Sambodhi 1973 Vol 02

Author(s): Dalsukh Malvania, H C Bhayani
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520752/1

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(521) SAMBODHI (QUARTERLY) VOL. 2 APRIL 1973 EDITORS DALSUKH MALVANIA DR. H. C, BHAYANI No. 1766 ILIE + THRIT 273 * * * * * * * * * NO. 1 L. D. INSTITUTE OF INDOLOGY AHMEDABAD 9

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CONTENTS Jaina Theory and Practice of Non-violence Dalsukh Malyania A Brief Survey of the Iconographic Data at Kumbharia, North Gujarat Maruti Nandan Prasad Tivari Apastamba's Views on Inheritance Surabhi Sheth Evolution of the Jaina Treatment of Ethical Problems K. K. Dixit Art Notes on Sculpture in Dhanapala's Tilakamanjari N. M. Kansara Some Versions of the Tale of Vyaghramari H. C. Bhayani kAlidAsanI nAdyoktio gautamabhAI paTela nAyaka(bAgALA) - bhAjakanI pArasI paM. amRtalAla ane lakSmaNadAsa bhojaka kavi baMdika paM. amRtalAla mo. bhojaka sarkikavikRtA pizunapaJcAzikA paM. harizakara aM. zAstrI zrIvardhamAnasUriviracitA caturvizatijinastutiH madhusUdana cI. modI ane amRtalAla mo. bhAjaka AgamagacchIya jinaprabhasUriviracita abhabhraMza-saMdhidvaya ra. ma. zAha

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No: 176 NORS JAINA THEORY AND PRACTICE OF NON-VIOLENCE Dalsukh Malvania The Vedic tradition upto the Upanisads did not bother about the theory and practice of non-violence (ahimsa). Even the word ahimsa is not found in the Vedas and the Brahmanas; it is found, for the first time, in the Upanisad (Cba. 3.17,41 The religion of the Vedas mainly consisted of the sacrifices; and there were many types of the Vedic sacrifices which could not be performed without the killing of animals. Even the Smytis enforce the householders to serve not only the animal.meat but the beaf to the guests. In such circumstances it would be proper to say that the theory and practice of chinsa were not of the Vedic origin, but were propounded by the Jainas, the Buddhists and other Sramanas. In his 'Man in the Universe' Prof. W. Norman Brown rightly concludes that "The ideas Ahimsa and the unity of all life did not have their origin in Vedic Aryau thought, but entered it from outside. The environment in which those ideas were at home was that of Jainism and Buddhism. In them Ahimsa was a dominant and original, not supplemental, feature". Here in this short paper I want to discuss the Ahinsa doctrine of the Jajpas in theory and practice. As far as the literary evidence is concerned we can say that Lord Mabavira seems to be the first person who was convinced that not only the mankind but all the moving and non-moving living beings should be protected and should not be harmed because he was convinced that each of them, just like any human being, does not want any harm to be done to it. And not only this, Mahavira is the first person who endeavoured to mould his life in such a way that he may not be willingly harmful to any one. This is quite clear when we read his life as is described in the Acaranga, the oldest Jaina text. He preached to the people his conviction in these words ; "All belogs are fond of life, like pleasure, hate pain, shun destruction, like life, long to live. To all, life is dear.'' In order to emphasize this conviction the Acaranga declares that : The Arhatas and Bhagavatas of the past, present, and future, all say thus, speak thus, declare thus, explain thus; all breathing, existing, living, seatient creatures should not be slain, nor treated with 1. Brown W. Norman : Man in the Universe ; Calcutta, Pub. Oxford and I BH publishing company, 1966; p. 54. 2. Brown W. Norman : Man in the Universe, p. 66. 3. SBE Vol. XXII, p. 19. Sambodi 2, 1,

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Dalsukh Malvanla violence, nor abused, nor tormented, nor driven away. This is the pure, unchangeable, eternal law, which the clever ones, who understand the world, have declared." The question is asked to the propagators of violence : "Ye professors ! is pain pleasant to you, or unpleasant ?" And on right reply it is clear that "For all sorts of living beings pain is unpleasant, disagreeable and greatly feared"5-So why should one kill others ? In this way killing of living-beings of all types was denounced and non-violence was accepted as the principle of good life. But was it possible to live without any harm to any body ? While "answering this question the attention was given to the problem of sio. The violence or the killing itself is not the sin but the passion in the self is the cause of sin or the passion itself is sin. This theory of sin is found in Satrakstanga when it says that the pamaya (pramada) is the karma or sin (pamayam kamman ahamsu 1.8.3). The word pamaya is translated as carlessness but It means much more than that. We are convinced of this fact when we take into consideration the sayings of the Buddha regarding this pramada. He says that all the akulalas are due to pramada: not only that but it destroys all the kusalas, Anguttara; 1.6,8-9). lo Sthananga (502) the Jaina text pramada is described as having six types :-1, mada-intoxication or arrogance, 2. nidra-slumbar, 3. visaya--sensuality, 4. kasayapassion, 5. dyuta -gambling and 6 pratilekhana-pramadaidleness in inspection. Keeping in view this definition of sin we should define the violence which is counted as sin. This is the reason why Umasvati in his Tattvar-- thasutra defined the violence as pramattayogat pranavyaparo panam himsathe killing which is done through the careless activity (of mind, speech and body) is violence. This is corroborated by the advice given to the monks with reference to their behaviour in the world, the smallest part 4. SBE Vol. XXII, p. 36." atalar 9597-1 TTEET Tar hat te savve evamAikkhati evaM bhAsaMti evaM paNNaviti evaM parUviti-sabve pANA savve bhUyA samve jIvA savve sattA na haMtavvA, na majjAveyavvA na parighitavvA na pariyAveyavvA na uddaveyavvA, esa dhamme sudhe niIe sAsae samicca loyaM niuNNehiM paveie......" 37110 9. 8. 9.9. 5. SBE, Vol. XXII, p. 39; Acaranga 1.4.2: "ad gf FIRTI atch, foo sAyaM dukkha uyAhu asAyaM? samiyA paDivaNe yASi evaM bUyA-"savvesi pANANaM savvesi jIvANaM savvesi sattANaM asAyaM aparinivyANa mahabbhayaM dukkhati'

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Jaina Theory and Practice of Non-violence of which is inhabited by innumerable living beings and so it was imposslble to live without killing any living-being. The question was asked "How should (a monk) walk, stand, sit and lie down ? In what manner shall he eat and speak in order that he may not bind evil karman ? "The answer is this - He should walk, stand, sit, and lie down carefully; If he eats and speaks carefully, he does not bind evil karman. Evil karman does not attach itself to a man who identifies himself with all beings (and by this) looks on the beings in the right manner, who has closed the doors of 'influence and is content". Schubring. Dasaveyaliya 6. (7-9.) From all these faina canonical texts one thing is clear that one should identify himself with others and should try as far as possible not to harm any body with the intention of harming and should live in this world in such a way that one may kill the other living beings with the kind feeling for them and only when it is unavoidable. With this view of nonviolence in their mind the propagators of non-violence have first tried to find out for what purpose the people resorted to killing of the living beings. They have noted that people resort to killing with no purpose at all. When we read the Acaranga it is clear that for various purposes or without any there was killing of all types of living beings. In daily life the use of carth, water, fire, wind etc. was there without any sense of violence. For the purpose of food and drink and even for the religlous ceremony the killing of living beings was allowed. Only for the sake of game and pleasure the performance of violence is noted in the Acaranga. War was also one of the cause of violence. When Lord Mahavira noted all these types of violence he renounced the world and took only such food, shelter etc. what was not prepared for him and that also only when there was utter neccessity. He made a rule not to accept any food or shelter etc. in which the killing of any living being, for his sake, was involved. As a general rule he was not in favour of accepting the meat, fish or wine. In this way he became an example of 003-violent life, and then he propagated the non-violence in daily life to the people of East India, and was really responsible for propagation of religion rooted in non-violence. So we find that the Jaina religion is described as a religion rooted in non-violence.? 6. kahain care kaham citthe kahan ase kahan sae kaham bhumjanto bhasanto pavam kamniam na bandhar 1/7/1 jayam care jayam clfthe jayam ase jayam sae Jayan bhuijanto bhasanto payam kamman na bandhar //8/1 savva-bhuyappa-bhuyassa samman bhuyai pasao pthtasavassa dantassa payam kammam na bandhar // 9 || 7. So ya ahimsamulo : dhammo Jlyaragadosamohehim bhanio jinehl .................. Puspamala, gatha-3.

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Dalsukh Malvania In this way in India the importance of ahimsa instead of satya (truth) was accepted in religion due to the propagation of the religion rooted in ahimsa. It may be noted here that before the time of Mahavira and the Buddha in Vedic religion the satya was most important. But after Mahavira and Buddha we find the importance of Satya as as well as of the Ahimsa, recogaised in the Epic literature and the Puranas. It is quite clear that this is due to the influence of the Jaipa and the Buddist religion, In view of the theory that the internal passion is the real violence and not the killing of the other living being it was clearly stated by Lord Mabavira that purisa tumam eya tumm-mittam kim bahiyam mittam icchasi ? (Aca. 1.3.3.4.) tumam si nama tam ceva jan Chantayvam' ti mannasi............tamha na hanta na vi ghayae (Aca. 1.5.5.4) "Man, Thou art thy own friend; Why Wishest thou for a friend beyond thy self" (SBE. Vol. XXII p. 33) "Thou art thy self the person to be killed.........so one should not be the Killer or the murderer" (Aca. 1.5.5.4) Now let us see what the commentators and the other prominent Jaina Acaryas have to say regarding the violence and non-violence. Acarya Siddhasena has clearly stated that though one kills the living being one does not bave the sin of killing because of his apramada (carfulness). Same sentiments are found in Oghaniryukti (748, 749) and in Acarya Kundakunda's Prayacanasara (3.17) when they say that those who are careful (apramatta) to them there is no sin even though the living being is killed. The most profound discussion of the theory of non-violence is done by Acarya Jinabhadra in his Visesavasyakabhasya (Pub. L.D.S.) : "One should not fear that because earth, etc. are so crowded with souls, there would be himsa (injury) at every step whether one wills it or not. It has been pointed out earlier that what is struck by a weapon is not possessed of a soul. There will not be injury simply because the world is crowded with souls. It is the intention that ultimately matters. 8. Siddhasena : Dvatrimsika 3.16.

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Jaina Theory and Practice of Non-Violence From the real point of view, a man does not become a 'killer' only because he has killed or because the world is crowed with souls, or remain innocent only because he has not killed physically, or because souls are sparse. Even if a person does not actually kill, he becomes a killer if he has the intention to kill; while a doctor has to cause pain, but is still noninjurious, innocent, because his intention is pure. A wise man equipped with the five samitis and the three guptis and practising restraint thereby, is non-injurious; bot one who is of just the opposite type, Such a man of restraint is not regarded as injurious irrespective of whether he kills or hurts or does not; for it is the intention that is the deciding factor, not the external act which is inconclusive. From the real point of view it is the evil intention that is himsa (injury) whether it materialises into an evil act of injuring or not. There can be con-injury even when the external act of injury has been committed and injury even when it has not been committed. (2217-2222). Does this mean that the external act of killing is never injury ? Much depends on the evil intention. That external act of killing which is the cause of an evil effect, or is caused by evil intention is himsa (injury). But that which is not caused by evil intentions or does not result in an evil effect is not himsa in the case of the above-mentioned wise man. For example, sounds, etc, do not rouse the passions of a man free from attraction and infactuation because his mind or intention is pure, unde. filed. A good man does not have infatuation for his mother however beautiful she may be; similarly, the external act of injury is not himsa in the case of a man of a pure mind. Thus that the world is crowded with souls does not mean that there is himsa at every step. In order to inculcate this theory into practice the Jaina Acaryas developed the theory of Karma and produced the story literature to show the results of virtuous and sinful life. And we can observes the penetration of this Karma-theory in the life of the mass of India. Even in Jain Canonical literature we find that as a result of the participation in war many persons are said to be born in hell and such other lower places. (Bhagavati. 7.9.300). The theory that those who participate in the war are born in heaven is also repudiated in the canon. One can be born in heaven, only if he has regrets for participation in the war and becomes a monk 10 bis last days, otherwise the hell is destined for such person. This is illustrated by the account of the life of one named Varuna of Vaisali. (Bhagavati 7.9.303).

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Dalsukh Malvania It is clearly stated in the story that during the war he was not ready to kill or harm any one who had not first offended him because of his vows as a house holder. The question of participation in war for a monk does not arise, A person has to take in the beginning of his career as a monk a vow called Samayika i.e. identification with all living beings so that he may not kill or barm any living being. This vow is a vow of not indulg. ing in any evil doings. After testifying his capacity to follow the mookish life he is to take the five vows not to kill, not to tell a lie etc. It is explained that the first row of not killing is the most important one and the other four vows are the auxiliary to the first vow of non-violence, Utmost importance is attached to the vow of non-possession by a monk, Because due to the idea to possess some thing, one is engaged in fair or unfair means, in order to have the desired thing. It was due to this reason that Lord Mahavira decided to be a naked monk and advised bis followers also to be naked. ven to the housebolders he advised to limit their possession and not to indulge in such business in which there was violence. The result of emphasis on non-violence can be seen in the Jaina society as well as in the followers of Hindu religion that all the Jainas are strict vegetarions and most of the Hindus also are vegetarions. It can be accepted without doubt that vegetarianism in India is due to Jainism,

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A BRIEF SURVEY OF THE ICONOGRAPHIC DATA AT KUMBHARIA, NORTH GUJARAT Maruti Nandan Prasad Tiwari In connection with my research work on the Jaina Iconography in Northern India I planned to visit some prolific Jaina monuments of Western India in March last. The sites, I proposed to visit with a view to make first-hand detailed study of the iconographic material thereat, also comprised Kumbharia, situated in the Banas-Kantha district of North Gujarat. Kumbharia, yielding an immense amount of iconic data, has undoubtedly been one of the richest centres of Jalna religious art in India. In the present paper I propose to make a brief but comprehensive survey of the iconographic material available at the site. Kumbharia is well known for magnificent Svetambara Jaina temples, numbering five and ranging in date between eleventh and thirteenth century, All the temples are located within a long boundary wall. I started my work with the Santinatha temple, constructed in the latter half of the eleventh century, which is evidenced by an inscription of Samvat 1110 (A.D. 1053) Inscribed on the throne of a Jina image installed in the Cell No. 9. On the exteriors of the Mulaprasada there are carved three Jina figures, each seated on a simple pedestal without the usual cortege. Near the Sikhara on two sides are carved niched Yakst figures of Cakresvari and Ambika (2 armed, surprisingly enough bearing a sword with an amralumbi also hanging below in right hand and with left supporting a child seated in left lap.) The door-way of the Gudhamandapa is adorned with the figures of Mahamanas, Mahakali, Acchuptx, Vairotys, Nirvant, Sarasvati, Vajrainkhala and Purusadatta. The pillars of the Mukhamandapa and the Rangamand pada are decorated with the figures of Robins, Vajrasrnkhala, Cakresvari, Sarasvati, Vairotys, Acchupta, a goddess with a trident and a snake in two upper hands and the varada and a fruit (matulinga) in two lower ones, and another goddess with thunderbolts in two upper hands, the forms of the last two goddesses not conforming exactly to the codified works of the Jaina iconography. The door-sill of the Gidhamandapa contains the figures of four-armed Yaka Sarvanubhuti and two-armed Yaka Ambika. The first ceiling of the Mukhamandapa comprises in its four corners the figures of Brahamasanti Yaksa, Nireta (Dikpala), Ago (Dikpala) and Sarvanubhati Yaksa (Kubera like Taksa also called Yaksesvara, The above Yaksa

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Maruti Nandan Prasad Tiwari together with the Taksi Ambika forms the earliest Yaksa-Yaksi pair in the series of the 24 raksa-raksi pairs conceived by the Jainas.). The adjoining ceiling of the Mukhamanda pa shows the figures of the four most favoured goddesses of the Jaina pantheon; they are Cakresvari, Saravati, Rohini and Vairotya riding respectively over garuda, swan, cow and snake, On two sides of the staircases are also depicted figures of Brahmaganti Yaksa (bearded, bearing padma and chatran, padma in two upper hands with elephant as mount) and Sarvanubhati raksa (carrying fruit, goad, noose and fruit in four hands and riding an elephant). Sixteen cells carved in the corridor on three sides contain Jina figures, each with a goddess (either carrying lotuses or lotus and pustaka in two upper hands) rendered in the middle of the throne on front, and the raksa Sarvanubhuti (with goad, noose, mudra, purse; elephent vahana) and the Yaksi Ambika (2-armed and 4-armed; - invariably evincing amralumbi and child scated in lap in two hands-with a lion as mount), occupying the two recessed corners of the throne. The Jina figures are flanked either by two standing Camaradharas or by two standing Sinas, the latter generally being shaded by szake canopy. The figures of the Malanayaka are lost in all the cases. Two Jina figures installed respectively in the Cell Nos. 1 and 7 are indentified with Jida Santinatha, on the strength of the pedestal inscriptions mentioning the name of the Jina. In the sanctum is installed a small image of Santinatha. In a small cell on east-south corner is carved a huge Samavasarana (Congregation hall where every Jina delivers bis first discourse after obtaining omniscience) of some Jina with three successive fortification walls carved below and exhibiting the figures of dvarapalas, animals and human beings. The above Samavasarana is inscribed in Samvat 1266 (AD 1209) The most important of all the representations (See fig. 1) are the bayceilings, attached to the Rangamandapa on east and west, wbich contain, besides other significant renderings, the representations of events in the lives of the Jinas. The ceilings representing the pafica-kalyanakas (Chyarana, Janma, Diksa, Jnana, Nirvana) from the lives of Rsabhanatha (together with the sense of fight between Bharata and Bahubali and also the figures of the Yaksa Gomukha and the rakst Cakresvari carved in the centre), Neminatha (Yaksi Ambika also carved on one side), Mahavira (with the figures of raksa and rakst), and Santinatba (comprising a scene from his previous life as king Megbamalin when he weighed his body against pigeon to save latter's life) on West; and Parsvanatha (In the middle rectangle are shown in two rows twenty-four pairs, each representing seated figures of a male and a female, the latter supporting a child seated in lap. It is undoubtedly the representation of the respective parents of the twenty-four

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ya i .. . CO2 WA. .. .. 2 . Fig. 1 Narratives from the life of Rsabhanatha; bay-ceiling of the S'antinatha Temple, Kumbharia.

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. AR Fig. II Padmavati: On west exterior of the Devakulikas of Neminatha temple, Kumbharia. Fig. III Sarasvati : On west exterior of the Devakulikas of Neminatha temple, Kumbharia.

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SAS . Fig. IV Narratives from the life of Mahavira; western aisle of the Mahavira temnle Kurnhhario

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'!!. . 22; . INC.- ' ! su art. - g . Fig. V Narratives from the life of Mahavira; western aisle of the S'antinatha temple, Kumbharia.

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Iconographic Data at Kumbharia Jinas) on east are noteworthy. Another ceiling on east shows in the middle a seated figure of Suparsvangtha provided with the canopy of five-hooded cobra overhead and surrounded by four-armed figures of the sixteen Mahavidyas, all being seated in lalitasana. 9 The second temple dedicated to Mahavira is also a late eleventh century construction. It also contains, like the Santmatha temple, 16 cells on three sides of the corridor. The Jina images (now the figures of the Mulanayakas being lost and the inscriptions on the pedestals ranging in date between A.D. 1083 and 1129) installed in the cells show similar details as noticed earlier Here Taksi Ambika is sometimes represented as carrying a fruit in place of an amalumbi. It may be noted here that with Parsvnatha and Suparsvanitha even the Taksu-Yakyt ligures are those of Sarvanubhuti and Ambik... A stone plaque lying near the western access to the shrine sho.. the representation of the respective mothers of the twenty-four Jints. Fach seated female figure supports with left hand a child, seated in lap and touching the breast of the mother, just as noticed In case of the Ambika figures. The corresponding hand of the mothers bears fruit. Another similar representation of the late twelfth century is lying near the entrance to the temple on north. It is important to note that the name of the respective mothers of all the Jinas are also inscribed here below the figures. The Mahavia image installed in the sanctum has only lateral jambs in original, and the figure of the Mulanayaka and the throne are of subsequent date. The figures carved 111 the aisle-ceiling on east represent Laksms, Sarasvati, Sarvanubhuti, Ambika, and Vajrankusa. The entrance-door of the Gudhamandapa contains the figures of the same goddesses as noticed in the Santinatha temple. The two niches of the Mukhamandapa also harbour thrones of the Jina images with the usual Faksa-Takst figures. One throne is inscribed in Samvat 1148 (A.D. 1091). The figures of the Mulanayakas are lost in both the cases. An important representation carved on a plaque and incised in Samvat 1338 (A.D. 1281) lies near the entrance on north. It refers to the story of Sakunikavihara, an incident from the life of Jina Munisuvrata. However, the story of the Asvavabodha in the life of the same Jina, everywhere else represented together with the story of the Sakunikavihara, can be seen fixed on the south wall of the Mulaprasada of the Neminatha temple, Two other replicas of the above representation come from the Luna Vasaht temple (Cell No. 19) at Mt. Abu and the Parsvanatha temple at Jalor in Rajasthan. The instance from the Jalor, seemingly the earliest of all such representations, is perhaps for the first time reported by the Sombodhi 2. I

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Maruti Nandan Prasad Tiwari author. Two other significant representations include a big Samavasarana, carved in a small shrine on east, and a beautiful torana (Samvat 1223, A.D. 1166), embellished with small figures of the goddesses and lying outside the shrine containing the Samarasarana. The representation of five chief auspicious events in the lives of the Jinas, namely, Rsubhanatha (with the figures of Brahia (? bearded; holds vara, lotus manuscript and water-vessel with swan as vehicle) Ambika, Gomukha, Sarasvali, Vairotya, Laksini, and Cakresvari-labelled as Vaisnavi Dey-Carrying mace and lotus in two upper bands and a conch in lower Icft, all being carved in the third rectangle), Mahavira (with the scene of an upasarga caused by demons while the Jina wag plunged into tapas and meditation), Neminatha (with two-armed Ambika carved above the Samayasarana), Satinatha and Parsvanatha (with the scene of an u pasarga caused by Kamatha and also the figures of Dharanendra and Padmavati being rendered) are carved in the ceilings of the bhramika on west. In a ceiling there also occurs the representation of the respective parents of all the 24 Jinas with their names carved below. The above representation is an exact replica of the one noticed in the Santinatha temple. The third temple, of Parsvanatha, was constructed in the eleventhtwelfth century. A beautiful torana, lying near the entrance to the shrine on est, is embellished with the figures of the popular Jaina goddesses, among which renderings of some one with lotus and trident in the upper hands, and the other with trident and snake in two upper hands and bull as takana) are 110t guided exactly by any of the available iconographic injunctions. In the two ornamented niches of the Mukhantandaza were installed two fina figures, n only its pedestal and torana with tiny figures of the goddesses being ex.ant. The throne of the left-hand Jina Ggure is inscribed in Samvat 1216 (AD 1159) and Yaksa-Yaksi figures in both cases are those of Sarvanubhati and Ambika. Among the goddes. ses carved on pillars of the Rangamandapa and the Mandapa mention may be made particularly of Survastra-Mabajvala (with jvala-patra in two upper hands), tuo unidentified goddesses (one with noose and goad; and other with sila and goad in tw.) upper hands). On the facade of the Mtu aprasaila ars portrayed the rigures of Cakresvari (bearing varada, mace, disc, cunch; with garudi: as vavana in human form), an unidentified goddess carrying rarada, trident, snake, fruit with bull as mount) and Sarasvati (having varala, stuka, manuscript, fruit with swan as conveyance). Two colosal standing images of Ajitanatha (the cognizance elephant carved in front of the pedestal) and Santinatha, both bearing inscriptions dated in Samvat 1176 (=A.D. 1119), are installed in the Gudhamandapa. On

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11 Iconographic Data at Kumbharia the lateral jambs of both the Jina images are carved miniature figures of the goddesses. Another huge image of Parsvanatha with seven-hooded cobra forming a canopy overhead is also installed in the Gudhamandapa. The figure of the Mulanayaka is new, nevertheless the throne and the parikana are old. Here, it is surprising to note, that the Yaksa bearing same set of symbols (abhaya, mace, noose. purse) as generally borne by Yaksa Sarvanubhuti and so also the two-armed Yakst Ambika (with an amralumbi in right and with left supporting a child in lap) have respectively been provided with a snake canopy for associating them with Parsvanatha. The Mulanayaka of the Jina image installed in the sanctum is new, notwithstanding the parikara is original and the figures of the Yaksa and Yaksi are conspicious by their absence. There are 24 cells, including a niche, on three sides of the Bhamatr Each cell contained a Jina figure exhibiting stunlar details noticed earlier, but now some are empty. The earliest inscription of Samvat 1104 (A.D. 1047) was noticed by the author on the throne of a Jina image installed in a niche on east at the right extremity Other inscriptions on the thrones of the Jina figures range in date between Samvat 1236 and 1259 (A.D. 1179-1202). The Cell Nos. 5 and 20, dedicated respectively to Sumatinatha (A.D. 1202) and Suvratasvami (A D. 1179), show on the beautifully carved entrance-doors, pillars, ceilings the figures of the popular goddesses. On the facades of these cells are also carved the figures of the Dikpalas (Varuna and Nirrti on west; and Indra and Isana on east) and goddesses (Cakresvari on west and Vajrankusa on east). The fourth temple of Neminatha, assigned to the twelfth century, is the largest of all the Jaina temples at Kumbharia. The outer walls of the Mulaprasada contain niched figures of the four- armed standing Dikpalas. Among the four-armed goddesses represented on the facades of the Mulaprasada - perambulating from east to west - may be included Vairotya (snake vahana), Acchupta (horse vahana), Vajrasrnkhala (a long chain in two upper hands, padmasana), Cakresvari (garuda mount), an unidentified goddess (betraying leaves of some tree in two upper hands), SarvastraMabajvala (with Jvalapatra and sruka in two upper hands; jata-mukuta; lion mount), Sarasvati (carrying sruka and manuscript in two upper hands, jata-mukuta), Vajrankusa (elephant vahana), Purus adatta (with shield and sword respectively in upper left and lower right hands; buffalo as vehicle), Kali (varada mace, long-stalk lotus, broken; kamalasana), Mabakali (with thunderbolt and ghanta in two upper hands; male vahana), a goddess (with noose in two upper hands), Gauri (?) long-stalk lotuses in two upper hands, and probably an alligator-vahana-on left), and Purusadatta (?) (thunderbolt and stick (?) in two upper hands, and buffalo or ram as vahana).

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Maruti Nandan Prasad Tiwari Io the principal niches on three side of the facades were barboured a images, of which only throne and parikara are extant on two sides. ove the vacant niche on south facade is kept a plaque representing scene of Asvavabodha from the life of Munisuvrata The niched figures the adhisthana representing four-armed seated divinities include Laksmi figs.), Vajraskhala (2 figs.), a goddess ) with goad and noose in two xer hands, Sarasvati (2 figs.), Robini, a goddes ) with trident and tke in two upper hands, (Jata - mikuta), Cakresvara (4 figs, some aring kirifa-mukufa), a goddess (?) with long purse in two upper hands. nesa (solitary instance at Kumbhara, 4 armed, elephant - headed, -bellied and riding a musaka. He wears an udarbandha, naga-yajno pavita d carries an elepheat tusk, parasu, long - stalk lotus, and a pot filled sweel-balls-modaka-patra. His trunk broken from the middle is being "ned towards modaka-patra), Vajrankusa (2 figs.) and a goddess (?) with rada, long-stalk lotus, noose, broken, In the Gidhamandapa on west side is installed a stone plaque, inscribed Sattavat 1310 (A.D. 1253) and representing 172 Jina figures, all being kted. The number of the Jigas numerically includes also the Jinas of * past and future ages together with those of the present. Two other sages representing respectively Parsvanatha and Suparsvanatha and both trying Inscriptions, dated in Samvat 1214 (=A.D. 1157), on the thrones, e preserved in the Gudhamanda pa. Both the Jinas are accompanied by Hrvaqubhati Yaksa and Ambika Yakst. Two other images of Rsabharatha, escribed in Samvat 1314 (=A.D. 1257) and installed in the Gudhamandapa 30w Sarvan ubhuti as the raksa and Cakresvars as the Yakst. The colossal nage of Neminatha enshrined in the sanctum without parikara appears to C/ of a subsequent date. The door-way and the pillars of the Rangamanda pa and the Mukha. anda va are decorated with the figures of popular Jaina goddesses. On ast wall of the Mandapa, above the niche, is carved four-armed Hajatakstni (The goddess seated cross-legged and being bathed by two lephants, when represented in the series of the fourteen auspicious kreams, 18 endowed in the label inscriptions with the appellation Mabaakm) sitting cross-legged on padmasana with a row of nine vases mama-nidus) carved below and two elephants lustrating at top. In a niche of the Mukhamandapa is sheltered a plaque, inscribed in Samvat 1322 (A.D. 265) and representing the Nandisvara dvipa. Four groups of Jina figures with 13 Jinas in each are carved on four sides of central concentric band, two other representations of the Nandjsvaradvipa were noticed by the tothor at Sadri and Ranakpur temples in Rajasthana. The former patta oming from the Parsvanatha temple at Sadri is incorporated in the

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I conographic Data at Kumbharia 13 adjoining wall of a door opening towards the western face of the temple. In the ceiling of Rangamandapa is carved the scene of Cyavana (descend of Jina from the heaven into the womb of mother) kalyanaka which may be connected with that of Nemidatba on the basis that the temple is attributed to Neminatba Figures are also carved on the east and west exteriors of the Dera. kulikas. The figures on the eastern wall comprise Laksmi, Indra, Vajrasnkhala; and those on the west Dikpala Varuna, Mahakali, Padmavati Yaksi (carrying lotus bud, noose, goad, fruit, and riding a kukkuta sarpa), Kali, Dikpala Norrta, Padmavati (See fig. II) (with varadaksa goad, noose and fruit in four baods. She riding a kukkua sai pa, bas been provided with five-booded cobra overhead), Sarasvati (See fig. III) (betraying yaradaksa, spiral lotus, vina, and manuscript rides over a hamsa), Laksmi (25 figs ), and a goddess (with varada, goad, noose, fruit; aud vahana elephant, who may be Vajrankusa). The fifth temple, of Sambhavanatba, is a thirteenth century construction. The figures on the facades - starting from the east - show Vajrankusa (2 figs.), Mahakali, Robini, Cakresvari, an unidentified goddess (carrying varada, mace or sruka, thunderbolt, fruit) and Sarasvati. The niched figures of the goddesses carved on the basement of the temple - perambulating from east to west - show Vajrankusa, Sarvastra - Mabajvala (bearing jvalapatra in two upper hands with mesa carved below), Cakresvari (kirita-mukuta) and a goddess seemingly feinale counterpart of Yaksa Sarvanubbuti (holding yarada, purse, goad, broken). Two fifteeoth century figures of Parsvanatha with seven-headed cobra overhead are installed in the Gud hamanda pa. The Jina figure in the sanctum is of a subsequent date. After getting the readers acquainted with the iconic content of the Kumbbaria temples, I would like to note some concluding points in the following lines. First and the most important of all is that even at such a developed stage of the Jaina iconography the artists at Kumbbaria and so also eleswhere in the Western India, omitted the representation of all the Yaksa-Yaksi figures independently or with their respective Jinas. Barriog a few instances of Rsabhanatha and Parsvanatha where the accompanying raksa-raksz figures are those canonically associated with them, the Sarvaoublut raksa, and Ambika rakst, enjoying undoubtedly the highest position in the group of the 24 Yaksa-Yaksi pairs, were represented as the raksa-Yaksi figures of all the Jioas. The popularity of the aforesaid raksa-Yaksi pair is further evidenced by their frequent 1. For further details consult, Tiwall, Maruti Nandan Prasad, 'Kumbharia ke Sambhavanatha Mandir ki Jaina Deviyan,' Hindi Anekanta, Yr. 25, No. 3, July August 1972, pp. 101-103.

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14 Maruti Nandan Prasad Tiwari occurrence on the door sills, pillars, ceilings and the walls of all the Jeina toples at the site. However, this has not been the case with the Jina images of Central India, especially froin Madhya Pradesh and Uttar Pradesh. It is also surprising that the artists generally o.nitting the representation of the respective coguzances of the Jinas preferred, 1051ead, to mention the maine of the Jinay in the throne inscriptions. The representations of the two elephants, a four-armed goddess (carrying either loruses or lotus and manuscript in two upper hands and representing possibly Sattide) in the centre and two deer, flankiny dod facing the dharmacukru, on the throne of the Jina iniages are also the features confined only tu the Jina images from Western ladia. In the list of other Yaksa and rahsi ligures, finding independent place in the Jaina teinples of Kuinbharia, mention may be made of Gomukha, Brahinasauti and Dheranendra raksas; and Ctkresvari, Nirvani and Padinavati Taksis. In the list of the sixteen Jaina Mahavid yas only some were accorded the most favoured position; they are Rohini, Cakresvari, Vajrankusa, Vajcasinkhala, Mahakali, Acchupta, Varotya, Mahawanasi and Sarvastra. Mabajvala, Sarasvast and Laksmi (specially Gajalaksini) are among the other popular Jaina goddesses who have cnormuusly been carved in the Kumbbaria temples, Besides the goddesses, the Asta-dikpals, Ganesa, and the mothers and the parent of twenty-four Jinas were also given due iniportance in these temples Of even more significance for the study of the Jina iconography is the representation of narratives from the lives of the different Jinas at Kumbharia, also occurring at other places in Western lodia, which, of course, are rarely met with in the contemporary Jaina temples of Central India and other regions (See Fig. IV, V) Regarding iconography of all the divinties, other than those clajming artists' innovations, it may be said, in conclusion, that the vahana and the distinguishing symbols, peculiar to a particular deity, are shown in conformity with the S'vetambara works.

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APASTAMBA'S VIEWS ON INHERITANCE Surabhi Sheth A study of the Dharmiasatras is important for understanding the social and religious norms of carly society. As MM. Kane puts it : 'Their principle purpose is to dilate upon the rules of conduct, law and custom'.1 The i pustiba-Dharma-sitra (AP-Dh. S.) belongs to the Taittiriya sakha of black Yajurveda and dates betwcen 450-350 B, C. In this article, an attempt is made to analyse the views of Apastamba on Inheritance. The problems of division of property and inheritance are treated at length in the AP-DI-s. In the very first sutra, AP says that (1) the property should be divided by the father during his lifetime, (ii) the property should be divided equally among his sons (a) except the eunuch, the mad man and the outcast and (6) after having gladdened the eldest son dy sent (choice) poruon of his wealth ? As the division of property is to be done during the father's lifetune, it seems that the householders were supposed to become hermits or ascetics, during the rest of their life. But Gautamu clearly ays (XXVIII 1) that partition should be made after the death of the father. It may be done during the father's lifetime, if he so wishes, provided the mother is past child-bearing (XXVIII. 2), Haradatta, a couinentator on Apastamba, here introduces a whole chapter on the division of a father's estate among his sons supplementing Apastamha's short rule by the texts of other lawyers. No doubt, Apastamba means to lay down, in these and the following sutras, only the leading principles of the law of inheritance and he intends that the remaining particulars should be supplied from the law of custom or other Smrtis. Ay mentioned above, AP. excludes a eunuch, an insane person and an outcast. According to Baudhiyana, the blind, idiot, eunch, one immersed in vicey, ail'liced with an incurable malady, one who neglects one's duties Aud occupations and an outcast are excluded from the inheritance, Manualse states that the cunuch, the degraded, one who is blind and veai frum birtli, insanc, inibecite, dumb and one without a limb cannot 1. Kunt. V, History of Dhrungstra (HL), Vol. I, Pt. I, P. 21. %. Ibiil., 2sicl., p. 71). 3. ekanana jagATa nApayitvA mIvan putrebhyo dArya vibhajet samaM klIbamunmattaM patitaM ca parihApya / Al. II, 6.13.13 Q. II. 6.141. 4. Bolales, 11n, of A1.Dh S., SBE series, p. 132, f n. 5. Vatr S.C. 1 11, Dhama-ulras, A Study in their origin and Development, p. 117,

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Surabhi Sheth get any portion from the father's property. The general opinion is that they should, however, be maintained by those who take the inheritance and their progeny can be given a share. About a preferential share to be given to the eldest son, there is a difference of opinion among the various Acaryas. In the above sutra, in the words 'ekadhanena jyestham tosayitva', Apasta nba grants the eldest son's right to inherit some choice portion of wealth in addition to his share which will be equal to that given to other sous, but here he does not specify which iteins could constitute that choice portion of the wealth which has to be given to the eldest son alone After this be cites the opiulon of others who declare that the eldest son alone is entitled to inherit the property.? Haradatta comments that the other sons should live under his protection. In some countries, gold (or) black cattle, (or) black produce of the carth is the share of the eldest in the next sutra, Apastamba comments that the chariot and the furniture in the house are the father's share. This implies that in the choice portion of the eldest son, the father's special share can be included. According to Vasistha (XVII. 42-45) the eldest son takes a double share and a tithe of the kine aad horses; the goats, the sheep and the house belong to the youngest son, and black iron, utensils, and furniture go to the middlemost. Baudhayana specifies the additional share of the eldest by stating that according to the order of the four castes, the eldest son gets a cow, a horse, a goat and a sbeep (II. 2. 3. 9). Apastamba contends that the eldest son may be given a choice portion of wealth and after pleasing him thus, the rest of the property may be divided equally among all the sons, but Apastanba does not agree with the opinion of some other Acaryas who entitle the eldest son alone to inherit property. He says that the Sastras forbid any preferential treatment to the eldest son, 11 According to Apastamba, the Sastras give both the views, viz, U) that the eldest son should be given preferential treatment, 12 and (c) that all sons should be given equal treatment since Manu 6. Cf. tigit stefaal seu tafatt ayti IFHEYET #fafaf fagt: #1 Manu 9.201 7. '578741474 * AP. Dh.S 11.6.14,6, cf. Gautama (xxviii, 19) ar garnata vibhUyAt pitRvt'| 8. cf. Colebrooke, Mitak sari, Ch. I, Secl, iii, Par. 6. 9, fat gayon ma: F 4 F 1 Ap. II. 6.14.7. 10. u: fia: afoga Ap. II, 6 14.8 11. t rafalgar 1 AP, II, 1,14.10 12. maila alipsie, ga wata faqatgalega AP. II, 6.14.12

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Apasatamba's views on Inheritance divided his whole property equally among all his sons. But according to Apastamba, neither of the views represents rule of the time, since both are anuvadas and therefore mere statements of facts. Hence, according to Apastamba, all the sons who are virtuous14 inherit the property, and those who are unrighteous will be disinherited, even though the eldest son may be among them.15 In earlier, sutras,16 Apastamba clarifies his position by saying that the sons begotten by a man who approaches in proper season a woman of equal caste, who has not belonged to another man, and who has been married legally, have a right to follow the occupation of their castes and to inherit the estate, if they do not sin against either of their parents.17 Thus he says that if the Apastmba states that on failure of sons, the nearest sapinda gets the inheritance.18 That at this juncture, he does not mention the widowed nother to inherit the property is significant, since, it seems that Apastamba, like Baudhayana, did not consider women and specially widows, fit to inherit, though after giving remote relations a priority in the inheritance, ultimately, he allows the daughter to partake it. sapindas are also not avaliable, the spiritual teacher inherits, on his failure, a pupile or the daughter may take the inheritance. This stra seems to place the daughter on an equal footing with those who are mentioned after the sapinda. As regards pupil, there is a condition that he may use the heritage for religious purposes for the benefit of the deceased. And on failure of all relations, the king takes the inheritance, 17 Apastamba makes one clarification with regards to the wife's share in the husband's property. He states that no division takes place between husband and wife 22 because from the time of marriage, they are united 13. manuH putrebhyo dAyaM vyavadityavizeSeNa zrUyate XP. II. 6.14.11 14. sarve hi dharmayuktA bhAginaH AP. II. 6,14,14 15. yasvadharmeNa dravyANi pratipAdayati jyeo'pi tamabhAgaM kurvIta AP II. 6.14.15 16. savarNApUrvazAstravihitAyAM yathartuM gacchataH putrAsteSAM karmabhirasambandhaH / AP. II 6.13.1 17. dAyena cA'vyatikramambobhayoH / Xp. II. 6.19.2 18. putrAbhAve yaH pratyAsannaH sapiNDaH / AP. II. 6.14,2 19 tadabhAve AcArya AcAryAbhAve'ntevAsI itvA tadartheSu dharmakRtyeSu vopayojayet / 20. duhitA vA / AP. II. 6.14.4 21. sarvAbhAve rAjA dAyaM haret / AP. II. 6.14 5 22. jAyApatyorna vibhAgo vidyte| AP. II. 6.14.16 Sambodhi 2.1 AP. II. 6.14.3

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18 Surabhi Sheth In religious ceremonies and therefore they share all the rewards of works14 which accrue spiritual merit and the acquisition of property,26 but points out the opinion of some (eke) that the wife's share in the property consists of ornaments and wealth received from her relations, 2. 23. pANigrahaNAdi sahatvaM karmasu / AP. II. 6.14.17 24. tathA gorphaLepu | AP. II. 6.14.18 25. imyaparipraheSu ca (AP. II. 6.14.19 26. alaMkAro bhAryAyAH jJAtidhanaM cetyeke / AP. II. 6,14.9

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* EVOLUTION OF THE JAINA TREATMENT OF ETHICAL PROBLEMS K. K. Dixit The inner-community differences of the modern Jainas are chiefly centred around three questions, viz. (1) Whether the original Jaina Scriptural texts are yet intact, (2) Whether it is proper for a monk to put on any clothing whatsoever, (3) Whether the worship of icons is a desirable religious practice. Thus the first two questions are answered in the negative by the Digambara sub-sect and in the affirmative by the Svetambara sub-sect; similarly, the third question is answered in the negative by the important section of Svetambaras designated Sthanakavasin (which, it might also be noted by the way, disputes the authenticity of some 13 minor scriptural texts counted as genuine by the remaining body of Svetambaras). The three points of difference in question deserve consideration in a proper historical perspective. Let us take them up one by one, On the face of it it sounds odd that a religious sect should confess that in the course of historical process it long ago came to lose possession of all its original scrlptural texts. But tbis is precisely what the Digambara sub-sect of the the Jainas seems to be doing. And yet the stand adopted by it on this score is not altogether odd. For the fact of the matter is that on almost all important theoretical questions the positions now-a-days considered to be characteristically Jaina are the end-product of a considerable long historical evolution. And in the early Jaina texts wbich alone could have been assigned the title Scripture it is the early stages of this evolution that are to be met with-and naturally. This surmise is amply confirmed by a perusal of the genuinely old portions of the texts treated as scriptures by the Svetambara sub-sect. Thus it must have been the absence in these texts of ap exposition of the classical Jaina positions on important theoretical questions that created in the mind of the latter-day Digambaras a misgiving as to the authenticity of these texts, a misgiving that in due course culminated in an actual repudiation of their authenticity. However the difficulty scented by the Digambaras could not but have been encountered even by the Svetambaras, but the latter came out with a diffe'rent solution of it. Thus they imagined that a considerable portion of the

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K. X. Dixit original Jaina scriptural texts had been gradually lost by the time the remaining VOC was given the form in which it is with us to-day and siace long. It can easily be seen that theoretically speaking the Digambara and Svetarnbara stands in Question were essentially similar, but the practical outcome was vastly diffetent in the case of these two. For in view of their specific stand it came about that the latter-day Svetanbura scholars endeavoured as best they could to preserve the oldest stratum of Jaina literature, For if this stratum is to be detected anywhere it is somewhere with the body of the texts treasured as Scripture by the Setalubara sub-sect. Of course, only too often did the latterday Sveta mbara scholars misread into an ancient text positions that were formulated in a considerably late period, but for this responsibility chiefly Les math that absence of a historical outlook which is so characteristic of Almost all medieval Indian authors of whatever hue. lo any case, it rema. is for a historical minded modern student of Jainism to show that if an Encient Jaina text contains a luter developed position it can at the most contain it in a seed forun. However, in this task too considerable belp cornes from those very commer tarles on these ancient texts which were written by the latter-day Svetambara schulars belonging to different historical periods, Naturally, the later Digambura scholars could not participate in the sacreu task of preserving the letter of the ancient Jaina texts in question, but by way of compensation as it were they did their utmost to preserve and propagate what they understood to be the spirit of those texts, an understanding which was almust wholly shared also by their Svetambara contemporaries. For this understanding emerged from the later developed classical Jaipa positions and su far as they were concerned there was little tu differentiate between the respective Diganbara and Svetambara stands pertaining to them. Thus the latter-day Digambara scholars as well as the latter-day Sveranbera scholars were of the view that the positions defended by them had been expouaded in the original Jaina scriptural texts, but a differencewhich, as has been just noted, was trivial in one respect and not so in another - arose when the former further contended that in due course the texts in question were all lost and the latter that in due course they were largely lost, And the understanding pectaining to the gradual loss of the original scriptural texts was a part and parcel of a larger understanding to the effect that in our times the whole of human development is on the downgrade. For the classical Jaina scholars divided one round of the everrepeating time-cycle into an ascending half and a descending hall, the duration of each covering years whose number was of truly astronomical order; and it was believed by them that we are living in a period falling towards the close of the descending half of a particular round of timecycle that is, in a worst imaginable period of time. However, in the

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Evolution of the Jaina Treatment of Ethical Problems descending half of a round of time-cycle as in the ascending half-SO believed these Jaina scholars--there appear from time to time personages of highest spiritual merit -- called Tirthankara - who re-establish the Jaina order on a new footing; the descending half to which we belong had for its 24th and last Tuithankara Mahavira whose date was 599-527 B.C., for its 23rd Tirthankara Parsva whose dale was 877--777 B.C. In view of these predominantly mythological beliefs of theirs it was rather easy for the classical Jaina theoreticians to suppose that good many desirable practices were possible of performance in the times of Mabavira and ceased to be so in due course. And retaining in memory the original Jaina scriptural texts was but an example of such practices. The notion as to what these texts are and how they caine to be composed is equally much coloured by mythological considerations. Thus it was maintained by the Digambars as well as Svetambaras-that the most fundamental Jaioa scriptural texts are the twelve Angas composed by the direct chief-disciples of Mabavira on the basis of what they had learnt from the Master himself. As regards the identity of the extra-Angic scriptural texts there is no unanimous tradition except that there were some such texts and that they were composed by the Savaots of the early post-Mahavira era. The classical Digambara scholars came to maintain that the extra-Angic scriptural texts were as much lost to memory as were the Angas. On the other hand, the classical Svetarbara scholars treated as extra-Angic scriptural texts 12 U pangas, several Chedasutras, Dasavaikalika, Uttaradhyayuna, Anuyogadvara, Nandi, etc., but they too had no fixed tradition of saying that these texts and no other were to be treated as extra-Angic scriptural texts; [the current orthodox Svetambara practice of treating 34 particular texts as extraAngic scripture and the current Sthanakavasi practice of treatiug 21 out of these as such are very late - almost modern.]. In the background of this much information let us critically examine the views-maintained in common or differing from one another-by the classical Digambara and Svetambara scholars as to the origin and subsequent fate of the Jaina scriptural texts. As has been just noted, the classical Jaina scholars-Digambaras as well as svetambaras-believed that their most fundamental scriptural texts-the twelve Angas-were composed by the direct chief-disciples of Mahavira. Of course, these scholars did not consider Mabavira to be the founder of the Jaina church (for this Church-so they thought-being eternal did not have a founder) but only the last Tirthankara of the current descending half of the current round of time-cycle. However, for all practical purposes Mahavira was considered by them to be the founder of the Jaina church, for a Tirthankara is after all supposed to be one who re-establishes the Jaina order on a new footing. And in view of such an exalted position accorded by them to Mahavira it was but natural

