Guna mati's victory oyor Madhava Could the author bo referring to Narasimha Gupta (Baladitya) (500 A.D onwards) who must bave been a crown-prince then and shown some leading towards Buddhism or bad a soft corner for the Buddhists for which bo le indirectly criticised boro. We know that it was moreover la Narasithha Gupta's time that the Gupta empre started tottering and bad to face a Hana invasion. This lende some weight to our conjecture that Madbaya was the author of Y, Yet there can be no denying the fact that this is just & conjecture meant to provoko further thought and inquiry It may again be mentioned that what we know as Mathara-opit is only a revised and enlarged version of V, and contains quotations from the Upanisads, Gira, Puranas, Hastamalakastatra and the like and is perhaps as late as 1,000 A D It may seem a bit surprising that a mero commentator should have attracted the attention of great philosophors liko Komanda, Dharmakirti, Santaraksita, Bhusarvajna and the like But if Mathara, also regarded as a commentator on the Sankhya-karika could be mentioned, there is no reason wby Madhava also should not be so mentioned We cannot definitely say what he did to deserve the appellation 'Sarhkhya-Nasakd' The author of diffen la cerlalu respects from other commentators, and the author of Tukudipika and even Paramartha scom to respect his views and readings 7 I have shown elsewhere that Mallavidin and his commentator Simhasuri bave made use of V a putting forth the Sankhya tenets in the Nayacakra and its commentary (Buxth Dentury AD) - we find here the expression jktyantara' (found only in V, and M. - KL 13), sod the discussion regarding 'servant sarvatmakan' (See V., 15) Thul aluo Agro with the date niggested above for Madhani

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Sarakhyanataka Madhava and take note of thom, or even Incorporate them Madhava must have been a great teacher in his daye ag can be seen from Hlouen Thuang's description A/80 Perhaps his greatness cannot be judged from just his commentary (V) if I am right in ascribing It to bim He must bave haunted the minds of his rivals, notably the Buddhists especially when be is known to have carried on for six days the debate with Gunamati and ultimately died on the occas100, Medhave must have writton some Independent work also us can be seon from Jinendrabuddhi's quotations Perhaps his commentary on the Sarkhya-karika was one of his early youtures as we do not find here much evidence of his revolutionary spirit, except that he has trlod to Improve on the text of the karikas at placos - a fact reforred to by Dharmakgrti and Karnakagomla, Another question that occurs is in what way Medhava could be connected with Macbara, and by whom what is known as the Maharyta could bave been written in the form of a revised and enlarged version of Could Madhava bimself have been known as Mathara or Mathara because he had a matha (cloister)? Ho is described by Hiouco-Theang m as having lived in a mountain 8 This paper was read in the 'Religion and Philosophy Section of the 28th Seation of the All India Oriental Conference, 1972. Abbreviations - duted by me a bitherto unpublished commentary on the Sithikchya Kirik (to be publuhed by the Gujarat Valvernity) (in the Prom) - Yuktidepiha (Caloutta University) Gaudepida - Bhaiya on the Sithkhya - Kin Jayamangala Tattva-Kaumudi Mahars-veta Paramartha's Chinese Version

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GUNARTNA'S SARADIFIKA T S, Nand! Gunaratnagani's Saradipika is a commentary on the K.P of Mammaa, I have been working on this unpublished work Here are some observations concerning the work, the author, etc (1) Mss Material Two mss of the Saradipika, one each from Baroda and Poona have been made available to me The Baroda A., DOW onwards referred to as B, consists of 490 leaves, with 10100 granthagres, its accession number in the catalogue of the Oriental Institute, Baroda, being 2763. The Poona ms, now onwards referred to as P, consists of 112 pages, and is mentioned In the BORI, mss, cat Vol. XII Kane says that the ms is dated samvat 1742, while De observes that it is dated sagavat 1850 On verlfication De is found to be correct However, the B., at the aud mentions samvat 1742 But neither De nor Kane refers to B A careful comparlafon of both the mss B & P reveals that both som to have been copied out from an identical source, and that very Hote scope for the consideration of variants is left. On closer study, is found that P has many more scribal mistakes when compared with B However, it may be noted that P also proves to be of great use while filling up the lecunae left ont in B, or while correcting the currupt portion. Actually it has been observed that in both B & P, the text is very offen equally currupt. (II) The Author, his works, life, date, etc. Gunaratnagani who composed his Saradipika on the K. P., dourished earlier than the year sam 1742, as mentioned in the colophon at the end of ullasa X, which reads iti zrI kharataragacchAdhIzazrI jina mANikyariziSya zrIvinayasa mudrANiziSyavAcakaguNaratnagaNiviracitA kAvyaprakAzasAradIpikA saMpUrNA, saMvat 1742 varSe zA 1607 pravartamAne mAghamAse kRSNapakSe 8 tithau mRguvAsare 1 lokasaMkhyA 10100 /

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IS Nandi At the end of ullasa IL, we have zrI kAvyaprakAzaTIkAyAM sAradIpikAyAM vAcanAcAryakRtAyAM dvitIya ullAsa / arater is attached to the name of the author even in colophone at the end of ollasas 111, which has-vacanacaryagunaratna-kptayam and also Ullisa IV, V, VI, VII, VIII, and IX Gunaratna's preceptor was Vloayasamodragani who is also mentioned in a stanza ( V 3) at the start of his work, which reads, vinayasamudragurUNAM pAdAmbhojapraNAmapuNyena / manasA paropakAre pravRttyastyeva me nityam // The author read many commentaries on the K P as mentioned by him in Y 5 10 the beginning of his work wherein be says blokya dloudhah fika. There, he also says that he studied the KP right from his preceptor adhitya ca guror mukhat H18 preceptor Vibayasmudragani was a desciple of Sr Jinamapikyasarl of the Kharataragaccha Gunaratna was & Jalna monk from Gojarat-Rajasthan He bows to some Srimad Gosvamin in the beginning of his work (V 1) and also to Parsvanatha (V 2), obviously the Jalna Tirthankara As for bladato, we may safely conclude that he lived earlier than the second half of the 17th century, as is borne out by the date mentioned In the me as year 1742 Samvat That the date mentioned on the me is not the date of composition, but the date of the copying of the ms, could be easily made out by the fact that the colophon at the end of of the ullasa x reads the samvat year 1742 after the word, 'sampurna' If It were to be found in betwoen 'It' and 'sampurna' It could have beon safely taken by us as the date of composition Thng Gunaratna could be Bill earlier Prof Hiralal R Kapadia in his, Jaina Sanskrta Subityano Itihasa", part I, Edo 156 AD, (Sri Muktikamal Jalna Mohana Mala, Puspa -58) mentions (PP 88) samyat 1610 (R) as the date of our author, though he does not quote any source for his information and does not look quite certain of it either Ho also mentions there, that Gunaratna composed this work for the benifit of his desciple Ratnavigala This also is not supported by any relevant reference from any source But the piece of informatiou 19 interesting none the less However, we do not know anything about this from the present work, nor anything more about the exact date and other works of our author, who sooms to bo & very well-read man as 18 seen from tho study of the shaping influences which follows

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Gunarajna's Sardipika (III) Shaping Influences Gunaratoa seems to be a very well-read person He refers to some renowned poeticians and their works, very often without mentioning the respective names He also refers to other commentaries on the KP. with the words fkantara or vyakhyanlara or vyakhyananlara He never mentions this fikantara or vyakhyantara by name, but the references sem to be very often to the Balacltlanurajont of Narabars Sarasvatitirtha or the Sud hasagara of Bhimasena Dixita, who flourished bardly quarter of a century earlier than our author onto the with the words kantor ters to other commenterte The Balaclttantiranjant seems to have exercised very great influence on Gunaratna SS Sukthankar has publisbed sume portion of it (1 e ullam L-III & X) In his K P. edition '33 An attempt has been made by me to bring out the close resemblance between the two with reference to alles L-LII, In my anotations As for glasas IV-VI, which also forms yet apother most important portion of the KP, the Balecittaauranjaos being not available, I tried to secure a uns from Poona, BOR I, and then attempted to edit it carefully and give it in form of an appendix to my unpublished work. I have tried to locate as many parallel sentonces and obegrutions as possible and have mootioned them all in the foot-otot along with it number and the particular ullasa Over and above the two commentaries mentioned as above, Guzar also acoms to have been influenced by some Cakravarthika, mentioned aloarly by name Could it be the Vistarika of Stl Paramanandacakravartio We do not know for certain He 18 also influenced by the tranpa, the Sacabodhim, by Candidasa, the Sampradayaprakaim, the Sahityador pape of Vikvanatha and other works on poetica such as the Karylankanustad of Viimana, the Dhuanyaloka of Anandavardhana, eta, And he also alourty alludes to Bhamaha, Locanakara and Vyaktivivekakara Ho Owas spacually to the Rasaratnapradipika of Allaraja, the Rasataranglot of Blendetta med also to tho Nafyabastra of Bharata and the Dalartpaka of Dhananjaya with Dhanika's Avaloka on it, for the elaborate treatment of some toplay of poetics and dramaturgy in bus commentary aa K P IV, Wo find diventar Indirect references to various authors or their works such as Agal port Abhinavabharatt, Amarulataka, Cakravartinka, Candakapika, Dendio, Bhimahe, Mandanamiara, Malatinadhava, Meghadata, Vanisathana, Ramanathapudipo (also referred to as mule) Rasalarangini, Locanakara, ec. Wo alto one acrosa oxpressions such as anye vadanti, ekade Hmatam, talcanariarepakira kecit, granthantara, fikantara, vyakhyantara, wakhyanandara; narah, blaffamata Gurumata, Mitramata etc. The roforenoeg to kantana or pathyers

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Ts Nandi are as many as 86 in his commentary on ullasas I-VI and very often the work alluded to be either the Balacittanurahjant or the Sudhasugara as polnted out by me in my annotations (IV) Style As seen above, Gonaratna seems to be a very well-read person having drawn upon various commentaries on tho KP, as well as other works on Alamkara Ho seeing to be fairly conversant with the Nyryadar sana also His style carries the stamp of all this As pointed out in my annotations, there seem to be some peculiarities concerning his stylo which may be referred to here in & out-shell as below Gunaratna very often tonda to provide original explanations with fresh illostrations as is borne out at places, og, bls explanation of the word budha in ullasa I He says matra vadanti-kAriphAsthabudhapadena kasyAbhidhAna, vaiyAkaraNasya dhvanikArAdevI / nAvaH / vaiyAkaraNena zabdArthayugalasya dhvanitvAnaGgIkArAt / nAntyaH, budhaivaiyAkaraNa riti vivaraNavirodhAditi / dhvanikArAdivaiyAkaraNazca dvAveva budhapadArtha / vAdhyAdatizayazca tadanirvAhyarUpanirvAhikatvam / taccAlaGkArikanaye camatkAro, vaiyAkaraNamate ca padArthavAkyArthadhIrubhayamapi vAcyena zodhyam / vyaGgyenaivAThamANatvamiti vAcyA vyaGgyasyAtizaya / budhapadArthamubhayameva krameNa vyAcaSTe / etc, etc Ho finds out trirapadhvant in the Illustration viz nithisesacyutacandana etc tathA'tra vastvalaGkArarasarUpastriviSo'pi dhvanirukta' / kathamityAha-adhamapadena zabdazaktimUlo vastuSvani / tathA tvAM dUtImapi ya kAmayate svamukhasaGgAnmA vipralabhase, sa iva tvamadhamA / tvamiva so'pyadhama iti dvayoH paryAyeNa tasminnupameyopameti upamAlaGkAro vyaGgya / tathA nAyikAvipralambhazRGgAro'pi vyaGgyaH / He has an interesting discussion on tho tatparyartha in ullasa II. He says. tAtparyAtho'pItyAdi / keSuciditi SaSThyarthe saptamI / keSAMcidityarthaH / kecida vedAntinA mate catvAro'rthA iti jAtam / asArvatrikatvena tulyatvAdabhidhAnaM vyaGgyasya / tathAtve'pi prakRtagranthapratipAdyatayA prAdhAnyam / ayamarthaH / pAyalazyayo sArvatrikatvena prAdhAnya prakRtagranthAnuddezyatayA guNatvameva / vyAyasyAsArvatrikatvena pranyodezyatayA prAdhAnyAprAdhAnye / ityamISAM tulyatA / na tu tAtparyArthasyAtayAtvAditi pRthugupanyAsa / etc , etc He also introduces independent illustrations as seon under ulasa V In the discussion concerning the passage visar bhunkoa eto bo supplies

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Gunaratna's Saradipika fresh remarks, and tries to supply literary illustrations for oxplatea Mimosa terms, though of course, be also furoasbes Wastrations from tho Mimmer in the explanation of salestars (KPI), bc exhibits H'S fondness for the Nyayadarkana, which is also borno oul ia bis cxplanation of Anyathanupapatti (KPV), kathamityata Aha-anyathA'nupapattyeti / samAnaviSayaka jJAna svaviSayapratipAdakazamdena vinA'nupapannaM, para ca svaviSayabhinnapratipAdakazandena vinAnuphpanna ilayamA. papalyA / sA cAnyathA'nupapatti. prAmAkaramate pramANAntara, naiyAyikamate matirekAnugatamityarthaH / At times, he is in the habit of clear diversion from the topica under discussion, as 18 seen under ullasa IV, wherein arter a long diversion be picks up the thread and continues with the words tatrabrigare seniablo udaharah yathetl Prior to this he enters into the definitions and illustration of bhavas and rasas mostly on the basis of the Rasaratrapradiplka. He also seems to be fond of elaborate explanations, at times, over at the cost of lucidity, but very often remaining absolutely fucld and chose and also original in his writing The fostance of his style being laborud and suffering from the could be gathered from brs discussion on the definition of Kavya under ullasa I kavinA kAvya kRtamiti prayogastu kathaM syAt / marthasya svata siddhatvAditi cenma / kaTa' kRta ityAdivat kAvya kRtamiti prayogAt / kaTAMze vyaktyaze para na GRYFI, 4540 passo etc., eto Thon follows the elaborate discussion 10 the fashlog of Virth Under ullasa II, he enters into a long discussion on the nature of spille and thon tadycgas also His discussion on karumand pralaimuda, wtalok bo rojects (K PIV) is also an Instance in the polat His work bere ondo to be purely a commentary on the KP and Glupartea procoada merely la the fashion of an independent cxponent of robo Vlown. He lo altar subtlo discussion on the abhilasaolpralambke to the uno yote. Ho human elaborate discussion on the nature of the foarfold ranas not attempted by Mammata, and also on the nature of wine and moud The Huthor has based his discussion on the rasatoa of karuparan nad baberes on the views oxpressed in the Rosaraina pradipki (VL 58-66). He bu very lucid oxposition when he attempts the explanation of juinaswa wax AAD Minasya phalam poder KP, IL While explainlng particular Austration givea by Mammata for Yurious purposes, he normally explains the whole verse int. But at time he door

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TS. Nandi not do 50, eng under KP V, wherein the explanation of the verse atyuccah paritah, etc is left out This happeas in case of bandikrtya ngpa etc (KP, V) also But he explains the illustration much later Thus, we find the author to be quite lucid and elaborate and full of freshoess of approach and originality that he was greatly influenced by certain works on poetics and other commentarles, need not lead us to minimise the merits of his work which lile la the above mentioned qualities

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SOME DOUBTFUL READINGS IN KUVALAYAMAL Anantajal Thakur The publication of the Kuvalayamali of Uddyolanseri, * Prakse Derrative, has justly been acclaimed as one of the most reportan marylou to the field of Praknt studies The celebrated editor Dr A. N Upadhye his spared do pains to present the text with his usual thoroughness There are, however, a few readings open to doubt where we propos de tres for the kind consideration of the learned editor and the world of wholun Interested in Prakrit studies. (1) Kuvalayamala p 16, 1 23, refers to pharmede Thu Noon to be subject of study and practice as a teacher thereof is found to have adprzed B royal court along with adepts in other Sastral. But the pression photo wedda does bot occurg lo any other known Prakrit wock war la lot 18 available in Sanskrit The kuralayamala again refers to pharethedis a p 150, 1 22 Here the expression means the art of fighting with a shield (and sword), Phara in the sense of phalaka (shield) has gole beet wada p. 252, 1 28. We may therefore suggest that pherakhodla wm the Kapron Intonded by the author and phat redda is a scribed mistaka. (2) Whfle describlog e wicked man through the mouth of bir friend the Kuvalayamala presents the following verse kastno plagalagayano madoho wacoatthalammi erogat qimmamsuo ya vayane erisao malha Darmiso # Hero vacchatthalanimi progo seems to give mo satufactory sue. The foot note shows that there is nllllmo, en alternative reading la one of the mu. Consulted Tbis suggests that the original reading wis mechatthall nWomo or miomo meaning 'having po halns on the chest'. This ba bud And Indicates that the man concerned 18 wickod And we tend to the Samudrasastra clvuke smatrutunya ye nirtomahrdayal came te dhurta naiva sandehah samudraxdcaman yutha It should be noted here that having so bcard also indicates the needehots and the Kuvalayamala adds nimamfuo ya wayane along with the estpredlog In question (3) la tao sayaladrangasamina, bhaniyal Jettamal-mayahan p 63, L. 24 the expression mahamayaharend seems to be doubtful. It has boon ootatud La ono of m89, denying a chance to compure, The advlos odored to the

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Anantalal Thakur subsequent passage shows that the chief was a Mahevara in faith None dlse would praiso The Great Goddess residing on tho head of tho God With & snow white body sitting on white animal' The oxpression, therefore, seems to be Mahaoratadharena And mahapratadhara moans A Palupata cf The commentary on mahaprati neksita (Prabodhacandrodayanataka by Ramadasa - mahayratam pabupatayralam Jagaddhara cquates mahayrata with ka palikavrata in his commentary on the Malartmadhava The kapalikas were mahetoaras and the Kuvalayamala (cf p 63) refers to them Again for dhavaladehassa there is a varlant dhavaladevassa which seems to be slightly better as dehassa will require a substantive as understood (4) In Jaha salaliya-yahina-midu-suhumangulisanaha calana-padibimbalanchio maggo drsat eso, taha lakhemlimina udayaharlya-maggena hoyabbam(KM, p. 149, 1 29-30) The proposition waots to establish that it must be a path for women drawing water The reason on the basis of which the Inference is drawn is also added since this is marked with foot-steps lodicating that the feet must have been wet, slippary, delicate and having alender fingers Here the epithet saliliya scems to be more appropriato than salaliya for flaksna may moan gmooth, poligbed, ovon, soft, tender, thin, slim, gontle, small, minuto, fino eto All tho epithets except 'saliliya' may Indicato that the passord by were drawers of water the word salallya alllita) angwere the requirement On the other hand, salailya is hard to aplalo Even if we read 'sulaliya' after suppiying an 'u' after 's', tho meaning may be beautiful whilo the requirement remains unfulfilled The noted varlant 'jalaliya' indicates that the original expression had salila or jalaas a component In this connection I beg to add that Visakbila mentioned in the Kusalayamala was an author on Sangitadastra Bphaspati Rayamukuta quotes . verse from his work Dr Kanc in his History of Alarkarasastra, has traced several references to and quotations from this author whose work or works are long lost. The suggestions made abovo in no way minimiso the importance of the edition prepared with proper caro on scientific lines by a venorable scholar, respected on all hands I learn that the first edition of the work 1 already out of print Thoso may be considered when the second edition is proposed