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22 K. K. Dixit for them to claim that their most fundamental scriptural texts somehow incorporated the words of Mahavira, and to say-as was actually done by them that the twelve Angas were composed by the direct chief-disciples of Mahavira on the basis of what they had learnt from the Master was as good as saying that these texts incorporated the words of Mahavira. But a perusal of the eleven Anga-texts of the present-day Svetambara canon (the twelfth-viz. Drsttodda-having been declared by the Svetambaras themselves to have been lost long ago) convinces one that almost each of them is made up of portions composed by different persons at different periods of time What has most probably happened is that these different portions were composed by different persons at different periods in the early postMahavira era, then were compiled in the form of different Anga-texts, and finally were attributed in retrospect to Mahavira himself; (many additions were made to these texts even much later). Thus it is difficult to assent to the orthodox Svetambara contention that the eleven Anga-texts of the present-day Svetambara canon are the meagre remnants of the twelve Anga-texts that were composed by Mahavira's direct chief-disciples; and the orthodox Digambara contention that there were once in existence twelve Anga-texts composed by Mahavira's direct chief-disciples with which, however, the eleven Anga-texts of the present-day Svetambara canon have nothing whatsoever to do is still more unworthly of credence. So what has to be done is to subject to chronological startification the entire body of Svetambara canon-without laying undue emphasis on the distinction allegedly obtaining between its Angic and extra-Angic sectors. For as a matter of fact, most and the most important of the extra-Angic scriptural texts too are all made up of portions that were composed by different persons at different periods in the early post-Mahavira era (and in them too additions had been made even much later), Lack of system is a most conspicuous feature of most of the Jaina canonical texts and that lends good support to the surmise that they are of the form of compilation made out of a pre-existing material. The first such compllations seem to have been the eleven (or twelve) Angas, for otherwise it is difficult to make out as to why the later authors should make so much of them. And it would seem logical that these particular compilations were made at a period sufficiently posterior to the time of Mahavira and sufficiently prior to the time by which a mythology-laden account of them had been given currency. As a matter of fact, much of the Jiana mythology-pertaining to cosmographic as well matters-is a sufficiently late growth, and the tradition regarding the comas historical position of the Anga-texts is an integral part of the historical sector of this mythology. However, even certain extra-Angic texts contain material that is pretty old-perhaps, older than the late material of the Angic texts

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23 Evolution of the Jaina Treatment of Ethical Problems themselves. For example, among the Algas the oldest material is to be found in the Acaranga I Srutaskondha and Sutrakrtonga I Srutaskendha, but certain chapters of Uttaradhyayana-an extra-Angic scriptural text-do not seem to be much later. In any case, there is need for working out the criteria on whose basis it might be possible to subject to a chronological stratification the entire body of the Jaina canonical texts. Later on, we shall ourselves be devising criteria for tracing the evolution of the treatment of ethical problems as met with in these texts, but meanwhile let us dispose of the two other points of difference that divide the Jaina community. II The classical Digambara scholars maintained the view that a Jaina monk ought to go stark naked; as a matter of fact, the very name 'Digambara' signifies an advocate of nakedness. Even the classical Svetambara scholars could not outright reject the idea that nakedness is a highly desirable monastic practice, for they too, just like their Digambara counterparts, believed that Mahavira himself was a naked ascetic. But these Svetambara scholars came out with an amendment to the effect that nakedness was no more a possible practice ever since the time of Jambu, the third patriarch of the Jaina church after Mahavira. And this amendment of theirs was based on that well known consideration that ways of the world are going from bad to worse as time passes on, a consideration that could not lose upon the Digambaras even. For using this very consideration both the Digambaras and Svetambaras came to maintain that attainment of moksa-the summun bonum of man's all desirable endeavour - is no more a possible proposition. Strictly speaking, the position was that attain. ment of moksa is no more possible in our parts of the universe - it being well possible in certain other parts of it posited by the Jaina cosmographic mythology. This is an example of how the Jaina position as to what desirable proctices are possible now and what are not possible got mixed up with all sorts of mythological notions cosmographic and historical. Be that as it may, from the theoretical stand point it was sheer a possible chance that the Digambaras maintained that nakedness is practice for all time to come while the Svetambaras that it has ceased to be so ever since the time of Jambu. However, even from the practical standpoint the difference between the Digambaras and Svetambaras was perhaps not as sharp as it appears, For Jainism is a monastic religious sect in the sense that spiritual supervision of the laity is here the responsibility of the world-renouncing monks, so that if anywhere and at any time there happens to be developed a considerable community of Jaina laymen then a fairly large number of

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24 K. K. Dixit Jaina monks become the need of the hour. But in a civilized society it is not possible for a large number of persons to go naked. So practical compulsigns led to the emergence within the Digambara Jaina community of a class of personages who would practise all sorts of austerities short of nakedness and would provide spiritual supervision to the mass of laity. And as such these personages were little distinct from the ordinary Svetainbara monks. Yet controversy on the question of nakedness versus otherwise raged in all fury in good number of important Digambara and Svelambara texts of the classical period. And that was a symptom of times. For those times the numerous sub-sects of the same religious sect would lay all-out ophasis on the minor and obscure points of difference that divided them from one another. For example, this was the case with so many sub-sects of Buddhism regarding which our only current source of imformation are the second-hand reports dilating on such minor and obscure points of difference, Similar was the case with the Digambara and svatambara subsects of Jainism and nakedness was just one item of a long catalogue of minor and obscure polots of difference that divided them from one another, True, nakedness was the most important item of this catalogue and perbaps the two next most important of its items were the possibility or otherwise of a woman attaining moksa' and 'the possibility or otherwise of an omniscient personage taking meal'. But in connection with none of these itens - not even in connection with the most important of them - there was said much that was truly worthwhile. III The difficulty urged by the Sthanakavasins against the orthodox Svetambaras had its own importance. Thus since long had the Jainas been indulging in the practice of idol-worship, but the Sthanakavasins pointed out that this practice is not found mentioned in any of the old Agamic texts. Of course, had they been only insisting that the old Agamic texts do not contain stray references to the practice of idol-worship their position would bave been vulnerable, for these texts do contain such references and the Sthanakvasias had enough difficulty about accounting for them, & difficulty that was mostly obviated by explaning away the references in question. As a matter of fact, however, the issue raised by the Stbanakvasins had a much deeper import. For it is only in the later Jaina texts that the practice of idol-worship has been recommended as one of the chief religious duties of a Jaina, though the noteworthy circumstance is that even here the person had in view is a Jaina layman and not a Jaina monk. As for the oldest Agamic texts they do not at all envisage the possibility

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Evolution of the Jaina Treatment of Ethical Problems 25 of there being a Jaina layman at all, their preoccupation being with a Jaina mork. But even later Agamic texts which explicitly and elaborately expound a Jaina layman's religious duties do not in this connection recommend the practice of idol-worship. In view of this all the Sthanakavasi case becomes almost unassailable--like the Aryasamaja case that the Vedas do not recommend the practice of idol-worsbip. And the analogy is not at all superficial. For the Sthanakavasi sub-sect of Jainism originated in the midst of the favourable anti-idolatry atmosphere generated by the advent of the Muslim rule in India, just as the Arya samaja sub-sect of Vedicism originated in the midst of the favourable anti-idolatry atmosphere generated by the advent of the Christian-British rule in India. Both these sub-sects found solace in the discovery thut their respective old scriptural texts were free from all tinge of idolatry, but both were faced with the hard fact that the mass of their co-religionists had turned downright idolatrous long long ago. For in what might be called the post-canonic phase in the history of Jainism the entire mass of Jainas had openly and euthusiastically embraced idolatry, just as in what might be called the Puranic phase in the history of Vedicism the entire mass of Vedicists had done so. Even so the success of the Sthapakavasins among their fellow-religionists was relatively greater than that of the Aryasamajins among theirs. (Incidentaly, it might also be noted that an anti-idolatry trend - called Taranapanthaarose in the midst of the Digambaras as well; but this trend was much less influential than the Sthanakavasi trend arisen in the midst of the Svetambaras. The reason for this was that by the time the anti-idolatry movement was afoot the Digambaras bad, for various historical reasons, ceased to be a developing community.) This much analysis of the most important points of difference dividing the most inportant modern sub-sects of Jainism was necessary, for in much theoretical discussion conducted by the Jainas themselves these points unfortunately loom large. Not that these points are negligible, for even if trivial in themselves they are of considerble historical significance. Nevertheless, it is necessary that they be emphasized within proper proportions. Thus while evaluating the contribution made by Jainism to the treasure-house of Indian culture one should bring to prominence the so improtant things that unite all the Jainas rather than the so trivial things that divide them. It is in conformity to this understanding that we below consider the Jaiaa treatment of ethical problems in its historical evolution. A classical exposition of the Jaina ethical positions is found in Unasvati's Tattvarthasutra. This text undertakes a systematic treatment of the seven tattvas or fundamental verities posited by classical Jainism, and of these verities Sambodhi 2.1

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26 K. K. Dixit the first two pertain to the sphere of ontology, the remaining five to the sphere of ethics. For they are jtva, ajiva, asrava, bandha, samvara nirjara and moksa: and a treatment on Umasvati's part of the verities jiva and ajiva is an optological treatment of the animate world and the inanimate world respectively, while a treatment on his part of the verities asrava, bandha, samvara, nirjara and moksais a treatment of what he considers to be the most fundamental ethical problems. Thus bandha stands for the world career of repeated births and deaths, moksa for an absolute release from such a career; similarly, astava stands for the plienomenon of the karmic particles of a physical nature seeking to gain entry into an individuat's soul as a result of his good or bad acts, samvara for the phenomenon of these karmic particles being denied entry into an individual's soul, nirjara for the phenomenon of the earlier entered karmic particles being expelled out of an individual's soul, Even this bare paraphrasing of the words denoting Umasvati's five verities pertaining to the sphere of ethics - particularly of the words asrava, sampara and nirjara - bristles with technicalities. It is therefore necessary to clearly trace the origin and historical evolution of these verities. Since very old days a most conspicuous feature of the Indian thoughtworld bas been the doctrine of transmigartion. True, it is absent in the oldest stratum of Vedic literature, but it does make its appearance in the latest. And as for Buddhism and Jainism, even the oldest literary pieces produced by them are found to exhibit familiarity with this doctrine. Confining ourselves to Jainism, let us examine how on this question matters stand in details. In the classical Jaina version of the doctrine of transmigration a most conspicuous ingredient is the concept of karmic-particles treated as a type of physical entities, Thus according to the classical Jaina authors, whenever a being performs an act - good or evil - that is to bring about fruit at a later occasion - in this life or some future one -- then physical particles of an appropriate description - called "karmic physical particles' or "karmic particles' - get attached to this being's soul and remain attached to it till the fruit in question is actually brought about; after that is done the physical particles in question take leave of the soul in question. It is only in the background of this whole theory that Umasvati's concept of asyada, samvara and nirjara can be properly understood. For as we have seen, his asrava stands for the phenomenon of the karmic particles seeking to gain entry into a soul, bis sanyara for the phenomenon of these parti. cles being denied entry into a soul, his nirjara for the phenomenon of the carlier entered karmic particles being expelled out of a soul. The whole thing can be made crystal clear with the help of an illustration advanced 10 the Bhagavaltsutra - the illustration of a boat-with-hundred-holes

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Evolution of the Jaina Treatment of Ethical Problems floating on water, In case the holes are left uncovered water is bound to gain entry into the boat this corresponding to the process of asrava; in case the holes are properly covered water will be denied entry into the boat this corresponding to the process of samvara; in order to render the boat safe that water ought to be drawn off which had entered into it before the holes had been properly covered this corresponding to the process of nirjara. And yet the fact remains that within the body of Jaina doctrines the concept of karmic physical particles is a rather late growth. Let us therefore trace the 'pre-history'- so to say - of the classical Jaina version of the doctrine of transmigration. 27 On various grounds which need not be detailed just now - the Acarangasutra I Srutaskandha and the Sutrakrtangasutra I Srutaskandha prove to be the oldest available Jaina texts. And in these texts the problem of transmigration and moksa is touched upon time without number. Thus they tell us as to what evil acts lead to one's involvement in the cycle of transmigration and what good acts lead to one's release from this cycle. Occasionally, they also come out with the view that an extra-corporeal soul it is that undergoes transmigratory cycle and attains moksa. (The very first chapter - out of nine of the Acaranga I Srutaskandha is in a way an elaborate vindication of the reality of an extra-corporeal soul), But the mechanism of transmigration and that of moksa are nowhere worked out in details in these texts. Thus unlike the latter-day classical Jaina texts dealing with the problem of transmigration and moksa, our present two texts do not describe how as a result of one's acts likely to bear fruit at a later occasion the karmic particles of an appropriate description seek to gain entry into one's soul, how these particles remain attached to one's soul till the fruit in question is actually reaped, how these particles are purged out of one's soul once this fruit is actually reaped, etc. It is only in the Bhagavattsutra that beginnings of a theory of karmic physical particles make their appearance. Thus this text works out the details of this theory chiefly within the framework of a triad of concepts - viz. bandha, vedana, and nirjara: Here bandha stands for the process of the karmic physical particles gaining entry into a soul, vedana for the process of this soul experiencing the fruit concerned, nurjara for the process of these particles being purged out of this soul; (on a few occasions the word bandha is replaced by asrava' and, picturesquely, asrava might be said to stand for the process of the karmic physical particles rushing towards a soul, bandha for the process of these particles actually getting attached to this soul, but from the standpoint of strict theory the two words are absolutely synonymous). However, two latter-day extensions of the theory of karmic physical particles are almost foreign to the Bhagavatisutra and this as follows : -

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K, K. Dixit The classical Jaina authors like Umasvati speak of asrava, samvara and nirjara as three types of ctbical activities - the first supposed to cause karmic bondage, the second supposed to prevent karmic bondage, the third supposed to purge out the karmas carlier bound down. This usage is unknown to the Bhagavatisutra which only in a general manner speaks of good and evil acts - the former supposed to loosen karmic bondage, the latter supposed to strengthen it. Thus so far as the simple ethicul classification of acts into good ones and evil oncs is concerned the Bhaguwatisutra just carries forward the tradition of the old texts Acaranga I Srutash dha and Satraktanga 1 Srutaskandha; what it newly introduces 15 the coacept of karmic bondage supposed to be loosened by good acts and to be strengthened by the evil ones. It is only in a stray dialogue that the Bhga:atisara somewhat approaches the usage of the latter-day theore. tician, Thus there the question is raised as to what is the result of sam yana (= restrain) and tapas (=penance); and the answer forthcoming is that the result of the former is anasraua (= absence of asrava), that of the latter vyavadana (= purification). By way of answering the same question - and answering it in the same way - the latter-day theoretician would use the word sumpara instead of anasrava and nirjara instead of vyavdana, and the fact that the Bhagavatisutra does not resort to this latter-day usage tends to support the surmise that this latter-day usage had not yet become standardized. And as just bioted, even the dialogue in question is a stray dialogue of its type in the Bhagavatisutra. The classical Jaina authors like Umasvati speak of two type of asrava, a good one and an evil one - the former causing the bondage of good karmas (i. e, karmas yielding desirable fruits), the latter causing the bondage of evil karmas (i. e. karmas yielding undesirable fruits). But this usage is unknown to the Bhagavattsutra which would only concede that good acts cause the loosening of karmic bondage, the evil ones the strengthening of the same. Certainly, there are narratives where it is described how as a result of his good acts a person received a desirable next birth and how as a result of his evil acts he received an undesirable one and it was out of considerations like these that the doctrine of good and evil karmas was subsequently formulated. But the point is that in its genuinely old discusslons pertaining to the doctrine of karma the Bhagavafisatra seldom concedes the possibillty of there being a thing like good karma; it can at the most say that desirable fruits will be reaped if no karmas are bound downnot that desirable fruits will be reaped if good karmas are bound down. of considerations lit acts he received an u desirable next birth stone cully furioulated. Buthan the doctrioe of ond one and it was a

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Evolution of the Jaina Treatment of Ethical Problems We have seen that the Bhagavatisutra conducts its discussion of karmadoctrine within the framework of a triad of concepts viz. bandha, vedana and nirjara. In course of time the concept of bondha was coupled with that of moksa, the concept of vedana with that of nirjara and it was held out that these two concept-couples were a speciality of the Jainas. Now the concept-couple vedana and nirjara was obviously a Jaina speciality but as conceived by the Jaina theoreticians even the concept-couple bandha-andmoksa became such a speciality. Later on, asrava and samvara were coined as technical terms, the former standing for the evil acts causing the forging of karmic bondage the later for the goods acts causing the prevention of the same. Lastly, when karmas were divided into a good type and an evil oue a new concept-couple was introduced in the form of punya-and-papa, the former standing for good karmas, the later for evil ones. On the other hand, the ontological speculations of the Jainas had already led to the positing of a verity ajiva ( not-soul) by the side of jiva (= soul), an instance of the ajiva substances being the karmic particles themselves. The process of formulating concept-couples went on still further but for our present purpose we can ignore that. For the point is that at long last thus came into existence that long compound which occurs at the beginning of so many old narratives and which says about an orthodox Jaina that he was conversant with the cotegories jiva and ajiva, punya and papa, asrva and samvara, bandha and moksa, vedana and nirjara, and so on and so forth. And when the classical Jaina theoreticians felt the need for framing a concise catalogue of fundamental verities which should cover the whole range of phenomena ontological as well as ethical that were worth investigating, they selected nine from the compound in question. Thus was adumbrated the celebrated Jaina doctrine of nava-tattua or nine fundamental verities' where the verities in question are jiva, ajiva, asrava, samvara, punya, papa, bandha, nirjara and moksa, and an author like Umasvati reduced the number of fundamental verities by two by treating punya and papa as two sub-items falling under the item asraya, It was under the influence of this doctrine of tattvas - nine or seven that later copyists expunged the word 'vedana' from that long compound qualifying an orthodox Jaina. For strictly speaking, vedana and nirjara and so also bandha and moksa were ontological catagories - just like Jiva and ajwa. For all practical purposes even the classical Jaina theoreticians treated bandha and moksa as ontological categories, for in connection with discussing them what they would do was to describe the mechanism of karmic bondage and moksa - an essentially ontological description. But the category nurjara was treated by these theoreticians as an ethical category - just like asarva and samvara; for under this category were described the ethical acts penance, for example - which were supposed to relieve a soul of a vast burden of karmas at one go; hence it 1 29 A

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30 K, K. Dixit was that this category was decoupled from vedana which remained an ontological category even in the eyes of the classical Jaina theoretecians, Broadly speaking, this was the path traversed by the Jaina treatment of ethical problems from the days of the Acarunga I Srutaskandha and Sutrakstanga I Srutaskandha down to the days of Umasvati. However, things cannot be left there. For what has thus far been supplied is a mere skeleton of the matter, a skeleton that stands 10 need of being provided with flesh and blood. And to this task we address our selves next. In the times of Buddha and Mahavira the social atmosphere in India must have been somehow favourable for the growth of monastic communities. So many of them did in fact appear on the scene and two historically most important of them were those following Buddhism and Jainism, The latter-day Buddhism And Jajnism differed from one another in so many well known ways but what distinguished the two in the beginning is a matter of more or less valid conjecture. All evidence-primary, secondary, and still more remote - tends to confirm the surmise that Jainism demanded from a monk harsher austerities than did Buddhism. The question is if this particular point of difference has a social significance; it seems to have at least some. Thus all the monastic communities of those days stood for a renunciation of the regular society-that being the very first condition of their comlag into existence. But since all these communities depended on the regular society Itself for their daily requirements like food, clothing sbelter, etc. the harsher austerities a community chose to practise the more uncompromising attitude it could adopt towards the doings of the regular society. Here one might ask as to why at all a monastic community should adopt an uncompromising attitude towards the regular society; and by way of answer one should be told that such an attitude was implicit in the very circumstance of world-renunciation on the part of a monastic community, For why should a monk take leave of the world if in his eyes this world can possibly be a fit seat of residence ? Thus it seems quite plausible that a comparatively more austere code of the Jaina monastic community was indicative of its comparatively more hositle attitude towards the regular society. Of course, the question is yet full of difficulties, for It might be pointed out that a Jaina could as well be a householder as he could be a monk ; and since that was obviously the case in later bistorical times one might ask as to why the same was not the case in the bogioning. In order to answer this question one must have before his eyes a still more concrete picture of the social conditions of the times of Buddha and Mahavira, Let us see how that proves helpful.

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Evolution of the Jaina Treatment of Ethical Problems 31 By the times of Buddha and Mahavira the society of Vedic Aryans had reached a stage of development when the emergence of an affluent minority became a most conspicuous feature of it and the affluence of this minority was earned at the expense of the greater or lesser pauperi. zation of the majority. So when the monastic communities of those times were denouncing the lust for property-a denunciation implicit in the very act of world-renunciation on their part-they were in fact denouncing the misdeeds of the affluent minority standing atop the contemporary society. And the so wide prevalence of the monastic movement was proof positive that such a denunciation was most timely. True, in its innermost essence the monastic movement was a religious phenomenon - not a social phenomenon; but in those times religion stood much more intimately related to the vitals of social life than it is in our times. Nay, in those times religion was perhaps the most potent- if not the only-ideological vehicle of conveying a social message that was to prove effective. Certainly, it was precisely because our monks were 'men of religion-oot 'men of worldly affairs'--that their criticism of the spirit of acquisitiveness must have sounded so reasonable they themselves having no axe to grindso to say ); and it was as such that this criticism must have mitigated - to whatever extent possible - the ill consequences of the economic inequlity that had arisen in the contemporary society. Thus not to claim a special kinship with any part of the regular society was the very essence of a monk's career; hence it appears implausible that in those times there were Jaina householders just as there were Jaina monks. On this question the testimony of certain old Jaina texts is revealing and should be taken note of. It is not accidental that those oldest available Jaina texts-the Acaranga 1 Srutaskandha and Sutrakstafiga I Srutaskandha-do not at all envisage the possibility of there being any Jaina householders. Thus in these texts an ideal monk-that is, a Jaina monk in distinction from a non-Jaina one-is always contrasted to a householder as such without it being thought conceivable that there might be a person who is a householder as well as a Jaina. As a matter of fact, the tension built up between a monk and the regular society, particularly the former family-members of this monk-is a marked feature of these texts where social questions are touched upon. Thus in them the life of a householder is subjected to a trenchant criticism, the special dangers coming from the various quarters of the regular society and threatening a monk's composure are pointed out, the tempting offers held out by a monk's former family-members are graphically detailed. Of course, problems essentially similar to those were faced also by the latter-day Saina monks but their complexion qoderwent a qualitative change when householders

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32 K. K. Dixit became an integral part of the Jaina order so long confined to monks. For now criticism will be levelled not against the life of a householder as such but against that of a non-Jaina householder-just as uptil now criticism had been levelled against the life of a non-Jaina monk. Positively speaking, schemes for an ideal conduct on the part of Jaina householders will now be formulated just as schemes for an ideal conduct on the part of Jaina monks had been formulated uptil now. On the level of pure theory the new change was reflected in importance being attached to the element of faith-understood as a bare acceptance of the truth of Jaina tenets. A non-technical employment of the term faith (raddha) had occurred in the Acaranga I Srutaskandha when a monk had been exhorted to remain firm in that very faith which had impelled him to take leave of home, but in the stage now ensuing faith will always be spoken of in connection with a householder's meritorious qualifications. Nay, even the life of discipline-a type of life advanced beyond the life of mere faith because accompanied by certain wholesome restrains imposed by oneself on one's everyday practice-was now divided into a lower stage and an upper stage, the former supposed to be led by a specially devout Jaina householder the latter by a Jaina monk. Certainly, the triple division of ethical life into a life of faith' a life of partial discipline' 'a life of total discipline' is the most essential feature of the classical version of Jaina ethical teaching and it has been developed in hundred ways in so mony later canonical and post-canonical texts. However, what we are essentially offered in this connection is an answer to the following three questions : (1) Why is Jaina religion superior to other religions ? (2) How should a Jaina householder lead his daily life? (3) How should a Jaina monk lead his daily life? And still more strictly speaking, the first of these questions is not something over and above the second and third. For in the eyes of the Jaina theoreticians the superiority of Jaina religion over other religions lies partly in the superiority of the householders following Jaina religion over those following other religions and partly in the superiority of the monks following Jaina religion over those following other religions. Thus in order to grasp the essentials of Jaina ethical teaching a study has to be made of the life-Ideal of a monk as described in the Jaina texts belonging to different historical periods as also of the lief-ideal of a householder as described in those texts. The life of a monk as such was a life of many austerities but the life of a Jaina monk seems to have been a life of specially harsh austerities.

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Evolution of the Jaina Treatment of Ethical Problems 33 The Acaranga I Srutaskandha and Sutrakrtanga I Srutaskandha repeatedly dilate upon the hardsbips that a Jaina monk is expected to put up with and the theme was systematized by the later Jaina theoreticians in the form of the doctrine of 22 parisabas. All this might suggest that the Jaina authors were somehow conscious that their monastic code of conduct was particularly barsb. In fact, however, with the later authors at least the question could not have been one of emphasizing the barshness of their monastic code of conduct; wbat they would at the most emphasize was the appropriateness of this code of conduct. For example, the Buddhists are supposed to have been advocates of a rather mild monastic code of conduct, but in their disciplinary texts there are cases where an excessively mild practice is disapproved of just as there are cases where an excessively harsh practice is disapproved of. On the other hand, the Jainas are supposed to have been an advocate of a rather harsh monastic code of conduct; but the example of the Digambara-Versus Svetambara controversy on the question of clothing suggests that a Jaina theoretician too was ready to condemn what he considered to be an excessively harsh practice just as he was ready to condemn what he considered to be an excessively mild one. That is to say, in the manner already binted it was only in the earliest stage of Indian social development that the Jajnas seem to have been an advocate of a compara. tively harsher monastic code of conduct. The matter needs further consideration, In the course of bistorical development the monastic movement gradually lost its original social significance. For the social task of mitigating the ill-consequences of economic inequality which this move. ment had been performing in its own manner gradually became the exclusive concern of state, the process reaching some sort of culmination in the state-policy of Asoka, a policy in its essentials followed by the entire lot of subsequent Indian rulers. A by-product of this course of development was the circumstance that different religious sects and subsects-Brahmanical as well as monastic-gradually came to possess their respective exclusive circles of lay followers which, of course, would expand and contract with the change of conditions. And as thus constituted the different religious sects would now pursue broadly similar practices. A most noteworthy illustration is the practice of idol-worship which was sooner or later adopted by Brahmanism, Buddhism as well as Jainism though none of these religious sects had allowed for it in the beginning. And so far as Buddhism and Jainism were concerned the mutual simiJarity of practices went still further. Thus since very beginning the Buddhists were having their own monasteries where monks would put up for a longer or shorter period; but the Jainas till late objected to the practice of a monk staying at a building meant exclusively for bis use Sambodhi 2,1

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K. X. Dixit which is why the old monastic disciplinary texts of the Jainas always discuss the problem of shelter in the form of a problem of seeking shelter at the residence of a householder. But when the practice of idolworship was adopted by the Jainas as by the Buddbists the former too felt the need for having permanent structures where monks would put up and would preside over the cult of idol-worship. The Buddhists needed to build temple within the premises of their monasteries, but the Jaigas had start the practice of building monasteries-coupled-withtemples. It was thus that there canie into existence within the fold of Jainism the rovement called calty-vasa (meaning the practice of monks saving mithin the premises of a temple). The movement was widespread among the Digambaras as well as svetinbaras; but among both it was later on condemned as heterodox and was repudiated wholesale. However, even this repudiation did not snean a reversion back to the old stage of *20 monasteries and no temples' but advence forward to a new stage of monasteries and temples standing apart from each other'. It was the Stboakavasins who later on came out with the advocacy of 'no temples' but they too supported the practice of building monasteries; (as a matter of fact, the very name "Sthanakavasin' broadly signifies an advocate of monastery-building rather then temple building). [ It is interesting to note that Terapantha---an off-shoot of Sthana kavasios-repudiates the practice of monastery-building along with that of temple-building. As a matter of fact, a section of the Sthanakavasins proper too repudiates the practice of monastery-building, and the word Sthanakavasin itself is of father inte origin. It is in the background of this broad historical development that we have to evaluate the Jaisa texts dealing with the problems of munastic discipline and composed in different periods-as also those dealing with the problems of a householder's religious duty and composed in different periods. In each case we will have to judge as to how far aware che later authors were of the bistorical changes that took place before their eyes. We have already noted that these authors quarelled so much on the question of nakedness versus otherwise which was after all an utterly impractical question. And we might find that they were not aware as to how much radical a departure from the practices of original Jainism was the practice of idol-worship. We have argued that the old texts Acaranga I Srutaskandha and Satraktariga I Srutoskandha do not envisage the possibility of there being any Jaina bouscbolder. The argument is based not only on the negative ground that these texts do not mention a Jaina householder but also on the positive ground that they condemn the life of a householder as such. Certainly, the Acuranga statement 'only the negligent one stays at home' is to categorical to leave one in doubt on that score, But

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Evolution of the Jaina Treatment of Ethical Problems grant for argument's sake that the passages construed by us as condemning the life of a householder as such in fact condemn the life of a non-Jaina householder in the spirit of the latter-day Jaina texts. Even then the fact remains that these old texts confine their treatment of practical problems to the sphere of the ethical performance--without ever touching the sphere of cultic performance. It is only in the Bhagavatisutra that we first find mentioned two cultic performances-both supposed to be undertaken by a Jaina householder : one of them is called Samayika, the other Pausadha, The reference to Samayika occurs in a rather curious dialogue where the question is raised that if while a Jaina householder is performing Samayika his wife 1s kidnapped by someone then whose wife it is that has been kidnapped. The answer forthcoming 19 that it is this Jaina householder's own wife that has been kidnapped, the reason being that even if he declares that things of the world do not belong to him he is not yet free from an attachment to these things From this it becomes clear that Samayika is conceived as a sort of cultic performance during which a householder makes declaration to the effect that things of the world do not belong to him. But it also seems clear that in the dialogue in question the householder performing Samayika is being subjected to ridicule. For to hint that even while saying that certain things do not belong to him a man is yet attached to these things is to imply that this man is uttering falsehood. And that is something intriguing-particularly in view of the fact that a Buddhist canonical passge ridicules on this very ground a Jaina householder performing Pausadha (in the course of which too one perhaps makes a declaration of the type here under consideration). Perhaps, since the very begininng were the Jaina authors maintaining that only a physical detachment from the things worldy--such as is undertaken by a monk-is something worthwhile; but in due course they also began to attach importance to the process of one mentally withdrawing oneself from one's worldly possessions. And in the Bhagavatz dialogue in question the two attitudes are present somewhat in a state of un-reconciliation with one another. As we shall presently see, the later authors could evolve a more satisfactory concept of Samayika. As for Pausadha, a Bhagavati narrative speaks of it as being of two types, one accompanied by a day-time fasting, the other by a day-time consumption of delicacies. Both the types involve a night-time dharma-jagara ( pious wakefulness) which therefore seems to have formed the kernel of this performance. We are not informed about the details of dharma-jagara but it should be natural to suppose that it meant some sort of preoccupation with things religious-may be listening to or talking about them. The noteworthy thing is that even other Canonical texts do not speak of any 35

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36 K. K. Dixit accidental that when a other cultic performances. Perhaps, it was not standard 12-item catalogue of the householder's religious duties was ultimately drawn up its ten items were of the form of an ethical perforthese latter mance and two of the form of a cultic performance; and two were Samayika and Pausadha, Of course, one particular canonical text forins an exception to what is being said here. It is the Avasyakasutra, a text exclusively devoted to the treatment of a cultic performance called Aaijaka and consisting of six steps-viz. Samayika, Caturvimsatistava, Vandana, Kayotsarga, Pratikramana, Pratyakhyana. Now, even here the last two steps are of the form of an ethical performance, but as conceived here they too have a cultic ring above them. Thus Samayika is the process of attaining for a short while the state of complete mental composure, Caturvimsatistava the process of singing hymns in praise of the 24 Tirthankaras, Vandana the process of paying obeisance to the venerable personages, Kayotsarga the process of rendering the body steady in some fixed posture or other (something like the bodily counterpart of Samayika which is an operation of mind), Pratikramana the process of confessing une's past offences against the code of proper conduct, Pratyakhyana the process of making a resolve not to commit such offences in future. The fact that the cult of Avasyaka thus makes its appearance in a stray and solitary fashion in just one particular canonical text makes it almost certain that the cult as well as the text devoted to it were a fairly late phenomenon. It was only because the cult of Avasyaka as well as the cult of idol-worship satisfied some very strongly felt need of the contemporary Jaina society that both were adopted so enthusiastically and so unanimously that it began to seem as if they were practices of a hoary antiquity, Having thus disposed of the question of cultic performance we are left only with the question of ethical performance so far as the field of practical activity is concerned. As had been noted a little earlier, the problem of ethical performance had been engaging the attention of the Jaina theoreticians since the oldest days and some sort of evolution of thought is distinctly visible in this connection. An essential feature of all ethical discussion is a broad classification of good and evil acts and it will be Instructive to study as to what acts were regarded as good and evil by the Jaina moralists. It is somewhat natural to expect that acts actuated by a spirit of acquisitiveness should come in for condemnation at the hands of Jainas who were a monastic religious sect. As a matter of fact, we actually find the Acaranga I Srutaskandha-particularly its II chapterdenouncing the person who is mad after accumulating wealth. The impression is unmistakable that as understood by this text acquisitiveness is the chief vice-all the remaining vices, of which too a good number

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37 Evolution of the Jaina Treatment of Ethical Problems are taken note of, being but secondary to it Not only that, even about the chief secondary vice the picture is pretty clear; it is violence that one resorts to in the course of accumulating wealth that is the chief secondary vice. And the Sutrakrtanga I Srutaskandha gives a technical shape to these fundamental positions of Jaina ethics when it at the very outset - declares paragraha and himsa (= violence, more usually called arambha) to be the basic vices. However, in the case of violence sociolgical considerations had been, since the very beginning, mixed up with certain extraneous considerations. Thus the Jainas considered it to be a speciality of their ontological position that not only are those beings living beings which are ordinary considered to be so but so also the earth, water, fire, air and plants. So in their eyes an avoidance of violence became not only an avoidance of the violence done to men and animals-but also of that allegedly done to the earth, water, fire, air and plants. And in course of time as the sociological considerations- receded into background the Jaina moralists came to look upon violence as almost exclusively a violence done to the earth, water, fire, air, plants and animals. Be that as it may, the later Jaina moralists increased the number of basic vices from two to five Thus their list of them included not only acquisitiveness and violence but so also theft, incontinence and falsehood, Thus came into existence the celebrated doctrine of five avratas or indisciplines which a Jaina monk was expected to overcome absolutely and a Jaina householder to overcome to the extent possible. In the case of a monk the corresponding five vratas were called five mahavratas or great vows; in the case of a householder they were called five anuvratas or small vows. To the householder's five vows were added seven additional ones (thus yielding the 12-item catalogue of the householder's religious duties). Of these seven two-viz. Samaylka and Pausadha-were of the nature of a cultic performance but the following five were of the nature of an ethical performance : (1) Digviramana to desist from all misdeeds beyond a certain geographical limit in one direction, (2) Desaviramana to desist from all misdeeds beyond a certain sublimit set within the geographical limit just spoken of. (3) Anarthadandaviramana to desist from all unnecessary violence. (4) Upabhogaparibhoga parimana to set a limit to the quantity of things to be consumed. (5) Atithisamvibhaga: to entertain guests. Considerable commentorial litrature was composed around the concepts of the five great vows, the five small vows, and the twelve religious

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X. K. Dixit doties of a householder. Naturally, in this mass of literature belonging to different periods the social conditions available in those different periods have suund a nire or less clear reflection and how that has happened femains to be studied. Anther classification of basic vices too has played an important role in certain divisions of Jaina literature--pacticularly in what is called karma literature (v a literature devoted to the problems of the doctrine of karma), In connection with this classification the basic vices are called 'kasayas' (roughly translatable as 'passions") and divided into four broad types-viz. anger, pede, decuit, and greed. The items of this classification had beca appearing in the Jaina literature since the oldest days but their contextual significance was somewhat different-in a way just opposite-in the oldest literature and the later one. This in a text like Acaranga 1 frutaskandha Anger, pride, deceit, grecd appear as just so many secondary vices--where the basic vices, as we have seen, were acquisitiveness and violence. But the later Jaina theoreticians would argue that even one who has gained victory Over the vices of acquistiveness and violence--that is a well-vigilant monk - requires to undertake a lot of further endeavour with a view to getting rid of anger, pride, deceit and greed. In the technical terminololy of the gunasthand scheme the idea would be expressed by saying that one occupy. ing the seventh gunasthana has gained victory over the vices of acquisitiveness and violence, but he has to traverse the gunasthanas eighth, niath and ten and then occupy the twelfth if he is to get rid of anger, pride, deceit and grced. The difference is explained by the difference of social conditions under which the two set of texts were composed. Thus the oldest authors were at pains to argue why one must adopt the career of a monk whereas the later authors were at pains to argue how one must behave after adopting the career of a monk. And the need is for studying the oldest as well as the later ethical teachings of the Jaina authors in their respective sociological backgrounds. Texts dealing with the problems of monastic discipline were also composed by the Jaina authors of later perlods. But it was clear that the social role of the monk was now different from what it had been in the cadliest days. In those days the monk was a rebel against the regular society thundering against its inequities, but now he was a regular member of the establishment'- a mere religious sectary looking after the extramundane interests of his exclusive fellowship. Under such conditions the monastic disciplinarian was little differed from his Brahmanical counterpartboth preoccupied with the rules and execptions of the petty details of their every day life rather than with any broader social problems. This overall situation has found reflection as much in the latter day disciplinary torts of the Jaloas as in the latter-day Smrti texts of the Brahmins.

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ART NOTES ON SCULPTURE IN DHANAPALA'S TILAKAMANARI N. M, Kansara Since the pioneering studies by Shri C. Sivaramamurti who has drawn the attention of Indologists, very few scholars have taken note of the data about sculptural art scattered in various Sanskrit classics, although numerous studies have been devoted to actual pieces of sculptural art. Dr. Vasudev Sharan Aggraval did valuable work with reference to the art data as found in Bana's prose romances, viz , the Kadambari and the Harsacaritam. Similarly scholars have culled out and classified such data from other Sanskrit works of Kalidasa, Dandin and a few other poets. lo his Presidential Address of Fine Arts & Technical Sciences Section, of All India Oriental Conference, XXIVth Session, Dr. U.P. Shah noticed a few references to architectural details in various descriptions of Jaina shrines in the Tilakamanjari of Dhanapala, and pointed out that "it 18 worthwhile exploring all Jaina literary sources of different periods, especially the Katha-granthus for similar data "1 The present study is exclusively devoted to the sculptural data as found in Dhana pala's Tilakamanjari. I : Ornamentations in Temples and Palaces : Among the pieces of sculptural art mentioned in the course of descriptions of temples and palaces, the following are noteworthy, viz., Dantavalabhika (8, 19), Satakumbha-stainbha (36,3), Vikata pattrabhanga-citritacamikara-stambha (71,14), sphagika-stambha (373,176.), Ayatana-stambhakumbhika (47,11), Rakta-candana-stambha (350, 9ff.) Manisila-darumayajayastambha (60,9), Makara-torana (265,19), Prakanda-torana (304, 15ff.). Mattavarana-mani patta (223,7), sphatika-vilardika (267,13f.) and Rajatavedika (223,7). II : Farnishings in Temples and Palaces : Some more details are indicated in the case of a few other pieces, Thus, the basement of the highly precious lion-throne used to be made of golden stone or it was covered with sheets of gold. The Danta-pata was as pure as slightly ripe inner petals of a lotus and was covered with clean white silken sheet; it was set at the back of the Asthana-vedika; a Matta-varanaka each built in moon-stone was joined to it on either side; on its back side was a high golden seat. Among the pieces of furniture, and etcetara, there are references to the extraordinarily high bedsteads of the Bhilla chief,5 jewelled bedstead

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40 N. M. Kansara in the palace of Tilakamanjari, excellent golden saddle," Hema-vistara, Vistara, Sukhasana,10 Asandi," and a Rajata-darpana12 III: Iconography: As has been noticed by Shri B.C, Bhattacharya,18 it is a time honoured custom in India to instal images for the purpose of private and public worship Neither the Budhists nor the Jainas disregarded it and, in fact by assimilation, completely developed a system of their own with. a multitude of images with canonical and mythical details. With the Jainas the images no doubt originated from the Tirthankaras. The governing idea of the image seems to be that it reminds a believer of the condition through which a Tirthankara passed to attain salvation and that affords him a strong incentive to follow the noble example of the Tirthankara in life. Dr. Bhattacharya further remarks14 that ideas of auspiciousness, prosperity, wealth, kingly splendour and so on, found a direct outlet in the sculptural art in the images of subordinate gods and goddesses like Genesha, Srs, Kubera, Indra, etc. The long-standing tradition and well-established images of these gods in Brahmanic Hinduism directly appealed to the Jainas. It seems they were necessary for the mass appeal in view of a similar mass appeal of Brahmanico-puranic imageworship. The iconographic aspect of sculpture has received much attention at the hands of Dhanapala, especially in the case of the Jaina images of the first Tirthankara Rsabba and the last one, viz., Mahavira. The image of Lord Rsabha installed in the adytum of the Jaina temple on mount Ekasinga was a huge icon carved out of the philosopher's-stone. It was set on a lion-throne bearing the frescoed motifs of a group of constellations, a dear and a lion.18 The posture of the Image was a sitting one called Padmasana with the palms placed upright in the lap. The curls of hair reaching both the shoulders had foliage decorations,' The ends of the eyes seemed to touch the root of the ears (of course from the front view) and the eyebrows were slightly fallen; the expression in them suggested a state total absence of purturbation19. The face On either side was a figure of Indra carrying white camara on his shoulder. A circular halo around the face, three white parasols, figures of various flying gods, some of them playing divine trumpets, some showering flowers, some folding their hands and with nymphs riding different aeroplanes, are other accompanying features. 22 These features in their totality constitute what is technically known as 'PARIKARA' in Jalna iconography. of perfect mental poise and resembled the lunar disk, 20

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Art Notes on Sculpture Roux se of the throne and the wheel anatha can he Narain The above description of the image of Rsabha differs from that of a tenth century image of Rsabha noticed by Shri Udai Narain Roy, 24 who observes that an image of Rsabhanatha can be identified by his associated symbols, the bull and the wheel and the Sun between rampant Jions at the base of the throne; seated in the posture of meditation and naked: two worshippers besides the central figure being Bharata and Babubali, and the smaller side figures on the base of the throne being the Yaksa Gomukha and Yaksini Cakresvarz. Some of the above details noticed by Shri Udai Narain Roy would rather tally with those in the following very brief description of the image of Lord Mahavira as given by Dhanapala.26 The huge image (bimba) of Mahavira, the last Tirthankara, installed in the sanctum of the temple at Ratnakuta, was carved in a diamond slab,26 and was set on huge golden throne,27 There is a reference to the * Parikara' also, though the only details given about it are the motifs of the elephant, the lion and the wheel carved on the base of the throne, 28 Another notable feature of Jaina iconography noticed by Dhanapala is the SAMAV ASRTI-SALA'29 a later specimen of which is extant in tbo form of the Samosarana' in the famous temple called Vimala-vasahi on Mount Abu (Rajasthan).30 The details mentioned by Dhanapala are wide circular balo around the face, ai the group of constellations covered by the cloud of the deluge, sa the Bhadrapitha depicting the events of the occasion of the Birth-Consecretion (Janmabhiseka) of Tirtharkaras on the top of the Meru Mountain the sides of which were being splashed by the Milk Ocean.83 The images of other Tirthankaras are also referred to84 in connection with the subsidiary shrines around the main one of the First Tirtbankara Rsabhanatha.35 It should be here noted that Dr. Umakant P. Shah has studied the Jaina icons and the relavant literature bearing on the architecture very thoroughly in his yet unpublished thesis in three big volumes ), which treats the icons of the Tirthankaras in all their minute details covering about 167 pages (1.e. Vol. I, pp. 261-427).86 The image of the Goddess sri, installed in the shrine specially built by King Meghavahana in his palace garden, is said to have been carved in wood of a tree growing on the pearl mountain 37 In the nische of the walls of the way-side step-wells near shady bunyan trees, images of various gods were installed, probably as guardian deities. 88

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N. M. Kansara Besides these, there are references to stonc-images, most probably serves as fartain--heads, the bracket-female-figures (salabhunjika) carved 10 untives and having conspicuous breasts. 40 IV : Yantrag : The term 'Litri' has been defined by Bhoja in his Sanarangana Setralh.2 34 a cuntrivance by which the natural forces like earth, water, fire, air and ether are channclled for the benefit of human beings. 41 In the year 1991 Dr. V. Raghavan first brought to light this aspect of Indian Sculpture in the curse of his first lecture in the Indian Institute of Culture, Bangalore. Dr Rauhavan added a few more references to the original malter in the brochure and brought out its second edition from Madras in 1956. Research scholars have welcomed the study as presenting in one place the entire material bearing on the very interesting subject. Dr. Vasudev Sharan Aggraval has studied the Yantras referred to in Bana's prose romances 1% However, Dhanapala's Tilakamanjari seems to have escaped the attention of Dr. Raghavan in this respect. Hence the present attempt to supplement the study. Dhanapala has referred to the following Yantras in bis TM : (i) (thail-yantra (1) Camkara-cakra-dola-yantra, (iii) Vimana-yantra, (iv) l'ilasa-antra-putriha, and (v) tantra-dhara-gyha, Let us look into the details of each of them. Ghafi-antra : It was the water-wheel mounted on a well and aunsisted of a wheel on which were suspended, like a huge belt, a pair of pined circular copes to which, again, a number of earthern pots were tied in a serie, at regular intervals in such a way that the ropes along with some of the puts reach considerably below the surface of the of the water ta the well 44 Such water-wheels are found even to this day in places around Palanpur in north Gujarat, (11) Camilara-cakra-dola-yantra : It seems to have been a sort of a borizontally rotating merry-go-round possibly mounted on a central golden pillar serving as a pivot; it was decorated with silken banners on the top 5 (iii) t'imana-yantra : It was a sort of a wooden aeroplane, at times studded with jewels and decorated with cloth banners; it could fly with great speed in the air. (iv) tilasa yantra-putrika : It was a mechanical contrivance in the form of a female figure, most probably carved from stone or wrought in raetals like gold and eteetara, and was set on the pillars; such mechanisms were utilized for waving Camaras to the kings and royal inmates in the palaccs.47

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Art Notes on Sculpture (V) Yantra-dhara-gtha. According to Dr. Dwijendranath Shukla, this was a sort of shower-bath, 48 But, on the evidence of Dhanapala, it actually seems to have been a room on all the sides of which water was made to fall in jets as a cooling device, 49 (much in the same manner as, for instance, is to be found in the chimney-like cooling towers of the thermal power-house at Sabarmati, Ahmedabad); the water-supply to it was connected with the adjoining reservoir.50 Dr. Vasudev Sharan Aggraval has studied the references to Yantra-dharagha found in Bana's Kadambari in his KESA.51 43 References. 1. Dr Umakant P. Shah, Gf Progress of Studies in Fine Arts and Technical Sciences Presidential Address of Fine Arts and Technical Sciences Section. All India Oriental Conference, XXIV Session, Vaianasi, October, 1968 2. The references in the brackets are to the page and line numbers respectively of the Nirnaya Sagaia Press (2nd) Edition, of Dhanapala's Tilakamanjari - TM(N); the readings in the following quotations are according to the text critically fixed by me with reference to several original Mss. 3. TM(N) p. 228 (11ff)...karttasvarastlapihabandhena mahai hasimhasanena.... 4. Op. cit, p. 68 (22 (.)..asthanuvedikayah prsthabhage pratisthapitamubhayatahsamyojl tamygaskamandarunirmitodiramattavi anakamanpyrhanautoccaka.acanaphamsa rajbakumudagarbhadalivaditamacchadhavaladhautapatinkapa/cechtda dantap tam..... 5. Op. cit., p. 201(21).. Bhillapateh.. prakytajanadu arahan pallyankan. | 6. Op. cit., p. 423 (6ff.).. maniparyankika.. | Op. cit, p. 419 (2)...prakdakanakaparyaya... | 8. Op. cit., p. 72 (15). 9. Op cit, pp. 315 (20), 352 (11ff.). 10. Op. cit. p. 374 (16). 11. Op cit., p 377 (7). 12. Op. cit., p. 61 (5). 13. Cf. Dr. B. C. Bhattacharya, The Jain Iconography Punjab Oriental Series, No. XXVI, Lahore, 1939, p. 19. 14. Op. cit., p. 20. 15. TM (N), p. 217 (22)...mahapramanam cintamanimayim pratimam. I 16. Ibid., p. 217 (1) ..gahacakralankytamy gabhajisimhodbhasite.. alaghiyasi simhasane... | 17. Ibid., p. 217 (2) .. nibaddhapadmasanamupariviracitottanakar ayugalakisalayitamkamadhyam.. I 18. Ibid., p. 217 (3ff)..patr abhangalat abhin kesavallaribhi adhyasitobhayam sapiham | 19. Ibid., p. 217 (4ff.)...apangabhagacumbitasravanantena kincinnatapak smana nirvikatatarakena cak susa | 20. Ibid., p 217 (5)..vidyotitavadanendubimbam.. I 21. Ibid., p. 217 (5F)..amsavalmbitadhavalacamarasu endi asevitasavyapasavyaparsvam.. [ 22. Ibid, p 217 (7ff).. atibhasvar akytina prabhamandalenodbhastam, sitatapatratrayiprakasitairibhuvanassvaryam, asesatasca vividhavimanavahanadhirudhairatyudarakrtibhurapsarotayakusumavy bhith katicillalanaghajtagjalipwairambaratalara tibkup kylmar asamuhaih parikaritam.. I

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N. M. Kansara 23. Cf. Vastu-sara-praharang by Thakkura Feru, Edt, with Hindi Tr by Pandita Bhaga vandas, Jaipur. 1936, p. 96. 24. Cf The article entitled 'Rsabhanatha, the First Jaina Tirthankara, Stone, Indian, 10th Century' in Boston Bulletin, Vol. LKII, No. 330, 1964, p. 126, 25. TM(N), p. 275 (6-15). 26. Ibid. p 275 (13ff )..atimalopranianavajramantsilamayam ../ 27. Ibid., p. 275 (9ff.) .lurannaye mahati simhasane samas nam.. / 28. Ibid., p. 275 (8)..bhamygendracakradhyasite simhasaite. / 29. Op. cit., p 226(4). 30. Cr. Silparatnahui a, (Guj) by Narmadashankar Muljibhai Sompuia, Dhrangadhra, 1939; p 496. 31. TM(N), p. 226 (3) ..bahalodyorabaddiaparivesamandalah../ 32. Ibid., p. 226 (5ff). paritalinakalameghaparalantaritavigrahan grahagramanyam.. / 33. Ibid., p. 226 (71) .sarvapathanadiptipa alaplavitabhadrapthataya k strodasaltlak salya manamerupy stam janmabli sekalilamiva darsayanti).. 34. Ibid, p. 226 (14).. Jinalamaltadinamapratimasobhah pratimah .. 35. Cf. ibid., pp. 226(2) ; 256(9): 406(1-3). 36. Cf. Dr. Umakant P. Shah, Elements of Jaina Iconography (North India), Baroda, 1953, Vols. 1-III, a thesis submited to the University of Bombay, Bombay. (yet wapublished). 37. TM(N), p. 34 (6)... muktasalladarusambhavari bhagavatyah srlyah pratikytim...! 38. Op. cit., p. 117 (788).. dvarabhittigarblapratischitanekadevata pratimabhih..margava. publik..; Shri C. Sivaramamurti has misinterpreted the word 'pratima' in the sense of 'painting in his article entitled 'Art Notes from Dhanapala's Tilakmatijari, Indian Culture, Vol. II, No. 2, Oct. 1935, p. 199. 99. CF TM(N), P. 307 (20).. pasapaputrakesa... / 40. Op. cit. p. 218(23) Indimanisalabhanika.. ; 364 (22 ff.) ghanastanadvaadvasalinznam salabhanikanam ... ; 389 (23ff) sasalabhaika .. saudhagravalabhrsatakumbhastambhah. 1 as fad yantramiti kartuam 130 tam 14 tasun baltam svamani saya | kytan va 41. CC Bhoja's Samarangana-sutradhara, Vol. I, Chap. 31, vas, 3-5 ; yadycchaya pra vyttani bhutani svena vart mana miyamyasminnayati yad tad yantramiti kartuam /1311 svarasena pravyttani bhulam svamianisaya ( kytan pasmad yamayari tad va yantramiti shtytam 14), tasya bijain caturdha syat ksitirapo'nalo'nilah asrayat vena caite pari viyadapyupayujyate /51/ 42. Cr. Dr. V. Raghavan, Yantras or Mechanical Contrivances in Ancient India, The Indian Institute of Culture, Banglore, 1956. 43. Cf. Dr. Vasudev Sharan Agraval, Kadambari Eka Sainskytika Adhyayana (Hindi), pp. 71, 85, 209, 213, 216 ; also cf. Har sacarita Eka Sanskrtika Adhyayana (Hindi) by the same author, pp. 204, 211, 216, 218. 44. TM(N), p. 8(13)... madhurataraghaciyantracitkarath..! 45. Op. cit., P 157(18ff.).. cinamsukaparakabhi pallavitasikharani camzkaracakradola. yanirani .. Op. cit., p. 344 (19).. liar candanavimanam.., 366(13) .. asahyavegamaruhya vimanan ..; 381 (iff.)... nit patitasca diram... pracolita) prakaitapasuranhasa...vibhajateya margaghazitani meghavyndani....ambarajaladlulanglanayanapatrena tena pradhavara yapitena nirdayam darubhavanenahyamanah..; 414 (238.)..vicitravastradhvajamadhurihya manivimanan pracalita gaganamar gena ../ irdayan dalamandant....ambara placalitan prak

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Art Notes on Sculpture 47. Op cit., p. 60 (11ff.)..savibhramotk siptairdak sinakaraih pracalayannavasaresu balavya janani vilasayantraputrikavidagdhalan dhasyati.., 374 (10ff.).. upanitacarucamarabhirmanicatuskikastambhatalavartinbhiscatasybhiscamikarasilayantraputrikabhih svairasvai. ramupavijyamanah..! 48. Cf. Dr. Dwajendranath Shukla, Bharatiya Sthapatya, (Hindi), Hindi Samiti, Ministry of Information, Uttar Pradesh, Lucknow, 1968, p. 627. 49. TM(N), p. 17(21) - prantanipatadambudharandhakaritodarakuhare su dharagyhesu .. 1 50. Op. cit., p. 418 (7ff.).. adystaparasarasastirasutrite su yantradharagrhesu.. / 51. Kad. E. Sam. Ad., pp. 197, 200, 376.