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AyurvedamAM dhAnya bApAlAla vaidya zAli, mahAzAli ane kalama carakasa hitAmAM zAlinI ghaNI jAto ApelI che te ApaNe joI gayA chIe ane te pramANe pAchalA badhA ja granthakAroe enuM anukaraNa karyuM che paraMtu carakane je krama che te badalI nAkhyA che caraka joIe raktavyAlimahAzAli kalama zakunAcata / tRNako dIrghakAca gaura pANDakalAhalau // 8 // sugandhako lohapAla sArivAkhyaH pramodaka / patAstapamIyazca ye cAnye zAlaya zubhA // 1 // raktazAli parasteSAM tRSNAnasimalApahaH / mahAMstasyAnu kalama: tasyApyanu tata pare // 11 // arthAta raktazAli sau jAtomAM uttama che e pachI bIje nabare Ave che mahASi, te pachI Ave che kalama e pachI bIjI badhI jAto che arthAta caske raktavAri-mahApati -mane krama guNadRSTie Ape che aSTAMgasaMgrahamAM vADmaTa nIce ma dave che vADmaTa ema to carakanA anuyAyI che chatAM ya A kema e pherave che rako mahAn sa kalamA tUrNaka zakumAita / sArAmukho dIrghazako rodhrAka. sugandhika // TIkAkSara aruNadatta A kSenI vyAkhyA A pramANe kare che - "tatra raktazAlI-mahAzAlI suprapito eSa / kalamo magadhAdiSu prasidhaH / sa eSa mAyA pati ramI" ' arthAta A bagAlI TIkAkAra raktazAlI ane mahAzAlI bannene bhinna mAne che ane te bane suprasiddha che ema kahe che jyama te magadha dezamAM ja prasiddha che arthAta << ja thAya che A kAma jAta ja kamIramAM mahAtala tarIke oLakhAya che. mAnavAmAM vATa caranA pAThane ja anusarI kahe che " manu pAma 3 jAba, Raa mahI TIkAmAM arUNahatta kahe che "jaaSA pachAta mA zani 5 mAnavA pAna 1 zari-mittika zaF (1) hemanta tumAM thatI DAMganI jata e li badhI jAtanI DAMgaranAM nAmo nakakI karavAM e kAma mukti che, maraNa tarIke kare bina bina nAme hoya che eTale jyA DAMgara thatI hoya tyAMnA lokone pUchIne ja nAme temaja guNe jANI levA jarUrI che evI cekhavaTa carakanA TIkara cakrapAthi datta kahe che.

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mApAlAla vaidya mahattajJAt ma, vicit anartha / " arthAt mahAzAli pachI klama(kalama paNa mahAthAli jevA ja mahAna che) paraMtu te karatA guNamA kaIka utaratA che ra suzrute sAhinI jagAe oddatti zabda yAjelA che (temAM joddata zreSTha ) khAraNAgni lAzAhi tripoSaka vajjJonu mahAsata / '' Ama krama Ape che raktazAli-lama-mahAzAli daimAvi(ajAgahradaya uparaneA TIkAkAra) peAtAnI TIkAmA caraka, suzruta banne vAgbhaTa ane khAraNAdi - badhAnA ullekha karI A krama sabaMdhI nIce pramANe UhApANa kare che ~~ " tasmAtko 'tra krama ' ucyate / iha raktazAlIzabdena mRdumadhurasnigdhasurabhizuklavizadasthUlAyatatvAdInA lokaprasiddhAnA svaguNAnAmutkarSa upalakSyate / teSu yathA yathA utkarSa sa uttamaH / yathA yathA apakarSa te hInA / upalakSANani punarvakturvivakSAmedAdbhinnAni / yAneva guNAna sudhutakhAraNAdI kalamazabdena upalakSayata tAneva carakavAgbhaTau mahAzAlIzabdena / nanu sambandha binA nopalakSaNatvam / na ca kalamasya mahAzAliguNai mahAzAlervA phalamaguNai kadAcit sambandha' / meSam / yadA kalamo mahAzAlikSetre niSpadyate tadA : tayo tulyaguNatvam / svakSetrAdeva mahAzAle svakSetraja eSa kalamo hIma / evamitareSvapi vAcyam / tasmAtsarvameva pramANam, upaprakAreNa bhavirodhAt // "9 atha-uparokta kramano ahI hemAdri khulAsA kare che raktacAli saumA uttama che kAraNu emAM cakSu, madhura, snigdha, surami, jIva, vizava, skrU, zAyata AvA leprasiddha guNInA urSa che. arthAt A badhI jAtAmA uparAsta guNInA utsahAya te uttama ane apakSa hoya te hIna gaNAya pratyeka lekhakanA vivakSAbethI upalakSaNeAmAM bhinnatA jAma che suzruta ane khArAdie je guNA zabdathI jaNAvyA che te ja guNI caraka ane vAgbhaTe maddAzAnI zabdathI jaNAvyA che. sakhdha vinA upalakSaNA sabhave ja nahI, klamanA mahAzAlInA guNA sAthe ke mahAzAlIne klamanA guNe! sAthe! kadAcit samadha na hoI zake paNa evu nathI klama jyAre mahAzAlinA khetaramA thAya che tyAre e bannenA guNe! eka sarakhA ja hoya che. paratu svakSetraja mahAzAlithI svakSetraja klama hIna heAya che. A ja pramANe khIjI jAtAnA guNA viSe pazu samajavu joIe. Ama kramamA je virodha naNAya che te upara kyA pramANe rahetA ja nathI caraka ane suzrutA samaya lagabhaga sarakhA che khanenA samaya 4 sa pU ne che khArAdinA samaya i.sa. 650 pahelAM che jue preA gADaeNnA lekha (Poona Orlentalist vol IV page 49,621939) aSTAMgasa graha (vAgbhaTa 1 le) I sa 625 Asare aSTAMgahaya (vAgbhaTa 2 jo) I sa nI AThamI vA navamI sadI asjIdatta i sa. 1227 hemAdri I sa 1260 Ama Isa pUrvethI i sa nA 13mA saikA sudhInA gALAmA zAlinI jAtA sabaMdhI vividha TIkAkAroe darzAvelA mA ApaNe joI gamA have ApaNeI sa nI sAtamI sadImA thaI gaela prakhyAta cInI musAphara hyumAMnase ganI hiMdanI mAtrA sabadhI enA celAe lakhela pustakanA AdhAre mahAzALI viSe joIzu nAlA vidyApIThamAM A prasiddha musAphara mahemAna tarIke rahelA, te vakhatanu enA

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AmavedamAM dhA calAe kareluM varNana utAravAmAM Ave che dharmapAla sinDanA mananI jA amane mukAma ApavAmAM AvyA hatA ane amane A pramANe sAma rAja kaI ja jAtanI kI mata ApyA vinA maLatI hatI reja 12 jIra, 20 nApAna, 2 basa 1 aLa kapUranuM tela, ane eka cI na va na che ) mahAlI cAvala mAyA AvatA A mahAbhAvI cAvala tyAre dhAtA tyAre enI khuzabe maki unI vA moTA hatA bIjA keI cAvanamAM A rI sugadha AvI na hatI yAtanI A nana phakta magadhamAM ja thAya che, anyatra gaI kANuM nahI A ja khA na rAkhao mATe ke dhamaMgarae mATe ja vAparavAmAM AvatA hatA eTa dha enuM nAma Aug-ta-tn-mai mahAna gRhasthanA cAvala e A cInAI kadane artha thAya che; huyenasega Isa 69 mA hida Avela 16 varSa dimA lA Isa 14 mAM cIna pAchI gaelA A mahAna cInI munAphare apilI mahAkAlA nI mAhitI ativizvasanIya hovAthI kI bhato che mahArAjA magadha sivAya mAMja mAla nI nI e vAta carakanA mahAna TIkAkara cakrapANi dA-jane samaya yuenamana thI 4 nA che (I sa 160)-nI TIkA sAthe khUba ja agatI che japAe che-"rajI jaja jIre tiimi banyAsiddha ja vin! . Faa vAghapu nAma : - mahAzAlimaMgadhe prasiddhaH rakazAliguNA mahAzAla manAgalyA eva tasmAnupAnamAna thA5na " arthAta cakrapANi anyane spaSTa kahe che ke mahAzAlI mamadhamAna mana e raktazAlinA guNe mahAzAlIne guNa karatA kaIke ame utaratA che. A pachI kema gaNavAmAM Ave che arthAta cakrapANinI A mAhitI cAnI musApharanA vana mAM bae besatI che cakrapANi bagAlI che tema aruNudatane mata che asAita paNa bA AvI che abhyAsa cakrapANidatta pachI 160 varSa thaI gayA che arthAt anuSThAnane samaya Isa 1ra tema che paraMtu e cakrapANi karatAM mahAthAthI viSa taddana judu ja vidhAna kare che " bhASAviSa prasanna " klama jAta magadha vageremAM ja thAya che ane mAne che kIriyA mAtA tarIke oLakhavAmAM Ave che (ta ka malAtaja sa jamI) mahAna kAryo je azudatta mahAzAlI mAnatA hoya che ema mAnavuM huM ke mahAkALI na jevI ja kalamanI jAta che ane te kAzamIramA paNa thatI hatI paraMtu marusudattanuM A mana vizvasanI jaNAtuM nathI, kAraNu hemAdi je aruNudAnA ladhu samakAlIna (Junior Consemporary) gaNAya che te te spaSTa ja kahe che ke svakSetramAM thatA mahAzAlAthI svatraNa varSa jananI mATInI ja che hemAdri (Isa 1260) devagiri (dolatAbAda)nA bhAdaravAhanA nA ni hatA eTale 13mI sadInA uttarArdhamA dalituM bhAratanI vilomA ina ane DAma vacceno taphAvata caraka sukRtane maLo ja hato. carakane vATanA mata mujaba rAzAli, mahAzAli, kalama e kema che suSananA kAmamAM mArI ghaNI jAte pachI mUkavAmAM Avela che e jarA vicitra che jali 1. "sirAzi parama jamaw my pja punarra gSa guvArI jANa zItabhIruka rodhrapumaka zAlaya (sa. ma 11)

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* bApAlAla vaidya (klakttA yunivarsiTI 1921)mA lIdhe pachIthI mahAvAhi che. A azuddhi che mahAzALI ja joI e paratu mahAzAlIne dIdha`zaSTa pachI sthAna Apyu che e jotA agnivezanA samakAlIna bhelamA mahAzAlInu ucca sthAna jaNAtu nathI, bhele zAlinI jAtA cara- suzruta peThe AApI nathI e pazu dhyAnAka che bele zAlinA vipAka Tu gaNuAvyA che carake madhura vipAka gaNuAnyeA che. carake cAli SaSTika vagerene 'prakRttilakSu' gaNyA che (sUtra 6) suzrute zAline raghupArzva pacavAmA oNlama gaNAvyA che A jIvA ne laIne ja bele duviA kahyoche ? AnA javAba cakrapANie suzruta uparanI bhAnumatI vyAkhyAmA ApyA che na ta ghupAvena vastupAya ladhupAnA A kaTuvipAka evA karavA yAgya ja nathI caraksa hitA (agnivezata tra) ane belasa hitAnA kAla jo eka ja gaNIe teA banne samakAlIneAnA mAmA ATalu pAkar vicAraNIya Thare che. anuSTutte vruttvika zAli sabaMdhI kahyuM che ke A sugadhi zAlinI jAta jAla dhara ane magadha vageremAM suprasiddha che. A ja jAta mAlavA ane kha mALamA devazAnti nAme prasiddha che" mahAzAlIthI muLa ijudI jAta che mahAzAlimA sugaMdha che ke nahI te viSe kaI mAhitI maLatI nathI caraka ane suzrute mahAzAsrI ane pamanA je spaSTa bheda darzAvyA che te banne vAgbhaTanA vakhatamAM bhuMsAI gayA lAge che ane vAgbhaTI mane ja mahAzAli mAne che"mahAn sa jema ' A ja pramANe zAlinI keTalIka jAtAnA bheda paNa bhru sAI javAnA sabava che. sugandhitu pazu Ama ja samajavuM rahyuM navAInI vAta to e che ke sarakRta sAhityamA mahAzAnI jevI utkRSTa jAtanA kAie ullekha ja nathI * jyAre jnmanA ullekha aneka kaviee khUba * che. A sUcave che ke mahAcAlI jAta te vakhatamA slama sAthe maLI gaI hatI athavA teA khetIthI eTale sudhArA thayA haze ke mahAzAlinA tamAma guNe klamamAM AvI gayA haze dhruvatha (sax 4, glA-37)mA yanA nIcenA zloka jevA jevA che, anureyaNatA kalamA iva te raghum / phala savardhayAmAsu utkhAtapratiropitA // zrA plenu zrI ema Ara kAlee aMgrejI bhASAntara A pramANe Apyu che "The paddy flourished in water and so did the Vangas who were great navigators (nauuSamAM ) and Raghu attacked them at a time when the paddies were probably bent low on account of the weight of corn.'' DAgaranA dharUne ukhADIne bIjI jagAe (kamAraDAmAM) rApavAmA Ave che . AvI rIte be traNa vakhata ukhADI ukhADIne rApelI DAMgara pacavAmAM bahu halakI gaNAya che suzruta kahe che. ropyAtiauppA Apa zIghrapAtra gunola|" (sa. 46-18) suzrutanA A sthananu uparanA zloka smaraNu karAve che,

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AyurvedamAM dhAnya kaidArAH madhurA vRSyA yalyAH pittanibarhaNA / ISatkaSAyAlpamalA guraSa kapazukalA / hemAdrie paNa A bhelanA matane virodha karyo che "vA viSa sArU pradAna mUtre joDanubhUyatve !" arthAt kahuvipAka hemAdrine mAnya nathI kauTilyanA arthazAstramA kahyuM che ke zAstra ane zrIdi bane emAsAnI zarUAtamA repavAmA Ave che Ape DIsanarImAM kADhaka mATe kahe che ke-"me jUnamAM vAvelA ane DIsembara-jAnyuArImA pAkanA cokhA kharI rIte te varasAda paDI gayA pachI DAMgara vavAya che ! kATilpanA arthazAstramAM eka navI ja vAta kahI che "AryanA eka TanA bhojanamAM eka prastha cokhA (prastha eTale 64 talA), 2 prastha dALa (45), dhI athavA teva dALanA cothA bhAganuM (eTale ke 4 telA) levuM joIe" kutarAne roja 1 prastha eTale rAdhe bhAta Apa joIe rAdhavAthI vIhi cAra gaNu vadhe che (kadamAM ke janamA ) jyAre zAlI pAca gaNu vadhe che zAlI ane vAhi uttama ghaDAo ane hAthIone ApavA joIe AyurvedanA prathama zAlinI aneka jAte ApelI che enI zodha karavI ja nirarthaka che kAraNa Aje te hajAra jAte DAgaranI thaI che chatAya "mahAzAlI pe I prAcIna jAtano patto maLI paNa jAya ane ghau nAme-dhUma, kumana (4), ghauM (gu), ge (hi), gama (ba), ga6 (ma), gopI (ka), godamelu (te), godhI (karNATaka), gaduma (pA), gauduzma (tA) hITa wheat (a), Trticum sativum TiTikama seTAyavama (90) kuTuMba Graminaceal nikita-dhUma-ekana gunAna, jutha pa sarva , va ne ! je eka guNone dhAraNa kare che ane sarva leke jene khAvAnI IcchA rAkhe che tethI. damana zuSka anya hari je dhAnyamAM zreSTha manAya che jAte-dhUma cAtu niSiSa | mahoma hatyA mAta re ja madhulI tu tata kicidalpA sA madhyadezajA / ni zUko dIgodhUma kvacinnandImukhAbhidharmAda 1 mahAgodhUma 2 maghelI 3 dIrSagAdhUma(nandImukhI) AvI ghauMnI traNa jAta vinAnAM AvI che. 1 mahAgadhUma-pazcimanA dezo (5jAba AdithI Ave che (pajAbI da) 1 thI cazka TIkAkAra cakrapANitA kahe che ke zaradamAM pAkanAra kha e vIhi che hematamAM pAkanAra e zAli ane paSTika e grISmamA pAnArI che manamAM pAkanAra cekhA pauSTika balya gaNAya chezaradamAM pAkanAra vIhi pittakara manAya che. SaSTika (sADI) grISmamAM pAkatI vAtakara manAya che. 2 The Mahabali Variety of Rice in Magadhe (between A D 600 and 1100) by P K Gode, Curator, Bhandarkar Orlental Research Institute

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bApAlAla vaidya 2 madhUlI-mahAgodhUma karatA raheja nAnA dANAvALI hoya che ane te madhyadezamAM thAya che (mALavo ghauM, khaDA ghau) 3 daIgAma- karahitasukaLA vagaranA hoya che Ane ja keTalIka jagAe nandImukhI paNa kahe che (bhAvamitra, rasa dhura vAya sIna vipAka madhura pannatA vAtapitta guNA.--sandhAnakRt dhAtaharo godhUma svAduzItala / jIvano vRhaNo pRSya snigdha sthairyakaro guru // mAndomukhI madhUlo ca madhurasnigdhazItale / (caraka) godhUma ukto madhuro guruzca balya sthira zukracipradazca / snigdho'tizIto'nilopattahantA sandhAnakRt zleSmahara sarazca / (suzruta) kaphaprado navIno na tu purANa / ghau sanmAnakara arthAt bhAgelA hADakAne tema ja kSata vagere kevITIjhane sAdhanAra che. vAtahara che, madhura ane zIta che jIvana, bRhaNa, vRSya, snigdha, svairyakRta, guru che dha vAtapittane hunnAra che, yukravRttikara che, ati zIta che, zleSmahara ane sara che. navA varSa kapha karanAra che, eka varSanA jUnA ghau kaphakara nathI madhUlI ane nandI mukhI paNa madhura, lavuM, zItala, snigdha, pitto, zula, be haNa, badhAne pathya che nanImukhInA guNa madhulI samAna ja che rasAyana ghauM ane rAjA che sadA paya che enuM proTIna uttama prakAranuM che ane e proTIna-TenaTane laIne ja e le che eTale pAU biskiTa, kulakA, roTalI, pUrI vagere ghaunA sArA thAya che bIjA dhAnyanA paui reTI banI zakatA nathI ja kayA khetaramAM. kaI jAmiyA, kyA pradezamA ghau pAkyA che te upara enA kasane AdhAra che gAyabhe sana khAtara ApelA kayAraDAmAM thaevA ghau khAvAmAM uttama che khAtara vagaranA khetaramAM thatA ghaumA proTIna sArA pramANumA nathI hetu ghauM mA "soDiyama'nuM pramANu khA karatA vadhu che eTale sAmA ghau na ApatA cekhA ApavA sArA bAjarI A baMnenI vacamA Ave che vaDatavya vedamA "na' nathI, cA nA ulekha che vidvAno AthI mAne che ke java ApaNu desanuM asala dhAnya che jyAre ghau te pAchaLathI AvyA lAge che DI kenDala mAne che ke prAgaitihAsika kALathI mesemiyAmAM ghaunuM vAvetara cAlI AvatuM hatu che ke pI jyavAla mAne che ke dhau ApaNA dezamAM IrAnathI AgyA che ghauM 1 kSudro maghUlI tu pizitikA / nandImukho'lpagodhama loke sA pisIkocyate // (nighaNTazeSaTIkA) madhurIne pisIkA kahevAmAM Ave che "cava jona laukIrirAmu" (mA ) madhUtI zItalA snigdhA pittanI madhurA laghu / zukalA bRhaNI pathyA savannandImukha' smRta // (bhA pra)

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mATe pa'yina zabda 'Gandum' che ane saMskRta zabda moTTama A urSathI meca che silvana levI jaNAve che ke jyAre AryAM A dezamA AvyA tyAre temane padanI mAhitI hatI ja-sUtromA rojanA madhyamA cokhA ane javanA nakha che. unA nathI. carakAcAye rAja khAvA jevA AhAra dravyo gaNAvyA che emA ka, nAzi, maga,java, baLA, si dhava AntarIkSa jala, gAyanu dUdha ane na, nagava mAma ane madha che AmAM ghau nathI ethI ema mAnI zakAya ke cake vadhunuM sthAna mobu banyuM che. AvA tA agnivezanA vakhatamA (I sapUta chaThTho saika) ApaNA dazamA dhauM khAvAnA pakSa na hAya mA e mleccha dezamAthI AvyA DAvAthI AryAe ene abhakSya to nahiM paraMtu mAnyA nahi hAma Ama te cakramA uMnA khuNA ApeA che ja lakhma vagere granthakArAe upalI yAdImA ghauM, paTAya, dADima vagere umeryAM che. mana cakranA gavaLIna vyApa (sUtrasthAna-a 15) mAM hAspiTanamA ja anAja rAkhavAnu kahyuM che te pI u nathI e paNa sUcaka che. sabhava che vaidyakIya draSTie va vagere karatA paNa temA sauna mIThA (sADiyam ) nA vadhu pramANuthI daradIo mATe sAre khorAka gaNavAmA AvatA na mu ya zA suzrute paNa zAlidhAnya, kudhAnya, vaila (kamaLa) A traNa gaNAvyA pachI jA ane ghauM ne gaNAvyA che javanA guNAnu kIrtana ane unA guNA banne jotA japa karatA ghau UtaratI DhATinA gaNavAmA AvyA che bhAvamitre (16mA sai) uMnu nAma khoTu zokhanam' Apyu che. mleccha dvArA ApaNA dezamA A dhAnya mAveluM hovAthI Avu nAma pADavAmAM Avyu hoya mayUrI ane nantImula mA banne ghauMnI jAte che. suzruta uparanI bhAnu mAnya e che tema anya ttatromAM nandImukhI yavanA bheda tarIke jyAre mayUrI naunA bheda tarIke mAnyamAM vavAyelA che suzrute A bannene jhuSAnyamA rAkhyA che (sa. 4521) jyAre garama pA mA ja A bannene a tatta che sA 'nighaNTuzeSa' nATI mAre dhu chemadhULI tu pizItikA mandIko pIsione 18 vizatiSa ane pIsira A banne nAma kaI trIjI bhASaI mAge che. carake dhauMne vRSya jyAre suzrute jIvaarkyo ke vAchANanAM ja A banne svazpA che. vRSya eTale vAjIkarphyu te kharuM ja paNa te yaMtramAM athavA maka che, jyAre zukraprada eTale nIyaMganava A jotAM cara-suzrutanA abhipraya pramANe ghauM vA - * phuDjha enDa DrIkasa Ina enthaTa IDiyA" emaprakAza-1961 1 caraka sahitA (satra 5-12) 2 nandImukhIne 'pavitra' ane mayUrI ne zodhUmamepa' tarIke banAvelI che. suzruta sUtra 447nI TIkAmA 26 OM nidhaNyuzeSa dhAnyANDamA 4 A vaida vAjIkaraNa 3 jAtanA gaNAve che (1) janaka (2) pravao (7) l pravartI 13 A trIjI TimA Ave che,

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bApAlAla vaidya recaka tema vIryajanaka bane che dharAve che. A be zaktio batAvI ghaumA bIjA dhAnyo karatA adabhuta guNe che e darzAvI ghaunI prANapratiSThA karI che ema kahevAmAM ati zakti te nathI ja Adhunika paribhASAmAM kahIe te ghaumA uttama natrila (proTIna) che. viTAmina che, agatyanA khanija sAro che ane ethI khAdya padArthomA e potAnA sarvocca sthAna sAcavI zake che zivadA kahe che ke svAda, zIta, niSpa guNane laIne vaune kaphakara gaNu joIe ane ethI ja sute vau kaphakara che evuM spaSTa vidhAna karyuM che bIja kahe che ke vasata trAnA varNanamAM yuva-ghaunuM bhajana karavAnuM vidhAna che eTale varSe je kaphakara hota to vasa taRtumA te khAvAnI salAha na ja ApI hatI AthI suzrute "kakakara'nI jagAe zithakara sAje janmAvanAra) pATha rAkhyo che parantu e barAbara nathI ghau kaphakara che e cekasa che paraMtu vasaMta RtumAM, AdAnakAlanA madhyabhAgamAM, vAtapittAnubabdhavazAta nigdhazIta evA ghauMne upaga virodhI gaNAtuM nathI ja arthAt ahI ghau purANA levAnA che ane junA ghauM kaphakara nathI ja madhura kalpa moTe bhAge zleSmala-kaphakara che paraMtu AmAM jUnAM java, cekhA(zAli), maga, ghauM, madha, sAkara ane jA gala mAsa--A badhA madhura hovA chatAya te kaphakara nathI A apavAda yAnamAM rAkhavA jevo che AthI vasatanI carcAmAM dhauM khAvAnuM kahyuM che bIjA keTalAka ema kahe che ke AdAnakAyanA madhyabhAgamAM arthAta vasa taRtumAM. cana ane agaranA lepa lagAvavAnuM vidhAna che emAM cadana zIta che jyAre agara (agara) uSNa che, ane A chatAya vasa tamAM cadanApuranA lepa lagAvavAnuM vidhAna che A ja mujaba java ane ghauM khAvAnuM vasatamAM vidhAna che kAraNa ke te eka bIjAnA bhArata che ane bannenA bhegA guNo vAtapittapratyenIka che ane ethI java ane ghau banene sAthe ullekha bane sAthe khAvAnA hoI, dhau kara rahetA nathI evI zivadAsa senanI mAnyatA che " mArA eka mitra mAra dhyAna khecatA kahe che ke mAmA ghauM nathI paraMtu ajurvedamAM che ane ullekha Ape che "vIca ne mAyA ne tirAja je civijha avitha zyAmAkAba me mISArAya me godhUmAzca me masUrAzca me yajJena kalpatAm / / 2 [ 1 yajurveda vAjasaneyi mAdhyandina sahitA adhyAya-18 mAtra 12] java nAmo - cala, thayupina, dakiya, tIkSya (R), java (jU0), sAtu (ma), java, ja (hi), yavadhAnya (te), java (pha) Barley bAlI (e), Hordeum vulgare heSiama vagera (le) 1. draSyaguNabhA zivadAsasenA 2 kiyag = kAga, rAhu = cIne, rasamAja = sAme nIvAra-namAranA cokhA,

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AyurvedamAM dhAnya nirukti - cA-cauti zIta zaka, pUyate vA zItana kena niko tene tapa aNI hoya che, tethI yava zakavargamAM-zukadhAnyamAM javane samAve thaele che guNa - java kaSAya, madhura, zIta, pramehahara, tikata, kaphahara che pholelA-gaka sivAyanA -javamAthI banela maha(pa) balaprada, , puruSone bahuvIrya ane paTa ApanA che ( ni)" java rasamAM kaSAya ane madhura che te zItavIrya che tevipAkamAM karyuM che, kapinAra che. ghaNumAM talanA jevo ja te guNakAraka che te paisA bane tenAra che (kama karanAra che, gAma vadhu sApha lAvanAra che. te zarIramAM ritharatA janmAvanAra, jagnivardhaka che, te meLa, svara ane varNane vadhAranAra che te pirichala che skUla ane lekhana che medAna vAmA te hitama, tRSNAgha, atirUkSa, rakta ane pittanA vikAronuM prasAdana karanA che (mu) anivavA [ ni raAiT WyA (bhAnuba vyAkhyA)] javathI guNamAM utarato che ja sauna, , madhura, vadhu paDate jhADe lAvanAra temaja peTamAM vAyu karanAra, kara, heja kAvavA , balpa, kaphanA vikArane haranAra che (caraka) rasa kaSAya, madhura virya zrI vipAka , cheSajJatA - kapitta utpatti - raziyA, amerikA, keneDa, cIna ane bhArata-ATalA seremAM ja vAvetara khUba thAya che himAlayamAM 14000 phITanI UMcAIe java amara bAjI vadhu java utpanna karanAra prAte anukrame uttarapradeza, rAjasthAna, bihAra, janAba ane madha. pradeza cheA pachI pazcima baMgAla, himAlaya pradeza, jammu, kAmIra ane mA Ave che bhAratamAM 80 lAkha ekara jamInamAM javanuM vAvetara thAya che rasAyaNa - javamAM cAra jAtanA TIna che (1 AmyumIna (2) emIna (3) heDana (4) ane harDanIna che kula prIna 1-5 Tahya je che. A proTInuM jaivika mUlya 64-67 che javanA pratInamAM rahelA emI kid AInIna 4 5, hisTiDina 18, lAIsIna 24 pripAna 15, bhUsIne , mAsolyusIne 7 8, velina 51, che javamAM dara 100 grAme viTAmina je 5 katavya che, thiyAmina 500-650, riphalevIna 80-140, niyAsina pi 4, reInaka 1 yava kaSAyo madhuro himazca pramehajittikakampapahArakaH / araju thavo jarakavo mULa pAyeSTita (4 mi) 2 yava kaSAyo madhuro himazca, kaTurvipAke kaapithaarii|| vaNeSu pathya tilavaca nityaM prAramUtro bahuvAtavarcA // " sthairyAgnimedhAsvaravarNakRJca sapicchila sthUlavilesanaSa / medomaruttaiharaNo'tirukSa prasAdana zoNitapittayoSa // 13 emirguNahInataraistu kiMcitazAdyavebhyo'tiyavAnazeSaH / (savata sa. 16) 3 rukSa zIto'guru svAdu bahuvAtazayaSa / / sthairyakatsakaSAyastu balyaH zleSamavikArat // (caraka ba. 20)

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10 bApAlAla vaidya mi mA, pethinika esiDa 395-20, phaoNlika eNsiDa, viTAmina DI, viTAmina I, 1-9-ra-mi mA che "vamAM ghaNuM pAcakaranA (enjhAImsa) che mATa - phaNagA phuTaveyA dhAmAthI melTa banAvAya che java, ghau, oTa, rAgI nAgalI) ane jayAra-akilA dhAnyanA mATe banAvI zakAya che agrejImAM mAsTathI moTe bhAge navamAthI banAvA mATe ja oLakhAya che. A maeNlTa bIyara banAvavAmAM, hIskI banAvavAmA, davA banAvavAmAM, bALakenA berAmAM, nAstAnI banAvaTamAM. dUdhanI banAvaTamA, pAvI banAvavAmAM, kenDI banAvavAmAM vaparAya che A eNTane e pta banAvavAmA Ave che jemA pipaka ane sAka zakita sArI peThe che davAonA seMTa esyA bahu vaparAya che kAlelA java apalabAlI' nAme vecAya che palaMbAlamAM viTAmina ane khanija tAro sArA pramANamAM rahe che palaMbAlImAthI banAvelo vane lATa vAcI nAno gaNAya che unA leTamAM A loTa umerIne vAparI zakAya manu nA kherAmA, pazunA cArAmAM, mAtra ane dArU banAvavAmAM temaja parla bAlI vageremA javano upayoga thAya che javane leTa ghaunI peThe khavAya che parata javano leTa ekalo javalle ja khavAya che. varSa ke caNAnA loTa bhegI javane loTa va5rAya che capATI banAvavAmAM ghau mAM 15 thI 25 TakA javane loTa umerI zakAya sAtho-hiMdamAM vAvane vadhu upayoga sajI (p() banAvavAmAM thAya che yu pI , 5jAba ane rAjasthAnamAM mattane pANImAM meLavI zItapeya tarIke pIvAya che yu pI. bihAra, madhadezamAM garIba kAne java mukhya begaka che satu javane sekI, tene leTa banAvI, saheja mIThuM nAkhI, banAvavAmAM Ave che. caNAnI dALane sekI nAkho tene leTa paNa meLavavAmAM Ave che maracu vagere nAkhavu hoya te nAkhI zakAya che satta pANImA Ine pIvAne hema che itathI cAvIne e khavAte nathI AyurvedamAM sakatune mA balakara mAnyo che malTI viTAmina phuDa (M V F) banAvavA karatA sakatu garIbone vadhu poSAya ema che parva bAlanuM pANI (bAlI voTara) davA tarIke vaparAya che java kavAtha karI e pANI ni buno rasa ane sAkara vA tujha nAkhIne pIvAthI su dara poSaka pINa bane che pesAba kamI thato hoya, baLatarA baLato hoya, tenI, jalela vagere rogo thayA hoya te gAtI vaiTara bahu sAru upayogI che ghaunA loTamAM 10 thI 15 TakA javane loTa meLavI biskiTa banAvAya che. javanA leTanA pavi biskiTa sArA banatA nathI, kAraNa ghaumA je proTIna-Tena' che te javamA muddala nathI javakhAra-vanA choDane bALIne tenI rAkhamAthI je kSAra banAvavAmAM Ave che e vakhAra davAmAM e khUba vaparAya che Aje bajAramAM javakhAra vecAya che te banAvaTI che. javamAthI kADhelo kudaratI nathI javakhAranA guNa kuztI javakhAramAM ja che-banAvaTImAM nathI caraka javakhAranA guNa AvA Ape che-9droga, pAMDuroga, grahaNI, hIhavRddhi, anAha, gayagraha, kaphaja kAsa ane ane nAza karanAra che (ca su 27) javakhAra pesAmane vadhAre che bhojana pahelA ApavAthI e dIpana ane amAzayanI pIDAne kamI kare che bhAjana pachI A5vAthI AmAzayanI akhtatAne kamI kare che ane tyAMnA kaphane chuTa pADe che javakhAra kaphane chUTe kare che, pittane pAtaLu banAvI pittanalikAne zetha kAma kare

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AyurvedamAM dhAnya che AthI kamaLAmAM ane klejAnA rogamAM javakhAra upayogI che tvanI gaNanA selisilika eNsiDa 29, phospharaka eNsiDa 32 paTama rara cUno ke na kaLA che phephasAnA vikAromAM javakhAra karatA AvI rAkha vApasvI sArI che vaktavya-azvedamAM java che, ghaune ullekha nathI eTale prAcIna pramANa Ane khorAka mukhyatve vana ho ema lAge che ghauM to ghaNA pAchaLathI ApaNA dezamAM AvyA che gheDAone paNa agAu java ja khavaDAvavAmAM AvatA hatA eTale enuM nAma paDyuM che caNA pAchaLathI vaparAzamAM AvyA che ApaNI sau prathama mIThAI sabhava che ke na hatI apU5 () jamAvI banatA hatA ('samayamapUrva) mIThAI tarIke emAM madha mItAvavAmAM AvatuM hatuM AyurvedamAM javane sAtha- -bahu ja vaparAya che. madhupramehnA hato te javamaya thaI javAne Adeza che arthAta javane leTa, tenI purI, bhAkharI, mAvA bhAI vaiTara-vagere chUTathI vAparavA kahyuM che ? caraka zramahara, inigrahaNa, ane svapaga daminimA javane uSAga mAM che. kAsamAM agatya harItakI, harItakI leha, rAsnAchUta jevA banAvomAM jIvana me, pramANa AveluM che. zvAsamAM javane dhUmADe levAnuM caraka kahe che ? java baba che vitA ene kahe che ke ahI balpatya strotavizuddhikaratvathI che, ethI rasasacAra (lohInuM pharavuM sArI rIte thAya che arthAta zarIrane upacaya karIne bala ApanAra vyApe java nu 1 nathI karatuM, paraMtu zarIranA tamAma stronI vizudi sAdhI ane te dAsa samaya sacArathI ja zarIrane zakti ApanAra bane che jhADo vadhu pramANamAM lAvanAra jeTalA dravyo che temAM ja sauthI pradhAna che mArA che madhumehavALAne, moTe bhAge, jhADAnI kabajiyAta rahetI hoya che eTale temane mATe ja che. cakakAna maNI " (4) madhumehanA dadIoe jAma thaI javuM ApanuM khAvAnI ane pIvAnI badhI cIjo jana khUba vApavA-javane sAtha, javanuM pANI, javanI roTalI pUrI, bhAkharI, ghaNI chUTathI vAparavA manthA kaSAyA. yaSacUrNalehA / pra tye jIvavA mA / 2 ri 6-18 ttvanA sAthavAne pANImAM DAIne pIve enuM nAma mana javane zALA-bAya karIne pI tenuM nAma kavi javanu curNa, javanuM cATaNa (avaleha) A badhumehanI vyakti mATe hitakara che A badhI javanI banAvaTe pacavAmA laghu che nIcenI banAvaTe paNa hitakara che, vaurana-osAmaNa kADhI nAkhe javane bhAna " 1 javAnag veTame' 2 jina ca vRtayu ! (ca ci 21-75) 2 purInananAnAm aa (cara . (16) 4 ra 6-11, 5 kSuNNazuSkayavAno maNDarahita bhoDyo yavaudana / (ca..)