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SOME VERSIONS OF THE TALE OF VYAGHRAMARI H. C. Bhayani The tale of Vyaghramari (No. 32 and 43 in the Sukasaptati Textus Simplicior ed, R. Schmidt, 1893; reprinted, 1959) can be outlined as follows: A quarrelsome woman once picked up a quarrel with her husband and left home taking her two young sons alongwith her. While passing through a thick forest she saw a tiger about to charge at her. Putting up a bold. face she slapped her sons saying, "Why are you quarrelling to have cach of you a whole tiger for the dinner? You share this one for the time. We may shortly chance to get another one, Hearing these words the tiger thought her to be none else than the legendary Tiger-killer, and scared to death he fled. On the way a jackal tried to convince him that what he believed to be the Tiger-killer was a mere human being. The tiger, not quite trusting the jackal, agreed to go back with the jackal tethered on his neck. As the woman saw the strange pair approaching, she pointed an accusing finger at the jackal and shouted, 'You crook! Previously you supplied me three tigers and hence I trusted you How is that you have no brought just one? Hearing these words the tiger took to his heels. In the version presereved in a Kashmiri folk tale, it is a farmer's wife who posing as a, tiger-killer tries this trick, because her husband orced to promise a cow to the tiger (cheetah) in order to save himself. The scared tiger in his second approach ties up his tail with that of the ackal, who dragged and dashed on the ground by the fleeing tiger meets is death in the end. In another version, expanded and mixed with another motif and urrent in Rajasthan and Gujarat, the animals are three instead of two viz., ion, hyena and monkey and each one is outwitted in turn. The earliest version of the tale is found in a Vinaya text of the Luddhists, viz., the Bhiksunt-vinaya of the Arya-Mahasanghika-LokottaraAdin. The Buddhist Sanskrit text of the tale and its outline in English re reproduced below from Roth's edition of the Bhiksun-vinaya. iyaM strI rAtrau dArikAM skandhenAdAya gacchati / siMha ca purataH pratyupasthito / sAdAni dArikA dRSTvA ruditA / tAya khiyAya dArikA capeTayA bhAhatA 'eko - te siMho khAdito evaM pi khAditukAmAsi / siMhaH pazyati yAdRzI eSA strI dhvAMkSA ca mukharA ca khAdatyeSA mamAyIti / bhItaH prapAtayati / purato markaTaH bhagatvA

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H. C. Bhayani siMha pRcchati-'mRgarAja-putra kahiM gamiSyasi / siMho jalpati-bhayaM me upapanna / vAnaraH pRSThati-'kIdRzaM bhayaM / siMho vistareNAcikSati / so jalpati 'naivaM vaktavyaM / siMhasva mRgarAja / kastvAM prahariSyati / AgacchAhi nivartAhi' / sa necchati / siho bAnareNa kezehi gRhItaH / 'AgacchAhIti' / sA dArikA dRSTvA praruditA / sA strI alpati / 'mA rodAhi dArike eSo tava mAtuH kenAnIto kezehi gRhItvA idAnI yan nai icchasi te se khAdAhIti' / siMhaH pazyati-'mA haivaM saMketa-kRtaM bhaviSyati / evamevAnIyAnIya deti eSApi khAdati / yat tAvadahaM ekaM vAraM prapalAnaH kiM bhUyo nivartitaH' / so dAni tasya markaTasya avadhunitvA prapalAnaH / (The Lord) relates the story of a woman who walks at night carrying her child on her shoulder. All of a sudden a lion stands before them The child starts crying. The woman gives a slap to the child saying: "One lion has already been eaten by you, and now yov want to eat this onc also'. The lion notes how forwardly eloquent and bold the woman is in regard to him. He gets frightened and runs away. A monkey sees the lion fleeing. Astonished, he asks, How it happened that the king of deers is running away'. The lion tells his story. The monkey says this is not the behaviour of a king and asks him to return. He refuses. After this the monkey jumps down and drags the lion by his mane to the place where mother and child are walking, Again the child cries. The woman says, Don't cry, the lion has been brought back by his mane to your mother; if you want to eat him, now eat him.' On hearing this, the lion turns the monkey from his neck, and runs away. The Sanskrit text of the portion where the woman again consoles the weeping child seems to be slightly corrupt. In the sentence eSo taba mAtuH kemAnIto kehi gRhItvA the words mAtaH kenAnIdo not make any sense. In all probability the text is to be emended as mAtulenAnIto. On sighting the lion being led by the monkey, she brilliantly remarks: My child, don't cry, Here comes your uacle dragging the escaped lion by the mane'. Referring to the monkey as the child's material uncle absolutely convinces the suspicious lion that the monkey was in leage with the woman. In a currea version too the jackal which takes the place of the monkey and which approaches the woman after having tied up its tail with that of the lion i similarly referred to. A search for other Prakrit and modern Indian foll versions and a systematic comparison of all the versions are obvlously th two aspects that invite further efforts to study this tale,

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kAlidAsanI nATyoktio gautamabhAI paTela saMskRtamAM nATakonI racanA raMgamaMca para prayojavA mATenA viziSTa AgrahathI thatI ane jyAM sudhI vidvAna prekSakoneM nATyaprayogazrI saMtoSa na sAMpaDe tyAM sudhI sUtradhAra ke kahone kAlidAsa jevo kartA paNa AtmasaMtopano zvAsa laI zakato. nahi. ' nATakano prayoga raMgamaMca para kevI rIte karavo te mATe lekhaka pote raMgasUcanI athavA nATayoktio kRtimA umerato. AvI nATyoktio kAlidAsanA * abhijJAnazAkuntalamAM 507; vikramorvazIyammAM 332; mAlavikAgnimitrama 327 hovAthI badhuM maLIne 1166 thAya che. AmAMthI keTalIka nATyazAstranA vividha prathamAM prApta thatI ane keTIka kAlidAsanI nATyasUjha darzAvatI viziSTa prakAranI che. teono abhyAsa ahIM saMkSepamA prastuta karavAmAM Ave che. je uktio sarvazrAvya hoya eTale sahu maMca paranAM pAtro ane prekSako sAMbhaLavA-saMbhaLAvavA mATe hoya tene prakAzam kahebAmAM Ave che. svagatam athavA Atmagatam e azrAvya prakAranI arthAt prekSako sAMbhaLe te rote raMgamaMca para pAtra bole paNa raMgamaMca paranAM anya pAtro mATe te azrAvya hoya che. A sarvazrAvya ane azrAvyano prayoga nATakomAM vipula pramANamAM thato hoya che, A uparAMta Ave che niyatazrAvya. jemAM raMgamaMca para bhUmikA bhajavatAM sarva pAtro nahi paNa niyata-amuka nizcita pAtro ja te sAMbhaLe evI vyavasthA hoya che. AnA apavAritam ane janAntikam evA be prakAro che. vaLI AkAzabhASitam athavA AkAze ane karNe no prayoga paNa nATyoktio tarIke thAya che. jyAM vAta noMdha *abhijJAnazAkuntalam - saMpA. gajendra gaDakara. vikramorvazIyam - saMpA. ema. Ara. kALe. mAlavikAgnimitram - saMpA. sI. eca. TonI AsimAMthI pAnA naMbara ApavAmA bhAgyA che. 1. juo AparitoSAdviduSAM zAku0 112 2. sA da. 61138 da. rU. 1-64, nA. da. 12 a., bho. pra. pU. 219 3. nA. zA. 25388 sA. da. 6-137, da.rU. 1-64 nA. da. 12. a.; bho. pra. hR. 219 maM. maM. caM. pR. 60 4. nA. zA. 25/89 sA. da. 5. nA. zA. 2591, sA. da. 1. pR. 219, mai. maM. caM. pR. 60 6-138 a. da. rU. 1-66, bho. pra. pR. 220 6-139, da.rU. 1-65 bha; nA. da. 13 a.; bho. 6. da. rU. 167; nA. da. 13 ba, sA. da 6 / 140; bho. pra. pR. 220; rasA 3. 200; maM. maM. caM. pR. 60 7. nA.zA. 25/92

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gautamabhAI paTela kAnamAM kahevAya tyAM karNe evaM nATayasUcana maLe che. A sahu koI mATe azrAvya che. A uparAMta koI pAtrapraveza acAnaka thAya tyAre apaTIkSepeNa nATayokti prApta thAya che. vikrama0 ane zAku0mAM Ano prayoga thayo che. A sahumAM apavAritam ane janAntikam no sUkSma bheda samajavA jevo che, A viSayanA AcAryoMe te vyAkhyAomAM tAravI batAvyo che' - anya sahu pAtrothI chupuM rAkhone eka pAtrane bAjumA laI jaIne je kahevAya e apavAritam bane, ahIM ve ja pAtro kAryavyApRta hoya. jyAre koI ekAda be pAtrothI chupAvavAnuM hoya paNa anya pAtro sAMbhaLe to bAMdho na hoya tyAre janAntikam bane che. apavAritam. mAM eka pAtra bIjA pAtrane bAjumA laI jaIne vAta kare che. aMgrejImA (Aside) evI nATayokti Ane maLatI Ave che. jyAre janAntikam no prayoga karavAno hoya tyAre 'tripatAkAkara' no prayoga thAya. je pAtrothI hakIkata chupA - vo hoya temanI sAme aMguTho ane TacalI AMgaLI vALIne bAkInI traNa AMgakaumo UMcI rAkhIne bolAya, AdhI prekSakoe mAnI levAnuM ke jenI sAme 'tripatAkA' darzAbAI te pAtra A vAkya sAMbhaLatu nathI. kAlidAse apavAritam ane janAntikam no tenA sukSma bhedane najara samakSa rAkhI sundara upayoga karyo che, eka udAharaNa ahIM paryApta lekhAze, vidUSakaH (apavArya) upasthitaM nayanamadhu saMnihitamakSikaM ca / tadapramatta idAnIM pazya / (tataH pravizati AcAryeNAvekSyamANAGgasauSThavA mAlavikA ) vidUSakaH ( janAntikam ) pazyatu bhavAn / na khalvasyAH praticchandAtparihIyate madhuratA / 2 8- tad bhavedapavAritam / / rahasyaM tu yadanyasya parAvRtya prakAzate / tripatAkA kareNAnyA na pavAryAntarA kathAm // bhanyonyAmantraNaM yatsyAttajjanAnte janAntikam / sA. da. 61136 vRtinI samajUti pra mANe yaH kazcidartho yasmAdgopanIyastasyAntarata Urdhva sarvAGgulinAmitAnAmika tripatA kalakSaNa kara. kRtvAnyena saha yanmantrayate tajjanAntikam parAvRtyAnyasya kathanamapavAritam / tarjanImUna selara nakucitAGguSThakaraH / gaNDagaH saMhatAkAraprasAritatalAGguliH / patAkaH syAdatha yadi vaktritAnAmikAGguliH / sa eSa zrotrastarhi tripatAka itIryate // sthAnAntara N gatvA anyasya parasya janasya samakSe yattu rahasyaM gopanIya anyaiH akathanIyamityarthaH vastu prakAzyate tat apavAritam / anyAn janAn apavArya janAnte pAtrasamUhamadhye amyonyasya parastarasya AmantraNaM guhyabhASakaM tat janAntikam / maMdamaMdAracampU. pU. 60

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kAlidAsano nATayoktio __ ahIM prathama vAkya kevaLa rAjAne uddezIne hovAthI apavArya (apavAritam) no prayoga che, bIjaM vAkya rANI sivAya anya sAMbhaLe to vAMdho nathI mATe janAntikam. ahIM vidUSaka tripatAkAkara rANI sAme kare AvI raMgamaMca vyavasthA goThavAvI joIe. mA upagaMta bharatamuninA nA. zA. mAM smita, vismaya, Avega, asUyA; .:. : brIDA, harSa vagerene kevI rIte bhajavavA tenuM vistRta varNana che. te sahuno yathAsthAne kAlidAsamAM nirdeza che. mAlavikAmAM sarve prahasitA , mAlavikA smitaM karoti / evI nATayokti ..mAlavikAnA nRtya pachI vidUSaka 'brAhmaNanI pUjA nathI karI' " vidhAna kare che tyAM Ave che. ahIM prahAsa ane smita no alaga nirdeza lekhakanI nATyasUjhano dyotaka che. mugdhA nAyikA mAlavikA A prasaMge paNa prahAsa kare te tene iSTa nathI. AthI tenA nAma sAthe smita mATenuM alaga sUcana kare che. AthI pAtranI viziSTa pAtratA jaLavAya che, camakI UThe che. abhinayanI AbAda sUjha kAlidAsa dharAve che. . bharatamunimAM 'lajjA' nI vyAkhyA ke abhinayanI carcA nathI. eka sthaLe lajjASTinI carcA che. lajjAne sthAne 'bIDA' ane tenA abhinayanI sundara, ane' sUkSma carcA che. bIDA nAma-akAryakaraNAtmikA / sA ca guruvyatikramaNAvajJAnAH tijJAnirvahaNapazcAttApAdibhirvibhAvAdibhiH samutpAdyate / tAM nigUDhavadanAdhomukha vicintano/lekhanavastrAGgulIyakasparzananakhanikuntanAdibhiranubhAvairabhinayet / atra Arye bhavataH kiJcidakAryaM kurvannevaM yo dRzyate zucibhiranyaiH / pazcAttApena yukto vIlita iti veditavyo'sau // lajjAnigUDhavadano bhUmi vilikhannakhAMzca vinikRntan / vastrAGgulIyakAnAM saMsparza trIlitaH kuryAt // kAlidAsamAM savIDam anekavAra Ave che. zAku. nA 4 aMkamA zakuntalA brIDAM rUpayati evo prayoga che. te kaNvane page paDe che tyAM sabrIDam prayoga che. tene gurujanavyatikramaNane kAraNe vrIDA janmI che. ane have manamA pazcAttApano bhAva paNa che. mAla0 mAM citramA rahela mAlavikAne rAjA Thapako Ape che. ane mAlavikA A sAMbhaLI savrIDakdanamaJjaliM karoti-ema kAlidAsa kahe che. vikrama0 nA 2 aMkamAM urvazI rAjAne savIDam praNAma kare che. Ama jyA jyA lajjAno bhAva ' 9 nA. zA. bhA. 1 pR.-263-264

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gautamabhAI paTela che tyAM kAlidAse 'brIDA' zabda vAparyo che. A tenuM bharatanA nATayazAstranuM sUkSma jJAna darzAve che. kevaLa ekavAra zAku0 nA 3 aMkamAM zakuntalA salajjA tiSThati / evaM raMgasUcana che. ahIM lajjAno mAnasika bhAva lekhaka darzAvI rahyA che, te mATeno viziSTa abhinaya teone darzAvavo nahi hoya. anyathA nIDAM rUpayati evaM kAMika mahota. kaLI teonA 1100 thI vadhu raMgasUcanomAM kayAMya salajjam ke lajjA rUpayati jevo prayoga nathI. A darzAve che ke kAlidAsa bharatanA nATyazAstrathI suparicita ho. zAkula nA 5 mA aMkamAM zakuntalA bhItA vepate ane 6TThA aMkamA puruSaHbhIta nATayati tyAM bhIti athavA bhayano nirdeza che. gurujananA aparAdhathI raudravastunuM darzana avAthI ke ghora vastunuM zravaNa thavAthI bhaya janme che, evaM bharatamuni mAne ke." zakuntalAno bhaya gurujannA aparAdhathI janmyo che, mAchImArano rAjAnA aparAdhane kAraNe che, aprApyano prApti thatAM, priyasamAgama athavA hRdayagata manorathanoama ktA manuSyane harSa udbhave che, teno abhinaya nayana, vadananI prasannatA, madhurabhASA, AliMgana, romAMca ane lalita vihAra vagerethI karavo joIe," kAlidAsamAM aneka sthaLe 'saharpam' no nirdeza maLe che, jemake zAku0 3 aMkamAM parikramya saharSam-aye labdhaM netranirvANam / ahIM priyajananI prApti harSana kAraNa che, vikrama 0 mA 2 aMkamAM bhurjapatra prasaMgamA nAstyagatimanorathAnAm kahIne gRhItvAnuvAcya saharSam ema kahe che. ahIM eka sAthe RNa raGgasUcano che, gRhItvA-laIne, anuvAcya-pachI vAMcIne ane icchita lAbha thayo hoya tema saharSam jaNAvyuM che. bharatamuninA nATyazAstramA 12mo adhyAya vividha gationuM varNana kare che. syA udbhrAntaka nAmanI aneka gatinuM varNana che, zAku0 6 dvA aMkamAM sAnumatI mATe udbhrAntakena niSkrAntA evaM lakhyu che, ahIM udbhrAntaka eka viziSTa prakAranI gati che te nahi samajanAra Ano anuvAda Exit by Jump athavA Exit by Aying through the sky kare che, te vAstavamA nitAnta bhrAnta cha, saMskRtanATakamAM te pachI kAlidAsamAM ke anyatra tataH pravizati rathastho rAjA ke rathena rAjA ema bhAve eTale ragamaMca para ratha Ave che evaM mAnI nathI levAnu paNa rathastha darzAvavAnI eka viziSTa gati che. e rIte cAlato rAjA ke sUta raGgamaMca para Ave eTale samajI 107-12-13-24 nA. zA. "mA. zA. s.

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kAlidAsanI nATayoktio levAnuM ke rAjA rathastha che ke sUta rathastha che," A ja rIte ArohaNa ane avataraNa darzAvavA viziSTa prakAranI gatino Azraya levAno hoya che, AkAzagamana darzAvavA AkAzamA uDavAnuM hotuM nathI paNa amuka prakAranI gatimAM cAle eTale prekSakoe mAno levAnuM ke A pAtra AkAzagamana kare che. AthI samajo zakAya che ke e jamAnAmAM nATaka jovA janAranI mAnasika taiyAro athavA nATaka samajavA mATenA nyUnatama jJAnanI apekSA rahetI ho, kAlidAsanA prekSako abhirUpabhUyiSTha hatA ema teNe ja noMdhyu che ne ! bharatanA nATyazAstramA upalabdha raGgasUcano ke abhinayanA sthAno uparAMtanA keTalAMka navAM ke maulika kahI zakAya tevAM sUcano kAlidAsanAM nATakomA aneka che. jemA lekhakanI sUkSma nATyasUjharnu subhaga darzana upalabdha thAya che, rAjA aGgulyAnumanyate (mAla0) vidUpakaM saMjJApayati (vi060), maNimAdAya mUTine vahati (vi0 82), mudrAsthAnaM parAmRzya (zA0 118) citralekhA mocanaM nATayati (vi0 14) zarasaMdhAnaM nATayati (zA0 6) kalazamAvarjayati (zA0 16) vRkSasecanaM rUpayati (zA0 12) zrutamabhinIya (zA0 59) ahIM koI viziSTa zAstrIya ke pAribhASika abhinaya nathI, paNa sahejamAM samajIne koI paNa naTa te karI zake tevAM A sUcano che chatAM temA nATyakAranI takhtAsUjha ke raGgamaMcasamAnatA pratyakSa thAya che. ___ kAlidAse darzAvela katipaya nATyoktiono abhinaya kema karavo e zAstrakAro ke naTo mATe koyaDArUpa paNa che. Aje to teno paramparA naSTa thaI hovAthI tenuM mULa paNa sUcavI zakAya tema nathI. udA0 siddhamArgamavagAhya, athavA nAmAkSarANyanuvAcya sApatyatAM rUpayati (vi0 90) adhikArakhedaM nirUpya (vi. 108) ahIM sidhdhamArga- avagAhana, sApatyatAno abhinaya ke adhikArakhedanuM nirUpaNa naTa kevI rIte karI zake ? athavA karato haze ? kapotahastakaM kRtvA jevI nATayoktine samajAvavA TIkAkAra saMgItaratnAkaramAthI avataraNa Ape che ke kapoto'sau karau yatra zliSTamalAgrapAvako / praNAma gurusaMbhASe / gajendra gaDakara-eka anya vyAkhyA tenuM mULa darzAvyA vinA noMdhe che. sarvapAzvasamAzleSAt kapotaH sarvazIpakaH / bhIto vijJApane caiva vinaye ca prayujyate / 12 rathasthasyApi kartavyA gati cUrNapadairatha / samapAdaM tathA sthAnaM kRtvA rathagatiM vrajet / / 13 mA. zA. 12/92

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gautamabhAI paTela kAlidAsanI kAlidAsIya viziSTatA darzAvatI keTalIka nATyokitaonI carcA anivArya banI rahe che. kayAMka teNe pAtronA svabhAvanI vizeSatA darzAvatI nATyoktio a iche, jo te mujaba abhinaya na karavAmAM Ave to pAtrane ane pariNAme nATyakArane paNa ApaNe anyAya karI besIe. dA. ta. anasUyA ane priyaMvadA vismayAdaronihitahaste parasparamavalokayataH / (zAku0 184) hastamurasi kRtvA (zA0 112) paTAntena mukhamAtya roditi / (zA0 122) vageremA strIsvabhAva- tAdRza darzana prApta thAya che, razanAmAdAya rAjAnaM tADayitumicchati (mAla0 85)mAM pAtrasvabhAva ane hAsyarasanuM subhaga saMmizraNa vyakta thayuM che. vidUpakanA caritranI lAkSaNikatAno dyotaka che. udA0 rAjJo hastAd' kaTakamAdAya dAtumicchati (mA. 44) daNDakASThamudyamya cUtAGkaraM pAtayitumicchati (zA0 142) tataH pravizati yajJopavItabaddhAguSThaH saMbhrAnto viduSakaH / ... bAlamAnasa ( Child psychology )ne paNa potAnI raGgasUcanAomA lekhaka saraLatAthI saphaLatApUrvaka vyakta kare che. vikrama0 mAM praNAma karatA Ayu mATe lekhaka lakhe che.... cApagarbhamaJjaliM karoti (vikrama 0 92) sAmAnya ziSTAcAra anusAra rAjAne praNAma karatA dhanuSya dUra mukAya paNa A bALaka pAse tenI apekSA na rakhAya ! paNa koI sUtradhAra tevU karAvI na de mATe kavi pote takedArI rAkho cApagarbhamajali nuM raGgasUcana ApI de che. zAku0 mAM zakuntalAne. jotA bharata tarata mAtA pAse doDo jAya che. mAtaramupetya ahIM dUrathI Ubho Ubho phariyAda kare to bAlasvabhAva anukULa na kahevAya. bAlamAnasane vyakta karatI tenI nATayokitaomAM mUrdhanya birAje che. adharaM darzayati (zA0 179) bALakanA vartanane ke sarasa lekhake jhaDapyuM che, khUbI to e che ke 2000 varSa pachI paNa bALaka Ajeya adharadarzana karAve che ne ! kAlidAsanI keTalIka nATayoktio tatkAlIna samAjanuM pratibiMba pADe che. udA0 nimitta sUcayitvA (vikrama0 24.50 zAku0 anekavAra) te samAjanI zukanamA AsthA vyakta kare che. kumAraM pariSvajya pAdapIThe copavizya (vikrama0 94) mujaba rAjA kumArane AliMgana ApI siMhAsana para besADato nathI; ke pote Asanastha hovA chatAM khoLAmA besADato nathI; paNa pAdapITha para besADe che. zA mATe ? kAraNa vicAratAM samajAze ke haju teno abhiSeka thayo nathI. tethI kumAra Ayune siMhAsane besavAno adhikAra nathI. bAkI te pachI AvanAra urvazIne siMhAsane besADe che. ardhAsanaM dadAti (vikrama 0 96) vaLI sarve nAradamanUpavizanti (vikrama0 102) mA nArada pahelA bese ane

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kAlidAsanI nATayoktibho pachI bAkInA-AmAM nArada taraphanuM bahumAna vyakta thAya che. rAjA purUravA ane citrasena gAMdharva eka bIjAne maLe che tyAMra parasparaM hastau spRzataH ema kayuM che. ahIM te samaye mitro kevI rIte maLatA dRze te darzAyuM che." tataH pravizati unmavezI rAjA (vikrama 0 68) mAM pAtranA paheravezanu paNa sUcana che. 14 kAlidAse mAlavikA * nI racanA bhAsane najara samakSa rAkhIne karI che. pariNAme bhAsanI niSkramya- pravizyanI yukti teNe apanAvI hai. A yojanAmA koI kAryArthe pAtra prayANa kare bhane tarata pArchu phere, ApaNa svIkArI levAnuM ke kArya sadyaH saMpanna thaI cUkayuM che, vAstavamAM A hRdya nATyAtmaka Ayojana happy dramatic device nathI. mAla0 mAM kAlidAse niSkramya - pravizya nI yukti 9 vAra apanAvI che. jemAM 7 vAra vaccenuM kArya sadyaH saMpanna thayuM ema svIkArI levu par3e che. paNa zAku0 mAM lekhake A prakAranA AyojananI maryAdAo samajIne tene ghaTADacaM hoya tema lAge che ane dhanamitranA mRtyu pachInI ghoSaNA sivAya kayAMya kArya sadyaH saMpanna thaI gayuM evaM mAnI levuM paDatuM nathI. 7 kavi kayAMka karNe jevI nAnakaDI nATyokti Ape che. to sUtastatheti rathamuzleSayati, rAjA nATayena rathamArohati urvazI sanizvAsaM rAjAnamavalokayantI saha sakhIbhirniSkrAntA citrarathazca / (vikrama 0 14 ) jevI sudIrgha raGga sUcanAo paNa pUrA pADe che. vikrama 0 nA 4 aMkamA savizeSa ekapAtrI abhinayane avakAza hovAthI vilokya, vibhAvya, vicintya vagaire vaividhyagarbha sUcano dvArA abhinaya mATe vaividhyanAM dvAra kAlidAse kholI nAMkhyAM che. parikramya jevI sAmAnya sUcanAne paNa te to anekarIte darzAve che, parikramya, parikramitakena gatibhedena, parikrAman, dhyAnamandaM parikramya, avasthAsadRzaM parikramya, savimarza parikramya vagaire yathAsthAne joI ThevA. zAku0 nA 6TThA aMkanA mAtalo prasaMgamAM raGgamaMca para jhaDapathI kriyAo karavAnI che, tyAM kevaLa 11 vAkyonA vArtAlApamA kavi 20 vAra nATyoktibho ApI abhinaya mATenI eka bAju naTane sugamatA karI Ape che to bIjI bAju potAnI nATyasUjhanuM darzana karAve che. aneka nATyoktio mATe vikrama0 no bhUrjapatraprasaMga ane mAla0 no sarpadaMzaprasaMga nodhapAtra che, kayAMka lekhakano vadhu paDatI cokasAInA kAraNe anAvazyaka nATyokita paNa prApta thAya che. zAku0 nA 14. sarakhAvo samupetyAtha gogalAn hAsya hastagrahAdibhiH / vizrAntaM sukhamAsInaM prapacchuH paryupagatA: // zrImadbhAgavata 10-65-65 /

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gautamabhAI paTela 7 mA aMkamAM vayamapi avatarAma ema mAtalI kahe che pachI tathA karoti ema raGga. sUcana che, A na hoya to paNa naTa utaravAno abhinaya karavAno ja ne ! bhUrjapatra prasaMganI eka hakIkata noMdhapAtra che, rANonA napuranA agrabhAgane lAgela bhUrjapatrane nipuNikA upADIne te aviruddha hovAthI rANIne vAMcI saMbhaLAve che pachI atrAne naivopAyanenApsara kAmukaM prekSe (vikrama 0 38) ahIM rANIe nipuNikAnA hAthamAthI te laI lI, ema kahayuM nathI. rAjA pAse pahocIne Aryaputra ! alamAvegena / etattada bhUrjapatram ema kahe che, A rANI pAse kAMthI Avyu ? koI kahe nipuNikA pAse haze ane rANIe hAthanA izArAthI batAvyuM haze, paNa evaM raGgasUcana nathI bhane pachInA samagra vArtAlApa daramyAna kayAya nipuNikAno nirdezamAtra nathI, kevaLa aMtamAM saparivArA niSkrAntAH mAM tene gaNI levAnI rahI. ATalI TIkA karavAnuM mana e mATe thAya che ke anyathA nirdezaka ke sUtradhAra paNa bhUla karI bese tevA prasaMge kavi khAsa darakAra laIne sUcano Ape che, dA. ta. zAku0 aMka 7 mAM bAlA-devatava (hastaM prasArayati) mA 'e Apo' kahenAra bALaka hAtha laMbAve e svAbhAvika che. chatAM hastaM prasArayati sUcana kare che, kAraNa tenA hAthanA cakravartinAM lakSaNo rAjAne dekhADavA che. kAlidAsa potAnuM nATaka takhtApara kevI rIte bhajavAya e mATe ATalI hada sudhI sabhAna hovA chatAM tenA nATakone majavanArA ghaNI gaMbhora bhUlo karI bese che. dA. ta, zAku0 nA 5 mA aMkamA rAjA duSyaMtane Asanastha batAvAya che. jyAre rAjA-(avaruhya parijanAMsAvalambI tiSThati / ane purohita:-bhostapasvinaH asAvatrabhavAn varNAzramANAM rakSitA prAgeva muktAsano vaH pratipAlayAta Ama rAjA Ubho rahyo che, Ama spaSTa vidhAna chatAM Adhunika nirdezako rAjAne Asana para besADI zakuntalAnu pratyAkhyAnanu nATaka bhajave che, AmAM kAlidAsa ane rAjAdubhyaMta banene anyAya che. atithi ane temAya maharSi kaNvanA AzramanA atithimaMDaLane Asana ApyA vinA pauravaMzapradIpa duSyaMta bese paNa kharo ? samagra carcA- tAraNa e che ke kAlidAse raGgamaMcayogyatA ane abhineyatAne manaHcakSu samakSa rAkhIne potAnA nATakonuM sarjana karela che. temAM bharata muninA nATyazAstranA e sUkSma abhyAsI che. temano samaya ane samAja paNa bharatanA nATayazAstranA siddhAntone samajanAra abhirUpabhUyiSThapariSadadvALo hato. mAla0 ane zAku0 nA raGgasUcanono tulanAtmaka abhyAsa darzAve che, ke mAla0 mA niSkramya

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kAlidAsanI nATyoktio pravizya jevI aparipakka nATayoktio vizeSa che, je zAku0 mAM nahivat che jene Psychological stage directions kahI zakAya tevAM pAtranA mAnasane abhivyakta karatAM raGgasUcano mAla0 karatAM zAku0 mAM guNa ane saMkhyAnI dRSTie savizeSa che. ahIM tenI utkrAMti thaI che. have e balavat zikSita che, nATayazAstra uparAMta pAtra, samAja, prasaMga ke rasane paripoSaka evI aneka nATyoktio kAlidAsa pUrI pADe che, tenA A prasthAnanuM saraLatAthI ke saphalatAthI koI pAchaLano nATyakAra anukaraNa paNa karI zakyo nathI. kAlidAsanI sarvopari vizeSatA to e che AvI nATayoktio uparAMta keTalIka pAtronI ukti mAM kayA pAtre kevI rIte abhinaya karavo e sUcavI de che tyAM tenuM prayogavijJAnanuM jJAna pratyakSa thAya che. udA0 vikrama 0 5 mAM akramAM praveza karatI vakhate uvarzI (kumAramavalokya) ko nu khalveSa savANAsanaH pAdapIThe svayaM mahArAjena saMyamyamAna zikhaNDakastiSThati / potAnA bALakanA mastaka para hAtha pheravavo ke vALa ThIka karavA e pitAmATe vAtsalyane vyakta karatI sahaja kriyA che. ane purUravA e karI rahyo che. purUravAnuM pAtra bhajavanAra naTe A kriyA karavI e sUcanA nATayasUcanA dvArA nahi paNa urvazInA uccArAyela vAkayanA eka zabda dvArA kavi karI rahyo che. kAlidAsamAM AvA abhineya aMzonuM sUcana karatAM vAkyoM ke vAkyAMzo eka navA saMzodhanapatrano viSaya pUro pADe tema che,

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nAyaka ( trAgALA) - bhojakanI pArasI saM0 paM0 amRtalAla mohanalAla bhojaka ane lakSmaNadAsa hIrAlAla bhojaka ahIM nirdiSTa 'pArasI' zabda, sAMketika bolInA arthamAM che. 'pArasI' zabdanA A arthanA saMbaMdhAM, amArA sammAnya snehI suprasiddha vidvAna DaoN. zrI bhogIlAlabhAI . sAMDesarA aneka prAcIna avataraNo ApIne carcA karI che. juo 'buddhiprakAza' mArca - 1949 nA aMkamA 'zabdacarcA - pArasI' zIrSaka lekha. samAjanA vividha vargoM potAnI jarUrI bAbatomAM parasparanI aMgata samaja mATe potapotAnI pArasIno prayoga kare che, jethI najIkamAM upasthita anya jano te samajI na zake AvI pArasIomAM sainyonI pArasI (Code word ), tenA adhikRta jJAtA sivAya anyane sarvathA agamya hoya che. kApaDiyA, cokasI vagere vyApArI varga tathA sonI, salAda Adi kalopajIvI varga potapotAnI pArasIno prayoga kare che, paNa temAM teno upayoga maryAdita hovAthI temanI pArasInI zabdasaMkhyA pramANamAM ochI che, jyAre jenI pravRtti pratyeka varganA nAnA-moTA janasamUha sAdhe sakaLAyelI che tevI nAyaka jevI jJAtionI pArasImAM zabda-maMDoLa vadhAre hoya te svAbhAvika che, prastuta nAyakano pArasInA jUja zabdo ghaNAM varSoM - pahelAM eka abhyAsI bhAIe amArI pAthI noMdhIne prakAzita karyAnuM smaraNa che temaja anyAnya bIjI pArasI onA saMbaMdhamA sAmayikomA paricaya prakAzita thayAnuM smaraNa che. samayanA bhAvane lI ahIM sthAna nirdeza thaI zakyo nathI. A pArasInI zabdasUcimAM Avelo koi koi zabda varNaviparyAsathI banelo che. tethI saMbhavita che ke AvA zabdo kadAca maulika na paNa hoya. nAyakanI pArasImA lAMbo ke DhUMko vArtAlApa karavAnA prasaMge jyAM jyAM pArasInA maulika sAMketika zabdanA abhAvane ke vismaraNanA lIdhe UNapa upasthita thAya che tyAM tyAM sarvajanasAdhAraNa bhASAnA pracalita zabdane saMskAra ApIne sAMketikazabda banAvI levAmAM Ave che. A rIta A pramANe che- prathama koI paNa zabdanA 1. sonInI pArasInA zabdone DaoN. zrI bhogIlAlabhAI ja sAMDesarAe, prAcIna hastalikhita pAnAnA AdhAre prakAzita karyA che, juo temano 'sonInI pArasI' zIrSaka lekha - buddhiprakAza, ogaSTa 1959. 2. A pArasIne 'somapurA salATanI pArasI' zIrSaka lekhamAM zrIkAMtilAla somapurAe prakAzita karI che, jubho, 'buddhiprakAza' Disembara 1954.