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bApAlAla vaidya vAsthaomAma rAkhelo javano bhAta e vATaya dhAnA-javanI dhANI -javanA loTanA banAvelA pUDA ' AgaLa ApaNe suzrate ApanA vanA guNemA "vomadAra " guNa joI gamAM chIe Ano artha methI AvRta thaela vAyumAM yava hitakara che medanA AvaraNuM sivAyanA vAyumAM java rala, zIta, kyAya hovAthI temaja enA kaTupAkathI vAta karanAra nahi tema pAna vadhAranA paNa nahI bane che madhumehamAM A "medAvana vAyu hoya che arthAta meda ane vAyu banenI duSTi madhumehamA hoya che ane ethI ja madhumehI mATe javuM uttama gayA che madhumehIne tamane paNa bahu lAge che javanA upayogathI tarasa paNa ochI lAge che suzruta javane "atirUla go che, eTale medasvI mANasane meda sukavavAmAM javA nA bhAga bhajave che jaya gurumAM balya-alaprada- Teni>>che zivadAsa sena kahe che ke ahI javanuM balyava enA sonizadikaratvane laIne arthAta te thakI samyaka rasasa cArane laIne che, nahi ke bIjA kavyo peThe vagarene upacaya sAdhIne javamA rauDhyAdi dharmane laIne zarIrane upacaya karavAnI zakita ja nathI strotanI vizudi sAdhI, samyapha rakatasacAra sAdhIne ja te balya bane che ? veNu-vAMsanAM bIja, skSo kaSAyAnuraso madhura kaphapittahA / mekrimivipannazca balyo veNuyayo mata // ca sU 27-20 skSA veNuyavA yA vAryoSNA kaTupAkina / padamUtrA kamaharA' kaSAyA vAtakopanA // (su sU 46-26) rasa-kAya, madhura vitha uNu vipAka kayu doSajJatA-kapha saThana pramANe vAsanA bIja paNa mAtrane mAdhanAra che eTale madhumehavALAo mATe sArI che kSAyane laIne vAtakara che carake ene meda, kRmi ane viSane haranAra gaNAvyA che medahara hoya te baddhabhUta-pramehamA upagI hoya ja kRmi ane viSane haravAno guNa carakane dhyAnArha che. carake A bIjane balya kahyA che dukALa vakhate vAsa le che. ema manAya che ja galIo A bIja vAsanA bIjane khAya che dukALamA AvA phaLo garIbene khUba ja kAma Ave che-emanuM jIvana TakAve che medahara, hara, USNutArya vAsanA bIja meda ane kaphanA rogomAM vAparavA jevA che 1 sa eva samaNDo nistuSedalitAnAM yathAmA bhayati // (ca da) 2 ' medasA''ato marut medomarut , ta sAvaraNa hanti srota zodhakatvAt / nirAvaraNe tu &taSAcArya nAvidho nAtigatyanI " () 3 'palyatvasa srotoyi zuddhikaratvena samyak rasasaJcAreNeSTa na tu dehasya upacayakArakatvena raukSyAdidharmayogAt yavasya / ata eva suzrute sthUladhilekhana ityuktam // ' (zivadAsa sena)

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kavi baMdika jaina harivaMza ke Adya praNetA le0 pa0 amRtalAla mohanalAla bhojaka aba taka ke upalabdha jaina harivaMzakathAsAhitya meM svataMtra grantha ke rUpa meM saba se prAcIna punnATasaghIya AcArya zrI jinasena kRta 'harivaza' hai| phira bhI isase bhI prAcIna 'harivaza' nAmaka grantha ke Adya praNetA 'vaidika' athavA 'baMdika' nAmaka kavi hone ke tIna pramANa upalabdha hote haiN| una tIna pramANoM meM prathama pramANa ha vaza ke Adya praNetA kA nirdeza karatA hai aura dvitIya tathA tRtIya pramANa kamaza baMdika kavi ke nAma ko tathA badika kavi kRta harivaza grantha ke astitvasamaya kI maryAdA ko sUcita karatA hai| ye tInoM pramANa isa prakAra hai prathama pramANa - dAkSiNyacihna zrI udghotanasUrikRta kuvalayamAlA kamAyeM purogAmI kaviyoM kI nAmAvalI meM Ane vAlI gAthA - buhyaNasahassadaya hariva'su'ppattikArayaM padama / vaMdAmi vaMdiyaM vi hu hairivaMsaM ceva vimalapaya // 1 - mudrita kuvalayamAlA kathA meM 'harivarsa' ke sthAna meM 'harivarisa' paTha hai pAThabheda ke rUpa meM 'harivaMsa' pATha TippaNI meM diyA hai| yahA 'harivarika pratikA hai / 'prAcInatama pratiyoM ke sabhI pAThabheda maulika hI hote hai' aikI sAMgatya aura asAMgatya ke lie vicAra karanA yaha bhI prazodhana kA eka pUjyapAda AgamaprabhAkara muniSarya zrI puNyavijayajI mahArAja ke sahakAryakara samaya ke kAryakAla meM alaga-alaga manthoM ke pAThabhedoM ke parIkSaNa ke an hai ki prAcInatama prati kI vAcanA kA prAya svIkAra karanA cAhie jaha bhI prAcInatama prati ke bAda Atyadhika samaya ke andara meM kiyA jahAM pAThabheda bhAte haiM vaha vahAM ve samagra pAThabheda una-una prati badale haiM yA lekhaka ke anavadhAna se hue haiM aisA nirNana karanA ucita nahIM hai, ke samaya meM likhAI gaI pratiyoM ke sAmane prAcInatama Adarza kA kara nahIM thA aisA vicAra karanA bhI asaMgata hI hai| kisI kisI prantha meM to yaha bhI hai ke dvArA racI huI prantha kI prAthamika makala saMpUrNa saMzodhita hokara taiyAra hone ke pUrva makaleM huI haiM aura saMzodhita hone ke bAda bhI usakI nama huI haiN| ina noM makaloM meM prathama prakAra kI makala kI paramparAvANI prAcInatama praviyoM na ho prakAra kI nakala kI paramparAvAlI mAtra eka hI nakala (jisa samaya u pratika meM arSAcIna ho) milatI ho, phira bhI usa arvAcIna prati ke pAThoM ko ma hai / likhane kA sArathi itanA hI hai ki arvAcIna pratiyoM ke vA / saMdarbha kI saMgati ko ka likaraNa vicAramA vaha saMzodhana kI nyUnatA hai iSTi se bhI pAThoM kA parIkSaNa honA cAhie, ki bahunA 1 hai i hai

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2 paM amRtalAla bhojaka [zrI siMghI jaina granthamAlA prakAzita udyotanasUrikRtA kuvalayamAlAkathA pR. 3 pakti 29] arthAt-hajAroM budhajanoM ko priya, prathama harivaMzotpattikArakaharivazanAmaka grantha ke Adya racayitA aura harivaMza [grantha] ke nirmala padoM kI taraha jina ke pada nirmala hai, una zrI vadika-baMdika [kavi] ko bhI vandana karatA huuN| harivaMza ke Aya praNetA badika athavA vadika kavi hai usakA saba se prAcIna tama yaha ullekha hai| kuvalayamAlA ke isa avataraNa ke AdhAra se zraddheya pa0 zrI nAthUrAmajI premI ke matAnusAra maiMne bhI 'harivaza' ke Adya praNetA paumacariya ke kartA vimalasUri hai aisA vidhAna kiyA thA, dekhipa-prAkRta TeksTa sosAiTI dvArA prakAzita "cauppannamahApurisacariya" prastAvanA pR0 46 kI TippaNI kintu aba vizeSa anveSaNa ke AdhAra se maiM apanA pUrva kA vidhAna badalatA huuN| apanI nirNIta athavA anumAnita hakIkata ke viruddha ma jaba prAmANika AdhAra milate haiM taba pUrva ke nirNaya ko badalane meM sakoca nahIM honA caahie| dvitIya pramANa-"anyacca,ye ca pUrva pAdalipta-zAtavAhana-SaTkarNakavimalAGka-devagupta- bandika-prabhaJjana-zrIharibhadrasUriprabhRtayo mahAkavayo babhUvuH / yeSAmekaiko'pi prabandho'dyApi sahRdayAnA cetAsyanuharati / tata katha teSA mahAkavInAM kavitvatatvapadavImanubhavAma ," (zrI siMghI jaina pranthamAlA dvArA prakAzita 'kuvalayamAlA' dvitIya bhAga, meM zrI ratnaprabhasUriviracitA kuvalayamAlAkathA pR0 2 pakti 15-17) / isa avataraNa meM vaidika kavi kA ullekha mahAkavioM kI zreNI meM AyA hai| yapi yahA baMdika kavi kA harivaza ke praNetA ke rUpa meM ullekha nahIM huA hai / kintu zrI udyotanasUrikRta kuvalayamAlAkathA kI sakSipta rUpa meM racI huI isa saMskRta kathA meM udyotanamUrikRta kuvalayamAlAkathA kA anusaraNa huA hai yaha eka vAstavikatA hai, ata yahA prathama pramANa meM nirdiSTa gAthA meM Aye hue prAkRta vaMdiyaM zabda kA saMskRta paryAya 'vaMdika'nAmaka vidvAna ke rUpa meM spaSTa hotA hai, itanA kathana paryApta hai|

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kaSi baMdika prastuta pramANa ke AdhAra se hI pUjya AcArya zrI hemasAgarasUrijI ne zrI uddyotanasUrikRta kuvalayamAlAkathA ke gurjarAnuvAda meM yahA~ prathama pramANa ke rUpa meM batAI gaI gAthA ke artha me va dika kavi ko harivaMza ke AdyapraNetA ke rUpa meM batAyA hai, ( dekhie pR0 6 tathA usake upodghAta kA pR0 28 / zrI hemasAgarasUrijI ke isa vidhAna kA atra sUcita prAkRta aura saMskRta kuvalayamAlAkathA ke sampAdaka bahumAnya vidvAna zrI e ena upAdhyejI ne pratikAra kiyA hai / mujhe AzA hai ki 'harivaMza ke Adya praNetA badika kavi hai' usake lie yahAM nimnAkita tIsarA AdhAra adhika pramANabhUta hogA / sAtha hI sAtha yaha bhI batA detA hU~ ki noce tIsare pramANa meM batAI gaI hakIkata se yaha spaSTa ho jAyagA ki dAkSiNyacihna zrI udyotanasUri aura zrI ratnaprabhamUri ke samaya meM bandika kavi kRta 'harivaMza' vidyamAna honA cAhie / tRtIya pramANa - 'bRhat TippanikA' nAmakI jainamranthoM kI sUcI meM "harivaMza carita saM0 baMdikakavikRtaM purANabhASA nibaddhaM nemyAdivRttavAcyaM 9000" isa taraha kA ullekha hai / dekhie - jaina konpharansa dvArA prakAzita jaina granthAvalI pR0 237 | isa para se yaha nizcita ho jAtA hai ki baMdika kavi ne saMskRta bhASA meM harivaMzacaritra racA hai aura vaha nau hajAra zloka pramANa kA thA / vi. sa 1556 meM lIkhI gaI huI 'bRhat TippanikA ' nAma kI mUci ke lekhaka ne usa samaya meM jo jo grantha vidyamAna the unakA ullekha kiyA hai / isa sUci ko pUjya purAtavAcArya munijI zrI jinavijayajI ne jaina sAhitya sazodhaka ( traimAsika ) ke prathama bhAga ke dUsare aka ke ata meM mudrita kiyA hai / usameM prastuta ullekha ke lie dekhie pR0 9 kramAGka 300 / 'bRhat TippanikA' ke prastuta ullekha meM sa0' likhA hai isase jJAta bhASA meM racA huA thA yaha spaSTa hai / zabda kA artha prAcIna bhASA meM racA purANazaili kA hai yaha samajhanA ucita hotA hai ki sUcita harivaza caritra saMskRta aura mAge AnevAlA 'purANabhASAnibaddha' huA aisA karane kI apekSA yaha caritra lagatA hai / dvitIya aura tRtIya pramANa ke AdhAra ke abhAva meM prathama pramANa meM batAI gaI gAthA meM AnevAlA baMdiya zabda kA 'baMdika' artha karanA prAya azakya bana jAtA / isase dUsare aura tIsare pramANa kA savizeSa mahatva hai /

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paM. amRtalAla bhojaka I bahuzruta AcArya zrI haribhadrasUrijI ( yAkinImahattarAdharmasUnu ) apanI dazavaikAlika sUtra kI TIkA meM harivaMza grantha kA ullekha isa prakAra karate haiM"khittAvAyodAharaNa dasArA - harivasarAyANo, ettha mahaI kahA jahA harivase" (zreSThi zrI devacanda lAlabhAI pustakoddhAra phaMDa dvArA prakAzita dazavaikAlikasUtra haribhadrasUrikRta vivaraNa sahita, patra 36 kI dUsarI pRSThikA) / AcArya haribhadrasUrine apanI isa saMskRta vRtti me prAkRta bhASA meM diyA huA yaha pATha svaracita hai yA prathAntara se liyA hai yaha nizcita nahIM ho sakatA / dazavaikAlika kI ajJAta kartRka cUrNi jo mudrita ho gaI hai, usameM tathA sthavira zrI agastyasiMha gaNi kI dazavaikAlika cUrNa meM jo svalpa samaya meM hI prAkRta TeksTa sosAITI se prakAzita hone jA rahI hai- mujhe prastuta sthAna meM yaha pATha nahIM milA / taduparAnta ina donoM cUrNi meM 'harivaMza' kA grantha ke rUpa meM paricaya denevAle koI vAkyAza bhI nahIM mile / ina dono cUrNi meM harivaza kA ullekha avazya AtA hai kintu vaha rAjavaMza ke rUpa meM, na ki harivazaprantha ke rUpa meM 1

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kirAtArjunIya meM vimarzasandhyanirUpaNa suSamA kulazreSTha AcAryoM ne nATaka meM pAMca sandhiyoM tathA unake mahoM kI upasthiti ko Avazyaka mAnA hai / ina sandhiyoM tathA unake maGgoM kA mAvazAlIna prayo meM mativistAra se ullekha kiyA gayA hai / mahAkAvya kA sakSama prastuta karate samaya bhAcAryoM ne spaSTa nirdeza kiyA hai ki mahAkAvya ko mI nATaka ke samAna paJcasandhiyoM se samanvita honA caahie| isase spaSTa hai ki mahAkAmoM meM sandhi yojanA ko nATakoM kI sandhi-yojanA ke barAbara hI mahatva diyA gayA hai| saskRta ke bhaneka mahAkAvya bhI isake pramANa hai kyoMki unameM sandhiyoM kI lipi yojanA huI hai / sandhiyoM ke samyak nirvAha ke lie yaha kinArA athavA kAvya meM AdhikArika tathA prAsAGgaka vRtta, paJca mAsiyoM usa kAryAvasthAoM kI bhI samyak yojanA kI jAye / eka prayojana meM anvita kathAzo ke bhavAntara sambandha ko sandhi mate haiM / sandhiyoM ke bhavAntara vibhAga hI sandhyA kahalAte haiN| sAmAkisa nizcita hai ki jaba kisI nATaka athavA kAvya meM paJca-sandhiyoMgoSaya kI jAyegI taba vahA~ una sandhiyoM ke aGgo kI yojanA na pAye, para sammA nahIM hai / nATaka meM sandhyaGga-yojanA ke viSaya meM nirdeza nAvyAMcI prApta hotA hai / yadyapi kisI bhI prAcIna bhAcArya ne mahAkAba meM sammAnamA ke viSaya meM kucha nirdeza nahIM kiyA hai tathApi hama yaha mAna sama ya 1. kAvyAlakAra (bhAmahapraNIta) margabandhI mahAkAvya mahatA mahanvA / bhaprAmpazavyamadhyeca sAdhara sadAmayam / mantradUtaprayANAvinAyakAbhyudaya baa| pazcabhi sandhimiyukaM mAvimyAromAvimA 15-1. kAvyAvarza -- sagairanatiSistINe dhapAta sminimH| sarvatra bhinmavRttAntarupeta kokaraNam 1110-11 kAmyAhAra (baTapraNIta)-samdhInapi saMjhisvAgadobArA canyAloka-candhisandhyApaTama rakhAmiyapekSayA / matu kevalayA zAsthitisamyavekayA 331 mA. 60 -yAravIrazAntAnAmeojA rakha paate| mahAni sarve'pi rasAH bAma 1. mantarakAyasambandhaH sandhirenannaye pati !

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suSamA kulazreSTha unheM paJca-sandhiyoM kI yojanA mahAkAvya meM abhISTa hai, taba sandhyaGga-yojanA mI unakI abhISTa hI hogii| hA~, yaha ho sakatA hai ki isakA alaga se nirdeza karanA unhoMne bhAvazyaka na samajhA ho / sAhityadarpaNakAra vizvanAtha ne 'sandhyajhAni yathAlAbhamatra vidheyAni" kahakara spaSTa nirdeza kiyA hai ki mahAkAvya meM sandhyaGgoM kA bhI yathAsambhava saniveza karanA cAhiye / isa prakAra yaha sunizcita hai ki mahAkAvya meM sandhyaGga-niveza kI ora bhI mahAkAvya-racayitAoM kA dhyAna avazyameva gayA thA / yahI kAraNa hai ki saskRta ke mahAkAvyoM meM aneka sandhyaGga prApta hote haiM / mahAkAvyoM meM sandhyaGgoM ke prApta hone para bhI hamAre TIkAkAroM ne unakI mora dhyAna dene kI AvazyakatA hI nahIM samajhI aura unakI pUrNa upekSA kii| unakI dRSTi nATakoM meM hI sandhyaGgoM ko khojane meM ulajhI rhii| nAvyazAstrIya granthoM meM 64 sandhyaGgoM kA ullekha humA hai kintu yaha Avazyaka nahIM hai ki kavi apane nATaka athavA kAvya meM saba sandhyaGgo kA sanniveza avazya hI kare / vaha unake mAvazyakatAnusAra sanniveza meM svatantra hai| pratyeka sandhi ke ajoM meM eka nizcita krama humA karatA hai kintu kathAvastu ke vikAsa kI AvazyakatA ko dekhate hue kavi unake krama meM parivartana bhI kara sakatA hai| nATaka yA kAvya meM pratyeka sandhi kA apanA eka kSetra hotA hai aura usI kSetra meM usa sandhi ke anna sanniviSTa hote haiM kintu kabhI-kabhI kisI bhI sandhi ke bhaGga rasa kI AvazyakatA ke anusAra anya sandhi ke kSetra meM bhI samAviSTa kiye jA sakate haiM kyoMki rasa kI hI pradhAnatA mAnI gaI hai| isa prasaGga meM rudraTAdi AcAryoM kA yaha jo mata hai ki saba sandhyaGga yathAsthAna hI niviSTa hone cAhiye-upayukta nahIM hai kyoMki udAharaNoM meM isake viparIta dekhA jAtA hai| __ bhAravipraNIta kirAtArjunIya mahAkAvya meM pA~coM sandhiyoM tathA 52 sandhyaGgoM kI sundara yojanA huI hai| prastuta lekha kA viSaya ukta kAvya meM vimarza sandhi tathA usake aGgoM kA vivecana hai| ' 1 sA. 60-6 / mahAkAvyapakSaNa para vRtti, pR0 295 2. sA. d0-6|115-116 1 sA. 60-yatu rudraTAdimi niyama eSa' ityukaM tasvayavirukham / // 6 / 115-116 para vRtti

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kirAtArjunIya meM vimarzasamdhyaGganirUpaNa jahA~ koSa se, vyasana se yA vilobhana se vastutattva (phalaprApti) ke viSaya meM paryAlocana kiyA jAye aura jahA~ garbhasandhi meM udminna bIjArtha kA sambandha dikhalAyA jAye, use vimarza athavA avamarza sandhi kahate haiN|' niyamAnusAra isa sandhi meM prakarI nAmaka arthaprakRti aura niyatApti nAmaka kAryAvasthA honI cAhiye / isa sandhi meM bIja kA garma sandhi kI apekSA adhika vistAra hotA hai aura AvazyakatAnusAra kisI prAsaGgika itivRtta ko kalpanA kI jAtI hai jise prakarI kahate haiM / isa sandhi me 'yaha kArya avazya siddha ho jAyegA' isa prakAra kA nizcaya avazya hotA hai tathA yahI nizcaya vimarza sandhi kA svarUpa hai / kirAta ke trayodaza sarga meM usa sthala para jahA~ zaGkaraprahita dUta arjuna ke prati uttejaka vacanoM kA prayoga karatA hai-prakarI arthaprakRti hai| jaba ziva aura arjuna zUkaraveSadhArI mUka dAnava para prahAra karate haiM taba vaha paJcatva ko prApta ho jAtA / jaba arjuna usake zarIra se apanA bANa nikAla kara le Ate haiM taba zakkara dvArA bhejA gayA dUta arjuna se apane svAmI ke bANa ko lene ke lie bharjuna ke prati uttejaka vacana prayukta karatA hai / yaha prasaGgAgata ekadezasthita carita hai-ataH yaha prakarI hai aura vaha dUta prakarI-nAyaka hai| kirAta0 ke 12 3 sarga se 183 sarga ke mArambha taka niyatApti avasthA prApta hotI hai / ' zivArAdhanArtha arjuna ke tapa karane, arjuna ke tapa ko sahana karane meM asamartha siddha tapasviyoM ke ziva ke nikaTa jAkara arjuna ke tapa ke viSaya meM nivedana karane, ziva ke unheM marjuna kA svarUpa batalAkara sAntvanA pradAna karane, arjuna ko parAjita karane ke lie mAye hue zUkaraveSadhArI mUka dAnava ko mArane ke lie kirAtaveSadhArI ziva ke arjuna ke Azrama meM apanI gaNa-senA ke sAtha Agamana, arjuna dvArA usa dAnava ke darzana, ziva aura bharjuna dvArA usa para kiye gaye bANaprakSepa, dAna ke patyu ko prApta karane para apane bANa ko lene ke lie ziva dvArA bheje gaye panecara dUta ke arjuna ke prati kaTUktiprayoga, ziva aura arjuna ke yuddha aura anta meM arjuna ke parAkrama ko dekhakara ziva ke prasanna hone meM niyatApti avasthA hai| prakarI aura niyatApti ke samanvaya se kirAta0 ke 12 3 sarga se 18 veM sarga ke 15 veM zloka taka vimarza sandhi prApta hotI hai| zivadUta ke katiprayoga tathA , dazarUpaka-krodhemAvamRzeyatra vyasamAvA vilobhamAda / garbhanirmiSamIlArtha so'vamarza iti smRta // 12-13 2 kirAta0-1211-14115

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suSamA kulazreSTha ziva aura arjuna ke yuddha meM bIjArtha garma sandhi kI apekSA adhika vikasita hai kintu krodhAdi ke kAraNa vighnayukta bhI hai / ata' yahA~ vimarza sandhi hai / ziva kA prasanna ho prakaTa honA phalaprApti kI niyatatA kA sUcaka hai / I nA0 zA0, sA0 da0 tathA dazarUpaka ke anusAra isa sandhi ke aga 13 haiN| nA0 zA 0 anusAra isa ke aga isa prakAra haiM 3. 5 vyavasAya 2 3. 4. 1 2 3. 8. apavAda saMpheTa abhidrava zai 3 8. sA0 da0 apavAda sapheTa vyavasAya drava 6 prasaGga 7 duti 8 kheda apavAda saMpheTa vidraya drava 12 sAdana 13 prarocanA inhIM ahnoM kA parigaNana isa prakAra hai 9 pratiSedha 5 zruti 6 zakti 9 niSedha 10. virodhana 11 AdAna 7. prasaGga 8. kheda dazarUpakakAra ne inhIM bhaGgoM ko bhinna krama se prastuta kiyA haiM / unhoMne nA0 zA0 aura sA0 da0 meM dI gaI sUcI ke 3 aMga choDakara naye 3 agoM kA antarbhAva kiyA hai / 10. virodhana 11 prarocanA 12 AdAna 13. chAdana dazarUpaka meM parigaNita aGga isa prakAra haiM5 dyuti 6. zakti 10 virodhana 9 vyavasAya 7 prasaGga 11. prarocanA 8. chala 12. vicalana 13. AdAna tInoM granthoM meM prApta vimarzasandhyaGgoM ko dekhakara nimnalikhita tathya prApta hote haiM 1. nA0 zA 0 meM jisa krama meM ina sandhyaGgoM ko prastuta kiyA gayA hai, usakA sA0 da0 meM aMzata tathA dazarUpaka meM svalpAMzata' pAlana kiyA gayA hai /

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kirAtArjunIya meM vimarzasabhyaGganirUpaNa 2 nA0 zA0 kA druti nAmaka aGga sA. da. aura dazarUpaka pati nAmaka aGga hai| 3. nA0 zA0kA abhidava nAmaka aGga dazarUpaka kA drava nAmaka maho / 4 nA0 zA0 kA niSedha nAmaka maGga sA0 da0 kA pratiSedha nAmaka maha hai| 5 nA0 zA0 kA sAdana nAmaka aGga sA0 da. kA adana nAmaka bhgii| 6. nA. zA. aura sA0 da0 ke kheda, niSedha (pratipetha) aura sAdana (chAdana) dazarUpaka meM nahIM milate haiN| 7. nA. zA. aura sA0 da0 meM dazarUpaka ke vidrava, ukhana aura vikkana maMga nahIM haiN| 8. tInoM granthoM meM vimarza sandhi ke 10 maga samAna hai| 9. dazarUpaka kA vidrava nAmaka vimarza sandhyaGga nA0 zA* aura mA. meM nahIM hai kintu vidrava nAmaka garbhasandhyaGga kA ullekha nA0 zA aura mA.. meM hai| vahA~ kA vidava dazarUpaka ke saMbhrama nAmaka garbhasandhyA ke samAna hai| 10. dazarUpaka aura sA0 da0 ke virodhana nAmaka mA kI paribhASA meM antara hai| 11. dazarUpaka aura sA0 da0 ke vyavasAya tathA propanA nAmako kI paribhASAmoM meM bhI thor3A antara hai| vimarza sandhi ke ina maGgoM meM se adhikAza kA savineza kirAta meM prApta hotA hai jisakA ullekha hama dazarUpaka meM ullikhita vimarzasamatoM ke samAnusAra kreNge| apavAda-jahA~ kisI pAtra ke doSoM kA varNana kiyA bAye yahA~ apavAda nAmaka vimAna hotA hai| kirAta ke caturdaza sarga ke 12, 21 aura 22se zlokoM meM yaha aMga prApta hotA hai / eka sthala para arjuna zivAhita dasa se kahate haiM-"durjana sujana ke guNoM ko avaguNThita kara usake sthAna para avaguNa ke mAropa 1. mA. zAla-doSaprayApana yAsAe mo'dhAra praallia 19. dAmpaka-doSaprayApavAdaH syAt 11145 mA0 10-doSapralyApavAdaH svAda 11.1

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10 suSamA kulazreSTha dvArA AkramaNa kara baiTha jAte haiM / apane anta karaNa meM pravRtta abaguNoM ko nigUhita kara dete hai parantu unake vANIrUpa karavAla se unakA hRdaya chinna hokara usa nigUhita avaguNa ko vyakta kara detA hai ( arthAt durjana kitanA bhI apane avaguNoM ko chipA - kara sujana banane kI ceSTA karatA hai, to bhI usakI vANI se saba spaSTa ho jAtA hai ) / ' yahA~ arjuna ke vacana meM dRta ke svAmI (kirAtaveSadhArI ziva) ke doSo kA varNana hone se apavAda nAmaka aga hai / saMpheTa - roSa se yukta vArtAlApa sapheTa kahalAtA hai / kirAta 0 ke caturdaza sarga ke 25veM zloka meM yaha aga prApta hotA haiM jahA~ arjuna ziva - prahita dUta ko uttara dete hue anta me kahate haiM - yahI kAraNa hai ki maine vanya pazu-vighAtI ke adhikSepa vacana ko sahA / yadi ve bANa lene AyeMge to usI dazA ko prApta hoMge jisa dazA ko sarpa kI maNi lene icchA karane vAlA prApta hotA hai / yahA~ arjuna ke vacana meM roSa-bhASaNa hone se sapheTa nAmaka vimarzAGga hai / arjuna kA I yaha roSa-bhASaNa unakI bhAvI vijaya se anvita hai / vidrava 5 -- nA0 zA 0 aura sA0 da0 meM vimarza sandhi ke antargata isa bhaga kA ullekha nahIM hai / dazarUpaka ke anusAra kisI pAtra kA mArA jAnA, baiMgha jAnA (bandI ho jAnA) Adi (bhaya se palAyana Adi karanA) vidrava kahalAtA hai / * kirAta ke paJcadaza sarga ke prathama, dvitIya evaM SaSTha zlokoM meM palAyanajanita vidrava prApta hotA hai jahA~ varNana hai - 'vRtrAsurAbhighAtI ke putra arjuna ke bANoM se vahA~ ke saba jIva jantu bhayabhIta ho gaye / kirAtAdhinAtha kI senA bhI bar3e bar3e dhanuSoM kA parityAga kara bhAga gaI / ' x x x x 'arjuna ne bhaya se vihvala hokara bhAgate hue una prathama gaNo kA anusaraNa manda gati se hI kiyA kyoM ki 1 kirAta guNApavAdena tadanyaropaNAd suzAdiruvasya samajasa jamam / dvidheSa kRtvA hRdaya nigUhata sphuraNasAdhorvivRNoti vAgasi // 14 / 12 2. mA0 zAba- roSaprathitavAkya tu sapheTaH sa udAsa / 21/90 dazarUpaka-saMpheTo roSabhASaNam 11.45 sA0 da0 - sapheTo roSabhASaNam / 6 / 102 3 kirAta mayA mRgAnhanturanena hetunA viruddhamAkSepavacastitikSitam / rAmeSyatyatha lapsyate gati ziromaNi dRSTiviSAzivRkSata / / 14 / 25 4. basa kapaka vijayo bhavandhAdi 19185

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kirAtArjunIya meM vimardhakAbhyaGganirUpaNa mahAn parAkramazAlI vyakti atyanta duHkhito ko pIr3ita nahIM krte| vahA~ prathamagaNa ke palAyana kA varNana hone se vidrava aga hai / drava - dazarUpaka ke anusAra jahA~ guruA (bar3e vyaktiyoM) kA tiraskAra ho vahA~ drava vimarzAta hotA hai| sA0 da0 ke anusAra zoka athavA mAvega ke kAraNa gurumoM ke atikrama ko drava kahate haiN| nA0 zA 0 ke anusAra guruo kA matikrama abhidrava hai / vahA~ isa aga ko drava ke sthAna para abhidrava kahA gayA hai| kirAta 0 ke dvitIya sarga ke chaThe tathA sAtaveM zlokoM meM yaha aMga prApta hotA hai jahA~ bhIma yudhiSThira se kahate haiM- 'AnvIkSikI, trayI, vArtA aura daNDanIti ina cAroM vidhAoM meM sat aura asat kI vivecanA karatI huI ApakI buddhi svAti prApta kara cukI hai, phira kyA kAraNa hai ki vahI buddhi viparyaya ko prApta hokara paMka ( daladala meM pha~sI huI hathinI kI bhA~ti karAha rahI hai| zatruoM ke dvArA vyApake isa duravasthA ko prApta hone para ApakA puruSArtha jisakI prazaMsA devagaNa karate haiM, viphala, ho rahA hai, isase bar3hakara kaSTa aura kyA ho sakatA hai'| 'vahA~ bhIma ne zoka tathA Avega ke kAraNa guru yudhiSTira kA atikrama kiyA hai / yahA~ drava nAmaka vimarzAna hai| zakti -- vizeSa ke zamana ko zakti kahate haiN|' isa sandhya kA udAharaNa kirAta 0 meM prApta nahIM hotA / 1. kirAta 0 - atha bhUtAni vArtraghnarebhyastatra tatra / 2 dazarUpaka vo gurutiraskRtiH 1145 3 sA0 vA0 0 bhA0 sa0 5 phira rAta 0 mese diza parityakamaheSvAsA ca sA camUH trAsavidmaM yazazcaitAn mandamevAnvAnaH / nAtipIDayituM magnAnicchanti hi mahA 15116 - 6 mA0 zA0 kAkapaka prA0 da0 * draSo gurUSyati kAnti. zokAdisamma 6103 *guruvyatikramo yastu vijJeyaH 2191 - catasRSvapi te bikinI TUpa ! vivANu ni| kathametya mativinaya kariyAvadati / vidhuraM kimata paraM parairavagItAM gamite dayaniyam / Heater surairapi tvagi sammAnita pIyam 16-0 vizeSopamo mastu sA sari parikIrtitA / 21161 virodhasamana 19196 grati punarbhavedavirogana ||101 11 - --

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suSamA kulazreSTha ghuti-nA0 zA0 meM isa maga kA ullekha druti nAma se huA hai / kisI pAtra kA tarjana tathA udvejana karanA druti yA dhuti kahalAtA hai / kirAta ke caturdaza sarga ke 25 veM zloka meM yaha aMga prApta hotA hai jahA~ arjuna zivaprahita dUta se kahate haiM- 'yadi kirAtapati bANa lene ke lie AyeMge to usI dazA ko prApta hoMge jisa dazA ko sarpa kI maNi lene kI icchA karane vAlA prApta hotA hai|' yahA~ arjuna ke vacana meM kirAtapati ziva kA tarjana hone se ghuti nAmaka vimarzAGga hai / prasA--jahA~ pUjya vyakkimo (gurumaoM), mAtA, pitA Adi kA sakIrtana ho vahA~ prasaga vimarzAGga hotA hai / kirAta0 ke aSTAdaza sarga ke 23 3 se 28 3 zloka taka, 30 3, 31 3, 34 veM tathA 36 veM zlokoM meM arjuna kRta zivasaMkIrtana hone se prasaga vimarzAGga hai / eka udAharaNa draSTavya hai-(arjuna ziva kI stuti karate hue kahate haiM) 'jo tIrtha binA sudUra yAtrA ke upalabdha hotA hai, jo isI saMsAra meM phala pradAna karatA hai aura jo sasArasamudra se pare arthAt mokSa kA sthAna hai tathA samasta mamilASAoM kA pUraka hai-aisA tIrtha smaraNamAtra se upalabhya mApake atirikta koI anya nahIM hai / " chalana- yaha sandhyaga nA0 zA0 aura sA0 da0 meM prApta nahIM hotA / dazarUpaka ke anusAra jahA~ koI pAtra kisI dUsare kI avajJA kare, vahA~ chalana bhaga hotA hai| caturdaza sarga ke 19 veM zloka meM yaha maga prApta hotA hai / arjuna zivadUta se kahate haiM-'tumhAre rAjA (kirAtaveSadhArI ziva) asatya kA Azraya kara balAt atyanta viparIta phalotpAdaka manoratha kI siddhi kI kAmanA karate haiM / durnIti kI bhISaNatA se paricita puruSa kI bhI buddhi vinAzakAla meM vyAmohotpA 1 mA. zA0 - vAkyamAgharSaNakRta yutistajjairudAhRtam / 21 / 93 dArUpaka -- tarjanojane thuti 1] sA00 -tamohejane proktA prati / 6 / 101 2 mA pA.-- prasaMgazceva vijhayo guruNI parikIrtanam / 21 / 92 dazasmaka-- gurukIrtana prasaMga 1156 sA.da. -- prasaMgo gurukItanam 11108 kirAta -- prANyeta yaviha dUramagatvA yatphalasyaparalokagatAya / tIrthamasti ma bhavArNavabAma sArvakAbhikamuve bhavatastar // 1825 1. samaka-- naM cAvamAnanam 196