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paM. amRtalAla ana :lakSmaNadAsa bhAjapa bhASa vyaMjanane dUra karIne tenA sthAnamA 'ch' vyaMjana mUkavo, dA. ta. kRtarochUtaro, pUrI-chUrI. Ama karyA pachI mULa zabdanA Aya vyaMjanane, anusvArayukta 'a' zrI mukta karavo bhane te upayogamA levA dhArela zabdanA prAraMbhamAM mUkavo. AthI bhahI udAharaNa rUpe ApelA 'chUtaro' nA prAraMbhamAM 'kaM' akSara Avyo, eTale 'chanaro' zabda banyo. AvI ja rIta pUrInu 'paMchUrI'. je zabdono prArambha svAmI to hoya te zabdomAM te te zabdanA prArambhanA svarane 'ch' vyaMjanayukta karIne tenA AgaLa 'a' umerIne sAMketika zabda karavAmAM Ave che. udAharaNaaMcA aMThaMbA, Izvara-aMThIzvara, udhAra-aMchudhAra, oTalo-aMchoTalo vagere. A paddhatie samapra zabdAne sAMketika banAvI zakAya, tethI AvA zabdo ahIM zabdamUcimA ApyA nathI. pArasInA maulika zabdonI UNapanA sthAnamA upara jaNAvelI rItathI banAdela sAMketika zabdano prayoga karIne prastuta pAraso askhalita rIte bolI zakAya che. tene lIdhe A pArasImAM koI paNa vicAra ke varNana vyakta karavAmAM apUrNatA nathI rahetI. A hakIkatanA udAharaNarUpe ame pArasInA zabdomAM 'sIpaNa svaga' nAmanI eka nAnI kathA yojI che ane tene, tenA anuvAda sAthe, zabdasUci pachI ApI ke. prAcIna samayamA ahIM ApelA zabdo karatAM kadAca vadhAre zabdo paNa haze, Aja to A pArasInA vArasadAromAM paNa A pArasIthI ajJAta varga ghaNo che. bhane bhaviSyamAM A pArasIno vAraso lupta paNa thaI jAya te saMbhavita che. A sthitimA upalabdha sAmagrI ekatra karI prakAzita karavA mATe amArA sneho zrI manubhAI jodhANI ane murabbI zrI ratilAlabhAI desAIe amane utsAhita karyA te badala mame temanA pratye AbhAranI lAgaNI vyakta karIe chIe. bhame gata trIsa varSamA aMtare aMtare, pATaNa kuNaghera pAMcoTa jagudaNa suMDhAI bar3anagara visanagara siddhapura Adi aneka sthAnomAM vasatA nAyaka-bhojaka bhAio pAthI prastuta pArasInA zabdo meLavo zakyA chie. tethI e sarva bhAio pratye tathA kavi zrI pathika nAyaka bhane suprasiddha jainagAyaka zrI gajAnanabhAI ThAkure keTalAka zabdo mApyA che, te badala temanA pratye amAro kRtajJa bhAvaM darzAvie chIe,

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akAlo akAllyo bhaThola bhaTThola ubaLavu =maThA paDavu ubaLAmaNa-bhaThapa ubaLa ubaLela }=" ubaLI=maThI paDI ubaLelI-bhoThI paDelI } =bhATha asu=A ana-A =1 upAzraya, 2 upavAsa aDadopa = paDado (nATakano) attara = meLa tAla vagaranu nAyaka bhojakanI pArasI nAyakanI pArasInI zabdasUci bhokuM paDelaM (pu0 Layo Lelo) kala vu=marakuM kalADavu = mAra kalADI=mArI kATha kaDhavADI = kADhI kaThavADelaM kADhelaM (stro0- lI, pu0 - lo ) kaDavADa = kADhaSu kaDhavAcyo = kADhyo kamaro rupiyo | phalADelu =mAreluM (strI0-lI, pu0 - lo) kalADa thuM=mAyuM kalA jyo=mAryo kalImarI - mRtyu pAmI kalelaM = marela (strI0 - lI, pulo) kalyuM = mayuM kalyo maryo kahatALa-kajiyo karIne pajavanAra kATako = 1 hAtha, 2 avAja rAta-rAtrI kunakaDuM=nAnuM (strI0- ~Do, pu0- Do) kuDaNa= 1. khAdya vastu, 2 jamaNa kuMDaNiyo - khavaiyo - khAvAnI vRttivALo kuDavuM=khAvu kuMDI khAdhI kuMDelu = khAlu' (strI0 - lo, pu0 -- lo ) kuDakhA kuDagho= khAdho kuMDa Davu=khavarAvathuM kuMDI - kharAvI kuMDa Delu - khavarAvela (strI0lI, pu0 - lo) kuMDa|DathuM=khavarAvyaM kuMDADyo = khavarAvyo kaitI strInA jevI najAkatabALo puruSa keLavunI kaLavu keLI-nokaLI kaeNnaLelaM =mIkaLelaM (strI lI, pu0 - lo ) kaeNna yu =nI kaLaM kaeNnaLonI kaLayo kelavo = dAru-madirA * kothayuM vA chUTa karavI kAya = khoDo - kharAba Adato komala = mokala kolaka= 1 garbhavatI strI, 2 peTa kolaMbara kolu} =peTa koNi rasoI htrjij kadhI kaoNthelu =rAMdheluM (strI0-lI, pu0- lo) kathyaM = rAMdhyaM kothyo-gaMdhyo 13 kALakI kALacI kudAna dukAna * A ane AnI ponI. zabdasUcimAM AvatAM kriyApadonAM kRdanta upo 'kaDhavADavu 'kalavu ' vagere kriyApadonAM kRdanta rUponI jema samajava. khaga = polIsa, jamAdAra khagiyAra=agiyAra

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14 paM. amRtalAla ane lakSmaNadAsa bhAjaka khuDakA DosA khuDI (hAsA khIbhAraNambhIkhAraNa bajAra hajAra khajuriyA-ghaDa khIbhArI-bhIkhArI baTALI ! kerI, 2 chAza khuja-bhUkha khaj=ag (strI0-dhI,pu0-dho) khujamAla-makhkhIcUsa, kaMgAla khaDabhiyo-caNiyo zujyo- 1bhUkhyo, 2 ayogya rIte paisA khAvAnI khadahI vezyA vRtti vALo khadaNA-dakSiNA khuTako-sopArIno TukaDo khaNI dakSiNI mahArASTrI khanagu-nAgu(strI0-gI,pu0 - go) lamodanavoda khuDo-Domo khudAna dukAna khamodiyumnavodiyu banodiyo-nakhodiyo khubaLagmoThA paDa, khaparI-khIcaDI khuSaLAmaNa bhauThapa khabhAraNabAroTajJAtinI stro khubhavu-UbhA rahevU samAro-pAroTa khumaNa-mukha-moM khusoDa-1 suthAra, 2 kuMbhAra samadara maMdira khusoDo-1 suthAraNa, 2 kuMbhAraNa khalagara muphalisa *nuhaNa hAsya salaq=lakhavU khuhavADa-hasAva salAva-lakhApavU khuharbu-hasayu saMgu-mAgu(strI0-go,pu0-'go) khudADhavu-hasAvaq khaMDavuvA RTa karavI kheka) khaDala=vidhavA sro mArapavu-sijAvaM, gusse tharbu khelo kAMcaLiyAno veza karanA khAravAhaNa-mAravAraNa khArUM / khAravADI-mAravADI khArayo goLa khAMnag=nAMkhavU svAra hunAtha-gadheDu khAnu-ghara mArahogadherI khArahuMgadheDe khomaNa bAraho-gadheDo ganu-aphINa khALayusnAna karavU ganura-zahera khAvarI-vAgharI gamaNiyo-joDo-pagarakhaM khApareNa yAghareNa gamaNo paga khAMmadhunAMkhag gaMdha-1 bhaMgI, 2 camAra khIparI khIcar3I gaMdhavaNa-bhaMgaDI khIbha bhIkha gaMdhayo-bhagI khIbhava bhIkha mAgavI guNavu-g * zabdomA bhASatA 'ha' akSarane jyA jyAM ha Avo moTo- bleka jaNAvyo che tyA tyAM teno uccAra 'a' svara pachI uccArAtA visargamA jevo jANavo. khekha eka khojarU -ghara khAMbaDavU paDanu

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|gutamo=phAtaDo goTaDI=nAnI chokarI goTiyuM nAnuM chokarUM goTiyo= nAno chokaro = lADu goDamo goramo ghAviSTA ghADa have cakeDI=calama cAMpAMca cata vAcA cappA=pacAsa cappI = pacIsa caramuM =maradhuM cAlavI = sonAraNa cAlavo= sonI cikkaNa cIkaNa cakkaNI cIkaNI =ghAMcI =ghAMcaNa citALuM=maMdira cukandara cuMkaNI daraja manIpaTalANI mano==paTela aaj aaj cAlu cAra cauhalo khATalo cAMkhaDa joDa-khAsahu~ caukhalo paNa cimaNI bhAMkha ang=javu caumAvu' = batAya chapanAsacchAsa chapA=pacAsa chapI = pacIsa illu =6 nAyaka bhojakanI pArasI chAtarI=chokarI chAtarUM chokarUM chAtaro-chokaro chApaLa = pAchaLa chApuM=pArchu chupa = pUcha che malAM mAchalAM che kArUMnAka choDI = suthAra jADiyA= stana Abu=juvAra jArUM dAginA jIyu = bIjaM (strI0 - bI, 50 - bo) jeDa mAra jenAlu = jaina maMdira jela = paTela jelaNa jelaveNa =paTalANI jelavo = paTela jhaLako- 1 devatA, 2 tAva, 3 dIvo jhAkaLIsa zAkaLo gusso jhuMkhalI kUtarI jhuMkhalaM phUTa rUM jhuMkhalo = kUtaro jhokArI rIsa 15 jhokA = 1 varasAda, 2 khela, 3 tAva jhokALI =lAja-ghuMghaTo g =cora' jhAMNAvALI corI jhoNI = 1 cora strI, 2 kolaNa-ThAkara DI jhaNo = 1 cora, 2 koLI-ThAkara Do jhomarI bAjarI Tavalevu vAsaMtAM dApatI rodalI

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paM amRtalAla ane lakSmaNadAsa bhojaka vAyo-roTalo vAkavo bora dakSiNa-radhAraNa TAkorabArI TAphlorolI TApalIgadalo yalo-loTa DeMlaMga-1 akkala vinAno, 2 gAMDo DelI-1 akkala vinAnI, 2 bhAMga De=1 akkala vinAnuM, 2 gAMDaM ulo-1 akkala vinAno, 2 gAMDo, 3 gAMjo upo-Do DocalA aMDakoza DhavaI-laDhAI Dhava-laDhacu DhavADiyo laDhAIkhora DhavADo kajio-kalaha dAvA-yAta sApakomyATakI dAvarATaNa-maNahilapura rAvalI-mATalI TAvaramAdala rAMcI-pareNu DhokaNa -bAvo bAMgaNa mukhamanmaMghavAnI kiyA Telabhiyo-nasya karanAra TeladhumAraduM TelavonTelimo bAmaNa TomarammoTara Tomo (sI.-'mo, pu0-'mo) samiyo kImo mAnaka madhesa vArasA aviyAnI-lavANI ThAviyosayAgo DhokaNI) DhoMgaNI bAvaNa takarI chAsa takAra-samAku taNakhI-luhAra tabAvaQbatAyaQ tAkorabAraNa tAko rabArI tAta=1 mA, 2 bAra tApatI-roTalI tApato-roTalo tApado-cA subara-utaravU tuSAro-utAro tuvAravuatAra tubAvaLa UsAvaLa tumaravu-mUtaravU tusIbaMTI tautaravIrAkhaDI totavI-anoI taudA anAja totraNa thapanavuntha-hovU thaparo-patharo tula-unu Thumara-uThAvU ThamaI-mIThAI Themumo-laNa auraMmAkaM (mI0--'rI, pu0-'ro) raka-panavelI dALa sapana-gAMvaraNa

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.: nAyaka-bhojakanI pArasI 17 thAlu tela thopiyudhotiyu thAMmALiyu=phALiyu thAma lu mAthu dakALa). dagALa dALa nAluDIkeDI-rasto nALu =nAka nirALayI-madI nirALaq=taLAva nirALavo-kuvo, kuMDa, dariyo nirALI-1 chAsa, 2 cA nirALu-pANI neka-anAja nega-khIcaDI nemo-hajAma daDavu-mAraQ-dhIba, daDAyavu-parAva-dhIbAbaDhe / damako diksa.. ... . nodd| duvADavU-saLagAva dAvo-1 pati, 2 mAlika dAhaNu-zAka noLa (dAru, madirA dotavA -cokhA-tAMdula dAMtiyA-cAlA caturI calama dhaLapadhuM dhambaM dha ghamaNiyA-mitaMba dhamarakuM-maradhu-tabalaM dhamu-baMdUka dhAbudhuM dhAra-1 talavAra, 2 dhAriyu dhArUDiyo bahAravaTiyo dhArUDI=baMduka dhupArI-pUjArI dhupI= 1 pujA, 2 rAvaLANI dhupo-rAvaLa dhoramIlApasI dhoramo-zoro dhorambe dhorU hadakA vIpa bibAMdhavU nappara-pannara bhavola-bhava maLuko dAsa-madirA mALa-gAma pacolupAMca paThaq=bhaNabuM paThAvaq=bhaNAva paDavaluMgodaDaM paDavalo mADI-sAllo patakiyAM patAsAM pabojamaNa parabaluMgodaDaM paravaDI-godaDI paravaDa-godaDaM pastaka-roTalo pasta kI roTalI paMcolu-sAMca pAraNiyo=1 bhojanano lAlacu, 2 koI paNa kAryamA paisA khAnAra, 3 ghaNuM khAnAra pArakhAvU pAyo avAja pALag=1 bhAvavRM, 2 AvaDa pAMkhara kapar3A pAMDa-pAMca pAMniyo kAgaLa pUjaNiyo-1 vyabhicArI, 2 atikAmI pUjaNu saMbhoga pUja-saMbhoga karavo pUjAmaNI duzcarita strI

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18 pUjela= bhAratrAta gaNa- 1 rudana, 2 rotala varAvaM gADava S paMga ro pokhara pogaLI ghodd| pogako ghor3o popI-mAlaNa popuMzrIphala popo=mALI polupatAsuM phAra =tela phALu phulAva =bharavu paM. amRtalAla bhane lakSmaNadAsa bhojaka bhyAra yALa } makAro= rUpio phuMkaNAnI phuMkaNI sonAraNa phuMkAro= ghoDo phuMko sApa bAlAMcA varSA-phAMphAMmAravAM bAMga lI = bahena bAyalo =bhAI becarapAka khIcaDI belaghu-bhApa melA = apAva bollI bahena bAllyo = 1 bhAI, 2 jAtabhAI boLavaNuM bhakhaLa-bezarama bhA~khau = guptabhAganA bALa bhuTA ki dukAna 2 tAluM bhaimara kI = 1 DholakI, 2 pakhAja, 3 ustAda bhemarakuM--tabaluM bhairavu = nAcavu ma=1 ghaMTI, 2 nATakakaMpanI, 3 rAmalIlA, 4 nartakI bhemruuN=bhvaiyaanuN ToluM kharAba madhuro videzI dArU - madirA mantrI yoni mADhaDI mADhI } =puvAna chokarI mAdiyo mADho =yuvAna chokaro mAyA = 1 bhAMga, 2 nAyakazAti mALaka mAgavu momiyo-badAma murALa = 1 rAjA, 2 ThAkora, 3 bhagavAna murALIThATha = 1 rAjA jevo dekhAva, 2 rAjApATha muMja = mArakhaM meM khalI gAya mekhalo = 1 baLada, 2 bhAkhalo mauko musalamAna strI musalamAna molakI huMgaLI raka kara rakAriyo= rupibho rakAva karAva rathavADha rathAGacuM M}=rAstrapuM rathavuM=rahevuM ramaDI = nAyakajJAtinI strI rabhaDumaraDakuM ramo nAyaka rAcI= cAlIsa rADiyo bhaMgI rAma=bAra rAmalADu = DuMgaLI rAyalI =pAvalI - cAra AnA rA=modaI rAlo=puruSa cihna rALI tALa vANiya

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leDa vezyA, nartako nAyaka bhonakanI pArasI rubovANiyo vahuMdarUM=1 khetara, 2 ghara raMvALa-dhI pAjaNI sAraMgI rephu-retI vAda'-vAjina revarI-paLadagADI vAlapaMtha bhaMgI reva-gADaM vArahI-gadheDI raipa-paheravu vArahu gadheDa rothu-thoDaM vAraho gadheDo vAhoLa Telio prAhmaNa vAhoLI-1 Tela, 2 TIpa-svaraDI lakapaNa-mRtyu yAMmiyo badAma lakapaNiyu-lasaNa vAMsayo Ano-rupiyAno soTamA bhAga lakavADa-mAnathI mAravaM vocakuM vAsaNa lakavumara vIcakI thALI, 2 bATakI lakAriyuM-lasaNa vIbhI-bhavAI lakhamI=calAnI rAkha vIlu= DhIlu, 2 kharAba, 3 duzcarita lagho-purucihna vekarI-khAMDa laMchAkha-lAkha vekAra kharAba lAI lAkaDaM vaimALavI-chimALa strI lIlakuM-chANa mALavo vyabhicArI puruSa lIlapI=kerI venAluchinAlaM lIlapuM-1 zrIphala, 2 bALavArnu lAkaDe veMmiyo-badAma lIlapo bAMsaDo vara-zera-cAlIsa tolA lepuM-pelu (strI-pI, pu0-po) vevarI baLadagADI loSa bolavU vevaraM gADaM lobAvadhu-bolAvaQ vaivarocaNiyo 11 kAMcaLI, 2 strIpATha veMsI aisI loNcii| vehalIpAI-rupiyAno 192 mo bhAga laukiyokocakiyAno veza karanAra lociyo vahalo-paiso vaka kahe vaiNa-nAyaka, bhojaka yakhkhama-kharAba vyaMjana-zAka vajiyo kajiyo zakAriyo-zIro vada[1 gAna-gAvU te zamAla-mazAla badabU-1 kahevU, 2 gAIM zIvIsa vadaiyo gayo saNakImArAsaNI ghasDI-carUDI saNako-garAsiyo sapanAka-zAka vahuMdarI-khetaranI vADha

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paM. amRtalAla ane lakSmaNadAsa bhojaka hadAlu-nAma haratukI hAramoniyama haratuM-bhuMgaLa hastigara / hastimAgara / hoko samakarI mazkarI dhamakarA-maskaro-maskarAno pATha karanAra samalamAna-musalamAna saMbara-mo sIpanIka sIpaNacokama sIpacu-vadhu sIvalIlApazI serakoLa sehabApa kadhapAka sena-jena mAdhu senuDI jaina sAdhvI se gale 3 bhaisa, 2 jU, 3 lIkha saMgalonADo sorama gAyabo-vALaMda sorama-gAMyajI igana-gudA haniyA=nitaMba hahatara banAvaTa, asatya haLakiyo loTo hAyozAka hArapI-pArasI-khAnagI bolI hAla-1 strI, 2 patnI hAlavompati hAvaLa-mAhANa hAvaLI brAhmaNI haoNklI-juvAra hemALu sonu haipo-paiso hotarA-mUtra hotarADa-mutaravu hotaq=pIvu hotI-pIdhI hoyu=IdhuM hotyo podho hohaNI-1 bIDI, 2 calama holo hoko hovu-pIvu hoku-khu=1 jU, 2 lIkha hohADavu pA hokhalI= 1 ja 2 lIkha hoNama mANasa . . hotaraM snAna hAthu kapaDDu hoMno-nA haDatarana -ayogya rIte ghusaNiyo haDatario hagakIgarAsaNI hamako garAsio hatu-muMgaLa hatola sAta hatola handasa hadakheka-'khekha agiAra hadacola-cauda hadatolu-tera hadadhoru-bAra

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nAyaka-bhojakanI pArasI sIpaNa khaga zerasiMha hadALunA murAle kALakIe Darapoka jamAdAra ghorU khagane lobAvone vakyu ke-TomA zerasiMha nAmanA rAjApa rAtre be goTiyAnI hAlane vevarAmAM ThavADI taMchenA jamAdArane bolAvIne kA ke-moTA bolyAnA nALamAM kumavA guNo. chokarAnI bahune gADAmA besArI tenA. khaga kALakIe jIve nALa guNatAM bhAInA gAmamA mUkavA jAo. . sIpatA'tA, paNa murALane hono kaMLema jamAdAro rAtre bIje gAma jatAM DaratA vakAya? hatA, paNa rAjAne nA kema kahevAya ? dhArUDI dhAMbIne dhoru khaga khArapelA baMduka bAMdhIne be jamAdAro, bhoMThA khumaNe, ThorAM hAthAM ane boLa jArU re pelI paDelA moMDhe, sArAM kapaDAM ane ghaNA haNakIne kumavA kenaLayA. dAgInA paherelo rajapatANIne mUkavA dhArU ane dhArUDI vaMchALo, cAmaNI- nokaLayA. o ja caumAya aMchevU thomALiyuM repIne, talavAra ane baMduka vALo-yukta, AMkho tokhe ThavIne nALuDImAM dhArUDiyo pALayo, ja dekhAya e, phALiyuM paherIne, ghoDe dhArUDiyAne caumatAM ja khaga sIpyA. yA besIne rastAmAM bahAravaTiyo Avyo. jhaLakA jaMchevI cAmaNI caumADI bahAravaTiyAne jotAM ja jamAdAro DA. dhArUDiyAe vaka-jArU belo naMchakara devatA (aMgArA) jevI AMkha dekhA DIne bahAravaTiyAe kahyu-dAgInA dhAbAMne kalADI khAMnIza. Apo, nakara bardhAne mArI nAMkhIza. kalADI khonavAnI TAvathI lakapaNa mArI nAkhavAnI vAtatho mRtyu AvyA pALyA jevAM khamaNa rakIne khage haNakIne jevAM moDhAM karIne jamAdAroe rajapUtANIne jArU balavA vakayu ane locyA ke-DhavaI dAgInA ApavA kA, ane bolyA rakIzu to ena jhoNo dhAbAM hANamane ke-laDAI karIzaM to A lUTAro badhA kalADI khonaze. mANasone mArI nAMkhaze murALanI hAle dhaMchAvaNamA haNakIrnu rAjAnI strIe dhAvaNamA rajapUtANInuM seDaq hohelaM, khaganI sIpaNa TAvathI dUdha pIdhelaM, jamAdAronI bIkaNa vAtathI iNakIne boLa jhokArI caMchaDhI. jArU bela- rajapUtANIne ghaNI rIsa caDhI, dAgInA vAnI hono vakI ane tubAvaLathI khaganA ApavAnI nA kahI ane jhaDapathI jamAdAranA kATakAmAthI dhArUDI TavAne DhavaI rakI, hAthamAthI baMduka laIne laDAI karI bahAravadhArUDIyAne kalADI khaunyo. TiyAne mArI nAMkhyo.

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paM. amRtalAla bhane lakSmaNadAsa bhojaka saMchihaNa jaMchevI haNakInA gamaNAmAM siMhaNa jevI rajapUtANInA pagamAM mAdhuM thoMmA kumI, caumaNomAMthI boLa nirALu mUkI, svimAthI ghaNAM AMsu lAvI bIkaNa kavADI sopaNa khaga TomA kATake paeN gyA. jamAdAro moTA avAje royA. pevaraM chApuM mugaLanA khAne pALyu. gADu pArcha rAjAnA ghera Avyu. haNakINa. nAnuDImA rakelI DhavaIno rajapUtANIe rastAmA karelI laDAInI TAvadhI mvaga aMchu ra mugaLa khArapyo. vAtathI jamAdAro upara rAjA kopyo. dhorU khagane khaDabhiyo, loMcI ane bane jamAdArane caNiyo, kAMcaLI ane par3avalo pAvI vArahe ThavADI murALe sAllo paherAvI, gadheDe besArI rAjAe nALamAthI kaDhavADI kumyA. gAmamAMtho kADhI mUkayA.

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saMbodhike gatAMka meM kavi diye haiM taduparAMta eka viziSTa kavi baMdika' le0 paM0 amRtalAla mohanalAla bhojaka baMdikakRta harivaMzagranthake saMbaMdha meM maine jo AdhAra ullekha yahAM diyA jAtA hai| vi. saM. 915 meM racita AcArya zrI jayasiMhasUrikRta dharmopadezamAlA - vivaraNa meM vandikAcArya kRta grantha kA avataraNa isa prakAra diyA hai- "uktaM ca zrImadavandikAcAryeNa - - samudravijayo'kSobhyaH stimita [:] sAgarastathA / himavAnacalazcaiva dharaNaH pUraNastathA // abhicandrazca navamo vasudevazca vIryavAn / vasudevAnuje kanye kuntI madrI ca vizrute // " (siMghI jaina granthamAlA dvArA prakAzita 'dharmopadeza - mAlA - vivaraNa' pRSTha 7) uparyukta avataraNa ke AdhAra se 'dharmopadezamAlA - vivaraNa' ke vidvAn saMpAdaka paM0 zrI lAlacandabhAI gAndhI ne apanI prastAvanA ke chaThe pRSTha meM zrIvandikAcAryakRta grantha kI noMdha lI hai / yadyapi isa avataraNa meM harivaMzagrantha kA nAmollekha nahIM hai tathApi isameM harivaMzakathA se sambandhita daza dazAroM ke nAmollekha ke AdhAra para zrI vandikAcAryakRta harivaMza ke ye avataraNa hai, yaha vidhAna sahaja bhAvase spaSTa hotA hai / baMdika kavikRta harivaMzagrantha ke sambandha meM maine yahAM upara sUcita 'saMbodhi ' trimAsika ke aMka meM spaSTatA kI hai| vahAM kuvalayamAlAkathA kI jo gAthA avataraNarUpa se do hai isake caturtha caraNa meM 'harivaMsaM ceva vimalapa' pATha ko maine prAdhAnya diyA hai| mere sUcita lekha meM nirdiSTa aura yahAM diye hue avataraNa se yaha suspaSTa hotA hai ki vandikAcAryakRta harivaMzagrantha thA jo Aja anupalabdha 1. Sambodhi, Vol. I. No 4 January 1973 meM mudrita 'kavi baMdika' zIrSaka lekhako pUrti

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paM amRtalAla bhojaka hai / kuvalayamAlAkathA kI sUcita gAthA kA 'buhyaNasahassadaiyaM' yaha prathama caraNa aura caturtha caraNa meM AyA huA 'vimalapaya' yaha donoM vizeSaNa vaidikakavike aura inhoMne race huye harivaMzagrantha ke haiM, yaha bAta niHsandeha mAnanI cAhie / phalataH kuvalyamAlAkathA kI sUcita gAthA meM jo 'harivarisaM' aura 'harivaMsaM' aise do pATha milate haiM ina meM 'harivaMsaM pATha ko maulika mAnanA cAhie / yahA~ ceva zabda *iva' ke artha meM arthAt upamArtha hai / prAcIna granthoM ke aneka sthAnoM meM 'iva' ke artha meM 'ceva' zabda kA prayoga milatA hai, 'pAiyasaddamahaNNavo' meM bho udAharaNa ke tora para do sthAna kA nirdeza karake 'ceva' zabda ko upamArtha meM liyA hai, astu / prAcIna granyastha lipi meM 'va' aura 'ba' kA bahulatayA abheda hone se prastuta harivaMzagrantha ke kartA kA nAma 'vaMdika' athavA 'baMdika' hogA aisA mAnanA cAhie / dharmopadezamAlA-vivaraNa ke prastuta avataraNa se yaha spaSTa hotA hai ki 1 harivaMza ke kartA vaidika kavi jaina AcArya-zramaNa the aura 2. vandikAcAryakRta harivaMza kI bhASA saMskRta thii| DA. gulAbacandra caudharI ne kuvalayamAlAkathA kI gAthA ke AdhAra se hI harivaMza grantha ke kartA vimalasUri nahIM hai aisA jo vidhAna kiyA hai vaha ucita hai| kintu sAtha hI sAtha unhoMne usI gAthA ke padoM se harivaMza grantha ke phano 'hagvirSa nAma ke vidvAn hone kA jo vidhAna kiyA gayA hai vaha merI samajha meM galata hai / unakA yaha vidhAna isalie ucita nahIM ki 'vaMdiyaM pi' kA rUpAntara 'vandhamapi' karate haiM jo kathamapi saMbhavitta nahIM / yahA~ nirdiSTa dharmopadezamAlA-vivaraNa kA avataraNa mere sammAnya snehI aura muprasiddha vidvAn DA. zrI harivallabhabhAI bhayANojI se mujhe jJAta huA hai patadartha meM unake prati AbhArabhAva vyakta karatA huuN| 1. dekhie Proceedings of the Seminar of Scholars in Prakrit & Pali Studies, March 1971, pR0 75. 1. vahI pR0 46

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zrI somArka ziSya sarvArkakavinA vinirmitA pizunapaJcAzikA saMpAdaka : paM0 harizaMkara aM. zAstrI [pizunapaJcAzikA nAma kAvyaM somArkaziSya sarvAnAmnA kavinA lalitapadhaiH vyaraci iti tu antimabhAge puSpikAyAM spaSTamuTTaGkitam / 'ayaM kaviH svakIyajanmanA kAM bhUmimalaJcakAra kadA ca' ityAdistasya jIvanavRttAntastu nAjJAyi / idaM kAvyaM pizunamuddizya likhitam / yadyapi atra arthagAmbhIryaM tathApi vAcakAnAM rucikaramAhlAdapradaM ca / kavinA cAtra kAvye atIva sundarA kalpanA akAri / pizunAnAM caritaM mAkSAt prakaTIkRtam / anena etAdRzI kalpanA prAdurbhavati yat ayaM kaviH pizunaiH atyantaM pIDito bhavet anyathA etAdRzAn udgArAn katham udviret ? asya kAvyasya ekA eva hastapratirlabdhA yA lA-da-bhA-saM-vidyAmandirasurakSitamunizrI puNya vijayajIsaGgrahasakA prakAzitahastapratasUcau 5107 kramAGkA / sAca khrista 15 zatAbdayAM likhitA iti kalpyate / asyAH pRthusvadIrghatvapramANaM tu 26.1x11.0-se0mI0 parimitaM vartate / asyAM pratipatraM 18 paGktayaH pratipaGkti ca 65 akSarANi santi / prAyaH zuddhA varttate / mUlamAtram evAsyAM pradarzitam / madhye suzobhanamapyasti iti zam / -sampAdakaH ] gAvo jayanti kavituH savituzca tulyAH kalyANavarNamayatAM parizIlayantyaH / yAH kAraNaM sujanavArijahAsavRtte mlAniM nayanti pizunotpalakAnanAni // 1 // kaNThe viSaM hRdi tamaH zikhinaM ca netre nepathyajAtamapi yo vahati dvijihvAn / bhAgyena kenacidupasthitacandralekha: svAmI samApayatu ko'pi satAM sa tApam // 2 // hetorvinA'pi vinayacyuticApalena yaH sAvalepamaparAdhyati sajjanebhyaH / Alimpato'sya janamAryamavarNapaGkaH saMkIrtayAmi pizunasya pazocaritram // 3 //

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sarphikavinA vinirmitA podApi majulamRtuH kila puSpajAlaM hate satISu vanarAjiSu saktimetya / dhik saptamena RtunA kulaTAsu tAsu prArabhya te pizuna eSa viSaprasUnam // 4 // jAne khalasya jananI prativezavezma saMdIpya tandrasitadohadinI babhUva / ucchidya cUtavipinAni phalottarANi tanmUlamRtkavalanaM ca kimAcakAGkSa // 5 // bhUkampabhIlukamasakkaNavarSadana muddAmadurdinavimardamRdkRtArkam / digdAhabhasmacayacaNDamarutprapAta paryAkulaM ca khalajanmani vizvamAsIt // 6 // piNyAkataH zunakato narakAcca nIlyA(lyAH) caNDAlato'pi ca kharAllakuTAcca vedhAH / AdAya varNatatimagracarImanArya nAmAni tattadabhidheyabudho babandha // 7 // nAmAntareNa dahanaH pizunaH prajAnAM ____jAne samuttapanaheturivAyatIrNaH / sauhArdavAripariSekakathAdaridre bhadreNa sapta vibhavantu zikhAstadasmin // 8 // alpIyasA'pi madhureNa zizovyatheti kiM pAyitaH kaTukameva khalaH svamAtrA / adyApi yatkaTubhireva girAM vipAkaiH dhik sauhadAmRtajuSAmapi dhikkaroti // 9 // stanyAya jihmarasanaH pizuno jananyA prAyazciraM zakadapAyitarAM kharasya / yenAdhunA'pi kharavat paruSANi jalpan alpetaraM(rata ) zravaNavartma satAM dunoti // 10 //

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pizunapaJcAzikA adhApi te nayarahasyavidAM sadassu zauryAdayaH SaDapi yasya guNAH prathante / atyantanirguNatayA jagati pratIto doSaikavAgapi zunaH pizunaH samaH kim // 11 // dhUmAyate dhigayamAzrayameva hiMsan ___ mAM sarvabhakSa iti vaiSa vigarhate yat / atyantabhIluratilolazikhApadezAt vaivAhiko'pi khalataH khallu vepate'miH // 12 // svAdIyasIM kila sudhAmapi dhikkaroti kAntA'dharastadidamAhuralIkameva / rAgottaraM rasayato'pi muhuryadena madyApi vAg viSamayI vadane khalasya // 13 // dhUteSu devanapaNAya khalaH priyAyAH saMzodhyametadapi kAJcanamuccinoti / parvacchalAcca pura eva bahUpakurvan / sarvasvamAharati vizvasitasya jantoH // 14 // atyantakarkazagiro malinAtmakasya kiJcitkharasya ca khalasya ca vaisadRzyam / vAmo'pi yadizati vAJchitamarthamekaH kliznAti siddhimaparastu nayAdhvagAnAm // 15 // ko nAma paGkajabhuvaH zucitAvalepaH kRSNasya ki dhavalayiSyati kI tirAzAH / sarvajJatA pazupatedhiMgaropi dhRSTai ritthaM suropahasituH kva na bhIH khalAnnaH // 16 // niryAtayiSyati mamAnvayavairameSa bhAvI punarmadupabRMhitavittabhoktA / itthaM khalastanayajanmamahotsave'pi samprIyate kimapi kiJcana zocatIya // 17 //

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sarvAkavinA vinirmitA AjanmanaH kalupameva mukhaM yadasya yatkAcillasati vAci kaThorataiva / talki samunnatimato bahumAnabhAjaH kAntAkucAdayamazikSi guNaH khalena // 18 // sarva / vijJapayataH zRNu me vacAMsi tIkSNo mukhe sa parUpaH paramarmabhedI | kiJcittadA na pizuno vidhizalyamAsI lakSmIdharaH puravadhArthamiprakRto yat // 19 // grAsIkRtena bahunApi halAhalena suratabhUva bhavataH ziva ! kaNTha eva / Acamya vindumapi durjanavAgvipANA mAcUlamAcaraNameyasa kAlimAnam ||20|| prAyaH parArthavimukho'pi tadarthitastvaM haMsi dvijihagaNabhUSaNa ! na dvijihvAn / AtmArthamamapi prahariSyataH prAk nizi / na faeospi mAnasaM te ||21|| mA te'stu mAnakaNikAspi yadakSivaH ko'nyaH pumAnahamiva prasadeta detI: / utseokinaH pizunavAgdahana sphuliGgA naGgIkaroSi yadi vedmi tadIzatAM te ||22|| yAvattavAndhakavadhA yazastrinetra ! yAvatpurapramathanAcca tavaikanetaH / tAvadyazaH zataguNaM bhaja bhUtanAtha ! bhUta he khalajanAya dizatrizUlam ||23|| etasya vA pazupateH kRtamathenAbhi dakSAtmajAmazaraNaH kSaNamarthayiSye / yAmabhyu (bhya) pAdi padavIM mahiSo mRDAni ! tatrocite khalamapi prahiNu prasIda // 24 //

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pizunapaJcAzikA kSetrAdhinAtha ! bhagavannakRpaH kRpANyA tvaM tasya durjanapazoH parikunta jitAm / yadvAgviSaprasaramohanirastakAntA duHkhomibhiH sphuTamajIyata rAmabhadraH // 25 // zrIrAghavaH pavanadiSTapataGgarAga dhyAnAdamoci pavanAzanapAsa(za)bandhaiH / dRSTaM punaH pizunapAMsanakUTapAza nirmocanaprati vidhAnamaho na kiJcit // 26 // dravyeNa yena khalajAtirasaji dhAtrA taccheSa epa kulizaH sa ca kAlakUTaH / sa grISmacaNDarucimaNDalacaNDimA ca te ca trinetranayanAnalavisphuliGgAH // 27 // enasvinaH khalajanasya janiH kimAsIt mAtuH sa kiM jaThara eva na vipralInaH / taM jAtamadhyahaha duHsahavaMzajA'pi nAdatta sari(ti)sadanAduta jAtahI // 28 // zaure ! tvayA ciramadhAkRta eva tAvat jihvAsahasrayugabhAgvinayAnato'pi / tena dvijihvamavinItamadho vidhAtu mujjha pAM kuzalamastu satAM kulebhyaH // 29 // netuM khalAniha tulAM na halAhalena yuktaM janAH zataguNaM gahanAstato'mI / prAtaM jagadbhagavatA'pi na bhairaveNa yatkAlakUTamiva jagrasire mahogrAH // 30 // bhUyAnazikSi pizunairazanerguNo yat saMzolayanti hRdi pApavismarantaH / yaH zikSito viSadharAdapi sAdaraM taiH / jihvAgra eva niyataM ramate sa teSAm // 31 //

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sarvArkakadhinA vinirmitA kruddhe'pi kesariNi dhAvati dhIranAda mapyAturasya pitaraH zaraNIbhavanti smerAdapi priyagiro'pi vizaGkamAnaH ___ karNejapAttu karuNaH zaraNaM kametu // 32 // agniH spRzantamahirAkramamANameva / hAlAhalo rasayitAramacitrametat / citraM hinasti pizunastu davIyaso'pi ___ yastaM dizAmi sakulaM kulayoginIbhyaH // 33 // nAdAtumakSamata dasyubhiyA khalasya saMmUrcchato'pi vadanAnmaNimasya bandhuH / daivAdalIkamRtakaH kavalIkaroti ___duSTo mamAGgulimasau dazanaiH kadApi // 34 // hitvA khalAnahaha catvaradevatAnAM santarpaNAya kimajaH sasRje vidhAtrA / AH jhAtamagniparamANuvinirmitAnAM teSAmasagdahati tadgalanAladIrgham // 35 // hA dhigjano mayi bhavatyapi jIvatIti tIrthe'mbudhau tadupatApadhiyA svamaujjhat / bhUtvA viSaM kimuditaH khala eva lokAn krAmanpadaM purabhido'pi cakAra kaNThe // 36 // rakSo'bhidhAvati tathedamito'pi dantI zArdUla epa mRgarADayamatyudIrNaH / yAtuH kva te kuzalamityuditaH kirAtAn bate'dhvagaH khalana eva bhayaM na tebhyaH // 37 // hitvA gRhAn varamaraNyamahImupAdbhava-- manIta vanyamupajIvata nijharAmbhaH / . valkaM vasIdhvamapi kiM tu bhayaMkarANi dUreNa varjayata durjanatarjanAni // 38 //

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pizunapaJcAzikA sarvo'pi nAma kuMzakoTimatiH prayatnAt vetti trayoM vivRNute padavAkyatarkAn / vindatyavAgmanasagocaramAtmatattvaM cittaM tu kazcana na nizcinute khalAnAm // 39 // sphItA purastadnu dharmaRtukSapeva maitrI krameNa tanimAnamupaiti yeSAm / zAThayaM tu tahinamiva prathimAnameti kiM te na kAlasuhRdaH pizunA grasante // 40 // jJAtaM cirAya viramanti na te'parAdhAt nAdhAtumeSu ca ruSAM phlmiishitaarH| kintu kriyAsamabhihArakarthitAnA____masmAkamuktiranizaM pizunAn pinaSTi // 41 // dhAtuH stavImi kimu pANisaroruhANi nindAmi veti vitataH khalu me vitarkaH / sallakSaNaM madhu yadekamitaH kimAsI danyacca durjanarajo bhuvanAndhyahetuH // 42 // dhatte'nyadeva pizuno hRdaye'pi kizcid vAcA bravIti parikalpanamanyadeva / manyukriyaikaparicArakacittavRtte rogAturasya ca na kazcana tadvizeSaH // 43 // dhikzApavAcamathavA mama durjaneSu ___yatte'pi santa iva vedhasa [eSa sa]rgaH / drAkSArasAlakadalIvanamekatazced loke viSadrumavanAnyapi nAnyataH kim // 44 // zazvad guNIbhavitumujjvalameva yatna mAtanvatopi('stu) khalayorayameva bhedaH / ekaH svake manasi kAnapi mantrabhedAn anyaH parasya tu japatyupakarNameva // 45 // 1. kuzApramatiH /

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ra sarvArkika vinA vinirmitA AdyaH kavitvamasi tena jagadvidhAtadhatiryatasva khalakhaNDanarUpakAya / bIbhatsamityapa[ri]hAryamidaM tavApi arrant bahurasaH kila nATakIyaH // 46 // AdhAnataH prabhRti ye nidhanaM ca yAva ditthaM khalAH sakalalokabhiye bhavanti / tyApi kintu yamakiGkaratAmupetya te yAtanAsu janatAM paritApayanti // 47 // ete khalasya parevAdamudIrayantaH prAyo vayaM khalatulAmiha mA sma yAmaH / ityAkalayya tadavarNanivRttibhAjA- masmAkamastu sentrtanameva zuddhayai // 48 // bhAlasthalIdhaganalaH kva tu yAmikaste zAstA taponidhiriti smarataskarasya / Sa (kha) TvAGgamapyahaha pANigataM na kiM te dhunA'pi paritaH pizunAH sphuranti // 49 // somArkasya gurorgiraM guNamayImAsevya paJcAzatA vRttadvitatAna vRttamasatAM sarvAnAmA kaviH / taccittena tavaiva tarkapaTunA nizcitya he sajjanA mA bhUdraH pizunaiH samaM kvacidapi krUreGgitaiH saMgatiH // 50 // iti pizunapaJcAzikA |

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CATUR-VIMSATI-JINA-STUTI (In Apabhramia) [From Risahanaha-Cariya by Vardhamana-Suri ] Madhusudan C. Modi Amritial M. Bhojak We have selected this piece, Caturobhatijnasturi, from VardhamanaSan's Sir-Risahankha-Caria (Sk. Sriralhanathacarita), completed in V. S 1160, the same year in which Devacandra, the preceptor of Sri Hemacandracarya completed his Santinaha-Cariya. The piece selected occurs in the concluding part of the work, as a prayer to twenty-four Jinas offered by Bharata-Cakrin, at Astapada-Tirtha. The whole work is principally in Prakrit and forms the extent of 11,000 Slokas. However, though the principal language of the work is Prakrit, it possesses in very many places episodes and stray stanzas in Apabliramia, We have culled out these portions with a view to throw light on Apabhramsa compositions, written in Gujarat by the Svetambaras. Of these portions, we edit here one portion Caturvimbatijinastult which is in Apabhramia and in Radda-metre. It consists of the prayer to twenty-four Jinas, each stanza dedicated to one Jina and one concluding stanza. Thus in all there are 24 stanzas for 24 Jinas in Ap. + one concluding stanza, a Pk. arya e, in all 25 stanzas. The stanza 24 contains the 'namamudra' Vardhamana of the poet as was the custom with Ap. writers and the concluding arya also bears the name Vardhamana. Another point to note is that every stanza bears the name of the Jina praised but somehow the stanza 22 does not bear the name of Nemi. It may be a poetic inadvertance. A point of interest in this composition and in others we are intending to bring out, is the continuous use of the Radda-metre for the narration instead of the Sandhi-Kadavaka-form. Haribhadra has used,-barring a few portions where he has used Pk and Ap. Kadavakas for a change,-Radda metre as the chief narration-metre. Here too, the poet has used Radda as his sole narration-metre. Radda is a five-line metre: 15 Matras for line 1; 11 or 12 Matras + 15 Matras for line 2; 11 or 12 Mairas + 15 Matras for line 3; the concluding metre in Duha 1, e. 13+ 11 (for line 4); and 13 +11 (for line 5). As a matter of fact, the Radda was called Vastu and Haribhadra himself has hinted at this name in st, 103. (Neminaha-Cariya) atthu-kayva. In Old Gujarati Radda is always called Vasiu. Radda, or

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Vastu as a matter of fact is a miniature Kadavaka in the fact that the first seven Matras of the first line are repeated as a dhruva-pada and Old Gujarati Mss. always place 2 to indicate repetition after these seven Matras The last duha is in the nature of a concluding verse or a Ghatia; while the lines 2 and 3 of the metre for in the body of the miniature Kadayaka Le of the Radda-unit. A word about the author is relevant liere in this brief note. As the concluding stanzas of the work state, our writer Vardhamanasuri was the pupil of Abhayadeva-Suri, a well-known comuntator of the nine Angas His learned pupil Parsvacandra-gani copied out this work for the first time He composed this work as said before in V.S. 1160 when Gujarat was under the rule of the Caulukya monarch, Jayasimba, well-known as Siddhara ia Jayasitiba. He composed this work in Cambay (Kbanibhaittha). As to the Mss-apparatus for this text, a word is cnough. A palm-leaf Ms. in Jaselmer of this work, was copied out when the late Agama-Prabhakara Mudraja Sri Punyavijayji was there and thereafter the variants were noted in the copy from the Patana Ms. Both the Mss, are Palm-leaf Mss, J. Ms. belng written in V.S. 1339 while P. Ms, was written in V.S. 1289, P. Ms. bas better variants than the J. Ms. (See. Catalogue of Sk. and Pk. Mss Jesalmer Collection p. 98, Serial No. 250, published by L.D, Institute of Indology, Abmedabad and Pattan Catalogue of Mss. G.O. Series, Baroda page 350, No. 101). The other Mss. of this work are also available at Patana and have been noted in the Catalogue referred to (p. 169, No. 285: p. 364, No. 55(2).

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zrIvaddhamAnasUrivicita risahanAhacariya' antargatA apabhra zabhASAnibaddhA caturviMzatijinastutiH [1] -paNaya-paya-kamala kamaloyara-kaya-caraNa kamala-gabbha-sama-vaNNa sAmiya / risahesara paDhama-jiNa pddhm-dhmm-dhur-dhrnn-dhoriy|| aTThAvaya-girivara-pihara- sehara purisa-pahANa / tAha~ taha-dviya bhava-jalahi jehi nai tuha kaya ANa // [2] ajiya nijjiya-dujjayANaMga gaya-laMchaNa gaya-gamaNa ajara amara siva-muha-nibaMdhaNa / sama-sAyara pAra-gaya vijayadevi-jiyasattu-naMdaNa // taM dhaNu dharaNihi bhAra-karu ahana viDAviDi-satthu / jeNa na pUiu sAmi tuhu~ bhava-sAyara-bohitthu // deva dujjaya-mayaNa-mAyaMgakaraDa-yaDa-dAraNa-dariya- hari-kisora bhava-bhatraNa-bhaMjaNa / bhava-sAyara-pAragaya guru-payAca nIraya niraMjaNa // saMbhava bhava-gatAva-hara lakkhaNa-laMchiya-gAya / punna-vihINahaiM dulahiya tuha paya-pAyava-chAya // 1. calaNa pA0 / 2. jiNa dhamma-paDhama dhura je0 // 3. aTThAvai-gi je0 // 4. tahaDio meM pA0 // 5. na kaya tuha ANa je0 / / 6. ra pAragaya vija pA0 / / 7. ahiva je0 / / 8. tuhu pA0 // 9. ga-vikara je0 // 10. ra pAyaDa parakama // bhava-sAyara" pA0 / /

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zrovarddhamAnasUriviracitA bhuvaNa-bhUsaNa jaNa-maNANaMda purisottima parama-paya- baddha lakkha akkhaya niraMjaNa / su-pasattha-maMgala-nilaya bhuvaNa-bhANu bhava-bhaya-niraMbhaNa / / saMvara-siddhatyA-taNaya nijjiya-visaya-kasAya / abhiNaMdaNa jiNa tuhu~ sairaNu tihuyaNa-paNa miya-pAya // sumai sAhiya-siddhi-atthANa sannAna-dasaNa-caraNa- Nilaya nAha jaiya-jIva-bacchala / bhava-ruMda-kaMdukkhaNaNa- vara-varAha dhara-dharaNa-paccala / meharAya-kula-kitti-kara koha-davAnala-meha / maMgaladevihi aMgaruha kavaNu lahai tuha reha / / visaya-visahara-visama-visa-veyaviddhasaNa viNaya-suya tAra-teya tihuyaNa-namaMsiya / paumappaha ! pauma-dala- dIha-nayaNa paMDiya-pasaMsiya // appaDihaya-vara-nANa-dhara soDiya-mANa-maraha / ekka-kAlu nANA-jiyaha~ saMsaya-dalaNa-gharaTTa / / sarasa-sararuha-surahi-guha-sAsa kuMdeMdu-nimmala-cariya moha-tibhiA-dAraNa-divAyara / tijaguttama tama-rahiya bhaviya-kumuya-bohaNa-nisAyara // payaDiya-parama-payastha pahu muvaNa-ttaya-su-payAsa / muha-nihi nihaNiya-kamma-mala jiNavara jayahi supAsa // ___saraya-sasahara-hAra-nIhArahara-hAsa-gokhIra-sama- deha-vanna vara-kitti-kula-hara / caMdappaha caMda-muha caMda-kitti-dhavaliya-diyaMtara // niya-kula-naha-yala-caMda-sama kamma-kalaMka viplukka / saMpai sarai na tAha~ pahu je tuha sevaha curU // 1. bhavaNa je0 / / 2. saraNa je0 // 3 aTThANa je0 // 4. jai-jova ne 5. 'da kuMdakkha je0 // 6. ma maNa-ra je0 / /

Page #91
caturviMzatijinastutiH suvihi-suvihiya-samaNa-kaya-seva karuNAmaya-mayarahara mahiya-moha maya-mANa-maraNa / saMsAra-bhaya-bhoya-maNa- jaNa-saraNa kammaTTa-cUraNa // mahai~ mahagghai~ maNahara tihuyaNi jAi~ suhAi~ / tuha paya-sevaI suvihi jiNa lIlaI labbhahi tAi~ // [10] bhuvaNa-vacchala atula-bala-sAra saMsAra-sara-sosa-yara taraNi-teya sIyala suhakara / suha-sAsaNa sasi-vayaNa bhaviya-kamala-bohaNa-divAyara // jaNa maNa-mANasa-sara-naliNa- nilayaNa-rAya-marAla / mana viramau tuha guNa-gahaNi majjha jIha sayakAla // [11] divya-nANiNa diTTha-daTTavva daya-rasiya khama-dama-bhavaNa naliNi-nAla-sukumAla-muya juya / seyaMsa jiNa-vara-tilaya seya-nilaya sura sattha-saMthuya // . tihayaNa-paNamiya-pAya pahu vinnattiM nisuNejja / bhavi bhavi maha tuha paya-kamali loyaNa-bhamara vasejja // [12] duddamidiya-dappa-kapparaNa maNa-makkaDa-ruddha-pahu kamma-keli-vaNa-gahaNa-kuMjara / saraNAgaya-dutthiyaha~ vAsu pujna daDha-vajja-paMjara // ajara niraMjaNa jaga-tilaya paNayaha~ pUriya-Asa / nimmala nimmala-nANa-nihi kaya-nivyANa-nivAsa // 1. pai-se je0 // 2 jIya saya' je0 // 3. 'juya / sura duMdahi gahirasara seyani laya seyaMsa jiNavara // tihuyaNa pA0 // saya nilaya je.