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kirAtArjunIya meM bimarzasandhyaGganirUpaNa dikA ho jAtI haiN| yahA~ arjuna ke vacana meM kirAtapati kI avamAnanA spara hone se chalana nAmaka aga hai / isI prakAra caturdaza sarga ke 21 veM aura 223 zlokoM meM bhI yaha aga prApta hotA hai| vyavasAya-nA0 zA0 aura sA0 da0 ke anusAra pratikSA mora hetu meM saMbhUta artha ko vyavasAya kahate haiM / dazarUpaka ke anusAra jahA~ koI pAtra Apake sAmarthya ke viSaya meM kahe vahA~ vyavasAya aMga hotA hai| caturdaza sarga ke 20 zloka meM yaha bhaga prApta hotA hai jahA~ arjuna ziva-dUta se kahate haiM-'sama, ghara, kavaca athavA sarvottama dhanuSa inameM se koI eka vastu tumhAre svAmI sumase kyoM nahIM mAMga lete athavA yadi unake pAsa puruSArtha ho to phira sacanA se kyA prayojana / bala prayoga se hI le leM kyoMki zaktizAliyoM kI pastu kA samaya apaharaNa karane meM koI doSa nahIM / yahA~ arjuna ne prakArAntaramA zakti (sAmarthya) ko prakaTa kiyA hai / ataH yahA~ dazarUpaka kI paribhASA sAra vyavasAya nAmaka vimarzAGga hai| virodhana-nA0 zA0 ke anusAra jahA~ kruddha pAtra kA ukharokhara sAla se vahA~ virodhana hotA hai / dazarUpaka ke anusAra jahA~ kruddha pAtroM ke dvArA vazati kA prakaTIkaraNa ho vahA~ virodhana aga hotA hai| sAhityadarpaNakAra ne isa saMbI pUrNarUpeNa bhinna paribhASA dI hai| unake anusAra kArya ke masyaya ki upagamana virodhana kahalAtA hai / yaha bhaga kirAta meM prApta nahIM hogaa| kirAta. - abhUtamAsajya viskhamIhita bahAdasabhya va pive / vijAmato'pi damayasya rovatA bhavatyapAye parimohito kati 2 nA0 0 -- vyavasAyana vijJeya pratijJAhenusaMbhava. 1911 sA060- vyavasAyazca vileya pravijJAhetUsaMbhava // 1.1 3 dazakapaka -- vyavasAya svAkyukti 110 * kirAtaH -- bhasiH zarA varma panusa mocavivi vinivrete| bhayAsti zakti tameva mAmbayAmA ipiGa paktimato . 5 mA0 thA. -- virodhana tu saMrambhAittataramA RRY 6 dazalpaka - randhAnAM virodhanam / . sA. 60-- kAryAtyayopagamana virodhamamiti sam 114

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suSamA kulazreSTha prarocanA-nA0 zA0 tathA sA0 da. ke anusAra artha ke upasahAra ko dikhalAnA prarocanA kahalAtA hai| dazarUpaka ke anusAra jahA~ koI vyakti apane vacanoM ke dvArA bhAvI ghaTanA kI sUcanA isa prakAra de jaise vaha koI siddha vyakti ho, vahA~ parocanA nAmaka vimAMga hotA hai / kirAta0 ke aSTAdaza sarga ke 13 veM se 15 veM zloka taka yaha aga prApta hotA hai jahA~ varNana hai-'prANimAtra ke karmoM ke kSayakArI bhagavAn zakara ne arjuna ke usa pAdagrahaNa rUpa karma se mAzcaryacakita hokara pRthvI para unheM pheMka dene ke abhilASI aklAnta arjuna kA idaya se AliMgana kiyA / zaMkara jitanA arjuna ke dhairya aura sAhasa se prasanna hue utanA tapazcaryA se nahIM kyoMki satpuruSoM kA parAkrama guNa kI rAziyo kI apekSA adhika sAhAyya pradAna karatA hai / tuSAratulya dhavala bhasma lagAye hue, zirastha candralekhA se suzobhita, atiramaNIya apane zarIra ko puna dhAraNa karate hue zaMkara bhagavAn ko dekhakara pANDuputra arjuna ne praNAma kiyaa|' yahA~ artha kA upasaMhAra darzAyA gayA hai kyo ki ziva kA arjuna kI tapazcaryA se prasanna ho kirAtaveSa ko tyAga kara apane vAstavika rUpa meM prakaTa ho arjuna kA mAliMgana karanA nAyaka arjuna kI bhAvI siddhi kA sUcaka hai / ataH yahA~ nA0 zA0 aura sA0 da0 ke anusAra prarocanA nAmaka aga hai / vicalana- isa sandhyaga kA ullekha nA0 zA. aura sA0 da0 meM nahIM hai| dazarUpaka ke anusAra jahA~ koI pAtra AtmazlAghA kare vahA~ vicalana aMga hotA hai|' yaha aMga kirAta meM prApta nahIM hotaa| ___AdAna-jaba nATakAra athavA kAvyakAra upasaMhAra kI ora bar3hane kI kAmanA se nATaka athavA kAvya kI vastu ke kArya ko saMgRhIta karatA hai (sameTane kI ceSTA karatA hai) taba vahA~ AdAna vimarzAga hotA hai / maSTAdaza sarga ke 43 veM zloka meM yaha aga prApta hotA hai / arjuna zaMkara bhagavAn se kahate haiM--'he dharmavyavasthApaka ! Astikya mati ke kAraNa vizuddha dharma kI rakSA karate hue yudhi1 mA0 mA0 -- prarocanA ca vijheyA sahArArthaprakAzinI / 21 / 96 sA020 - procanA tu vijheyA saMhArArthapradazimI / 6 / 106 2 dazarUpaka - siddhAmantraNato bhAvidarzikA syAtprarocamA / 1147 1. dazarUpaka --- vikasthamA vicalamam // 1148 1 mA0 zA0 - bIjakAryopagamanamAdAnamiti saMzitam / 11 / 95 dazarUpaka -- AdhAna kAryasaMgraha 148 sA0 da.- kAryasaMgraha mAdAnam // 10 //

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kigatArjunIya meM bimAnikapaNa SThira ke zatruoM para, jinhoMne aparAdha kiyA hai, jisa zAsampapi se meM saMprAmavijayI bana sakatA hai, he bhagavan ! usa akhavidhA ko mujhe pradAna kIjiye / " yahA~ kavi ne upasaMhAra kI ora bar3hane kI kAmanA se kAmavastu ke kArya ko sagRhIta kiyA hai / nAyaka arjuna dvArA bhaviSApradAna ke lie ziva se prArthanA kA kiyA jAnA kAvyavastu ke kArya kA saMgraha hai / ata yahA~ mAdAna nAmaka vimarzAna hai| kheda-jahA~ mAnasika yA zArIrika vyApAra se utpanna brama kA varNana ho vahA~ kheda nAmaka maMga hotA hai| kirAta0 ke bhaSTama sarga ke 22 3, 23 meM tathA 26 veM zlokoM meM yaha aMga prApta hotA hai / eka sthala para murAMganAoM kA varNana isa prakAra kiyA gayA hai-'indrakola ke zikharoM para ke mArgoM kA manusaraNa karatI huI surAMganAmoM ke nUtana kisalaya ke samAna komasa paramoTa UramoM se, jo hAthI kI sUDa ke sadRza mAMsala the, sima hokara usa zikhara kI samatala bhUmi para bhI calane meM asamartha ho gaye aura pA pama pama para isa prakAra lar3akhar3Ane lage jaise madirApAna karane se paira apane pakSa meM nahIM rhte|" yahA~ devAganAoM ke zArIrika vyApAra se utpanna zrama kA varNana hone se veda nAmaka aMga hai| isa prakAra dazarUpakanidiSTa vimarza sandhi ke 13 agoM meM se 1. maMgoM kA sanniveza bhAravi ne kirAta meM kuzalatApUrvaka kiyA hai| nAme bhaura sA0 da0 meM ullikhita kheda nAmaka vimarzAGga kA bhI niveza kirAyA / 1 kirAta. -- AstikyAzukhamavata* priyadharmadharma dharmAtmA ziva / saMgrajayAM vijayabhIza kyA asUkhaSA hA mUtamA vimukha vivaad| 2 mA.sA.-manazcedyavinimpana. samabeda dAvA 15 sA. 10 --manazceSTAsamutpaka zrama veda iti sva 11.5 3 kirAta - parokabhiramahastapAvaravirAva bilAmiyA same'pi yAta paramAnamAzvarAnmahAdita pravara pade sandarbhabandhasucI 1 kAvyAdarza (vabhiprayIta)-varmameDa morivalakaborI-1, pUSA, 10t . kAmyAlaMkAra (bhAmahapraNIta)-vihAra rASTrabhASA pariSada paTamA, 1961. 3. kAvyAlekjhAra (aTapramIta)-kAmamA -1 nirNaya sAbara prepa, bamma1918. . kirAtArjunIya (bhAravipraNIta) caukhambA saMtata paurovarANasI, 15.. 5. pasarasaka (ghanambayapranIta)-baukhambA vidhAmapana, banArasa, 19553.

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suSamA kulazreSTha vanyAloka (bhAnandavardhanapraNIta)-caukhambA saMskRta sIrIba, banArasa, 1500 7 mAvyazAstra (bharatamunipraNIta -prathama bhAga, manISA pranyamAlA prAiveTa limiTeDa, 467901-98, 9844f 8 sAhityadarpaNa (viSamAthapraNIta)-motIlAla banArasIdAsa, dillI, vArANasI Kel, 1951 to saMketa-sUcI fecrate - ferlarga14 2 nA. zA. - nAkyazAstra 3 sA. da. - sAhityadarpaNa SUMMARY Kiratarjuniya men Vimarsasandhyanganirupanam (Limba of the Pause in Kiratarjaplyam.) Rhetoriclans like Bhamaha, Dandin, Rudrata, Anandavardhana and Vlfvanatha havo very clearly stated that & Mahakavye should also POASCAR the five segments like a drama For the composition of theso five segments drama or a Mahakavya, tho careful planning of tho principal Adhikarika ) and subsidiary (Prasangika) plot, five Arthaprakitis, five Karyavasthas and some of the limbs of segments is necessary Duo to this very rule, wo get the five segments and a number of their limbs In many Sanskrit Mahakayas Bharayl has very beautifully arranged five segments fra sfar-rifond fata 4) and their 52 limbs in his Kiratarjunrya In the prosent article, an attempt is made to show the limbs of the pay80 (Vimarja-andhi) in Kiratarjunrya Tho inclusion of the limbs of Pause in the sald Mahakavya 19 as under 1 Censore (Apaveda)-Kirtajomya XIV 12, 21, 22 2 Angry words (Sampheta) XIy 25 3 Kiling etc (Vidrava) XY 1, 2, 6 4 Insolence (Drava) II 6,1 S Placation (Sakti) Not found 6 Injury (Dyuti) XIV, 25 7. Mention (Prasanga) XVIIL 23, 28, 30, 31, 34 36 8. Insult (Chalana) XIV 19, 21, 22 9 Assertion (Vyavasaya) XIV 20 10 Altercation (Virodbana) Not found 11 Foresight (Prarocana) XVIII 13-15 12. Boastfulness (Vicalana) Not found 13. Sumning up (Adana) XVIII 43 14 Lassitude (Kheda) VIU 22, 23, 26

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zrImAnAkRtam meghAbhyudayakAvyam zrIzAntirikRtavRttisahitam saMpAdaka paM0 harizaMkara a. zAstrI

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Amukham / ida meghAbhyudayAbhidha kAvya yamakailitaM, yadyapi durgama tathApi rasikaravAta rucikara vAcakAnAm / asminkAvye kAcid vanitA varSamA mAtra skiI prati vadati sma / he priya ! asminmeSakAle kAma sazaraM pApaM pahani / prAcI pavano'pi kAmikAma vardhayan vAti / namaso meghAcchannatvAt rAnidimako dona pratIyate / mayUra' kekAbhi kAntAvirahArtamAnasa apamusa bhoti / payomugA adhvagAnAmAkulaM mano dahati / svAminA viprayuktA priyAM mokne prakAre karaNa sAyakairbhinatti / kA'pi strI kAntaM vinA za na labhate / me gatI yA padA kA viyoginI abalA dukhe na patati / / mata asmin samaye basavAri sasa prayANaM karotu tvayA na gantavyam iti / ida kAvyaM bhinnabhinnazchandomithitam / asya kartA mAnAramahIpati - caturdazalistazatAnyo madhye babhUva iti zrUyate parantu tasva kAmbAnAmupari rokAkAra zAntisUri. yadA A-D-993-1047 madhye samabani tadA kAmmakA mAmalA tataH prAcIna iti nizcIyate / anena kavinA vRndAvananAmaka kAnyaM gItagovindasya TippanI mAtImApAva TokA ca vyaraciSata / amarakozaTIkAyA rAyamukuTa. (i sa. 1535)matvako ullelaM karoti / gItagovindaTIkAyA svopazAyAmayaM mAnA: svaM mahAmurva prakAmapani na ayaM tapa iti jJAyate / jainasaMskRtasAhityetihAse mA. 25. 51151 tame ca hIrAlAla rasikadAsa mahAzaya. nirdizasi mat meSAmpudamana mubhAramokkAna TIkAyAH kartA lakSmInivAsaH vRddhagacharamAlapramariziSa. (vi.saM. 1998). kIyaTIkAyA kaviM sAryakelinAmnA varNayati, kadAcit mAnalA dAna bhavet / asya kave viSaye bhatIvAlpaM jJAyate / asva bandAnakA patrAcAra meSAbhyudayakAnyaM tu amakAsakArAta kArakutaM ca pite / so bhaktipradhAnakAvye zRGgArarasapradhAnakAmye pa sihastavsala izi anumIyate /

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pro0 zivaprasAda bhaTTAcAryastu eva manute yat vRndAvanakAvyasya racayitA mAnAva gItagovindasya TIkAkAro mAnAzca bhinnau iti / paraM tu gItagovindasya vRndAvana kAvyasya ca kRSNabhaktiparatvAt dvayo sambandhI mAnAGka eka eva iti jJAyate / gItagovindaTokAkAro mAnAGkanRpa kadA'bhUt kutra ca rAjyamakArSIt iti tu nizcapraca nopalabhyate / DaoN. mirAzImate gItagovindaTIkAkAro mAnAGka prAcInarASTrakUTavaMzasthApako bhavitu nArhati yataH tasya vazasya sthApakastu IsavIyacaturthazatAbyAmamUta / kadAcit gotagovindaTIkAkAro mAnAko bundelakhaNDanRpo mAnasiMho bhavet / DaoN. DolarAya mAkaDamate tu sa kadAcit jayapuranarezo mAnasiMho bhavet , parantu vRndAvanavRttI zAntisUri mAnAGkam ugrasenatanaya varNayati / ato ya ugrasenatanayo mAnAGkanRpa sa evAyam / / yAvat nizcitapramANa nopalabhyeta tAvat gAnAGkasya samayaviSaye tasya viSaye ca ko'pi nirNayo grahItu na zakyate / adhunA asmAka jJAnAdhAreNa tu etAvadevoktvA santoSo mAnya yata sa ekAdazabistazatAbdIta prAk bhavitavya iti / mAnAko gInagovindaTIkAyA kAta prasUtrANi ullekhayati ata. ko'pi evaM kalpate yat sa mAnAGka pazcimabhArate vaGgadeze vA yatra kAtantrapracAra AsIt tatratyo bhavet / atha ca vaGgadezIyagranthakArollikhitatvAt sa vaDIyo bhavedityapi sambhavati / asya meghAbhyudayakAvyasyopari jainamunikRta TIkAsya vartate / tatraikA vRtti ghaTakaryarAdikAvyacatuSTayasya TIkAkAreNa pUrNatallagacchasambandhivardhamAnAcArthasvapadasthApitazrIzAntisUriviracitA yA atra prakAzitA vartate / aparA ca mugdhAvabodhanAmnI asya kAvyasya TIkA vRddhagacchastharatnaprabhasUriziSyeNa lakSmInivAsena (vi. sa. 1458) akAri / anayoH TIkayostra pranye zAntisUrikRtA vRtti prakAzyate ata. tasya kartuH kazcitparicayo dIyate / zrIzAntisUri vardhamAnAcAryasya paTTaziSya pUrNatallagacchIya candrakulInazca iti nyAyavArtikavRtte vicArakalikAnAmnyA prazastita. tathA tilakamaJjarITippanaprazastito'vagamyate /

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tathAhisUrizcandrakulAmalaikatilakazcAritraratnAmbudhi sArI lAghavamAdadhAti ca gigayoM vardhamAnAbhidhaH / tacchiSyAvayavaH sa sUrirabhavat zrIzAntinAmAkRta yeneya vivRtirvicArakalikAnAmA smRtAvA tmana ] || vicaarklikaaprshsti| zrIzAntisUririha zrImati pUrNatale(lle) gacche varo matimatA bahuzAstravettA / tenAmalaM viracitaM bahudhA vimRzya sakSepato varamida budha | Tippita bho / // anayo vicArakalikAyA- . varSamAnasUre ziSyazca / tathA : sUri pUrNatallagacchIya parantu ra svena dvAvapi mabhinnAviti pratIyata prakAzitapattanasthaprAcyajainabhANDAgArIyagranthasUcita uddhRte / zrIzAntisUrimi vRndAvanakAvyavRtti , ghaTakaparaTIkA, zivabhaTIkA, candra. dUtaTIkA, nyAyAvatAravAtika, nyAyAvatAravArtikavRttirvicArakalikAnAmnI, tilA maJjarITIkA ca niramAyiSata / / masya kAvyasya pratiparicayastu evam / lA. da. bhAratIyasaskRtividyAmandirasurakSitazrImahendravimalasaMgRhItamANDAmArasya DA. na 20 kramAGka 1143 akitA iyam hastapratiH / asyAM pANi 28, teSu paJca kAvyAni vartante, tAni ca imAni / 1 vRndAvanakAvyam zloka saMkhyA-52 2 ghaTakaparakAvyam 3 meghAbhyudayakAvyam 4 candradatakAnyam 5 zivabhadrakAvyam -23

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eSAmidaM tRtIyaM kAvya vartate tattu prate. 11ta 16patreSu likhitam / : iya prati vi sa. 1653tame varSe jhAloranagare devA muhatAnAmnA lipikAreNa likhitA / asyA dairghyapRthutSapramANaM 258 11 senTimiTaraparimita vidyate / iyaM tripATharUpeNa likhitA, madhye sthUlAkSareNa mUlazlokAH upari adhazca sUkSmAkSaravRtti likhitA / pratipatra prAya 19 paGktaya , pratipakti ca SaSTi akSarANi ca santi, patramadhye riktAkSarazobhanamapi vidyate / idaM meghAbhyudayakAvya zAntisUriTIkAnvita jesalamerubhANDAgArasUcau saM-1215 sambandhinyA hastapratI vartate iti zam /

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bhImAnAtam meghAbhyudayakAvyam zrIzAntimarikatacisahitam matha meSAbhyudayakAvyasya vRtti kriyate / tatra cAya saMbanna / ani meSAgamasamaye prayAsva( prayiyAsu ) priyatama sarvamida kAmyaparisamA sAmAna tatra cAbo'yaM lokaH kAcitkAche pramuditanadannIlakaNThaimAge, dhyomATacyA pratidizamalaM saMcaranmepanAne / baddhArambha vadati vanitA sma pravAsAya kAnda, kAmazcApaM vahati hi tadA vispharatsAyacyA kAcit kAcidanirdiSTanAmnI vanitA kAnta bhivaM pati phIkSA paddhArambha vihitaprArambham / kimartham / pravAsAya vebasAtA kAle samaye / kIrAkSe ghanAge, dhanA nimiDA agA vRkSA pariyam samAna prAditanadannIlakaNThaiH dRSTazabdAyamAnamayUrai / tathA sambasnmeSamAne - gAnto meghanAgAH dhanagajA yasmin sa tasmin / kAsyAm mAkAzAraNye / katham / pratidirza dirza viza prati bIpsAkAma I almsyrthe| kariNo hi araNye bhramanti, bhramaNato'smyAmiva / kAmo'nA hi yataH tadA tasmin mekkA pAra kavi ! visphuratsAyakAntaM visphuranta botamAnAH sAyakA kAjAmA maca [ya]smin tat / samAropitabANamityartha / mato'yamyAtriya sAvala khaM meghAnAM sitayati prativamA mahAna nidrA bhatro samayakSatA mevI dAnAkAra / jAtotkaNThA pathikavanitAmAvabhAvo nirma vAtIndrAkSAmabhavapakto varSayat kAmiyama // 2 // khaM meSA / khamAkAzam mAno vati pachi / vivati moti / kIzI muktanAdA kRtagarjitaravA / meghAnA kAyAm ! mAna tAmA IN hukhiI tatiH / pUrvatI vivadhatI bhasmasI / kaam| bhi yA !

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zrImAmAkRtam samayamahitAM kAlapUjitAm / kasya : zatroH bhare', keSAm dA[navA]nAM daibhA(tyA)nAm harerityartha / tathA vAti vahati / ko'sau / indrAzAprabhavapavanaH pUrvadigjAtavAyu / kiM kurvANa ? AdadhAnaH vidadhat / [kAm ? pathikavanitA proSitabhartRkAm / kodazIm / jAtotkaNThAm / kathamAdadhAna ? nikAmam atyntm| kiM kurvan / vardhayan vRddhi prApayana ] kam ? kAmikAmaM kAminA bhoginA kAma anaGga kAmikAmastam / pUrvavAte hi kAminA kAmo vardhate / yormandAkrAntAcchandaH // 2 // jitAlimAlAmadhubhittamAlaM dhumArgamAdhAya mahattamAlam / payo vimuzcatyaciraprabhAbhi mahAmbudAlI caladIpramAbhiH // 3 // jitaali| mahAmbudAlI vahanmeghasantati santAnaH / payo jalam / vimuzcati ni syandate vavati / katham / alamatyartham / kIdRzI ? mahattamA'tizayena zuvI / kIdRzo! upalakSitA / kAmi aciraprabhAbhirvidbhi / kiMviziSTA' calA dIpA dIpyamAnA bhAso daptayo yAsA tAstAbhiH / kiM kRtvA : ASAya kRtvA / kam / dhumArgam AkAzapatham / kAdRzam jitAlimAlAmadhubhittamAlam , alimAlA bhramarapratizva madhumit harizca tamAlA vRkSavizeSAzcAlimAlAmaghumittamAlA', litA gonAlimAlAmadhumintamAlA yena sa tathokto'bhikRSNatvenetyarthaH / yadvA sahA. budAlIti pAve'mbudAlI aciraprabhAbhi saha payo jalaM vimuJcati iti sakya zeSa pUrvavat // 3 // - ghanA dhanAnAM tatirAddhatAnAM prakurvatI dhAM pratiruddhatAnAm / rasatyalaM sAndratamAlinIlA vibhAti zaSpAkaramAlinIlA // 4 // ghanA0 / alam atyartham / panAnAM tatiH paGkti / ghanA nibiDA bddhaa| rasati zamda karoti / kIdRzAnAm / uddhatAnAm udbhUTAnAm / kiM kurvatI / prarvatI vidaghAnA / kAm / ghAmAkAzam / kathamUtAm / pratiruddhatAnAm / pratiruddho niSiddhaH ba(sA)no vistAro yasyA. sA tAm / tathA sAndratamA'linIlA dhanabharanamarakRSNA / tapelA bhUmizca mAti zobhate / kodazI zaSpAGakuramAlinIlA zaSpAkurANAM bAlatRNAnA mAlA pakti vidyate yasyAH sA cAsau nIlA ca / yorupendrabajAchandaH / /

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meghAyuvakAmyam navAmbu vidyullatayA smnttH| kSitau vimuJcatyasamaM sama tataH / vinAdayannambudharaH kalApino divIkSyane candramasaH kalA'pi no // 5 // navAmbu0 / ambudharo megha / navAmbu nuutnjlm| vizati varSati / katham / samantataH sarvAsu dikSu / katham sama sArdham / kyaa| vidyutsatayA narinpratAnena / kathambhUto'mbudhara[ra] 1 tato mahAn / ka : kSitI mayAm / kiMbhUta jalam / yasapam asAdhAraNam / kiM kurvan ambudhara / vinAdayana zabdayan / kAn / kapino mayUrAn / tathA divi khe / candramasa candrasya / kalA'pi na bane na tasyate / kalAmA candro na dRzyate // vazastha chanda // 5 // vahanti nadho bhRshmaavilaapH| pravAsinAmiSTatamAvilApaH / bhavatyanekaH mutarAmahIno na vAribhirdurgatarA maho no // 6 // vahanti / vahanti pravartante / kA ? nadyaH saritaH / kIdRzya pAriyo malinanalA / tathA pravAsinAM dezAtaragatAnAm / iSTatamAvispo vasamAprApaH / bhavati jAyate / kiMbhUta ? aneka nAnAprakAra / tathA'zIno'nUna | mulAmatizayena / tathA na no mahI pRthvI durgatarA'pi tvatidurgatarA bhavati / ke pArita jalaiH / upendravajrA chandaH // 6 // pranata yalyoghamalaM ghanAnAM tatidrutaM dUravilAlAnAm / kalApinAM kAntakalApamAra ___ yayA kRtA caurakhilApamAnam // prana / pranartayati nRtyaM kArayati / ghanAnA medhAmAm / satiH patiH / kam / ogha saGghAtam / keSAm / kalApinAm / kaya pramatavati bhAra palpam / kIdRzam mogham / kAntakalApabhAraM kapanIyapicchasahAsam / kArakhAnA banAnAm / dUra0 dUram atyartha vilAnaM yeSA te dUrakliAnAleSAM rakhegAminAm / pam / pUrva zIghram / yayA meghapaGktayA / dhaurAkAzam / akhima sarvA / stA nihitA / karako apramA, apagatA mA kAnti yasyA sA'pamA dItiravitA / kam ! param zoSam / upendravatrA ||7||

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2 zrImAnAGkakRtam vimbayanto madabhinnadantino viyatyamandaM na ghanA nadanti no / virAjayatyamburucirnavA saraH pratIyate nApi nizA na vAsaraH // 8 // viDaM0 / na no ghanA meghA nadanti api tu nadanti / katham amanda nirantaram / ka viyati AkAze / kiM kurvanta. ' viDambayanto'nukurvanta' / kAn madabhinnadantino madAndhakariNa' | tathA virAjayati zobhayati / kA'sau amburuciH jalaruk / kIdRzI ' navA pratyagrA / kiM virAjayati ' sarastaDAgam / tathA pratIyate jJAyate / na nizA rajanI / nApi vAsaro divasa / ekarUpatvAt / vaMzastham // 8 // udUDhacArutridazendracApaH samutsRjanvAyuvazena cApaH / haranna sarojalIlAM pramodayatyambudharo jalIlAm // 9 // udU0 / ambudharo megha ilAM mUmiM pramodayati harSayati / kIdRza. jalI | payoyuktaH / katham ' drutaM zIghram / tatho dUDhacArutri0 dhRtamanojJazakradhanu / kiM kurvan // samutsRjan muJcan / kAH ' Apo jalAni / kena vAyuvazena vAtAdhInatayA / tathA iran gamayan / kAm ' sarojalILAm pra [ padma ] vilAsam / kAsu ' aptu nakeSu / caturNAm upendravajA chanda // 9 // 2 bhuvastalaM bhAti dhanendragopakas svarairmayUraH zikharIndragopakam / karoti kAntAvirahArtamAnasaM vrajannimajjatyari gADhamAnasam // 10 // dhru0 / bhruvo bhUmestalaM pRSThaM bhAti zobhate / kIdRzam ghanendrago0 // banA nirantarA indragopakA raktakITakavizeSA yasmin tat / tathA mayUraH zikhI karoti vidadhAti / kiM tat ' kAntAvirahArtamAnasam / kAntAyA' dayitAyAH viro viyogaH kAntAvirahastenArtA. pIDitAsteSAM mAnasa cittam / tadA kIdRzaM karoti aparka apagata kaM sukha yasmin yasmAdvA apakam sukharahitam / kIdRzo mayUra zikharIndragaH / zikharIndro girirAjastaM gacchatIti zikharIndraga' | parvatarAjastha ityarthaH / kai karoti' svaraiH kAravaiH / tathA nimajjati bruDati / kiM tat ' ari cakram /

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meghAnyukyakAvyam kiMbhUtam 1 Anasam anasa zakaTasyedam mAnasam / kathaM nimazcati / atizayena / kiM kurvat / vrajat gacchat / vazasthamidam // 10 // vinohacate no payasA divA karaH, pralaptazItAMzumahodivAkaraH / samIraNodbhUtakadambareNavaH, samAhiyante'libhirambare'NavaH // 11 // vino0 / kara! ke pAnIya rAti dadAti karo megha / divA bhAkAkSe uhayate dhriyate / katham : vinA'ntareNa / kena : payasA jalena / sabako uyate ityarthaH / kIdRza' / praluptazItAMzumahodivAkaraH pralasau pi zItAMzumahodivAkarau candrabimbasUryo yena sa / tathA'mbare AkAze samIrako kadambareNavaH vAtotpAditakadambapuSarAgA.( puSpaparAgA ) / samAhiyante gumana kaiH / alibhirdhamarai / kIdRzA : aNavaH sUkmA // vaMzastham // 11 // payomucA prastaravIndutAraM sarakulaM bhAsvaravibutAram / mano dahatyAkulamadhvagAnAM vibharti rAjI vanamadhyagAnAm // 19 // payo / payomucA ghanAnAM kulaM vRnda manazcita bharaM zodha hA pIDayati / keSAm / adhvagAnA pathikAnAm / kiM kurvat / sarat prasarat / kayA darjA bhAsvaravidhutA dedIpyamAnataDitA / kIdRza kulam / prastaravIndutAram Anmati sUryacandratArakam / kIdRza mana. 1 Akulam vihvalam / tathA agAnAM vRkSANAM rA pakkimiti dhArayati / kiM tat / vanamadhu || upendravajA // 12 // pathikapriyAM na meghazchAditadinakRnmahA na dInayati / kUlaThumaughamudarSi pUrAkRSTaM mahAnadI nayati // 13 // pathikamiyAm madhvagajAyA na na dInayati api tu dInAM karoti / saH meghaH payoda' / kIdRkSa ! chAditadinakRnmahAH pihitaadiktevaa| va mahAnadI gaGgA kUladrumaurgha taTavRkSasaca nayati prApayati / ke yati / sadA samudram / kIdRzam / pUrAkRSTam pravAhitamityarthaH // gItyAryAcadA 19 virahiNyA ghanapaGktiH svanavijitamahAdvipApahAsati / vidadhAti mukhamupendro nidrAM surapApahA sarati // 1 // vira0 / virahiNyA viyoginyA mukhaM vana dhanapati mevAbI vidyaa| karoti / kIdRzam / apahAsarati apagatA hAsaratihAsaprIvismAt cha / kara

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zrImAnAkakRtam ghanapaGkti / svanaviji0 garjitaparibhUtagajarAjA / tathopendro hariniMdrAM svApa sarati gacchani / kIdRzo hari / surapApahA surANAM devAnA pApa hanti iti surapApahA // gItyAryA // 14 // svAminA viprayuktAM priyA yauvane satkadambArpite vAti vAyau vane / prApya meghAn kRtA bhUrahaMsA yakaiH kAntakAmo bhinatyanvahaM sAyakaiH // 15 // kAntakAmaH kamanIyo'naGga bhinatti vidArayati / katham / anvaham pratidinam / ke ? sAyakaiH bANaiH / kAm ? priyAm / kathambhUtAm viprayuktAm virahitAm / kena / svAminA priyeNa bharnA / kasmin ? yauvane tAmaNye / kasmin sati ? vAyau vAti vahani sati / kIdRze - satkadambArpite santi zobhanAni yAni kadambapuSpANi tairarpito daukitastanmukta ityartha / kasmin vAti : vane kAnane / kiM kRtvA bhinatti ? vidArayati / prApya AsAtha | kAn ? meghAn / kai medhai ? yakaiH / kRtA vihitA / kA'sau : bhUH mhii| kIdRzI / ahaMsA haMsarahitA / yadvA he kAnta ! priya ' kAmo bhinati ityAmantraNam // 15 // sragviNI // patatyAzu paurandaraM ke prabhUtaM jagadvartate vAyunA kamprabhUtam / bajatyApagAkUlamodhaivinAzam __labhante ca kAzcima kAnta vinA zam // 16 // patati vahati / kiM tat / ka jalam / katham / Azu zIghram / kIdRzaM jalam / paurandaraM aindam / puna' kohaka ' prabhUtam pracuram / tathA jagad bhuvana vartate / kIdRzam / kamprabhUtaM kampanazIlam iva / bhUtazabdasyopamAvAcitvAt / kena ' vAyunA vAtena / tathA brajati gacchati / kiM tat ' ApagAkUlam nadItaTam / kam ' vinAzam / ke / oghaiH pravAhai / tathA kAcid vanitA na labhante na prApnuvanti / kiM tat / zaM mukham / katham / vinA antareNa / kam ' kAntam priyam / bhujaGgaprayAtam // 16 // jalavantaH mApIThaM samantato rAjayanti kedArAH / zokamahApratipakSa priyatamavirahe jayanti ke daaraaH||17|| jaLa0 / kedArA vaprA |kssmaapiitthN bhUtalam / samantataH sarvato rAjayanti zobhayanti / kIdRzAH jalavantaH payomRtA / tathA ke dArAH kAH kAntA. zoka

Page #407
meghAbhyudayakAvyam mahApratipakSa zoka mahAzatru asukhArAti jayanti ? parAbhavanti / naiva kAcijapanti / kva : priyatamavirahe priyaviyoge sati / gItyAryA // 17 // viyataH patati jalaugho niruddhagovatsamAnavaprasara / jAtaM ca dharApIThaM sakalamudanvatsamAnavaprasaraH // 18 // viya0 / jalaugho vArinivaho viyato gaganAt patati / kIdRza / virudo niSiddho govatsamAnavAnAM gopazutarNakamAnuSANA prasara pravRtti yena sa / tathA dharApIThaM bhUtalaM sakalaM sarvam / kIdRzam 4 jAtam sampannam / udanvatsamAnavaprasaraH udanvatA samudreNa saha samAnAni tulyAni vAsarAsi kedArataDAgAni yasmin tat // gItyAryA // 18 // divIkSate sUryamapaprabhaM janaH pravAti cAmbhodharajaH pramaJjanaH / vibhAnti zailAH zikhinA kadambardvameSu nityaM kriyate padaM pakaiH // 19 // divi0 / sUryam mAditya divi khe jano loka IkSate pazyati / kohazam / apaprabham apagatA prabhA tejo yasya sa ta dIptirahitam / tathA pravAti pravahati ca / ko'sau prabhaJjano vAyu / kIdRzaH 1 ambhodharajaH meghaprabhava / samA vibhAnti zobhante / ke zailAH parvatA / ke 1 kadambakaiH vRndai / keSAm zikhinAm / tathA drameSu vRkSeSu / kriyate vidhIyate / kiM tat / padaM sthAnam / ke para bakoTaiH / katham ! nityam // vshsth0||19|| nipAtayatyaJjanabhArasabhibho rasannibho vA bhuvi vAri vaaridH| nikAmakAlIkRtadignamA navaM na bhAnavaM bhAti maho manAgapi // 20 // nipA / vArido megho vAri jala nipAtayati muJcati / kasyAm / pavi pRthivyAm / kiMbhUta ? aJjanabhArasannibhaH kajjalarAzitulya kRSNasvAs / kiM kurvan ? rasana / ka iva : imo vA gaja iva / vAzabda ivArthe / tathA vikAma nikAmam atyartham kAlIkRtAni kRSNAkRtAni dignamAMsi AkAzani yena saH / tathA bhAnavaM ravija mahasteja / kIdRzam / navaM nUtanam / manAmapi stokamapi na bhAti na zobhate / vaMzastham // 20 // taDidvalayakAntibhiH paribhavanti dhUmadhvajam / dizo drutamavApya ca priyatasaM vadhUmadhvajam / parizramamapAsyati smaramukhena pAntho na kA pragati payodhare smara mukhena pAnthonakA // 21 //