Page #92
zrIvardhanAnasUriviracitA vimala vimaliya-sayala-jaya-jIva bhattibhara-nara-vara-khayara- amara-ramaNi-muha-ghusiNa-raMjiya- / paya-kamala kali-mala rahiya ramma dhamma visaehi a-gaMjiya // iMdiya-turaya-turaMgamaha~ ruddha-kumagga-payAra / siddhi-puradhihi vacchayali gholira-nimmala-hAra // [14] kaNaya-maMdari vihiya-abhiseya sura-suMdari-laliya-kara- kuDava-kuMda-maMdAra-pUiya / sujamothaira-sara-naliNa- rAyahaMsa vara-sumiNa-sUiya // avvAvAha arUva rasa aruya agaMdha aphApta / jayahi aNaMta aNaMta-muha jiNavara bhuvaNa-payAsa // cavaNa-raMjiya-sayala-sura-loya niya-jamma-saMjaNiya-jaNa- maNa-pamoya jy-jiiv-suh-kr| nikkhamaNa-raMjiya-bhuvaNa bhuvaNa-bhANu kaMkelli-sama-kara // dhamma-dhuraMdhara dhamma jiNa saMpAviya-suha-ThANa / suvyayadevihi aMgaruha sAsaya-sokkha-nihANa // jeNa sAhiya niya-payAveNa akkhaMDa-chakkhaMDa mahi jeNa tiyasa niya-seva kAriya / mANunbhaDa Iyara raNi jeNa jiNivi niye-muha juyAviya // dahi vi payArihiM cakkavai tihu~yaNi jaNiyANaMdu / paNaya-sahakaru saMtikaru paNamahu saMti-jiNidu // 1 maMdira pA0 // 2 vyarasuraniliNa' je0 / / 3. suha-yara paa0|| 4. khararayaNi jeNa je0|| 5. niya-mahumahu juyA je0|| 6 tihuaNi paa0||

Page #93
caturviMzatijinastutiH [17] sayala-sura-pahu-maMuli-parigaliyamaMdAra-maMDiya-calaNa maha-joha-bhaDa-bAya-bhaMjaNa / daippudhdhura-mayaNa-bhaDa- mukka-dusaha-sara-pasara-gaMjaNa // kuMthu kayatthIkaya-sayala- scraacr-jiy-loy| tiNu jimba chaDDiya pai ji pairi kara-gaya bhAraha-bhoya // [18] sarasa-sararuha-nayaNa naya-niuNa chakvaDa-mahi-mahila-vaDaH mahiya-mahima mahi-vaTTha-bhUsaNa / pAyaDiya-apavagga-paha aura jiNiMda ummagga-nAsaNa // tAha~ gharaMgaNi sayala-siri sagga mokkha kari tAhu~ / khaNu vi na cittaha~ uttarahi tuha nAmakkhara jAha~ // [19] deva tihuyaNa-payaDa-mAhappa saddhamma-nAyaga ti-jaya- pahu pahINa-jara-maraNa-tama-bhara / maya-malla-paDimalla jiNa mallinAha paNayAmaresara // kumarattaNi kaya-vaya-gahaNa sAmiya sAmala-deha / viya kumuya-paDiboha-sasi tava-siri-niya-kula-geha // [20] sajala-jalahara-nIla-bhamarolinIluppala-dala-gavala- sarisa-deha sama-rasiya dayavai / apameya a-pamANa-guNa muNiya-vatthu-paramattha muNivai / / soma niraMjaNa kAruNiya suvvaya bhaviya-saraNa / harivaMsubbhava bhava-mahaNa maI tuha seva pavanna // 1. "mauDa-parideg paa0|| 2 dappuddhara' paa0|| 3. para paa|| 4. bhAraya-bhoM je0|| 5. ari je0 // 6. nIra-bhamarAli je0|| 7. deha daya-rasiya je0||

Page #94
zrIvaddhamAnariviracitA [21] namira-naravara-mauDa-mANikkamaNi-kiraNa-raMjiya-calaNa deva loya-loyaNa-mahasava / kara-kaliya-nivyANa-saha suha-nihANa paNamaMta-vAsavaH / / pasaruTThiya paramAyariNa je tuha paya paNamaMti / te laMdheviNu bhava-jalahi nami nivvANaha jaMti // [22] deva koDDiNa kumara-bhAvammi hari-saMkhu paI kari karivi vayaNa-pavaNi ja bhariu tavaravaNi / 'naM khuddha nAyava mayala hari sa-saMku saMjAu niya-maNi / / sAyara sayala jhalajjha liya giri TalaTalaNaha lagga / kaMpiya dharaNi dhasakkiyaha dharaNiMdaha phaNa bhagga / [23] visama-saMkaDi samara-saMghaTTi ai-duttari jalahi-jali lahiri-gahiri vilasaMta-jalayari / niru nivaDiya vaNa-gahaNi sIha-sappa-kari-kuviya-duhari // pAsanAi-nAma-gahaNi nara nittharahi na bhaMti / aeNjivi saMsAriya-muhaI duhaha~ jalaMjali diti // [24] tisala-devihi gambhi vaDDati paI deva siddhattha-dhari jaM sirII vitthAru laddhau / tiM kAraNa kAruNiya 'vaddhamANu' bhaNNasi pasiddhau // vara-nANodaya-giri-caDiya payaDiya-bhuvaNANaMda / tiyaNa-baMdhava tega nihi jaya pahu vIra jiNiMda // iya nimmalaguNagaNavaddhamANapahupaNayapAyakamalANa / AsaMsAraM sevA maha hojja jiNiMdacaMdANa // 1 bhariya je0. 2. taha khuddha je0| 3. tirIpa jev||

Page #95
AgamagacchIya zrIjinaprabhasUriviracita apabhraMza-saMdhidvaya ra. ma. zAha prAstAvika uttarakAlIna apabhraMza sAhitya meM saMdhi eka pracalita kAvya--prakAra thA / vikramakI 13 vIM zatAbdI se lekara 15 vIM zatAbdI taka race gaye aise karIba pacIsa kAvya aba taka upalabdha hue haiN| prApta saMdhi-kAvyo meM prAcInatama saMdhikAvya, AcArya ratnaprabhasUriracita 'doghaTTI' vRtti, jo dharmadAsagaNiviracita upadezamAlA kI viziSTa TIkA hai aura jisakI racanA vi. saM. 1238 meM huI hai-meM dikhate haiM / usake bAda terahavIM sadI ke anta bhAga meM hI aura pAMca saMdhikAvya milane haiM / unake racayitA the AgamagacchIya jainAcArya jinaprabhasUri / 13 vIM zatAbdI ke antima caraNa meM vidyamAna jinaprabhasUri ko kaI apabhraMzabhASAbaddha laghu racanAeM prApta hotI haiM, jaise ki --- 'dharmAdharmavicAra kulaka,' 'AtmasaMbodhakulaka,' 'subhASita kulaka,' 'bhavyacarita,' 'bhavyakuTumbacarita,' 'gautamacaritra kulaka,' 'cAcaristuti, 'gurustuticAcari,' 'nemirAsa,' 'antaraGgarAsa,' 'mallinAthacaritra,' 'mahAvIracaritra,' 'jambUcaritra', 'sukozalacaritra,' 'caityaparipATI,' 'moharAjavijaya,' 'antaraGgavivAha, 'jinajanmamaha,' 'neminAthajanmAbhiSeka,' 'pArzvanAthajanmAbhiSeka' ityAdi / jinaprabhasUri kI racI huI saMdhiyAM isa prakAra haiM- (1) madanarekhA saMdhi (2) narmadAsundarI saMdhi (3) caturaGga saMdhi (4) anAthi saMdhi aura (5) jIvAnuzAsti saMdhi / inameM se prathama 'madanarekhA saMdhi' lA. da. granthamAlA meM zIghra prakAzyamAna 'madanarekhA AkhyAyikA' ke pariziSTa meM chapa gaI hai| zeSa apragaTa cAra meM se antima do yahA~ para prathamavAra prakAzita ho rahI haiM / 'anAthi saMdhi' kA viSaya prasiddha 'uttarAdhyayana' sUtragata vIsaveM mahAnirgranthIya adhyayana meM prApta anAthi rAjarSi ko kathA hai / aura 'jovAnuzAsti saMdhi' kA viSaya-jaisA ki usake nAma se spaSTa hai-nIva ko diyA gayA upadeza hai|

Page #96
ra. ma. zAha prastuta saMpAdana khetagvasahI pATaka jaina jJAna bhaMDAra, pATaNa (u. gujarAta) meM prApta nADapatrIya prati parase kiyA gayA hai / isakA naMbara 12 (nayA naMbarahai aura isameM 3645 me. mI. kada ke 264 patroM meM kula milAkara 54 kRtiyo kA saMgraha hai| jisameM (1) 'anAthi saMdhi' patra 173 ba se 176 ba, tathA (2) 'jIvAnuzAsti saMdhi' patra 176 ba se 179a meM likhita hai| isI prati meM jinaprabhasUri kI lagabhaga 30 laghu kRtiyoM kA saMgraha hai, jinameM upari nirdiSTa sabhI kRtiyAM A jAtI haiN| [1] anAthi-saMdhi (kaDavaka-2) jasajjavi mAhappA, paramappA pANiNo lahuM huMti / taM tithaM mupasatthaM, jayai jae vIra-jiNapahuNo // 1 // visahi vinaDiTa, kamAya-jagaDiu, hA aNAhu tihuyaNu bhamai / jo appaM jANai, mama-muhu mANai, appArAmi su abhiramai // 2 // rAyagihi nayari seNIu gAu, gurubhatti-nivesiya-vIyarAu / so anna-divasi ujjANi patta, muNi pikkhivi paNamai namiya-gattu // 3 // vapu rUbu vannu lAvannapunnu, kiM muNi navajuvvaNi sarasi rannu / nararAya ahaM bahuviha aNAhu, muNi bhoga mANi hauM tujjha nAhu // 4 // taM appaNo vi naravai aNAhu, annesi hosi kima bhaNai sAhu / kiM maI na hu jANai naravariMdu, je erisu pabhaNai muNivariMdu // 5 // gaya-hama-saha-johasaNAhu rajju, saMpajjai maNa-baMchIu kajju / mudhi bhaNai puNa vi jagu sau aNAhu, asahAiu bhamaDai bhavu agAhu // 6 // kosaMbInayaroi jaM ji vittu, taM suNi magahAhiva ega-cittu / tahiM asthi piyA maha suvihAru, sukalatta-putta-suhisayaNa-sAru // 7 // paDhame kyammi maha roga roga, umpannA vijjahaM mukka joga / piya-mAi-bhAya-bhaiNI ya sayaga, vilavai vivihAI dINa-vayaNa // 8 // maha roga-pIDa ikku vi na lei, puNa pAsi baTThau ruNajhuNei / jo ikku vi rogu nirAkarei, maha jaNau tassu dhaNu bhUri dei // 9 // na hu keNai pheDiya pIDa majjha, iya veaNa savvahaM hua asajjha / sukalatta-putta-pariyaNa-mumitta, na hu maMta-taMta tasu viDhatta citta // 10 //

Page #97
zrIjinaprabhasUriviracita apabhraMza saMdhidvaya chuha-tanha-parAbhava-duha-vicitti, hA hA aNAha saMsAra-gutti / deviMda-viMda-baMdiya-jiNiMda, paya muttu nAhu na havai nariMda // 11 // vivihAhi-trAhi-vinaDiyaha maraNu. dhammaha viNu hoi na koi saraNu / dhaNa-sayaNa-rUva-jovaNasaNAhu, iya muNauM narAvi maM aNAhu // 12 // evaM maI jANiu, maNu sami ANi u, saMga-vimukku vivea-juu / paDivajjiu saMjamu, no-iMdiya-damu, tau appa-paraha vi nAhu lhau // 13 // // 1 // (kaDavaka-2) aNAhayA avara vi jANa rAya, jaha bhaNai jiNAvi vIyarAya / phavajja pavajjiya jeNa vajja, tava caraNa-karaNa na havaMti sajja // 1 // mohaMdhayAra-niuraMba-chUDha, jaDa-jogi bhavADavi-magga-mUDha / duha-baMdha-baddha tihuaNu bhamaMti, na hu roga-dosavasi vIsamaMti // 2 // tihiM daMDihiM daMDiya appu jAhaM, tihi sallihiM salliya suhu na tAhaM / ti-virAhaNAhiM bohiM haNaMni, niggArava-guru bhavu uvaciNaMti / / 3 / / kiM kuNai nANu tabu jhANu dANu, je liMti aNesaNu bhattapANu / aha kAya-kaDAiya vasahi vattha, taha hoi taha cciya bhava avattha // 4 // je Agama-sattha-niutta sattha, tassa'nnaha karaNi aNattha sattha / / je sutta-cajjha-desaNa kuNaMti, appaM pi appu na hu te muNaMti / / 5 / / bahu-pAva-pavaMcihiM vaMciyANa, kiM kuNai tANa jiNanAha-ANa / ai vallaha vari muMcaMti pANa, na kahiM ci pavajjaI jiNaha ANa // 6 // je visaya-kasAya-pamAya-patta, na hu moha-mahannava-pAra-patta / appAbhippAyahiM saMcaraMti, appaNamavi paramavi kugaI niti // 7 // aNAhayA tAhaM vi dikkhiyANa, sayA vi sugurUhi asi kkhiyANa / je mAiThANa'NudvANa ThaMti, boriya-AyAri na ujjamaMti // 8 // moha-niva-naDiya aNAha huMti, magahAhiva te savi kugaI jati / evaM aNAha jiya savva loi, siri-jiNavariMda-ANA-vioi // 9 // jaM jiNavariMda ANA pahANa, saggApavagga-gai suha-nihANa / iya muNiya narAhiva bhava-avAya, siri-vIyarAya aNusarasu pAya // 10 // maha vihasiu seNiu naravariMdu, taM savvu saccu jai kahai muNiMdu / ti-payAhiNa vaMdiu bhAva-juttu, saMteuru nivu niya-ThANa pattu // 11 //

Page #98
ra.ma. zAha muNi niraiyAra-cArittajuttu, iya bhavaha bhAvu jANiu niruttu, viharei mahIyali sArasattu / bho bhakyi kuNau appaM pavittu // 12 / / evaM saMvihi, vihi-vikhevihiM, muNi-seNia ullAva-jura / saMbaMdhu suakhiu, jaM kiMci vi lakkhiu, mahaniggaMthajAyaNa-suu / / 13 / 2 / / cAru-cau-saraNa-gamaNo dANAi-sudhamma-patta-pAheo / sIlaMgarahArUDho jiNayaha-pahio sayA suhio // 14 // // anAthi-saMdhi samattA // [2] jIvANusahi saMdhi jassa pabhAveNa'jjavi tava-siri-samalaMkiyA jiyA huMti / so nicca pi aNagdho saMgho bhaTTArago jayai // 1 // mohArihiM jagaDiya, visayahiM vinaDiya, tikkha-dukkha-khaMDiyahaM ciru / saMsAra-virattaha, pasamiya-cittaha, sattahaM demi'Nusadri niru // 2 // aNAi nimgoma-jaMtUNa majjaMgao, egataNu'NaMtajaMtUhiM shsNgo| samagga-uvavAya-viNivAya-UsAsao, samagga-AhAra-nIhAra-nIsAsao // 3 // tayaNu vavahAra-rAsammi jiu ovio, tammi re jIva niccaM pi naccAvio / mutta patteya-taru-kAya kammi hiribho, puDhavi apu teu vAu'NaMtakAe Thimo // 4 // bhavi ya nIrAi-satyehiM saMtAvio, duTTha-kammada-gaMThIhiM saMdAvio / jIva khuDDAga-maraNeNa hA nihio, ahaha egaMta-bhaviyavvayA-hiDio // 5 // suhuma-kAyAu tau bAyare caDibho, tikkha-dukkhehiM lakkhehi jiu khddio| tattha avasappiNusappiNa'ssaMkhayA, causu kAesu ussaggao akvayA // 6 // kavaNu taM dukkhu jaM jIva na hu pAviyaM, kamma-pariNAma-bhava-bhAva-saMbhAviyaM / beiMdi-teiMdi-cauriMdi-vigalidie, kAlu saMkhejjao kAyaThii nidie / / 7 / / bhAva sabve vi suha-asuha muha viyasiyA, savva jIvehi hA'NatayA pharisiyA / nanthi taM ThANu loe na jahiM hiMDio, rAga-dosAi-suhaDehiM hA daMDio // 8 // naraya-tiriyammi maNuammi kiha ANio, jaNaNi-jaNayAi-sayaNehiM sNdaannio| iMdiyaggAma abhirAma mannaMtao, bhIma-bhava-ranni bhamaDaMtu na ya saMtao // 9 //

Page #99
21 zrIjinaprabhasUriviracita apabhraMza-saMdhidvaya cariu vivariu jovassa iha dIsae, jeNa suha tanna duhu jeNa taM gavesA / nANa-nihi niya-gihe mutta bahi bhamaDae, tattha jiu jAi duhu jattha siri nivaDA 10 // jesu ThANesu jiu NaMtasuhu pAvae, mutta taM ThANu appaM daheM dAvAra / jeNa sammeNa kammAri lahu lUTae, mutta taM mUDhu hA visaya-vimu muTae // 11 // kaha vi maNuAi-sAmaggiya pattao, taha vi visayAmise gADha annurto| lakkha-culasIi joNIi puNa bhAmio, moharAeNa re jIva assAmio // 12 // puggalANaM parAvattayA'NatayA, hiMDiyA jIva na hu kaha vi uvasaMtayA / deva-guru-dhammu na kayAi uvaladdha o, teNa eo jIvu kamme hi saMru dao // 13 // sukkhu paccakSu dukkhaM pi merUvamaM, ahaha addiTu puNa mannae tiNasamaM / virasa saMsAra-ducciTThiyaM hidviyaM, bapuri jIvANa bhava-bhamaNu hA nidviyaM / / 14 // kaha vi paI patta sAmaggiyaM maggiya, heva re jova taM kuNasu suhamaggiyaM / cAragAgAra-saMsAra-suhamujjhiu~, jutta te suhaya piyamappiyaM ujjhiuM // 15 // sayala-lacchIha laddhAi kiM AgayaM, aha sakammehi duttheNa ki te gayaM / rAga-dose ya te dovi jiya milhiuM, jutta saMtosa-nivapAsi tuha malhi uM // 16 // jattha supasattha niggaMtha-matthaya-maNI, jayai jaMbU-gaNo bhuvaNa-ciMtAmaNo / evamanne vi siri-thUlabhaddAiNA, eya siri-bayaramuNi-sAmi suynaanninno||17|| iya viviha-payArihiM, vihi-aNusArihiM, bhAvihiM jiNapahumaNusarahu / sutteNa ya pavarihiM, ANA-sutarihiM, bhaviyaNa bhava-sAyaru tarahu // 18 // // jIvANusadvi-saMdhi samattA / /

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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 Printer's Name Nationality Address 4. Publisher's Name Nationality Address 3. Editors' Names Nationality Address 6. Names and addresses of Individuals who own the newspaper and partners or shareholders holding more than one-percent of the total capital. Ahmedabad, Quarterly. Swami Shrl Tribhuvandasji Shastri. Indian, Shri Ramanand Printing Press, Kankaria Road, Ahmedabad-22. Dalsukhbhai Malvania. Indian. Director, L. D. Institute of Indology, Ahmedabad-9, (1) Daisukh Malvania (2) Dr. H. C. Bhayani Indian, (1) L. D. Institute of Indology, Ahmedabad-9. (2) School of Languages, Gujarat University, Ahmedabad-9. L. D. Institute of Indology, Ahmedabad-9, I, Dalsukh Malvania, hereby declare that the particulars given above are true to the best of my knowledge and beleif Dalsukh Malvania Signature of Publisher,

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Other Rules Ditrual is primarily intended to to researches in Medieval Indian e, llence emphasis will naturally the humans, literature and sources of this period. But it SO NITO Stellit space to other indicii throw lught in A11.1011 Culture, (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 the authors. (2) It is presumed that contributions forwarded for publication in the Journal are not submitted elsewhere. of Contributions utions mwyn Oral bes, starts of the scepted Linurersity; ritical editions of the shed Sanskrit, l' skrit, arsa, Old Hadi, Old (ujarati uppreciations and summaries of und medle alimportant original notices of peripts and textual Is will be published in the (3) The copyright of all the contributions published in the Journal will vest jointly in the L. D. Institute of Indology and the authors. (4) Ten off prints will be given to tho contributors free of charge. (5) Titles of books and Journals should be indicated by single underline. Sanskrit, Prakrit, Hindi, Gujarati ternis occurring in the articles written in 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 song two copies of the samo. in of Articles rouid he written in any one of wing invest ingages: Sanskrit, Juntati and i-h. written in lanuge other than should be companied by a 'y in English cration D). Institute of Indology will pay ium to the authors whose 170s are accepted. Subscription All contributions and correspondence may please be addressed to 2017Sh 30 Dular 500 Director, L. D. Institute of Indoogy, Almedabad-4

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OUR LATEST PUBLICATIONS (1972) 32. Philosophy of Shri Svaminarayana by Dr. J. A. Yajnik Rs. 30/ 34. adhyAtmabinduH -- harSavardhanopAdhyAyanibaddhaH svopajJavRttyA yutaH, saM0 munizrI mitrAnandavijayajI - nagIna jI. zAha 35. nyAyamaJjarIgranthibhaGgaH - cakradharakRtaH, 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. T. G. Kalghatgi

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1815 SAMBODHI (QUARTERLY) VOL. 2 JULY 1973 EDITORS DALSUKH MALVANIA DR. H. C, BHAYANI 10.102.73 NO. 2 L. D. INSTITUTE OF INDOLOGY AHMEDABAD 9

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CONTENTS Two Plays of Ramacandra : An Aesthetic Study G. K. Bhat Prohibition and Indian Culture Dalsukh Malvania Diversity of Thought in Upanisads Y, K. Wadhwani apabhraMza saMghi-kAvyo ra. ma. zAha gAMdharvamA 'rakti' madhusUdana DhAMkI zivabhadrakRtaM ziyabhadrakAvyam (TIkAdvayasametam) saM. zrImatI nIlAJjanA su. zAha

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Jo.lola. 10-12.73 - PULA TWO PLAYS OF RAMACANDRA : AN AESTHETIC STUDY G. K. Bhat Nirbhaya-Bhima-Vyayoga This one-act play* comes from the pen of the versatile Jaina writer who is reputed as an author of a hundred compositions. The play is built round an exploit of Bhima and dramatises the episode of the killing of the demon Baka by Bhima. Ramacandra's sources is obviously the Mahabharata.! But as a drama. tist he had to shape the story a little differently to suit his dramatic design. It will be interesting to study the two versions to get an idea of the dramatist's art. (i) The Baka-vadha episode in the epic occurs at a time when the Pandavas were living in hiding in the house of a Brahmin family in Ekacakra city over which Baka had sway. The residents of the city had stipulated the surrender of one human being to serve the daily meal of the demon in order to prevent wholesale and indiscriminate slaughter of the human habitation 2 (ii) It is the turn of the Brabmin family to supply the daily victim and the household is distraught with the prospect of death. The Brahmin's wife pleads that she should be allowed to go to meet the demon. Then the daughter does so. The Brahmin's little son too picks up a blade of grass from the floor and says with the daring and innocence of a child that he will kill the demon with it. (iii) As the debate in the Brahmia's house proceeds with uncertainty and indecision, Kunti, who had been listening to this tale of misery, decides to oblige the Brahmin io gratitude for the shelter and safety that he had given to the Pandavas. The Pndava brothers are out at the moment for begging food, except Yudhisthira who had stayed with Kunti. She speaks to him about sending Bhima to the demon to fulfil the Brahmin's personal obligation, Yudhisthira opposes the idea. Kunti argues with him and convinces him that Bhima will certainly kill the demon and do a good turn to the family too.5 (iv) The Pandava brothers return. Bhima is told what he is to do. He collects the food willingly and goes out with it to meet the demon. This is the accepted practice to fulfil the demon's demand. The chosen Sambodhi 2.2

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G, K, Bhat victim carried the food collected for the demon and the demon ate it up along with the human victim. Bhima goes to the forest residence of Baka calls him out, and proceeds to eat up the food intended for the demon. (v) Baka is annoyed and attacks Bhima. The final chapter describes theic fight which ends in the death of Baka. The Brahmin is grateful for being saved from the jaws of certain death, The people of the city throng to see the huge body of the demon streched in death and wonder about it. The Brahmin explains, according to Kunti's suggestion, that an unknown Brahmin who had great mantra-power and physical prowess took pity on him and accomplished the demon's death? The secret of the Pandavas staying incognito is thus preserved, The changes that Ramacandra has done in shaping bis story will now be obvious on this background: The dramatist does not make a pointed reference to the epic context, as probably unnecessary. But in the opening speeches of Bbjma and Draupadi there is a suggestion of the epic background. Bbima is sad at the thought that they are required to live in a forest, whereas they should have been in a palace. Draupadi is depressed in mind and feels that the Pandavas may not, after all, be able to defeat the Kauravas. These thoughts are completely forgotten in the course of the following dramatic development; and so, the dramatist scems to have used these musiags only as an epic anchor for his story. The dramatist has changed the entire detail about the Pandavas and the Brahmin family. Kunti and the Brahmin family do not figure in the play. On the contrary, Draupadi who is not mentioned in the Baka-padha episode takes a prominent place in the drama. The detail about the Pandavas having gone out for food is also omitted. In stead, the dramatist shows Bhima taking Draupadi out for a pleasure stroll in the forest, and the other brothers are to follow him in due time. This is a romantic opening fit for love or adventure; and it is artistically conceived to the advantage of the hero. With the omission of Kunti and the Brahmin family that hosted the Pandavas, the dranatist has to arrange the knowledge about Baka and his practice reaching Bbima in a different way. This he does by using a plausible coincidence. As Bhima and Draupadi move about in the furest adinicing its luxuriant and impressive charm, they sight a temple priest who narrates the whole tale of Baka. This is a smooth Introduction of the Baka episode and carries with it all the elements of dramatic expectation. Compared to the epic in which the Baka episode is just one incident, the narration here through an improvised new character comes

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Two plays of Ramacandra : An acsthetic study more alive in its unexpectedness and because of the promise of dramatic development it holds. It is true that the scene is narrative; and the temple attendant has no further business in the drama. But it is a good dramatic device and the diamatist has planned it with a smooth and natural touch. Draupads discovers that the forest grounds are muddy with flesh, blood and bones and imagines that they are probably near a cemetary. Bhima thioks otherwise. It is at this moment that Bliina sees the temple attendant. His appearance on the scene and his narration have therefore a realistic impact In the epic version Kunti takes the lead in helping the Brahmin family and is confident of Bbyma's prowess, Bhima has the role only of a willing and obedient executor of a charge entrusted to him. Io the dramatic version of Ramacandra Bhima takes the responsibility on his own initiative, although he is drawn into it by a coincidence.10 This change definitely serves to heighten the stature of Bhima, who appears here as humane and confident hero of a challenging adventure, Yudhisthira and the other Pandava brothers are to follow Bhima who has gone ahead with Draupadi in the forest. The arrival of the brothers, which has been carefully hinted earlier in the play, serves now several drar atic purposes. The timely arrival of Yudhisthira and the Pandavas at the very looment when Draupadi is planning suicidell provides the necessary turn in the dramatic story, relieves the tension in the situation and saves her life. Their presence on the stage at this point also fills the inevitable gap in dramatic action while Bhiina is fighting with Baka off-stage and it serves to keep the story moving It is natural in the dramati construction that the note of confidence in Bhima's prowess should t sounded by some brother if Kunti is not used for this purpose. Unexpectedly this role is assigned to Yudhisthira, probably as the eldest of the Pandavas. He asserts this confidence not only by positive statements but also by questioning Arjuna's nuove 10 run to Bhima's help. Nakula and Sahadeva join their elder bruiber in support,19 This conversation among the brothers helps naturally to assuage Draupadi's fears about the safety of Bhima. The situation thus devcloped is, in a way, a dramatic anticipation of the end of the story. Finally, the presence of the Pandavas serves to provide the necessary audience for Blima's narration of the fight, and for bringing the finale of the dramatic story to a formal close. Draupadi's inclusion in the Baka-vadha episode is an innovation on the part of the dramatist. Ramacandra seems to have been goaded by a romantic motive in showing his hero perform all the very presence of the heroine. This enables him to add colour to the heroic action and work out the usual feminine reactions also.

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G. K. Bhat Ramachandra has departed from the epic source in constructing the Brahmin cpisode which goads Bhima to intervene. The dramatist does not show that Bhima was acting at the behest of Kunti to oblige the Brahmin family who had given them shelter during the period of their secret stay. This detail is altogether omitted. In the play, the Brahmin wbom Bhima meets is a stranger to him; and the meeting also is a chance Baka occurrence. Bhina's gesture to help the family in their danger from appears therefore to be quite spontaneuos and worthy of a hero, But the omission of the touching rivalry to die for the family among the members, wbich we notice in the epic story, is difficult to understand. The rivalry deepens the tragic note in the plight of the family and, at the same time, heightens the dignity of the members as human beings. Bbasa uses this episode, though in altered context, in his Madhyama-vyayoga with a superb dramatic efl'ect. Ramacandra is apparently concerned with a picture of normal pathos and introduces only the mother and the wife of the victim. There is no doubt that they are terribly affected; but they have accepted also the fact of inevitable death. The attendant sorrow is genuine; but it is indicative of the familiar frailty of human beings. Ramacandra uses certain descriptive touches in constructing this incident: The Brahmin is dressed as a victim of death, his body 18 anointed with red sandal; a garland of red flowers hangs down from his neck; his hair are loose; his steps slow. He mounts tearfully the slab of stone from which he is supposed to be devoured by the demon. His young wife has put on all her ornaments, suggesting thereby that she will follow her husband in death like a Satz. These touches clearly show that Ramacandra has used Sri Harsa's Nagananda for his model in constructing this scene. With the change in constructing the Brahmin episode, it is natural that the dramatist should change the mode in which the demon was to meet his intended victim. Obviously the precepts of dramaturgy have weighed on the mind of the dramatist and directed his treatment. The violence involved in the demon attacking his victim and feasting on it, as also the actual fight between Bhima and Baka culmloating in the demon's slaughter, could not be shown on the stage. Bhasa takes the freedom of art in showing violence and death on the stage contrary to Bharata's prescription. Ramacandra adheres to representation sanctioned by convention and dramatic practice. In the play, the victim is to take his seat on the stone-slab from which he is lifted and carried away to the mountain fortress of Baka. Accordingly, when Bhima substitutes himself for the victim, attempts are made to lift him away; and though Baka appears on the scene to supervise, as it were, the usual arrangements, the actual fight takes place near the mountain fortress, behind the scene.

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Two plays of Ramacandra: An aesthetic study Since the actual epic context has not been used by the dramatist, it was not necessary for bim to mention the final detail in the epic story of preserving the secret about the stay in hiding of the Pandavas. The play therefore ends appropriately with Bhima's narration of Baka-vadha and the gratitude of the man whose life has been saved. 5 Ramacandra's handling of the entire episode shows that he has the imaginative inventiveness of a literary artist and the sense of freedom in shaping his dramatic story. The omission of the actual epic context of the Baka episode, which was not really necessary for dramatization, has gained for the play a completeness of a single individual episode that can be easily assumed to have occurred in the colourful and adventurous life of Bhima. The reader is not required to depend on the epic for the antecedents or for the consequent explanations to understand the dramatic story. This bestows unity on the play, which becomes a one-act as it was intended to be. The omission of the Brahmin's story in the epic is, however, an artistic loss. Ramacandra has compensated for it partly by describing the wailings of the two women relatives of the victim and partly by working out elaborately the reactions of Draupadi who is present throughout the dramatic action. The visual detail about the victim's appearance is likely to add to the grimness of the scene in a stage representation, But Ramacandra's greater skill lies, to my mind, in the altered picture of Bhima's confrontation with Baka. Conscious that the encounter cannot. be shown on the stage, the dramatist builds a picture of the demon's mountain fortress to which the victim was to be carried. He introduces Baka and his demon attendants on the scene. The attendants sense a new kind of smell on the grounds; they search and discover Draupadi hiding behind a mango tree. These details are interesting and dramatic. They create action and tension. The demon attendants lick Draupad, and discover to their intense delight that her flesh is tender and savoury. This again is a natural touch and produces humour of a grim kind. Such grim humour is present in their further recommendation to their Chief to eat Draupadi first, or taste her flesh in between meal, or their request that they be allowed to feast on her flesh.13 The dramatist succeeds, for a moment, in mixing bibhatsa with hasya and, at the same time, suggesting the underlying bhayanaka and karuna through the psychological reactions of Draupadi. This little scene. is quite exciting. And the excitement continues in the attempts on the part of the demon attendants to lift Bhima from the stone-slab and their failure. The frustration of the demons is very enjoyable to the audience: It is a tribute to Bhima's formidable strength, It is also apt to evoke pleasure and laughter at the sight of the discomfiture of the demon.

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G. K. Bhat It appears to me therefore that the drainatist's construction of the Baka eraude, althought it deviates from the original, las succeeded in presentin a un ned, sulf-containing picture which is colourful with heroism. vathu excitement and grim laughter, It is in creating the characters, however, that the dramatist's departure from the epic source appears to be questionable : It does not fulfil apy special dramanic purpose. In the altered context the nitiative and the finish of the dramatic action rest with Bliima. This is a gain for the hero's character, as said earlier. But in being required to make Bhima dszert his own invincible might before Draupadi and narrate the frush of the fight with Baka himself, as forced by the diamatic design. the drauatit could not suve Bhima from looking like a boastful giant. Som what like the Bhima in Bbatta Narayana's Venasamhara. Yudhisthra's cuck-sureness about Bhima's prowess is inconsistent with his epic image; and his slighting rejoinder to Arjuna in order to stop him from rushing to assnt Bhima is uncalled-for. But it is Draupadi's picture that seems to bave suffered the most at the hand of the dramatist. Her note of defeatism is inconsistent with her supposed independent and fiery temperament. 14 It is strange that she holds Bhima back from interfering with the demon's activities. Her anxiety for Bhina is natural; any wife will feel such concern for the safety of her husband; but the concern is better expressed after a heroic decision has been taken, not before. Bhima is a different type of man; and Draupadi also is the daughter and the wife of a Ksatriya. Her attenupt, therefore, to drag Bhima away from the distress of the Brahmin family and her suggestion to run away from it are unworthy of the spirited lady in aguny that we know her to be from the epic and other literary compositions Her attempt to commit suicidels is equally ridiculous. It suggests that she has no confidence in Bhima. It also shows that she is an ordinary female who is guided only by the thought of self-preservation and who loses her perspective by the slightest threat to it, I think, Ramacandra fell a victim to the temptation of painting Draupadi on the lines of the familiar leroine of a Sanskrit Court Comedy, Malavika and Ratnavali are similary afraid to permit any unexpected adventure to their heroes and are seady to attempt suicide at the mere idea of frustration and loss of the lover But such a treatment of Draupadi's character is unjustified and also inartistic. Strangely enough Baka makes a better, albeit un-demonaic, impression on the mind of the reader in his strict adherence to the stipulated conditigns and in his courtesy towards a woman.17 However, this touch of digarty and culture bestowed on the demon is wasted; because Baka is not given an opportunity to converse with Bhima on the stage, before the final encounter rlogs the curtain down on his life

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Two plays of Ramacandra : An aesthetic study Luckily, Ramacandra writes with a sense of drama, His prose dialogue has a natural flow; it is not riddled with heavy compounds or encumbered with poctic conceits. His verses also are generally simple, except when they are used for descriptions or for suggesting the heroic sentinient,1, Incidentally the play conforms to formal requirements. A Vyayoga, according to definition.19 is a one-act built round a famous hero, with fewer women and more male characters. The incident is a conflict occasioned by some kind of rivalry and involves actual fighting and wrestling This makes the play a heroic one; other sentiments come into it only as a support. The developinent of the dramatic action is compact and does not exceed the duration of a day, Bhima who dominates the play qualifies as a prakhyata nayaka without being either a divinity or a royal sage. Draupadi and the victim's wife and mother are the only female characters. The Pandavas, Baka and his demon attendants, the temple priest and the victim inake up the larger number of male characters. There is of course a conflict in the paly due to confrontation with Baka and the rivalry is engendered by Bhima's interference on behalf of the intended victim. There is some rough handling of characters, especially of Bhima, although the main fight takes place off-stage The emotions of pathos, fear, disgust and laughter are incidental to the heroic. The play begins presumably in the morning; the stroll and the presence of the temple attendant indicate this, the action is over by meal time. The duration of the play does not exceed therefore a few hours. II Nalavilasa-nataka The Nalavilasa-Nafaka** is a dramatic rendering in seven acts of the NalaDamayanti-katha. The legend of Nala is wellknowa aod familiar to all Indian readers. It is needless to compare the dramatic version of Ramacandra with the prototype as recorded and preserved in the Mahabarata.20 Besides, one of the editors, Pandit Lalchand B. Gandhi, has noticed the principal differences in the Nalakatha as presented in the different versions. 91 The Jain version of the story differs from the Mahabharata mainely in four respects (1) It omits the presence of four gods who attended the suayamvara, assuming the ideatity of Nala, so that Damayanti was confronted with five persons who looked exactly like Nala. (1) The temptation to indulge in the game of dice and the subsequent misery of Nala, which are attributed to the malice of Kali in the epic version, are changed in the Jaina version. (111) The transformation of Nala which completely disguises bis real identity is, in the epic story, due to Karkotaka Naga who bites Nala. The Jain version substitutes Nala's own father, now a divine being, who helps

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G. K. Bhat Nala through his calamity. (iv) The separated Damayanti, in the epic story, becomes aware of Nala's whereabouts by partaking the animal meat cooked by bim, The Jaina version uses the motive of Surya-paka-vidya which Nala alone is supposed to know. It is obvious that Ramacandra uses tho Jaina version as a base for his dramatic story. He has also effected many other small changes in introducing new motives and characters to suit the drama. tic form imposed on the old legend. The prologue, called amukha, introduces the poet and his play and strikes the main note in the story of Damayanti's desertion by Nala through a parallel occurrence in the life of the Nat. She is worried because her married daughter has been driven out of the house by the husband The Sutradara takes a philosophic view of the happeniog and feels confident that the daughter will be reuplted with her husband if she were really above blame. This conversation serves to foreshadow the denouement of the play. The main scene of the first act introduces King Nala with bis usual palace attendants. A kapalika has been captured. With bim is discovered a letter addressed to one king Citraseoa by some Mesamukha, and also a picture of a lovely damsel. It is recognised that the Kapalika is a spy; though the contents of the letter remain as yet a mystery. The lady in the picture is a jewel of a woman', and she is wearing a string of pearls (muktavali) which is surprisingly identical with what Nala had seen in a dream the same morning. The coincidence strengthens the prophecy by the King's astrologers that the King will have a beautiful woman and great prosperity. The apparent mystery about the picture is solved by a palace maid Makarika who belongs to Kundinapura and who is therefore in a position to identify the picture as that of Damayanti, the daughter of the Vidarbha king. Nala is very much enamoured of the Vidarbha Princess whom he had considered, from the picture, to be a devata. He is also angry with the Kapalika whom he orders to be thrown in prison. The first act is thus intended to introduce Damayanti and create in Nala's mind an attraction for her. This is accomplished by a new, though familiar, motive of a dream and by the introduction of a picture through a captured spy. The author creates a mystery at the beginning of his story which he resolves at the end, obviously to maintain suspense in the uofolding of bis dramatic plot. The spy episode has dropped a bint about the possible opposition to Nala's amorous intentions. This is pursued partly in the second act. Nala has sent his trusted companion Kalabamsa, along with Makarika, to the Vidarbha kingdom, armed with Nala's own picture and of Damayanti seized from the spy, in order to learn Damayanti's personal reactions. The emissaries play their part cleverly, gain access to Damayanti, and bring

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Two Plays of Ramacandra : An aesthetic study important news back. They relate to Nala that the Vidarbha king Bhimaratha is under the influence of a Kapalika by name Ghoraghona and his wife Lambastaoi. The Kapalika is a master of ruthless deceipt,22 and apparently in league with the Kalachuri king Citrasena. He has forced on the mind of Bhimaratha that Damayanti will be Citrasena's wife, and the Vidarbha King has accepted this behest. This is depressing news for Nala, But the interview with Damayanti wbich Kalabamsa and Makarika bad obtained is full of promise, Damayanti did not disclose her mind completely. But she accepted both the pictures and directed that her picture be sent to her father, and that of Nala be kept in the palace temple. Kalahamsa thinks that this is indicative of Damayanti's acceptance of Nala. Damayanti further suggests that Nala should try to win over Lambastani to his side somehow, because she is capable of influencing her father in changing his mind. Kalaharsa bas played his part more than well; he has brought Lambastani with him to meet Nala. Nala humours her, asks the Vidusaka not to make fun of her, and requests her to belp him. She promises to get the Vidarbha princess for Nala and Nala, in returo, awards her gold ornaments to cover her entire body. While the dramatist thus furthers the story and indicates the overcoming of an apparent obstacle to the lovers' union, the news at the end of the act that the captured spy has been befriended by Yuvaraja Kubara, the younger brother of Nala, suggests a new threat to the happiness of the lovers. Damayanti's gesture in sending her picture to her father bas proved to be a wise move. In the course of investigating how the picture went to Nisadha, King Bhimaratha discovered that the dreaded Kapalika Ghora. ghona was a spy of Citrasena and the spy caught by Nala was his follower. This discovery gets his mind against the Kapalika. He ipflicts a humilia. tion on him and his wife and drives the couple out of his kingdom, He also orders the svayanuara of Damayants, to which Nala receives a due invitation 28 The way is thus prepared for the union of Nala and Damayanti, the only obstacle of Citrasena through the machinations of Ghoragbona being now completely removed. What is expected is the solemnization of this union. The dramatist, however, uses the third act to bring the hero and the heroine together in a scene of love, in the best tradition of the classical playwrights. The day before the syayanvara, Damayanti comes to the Cupid's temple to offer ber worship; and Nala is given an opportunity to stand behiod a mango tree to watch her, to hear her, and to admire her. The helpmates of Nala are close at band to interpret Damayanti's gestures for Nala and to prevail upon her to disclose her mind. Nala is in raptures over the loveliness of Damayanti, and is able to hold her hand in an attempt to stop her picking the flowers herself. Nala also submits to her, through Kalahamsa, Sambodh; 2. 2

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G. K. Bhat a letter of love. Damayanti has given enough indications of her mina without actually divulging anything or without committing herself. The appareat onesided meeting is interrupted by Damayanti's mother calling her away. The Vidusaka brays like a donkey; Damayanti returns to avoid a bad omen. She then drops a letter in the hand of the Vidusaka, promises Nala to meet the next day, and finally departs The letter is a confession of her love for Nala. But it also suggests a separation 20 The confession of mutual love completes the preparation for union. But the mixed note of union and possible separation augurs a coming turn of events. And this is overshadowed by the news that Ghoraghona and his wife have joined Nala's brother Kubara. The fourth act presents the scene of the svayamvara. It is really unne. cessary after the mutual avowal of love. It is probably notroduced as the only way for showing a formal union; and this is, incidentally, in keeping with the old legend, as with the declared intention of the Vidarbha King, The scene is no doubt modelled on Kalidasa's Indumati-svayamvara. It bas no dramatic value, because any surprise or unexpected turn is already prevented by the omission of the gods' rivalry which was an important part of the old legend, by checking, for the time being at least, Citragena's plot to get Damayanti for himself, and by the fact that Damayanti bad made up her mind about Nala. The scene has therefore only a spectacular value. There is, no doubt, some good poetry in this act; and the psychological tremours of Nala through the scene are convincingly shown. But the repetition involved in the introduction of suitors, inevitable though, cannot be called dramatic, as the final outcome is known to the audience. There are also some elements in the scene that are difficult to explain. What is the point in showing that the presentation of the suitors took such a long time as to tres spass on the auspicious hour fixed for the marriage? 28 If the usher, Madhavasena, was inordinately talkative, as Damayanti feels and Bhimaratha openly alleges, why was he chosen for this work ?26 As a matter of fact, it is his duty to introduce every king properly. He is no more talkative than the minister Vasudatta in fact is, who loves to describe Damayanti's charms to her own father 127 Damayanti's own tarrying also, when she finally stands before Nala, is difficult to explain. If the dramatist was planning to create a last-minute suspense, it was useless; because the audience did never expect Damayanti to turn away from Nala. It is equally puzzling why the king, and subsequently the minister, should impose upon Damayanti and openly recommend to her and instruct her to choose Nala if this were svayanvara ?28. The act comes to a close with the bard's announcement of the time of the day. The imagery used by him in his verse uomistakably suggests the

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Two plays of Ramacandra: An aesthetic study coming temptation of dice play and the desertion of the bride, 29 the shadow of the future event. 11 This information is given to the audience at the beginning of act V in a longish monologue of Kalahamsa. In spite of the earnest advice of the family priest and wise citizens, and probably acting under the spell of fate operating from previous birth,30 Nala gambled away his own kingdom and Damayanti. Having lost everything to Prince Kubara, Nala is preparing to leave his country till his good fortune returned. The dramatist works out the expected atmosphere of pathos out of this situation. The citizens are plunged into misery. The faithful attendant Kalahamsa and the merry companion, the Vidusaka, wish to accompany Nala and are ready to die otherwise. Damayanti insists on going with Nala; and, very much like Sita in the Ramayana, argues and pleads with Nala to take her with him. Nala has to do so. The wanderings of the lone couple are then described with appropriate stress on Dayamantr's tiredness, her agony of over-powering thirst, and her slow weeping, till they meet with a Tapasa, The conversation leads to Nala's present condition and the purpose of his journey. The Tapasa, who is the same Lambodara, the spy and servant of Kapalika, now disguised, advises Nala that the state of the loss of kingdom and being tied down to a woman' is a calamity heaped on calamity; the company of a woman is bound to destroy a man's freedom of movement. The Tapasa gives voluntary advice to Nala that his going to the Vidarbha kingdom and the shelter of his father-in-law will be embarrassing and shameful to him in his present plight. Nala accepts both the observations of the ascetic. He fetches water for Damayanti and points out to her the way to Kundinapur as learnt from the ascetic. In his own mind he has decided to abandon Damayanti. Damayanti has a feeling of premonition about her desertion. But she is overpowered with fatigue and sleep. And as she is lost in sleep Nala deserts her, with almost the same emotional tension and verbal expression as Bhavabhuti's Rama displayed when he decided to abandom Sita who had gone to sleep on his arm. The seif-reproach, the awareness of cruetly and the inward sorrow of Nala are overwhelmingly similar to those of Rama. Damayanti is still drugged with sleep when Nala leaves her. A traveller from a passing caravan sees her, alone and lost, lifts her and carries her away to safety. The act is thus intended to depict the circumstances and the actual act of Damayanti's abandonment. The loss of kingdom in the game of dice is a detail which is part of the old legend. But the motive in the old legend, namely, the spirit of Kall taking possession of the mind and

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G. K. Bhar body of Nala which is responsible for Nala's ficadlong surrender to the game of dice and also for his desertion of his wife, is omitted in the dramatic version and substituted by the idea of fate working against Nala. There cannot be anything objectionable in the change of motive. But it is likely to be to spacious & cloak to cover the actions of a character, if they cannot be explained also on the normal grounds of a man's character and behaviour. This is what happens here and conscquently the characterization of Nala suffers. Nala has an instinctive suspicion about the Tapasa. He sees bis reserriblance to the earlier spy Lambodara. And yet, the mere change in apperarce, that the T.ipasa is lame, a hunchback, is shown to be enough to remove the suspicion froin Nala's mind 32. Similarly, in stead of being a little wacy. Nala shuns himself to be utterly gullible in accepting all the statements of the Tapasa. It is reasonable to suppose that Nala would feel humiliation in tacing his father-in-law in the present situation. But why should be accept the suggestion of abandoning his wife ? The answers to all these questions have to be taken from the idea of fate. But fate does not work with such a thin disguise as that of a suspicious Tapasa. The roots of man's behaviour must reach down his basic character and temper as moulded by heredity and the law of Karma. Or else, an outside factor must act with such a compulsion that a person loses his sense of perspective and judgment under the sudden impact. Both these factors operate together in the case of Rama. His decision to abandon Sita is as much a stroke of cruel fate as it is the result of his idealistic temperament. The dramatist does not attenipt anything of the kind. And so, the act of Damayanti's abandonment dues not bring conviction, although the emotion of Nala is gequige, The fifth act has left the audience in a state of suspense and tension, full of dramatic value. The dramatist picks up his thread of narration with a very clever device in the sixth act. A long soliloquy of Nala first informs the audience of the physical transformation of Nala due to the intervention of his father appearing in the guise of a serpent, of the advice and promise of returning fortune, of Nala's stay with Dadhiparna, the lord of Ayodhya, as a royal cook. The audience also learns about a dramatic performance which a troupe of actors from Vldharbha is to present to the King. It is through this device of a play within the play (Garbhanka) that the dramatist provides the links of story development, It looks quite probable that the dramatist, once again, is imitating Bhavabhuti's handling of the Ramakatha in the Uttara-Rama-carita, with a touch from Kalidasa's Vikramorrasija in depicting Damayanti's search for her lost husband. The imitation does not, however, take away the dramatic value of the garbhanka: First, it is a picturesque and spectacular mode of presenting to the audience the knowledge about what happened to Dayamanti after Nala left her. Her

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Two plays of Ramacandra: An aesthetic study futile search for Nala naturally led to an attempt at suicide. But we learn that she was saved and was entrusted to the care of a caravan of merchants. Secondly, the dramatic performance before the King of Ayodhya is obviously intended to bring to Nala the knowledge of Damayanti's safety and her probable stay in her father's house. The explicit details are given in the final act of the play where we know that Dayamanti had become aware that Nala was living in Ayodhya and had therefore deliberately arranged the dramatic show to bring him out in the open. But here the fact that the troupe has come from Vidarbha to Ayodhya and also the fact that the show is concerned with the desertion of Damayanti by Nala are sufficiently suggestive of an underlying purpose, The garbhanka is thus an artistic attempt to establish a definite link between the separated couple and to create the possibilities of their reunion. Thirdly, the garbhanka is also expected to confirm the presence of Nala in the royal house at Ayodhya. It was expected that Nala would somehow attend the dramatic performance. In fact, he is actually invited to do so by the King. It was also expected that Nala would be profoundly affected by the show. And so Nala is. The dramatist works out the pathos in the situation leading to the climax of Damayanti's suicide. King Dadhiparna is deeply moved by Damayanti's loyalty to her husband, her sense of a chaste wife's duty and dignity, the immoral cruelty of Nala in deserting his wife, and deep sorrow which shrouds the whole play. The King is so moved as to be carried away by the performance and forget that it was only a dramatic spectacle. If the play could affect the King so much, it is easy to see that Nala would be moved out of his depth and would betray his disguise. This is exactly what happens during the performance. It Is only the transformation of Nala resulting in incredible ugliness and a little resourcefulness of Nala's own parts that save the complete revelation of Nala's real personality for the time being. But Nala is unable to check himself at the sight of Damayanti's suicide; and King Dadhiparna questions him on his real identity. The actors and those who were at the back of the show could therefore be presumed to have been convinced about Nala's whereabouts. The presumption is corroborated, in a way, by the invitation to attend Damayanti's svayamvara the next morning, presented by a messenger from the Vidarbha King. 13 This, as we learn later, is a clever plan of Damayanti to bring out Nala in the open. The invitation forces Nala to throw away his disguise and display another peculiar skill that he alone possessed, namely of being able to drive the horses swifter than wind, which will enable the King and Nala to cover the distance of a hundred yojanas in one night in order to be present at the svayamvara, and also help Nala in preventing Damayanti's second marriage. It is on this note that the sixth act ends.

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G. K. Bhat he r ha has proved to be an excellent device to serve a number oferticant dramatic purposes Its poetic and dramatic value can be al: usted. The only weak element that appears in this construction is the reason for the presence of Nala at the performance The presence 3. at turly necessary for the development of the drama. But the dramatist hay out coucd in making it rcalistic, compelling and convincing, King Dlhouse l aid to have been impressed by the vaned skill of Nala.35 But ulla4il, he way living with the King as his cook How much condeSecas a car the King show to a cook? And how much freedom of reacti. . and utterance can the couk have in royal presence ? Apparently, buth the Kin? and Nala express their reactions and excliange explanations di ife telBaluka were an logoured guest of the King! The dramatist should provided an additional motive, than the mere dramatic necessity, to maic Nald's presence at the show and his verbal exchanges with the King e probable and convincing. Our knowledge that Babuka is Nala in disguise is 110 ctplanation why King Dadbiparna should behave with him on su infornial and friendly terins, when he knows hin only as a skilled awk, bu may be an expert in some other arts too. The social status of the King and the cook are different. The presence of Nala at the short cannot be explained on any plausible ground and remains there. fure a very weak link in the dramatic construction. The final act gathers up the threads of the narration, offers explanations for esents and happenings that have occurred, and brings about the reunion of Nala and Damayanti. It becomes now evident that the dramatic shuu was planned by Damayanti bereself and she was helped by Nala's axsociato Kalahansa and the Vidusaka in getting certain news about Nala 36 Thu siayamvara was another clever rusc to bring Nala to the Vidarbhas. The dramatist creates final suspense by opening the seventh act on a scene of Damayanti's act of Sati. It appears that Citrasena's machinations and Ghoraghona's wily bluff are still not over. They have spread a rumour of Nala's death; and Damayanti has resolved to throw berself on a burning pire in an act of self-immolation to follow her husband in death. This sloching end is presented b, the timely arrival of Nala. The occasion gives Nala an opportuorty also to test Damayanti's love and fidelity. Nala then change his appearance according to the instructions of his father and become his true self'to the joy of every one. The reunion is now literally accompli. shed, The lappiness is enhanced by the complete exposure of the plot of the wickej Choraghon, und by the bestowal of the Vidarbha kingdom on Nala by Damayanti's parents. Getting Damayanti back safe as his loving wife was enough happiness for Nala. The gift of the kingdom is, in his

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Two plays of Ramacandra : An aesthetic study 15 own words, like whitewashing the lily, perfuming the monsoon shower, and cooling the moon'. 37 It is on this poetic note that the play comes to a close after the formal epilogue, It appears that the dramatist probably wanted to save the final act from being rather tame; and so he added the scene of Damayanti's Sati to make it colourful and tense. The suspense and teasion are obviously there is the situation. Only we must not question how every one, including Damayanti, are so easily taken in by travellers' tales38 especially when they had learnt earlier once of the machinations of the Kapalika, and when Damayanti had all the resources of the kingdom at her command to check up and verify such an important and shocking news of the death of her husband before she gave into a precipitate action. We must not also ask how Kalahamsa and Vidusaka, if they were present with the performing troupe in Ayodhya, managed to arrive in Kundinapura even before the swifter-than-wind Nala. Looking at the play as a whole it become evident that the dramatist has used three junctures in the Nala-Damayanti legend to shape his dramatic version as a serious comedy of royal love. In the Nalavilasa Nafaka it is a story of romantic union, unfortunate separation and happy reunion. The dramatist omits the part played by the swan in the old legend, as obviously unsuitable for dramatic representation. In stead, the plot engineered by king Citrasena with the help of spies to win Damayanti's hand serves a double purpose : that of introducing the necessary obstacle for the development of love, and also for bringing Damayanti and Nala psychologically together. Other factors, like Nala's dream, the willing assistance given by his associates in love, and the occasion of Svayamvara which enables a prior meeting of the lovers, all help to strengthen the union of love. The drama. tist yet builds a love scene, familiar from the classical plays, to bring a conviction of mutual and reciprocal love before the union in marriage takes place. This was not quite necessary for this story; because Damayanti was going to choose her husband in a svayamvara and the fact of mutual attrac. tion was sufficient for the choice. The dramatist is obviously tempted to imitate the classical authors and show his ability in depicting sngara. The scene of the syayamvara itself lacks dramatic value because of the earlier love scene, and also due to the omission of the legendary motive of conflict. However, the dramatic development up to the union is sufficiently poetic and interesting. It is the motive of separation that has not been convincingly worked out. The dramatist has used the machinations of the Kapalika as a central element of conflict throughout the play. But it is surprising how the chara. cters who are temporary victims of these machinations do not become wise

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G K Bhat or wary even after the exposure of the spies. The author's explanation prob. ahl, will be that they are also victims of an adverse fate. But this, as said outlier, is to spacious a reason to explain the actual actions of the drama. Itu characters. The action of Nala in abandoning Damayanti, her curious he allen to choose Nala at the time of the svayamvara and her tash aud unreasonable act of Sari, are all melodramatic, but psychologically uncon. vincing. III Rinicandra seems to have been inspired to build his plays on the classical del. The influence of the masters is unmistakable. The roman. tic lase scene, in the Nalavilasa Nataka, is like any scene that a reader Could find in the plays of Kalidasa, Sri Harsa or Bhavabhuti. The svayamvara scene will remind us of Kalidasa's Raghuvainsa. The scene of Damayanti's abandonment is inspired by Bhavabhuti's Uttara-Rama-carita. Nala's soliJoguy is reminiscent of the speech of Rama. Even his earlier utterances in the love scene and his soliloquy after the desertion of his wife are similar to those of Bhavabhuti's Rama and Madhava,30 Damayanti's search for Nala is like the search of Pururavas for Urvast in the Vikramorvasiya, the reference to the lion being new and added possibly to emphasise Damayanti's chante character and for an obvious theatrical effect. And if the device of a yathala is already used by Harsa or Bhavabhuti, the scene of the act of Sart very much resembles the attempt of Draupads and Yudhisthira, in the linksamhara, to burn themselves under similar circumstances of a perverse report about Bhima's death by a demon spy. This is not to suggest that Ramacandra's composition is marred by imitation. He imitates inasters; and who could resist such a temptation ? The real weakness of Sanskrit compositions is rooted in the overpowering theory of Rasa which was mistakenly applied by many a writer. While it was intended that all elements in a literary and dramatic composition should cunserge on the priacipal Rasa, these writers subordinated every element and regarded it as only a means to depict a Rasa. The subtle difference between the two positions of the theory was either not understood or not properly appreciated. Ramacandra hinuself says: A picturesque variety of incidents and styles) should not deserve so much praise in a dramatic composition as Rasa ought to: a beauti. fully ripened mango would cause annoyance if it were to lack tho flavour of the juice.co This is of course true. But the representation of emotion as the principal content (Rusa) cannot mean that characters and events in a play have to be only conventional wooden frames to accomodate pictures of emotion,

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T'wo plays of Ramacandra : An aesthetic study The classical masters never made this mistake. They stressed emotional experience, used a variety of sentiments ; but at the same time did not allow the individuality of characters to be lost in the rhetorical flow of sentiments or the casual links and motivation of actions and events to be covered by the doubtful glamour of poetry and florid language. It is in this respect that Ramacandra's plays appear to be weak. Some of his motivation is not fully convincing ; and so, bis characterization suffers. The principal characters in his plays appear to have no will of their own. They seem to lack perspective and judgment. The minor characters are usually built on conventional lines and hardly any one of them would linger in our memory. At the same time it must be made clear that Ramacandra appears a lesser artist only in comparison with the mastis. He has enough sease of drama to build scenes that have emotional interest and dramatic tension. He has an eye for dramatic construction too; though his casual links are weak or unconvincing sometimes. In the Nalavilasa, for example, he builds every act round an important event cleverly planned ; and closes it with an indication of the coming development in the following act, or with the anouncement of the time of the day ; although he did not choose to suggest the interval of twelve years between the separation and reunion (acts V to VII) as Bhavabhuti does so masterly in the Uttara-Rama-Carita, Ramcandra is also a good poet. His language, though rhetorical in the full-lengh play, has an easy flow. His imagery, though not always original, is sufficiently poetical.4l Occasionally he can handle language, like Bhavabhuti, to produce not only a picturesque effect but also a charming conflict of emotions : Compare the following : 42 AkuJcitairvikasitaizcakitaiH prahRSTai rutkaNThitaiH kuTilitailalitairvinItaiH / AlokitairmugadRzo vadanapravRtti vRttairjito'smi muSito'smi hRto'smi tulyam // or, tadidamanizaM smAraM smAraM kuzolavavanmano ___ hasati ramate rodityuccairviSIdati sIdati // He can build a verse using simple sentences or producing the structure of many compound clauses : Compare, for instance,AB tAtastvaM mama, rakSako mama, mama tvaM nAyakaH pAlakaH pAlyo'haM tava, kiGkarastava, tava preSyo bhujiNyazca te / bhUtvA zAntiparaH prapadya karuNAM rakSAkRtAntAsyagaM ___ mAM trAyasva, puSANa mAM, zamaya mAM, mAM rakSa, mAM prINaya // Sambodhi 2.2

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G, K. Bhar And, guruvapuriti citraM vIramAnIti darpa balitama iti khedaM yo ripUNAM cakAra / / The dramatic sense and the poetic ability of Ramcandra place him, in my opinion, much above the playwrights of the decadent period of the Sanskrit drama whose compositions continually slip 10 the unrestrained rhetoric and verbiosity of their own making. For a Jaina writer trained in the religious and philosopbical traditions this achievement in the sphere of art is worthy of praise.

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Two plays of Ramacandra : An aesthetic study 19 Notes and References : * Nirbhaya-Bhima-vyayoga (NBV) : edited by Pandit Hargovinddas and Pandit Bechardas; Shuu Yoshovijaya Granthaimala, No. 19; Dharmabhyudaya Press, Varanasi; Veer era 2437 (1910 A.D) (1) Mahabharata (MBI), Adipa van, chapters 145-152, Critical Edition (Cr. Ed.) Bhandarkar Oriental Research Institute, Poona (BORI), Vol. I. (2) Ibid, ch 145 (3) Ibid, chs. 146, 147, see esp. 147, verse 22. (4) Ibid, chs. 148-149. (5) Ibid, ch. 150. (6) Ibrd, ch. 151. (7) Ibid, cli. 152, see verses 14-17. (8) NBV Prologue, p. 2: (nepathye bhImaH) vatsa arjuna, yAvat pAJcAlyAH kAnanakamanIyatAM darzayAmastAvat tvayA gANDI vayogamAdhAya mahArAjena saha zIghramAgantavyam / (9) NBV, p : mAdha, jadhA edAo advipisidasoNipicchalAo bhUmIo tathA jANe masANuheso eso, tA annattha vccaamo| (10) NBV. p. 7-8 ; f. bhImaH-devi, paryAptamidAnImanyatragamanena, rakSAmi sAmpratamavazyamupahArapuruSaM nirdalitadoHsthAmA bhimAnAd jAtudhAnAt / cf. also v. 10. (ll) NEV, p. 14. cl. draupadI-(kSaNa vimRzya) kimediNA aranmadideNa, tA edami sahayAre ullaMbiya vAvAemi appANam |...(ltaapaashe kaNThaM badhnAti / ) (12) NBV, pp. 14-15. cf. for Yudhisthira's confident attitude vv. 18-19 , and the following: ajuna:-yadi samAdizati devaH tadAhamArya bhImasenamanusarAmi / rAjA-(saroSam) bhImo'pyaparasAhAyika. parAbhUtaye'pekSyate / for the assurance of Nakula and Sahadeva, cf. vv. 20, 21 (13) NBV, pp. 12-13. Read : sUkaraH--bhaTTA, esA isthikA laddhA tA paDhama evaM bhakkhedu sAmI / ...(draupadImAnAya jihvAgreNa Aliya ca) bhaTTA, adipeza lAI edAe mesasoNidAI tA aMtalA 2 esAvi bhavinayadu / ....rAkSasau-yayevaM tA amhe bhavikhassaM / (14) NBV, p. 3 : nAdha, dukkaro kuruparAbhavo me parihAsadi / (15) Read: nAdha, ajjavi upahArapuraso rakkhaso vA na samAgacchadi dAva palAyadamha / (p. 5); nAgha, ki ediNA divvahadageNa paoyaNaM ? (0. T); nAdha, aparicido esa puriso pasiddhabhuyabalo rakkhaso tA ki akAraNe appA saMsayatulAe Aroviyadi ? (p. 8). (18) See note (11) above. (17) Read : bakaH-yayapi vayaM rAkSasAstathApi maryAdA na laghayAmaH / eka eva paurairasmAka prativAsaramupahArapuruSaH kalpito'sti (p. 12)....yuvAmapi etameva meduramupahArapuruSamaznIyAtam / (p. 13).

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G.K. Bhat (18) For example, verses 4, 9, 17 (descriptions), verses 16, 18, 24 (heroic sentiment), (19) Read: vyAyogastu vidhi H kAryaH prakhyAtanAyakazarIraH / alpamtrIjanayuktastvekAhakRtastathA caiva / / bavazca tatra puruSA vyAyacchante yathA samavakAre / na ca tatpramANayuktaH kAryastvekAGka evAyam / / na ca divyanAyakakRtaH kAryoM rAjarSinAyakanibaddhaH / yuddhaniyuddhAdharSaNasaMgharSakRta ca kartavyaH // evavidhastu kAryoM vyAyogo dIptakAvyarasayoniH / Bharata, Narya'sastra, GOS. Vol. II, ch. 18, vv. 90-93a. Hemarandra quotes thus definition and offers helpful comments to understand the theoretical prescription See Kavyanusasana, VIII 3(53), 2nd revised ed., Bombay 1964, p.4410 Ser also, Dusarupa, III, 60-61-62a for some additional details; and salutyadarpana, VI 231-233 Nalailasa Niraka (NV) . edited by G.K. Shigondekar and Lalclhand B. Gandhi, (Grehinad's Oriental Series (GOS), No. XXIX, Baroda, 1926. (20) AMBh. Aranyakaparvan, Cr. Ed., DORI, Vol. III, chs. 50-78. (21) NV. GOS, Sanskrit Introduction, p. 11-12. (22) Cr. act II. 16, 17. (23) CI. III. 4 : 'AmantritA vayamata: pramAda... (24) CI. III. 31 . saudAminIpariSyAta muJcantyapi payomucaH / na tu saudAminI teSAmabhidhva vimuJcati / / Kalalamsa's interpretation of the first line is : pariNayanAnantaraM damayantIparityAgam ... (25) Cr. IV. 18 puruSaH---deva vidarbhAdhipate, lagnaghaTikA vartata iti mauhartikA vijJApayanti / (26) Read : damayantI---...kiJciraM ajja vi ajjo mAdhavaseNo jaMpissadi / And, rAjA-aye mAdhavasena, saMvRNu bAcAlatAM vilambamasahiSNurlagnasamayaH 1 IV. p. 52, (27) CI. IV. 18. (28) CI. IV. 20 : rAjA-sthiraM kRtvA cetaH sudati bRNu rAmaikazaraNaM tametaM bhUpAla ya iha navyaH kila nl| And, vasudattaH-(uccaiH svaram) unmIlad dalazatapatrapatralAkSi zmApAla nalamadhigamya kAmarUpam / ...lokAnAM saphalaya netrakautakAni //

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Two Plays of Ramacandra : An aesthetic study 21 (29) CI. IV. 24. Note the phrases, ___yatasya vyasanIva dhUsarakara:', 'nidrAyadalalocanAM kamalinI santyajya madhyevanaM,' 'krAmatyambarakhaNDamAtravibhavo.' (30) CI. V. 2 . (yAvat purAkRta karma); 5 (... phalaM marSaya karmaNAm / na deyaM parivartate / ); 6 (vinA vidhi.... hantu ko nAma karmaThaH // ) (31) Act V. (NV. p. 61) Read : tApasaH-strIsaGganigaDito bhavAn nAhaH kAmacArasya / api ca rAjyabhraMzaH strIsanceti mahatI vyasanaparaMparA | and, bhraSTarAjyasya bhavataH zvazurakulagamanamapatrapAvahaM me vapAkAri pratibhAti / (32) Cf. V. 11 ff : kathaM tApasa: sazastasya lambodaranAmnaH kaapaalinH| yadi vA mAsau sa / ayaM khala kuntaH khamazca / (NV. P. 60). (33) See, VI. 17 ff. nala:-(saroSam) kimidaparijJAtamucyate devena / karacakravartI nalo'smi yo'hamakANDe devI mekAkinI gahane vane nilejaH santyajAmi / tasya mahatyapi pApmani kA kilAzakA / rAjA-(sasambhramam) kastvamasi ! nala:-(svagatam) kathaM viSAdamUrchAlena mayA''tmA prakAzitaH / bhavatu, (prakAzama) bAhuka sUpakAro'smi / rAjA-tarika malo'smItyuktavAnasi / nala:-kimahaM nalo'smatyuktavAnutAnuktamapi nATyarasAkulitacetA deva evamaraNot iti sandehaH / . rAjA--dhruvamasmi bhrAntaH / aparathA kva sa mahArAjaniSadhasyApatye darzanIyarUpo nalaH, kva bhavAn srvaatvikRtaakRtiH| (34) Read VI 23 f.. rAmA-(smRtvA) bAhuka, vi, nAhamAtmA vighAtena kalaGkayitavyaH' ityabhidadhAno mala iva lakSyase / tat kathaya paramArtha samarthaya naH prArthanAm / kastvamasi / kimarthaM ca duHsthAvasthaH / Nala's reply is, however, interrupted by the message of svayamvara. (35) Nala, in luis opening speech, says: nanvahaM jIvalakena mahIpatedadhiparNasyAjJayA vidarbhAgatabharataiH prayujyamAnaM nATakamavalokayitumAkArito'smi / Then the King enters and, seeing Nala, says to his minister, amAtya, pazya AkRtiviruddhamasya bAhakanAno vaidezikasya kalAsu kauzalam / kimetasya sanjivakrasyatadidamazvalakSaNavailakSaNyam, so'yaM sUryapAkavidhiH seyamaparAmbapi kriyAsu cAturI sambhavati / (NV., PP. 66-67), (36) See, VII. 13 ff. (NV, p. 86) : damayantI---tado kameNa idha samAgadAe mae suNidaM jadhA 'dadhivanmassa sUcagAro sariyavAga karedi' tado mae citiyaM 'ajauttaM viNA na anno sUriyavAgavijja jANAdi / aNaMtara ajAuttaparikSaNatthaM nAuaM kAUNa kalahaMsa-kharamaha(This is Vidusaka's name)-mayariyAbho pesidaao|

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22 (37) Read. manyA damayantyA patimAya kotaH / tad ataH paraM vighanasAra sugbhayati, mRgAGka zizira yati / (NV P. 88). G. K. Bhat A Bahan mforius Nala prAta: ekanAtha vaizina rAjaku tat kimapi prakAzita yena sA citAmadhirod'kavijale malAhi vilaMbeNa / na hu adhi ya na havaMti abhiyAno aha satyapi 20 Damayanti herself says evaM adapu vattaM guNIya pANe gharedu sakkemi mamiNoo batAo (2) NV. p 81. Sce III, 13, op. gama (10) NV. VI. 23 : ca saMrambhayati ca and of Malumaadhova (MM) 93d, vikAra: tApa ca kurute aho MM III. 5 Uttararamita (URC), SSd 3 vinamya mayati ca saMgItayati ca also 111.12. The second referente is to act VI, opening speech. Read also, VI 4; zaraNamadhikaM bhImadeva kariSyati ki ne and of URC III. 27 (Vasant's question to Rama and has reply III 20). Icelantsily, Daninvasir's 'karvija tuyaM paMkagaNiyAI jANAsi / ' 'karvijanTe, is comparable to Visazalatta's womnirk, Ramnarali act II paNa jANAsi essa vavakamanidAI in connec tion with the Vidusaka. na tathA vRtacitra chAyA nAdaye yathA rasaH / vipAkakamapyamubhayati nIrasam // mAmanukUlayantI devI (41) Cf. 111 22 Nala speaking of Damayanti's loveliness. vavatreyuvilAsasampadamatizradvAlu lokitu paulomIpatirudra ityanimiSaM cakSuHsahasraM kila // For an unusual perspective, see III. 13: sarveSAmapi santi vezmasu kutaH kAntAH kuraGgIdRzo nyAyArthI paradAraviplava kare rAjA janaM bAdhate / AjJAM kAritavAn prajApatimapi svAM paJcavANastataH kAmAH kva jano baje parahitAH pazyAzanAH syune cet // (42) NV. III 1 and 2. (43) NDV., verses 14, 19; the first is the appeal of the Brahmin victim to Nala ; the second is Arjuna's description of Bhima.

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PROHIBITION AND INDIAN CULTURE Dalsukh Malvania I have to thank the authorities of the All India Prohibition Workers' Training Camp for giving me an opportunity to speak before you all on Probibition and Indian Culture. As we all know the Indian Culture as is to-day is the result of the conflicts and compromises between many races. If we look through the history of the ancient times, we can conclude that two main streams of culture, the Vedic and the Non-Vedic are the pioneers in giving the shape to the Indian Culture, For the scope of my talk to-day I shall deal with efforts for prohibition by the Vedic or what we now call the Hindu religion and with the efforts by the Non-Vedic, in which I include the Jaina and the Buddhist religions. I must apologize my Jews, Parsis, Muslim and Christian friends here for not including their efforts for probibition, as the time at my disposal is short and also I must accept my ignorance in the subject. But it will be better if I say something in the beginning about them which I have come to know As for the Muslims though the Kuran prohibits wine made from grapes, we see no Muslim country in which the prohibition is followed, Sufis were the Muslim saints but for them the wine (FIT) was an essential item of drink. As regards the Jews and Christians also we see no trace of prohibition in the life of an ordinary Jew, Christian, throughout the world. Parsis in India as they are to-day generally do not follow the policy of prohibition. Gandhiji had to bother about their trade in wine in Gujarat. Though the trade is decreased, the intoxicating drinks even in an ordinary Parsi home is decreased or not, I have no knowledge. This much can be said that they drink, After this short remark I now proceed to my proper subject. Wine and such other intoxicating drinks were generally the part of social and religious life of the primitive people throughout the world. The remanants of the custom can be seen even to-day in the so-called most Civilized religions such as Christianity and others. In these circumstances India can be proud of its prohibition policy when in all other countries there is no such ban on intoxicating drinks, * This was a lecture delivered at the All India Prohibition Workers' Training Camp, held at Abmedabad from 6-2-71 to 12-2-71.

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Dalsukh Malyanla It is an astonishing fact of history of the world that from the ancient times the Icdic, the Buddhist and the Jaina religious teachers drew our attention for the utter Deccessity of prohibition of wide and of such other intoucating drinks not only from the religious ceremonies but from all the relds of daily life The exception was made only for the medical treatment Through their efforts in India most of the population of India following various religions have debarred the intoxicating drinks. I want here to trace the history of this great achievement. S of the Vedic age was an intoxicating drink of the Aryans and it was an inportant item of the sacrifices performed by the Vedic people, This can be shown from the Regveda itself in which the whole of the sunth 11.anala and six hynins in other mandalas, are devoted to its praise,1>> The m1 wa specially meant for the sacrificial retuals but the sura was sentially a drink of ordinary life. It was the drink of men in the sabhaassembly and gave rise to broils'. So it is but natural that though praised in Rgveda, Taittirrya Samhita and Satapathabrahmana, it is also disapproved in Rgseda itself and in other Vedic texts. The Atharvaveda condemns the sura as an evils. But it should be noted that according to Tait. Brabmana suma was the paramannam for gods and sura was for Men.-1.3.3.2-3. Various types of Abhisela mentioned in the Vedic Texts could not be concluded without the final drink of Sura, This shows that Sura was an important drink in Vedic times rusta mentioned in the Vedas and later literature was certainly an intoucating drink, but as regards its preparation the scholars are not upanimous in their opinion." The list of intoxicating drinks in India is a very large one. A list of 48 types of such intoxicating drinks is prepared by Prof. Omprakash in his book : Food and Drinks in Ancient India (p. 298). This shows that the early Indians were keen on having various types of intoxicatiog drinks. Historians say that apart from the Vedic Aryans there were Dravidians who inhabited India. And they consumed two intoxicating drinks - Ira and Jasara Even though people were addicted to Sura or such other intoxicating drinks it must be noted that evil effects of drinking were known and the 1. Vedic Indt. 2. Veic Innlex. 3. Vedie Indes. 4. FRE : Vlastka, 1. Keith : 'The Rel. and Phil. of Veda and Up th, Op.prakash : p. 9. II p. 623.

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Prohibition and Indian Culture Nirukta : VI-27 mentions drinking sura as one of the great sins such as the killing of a Brahmin. There were some Brahmins who seeing the evil effects of the Sura, were avoiding the drink (Kathaka Sam. XIII, 2). And in Chav dogya.up. (V. 2.5) we find that the King Asvapati declares that there was no drunkard in his kingdom. Here we must distinguish between a drunkard and a person who drinks Sura. Even Panini and Gihyasutra testify to the fact that intoxicating drinks were common amongst the people. Even the women were served with the wine on the occasion of entry of the bride in the home for the first time. At the time of marriage the women who danced were served with Sura. But bere it should be noted that Dharinasutra though acquainted with evil of the sura and other intoxicating drinks prohibited them for Brahmins and students only. The rest were allowed to have the particular type of intoxicating drinks,7 But Bodhayana mentions that the Brahmins in the North had a peculiar custom of drinking liquore, Though the evil effects such as loss of wealth, insanity, absence of consciousness, loss of knowldege, life, wealth and friends etc. were well known to the Vedic Aryans, we have evidence to show that for a long time they were not able to eradicate the evil even from the religious ceremonles. Kautilya mentions the existence of shops of liquor having many rooms and provided with beds and seats and other comforts such as scents and garlands. .. Manufacture of wine was the monopoly of the state but on festive occasions right of private manufacture of bear for four days was recognised on payment of licence fees It is surprising that only for a Brahmin woman it is said that if she drinks sura she will not have a company of her husband in the next world 20 The Veda and the Vedic literature --Brabinanas, Gihya - and Dharmasutras and Smrtis, in all of them there are the traces of probibition but one is astonished to find that there is, as regards the prohlbition, a distiction between the various types of intoxicating drioks; as for example, Soma is not prohibited but a particular type of Sura is prohibited, and that also not always. Further, while prohibiting Sura a distinction is also made between the four Varnas, Sudra is allowed to drink sura but not the Dvijas-i,e, the first three Varnas. Even in Sraddhas the grandfathers are not given the Sura but the grandmothers are offered. In Abhiseka the Sura was compulsory item in concluding ritual. Manu has two conflicting statements about Madya-the intoxicating drinks. 7. Ibid, P, 43-44. 8. Ibid, p. 57 9. Ibid, p. 95. 10. Ibid, p. 96. Sambodhi 2.2

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20 Daisukh Malvania According to some there is no sia in drink (a Hut atat etc. and the others count the drink as one of the great sins. The early Tantras as is well-known propagated the drinking of Madya even tor liberating the soul or for the union with God Siva and the Sakti, the mother goddess. But the later Tantras tried to interprete the madya in other way. In the times of Ramayana and Mahabharata the people were addicted to drinks inspite of the preaching against it, Inspite of all this facts if we see the present condition of the Hindu-Vedic society, as regards the prohibition we can be proud of the achievements of the Indian pioneers of prohibition. In Vedic tradition according to the Mababharata Sukra was the first Rsi who forbade for the first time Brahmanas from drinking intoxicating drinks and declared that if any Brahmana drank swa thenceforward, he would be guilty of the grave sin of Brahmana-murderl. It should be noted here that it is for the Brahmanas. But in the Mahabharata itself we find a rare example of Balarama, the first person who prohibited the drink for all without any distinction of cast or creed. But we know his own kins the Yadavas were destroyed due to Surapana. So we can see that it was not possible in those days to achieve the success in the policy of probibition. But stil they must be regarded the pioneers of prohibition The real success of the prohibition policy is the result of the continuous wanderings of the the monks of the Jaina and the Buddhist Sangha. As they were moving throughout the country and preaching for the prohibition, and not only preaching but followlog themselves the precepts they were able to eradicate the evil from the most part of the Indian Society, Lord Muhavpra of the Jainas was one of the pioneer upholder of tbe porblbition of the intoxicating drinks. And he himself and his follower monks wandered throughot India and preached the people not to drink wine etc. His theory of Karma induced him to be against of the Intoxicating drinks. He believed that the negligence (918) was the real cause of Karma 1$ And the result of intoxicating drinks was nothing else than the negligence. So in order to liberate one self from the bundage of Karma it has necessary to avoid the intoxicating drinks, That is the reason why out of five type of pramada one is madya,13 and is also included in nine types of vikyti and in four types of mahaviksti (Stba, 274). Here we may note one of the sutra of Kalpasutra : "Monks or nuns who are hale and healthy and of a strong body, are not allowed during the 11. For an interesting stua y sex, feng To 4097. 12. ALI RIET' o 9. . , also raiair 403 13. Srae f 960 14. FITTIT UN

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Prohibition and Indian Culture Pajusana frequently to take the following nine drinks: Milk, thick sour milk, fresh butter, clarified butter, oil, suagar, honey, liquor and meat" (SBE XXII, p. 5). It can be seen that prohibition is there but in mild from 18 The next sulra confirms this conclusion. But the Sutras later than this are gradually having strong protest against the liquor etc., is an established fact. It is clearly stated in the Dasavaikalikasatralo that a monk should not drink the Sura etc. in presence of others or in secret. Because if they are taken in presence of others, the defamation is sure And if one drinks in secret, he becomes a thief and a decietful person and iacurs many other such vices, In Uttaradhyayana (21.70) it is stated that one who drinks wine etc., after his death the hottest drinks are poured in his mouth in hell. This was one of the ways to terrorize a person addicted to drinks. And we must accept that in those days this worked well. As for the layrnen, the householders it seems that Lord Mahavica allowed the limited use of the liquors (Uva. 39). But the trade in spirituous liquors was prohibited. But the history shows that gradually the use of all kinds of liquors was prohibited for the laymo also. And as a result of this no Jaina layman could think of having an intoxicating drink even in modern times except those Jainas who are influenced by the modern Western style of living. Lord Buddha, was the most practical religious leader the world has ever produced, He not only preached against the intoxicating drinks but in order to give stress on non-drinking he included the precept of non-drinking in the essential ten precepts to be followed by a Buddhist monk and a layman No one could be a Buddhist unless he was prepared to take the vow of abstinence from intoxicating wine and spirits causing negligence.17 In this way the vice of drunkenness was removed from the Buddbist Sangha in one stroke and in imitation the Vedic society also gradually followed in principle the preaching of the Buddha. Here we can see that Buddha and also Mahavira made no distinction between the various types of intoxicating drinks and also between the castes, When a person becomes a monk he loses his cast. The Buddha has said "Just as, all great rivers, when they reach the great ocean, lose their former names and differences and are denominated as the great ocean, even so, these four castes Ksatriya, Brahmanas, Vaisya and Sudra, when they go forth from the household to the houseless life under the doctrine and 966 ft. sprazarafo II p. 319. 15. also see forta, 8. 79, 47164 16.-4. R. 38-89 17. surAmerayajjapamAdaThAnAviramaNI

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Dalsukh Malvania 28 discipline lose their former names and families and are denominated as devotees, disciples of the Sakya 18 Further these words of the Buddha are worth considering: "There is not. In the highest perfection of knowledge and virtue any talk of birth (iativada or of family Gotlavada or a pride....... Those who are in the bonds of consia derations of birth or of family are far from the highest perfection of knowledge and virtue. After abandoing the bonds of considerations of birth.. there is realization of the highest perfection of knowledge and virtue. 10 Buddha specifically advised the householders who followed bim: "Let the householder who approves of this Dhamma not give himself to intoxicating drioks, let bim not cause others to drink, nor approve of those that drink knowing it to end in madness. For through intoxication the stupid commit sias and made other people intoxicated, let him avoid this seat of sin, this madness, this folly, delightful to the stupid."20 Moreover it also should be noted here that the Buddha bas not included this vice is that of violence, because he has separated this vice from that of violence while enumerating ten precepts to be followed by his followers. But this does not mean that after taking the vows all the monks could avoid the drioks. In the Jataka (81) there is a story of a the Sagata who was a sthavira, that is an elder monk. He was powerful enough to subdue a poisonous serpent with his miraculous power but when he was offered the rarc type of wine he and his other pupils could not resist the drink. This shows that it was difficult even for the Buddha bimself to control all of his own pupils as regards the drinks, Here it may be interesting to quote the Jataka verse-When the effects of the wine were removed the asectics realized their foolishness and said, *We drank, we danced, we song, we wept. It was well that, when we drank the drink that steals away the senses, we were not transformed to apes". In the times after Lord Mahavira and the Buddha the Jaina monks gave more attention to the prohibltion. This is evident from Malacara and such other works, wherein we find the liquor as one of the item of the great sins, because it is the cause of non-restraint (p. 284, gatba 156). Acarya Haribhadra has written a short treatise entitled Madyapanadus&na. sarka wherein an example of an ascetic is given to show that how he believing less sin in the drink lost all his powers and after death took up the lower birth. 18. faylas, Trann IX,1.7. 19. 790 BFTE ER ! 20. Suttanipata, Dhammilla satta 23-24.

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Prohibition and Indian Culture 29 Acarya Hemacandra, the prominent Jajna Saint of Gujarat, has clearly mentioned that the liquor is not to be drunk even by a layman, 21 Here we have clear evidence to the fact that in his times it was a rule for layman not to use the spirited drinks and this rule is followed by the later generation upto this time. Acarya Hemacandra mentions in his Yogasastra some of the vices resulting from the intoxicating drinks22 "Even the inost skillful person loses his intellect; the drunkard does not make difference between his wife and his mother; he loses the discriminative power and as a result he considers bis master as servant and a servant as his master; a drunkard falls down on the earth and rolls and dogs discharge urine in his mouth; goes out of his senses and lie down naked in the street; gives out his secrets unconsciously; his fame, beauty, intelligence, and the wealth are removed from bim; he dances as if caught by the devil, cries like an anguished, rolls on earth like a person having inflammatory fever, the spirited drinks are like poison and so they make the body unsteady, the senses tired and the soul unconscious; discrimination, restraint, knowledge, truth, purity, compassion, tolerance, and such other qualities are burnt up like the grass due to the intoxicating drinks. The liquor is the cause of the vices and all types of difficulties, so it is better to avoid it." After Hemacandra there were many Jaina monks who followed him in eradicating the evil from the society. Especially in Gujarat we must here remember the Swaminacayana and his followers whose efforts for prohibition are remarkable. The Swaminarayana will be remembered for his effects in the lower strata of the society for prohibition, 21. Yogasastra 4.8 ff. 22. lbid, 4.8 ff.

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DIVERSITY OF THOUGHT IN UPANISADS (with special reference to Mundaka Upanisad 1.2.1-12) Y. K. Wadhwani Upanisads form the Jhana-kanda of Vedic literture; that is, they are a repository of the contemplative thought of Indian giant-minds in that hoary past. But there is a difference of opinion as to the point whether the Jaana-kanda (i.e, the bulk of Upanisads) teaches a single doctrine or not. Traditional Hinduism insists on the first alternative, and, each of the orthodox Indian Philosophical systems claims that its own doctrine 18 the only one propounded in the Vedas and Upanisads, Nevertheless, the very fact that there are so many claims on the samo body of Upanisadic contents, implies that they are not really a composite system of thought propounding a single theory. Not only that, everyone of the older Upanigads which are more authentic and important than the later ones-, is itself a mass of variegated thought, arising from the contemplation of more thinkers than one. The Mundaka U parisad = Mund. up is no exception to this.2 The present paper attempts to add one more solid reason in support of this last statement, through the comparison of two sets of verses, occurr ing just one after the other. These are : Mund. Up. 1.2.1-6 and 1.2.7-12. 1.1 The first of these sets extols ritualism. Sacrificial rites form a path leading to the world for reward ] of good deeds to the abode of Brahman. We are told that the glittering oblations offered into the flames at a proper time, carry the sacrificer to that world, along the rays. 1.2 Immediately after this first set, however, we have an abrupt beginning of a reverse view point. Mund. Up. 1.2.7 vehemently condemos sacrifices as frail boats (which are not capable of ferrying those on board to the other shorel; those unwise men who regard these as [leading to the highest good, we are told, will have to undergo death preceded by decrepitude again and again.6 We are further told that these men, ignorant yet regarding themselves to be wise and learned, go round, being buffetted [from here to there] like blind men led by the bliad, Mund. Up. 1.2.9-10 go on to state that those attached to Karman fall from heaven after having enjoyed the fruit of their good deeds, and enter into this world or an inferior one, in a miserable plight (alurah).

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Y. K. Wadhwani It is only those who practice penance and faith in the forest, remaining tranquil and living on alms, that are praised here as wise and learned (ridvamsah). These are said to get freed from Rajas10 and proceed after death (pra-yanti) through the gateway of the sun, to [the sphere] where lives the immortal person, undecaying by nature [Avyayatman]. 32 2.0 The juxtaposition of these two sets has confused ancient commentators as well as modern scholars. 2.1 Thus Sankaracarya, in order to avoid any conflict of Mund. Up. 1.2,1-6 with 1-12 (ibid) or with his Path of Knowledge (Jnanamarga), interprets brahmaloka as signifying mere heaven11 and Avyayatman as Hiranyagarbha, not as the Ultimate Principle,12 2,2 Following the above lines of thought, A, E. Gough adds that rites etc. are said to elevate the worshipper to the paradise of Brahman only if they are followed with a view to purifying his intellect for the reception of higher truth, and with an understanding of their mystic import as also the knowledge of the deities invoked, while the same will prolong the migra tions of souls if pursued with the desire for reward 18 2.3. Scholars like B. K. Chattopadhyaya content themselves with fact that the second set under consideration does not, in any way, deny the efficacy of ritual so far as leading the performer to heaven is concerned.14 2.4 Not confining themsleves to traditional views, Ranade and Belvalkar conclude, on the basis of juxtaposition of the two divergent views regarding ritualism, that the Mund. Up. was composed at a time when ritualism still continued to hold sway and hence even philosophers favouring the path of knowledge had to find a place, in their philosophic speculations, for ritualism,15 3.0 We shall now consider carefully each of the above explanations. 3.1 For the interpretations by Sankaracarya noted above, there is no justification in the text itself. Although Mund. Up. 1.1.4 has spoken of two levels of knowledge, it enumerates the knowledge of Rgveda etc. as the lower type; it does not refer to 'ritual' in this context. 3.2 In connection with the view of Gaugh also, it may be pointed out that no such thing is enjolned in Mund, Up. 1.2.1-12. Instead, towards the end of the passage it is advised that, having scrutinised the [perishable nature of worlds attained by deeds, Brahmana (secker of Brahman) (should arrive at complete indifference or disregard [towards them ]. 3.3 We may agree with Chattopadhyaya that the efficacy of sacrifice in leading to heaven is not denied in Mund. Up. 1.2.7-12, But one cannot

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Y. K. Wadhwani It is only those who practice penance and faith in the forest, remaining tranquil and living on alms, that are praised here as wise and learned (ridvamsah). These are said to get freed from Rajaslo and proceed after death (pra-janti) brough the gateway of the sun, to [the sphere) where lives the immortal person, undecaying by nature [Avyayatman). 2.0 The juxtaposition of these two sets has confused ancient commentators as well as modern scholars. 2.1 Thus sankaracarya, in order to avoid any conflict of Mund. Up. 1.2,1-6 with 1-12 (ibid) or with his Path of Knowledge (Jnanamarga), interprets brahmaloka as signifying mere heavenli and Avyayaiman as Hiranyagarbha, not as the Ultimate Principle,12 22 Following the above lines of thought, A, E. Gough adds that rites etc. are said to elevate the worshipper to the paradise of Brahman only if they arc followed with a view to purifying his intellect for the reception of higher truth, and with an understanding of their mystic import as also the knowledge of the deities invoked, while the same will prolong the migrations of souls if pursued with the desire for reward 13 2.3. Scholars like B. K. Chattopadhyaya content themselves with fact that the second set under consideration does not in any way, deny the efficacy of ritual so far as leading the performer to heaven is concerned. 14 2.4 Not confining themsleves to traditional views, Ranade and Belvalkar conclude, on the basis of juxtaposition of the two divergent views regarding ritualism, that the Mund. Up. was composed at a time when ritualism still continued to hold sway and hence even philosophers favouring the path of knowledge had to find a place, in their philosophic speculations, for ritualism.15 3,0 We shall now consider carefully each of the above explanations. 3.1 For the interpretations by Sarikaracarya noted above, there is no justification in the text itself. Although Mund. Up. 1.1.4 has spoken of two levels of knowledge, it enumerates the knowledge of Rgveda etc. as the lower type; it does not refer to 'ritual' in this context. 3.2 lo connection with the view of Gaugh also, it may be pointed out that no such thing is enjoined in Mund, Up. 1.2.1-12. Instead, towards the end of the passage it is advised that, having scrutinised the [perishable nature of worlds attained by deeds, Brahmana (seeker of Brahman) (sbould arrive at complete indifference or disregard [ towards them ). 3.3 We may agree with Chattopadhyaya that the efficacy of sacrifice 11 Icading to heaven is not denied 10 Mund. Up. 1.2.7-12. But one cannot

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Diversity of Thought in U panisads 33 ignore the forceful condemnation of ritual and ritualists in each verse of this set. For example, the derogatory note in the repeated use of the terms mudhah pra-mudhah, balah, etc., wherever the adherents of ritualism are referred to; or their comparison with blind men led by the blind. 3.4 Such condemnation is not compatible even with the view of Ranade and Belvaskar which implies that the first set of verses extols ritualism because the author bad to accommodate it in his philosophical deliberations. If that were the case, the second set should have displayed a compromising spirit and not the sort which is, in fact, found therein. 4.0 It becomes clear from the above discussions, based on an unbiased and critical study of the Upanigadic passage concerned, that the two sets of verses under consideration represent two lincompromising opponent views regarding ritualism. The one holds that perfection in ritualistic performance can lead to the highest good, but its competence in carrying one across the ocean of murdane life, which involves repeated birth and death, is decried by the other view. 4.1 Laying spectal stress on the fact that the appreciation of knowledge occurs at the end of twelve verses, and considering also the general tenor of the Upanisad, one inight be drawn to conclude that the author of Mund. Up, did not favour ritualism, 4.2 But then, how to explain stray references as that to 'immortality amidst rituals'10 and to Karman as identical with the ultimate being (Purusa) 217 Even if we brush this aside by conjecturing that Karman here may stand for 'a deed in general, what about the statement in Mund. Up. 2.1-6 that 'all rites of initiation (diksah), all sacrificers (yaj nah), ceremonies (kratavah), sacrificial gifts (daksinah), etc. have sprung from the Immutable Principle itself' ? 4.3 Conclusion : It is thus that we find varied and conflicting views in the very same Upantsad. Therefyre, one cannot always judge a particular context in the light of the general tenor of the whole text. Nor cap a particular context be taken as representing the teaching of the whole. This is the peculiarity of the Upanisads as they have come down to us; and it needs must be acknowledged as such, if we wish to get any true comprehension of the pattern of thought of that age which is reflected in these hoary texts. Sambodhi 2.2

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34 Y. K. Wadhwani Foot notes: 1. The topic has been dealt with in great detail by George Thibaut in the VedantaSutra, Part I, SBE XXXIV, 2nd reprint Delhi, 68, introduction. pp. 103 f 2. Vide History of Indian Philosophy-II: The Creative Period, S. K. Belvalkar and R, D, Ranade, Poona 27, pp. 278-79. 3. Mund-Up. 1.2.1. 4. Ibid., 1.2.6 c-d. 5. Ibid., 1.2.5 and 1.2. 6a-b. 6. Ibid, 1.2.7. 'Old age and death' is the rendering of Jaramytyum according to many translators; but, to mean that, the compound should have been in dual number. (The difference, however, is mostly verbal.) 7. Mund.Up. 1.2.8 Cp. Kathopanisad 1.2.5 which, however, prescribes the same fate for those who do not believe in the concept of 'the other world'. 8.......into circles of birth and death, evidently. 9. Vide Mund. Up 1.211. 10. Rajas may signify passion or passionate activity and its consequences, 11. Cf. I'sadidasopanisada or Ten Principal Upanisads [with the commentary of Sankaracarya], Delhi, 1964, part I, p. 506. 12, Vide his commentary on Mund. Up. 1.2.11. 13. Isadidasopanisadah, op cit, part 1, p. 506. 14. Vide B. K Chattopadhyaya, The Teachings of the Upanisads, University of Calcutta, 1952, p. 33. 15. History of Indian Philosophy: II, op. cit., p. 279. 16. ....karmasu ca'mytam': Mund.Up. 1.1.8. 17. Ibid., 2,1.10.