Page #408
promAnAkakRtam taDi / diza AzA dhamadhvajaM vahiM paribhavanti vijayante / kAbhiH / taDidvalayakAntibhiH vidyunmaNDaladIptibhiH / tathA pAnthaH pathika. ko nApAsyati ? na] nirAkaroti ? api tu sarvo'pi tiraskaroti / kam / parizramaM [dukhadam / kathaMbhUtam / adhvajam pathi bhavam / kena / smaramukhena kAmasaukhyena / kiM kRtvA ? avApya prApya / kAm 4 vadhU bhAryAm / kIdRzIm / priyatarAM [matI]va vallabhAm / katham apAsyati / drutaM zIghram / kva sati ? payodhare meghe sati / kiM kurvati' pragarjati zabdAyamAne / kIdRza pAntha / pAnthonakaH pathikahIna. san / yathA kaH pAntho nApAsyati parizramam avajam smara cintaya hai| sukhena pAnthonakaH pAnthAn pathikAn Unayati parijahAti sa tathokta pathikaparityakta ityarthaH / mukhena aklezena ||pRthviicchnd // 21 // jyotizcakrameti na vyakti dinamitamandhakAritAm / dadhadamalataDitrizUle parisphuratyandhakAritAm // 22 // jyotiH / jyotizcakraM nakSatramaNDala na vyakti prakAzam eti prAmoti / tathA dinam aha itaM gatam / kAm / andhakAritAm andhakAra vidyate yatra tadandhakAri tasya bhAvastAm tama sambandhAtamityartha / kiM kurvan / dadhat dhArayan / kAm / andhakAritAm andhakasya dAnavasya ari zatru andhakAri. zaGkarastasya bhAvastAM zaGkaratvam / kva sati ? amalataDitrizUle amalA nirmalA yA taDividhut saiva trizUlaM harAyudha tasmin / kiM kurvati ? parisphurati jvalati sati // 22 // pathiphastrI [pra]vilokya navajaladharamAkulitAlakAnanA / mohamupaiti bhUzca tAM sukhayati na vikacakuTajakAnanA // 23 // pathika0 / pathikastrI pathikamAryA mohaM mUrchAm upaiti / kiM kRtvA / [prAvilokya dRSTvA / kam / navajaladharam nUtanamegham / kIdRzI AkulitAlakAnanA mAkulitAlaka visasthulakuTilakezam mAnanaM yasyA sA tathoktA / bhUzca pRthivI ca tA pathikajAyA na sukhayati sukhIkaroti / kIdRzI satI vikacakuTajakAnanA vikacAni vikasitAni kuTajAnAM kAnanAni yasyA sA // 23 // dhatte jale. sakaladehabhRtAM rasAyu nApnoti paGkajaparAgamasau rsaayuH| strINAM vihanti hRdayaM zikhinAM vinAda stApaM ca yAtyanalatAM dayitAM vinA'daH // 24 // dhatte0 // asau rasA pRthvI jalainaure sakaladehabhRtAM sarvaprANinAm AyunarjIvita patce ghArayati / tathA na Amoti na lmte| kA(ko)'sau : rasAyurdhamaraH

Page #409
meghAbhyudayam 15 kam ' paGkajaparAgaM padmareNum / nalena padmavinAzAt / tathA zikhinAM mayUrANAM vinAdo vividhakekAravaH strINAM kAntAnAM hRdayaM mano vihanti nAnAprakAram [a]dhIrayati / ca' samuccaye / tathA adaH etattoyam analatAm abhitvaM yAti gacchati / katham ' vinA'ntareNa / kAm dayitAm / virahitatvAt jalam vmagniriva bhavati / vasantatilakAchandaH // 24 // 1 sahecchati yuvA vallabhayA kulamanArataM garjadAkarNya meghAnAM bhayAkuLamanA ratam // 25 // saha / yuvA taruNI vallabhayA priyayA saha sAka rataM suratam icchati vAchati / katham ' anArataM nirantaram / kathaMbhUta' san bhayAkulamanA bhayena bhItena trAsenAkulaM vicArAkSama mana' citta yasya sa / kiM kRtvA ? AkarNya zrutvA / kiM tat - kulaM vRndam / kiM kurvat garjat / keSAm ' ghanAnAM meghAnAm / 'lokaH // 25 // patati huradhastAnnirjharAmbho nagebhyaH svanavaduruzirobhirjyotirAsannagebhyaH / harati navaghano'yaM zarma haMsAvalInAM janayati ca kadambaH puSpito'sAvalInAm // 26 // 1 2 pata / [ patati ] vahati / katham adhastAt / kiM tat nirjharAmbho nirjhara - jalam | kebhya nagebhyaH parvatebhyaH / kIdRzam svanavat sazabdam / kIdRzebhyaH 1 jyotirAsannagebhyaH tathA jyotiSAmA sannaM gacchanti iti jyotirAsannagAstebhyaH nakSatranikaTagAmibhyaH / kaiH kRtvA ' uruzirobhiH uccazikharai' / irati nAzayati / ko'sau 2 vana nUtanameSaH / kiM tat ' zarma sukham / kAsAm 'haMsAvalInAm cakrAGgapaGktInAm / tathA janayati ca utpAdayati ca / kiM tat ' zarma sukham / ko'sau ' kadambaH / kIdRzaH puSpitaH praphullaH / keSAm alInAm bhramarANAm / madhudAnAt / mAlinIcchanda' // 26 // vahantugro ghanaH zyAmaLatayA tADitAnakam / karoti pathikAna zokalatayA tADitAnaLam // 27 // vahan / yato ghanaH meghaH karoti / kAn pathikAn / kIdRzAn ' tADitAn hatAn pIDitAn / katham ' alam atyartham / kayA ' zokaLatayA zoka eva latA pratAno dIrghatvAt zokalatA tayA / kIdRzo ghana : ugro bhayAnaka / kayA ' zyAmalatayA kRSNatvena / kurvan vahan bibhrat / kam / tADitAnalam vaidyutAgnim / 'zlokaH // 27 // 1 anuSTup chanda /

Page #410
zrImAnAkakRtam surapatidhanuruccaiH pAnthamApItaraktaM satatamiha vidhatte cintayA'pItaraktam / jaladavati vilokya tvajantIH khe balAkAH na hi patati viyoginyAzu duHkhe'balA kA // 28 // mura0 / surapatidhanurindracApa vidhatte karoti / kam ? pAnthaM pathikam / kIdazam ? itaraktam naSTarudhiram / kayA'pi ? cintayA'pi / katham ' satataM nirantaram / kva / iha asmin kAle / kIdRzam dhanu / uccaiH unnatam / tathA [A]pItaraktam pijhalAruNam / kIdRkSe kAle jaladavati meghayukte / varSAkAle ityartha / tathA kA'balA strI na patati hi sphuTam kathabhUtA : viyoginI virahiNI / kva ? duHkhe kleze / katham ? Azu zIghram / api tu sarvA'pi patati dukhaM prAmoti ityartha / ki kRtvA : vilokya dRSTvA / kA ? balAkA: zuklapakSiNI / kiM kurvatI. 1 tvaGgatI: gacchantIH / kva khe gagane // mAlinI // 28 // jIyate ghanapaGktathA saudAmanIlatayA zikhI / vinAdhate ca nIlAbjadAmanIlatayA zikhI // 29 // jIyate |jiiyte abhibhUyate / kayA dhanapatayA meghavRndena / kayA kRtvA ? saudAmanIlatayA vidyutpratAnena vithudvistAreNa / ko'sau zikhI vahniH / tathA vinAdhate bhavazabyate ca / ko'so : zikho mayUra' / kayA kRtvA : nolAbjadAmanolatayA / nIlotpalamAlAkRSNatvena / kRSNameghapaktiM dRSTvA mayuro'tyarthaM nadatItyartha / 'zloka // 29 // jalavadavanipIThaM meghadhArAprapAtA sakalamapi vidhatte no vibhAti prpaa'tH| aparatiramalAmbhazcAtake yAcamAne bhavati pathikanAyA saMsthitA yA ca mAne // 30 // jala0 / meghadhArAprapAtaH ghanodakadaNDapravAha. sakalamapi sarvamapi avanipIThaM bhUtala vidhace karoti / kIdRzam / jalavat jalayuktam / ato'smAt hetoH / no vibhAti naiva zobhate / kA'sau ? prapA pAnIyazAlA / jalakAryasya siddhatvAt / tathA sA pathikajAyA [pAntha]bhAryA'paratiH prItirahitA bhavati / kva sati ? cAtake sati / kiM kurvANe yAcamAne / kim tad ! amalAmbhaH svacchajalam / kA jAyA ? yA sthitA ArUDhA / kva ' mAne ahakAre / mAninItyartha. / cHsmuccye| mAlinI // 30 // bhujagaripukulAni proktakekAnanAni kusumitakuTajAnAM mAmike kAnanAni / 1 anuSTup chanda /

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7 meghAbhyudayakASyam viyati ca dhanapaGktIstabhAsvattamIzAH svayuvativirahAtA draSTumatyantamIzAH // 31 // bhuja / ke draSTumIzAH samarthA / na ke'pItyartha iti sambandhaH / katham / atyantamatizayena / he mAmike ! sakhe ! kAni draSTum / bhujagarighukulAni mayUravRndAni / kIdRzAni proktakekAnanAni proktA uccaritA kekAdhvani/stAni, tAdRzyAnanAni mukhAni yeSA tAni / tathA kAnanAni draSTu ke samarthA ? keSAm / kusumitakuTajAnAM puSpitakuTajAnAm / tathA dhanapatI megharAjIH | kva' viyati khe / kIdRzI / astabhAsvattamIzaH / prastau luptau bhAsvattamIzI sUryAcandramasau yAmistA / yataH kIdRzA. svayuvativirahAtA svakIyakAntAviyogapIDitAH / svastrIvirahe sarvamevAgniriva bhavati kAmahetutvAt / mAlinI // 31 // navamambu kadambarajazabalaM nipatatprasamIkSya ratIzaSakam / virahArtamanAH pathiko nagataH paritApavarza pathi ko na gataH // 32 // nava0 / kaH pathiko'dhvagaH pathi mArge paritApavazaM santApAdhInatA na gato na prApta. 1 api tu sarvo'pi prApta ityarthaH / kIdRza pathikaH virahArtamAnAH viyogpiidditcittH| kiM kRtvA prasamIkSya vilokya / kiM tad ambu jalam / kIdRzam / navaM nUtanam / kiM kurvat / nipatad vahat / kasmAt / nagataH parvatAt / kiMbhUtam ? kadambarajAzabalam kadambaparAgakarburitam / tathA ratIzavalaM kAmasainyam / yadA ratIzasya kAmasya balaM sAmarthyam bhavati yasmAt tathoktam / yadvA balahetutvAda balaM ratIzasya balaM ratIzabalam / toTakacchandaH // 32 // vIkSya taDillatikA samAnAM meghatatiM ca tamAlasamAnAm / zIghramanAhitasaGgavirAmA kAntamupaiti na saM gavi rAmA // 3 // vIkSya / kA rAmA zrI kAntaM priyam na zIghram [sam] upaiti / samIpe na gacchati / api tu gacchati / kva sati gavi jale sati / kIdRzI satI anAhitasaGgavirAmA anAhito'kRtaH saGgavirAmaH sambandhaviratiryayA sA / kiM kRtvA vIkSya dRSTvA / kAm / taDillatikAm vidyuballIm / kiM kurvANAm / samAnAm kroDantIm / tathA meghavati ca megharAjiM ca vIkSya / kIdRzIm ! tamAlasamAnAM tamAlatarutulyAM kRSNAmityarthaH // dodhaka chandaH // 33 //

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zrImAnAkakRtam siMdhutvaM salilairdadhAti vasudhA saMjAtapakA padam pAnthaH kartumalaM na lupsanalinIkAntAtapaM kA''padam / dRSTvA meghamupaiti nAtra vanitA bharnA vihInAdhika saMdRSTA harayo nadantyavirataM svAdusvanenAdhikam // 34 // sindhu0 / vasudhA pRthvI sindhutvaM samudratvaM dadhAti dhArayati / kaiH / salilai jalai / kITazI saMjAtapaGkA sampannakardamA / tathA padam avasthAnaM kartu vighAI nAlaM na samarthaH / ko'sau pAnthaH pathika / kA vanitA strI na upaiti / va gacchati : kAm ? Apadam santApam / kiM kRtvA ' dRSTvA vilokya / kam : meghaM dhanam / kIdRzam ? luptanalinIkAntAtapaM lupto'panIto nalinIkAntasya sUryasya Atapo dharmo yena sa tam apahRtA''dityAtapamityarthaH / kIdRzI vanitA bhAryA [bha] priyeNa vihInA rahitA / katham upaiti / adhikaM samagram / tathA irayo maNDUkA nadanti avyakta dhvananti / kIdRzA : sahRSTAH prItAH / kena katha ca nadanti ' svAdusvanena madhuradhvaninA / avirataM nirantaram / kasmin haraya' nadanti / adhika ka jalam adhikRtya adhika jale ityarthaH / kArakArthe'vyayIbhAva' / kva sarvametat / gAvaidha pratasmin varSAkAle / zArdUlavikrIDitam // 34 // meghapaktiralibhiH samA navA kliSTadAraparihInamAnavA / pAtayatyavanatA jalaM dhanam yatsarombuni sarojalakhanam // 35 // meSa: meghapaDaktidhanarAji. pAtayati mushcti| kiM tad ? jalaM pAnIyam / kIdRzam / dhanam nirantaram / kIdRzI ? samA tulyA / kai. ? alimiH bhramarai kRSNetyarthaH / navA nUtanI / tathA liSTadAraparihInamAnavA kliSTAH pIDitA dAraparihInA strIrahitA mAnavA narA yayA sA / tathA avanatA jalabhareNa nmriibhuutaa| kaudarza jalam / sarojalakunaM panAtikramakam / kasmin / sarombuni taDAgajale / [rathoddhatAcchanda.] // 35 // candrAdityau sthagayati ghano vizvadIpAvaneka stIphe nadhA vipulapayasi snAti no pAvane kaH / AkUlAntAdhadabhinavA: pazyataH satsaropa stUrNa intuM bhavati pathikAn mInaketuH saropA // 36 //

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candrA0 // dhano meghazcandrAdityau somaravI sthagayati AcchAdayati kIdRzau vizvadIpau jagatpradIpau / prakAzatvAt / kIdRzo ghanaH aneka bahavo megha ityartha / tathA nadyAH sarita. tIrthe dvitIyanadImelApake ghaTTe vA ko na snAti ? - zucIbhavati / kIdRze vipulapayasi pracurajale / tathA pAvane pavitrIkaraNe / sUryo'pi snAtItyartha / tathA mInaketuH kAmaH saropaH saha ropairbANairvartate yH| bANasahite bhavati / bANa gRhNAtItyartha / kiM kartum / hantuM vinAzayitum / katham / tUrNa zIghram / kAn / pathikAn / kiM kurvata. pazyato'valokayataH / kiM tat / satsaraH zobhanataDAgam / kiM kurvat / dadhat dhArayat / kA ! apaH jalAni / kIdRzI' / abhinavA nUtanA / katham dadhat ! A kUlAntAt taTaparyanta yAvat mandAkrAntA // 36 // dRSTvA dhanaM nabhasi dIpabhavAlikAla kA mukhatISTavirahe nahi bAlikA'lam / zrutvA rutAni kuTajeSu zilImukhAnAM pAntho vazaM vrajati kAmazilImukhAnAm // 37 // dRSTvA / hi vyakta kA ca bAlikA alam atyartha na mukhati na mUrcchati / api tu sarvA'pi muhyatItyarthaH / kiM kRtvA . dRSTvA avalokya / kam / ghana megham / kIdRzam / dIpabhavAlikAlaM dIpabhava kajjalam malayo bhramarAstadvatkAlaM kRSNam / ka nabhasi khe / tathA pAnthaH pathiko vazam Ayata vrajati gacchati / keSAm / kAmazilImukhAnAM manobhavabANAnAm / kiM kRtvA ! zrutvA AkarNya / kAni / rutAni zabdAn / keSAm ! zilImukhAnAM bhramarANAm / keSu / kuTajeSu kuTajapuSpeSu / vasantatilakAcchanda // 37 // vidyullatA lasati kAzcanasannibhAraM dhAmno vahanti ghanavanti na bhAni bhAram / uccairasatyavirata jalado'stavAri rasminprayAtu -samaye priya ! yastavAriH // 38 // vidhu vidyallatA taDidavallI lasati krIDati / katham / are zIghram / kIzI kAnasabhibhA suvarNavarNA / tathA bhAni nakSatrANi na vahanti na vicati / kam ' bhAram bhAra eva bhArasta bhAram / kasya dhAmnA tejasaH / kIdRzAni /

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zrImAnAikatam dhanavanti meghayuktAni / tathA jalado megha uccairmahAn avirataM satata rasati garjati / kIdRza' ! astavAriH muktavAri / mato he priya ! vallabha ! asmin samaye sa prayAtu gacchatu yastavAri zatru / kyA na gantavyamityarthaH / vasantatilakA // 38 // iti zrIpUrNatallagacchasambandhizrIvardhamAnAcAryasvapadasthApitazrIzrI zAntisUriviracitA meghAbhyudayalaghukAyavRttiH samAptA // Printed by Mabanth Swami Shri Tribhuvandasji Shastri, Shri Ramananda Printing Press, Ahmedabad-22 Published by Dalsukh Malvania, Director, L D Institute of Indology, Ahmedabad,

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ope Other Rules Jourcal is primarily intended to mote researches lo Medieval Indian Hure Hence emphasis will naturally on the languages, literature and lural sources of that period But it I also give sufficient space to other Icles which throw light on Ancient llan Culture (1) Contributions Intended ic In the Journal should be (with double spacing o writteo on one side only Copies should be retain antbors irms of Contributions ntributions embodylog original learches, abstracts of theses accepted tbe University critical editions of the publisbed Sanskrit, Prakrit, abbramsa, Old Hindi, Old Gujarati cs, appreciatlons and summaries of clent and medieval Important original rks, notices of manuscripts and textual iticisms will be pablished in the urnal (2) It is presumed that cont forwarded for publication Journal are not submitt (3) The copyright of all the published in the Journa jointly lo tbe L D lasi Indology and the author (4) Tea olipriats will be giv contributors free of chai (5) Titles of books and Jour be Indicated by slogle + Sanskrit, Prakrit, Hindi, terms occorriog in the ai in English should be uad standard system ol trap should be followed (6) Those who want their reviewed in the Journal two copios of the same. edium of Articles ley should be written in any one of following four languages. Sanskrit, adi, Gujarati and English ticles written in language other than iglish should be accompanled by a ipmary in English emuneration le L D Institute of Indology wlil pay norarlum to the authors whose atributions are accepted anual Subscription And rope SA Rs 20/Sb 30 Dollar 500 All contributions and corre may please be addressed to Director, L. D. Institate ol Ahmedabad-9

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OUR LATEST PUBLICATIONS (1972) 32 Philosophy of Shri Syaminarayana by Dr J A Yajnik Rs 9 94 madhyAtmavinduH - harSavardhanopAdhyAyanibaddha svopazavRttyA yuta , sa. munizrI mitrAnandavijayajI-nagIna jI zAha 35. nyAyamakharIpranthimaGgaH - cakradharakRta', saM0 nagIna jI zAha 36. New Catalogue of Sanskrit and Prakrit Mss JESALMER COLLECTION - Compiled by Muniraja Shri Punyavijayaji 37. Prakrit Proper Names Pt II Compiled by Dr Mohan Lal Mehta and Dr. K. Rishabh Chandra 38 Karma and Rebirth by Dr TG Kalghatgi