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apabhraMza saMdhi-kAvyo ra ma. zAha vikramanI teramIsI zaruAtamAM apabhraMza sAhityamA eka navo kAvyaprakAra dekhA de che - te che saMdhi-kAvya. apabhraMza mahAkAvya ane paurANika kAvyo eka karatAM vadhu saMdhinAM - keTalAMka to so karatAM ya vadhu saMdhiomAM racAyelAM jovA maLe che, ane te badhA tethI ja saMdhibaMdha kAvyo kahevAya che. jyAre upari nirdiSTa saMdhi-kAvya kelAMka kaDabakonA samUharUpa mAtra eka ja saMdhimA samAtuM khaMDakAvya che. "padyaM prAyaH saMskRtaprAkRtA'pabhraMzagrAmya bhASAnibaddhabhinnAntyavRtta sargAsszvAsasaMdhyavaskandhakabaMdhaM satsaMdhizabdArthavaicitryopetaM mahAkAvyam ||"" AcArya hemacaMdranA A vacanathI jaNAya che ke saMskRta mahAkAvya sargemAM, prAkRta mahAkAvya AzvAsomAM, apabhraMza mahAkAvya saMdhiomA ane grAmyabhASAnuM mahAkAvya avaskaMdhomAM vibhakta thatuM. A saMdhino peTAvibhAga te kaDavaka. saMdhibaMdha kAvyonI zaruAtamAM A kaDava ATha paMktionuM banatuM, ane enA AraMbhe dhruva ke dhruvapada tathA aMte ghattA niyamitapaNe AvatAM. hemacaMdrAcAryanA 'chaMdo'nuzAsana' nA chaTTA adhyAyanI zaruAtamAM ja AnI vyAkhyA karavAmAM AvelI che-- saMdhyAdau kavakAnte ca dhruvaM syAditi dhruvA dhruvakaM dhattA vA // kaDavakasamUhAtmakaH sandhistasyAdau / caturbhiH paddhaDikAdyezchandobhiH kaDavakam / tasyAnte dhruvaM nizcitaM syAditi dhruvA, dhruva, ghattA ceti saMjJAntaram // saMdhi kAvyanuM bAhyarUpa A saMdhibaMdhakAvyanA eka saMdhi jevuM ja hoya che. maLatAM saMdhi kAvyo eka ja saMdhimA 20 thI mAMDI 100 sudhInI gAthAonA banelA che. emAM sthUlabhadra saMdhi jevuM 21 gAthAnuM laghu kAvya che, to bIjI bAju caMdanabAlApAraNaka saMdhi jevu ekaso eka gAthAnuM kAvya paNa che. AmAMnA kaDavako www. 1. kAvyAnuzAsana - hemacandrAcArya adhyAya -8, sUtra - 6 2. chaMdo'nuzAsana 6, 1 " " dw ( saTIka )

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ra. ma. zAha traNathI mAMDI daza sudhonI gAthAonA banelA hoya che ane dareka kaDavakanA aMte ghattA jovA maLe che kaDavakanA chaMda tarIke moTAbhAge paddhaDiyA ane ghattAnA chaMda tarIke chaDDuNikA jovA maLe che. ___ A saMdhi kAvyano viSaya hoya che-dhArmika ke paurANika mahApuruSanA jIvanano koI udAtta prasaMga, AgamAdikamAMnI koI dharmakathA ke prAsaMgika upadeza vacano. ___ A pUrve saMdhi kAvyo vize dhaNAM varSo pahelA 'rAjasthAnI' nAmaka sAmayika patrikAnA prathama volyUmamAM zrI agaracaMda nAhaTAjIe eka lekha lakhela. temAM temaNe tera saMdhi kAvyonI noMdha ApelI. e pachI samaya jatAM apabhraMza viSayaka ghaNuM navaM sAhitya prakAzamAM AvyuM che ane graMthabhaMDAronI aneka navI sUcio paNa pragaTa thatI rahI che. e badhA navA upalabdha sAdhanonA AdhAre meM ahIM pacIseka saMdhi kAvyono TraeNka paricaya Apyo che. dareka saMdhinA karttA, racanA-samaya ane maLe tyAM Adianta noMdhyA che, tathA khAsa karIne apragaTa saMdhi kAvyanI hastaprato kayA kayA sthaLe che tenI zakaca teTalI mAhitI ApI che.. AmAMnI moTA bhAganI kRtio gujarAtanA bhaMDAromAthI maLe che bhane zvetAmbara jaina munionI racelI che / hakIkata prathama najare ja dhyAna kheMce che. A saMdhi kAvyono racanA samaya vikramanI teramI zatAbdothI paMdaramI sudhI vistarala che. A kRtionI bhASA vize DaoN. bhAyANojI lakhe che "teramI zatAbdomA ane te pachI racAyelI kRtionA uttarakAlIna apabhraMzamA tatkAlIna bolIono vadhato jato prabhAva chato thAya che. A bolIomAM paNa kacAranIye sAhityaracanA thavA lAgo hato-joke prAraMbhamAM A sAhitya apabhraMza sAhityaprakAro ne sAhityavalaNonA vistArarUpa hatuM. bolacAlanI bhASAno A prabhAva AchA rUpamAM to TheTha hemacaMdrIya apabhraMza udAharaNomAM paNa che. ulaTapakSe sAhityamA apabhraMza paraMparA TheTha paMdaramI zatAbdI sudhI laMbAya che ane kvacit pachI paNa cAlu rahelI jovA maLe che." upalabdha saMdhi kAvyomA siddharAja jayasiMhanA samakAlIna vAdi devasUrinA ziSya AcArya ratnaprabhasUrie racelA dharmadAsagaNino upadezamAlA paranI vizeSavRtti 1. zodha ane svAdhyAya-DaoN. harivallabha bhAyANI, 1965 pR. 32-33 2. eana.

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apabhraMza saMdhi-kAvyo ke je 'doghaTTI' nAme prasiddha che' temAM AvatAM cha saMdhi kAvyone sau prathama mUkI zakAya. AcArya ratnaprabhasUri eka viziSTa pratibhAzALo tArkika, kavi ane lAkSaNika hatA. emaNe saMskRta, prAkRta ane apabhraMza traNe bhASAmAM sAhitya-sarjana karyu che. 'pramANanayatatvAloka'no 'ratnAkarAvatArikA' nAmaka prasiddha TIkAnA racayitA tarIke emanI sukhyAti che. A uparAMta 'neminAthacarita,' 'pArzvanAthacarita,' bhane 'mataparIkSApaMcAzat' e emanA jANItA grantho che. upara noMdhela doghaTTI-vRtti 11150 zloka pramANa che ane saM. 1238 mAM gujarAtanA bharUcanagaramAM rahIne racyAnuM kartAe noMdhela che. temA cha apabhraMza saMdhio uparAMta aneka chUTA apabhraMza padyo Ave che. ratnaprabhasUri jevA samartha vidvAna kavinI pratibhA A saMdhi kAvyomA paNa achato nathI raheto. A saMdhi kAvyo kramazaH nIce mujaba che1. RSabhapAraNaka saMdhi Adi - jaM kira pAva-paMku ekkhAlai, bhaviyaha mokkha sokkhu dikkhAlai / ___saMdhibaMdha-saMbaMdha-ravanau, cariu taM risaha-jiNidaha vanauM // 1 // aMta -dasasahasihi sAhuhu, saha mahabAhuhu, aTThAvai vicchinna-riNu / mAhAima terasi, nissama suharasi, gau nivvANi jugAi-jiNu // 78 // pattA 7, 12, 17, 22 vagere gAthAmAM. 2. caMdanabAlA-pAraNa saMdhi athavA vora-pAraNa saMdhi Adi --tisalAdevi-kukkhi -kalahaMsaha, khattiya-nAya-vaMsa-avayaMsaha / chinna-suvanna-subanna-sarIraha, pAraNa-saMdhi bhaNauM jiNa-vIraha // 1 // aMta siri-tisalA-naMdaNu, kaNayacchavi-taNu, pajjakAsaNa-saMThiyau / kattiyamAvassahi, sAihiM gosahi, ekko cciya nivvANi gau // 101 // |iti caMdanavAlA pAraNa saMdhiH samApta / ghattA-5, 10, 15 Adi gAthAe1. upadezamAlA-dharmadAsa gaNi, doghaTTI vRtti-A. ratnaprabhasUri, __ saMpA. A. hemasAgarasUri. muMbaI, 1958, 2. ratnAkarAvatArikA--saMpA. paM0 dalasukhabhAI mAlavaNiyA, ahamadAbAda. bhA. 3prastAvanA, pR. 21.

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ra. ma. zAha 3. gajasukumAla saMdhi Adi-Asi nayari bAravaI pasiddhiya, sA va ...suvanna-samiddhiya / jA joyaNa bAraha dIhattaNi, sakki karAviya nava-pihulattaNi // 1 // aMta -- iya gayasukumAlihi, cariu abAlahi, ai-sAhasa-nivvAha-varu / jo paDhai bhattibhari, guNai mahUra-sari, jAi duriya suduriya bharu // 85 // ___ghattA-6, 13, 19, 25, 31 va. gAthAmAM.. 4. zAlibhadra maharSi saMdhi Adi-sAligAmu nAmeNa pasiddha u, Asi gAmu dhaNa-dhanna-samiddhau / dhannA nAmi kA vi vihavaMgaNa, tahiM kammayarI Asi akiMcaNa // 1 // aMta-iya te khoNAuya, jAyA abbhuya, do vi deva sabaDhi vara / ___ aha tammi vimukada, nara-bhavi dukkA, sijjhissahiM niru etthu dhara // 94 // ___ghattA-6, 12, 18, 24 va. gAthAmAM. 5, avantisukumAla saMdhi Adi-iha asthi nayari nAmiNa avaMti, jahiM tuMga caMga ceiya sahati / ___ taha tANa purau supayaTTa naTTa, caccara-caukka-cauhaha-haTTa // 1 // aMta-kAlakkami jAyau, so vikkhAyau, titthu titthu loyahaM taNau / ___ mahakAlu kahijjai, ajja vi vijjai, muNi siyAli rUvaga juyau // 57 / / ___ghattA-5, 10, 15, 20 va. gAthA. 6. puraNarSi saMdhi Adi-asthi etthu ji bharahavAsammi bebhelau nAmi puru vAvi-kUva devaula-samanniu, tahiM nivasai savvaguNu pUraNu ti uttama kuTuMbiu / jasu dIsahi ghari ukkuruDa kaMcaNa dhaNa dhannAha, je puNa hari karahappamuha saMkha ku jANai tAha // 1 // aMta-camaru pattau camaracaMcAhiM accevi naccevi tarhi pupphavuhi tuhau visajjivi, / paramappaya pahu pura uttara sadahu saMge u sajjivi / avasari vIra jiNesaru vi kAusaggu pArei, jiva jaMgamu vara kappataru mahimaMDali viharei // 32 //

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apabhraMza saMdhi-kAvyo teramA zatakanA antamAM thaI gayelA AgamagacchIya AcArya jinaprabhasUrie apabhraMzanI aneka nAnI nAnI kRtio racelI che. jevoMke jJAnaprakAzakulaka, caturvidhabhAvanAkulaka, yugAdijina kulaka, subhASitakulaka, bhaviyacariu, bhaviyakuDuMbacariu, mallicarita, sarvacaityaparipATIsvAdhyAya, neminAtharAsa, vairasAmicariu, neminAthajanmAbhiSeka, jinastuti, chappanadikkumArI-janmAbhiSeka, zrAvakavidhiprakaraNa vagaire. A uparAMta moharAjavijayokti, sukozalacarita, cAcarIstuti, gurustuti caacr|, jaMbUcarita ane mahAvIracarita vagere racanAo paNa emanI manAya che.' emanI kRtionI hastaprato khAsa karIne pATaNanA bhaMDArAmAM saMgrahAyelI maLe che. emano racelI pAMca saMdhio paNa pATaNanA bhaMDAromAthI maLe cha. caturaMgasaMdhinI eka prata vaDodarAmA hovAnuM jinaratnakopa nodhe che. AmAMnA eka madanarekhA saMdhi paM. becaradAsajIe saMpAdita karela 'madanarekhA AkhyAyikA' nA pariziSTamAM chapAI che. pAMce saMdhionA Adi-aMta va. vigata nIce mujaba che7. madanarekhA saMdhi Adi-niruvama-nANa-nihANo pasama-pahANo viveya-sannihANo / duggai-dAra-pihANo jiNa-dhammo jayai suhakAmA // 1 // aMta-esA mahAsaIe saMdhI saMdhI vya saMjama-nivassa / jaM nami-nivarisiNA saha sasakkarA khIra-saMjogo // bAraha sattANaue varise Aso a suddha-chaTTie / siri-saMgha-patthaNAe eyaM lihiyaM suAbhihiyaM // aMtima gAthA mujaba A saMdhinI racanA vi. saM. 1297 mAM thayela che. 8. anAthI maharSi saMdhi Adi-jassa'jja vi mAhappA paramappA pANiNo lahuM huMti / taM titthaM supasatthaM jayai jae vIra-jiNapahuNo // 1 // visaehi vinaDiu, kasAya-jagaDiu, hA aNAhu tihuyaNa bhamai / jo appaM jANai, sama-suhu mANai, appArAmi su abhiramai // 2 // 1. jaina gurjara kavibho bhA. 1, zrI. mo. da. desAI pR. 79 2. jinaratnakoSa-DaoN. eca. DI. velaNakara pR. 113 3. madanarekhA AkhyAyikA, saMpA. paM. becaradAsa dozI, lA. da. granthamAlA, amadAvAda (zIghra prakAzyamAna)

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ra.ma.zAha aMta - cAma-ca usaraNa-gamaNI dANAi-mudhamma-patta-pAheo / sIlaMga-rahArUDho jiNapaha-pahio sayA suhio // 14 // 9. jIvAnugAsti saMdhi Adi jamma pahAveNa'jja vi nava-siri-samalaMkiyA jiyA hu~ti / mo NiccaM pi agagyo saMgho bhaTTArago jayai // 1 // mohArihiM jagaDiya, visayahi vinaDiya, tikkha-dukkha-khaMDiyaI ciru| saMsAra vira taha, pasamaya-cittahaM, sattahaM demi'Nusahi niru // 2 // aMna ---uya viviha payArihi, vihi aNusArihiM, bhAvihiM jiNapa hamaNusaraha / mutteNa ya parihiM, ANA-mutarihi, bhaviyaNa bhava-sAyaru taraha // 18 // 10. narmadAmuMdarI saMdhi Adi-- ajja vi jassa pahAvo viyaliya-pAvo ya akhaliya-payAvo / taM vaddhamANa-titthaM naMdau bhava-jalahi-ghohitthaM // 1 // paNamavi paNaIdaha, vIra-jiNidaha, caraNa-kamala siva-lacchi -kulu / siri-namayAsuMdari, guNa-jala-murasari, kiM pi thuNivi liu~ jamma-phalu // aMta - taMgya saya aDavI se varisa siri-jiNa pahappasAraNa / mA saMdhi vihiyA jiNiMda-vayaNANusAreNa // 71 // antima gAthA mujaba AnA racanA saMvat 1328 mAM thaI che. A paNa lA. da. granthamALA taraphathI taratamA ja prakAzita thanAra 'prAcIna gurjara kAvya saMcaya'mAM chapAyela che.' 11. caturaMga saMdhi AnA Adi-anta maLI zakayA nathI. zrI. mo. da. desAIno nodha mujaba AmAM pAMca kaDavaka che ane cAra zaraNonuM varNana che. Ama ratnaprabhasUri ane jinaprabhasUri e be kavionA ja maLI agiyAra saMdhikAvyo maLe che. A bannee A prakAranI vadhu kRtio racI hovAno paNa maMbhava che. A pachI nodhelI devacandrasUrenI racelI sthalabhadra saMdhinA kartA jo AcArya hemacaMdrasUrinA guru devacaMdra hoya to sau prathama saMdhikAra tarIkenuM mAna 1. prAcIna gurjara kAvya sacaya-saMpA. DaoN. harivallabha bhAyANI tathA zrI. agaracaMda nAhaTA pR6 2. ana gUrjara kavio bhA-1. pR. 79.

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apabhraMza saMdhi-kAvyo emanA phALe jaro. paraMtu tema hovAnI zakayatA ati alpa che. kAraNa nAmasAmya sivAya koI anya pramANa maLatuM nathI. jyAre devacaMdrasUri nAmaka jainAcAryA eka karatAM vadhu hoI zake. Ama navuM pramANa na maLe tyAM sudhI ratnaprabhasUrine saMdhikAvyA praNetA ane jinaprabhasUrine siddhahasta saMdhikAra tarIke gaNavA paDaze. 12. sthUlabhadra saMdhi - devacaMdrasUri kartA vize kaI mAhItI maLatI nathI, A saMdhinI eka mAtra hastaprata pATaNa 'nA bhaMDAramAM maLe che.' te tADapatranI che ane caudamI zatAbdInA prAraMbhakALanI che, Adi - maDha - vihAra- pAyAraha sohiu vara maMdira pavara pura amaranAhu pikkhava mohiu | iya erisa pADaliyapuru jaMbUdIva - vikkhAu, karai rajju jiyasattu tarhi naMdu mahAbala rAu || aMta --- ko viyi taNu taviNa sosara ko vi araNya-vaNa nivasa | piyako vikira sevAlu bhakkhara so vi tuha AsaMkae // jo vesa ghari umAsi nivasai sarasa-bhoyaNa - sittau / tasu thUlabhaddaha pAe NamauM jiNi mayaNa tuhuM jittau || 13. caturaMga bhAvanA saMdhi ajJAtakartRka khaMbhAtanA zAMtinAtha bhaMDAramAM prApta thatI A saMdhinI eka mAtra tADapatrIya prati vikramanI caudamI sadInA prathama caraNanI che. kartAnuM nAma maLatuM nathI. Adi - siri vIra jiNesara, namira suresara, pAya - juyala paNameva jiya / cauraMgiya bhAvaNa, siva suha-kAraNa, aNudiNu bhAva erisiyA || aMta -- iya laghu sucaMga, taI cauraMgaM, jIva ma hArahi ehu varu / kamma-viNAsaNi, bhava-duha- nAsaNi, jAyai mahu puNu dehadharu ||74 || AgaLa varNavAla jinaprabhasUrinI caturaMga saMdhi thI A saMdhi bhinna che e nAmanA taphAvata tathA gAthA pramANanA taphAvatathI jaNAI Ave che. 1. pattanasthaprAcya jainabhANDAgAroya granthasUcI bhA. 1. pU. 412 2. khaMbhAta zAMtinAtha bhaMDAra sUcI.

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ra.ma.zAha 14. AnaMda zrAvaka saMdhi-vinayacandrasari AnA kartA ratnasiMhanA ziSya vinayacaMdrasUrino samaya vi. saM. 1350 nI AsapAsa che. emanI bIjI ve uttarakAlIna apabhraMzabhASAnI ja racanAo ne minAtha catuSpadikA' ane 'uvaesa-kahANaya chappaya' prakAzita thaI gayela che. A uparAMta kavie munisuvratasvAmicarita, kalpanirukta ane dipAlikAkalpa no racanA karela che. 'kAvyazikSA' kAra vinayacaMdrathI prastuta kavi judA che, jo ke teo samakAlIna hatA. A saMdhi sva. Agaga-prabhAkara munizrI puNyavijayajInA aMtevAso sva. munizrI ramaNikavijayajIe saMpAdita karI pragaTa karela che.' Adi-siri-vIra-jiNidaha, paNaya-suriMdaha, paNamavi goyama-guNanihihi / ANaMdu susAvaya, dhamma-pabhAvaya, bhaNisu saMdhi Agamavihihi // 1 // aMta-siri rayaNasiMha suguruvaesi, siri viNayacaMda tamu sIsa lesi / ajjhayaNu paDhamu iha sattamaMgi, uddhariu saMdhibaMdheNa raMgi // jaM iha hINAhiu, kiMci vi sAhiu, taM suyadevI maha khamau / iha paDhai ju guNai, vAcai nisuNai, mutti-niyaMbiNu so ramau // 15. aMtaraMga saMdhi-ratnaprabhasari ___ A 'doghaTTA' kArathI bhinna ane koI dharmaprabhasUrinA ziSya ratnaprabhasUrino racanA che. prazasti parathI jaNAya che ke racanA saMvat 1392 che. AmAM nava kaDavakomA bhavya-mabhavyanA saMvAdarUpe tathA mohasenA ane jinasenAnA yuddharUpe aMtaraMga--ripuonA vijayatuM varNana che. pATaNamAM eka tADapatranI ane eka kAgaLanI ema be prato maLe che. jinaratnakoSa vaDodarAmAM paNa eka prati hovArnu noMdhe che. Adi-paNamavi duha-khaMDaNa, duriya-vihaMDaNa, jaga maMDaNa jiNa siddhiTThiya / suNi kanna-rasAyaNu, guNa-gaNa-bhAyaNu, aMtaraMga muNi saMdhi jiya // 1 // aMta-ahi aMtaha kAraNu, visa-uttAraNu, jaMguli-maMtaha paDhaNu jima / ___ kaya siva muha saMdhihi, eha susaMdhihi, ciMtaNu jANu bhaviya tima // 18 // 1. zrI. mahAvIra jaina vidyAlaya suvarNa mahotsava grantha, muMbaI. 2. ratnAkarAvatArikA-saMpA. paM dalasukhabhAI mAlavaNiyA bhA 3. prastAvanA. 3. jinaratnakoSa-eca, Do, velaNakara pR. 11.

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apabhraMza saMdhi kAvyo iti aMtaraMga-saMdhiH samAptaH // iti navamodhikAraH // saMvat 1392 varSe ApADha zudi 2 rakhau // graMthAna zloka 206 / / zrI dharmaprabhamari (ziSya ?) ratnaprabhakRtiriyam // 16. avaMtisukumAla saMdhi ____ AnI pATaNanA bhaMDAromA be tADapatrIya prato maLe che. Adi-aMtanI noMdha nathI maLatI ane kartArnu nAma paNa jaNAyuM nathI.' doghaTTI' vRttimAMnI A ja nAmanI saMdhithI A bhinna che, kAraNa banenuM gAthA-pramANa judu judu che. viSaya nAma paradhI ja spaSTa che. tADapatrIya prato parathI anumAne Ano samaya caudamI madono hovA saMbhava che. 17. bhAvanA saMdhi----jayadeva muni A saMdhi sAkSara zrI madhusUda nabhAI modIe cheka I. sa. 1930mAM vivecana sAthe saMpAdita karela. e vakhate enI eka ja hastaprata maLayAnuM tozrI noMdhe che. paraMtu atyAre AnI ghaNo prato maLI Ave che. lA. da. vidyAmaMdira, amadAvAda mAM cAreka prato che. jemAM eka to saMvat 1473 nI lagvelI che. pATaNamA chasAta prato che. surata, lIMbaDI ane vaDodarAmAM eka eka prata cha. zrI. nAhaTAjInA saMgrahamAM paNa eka prata che. jesalameramA be prato che. A parathI ema lAge che ke A saMdhi prasiddha ho. Adi-paNamavi guNa-sAyara, bhuvaNa-divAyara, jiNa cauvIsai ikka-maNi / appaM paDivohai, moha nirohai, koi bhavya-bhAvaNa-vasiNa // 1 // re jIva nisuNi cacala-sahAva, milhe viNu sayala vi vajjha bhAva / navabheya-pariggahu viviha jAlu, saMsAri asthi sahu iMdiyAlu // 2 // aMta--nimmala-guNa-bhUrihiM, sivadivasarihi, paDhama sIsa jayadeva munni| kiya bhAvaNa saMdhi, bhAva visuddhi, nisuNau annu vi dharau maNi // 62 // 18. zIla saMdhi --- jayazekharasUri-ziSya (cacasenasUri ?) A tathA pachInI upadhAna saMdhi-banne koI jayazekharasUrinA ziSyanI racanAo che. zrI. mo. da. desAIe Ane paMdaramI sadInA uttarArdhanI racanA gaNI che. 1. pattanastha .....sUcI pR. 98, 193. 2. enalsa ova dhI bhaNDArakara o. ri. i. punA. vo 11. (1930) pR. 1-31 je. gU, kavio bhA. 1 pR 83

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ra ma. zAha lA. da. vidyAmaMdiramA AnI eka prata vi. saM. 1473 nI lakhAyelI maLe che, AdhI oDAmA oI vi. saM. 1473 pahelAnI racanA to che ja. pATaNa ane vaDodarAmA prano che. jinaratnakopamA kartA nAma Izvara gaNi Apela cha,' jyAre pATaNanA navA mucipatramA vanasenamUri evaM nAma Apela che. A saMdhi paNa 'prAcIna gurjara kAvya saMcaya'mA samAvAyela che. Adi-miri-nemi-jiNidaha, paNaya suriMdaha, paya-paMkaya sumarevi maNi / vammaha uri kIlaha, kaya suha mIlaha, sIlaha saMthavu karisu hauM // 1 // aMta--iya sIlaha saMdhI, aIya subaMdhI, jayaseharasUri-sIsa-kaya / bhaviyahu nimuNeviNu, hiyai ThAveviNu, sIla-dhammi ujjamu karahu // 34 // 19. upadhAna saMdhi-jayazekharasari-ziSya A ane upara nodhela zIla saMdhi banne eka ja kavinI racanAo hovArnu bannenI atima gAthA uparathI spaSTa jaNAya che. AnI prati zrI. nAhaTAjInA saMgrahamA che. jinaratnakoSamA 'jaina granthAvali no havAlo ApI, kartAnA nAma vinA eka 'upadhAna nirAkaraNa saMdhi' nI noMdha Apo . te A ja ke bhinna te jANI zakAtuM nathI. Adi-phalabaddhIya-maMDaNa, duha-saya-khaMDaNa, pAsa-jiNi namevi kari / jiNa-dhamma-pahANahaM, tava-uvahANahaM, saMdhi suNau jaNu kannu dhari // 1 // aMta--iya tava-uvahANaha, saMdhi.... ......., jayaseharasUri-sIsa-kaya / je paDhai paDhAvahi, anu maNi bhAvahi, te pAvahiM suha-parama-paya // 25 // 20. kezI gautama saMdhi- ratnazekharahari lA. da. vidyAmaMdiramA AnI traNa prato che-jemAM prAcInatama vi. saM. 1473 nI lakhAyelI che. pATaNamA paNa AnI ghaNI prato maLe che. A sadhi paNa 'prAcIna gurjara kAvya saMcaya' mA chapAI gaI che.' 1. jinaratnakoSa pR. 385 2. hemacaMdrAcArya jJAnamaMdira, pATaNa, aprakAzita sUcI 3. prA. gu. kA. saM. pR. 12 5 apabhraMza bhASA aura mAhi-yakA zodha pratiyo-Do. devendra kumAra zAmo pR. 200 5. jinaratnakoSa pR. 53 6. prA. gu. kA. saM. pR. 1

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apabhraMza saMdhi-kAvyo Adi- atthi pasiddha suddha-siddhaMte, kahiu uttarajjhayaNi mahaMte / kezI-goyama-dhamma-vicArU, saMdhi-baMdhi su kahijjai sArU // 1 // aMta-ima karavi vicArU, saMjama sArU, pAleviNu je mukkhi gaya / te goyama kesI, citti nivesi, jhAyahu bhaviyANaMdamaya // 70 // 21. upadeza saMdhi-hemasAra A saMdhi pariSad patrikA' varSa-4 aMka-3 mA prakAzita thaI gaI che.' zrI. mo. da. desAIe Ane paMdaramA zatakanA uttarArdhanI racanA gaNI che.' Adi-sasaharasama vayaNIya, dIhara nayaNIya, haMsagamaNi sarasada sumarevi / jiNa-dhamma-paptiddhiya, buddhi samiddhiya, bhaNisu saMdhi uvaesa vara // 1 // aMta--uvaesaha saMdhi, niramala-baMdhi, hemasAru ima risi khii| jo paDhai paDhAvai, suha maNi bhAvai, vasuha siddhi viddhi lahai // 19 // 22. anAthI maharSi saMdhi-ajJAtakartRka jinaprabhasUrinI A ja nAmanI saMdhithI bhinna che. jo ke viSaya eka ja che. lA. da. vidyAmaMdiranI vi. saM. 1486 mA lakhAyelI pratimAM A saMdhi maLe che. Adi-paya paNamavi siddhaha, nANa-samiddhaha, sAsaya-ThANa-payaTThiyaha / sAhU guNavaMtaha, caraNa-pavittaha, jIva aNAha [saNAha] kiya // 1 // aMta-risi-cariu suNeviNu, varaNu muNeviNu, hohu bhaviya samutti thir| caMdujjala maNu kari, samu sasi ThAyari, khamahu kamma saMciya ji cira // 74 // 23. tapa saMdhi-vizAlarAjasUri-ziSya AnI prati pATaNamAM-kAgaLanI-che, jenI lekhana saMvat 1505 che. AmAM 52 gAthAo che. paMdaramA zatakanA aMtanI racanA che.' aMta--siri-somasuMdara, guru-puraMdara, pAya-paMkaya-haMsao / siri-visAlarAyA, sari-rAyA, caMda-gaccha-vaMsao // paya-namiya-sIsaI, tAsu sIsaI, esa saMdhI vinimmiaa| siva-sukkha-kAraNa, duha-nivAraNa, tava-uvaesii vammiA // 1. a. bhA. sA zodha-pravRttiyAM pR. 208 2. jai. gU. kavio bhA. 1 pR. 83.

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ra. ma. zAha 24. hematilakasari saMdhi 40 gAthAnI A saMdhi zrI.nAhaTAjInA saMgrahamAM hovAna DaoN. devendrakumAra nodhe che.' Adi-pAya paNavi siri-vIra-jiNaMdaha, anu siri-goyama-sAmi-zuNidaha / hematilayasarihi guNa leso, saMdhi-baMdha hauM kimapi bhaNeso // 1 // aMta-jasu mahima karaMtai, jaNi guNavaMtai, jiNa-sAsaNa unoi (?) vau / guru Niya gacchaha, aNu muNi-sacchaha, saMgha-samaNa vacchIya diyu||40|| 25. mRgAputra saMdhi 6. kaDavakanI 'mRgAputra maha gha carita' evaM bIju nAma dharAvatI A saMdhinI nodha mAtra jinaratnakopa mAM ja che. Adi-aMta maLatAM nathI. kadAca A caritakAvya hoya ema ejeM bIjuM nAma ane kaDavaka-pramANa jotAM jaNAya che. A ja nAmano eka junI gujarAtInI racanA maLe che-jenA kartA jinasamudrasUri che. paNa enI gAthA-saMkhyA 44 che. tethI banne bhinna cha e spaSTa che. A sivAya zrI. nAhaTAjIe pUrvanirdiSTa lekhamAM pATaNanA bhaMDAromA prApta thatA varadattaracita 'vayarasAmicariu' (vajrasvAmi-carita) ne paNa saMdhi-kAvyamA gaNAvela che, paraMtu temAM eka karatAM vadhu saMdhio che, kavie pote paNa ene cariucarita nAma Apela che ane tenuM pramANa 300 gAthA jeTalu che. e badhuM lakSyamAM letAM ene saMdhi-kAvya karatAM carita-kAvyanA vibhAgamA mUkavu ucita gaNAze. ___ A uparAMta DaoN. devendrakumAra zAstrIe be bIjAM saMdhi kAvyo noMdhyAM cheeka haricaMda agravAlanu aNathamiya saMdhi ane bIjaM pAhala kavituM maNuya saMdhi. jayapura ane dilhInA bhaMDAromA A benI prato che. vadhu vigatanA abhAve e banne saMdhi kAvyo ja che ke nahIM te jANI zakAtuM nathI. 1. apa. bhA. sA. zodha pravRttiyAM pR. 200 2. jinaratnakoSa pR. 313 3. jesalamerudurgastha hastapratisaMgrahagatAnAM saMskRta-prAkRtabhASAnibaddhAnAM grandhAnAM nUtanA sUcI-munirAja zrI puNyavijayajI, 1972 pR. 211. 4. apa. bhA. sA. zodha pravRttiyA pR 216.

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13 apabhraMza saMdhi-kAvyo pATaNanA hemacaMdrAcArya jJAnamaMdiramA eka apUrNa jambUkumAra saMdhi che.' enA vize paNa vadhu vigata maLatI nathI. A saMdhikAvyo jo ke laghu kAlyo che paraMtu uttarakAlIna apabhraMzanA abhyAsa mATe mahatvapUrNa hovAthI emarnu mUlya ochu AMkI zakAya nahIM. upadezapradhAna hovA chatAM AkarSaka ghaTanAvidhAna, saraLa bhASA ane pravAhI chaMdoracanAne kAraNe saMdhikAvyo bhAvavAhI UrmikAvyo banI zakayAM che. paravartI gujarAtI-rAjasthAnI kavioe A saMdhi-kAvyanI paraMparAne cheka sattaramo sadI sudhI avicchinna jALavI rAkhI che, enI sAkha vividha bhaMDAromAM maLatAM AvAM aneka kAvyo pUre che. 1. hemacandrAcArya jJAnamaMdira, pATaNa, aprakAzita sUcI.

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gAMdharvamA 'rakti' madhusUdana DhAMko bhAratanA prAcIna ane madhyakAlIna saMgItazAstrakAroe gAMdharva-gIta-vAdyatAla-nA siddhAntone je sUkSmatA, saMdRSTitva ane vaijJAnikatAthI saMghaTita-sphuTita karyA cha teno samakakSa ane samakAlika jagat-sAhityamA joTo nathI. gAMdharvanA aMga-upAMgo ane lakSaNonI jeTalo vizada ane gaMbhora mImAMsA bhAratanAM purANAM saMgItazastromAM thayelI che teTalI (pAzcAtya saMgota-saMpradAyanI siddhAnta-viSayaka saMprati carcAne choDatAM) kyAMye thayArnu jANyu nathI. * gAMdharva-darzanakAroe pArakhela ane prasthApela gIta-kAraNanA mUlagata siddhAnto eTalA arthapUrNa, arthagahana, avicala ane sanAtana che ke tenI nityatA, satyatA ane sArvadezIyatA vize saMdehane bhAgye ja sthAna che. 'varNa', 'alaMkAra', 'tAna', 'mUrchanA', 'grAma', 'jAti' bhane 'rAga' e bhAratIya paramparAnAM viziSTa nijI aMga-upAMgo che, je vizvanA anya RNa gAMdharva-saMpradAyo-arabbI, cInI ane pazcimInI sAthe bahu vA gADho saMbaMdha rAkhatA nathI, paNa saMgIta-kAraNanAM pAyAnAM traNa tattvo-nAda, zruti ane svara-taduparAnta 'rakti' Adi 'sthAya' vA guNavizeSa to sau saMpradAyonA saMgItamAM paNa asaMprajJAtapaNe, vagara kahaye aMtarbhUta hoi, te para bhAratIya pakSe thayelI vicAraNA sArAye saMgIta-jagatane upayogI che. 'rakti' vize kahetA pahelA 'nAda' / ti' ane 'svara' vize ahIM. bhUmikArUpe thoDaM joI javu upayukta che, kemake e 'tatvatrayo' sAthe 'rakti'no avicchinna saMbaMdha che.. 'nAda' 'zruti' ane 'svara' para vartamAna kALe thayelI carcAmAM paMDita omakAranAtha ThAkure pramANamA talaspazI, sayuktika, zAstranA marmane sphuTa karatI, nakkara tema ja keTaleka aMze pAragAmI kahI zakAya tevI carcA karelI che.' te pachI 'zruti' ane 'svara' viSaya para thayelI prA. satyanArAyaNa ane tAjetaramA ja dA0 zRMgI dvArA thayelI carcA tattvAvagAhinI hovA uparAMta zAstrAdhArita, sutArkika, marmagrAhI ane vaijJAnika paNa che. paM. bhAtakhaMDe Adi apracArio ane temane anusaravAvALAo je samajavAmAM niSphaLa gayelA, tene ahavAmAM paMDita omakAranAtha ThAkura mahad aMze saphaLa rahelA, ane e ja vastune vadhAre vizALa,

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madhusUdana DhAMkI savizeSa nakkara, ciMtanAmaka tema ja vidvamAnya bhUmikA para prA. satyanArAyaNa lema ja dA.zRgIai mukI che. zruti ane svaranA mUlagata gRhItone sphuTa karavAmAM A ve bhAratIya vidvAno, ane sAthe sAthe dA. caitanyadevano phALo smaraNIya banI raheza. prastuta vidvAnoe tadviSaya para pragaTa karela vicAro ahIM karavA dhArenTa carcAne upakAraka hoI, saMbaMdha hoya teTalo tenA sArano upayoga karI, demA mane labdha thayAM che tebAM keTalAMka vizeSa spaSTatAdyotaka ane navIna zAstravacano TAMkI, 'tattvAyanA sandarbhamAM thoDu umerI AgaLa vadhIzuM. nAdanA ve prakAromAMthI 'anAhatanAda' zAstrakAro kahe che' tema 'AkAzasaMbhUta' (Cosmic sound, prirneval sound), 'svabhAva-akala' ane yogIo jenuM vyAnAvasthAmAM manasA zravaNa kare che te hoI, te saMgItapayogI nI. te 'cidarUpa' ane indriyagocara na hoI, teno jAgRta avasthAmAM anubhava thavo darlabha hai. paNa 'AhatanAda' gAMdharva-kaMThya ane Atodya-mAM prayukta thato hoI, te vyavahAramA ane ethI pratyakSa anubhUtimAM hoI, ahIM te prakAra ja abhipreta mAnavAno che. A AitanAda 'sUkSma', 'atisUkSma' Adi pAMca prakAro, ane zarIranAM nAbhiyo laI zArpa paryantanA judA judA sthAnomA thatI prastuta nAdonI utpatti ityAdi vAtI ahIMnI carcAmAM anAvazyaka hoI, saMgItamA nAda kevI rIte kriyamANa bane che ane tyAM vyavahAramA te kaI rote sphurAyamAna thAya che, aMkurita bane che, teno kevo rUpAvirbhAva thAya che te tathya para ja sau pahelA dhyAna kendrita karI pacho AgaLa vadhIzu. nAda vinA svara, gAyana, vAdana, tAla ane nartana na to siddha thAya ke na saMbhave / pAyAnI vAtano nodha laI zAstrakAroe saMgItamA 'nAda'nI pradhAnatA sthApI le, ane sAye ja tAttvika dRSTie sArAye sthAvara-jaMgama vizvane 'nAdAsmaka', 'dhvanyAkrAnta' bhane 'nAdAdhona' kahayu che.' paNa 'nAda' eka gatimAM, ne eka ja stara para avirata ane akhaMDa-abhinna baheto rahe to temAthI saMgIta nIpajatuM nathI. saMgIta-janana mATe AthI nAda pachI taratarnu sthAna che 'zruti'nu. saMgItotpAdaka dhvani-nAda ane 'zruti' ne gADha saMbaMdha che. A 'zruti' te bhAratIya gAMdharva-darzanano maulika ane Agavo vibhAva cha, zrutirnu vibhAvana bharatapraNIta "nATyazAstra" (IsavIsanano trI jo saiko !) nI paNa pUrva pANini (i. sa. pU. cotho zatAbda)) ane "prAtizAkhyo" (I. sa. pU.

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gAMdharvamA 'rakti pAMcamI-chaTTo zatAbdI) no paNa pahelAM thaI cUkyuM haze, paNa tenAM svarUpa vizenI upalabdha sauthI jUnI carcA 'vizvAvasunA kartRtvathI prAk madhyakALe jANItA paNa mAje to aprApya ane ajJAta aivA koI saMgIta-granthamA haze tema 'mataMga nA prasiddha grantha "bahaddezI" (8mo sako pUrvArdha ?) mAM tenA zrutinI vyAkhyA detA avataraNa parathI lAge che. gAMdharvarAda 'vizvAvamu' kahe che ke : zravaNendriyagrAhyatvAd dhvanireva zrutibhavet // arthAt kAna dvArA sAMbhaLI zakAya tevo-zravaNagocara bane tevo-'dhvani te 'ati'. 'zruti' gAyana-vAdanamAM prayukta thatI hoI, koI paNa dhvani 'ati' rUpe saMbhavI zake cha : paNa gAMdharvamAnya zrutinI utpatti-pratyakSa anubhUti-nAdathI ja thAya che, ane tenI vizeSatA e che ke tenI utpattino hetu "zravaNaprIti" che. atilakSaNanI A vizeSa spaSTatA upalabdha granthomA sau prathama kadAca caulatyavaMzo haripAladevanA "saMgIta sudhAkara" mAM prApta thAya che." yathA nAdAdutpadyate zrutiH / pavanAghaTTanAttantryA yaH samutpadyate dhvaniH // zravaNaprItihetuH syAcchatirityabhidhiyate / saGgItasudhAkara, gItAdhikAra 5.15-16 'nAda'thI zruti utpanna thAya che, 'pavana' thI (zaroramAM prANanA utthAnathI) ane 'taMtrI' (eTale ke vINA) para 'AghaTana' (AghAta) dvArA karNapriyatAne lakSamA rAkhI utpanna karavAmAM Avato dhvani te 'ati'. " have dhvani anaMta prakAranA hoI, zrutio paNa anaMta hoya che. mataMge A vAta samajAvatAM pUrvAcArya 'kohala' (cotho zatAbdI !) nuM vacana mA prakAre TokyuM che : "kecidAsAmAnantyameva pratipAdayanti." A muddAnI vizeSa chaNAvaTa karatA AcArya mataMga AgaLa upara kahe che ke jema AkAzanA udara vize anekAneka dhvani UThe che ane hillolita sAgaramAM jema anaMta taraMgo UThe ke tema zrutionu paNa vidvadaloka anaMtatva mAne che, ""saMgItarAja"kAra mahArANA 'kuMbhakarNa' (I. sa. 1456) 'mataMga' no AdhAra Apo kahe che ke medha maLamAM -thI pasAra thatA sUryakiraNanI sAraMga vibhAjanAnI jema nAnA sthAne ane upAdhibhedathI pratibhAse te 'zruti'." 'dattilAcArya' (trIjo saiko ?) zrutinA sthAna vize spaSTatA A rIte kare cha :

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4 madhusUdana DhAMkI uttarottaratArastu vINAmadharAMtaraH / iti dhvanivizeSAste zravaNacchrati saMjJitA // 9 // "uttarottara tIvra banatA svarasthAna vINAmAM nIce ne nIce sthAnApanna thAya che. A rIte AvatA dhvani vaccenuM zravaNalabhya ( zruyamANa) banatuM aMtara te ja zruti, 1110 A 'zruti' ja 'svara' - saMgItamaya raba- vizeSa - nuM kAraNa bane che. haripAladeve te vizenI spaSTatA karatA karchu che ke "zrutimAMthI svara saMbhave che, ne zrutisthAna para nAdano pAta thAya tyAre svara saMjAta bane che." yathA : zrutibhyaH svarasambhavaH kriyate yaH zrutisthAne nAdo jAyeta ya svaraH || - saGgItasudhAkara, gItAdhikAra 5.21 'zAMrgadeve' (13mA saikAno pUrvArdha) paNa Aja vAta kANamAM kahI che: zrutibhyaH syuH svarAH || - saGgItaratnAkara 1. 3. 23 'svara' zrutisthAne kevI rote samudbhave che tenI spaSTatA medapATapati mahArANA kuMbhakarNe "saMgItarAja'' mAM zrutinI vyAkhyA bAMdhatAM A pramANe karI che : "svaranI abhivyakti mATe hRdayAkAzamAM UThato ane bharAto prerita dhvani te 'zruti. " ta eva zrutyastatra svarAbhivyaktihetave / Urdhvadhana hRdAkAze pUryate prerito dhvaniH // - sagItarAja, gItaratnakoza, svarollAsa, dhvaniprakaraNa. 31 AdhI zruti e vyavahAramAM nAdanI sahAyatAthI 'svara' ne DhALatuM amUrta bIbu banI jAya che, yA to eka prakArano lugadI banI jAya che jemAM thaI nimiSamAtramA pasAra thato nAda 'svara' rUpe bahAra paDe che. * 'zruti' ane 'svara' siddhAntamAM alaga alaga hovA chatAM svaraniSpattino kSaNe banne bacce vyavahAramAM abheda dekhAto hoI, kArya-kAraNa vaha vyAvartaka rekhA TaLI ekatva sadhAtuM hovAno bhAsa thato hoI, dakSiNamA Aje 'svara' ne badale 'zruti' kahevAno rivAja paDI gayo che. (yAjJavalkye "zruvijAtivizArada." evo prayoga karyo che tenI A paLe noMdha laIe.) kAraNa anivArya evA A 'svara'nAM svarUpa ane lakSaNanI moTebhAge to 'abhinavanta' (21mA zataka no pUrvArdha) nI zrutilakSaNa vizeno "abhinava bhAratI" mAM thalI sacoTa carcA parathI 'zAMrgadeve' padabaddha karelI vyAkhyA emanA Akara antha

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gAMdharvama 'rakti' 19 " saGgIta ratnAkara" mAM Aje to khUba ja prasiddha banI gayela eka sUtramAM maLe che; zAMgadeva kahe che ke zruti ( nA utthAna ) pachI jAgato snigdha, anuraNanAtmaka ( raNajhaNato, jhaMkArayukta) ane sAMbhaLanAranAM cittane raMjita karato dhvani te 'svara': zrutyantarabhAvI yaH snigdho'nuraNanAtmakaH svato raJjayati zrotRcittaM sa svara ucyate // - saGgItaratnAkara, 1.3, 24-25 'mataMga,' 'pArzvadeva' 'maMDana,' 'kuMbhakarNa ' Adi zAstrajJIe paNa thoDe te aMze bhAvI ja matalabanuM potapotAnI AgavI rIte kAM che. ' 14 zruti 'gIta' (gAyana)+ane 'Atoca' (vAdana) mAM prayukta bane che. A prayukinA phaLarUpe zruti dvArA SaDjAdi kramadhI saptasvaro nirmita thAya che, jenI noMdha mahArANA kuMbhAe lIvelI cheH zrutibhyaH syuH svarAH SaDjArSabhagAndhAramadhyamAH raat vaara niSAda iti teSu ca // 15 - saGgItarAja, pAThayaratnakoza, 2. 18 gAyanamAM zarIrasaMbhavita svaronI vyAvahArika parimitAnI aMtargata gAyakanA kaMThanA tAratva (pitch) anusAra saptako sthApI zakAya che. gAyakanI svAbhAvika saptaka maryAdAne lakSamAM rAkhI koI paNa samucita, svAnukuLa zrutine vyavahAramAM 'AdhArazruti' banAvI, temAM Adi svara SaDjanI niSpatti karI zakAya che. AdhAra zruti para AraMbhika SaDjanA udaya bAda - SaDja nizcita thayA pachI - nA svaro potapotAnAM zruti-sthAno para svAbhAvika rIte kramAntare (abhinavaguptanA zabdomAM kahIe to 'Urdhva sparzanA saMskAra' thI) sthAna le che. svarono je je zrutio para saMbhava thAya che te sau svaragata - zruti kahevAya che, ane be svaragata - zruti vaccenA gALAmAM rahelI zrutio mATe 'aMtargata - zruti' ke 'AMtara-zruti' evaM abhidhAna 'vizvAvasu' ane 'nAnyadeva' (11mI zatI) sarakhA zAstrakAro Ape che.' 1 17 zrutibhonuM saiddhAntikarUpe anaMtatva svIkArya chatAM vyavahAramAM tenI eka saptakamA saMkhyA 22nI svIkArI che ane A saMkhyA vize prAcIna madhyakAlIna saMgItazAkAro vacce ekamati che.' ekathI upara caDhatA tevA svarasaptako asaMkhya hoI zake che, paNa vyavahAramAM to RNa ja saptako (mandra, madhya, tAra) upayukta che. mandanI nIce rahelo 'atimanda' zravaNaduSkara bane che, ne temAM tema ja tAranI pelepAranA 'atitAra 'mAM 'vaisvarya'no eTale ke svara becarAI javAno bhaya rahelo che."

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madhusUdana DhAMkI matimandra nIcenA saptako sAdhAraNatayA zravaNagamya nathI ane 'atitAra' para rahelA saptako, jyAM sudhI bhAratIya saMgItane nisbata che tyAM sudhI to zravaNAtIta nahIM to ye zravaNakSama nathI." svaro vaccenuM zrutyantara eka sarakhu natho; bhane pratyeka zrutinuM pramANa paNa eka zuM nadhI. rAganI prakRti anusAra koI koI svaro mULa zrutithI cyuta banI 'utkarSita' (caDhela) vA 'apakarSita' (utarela) banI, thoDI uparanI yA nIcenI sUkSma zruti para sthira thAya che. ArohI-avarohInI zrutiomAM paNa (khAsa karIne ita ganimAM) sUkSmatara mAnI aMtara rahetuM hovAnuM anubhavAya che.50 have 'nAda,' 'zruti' ane 'svara'nA 'rakti' sAthe rahelA saMbaMdha vize joIe. 'rakti'no vyAvahArika temaja vyutpattyarthe che "lAlimA," kiMvA " ojasa." paNa gAMdharvamA 'rakti'no eka artha cha 'anuraMjana' : anurajakatA nAma raktirityabhidhIyate / -kumbhakarNa bhane ethI 'rakta' zabdathI 'raMjaka' evaM prAcIno samajatA hatA. 'svara' A kAraNasara svabhAvathI 'rakta' hoya che, svara raMjaka-raktiprada-to ja bane jo 'dhvani' eTale ke 'nAda' pote raktipUrNa hoya. AthI vyavahAramA 'raktipUrNa nAda' ane 'svara' bacce abheda rahe che. 'mataMga' A saMbaMdhamA 'kohalAcArya'rnu A vidhAna pramANarUpe TAMke cha:- dhvaniraktaH svaraH smRtaH eTale ke raktipUrNa dhvani te 'svara' samajavo. paNa dhvani kiMvA AhtanAda raktidaH tyAre ja thAya ke jyAre te zrutimonA dAramAMdhI pasAra thAyaH zrutyAdidvArato geye janayan rktimaahtH| saGgItarAja, gItaratnakoza, svarollAsa 1, sthAnAdi parIkSaNa, 6. zruti dvArA saMbhUta bane te nAda 'svara' che tevu agAu ApaNe joI gayA choe, AthI zruti mAraphata prakaTa thato nAda jo raktidaH hoya to te nAda anya koI nahI paNa 'svara' ja hovAthA svara paNa svabhAvathI 'rakta' hobArnu siddha thaI jAya che. 'raktimArga'ne cUkI gayelo svara 'zrotrasukhAvaha'-zravaNamaMjula-nathI tevI TIkA kuMbhakarNe AgaLa upara karI cha :

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gAMdharvamA 'rakti' raktimArgacyutAnAM ca na cedyuktaM nirUpaNam / naitatsvarasvarUpeNa tAH syuH zrotrasukhAvahAH // -saGgItarAja, gItaratnakoza, svarollAsa, 1. 94. vizuddha nAda, zrutisthAnanI saccAI ane ethI nIpajato raktiprada svara e gAMdharvasiddhinI prathama zarata che. 'kunAda', zrutinuM 'nyUnAdhikya'-ochA-adakApa'-ane 'apasvara' kiMvA besura sAMbhaLanArAo narkamAM paDatA hovAnI vAta saMgItamakarandakAra nArade kahI che. yathA : apasvaraM kunAdaM sa zrutihIna tathAdhikam / yaH zRNoti ca mUDhAtmA patate narake ciram // 10 // -saGgItamakaranda, saGgItAdhyAya, 1. 90 ane kuMtalezvara cAlukyarAja somezvara tRtIye svaracita "mAnasollAsa" (I0 sa0 1131)mAM zrutihIna--svara kADhanAra 'sthAnabhraSTa' gAyakane niMdita mAnyo che eja pramANe varjita svarane (rAga-gAyanamA) ghusADI denArane adhama, pApiSTha, 'zratiduSTa' ane 'rAgajIvavighAtaka' kahayo che; ne zrutine ochobhadakI karI nAkhanAra gAyakane 'rAganAzaka'rnu birUda ApI tenI niMdA karI chaH zrutihInaM svaraM kurvannaprAptasthAnakatrayaH / sthAnabhraSTaH sa vijJeyo gAyakaizcAtininditaH // 26 // prayuGkte varjitaM yastu svaraM rAgakriyAdiSu / prArabdhaM yo na zaknoti punaH sthApayituM dhiyA // 27 // so'pasvara iti jJeyo nindito gAyakAdhamaH / pApiSThaH zrutiduSTho'sau rAgajIvavighAtakaH // 28 // nyUnAdhikA zrutiyesya SaDjAdiSu vibhAcyate / sa bAhyo nindito jJeyo gAyako rAganAzakaH // 29 // __-mAnasollAsaH gItavinoda 16. 26-29 sunAda, suzruti, ane ethI susvaranA adhiSThAna para ja 'gIta'nAM eTale ke gAyananAM anya guNo pragaTa thaI zake che. gAnAranA kaMThamA rakti hoya to gIta 'raktimAhata' bane. zAstrakAroe gItanA viziSTha guNo ane lakSaNo daza prakAre batAnyAM che temA 'rakta'ne AgavaM sthAna Apyu che." agAu carcA karI gayA chIe te 'raka' nAda-susvara-ane enAthI nIpajatuM 'surakta gIta' sAMbhaLavAmA kevu hoya, 'rakta' gAyana kone kahevAya, tenI vizeSa spaSTatA zAstrakAroe "gIta"nA dIdhela 'rakta'

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madhusUdana DhAMkI guNanI vyAkhyAmAM maLI rahe hai. jemake "gItAlaMkAra" aparanAma "vAdimattagajAMkaza" (pAMcamA ke chadA saiko!)nA racayitA 'dvitIya bharata' kahe che ke je gAyanamAM kaMTha zAga vogA samo svara kaLAya, kalakale, te gAyanane 'rakta' kahevAnuM vijJasaMmata cha : kalo vINAsamo yatra svaraH kaNThAt prajAyate / tadgItaM labhate nAma raktAkhyaM vijJasaMmatam // -~~-gItAlaGkAra, 1. 231 "nAradIya zikSA" (pAMcamI ke uTThI sadI !) ethIye AgaLa vadhIne kahe che ke veNu' (vaMzI, vAMmaLI) ane 'vINA'nA svara sAthe je gAyana 'ekabhAva' (ekarama) yaI jAya ne rakta' kahevAyaH / veNuvINAsvarANAmekIbhAvo raktamityucyate / --nAradIyazikSA (1. 3. 2) 'somezvaradeva' (I0 sa0 1131) paNa evI ja matalabarnu kahe che : veNuvINAsamo nAdo rakto'sau dhvaniriSyate / ___ --mAnasollAsa, gItavinoda, 16-81 ("saMgItazAstra dugdhAbdhi" temaja basavarAjakRta "zivatattvaratnAkara"mAM uparano loka sheja pheravIne Apyo che.)2 kokarAja kRta "saMgItasAroddhAra" (12mI zatAbdI)mAM paNa vINAdinA dhvani sAtha kaMThanA thatA aikyavALAM gAyanane 'surakta' kahevAya tema jaNAvyu cha: vINAdizabdaH / kaNThadhvanyekatAyuktaM suraktamabhidhIyate / --saGgItasAroddhAra, 4. 1. 63. (bharatakoSa pR. 827) gurnaszvara kumArapALanA anugAmI ajayapALanA pratihAra-cUDAmaNi somarAje ravela "saMgotaratnAvali" (I0 sa0 1180)mA 'vallako' (vINAno eka prakAra), 'vaMza' bhane 'kaMTha'nA dhvaninI ekatA batAvatA gAyanane 'surakta' kayuM che: suraktaM vallakIvaMzakaNThadhvanyekatAmatam // saGgItaratnAvali ("bharatakoSa" pR. 827* 'somarAja'ne bhanusarIne 'zArgadeva' paNa e ja pramANe kahe chaH suraktaM valla kIvaMzakaNThadhvanyekatAyutam / -saGgItaratnAkara 4. 337

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gAMdharvamA rakti "saMgItamakaranda" paNa (moTebhAge to saMgIta ratnAkarane anusarIne) evaM ja kahe chaH suraktaM vallakIvaMzakaNThoktAnyekatAguNam / --saGgItamakaranda 1. 4. 44 Aje vaMzInI saMgata sAthe to koI gAtuM nathI, paNa sAraMgI, ke jenI prAcIna kALe vINAnA prakAromAM gaNatrI thatI, tenI saMgatamA gAna thAya che bhane sAraMgInA suramA maLI jatA kaMTho uttara bhAratIya saMgItamA keTalAka kissAomAM jovA maLe che. ma. khAM sAheba abdula karImakhAM, banArasanI prasiddha gAyikA baDI motIbAI, rasUlanabAI, begama akhtara, pannA bojha, ityAdi nAmo dRSTAnta tarIke gaNAvI zakAya, zrImatI horAbAI baDodekaranA tArasaptakanA SaDja-gAndhAra, matrolI gharAnAnI gAyikAo (khAsa karIne kesarabAI kesakara ane sva, saradArabAI karadagekara)nAM dhaivatAdi svaro urjasvI ane raktipUrNa kahI zakAya. 'rakti'ne jema eka bAjue nAda sAthe saMbaMdha che tema bojI bAjue 'kAku sAthe saMbaMdha cha; kAku tattvanA eka aMza tarIke te hamezA upasthita hoya che. 'pArzvadeva' (teramA zatakano pUrvArdha) 'kAku'nuM svarUpa bAMdhatA kahe che ke kAkumA bhASAnI bhAva-bhaMgimA, chAyA, ane 'rakti'rnu sAmarthya hoya cheH / kAkuzca bhAvanAbhASAchAyAraktisamarthavAn / -saGgItasamayasAra 2.96 sva. paMDita omakAranAtha ThAkuranA 'mAlakosa' sarakhA khyAlano upAha jema eka bAjuthI raktithI dIpta raheto tema bIjI bAjuthI kAkunA vyApathI cetohara banI jato; eja pramANe kirAnA gharAnAnA ma0 khAM sAheba abdula karimakhAM tema ja gvAliyara gharAnAnA bhUgaMdharva gaNAtA ma0 ustAda rahimatakhAMnA gAnamA raktipUrNa kAkuno ajaba prayoga jovA maLato. sva0 dattAtraya viSNu paluskaranA bemaNe yamana, kedAra ane mAlakosa sarakhA divya, 'mArgI rAgonA khyAla bhane jhoTI rAgA bhajano sAbhaLyAM che teone smaraNa haze ke temano raktimaMDita avAja vAtAcaraNamAM kevo chavAI jaI divyatAno AvirbhAva karI deto. 'pArzvadeva,' 'zArgadeva, 'kuMbhakarNa' Adi saMgIta-dArzanikoe kAkunA chaeka jeTalA prakAronI vAta karI che, tyAM 'kSetrakAku' viSe spaSTIkaraNa karatAM pArzvadeve temA 'rakti' svabhAvathI upasthita rahetI hovAno ullekha karyo che, yathA :

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24 madhusUdana DhAMkI rakti: svabhAvatajjJaiH kSetrakA kurmahItale / - saGgIta samayasAra, 2. 102 dakSiNamAM zrImatI ema. esa. zubhalakSmI, zrImatI nIlammA kaDambI Adi parama sUrilA kaMThavALo gAyikAonA gAnamA raktisabhara kAkunI bahulatA jovA ma che, hindustAnI saMgIta paramparA anusaranAra uttama gAyakonAM kaMTha snigdha, madhura, saukumAryayukta che kharAM paNa temano nAda balatvamAM kaMIka kama rahe che ane rakta eTalA pramANamAM thoDI jhAMkhI rahe che. ulaTa pakSe karNATaka saMgItanA uttama kaMThI gAyaka-gAyikAonA nAda ekazIla-ghanazIla, gaMbhIra ane nAbhijanya, tema ja mUlAdhAra - pratiSThita ane ekadama khullA kaMThanA hovAthI temAM ghaMTArava zuM anuraNana ane sAye ja atyaMta prabhAvazAlI rakti vyaMjita thatI anubhavAya che. drAviDo saMgItano kaMpAyamAna svara AMtara-zrutionA pradezamAM pahoMcI teno sUkSma sparza karatI hoI, te kriyAnA phaLarUpe tenA ugamanI sAthai ja tyAM sahasA anunAdaninAdanI lIlA udabhave che. jenA prabhAve te prakAzamAna banI jhagI UThe che. sva0 vasaMta kokilam, zrImatI ema0 esa0 zubhalakSmI, rAyaprolu jAnakI, zrImatI ema0 ela. vasaMtakumArI cokammA ityAdi gAyikAmanA kaMTha utkRSTa dIpta- rakti gharAvanA hovAnuM jANIe chIe. 'rakti' e mAdhurya, snigdhatA, mArdava ityAdi guNothI svataMtra, mahada aMze viziSTa, ane Aje to pramANamAM virala kahI zakAya tevo guNa che. raktino Avi fe ekadama sAcAM zrutisthAna para lAgatA nAdane kAraNe, ane tyAM sAmAnya karato kaI vizeSa saghana ane sthAyI anuraNanane kAraNe thAya che. paluskara jevA keTalAka kaMThamAM A guNa sahaja-svabhAvI, nisargadatta hato, paNa ghaNAvarA kissAmA mUlagata mAdhurya riyAjha dvArA saMkramIne ' rakti' mAM pariName che. sAdhana - paraMparAthI 'taMbUra' kiMvA 'tAnapUrA' para thAya che. tAnapUro paNa vINAno eka prakAra che. vartamAna svarUpe te bahu prAcIna nathI, paNa tenAM mULa 'sudhAkalaza gaNie (caudamAM zatakano madhyabhAga) kahela 'devavINA' nAmanI 'nAdapUrita vINA ma A riyAjha - svara 23 sAghana nathI. e. he rahelA hovAM joIe. (tAnapUro kaI 'tAna' pUravA mATenuM 'nAda' bharavA mAThenuM yaMtra, aghI 'taMbUrane tAnapUro nahI paNa ghaTe.) prAcIna kALe 'vINA' zabdathI ghaNA * prakAranI vivakSita hatAM; temAM moTAM bhAganAM, jevAMke 'svaramaMDala', 'mattako kilA', 'citravINA 'nAdapUro' kahe ve' taMtrIo-taMtuvAdyo

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gAMdharvamA 'rakti' 'ekaviMzataMtrI vaMNA', 'pinAkI vINA' 'dhanutaMtrI', ityAdi vINAo Harp varganI hatI jyAre 'vipaMcI' 'AlaMbI' ityAdi Lute vaganI hatI. Lute jAtamAM koI AjanA 'saroda'nA pUrvaja jevI, patrothI vagADavAnI, to koI AjanI 'sAraMgA' zI, 'koNa' (gaja, kAmaTho)thI vagADI AkAya tevA prakAranI hatA. 'nA jIjA vargamA 'brahmavINA' (AjanI 'rudravINA'nI purogAmI) saravA (goLa tuMbA para baMza joDIne nirmAbavAmAM AvatI) ektNtr|' vINA ke naNa tuMbAyukta 'kinnarI vANA AvatI, AmAMnI keTalIka vINAo 'AlApinI' eTala ke taMvara ane mUramaMDaLa prakAranI hatI to keTalIka 'parivAdinI' eTale saMgatI gATenI hatI. bahu prAcIna kALe svaga. bhyAsa mATe, nAdanI saMzuddhi artha, svaramaMDaLano upayoga thato huze nema dAge che. paNa madhyakALamAM anya vINAo / ja hetu artha prayukta banatI ho tema jaNAya che. zAstrakAro vINAnI sahAyatArthI zanI nAdasAdhananI kriyA vize kahe vAna bhUjyA nazrI. udAharaNa tarIke sudhAkalaMga vANA para thatA svarAbhyAsane 'nAdazuddhikara' kahayo cheH vINayA nirmitAbhyAso nAraH zuddhikaraH paraH // -saGgItopaniSadsAroddhAra, 4, 15 saMgItamakarandakAre AthA AgaLa vadhI 'sarasvatI vINA' para svarapaTana karavAthI te hRdayane sAMbhaLavAmAM manohara lAgatuM hovArnu jaNAvyuM che: sarasvatyAJca vINAyAM pahajAdisvarasaMyutam / pAThayAmAsa sarveSAM hRdyaM zrutimanoharam / / -saGgIta makaranda, saGgItAdhyAya 1 16 uttaranI 'sarasvatI vINA' te Aje to 'sitAra'nA bhaddA, behudA nAmathI oLakhAtI ane purANI 'kacchapI vINA'nuM vikasita rUpa hoya tema lAge che. sudhAkalaze 'sarasvatyAstu kacchapI' kahI sarasvatInA hAthamAM zobhatI vINA 'kanchapI' prakAranI kahI che tenI A paLe noMdha laIe. uttaramA Aje taMbUra sivAyanI anya vINA para nAdAbhyAsa karavAnI prathA nathI. paNa drAviDadezamA uttama koTInI gAyikAo dAkSiNAtya 'sarasvatI vINA' para svarAbhyAsa karatI ane Aje paNa kare che, mhaimuranA zrImatI nIlammA kaDambornu svahastamA AhelI vINAnA sahAra zratuM gAna atyanta rakti-manohara, vINAnA dhvani

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rama gAMdharvAM rakti sAthai ekarasa thaI jatuM khUba ja sumadhura varatAya che. * mArA mate svarasAdhana mATe dAkSiNAtya sarasvatI - vINA jevu bIjuM eke uttama sAdhana nathI. A vINA para sadhAtI zrutio ayanta spaSTa tema ja sAcA sthAna para bese che. ane svara jhaMkRta banI vAyumaMDaLamAM vyApI rahe che, ne vizeSamAM A anuraNanamaya svara hRdayaMgama banavA uparAnta temAM adbhuta cetas paNa avatare che. 'rakti' e kevala kaMThano ja guNa che ke vAdyono paNa kharo ? vAdyomAM 'vaMzI' e svataH rakta vAdya che. enA sUrilA svaro zaraNAInI jema sahajaraMjaka che. baMsInA A guNavizeSanI puSTi kara eka pramANa " saMgItasamayasAra " mAM 'surAga' nI vyAyAmAM maLe che: yasya vaMzadhvanau snigdhe samIcI raktirUrjitA / vAMzikagItataccajJAH surAgaM kathayati tAm // - saMgItasamayasAra, 2. vaMzInI jema barobara meLavelI, aMgulIthI bajatI uttama kASThanI vINAo paNa svayaM surilI che. paNa kaMThAnugata saMgatinI vINAo - sAraMgI ane belA (vAyolIna)mAM zarIravINA', 'gAtravINA' eTale ke mAnava kaMThanI jema rakti bahu mahenatathI utare ane badhAjavAdako te meLavavA bhAgyazALI nathI hotA, uttaramAM ma0 ustAda bundukhAMnI sAraMgImAM jyotirmaya rakti dekhA detI. dakSiNa, ke jyAM sAraMgIne sthAne belAno pracAra che ane jyAMnA velAvAdako uttaranAM belAvAdakothI adhikArAdi aneka bAbatomA caDhIyAtA che, tyAM paNa surakta belAvAdana Aje to sva0 dvAram vyaMkaTa svAmI nAyaDunA ziSya mArallA kezava rAva, ane candrazekhara temaja ema. esa. gopAlakRSNa sarakhA vAdako choDatAM bhAgye ja jovA maLe che. 'rakti' e kaMThanA zAstrakathita guNomAM agrima guNa che. anya guNomAM 'madhura' 'snigva', 'ghana', 'zrAvaka' ane 'sthAnaka - zobhana 'no samAveza thAya che.' 26 A anya guNo raktine anumodaka, puSTikara che ane ethI kaNThane ke vAdyane savizeSa zravaNapriya banAvI de che; paNa gAnane divya bhUmikA para mUkavAne to ( kAkuprayoganI sahAyathI) kevaLa 'rakti' ja samartha che. gAMdharvamAM ' rakti' nuM sthAna sarvocca hoI, besurI tema ja AsurI tAno bhane joDa jhAlAthI rAcI rahetA ne kSaNe kSaNe raktibhaMgathI vyApta AjanAM hindustAnI kaMThya temaja vAdyasaMgIta prAcIna saMgItamImAMsako ane gAMdharvasmRtikA ronA darzana bhane udbodhanamAMtho ghaNuM zokhavAnuM che, -

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20 'gadharvamA rakti' rakti vize mahArANA kuMbhakarNe kadAca sauthI vizeSa ciMtana karyu che. gAyanabAdanamA 'ktilAbha' kevI rIte thAya tenI rIto -- 'raktiyukti' -- bhane sAthe ja 'raktihAni' karanAra tattvonA saMbaMdhamAM temaNe je vidhAno karyA che te Aje paNa eTalAM ja upayukta che. enA thoDAMka udAharaNo ahoM joizu: 1-2) gAyananA 33 prakAranA 'sthAya' guNomAMthI vemA raktiprayoga anusyUta cheH 'rakta' sthAyamA ane 'nirjava' sthAyamAM : yathA : utkarSoM dRSyate yatra rakte raktestu te matAH // 3 // ane sukumAro raktiyukto vakraH sUkSmatvabhAvitaH / svaro yeSu krameNate jJeyo nirjavanAnvitAH // 53 // --saGgItarAja, gItaratnakoza, prakIrNakollAsa, sthAyavAgaparokSaNa 4 3-'chAyAlaga prakAranA 'prabandha'mAM thato 'chAyA' sAthe 'raktimAdhuya' no prayoga, yathA : chAyeva lagati cchAyA raktimAdhuryayogataH // tasmAcchAyAlagAni syustAni gItAni tattvataH / -saGgItarAja, gItaratnakoza, prabandhollAsa, 4 sUDaprabandha parIkSaNa 2. 423-424 4-SaDja-paMcama-madhyamane (catuHzrutikane badale) kayAreka paMcazruti karavAthI te 'raktiprada' banatA hovAno thato anubhava : ekazrutisamutkarpitaSaDja-madhyama-paJcamAH / paJcazrutiktAyogAnna te raktipradA matAH // -saGgItarAja, gItaratnakoza, svarollAsa 1 sAdhAraNa parIkSaNa, 2. 43 5-svaranI amuka anyathA vivAdI joDoono alpAMze prayoga karavAthI niSpanna thatuM 'raktivaicitrya' : yathA : rAjakalpe grahe SaDje vAdini prakRte sati / saMvAdinau mantritulyau mapau tadvat prayojitau // 254 // tavayasyAnusaraNAdubhau tatpoSako ridhau / tattulyakAryasambhArakaraNAbhAvatastayoH // 255 //

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madhusUdana DhAMkI alpaprayogaH kartavyo raktivaicitryahetave / ridhau pratyarthivad vajyauM vivAditve sthitau yataH // 256 // atyalpamapi vA kAryastatprayogaH kvacit kvacit / raktivaicivyamAdhAtumavarohe vipazcitA // 257 // -saGgItarAja, gItaratnakoza, svarollAsa 1 sthAnAdiparIkSaNam 1. 254-257 6-maulika hoya tenAthI judI ja svaranI zrutino saMghAta thatAM je svara utpanna thAya ne 'rakti-hAnikara' hoI, tevA sthAnanA sparza na karavAno apAyela Adeza : svare'nyazrutisaghAtA svarotpattiH pradRzyate / raktihAnikaratvena na sthAnaM spRzati kvacit // -saGgItarAja, gItaratnakoza, svarollAsa 1, sAdhAraNaparIkSaNa 2. 56 'visaMvAdi' svarano samAveza thAya to 'mUrchanA' bhane ethI 'jAti' ityAdimAM 'raktibhaMga' thAya tevo Apelo anubhUtijanya abhiprAyaH visaMvAdI samAvezAdraktibhaDago yataH smRtaH // -saGgItarAja, gItaratnakoza, svarollAsa 1 sthApanAparIkSaNa 1. 262 "saMgItarAja" sivAyanA anya granthomAM maLatI raktiviSayaka vizeSa mAhitI vize joI lekhane samApta karo . jemake zArGgadeva kahe che ke badhA ja zAstroe kahela anaMta prakAranA alaMkAro (palTAo) dvArA 'raktilAbha' ane svarajJAna thAya cha temaja vicitra vAgo utpanna karI zakAya che. yathA : anantatvAttu te zAstre na sAmastyena kIrtitA / raktilAbhaH svarajJAnaM varNAGgAnAM vicitratA // 64 // iti prayojanAnyAhuralaGakAranirUpaNe / -saGkagItaratnAkara, varNAlaGkAra 6 mAlavamantrI 'maMDana'nA aprasiddha grantha 'saMgotamaMDana'"mAM paNa aneka prakAranA 'alaMkAra'- svarAbhyAsamA prayojana samajAvatAM tene 'rakti' prakaTa karavAmAM ane 'varNavaicinya' sarjavAmAM upakAraka kahyA che.20

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29 gAMdharvamAM rikti anantatvAnna sAstyAttarapyete niruupitaaH| raktiH svaraparijJAnaM varNAnAM ca vicitritA // iti prayojanaM prAhuralaGkArasya mUrayaH / pArzvadeve eka 'raMgarakti' nAmano sthAya varNavatAM tena lakSaNamA 'rakti' ane 'rAgachAyA'no Azraya aMgabhUta hovAnuM kartuM cheraktisvarUpaM rAgasyAH rAgacchAyA tadAzrayA // -saGgItasamayasAra 2. 60 'rakta' sthAyane varNavatAM zArGgadeva tene raktithI utkarSita hovArnu kahe che : rakterukato rakteruktaH sthAyo manISibhiH / __ -saGgItaratnAkara. 3. mahIM rakta'nI vyAkhyA adhyAhAra rAkhI che; paNa anyatra 'raktimAna' zabda samajAvatAM tene 'anuraktijanaka' kahyo che : yathA anuraktestu janako raktimAnabhidhIyate / / -saGgItaratnAkara 3.10. 'drata' zabdathI pragaTa thatA aMzAvadhAna sthAyamA raktinI upasthitino ullekha zArGgadevanA tadviSayaka vidhAnamA vivakSita cha : raktedbhutasya zabdasya bhRtasyAMzAvadhAnayoH // -saGgItaratnAkara 3.10 'raMjakatA'nA svabhAvathI 'rakti', gAMdharvamA eka bAjuthI 'svaragarbhita' hovAnuM apekSita che ane tenI anubhUti vINA-vaMzAdi vAdyonA sura sAthenA tenA 'aikya' ane 'urjas'tho pragaTe che, to bIjI bAju te svaronA vividha prayogoalaMkAro, alpatva, sparza, rAgachAyAzritatva ityAdi vaicitryapUrNa, camatkRtiyukti kriyAonI asaronI paDache rahe che. 'raktidharma'no tyAga thayo hoya tevAM gAyanavAdanamA cittane AnaMdavibhora karI zake tevAM tatvo pachI bahu jUjavAM rahe che. 'rakti' guNa e gAMdharva-kAraNanI saphaLa, gIta-vAdananI mUlabhUta ane anivArya, aparihArya AvazyakatA che. 'rakti'no jyA saMpAta thAya tyAM 'nirghopatA' (khokharApaY) TaLI tene sthAne raMjanAtmaka 'prabhA'no udaya thAya che ane jo 'rakti'nI sAthe tenA 'nairantarya' para adhikAra meLavI zakAya, rakti'ne satata (hareka svara mATe ne gAyana-vAdananI harakSaNe)

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madhusUdana DhAMkI jALavI-TakAvI rAkhavAno zakti dAkhavI zakAya to te saMgIta sAmAnya parimANone tikramI lokottara banI jAya. Abu sAmathye nisargadatta hovA uparAnta asAdhAraNa kozala ane agAdha parizrama paNa mAgI le che. paNa to pachI vinA tapasyA rAkta'no ane tenAM cetasi ka sAtatyano prApti paNa kevI ? pAdaTIpo * bhA anveSaNa enI kharekharI gaherAimAM to bIjA vizvayuddha pachInA bhane khAsa to chellA dazakAnA lakhANAmAM ja jovA maLe che. 1. saMgItAJjali (caturtha bhAga), vArANaso 1957, pR, 1-5; tathA praNavabhAratI (prathama vINA), bhAratIya svarazAstra, tantrI 1-2, vArANasI 1956. 3. Cf. R. Sathyanarayan, "Sruti : the scalic foundation". San geet Natak 17, New Delhi July-September 1970; and R. S. Shringy, "The concept of sruti as related to Svara" the paper read at the 46th Annual conference of Madras Mus. ic Academy, Madras; December 1972. 3. paM. bhAtakhaMDee 'zruti' viSaya paranA prAcIma zAstrakArone potAnI vaijJAnika rIta anusAra 'dhUrta' hyA chaH juo praNavabhArato (caturtha tantrI)mAM paM. omakAranAtha ThAkure karelI bhAtakhaDenA "lakSyasaMgIta" (saMskRta), "hindustAnI saMgIta paddhati" (marAThI) ityAdi pranyomA vyakta karela matanI AlocanA. hakIkata e che ke paM0 bhAtakhaDe prakhara buddhimAna hovA chatA, bhane zrutyAdi viSayane samajavA temaNe prAmANika prayAsa karyo hovA chatAM temanA samayamA haju 'nArada', 'mataga', 'abhinavagupta', 'haripAladeva', 'nAnyadeva' ityAdinA pranyo upalabdha na hoI, zruti aMge keTalIka sthULa mAnathI vicAraNA karavA sivAya tebho vizeSa bhAgaLa nahotA vadhI zakayA. 'bharata' ane 'zAdeva'nA kathanono marma AthI teo pakaDo zakelA nahI. prA. satyanArAyaNa ane dA. bhaMgonA lekhanamAM A viSayanI pUrI samajaNa chattI thAya che ane temaNe zruti-svarAdinI adhikArapUrvaka, pUratI vaijJAnikatA sAthe chaNAvaTa karI che. 4. see B. C. Deva Psycho-acoustics of Music and Speech, New __Delhi 1967, pp. 122-123. 5-AkAzasaMbhavo nAdo yaH so'nAhatasaMjJitaH / tasminnanAhate nAde virAmaM prApya devatAH // yogino'pi mahAtmAnastadA'nAhatasaMjJakaH / mano nikSipya saMyAti muktiM prayatamAnasAH / / -saGgItamakaranda 1.5-6

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'gandharvamA rakti' nityaM yaH sanakAdibhiH svahRdaye dhyeyaH paro nirguNo / nAdo'nAhatasaMjJakaH parama- cidrUpaH svabhAvAkalaH // 6 - na nAdena vinA gItaM na nAdena vinA svarAH / na nAdena vinA nRttaM tasmAnnAdAtmakaM jagat // - bRhaddeza. 16-17 na gItaM nAdarahitaM na nRttaM nAdavarjitaM / na vAdyaM nAdavikalaM tasmAnnAdasya mukhyatA || - saGagIta sudhAkara, gotAdhikAra, 5. 11 svaro gItaM ca vAdyaM ca tAlazceti catuSTayam / na siddhayati vinA nAdaM tasmAnnAdAtmakaM jagat // - saGgaticUDAmaNi, 15-16 - saGgItasamayasAra 1. 1-2 gItaM nAdAtmakaM vAdyaM nAdavyaktyA prazasyate / tadvayAnugataM nRttaM nAdAdhInamatastrayam / / - saGgItaratnAkara 1. 1 dhvaniyaniH parA jJeyA dhvaniH sarvasya kAraNam // AkrAntaM dhvaninA sarvaM jagat sthAvarajaGgamam // - bRhaddezI 11 31 - sAtagaja, gotaratnakoza, svarollAsa 1 sthAna diparIkSaNa 1.2 L (bhASA, pratibhA, ane 'nAda' ne badale 'dhvani' zabdanI pasaMdagI parathI ema lAge che ke A vidhAna mULe mataMganuM nahIM paNa 'kohala' nuM hovu joIe.) 'nAda' tatva panI carcA mATe jumo ThAkura, saMgItAJjali paJcama bhAga, vArANamI 1958 tathA R. K. Shringy, 'The concept of Nada in Sangitashastra," Shri Tyaga-brahma Gurukulam Souenir no. 3. Varanasi 1972 pATIpa kramAMka 5 ane 6 mAM uddhRte karela granthonA kartA bhane kALa vize AgaLa upara AnAra prastuta granthonAM avataraNAnAM yogya sadarbhamA kahevAmAM bhASamAra hoI, teno nirdeza ahIM karela nathI. 7. zaunaka, "RkprAtizAkhya" 3. 13, kAtyAyana, "vAjasenIya prAtizAkhya, " su. 112120, "saMvidhAna brAhmaNa, 1 8 ityAdiH vigata mATe juo Sathyanarayan p. p. 60-61. IsvIsananI cothI sadI "prAcIna bhAratanuM gAMdharva 8. 'vizvAvasu'no kALa I0 sa0 pU. pahelI bIjI zatAbdIthI laI mAM kAMka kI kAya tema che. AmI vizeSa carcA huM mArA sAhitya" mAM karI rahyo chu. 9. meM A sUtra 'ThAkura' zRMgI' ane 'satyanArAyaNa'nA lekhamAMthI udhRta karyu che. tadatirika nAnyadeva " bharatabhASya "mAM evI ja matalabanuM kahe che;

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madhusUdana DhAMkI zrutiH zrUyata ityevaM dhvani reSo'bhidhIyate / ___-bharatabhASya, zrutyadhyAya 3. 82 1.. A grandhanA saMzadanaartha dau. umAkAnta zAhe mane tenI judI judI hastapratI pratilipIo bha po cha, 'saMgIta-sudhAkara'nA racayitA haripAla grantha prazasti anumAra solaMkIrAja bhImadevanA pautra hatA. A meM madeva te bhImadeva prathama (I. sa. 1022-1066) hovAno saMbhava cha; ane tethI 'saMgIta-sudhAkara'no kaLa 11mA zatakanA antano kalpI zakAya. AnA vize vizeSa carcA huM AgaLa kathita lekhamA karI rahyo chu 11. yathAdhvanivizeSANAmAnantyaM gaganodare // uccaNDapavanodvegajalarAzisamudbhavAH / kiyantaH pratipadyante na taraGgaparamparAH / / -bahaddezI 29-30 yAkure AnI nodha lIdhI cheH (ejan pR. 42.) 12. nAnAsthAnopadhibhedAyo nAnA pratibhAsate / taM mataGgaH zruti prAha meghe'harpati razmivat // -saGgItarAja, gItaratnakoza, svarollAma 1. zrutiprakaraNa, 32. 13. ahIM dA. bhRgInA lekhanA AdhAre loka Tokayo che. * dattilAcArya zrutino vAta karyA bAda kA che ke temAMnI keTalIka sarva gItomA gAyanAyeM gadeya bane cha bhane temAMdhI 'svara' upalabdha thatA hoI te vize ahIM vicArIzu, yathAH / tebhyaH kAMzcidupAdAya gIyante sarvagItiSu / Andriyante ca ye teSu svaratvamupalabhyate / bhAnA kALa saMbandhamA huM anyatra carcA karo rahyo chu. (dhatinA mAna-pramANa lema ja 'AyatA', 'karuNA', 'mRda' bhAdi pAMca prakAronI 'nAradIyazikSA" Adi granthomA Avato vAta ane sAthe ja 'dhvani' (nAda) nA mataMge kahela 'pAtaja' pita' Adi lakSa gonI vigata pAra carcA A lekha pUratI jarUrI na hoI ahIM choDI doSI che.) 15. mataMga-muni kahe che ke je zabda (dhvami) svayaM zobhAdIpta hoya te svara : rAja dIptAviti dhAtoH svazabdapUrvakasya ca // svayaM yo rAjate yasmAt tasmAdeSa svaraH smRtaH / mAnI TIkAmA vizeSa kaha ' che ke je dhvani anurAga janmAvI zake te 'svara' : rAgajanako dhvaniH svara iti / -haddezI" 63. mudrita manthamA na maLatuM evaM 'pArvadeva'nu ("saMgota samayasAra") nu svara vizenuM vacana kallinAtha TAMke cha je 'mataMga'nA purovacana para AdhArita hoya tema lAge cha, yathA : svaya yo rAjate nAdaH sa svaraH parikIrtitaH /

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gAMdharvamAM 'rakti' 33 'maMDana maMtrI' zAMgadevamI jema kahe che ke je nAda zrotRjananA cittanuM raMjana kare te svara, yathA: raJjayanti svataH zrotRjanacittamiti svarAH / saGgItamaNDana, zrutiprakaraNa // kuMbhakarNa paNa zobhAdIpta, raMjanAtmaka 'rava' te ja 'svara' tevI vyAkhyA Ape ke; (roSA parathI paNa te zabdanuM nirukka thaI zake che, tevuM vizeSamAM kahe che.) rAjervA rajatairvApi svaratervA svarairatha / tervA svarazabdo'yaM niruktaH kRSNabhUbhujA // X - saGgItarAja, gItaratakoza, svarollAsa 128 jene Aje ApaNe 'kaMThya saMgIta' kahIye chIe tene prAcIno 'gIta' kahetA. 15 saptakanA svaronI khUba jALItI vAta vize atre vadhAre avataraNo TAMkavA anAvazyaka che. kuMbhakarNe 'zruti'mAMthI svaro- saptasvaro-udbhave che te nAsa bhavalokananuM mUlya hoI, bhahIM te sandarbhanA upakArArthaM ullekha karavo yogya mAnyo che. sAmAnyataH puruSono kaMTha B flat thI lai D sharp sudhIrmA hoya se mane strImanA D sharp thI laI G sharp sudhIno. 16. 'vizvAvasu' ne vRhaddezIkAra TAMke che. nAnyadevanI carcA temanA 'bhAratabhASya' aparanAma 'sarasvatIhRdAlaMkAra" granthamAM maLe che. nAnyadevano kALa 11mA zatakanA pUrvArdhano homAno saMbhava che. AnI carcA AgaLa jagAvI gayo tema huM mArA pUrvakathita lekhamAM karI rahyo chu. (abhinavagupta antarAlanI eTale ke 'svarAntara'nI zrutibho besUrI mAne che (vaisvaryasvarasvena vihiteSu antarAlazrutivizeSeSu dhvani (vi) saMvAdanAd bhavatIti sarvatAbhyuzram ) : 17. A zrutionAM nAma ityAdinI vigato bhahIM aprastuta hoI choTI doghI che. 18 atitArAtimaMdratvAd vaisvarya copadarzitam / - bhAratabhASya, zrutyadhyAya, 3.45 19. pazcimI vAdyoma 'piyAno' ke 'bhorgana' pAMca saptakadhI vizeSa saptaka gharAnato hovA sAMbhaLa che. 20. upara atAM bhane nIce utaratAM lAgatAM dhakkAne kAraNe zrutimo ahIM 'sthitisthApaka', yA rAganA raMgabhAvAnukUla banI jatI haze ? * meM A zloka ahIM rAmakRSNa kavi ( " bharata koSa", pR0 513) parathI uddhRta karyo che. + "saMgItamakaranda" prAyaH 11 mIthI 13mI zatAbdI sudhImAM racAyelA pranthonA AdhAre 17mI sadImAM saMkalita thayo aNAya che. 21. A aMge juo "gItAlaMkAra" pR. 8 bhA daza guNonI vizeSa carcA hu eka lekhamAM karanAra hoI, tema tema UMDA utaravu upayukta na hoI, vizeSa kahIza nahIM. + "nAradIya zikSA "no racanAkALa vivAdAspada che. vizeSa carcA mArA "bhAratanuM prAcIna gAMdharva sAhityamA karI rahyo chu.

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gAMdharvamA 'rakti' 22 jubho "gItAlaMkAra" pR.10. * mUla prantha adyApiparyanta aprasiddha che. + "saMgIta karandanA keTalAka loko "saMgItaratnAkara'mA zloko sAthe akSarazaH maLI nase cha. bhA zloko mATe banne pranyono koI samAna srota hovAno paNa tarka thaI zake, paNa bhASA zAdevanI jaNAtI hoI e zloko saMgItaratnAkaranA lAge che. + 'saMgItasamayasAra' kAra pArzvadeve tAra saptakamAM raktino prakAza karanAra kaMTha dharAvatA zarIrane "pozala' zarIra jJeyaM pauzala zArIraM tAre rAga (rakti ? )prakAzakam / "saMgItasamayasAra'mA lipidoSathI rikti ne sthAne 'rAga' ghusyo che, AnuM pramANa Apapane "saMgItarAja'' uparathI maLI jAya che. jemake tyo spaSTa rIte ja 'raktiprakAzaka' zarIrane 'saucala' ('pozala' hovu ghaTe) katyu che, raktiprakAzakaM tAre zArIraM saucalaM matam / -saGgItarAja, gItaratnakoza, prakIrNakollAsa 3 zabdabhedAdiparIkSaNam 2. 62 23 vINAstu devavINAdyAstAstvimA nAdapUritAH / -saGgItopaniSadsAroddhAra 4. 7 24 zivasya vINAnAlambI sarasvatyAstu kacchapI // -saGgItopaniSadasArAdvAra 4. 7 25 'pura maMDaLa' baDegulAmaalIkhAMnA prayAsa bAda keTaleka sthaLe prayogamAM AdhI rA che. paMDita jasarAja bhAdi gAyako teno upayoga kare che. sUramaMDaLa para zrutyAbhyAsathI svaro saMkRta bane che. * jubho mAro lekha "nIlammA kaDambo' "kumAra', aMka 581, ahamadAvAda 1971. 26 mA viSayamA zAstrAdhAre carcA hu anyatra karI rasyo chu. 25. 'kuMbhakarNa nA mAme temanA koI darabArI vidvAna saMgItajJe e grantha racyo haze. 18. ro. umAkAnta zAhe mane bhA pratha saMpAdanArthe Apyo che, 29. bhalaM kAronA AdhAre eTale ke palTAmaonA AdhAre ja vividha tAnomo udbhava thAya che. muzkela bhane aThapaTI tema ja vidhavidha layomA doDatI, sAcA svaroma cUkatI tAno ghaNI acamatkArapUrNa lAge che. ma0 u0 bhallAdiyAkhAMnA 'atraulI' gharAnAnI tAmone mA koTimA mukIzakAya.

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SIVABHADRA'S SIVABHADRAKAVYA (with two commentarios) Smt. Nilanjana S. Shah Sivabhadrakavya is a poem of 94 verses. Tbis Yamakakavya depicts an episode of Rama-Katba, particularly the love-lorn condition of Rama, after the abduction of Sita and his indigoation towards Sugriva for not fulblling the pledge for helping him in search for Sita. To the best of our knowledge, this Kavya is not published so far, hence I have edited the text with two commentaries on the basis of the MSS, described below. # This paper manuscript containing the Sivabhadrakavya and commen. tary by Saotisari on that poem, belongs to the Mahendra Vimal Collection preserved in the L. D. Institute of Indology, Ahmedabad, no. 1143. The folios, 28 in all, have on average 19 lines per folio and 60 letters per line. The whole manuscript contains the following five poems, Vindavanakarya, Ghafakar parakavya, Meghabhyudayakavya, Candradatakavya and Sivabhadra. kavya. Of these poems, our poem, Sivabhadrakauya, consisting of 94 verses, la the last. The size of the ms. ig 25. 8 cms. x 11 cms. This manuscript is written in V.S. 1653 at Zalore. It is written in Tripatha atyle, To This paper Manuscript also contains the Sivabhadrakaoya and the commentary of Santisari on that poem. It belongs to the Ksantisurl Bhandara, preserved in the L. D. Institute of Indology. In the Catalogue it is given the serial no 10898. The size of the ms, 25.6 cms. x11.5 cms. The folios, 14 in all, have on average 15 lines per side and 45 letters per lino. It is written in V.S. 1951 at Zalore. To This paper Manuscript consisting of 15 follos, contains another commentary on Sivabhadrakavya. This ms. belongs to Muai Shri Punyavijayaji's Collection preserved in the L D. Institute of Indology. In the catalogue it ia given the serial No. 1594. The size of the MS. is 20 cms. 7.8 cms. It containg 15 folios. Each folio has on average 11 lines and cach line contains 39 letters. The Me is considered to have been written in about V.S. 1600 on calligraphic grounds. The comprentary is Anonymous, and leans more on grammatical aspect of the poom rather than mere paraphrasing or giving synonyms. Sometimes it also identifies and explains the figures of speech employed by the poet, It is rarely that Sanskrit poets give out any information about themselves sufficient to give us an idea about their life even in outline, And

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Smi. Nilanjana S. Shah Sivabbadra is not an exception At the very ontset, the author has made a few remarks ab ut his father and his royal di ciple. The name of the poet's father was Sulavan who is stated to have been the preceptor of king Prabhafijana?. The king is said to have been adept in composing melodious and enigmatic poetrya Sivabhadra, the author of Ramakatha, i, e. the present Sivabhadrakavya, was thus the son of a king's preceptor. Very little is known about king Prabhanjana, Indian History knows of only one Prabhasjana belonging to the hue of Parwajaka Maharajas 3 Dr. Fleet notices that this Prabhanjana was the son of Devadhya and Damodara was the former's son while Hastjo was his grand son. The date of Hastin is known to be 475 A. D. Udyotanasuri has referred to one king Prabhanjana who was the author of Jusaharachariyat This bas been noticed by Prof. Velankar in his Jinaratnakosa.5 Prof, Velankar also notices three books having the title Prabhanjana. caritra. One by Mangarasa, the second by Yasod bara and the third anony. mous It is difficult to say anything about the heroes of these poems and their identity or otherwise with Prabbanjana, the disciple of Sivabhadra's Father. As to the latter Prabhanjana, we are not in a position to identify him writh the one of Parivrajaka Mabaraja line, nor with the one referred to by Sivabhadra. It might be that all the three could have been identical or different. In case, all these Prabhanjanas might have been identical with the one referred to by Sivabhadca then, one cun conjecture that sivabhadra pould have flourished by about 425 A. D. Santisori, the author of the coinwentary on Sivabhadrakavya is a wellknown personage in the bistory of Jujua monachisin. He has written comme Btaries on Vendavanakay), Ghatakar parahav) 4, Chand raduta kavya, Nyayavasarayartika, Tilakamanjari etc He lived in the eleventh century A.D.7 1. cf. Strabhadrakavya (SBK), verse 6 : prahAlau satyavatastasyAcAryasya sUnunA satyavataH / / neyamamAmnAyamitA rAmakatheti zivabhadranAmnA yAmatA / / 2 Ibid, verse 4 asti satAmatimAnyaH khyAto rAjA prabhajano matimAnyaH / pradhyutiranyAyasya dhotrasukhA kAvyayuktiranyAyasya / / 3. Corpus Inscriptionum, Indicarun, Vol III, Gupta Inscriptions, Fleet No. 22, p. 95. 4. Kuvalayamolakotha of Ratnaprabha (edited by Dr. A. N. Upadhye), p. 3 sattaNa jo jasaharo jasaharacarieNa jaNavae payo / kalimalapabhaMjaNI cciya pabhaMjaNo Asi gaya-risi // 8. p. 320. Jalgratin nigara by Prabhatjanaguru. 6. Jinorainakosa, p. 266. 7. For details, vide Introduction to Nyayavataravaritikavytti. (ed.) Dalsukhabhai Malvania, Singhi Jaina Series, Bombay.

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Sivabhadra's Sivabhadrakarya The Story of the poem runs as follows: The Rainy Season is almost over. Rama has been staying on the Malyavan mountain after Ravana kidnapped Sita. Toc Sarad Seasoa bas set in. The beauty of the Season adds to the torture of Raina. He is worried as to how would his beloved also be able to stand the effect of the Nature. The beauty of the Moon, the Crystal-clear lakes, the Krauoca birds enjoying the water-a]] these add to tb2 pangs of separatin. Laksmana tries to pacify Rama, urging him to cast away tumidity and set out for the task in band. Rama complains that Sugriva who had pledged help in searching out Sila has forgotten the pledge, duc to his being engrossed in pleasures. He has wasted five months and needs to be barbly reminded. Laksmana takes the message to Sugriva. But the latter is so lost in pleasures that he has forgotten the pledge. The monkeys come out to face Laksinana, but they get frightened at the sight of Laksina01. Tara advises Sugriva to under. stand the situation, vot to underestinate the capacity of Laksmana, to resort to reconciliation and Sugriva comes found at last, Thus Stabhadrakavya, a sustained Yamakakavya, is an embellished presentation in two Asvasas, of the simple Sugriva Episode of the Ramayana. He employs the same order of syllables uver Icarly bali the foot in two consecutive feet of ach staza There is nuthing strikiug in the narrative itself, but the work has the distinction of employing yamakas which not only add to the beauty of the poem, but also enhance the meaning. The description of the autumn is worth no icing, Besides Yamakas, the poet has successfully employed drlhalamkaras, like U pama, Rupaka, Tulyayogiia, Paryayokta, Atisayokti, Utpreksa etc.

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TIkAdvayasameta shivbhdrkaavym| zAM0 sAmprataM zivabhadrAkhyasya kAvyasya vRttiH kriyate / tatra cAdau zivabhadranAmA kaviriSTadevatAyai namaskAraM maGgalArthamAha praNamata sadasigadaM taM cadyamahan yo'priyANi sardAsa gadantam / cUrNitacakraturaGga rukmiNamamucacca yasya ca kraturaGgam // 1 // zAM0 / praNa0 taM sadasi-gadaM satyau zobhane asi-gade khaDga-yaSTI yasya saH tathoktaH taM hari praNamata prakarSeNa namata / yaH hariH ahan hatavAn / kam ! caidha zizupAlamasuram / kiM kurvantam ? sadasi sabhAyAm apriyANi doSAn gadantaM bruvantam / yazca amucata muktavAn / kam ! rukmiNaM rukmiNImAtaraM rAjAnam / kIdRzam ? cUrNita. cUrNitau dhvastau cakra-turaGgau rathAGgAzvau yasya sa tathoktastam / yasya ca hareH kratuH yAgaH aGgam avayavaH yAgarUpatvAt tasya / - pu0 / zrIjinAya namaH / / taM praNamata vandadhvam iti upadezaH, "rAmAdivat vartitavyaM na rAvaNAdivat" [ kAvyaprakAza, 1.2 ] iti upadezaparatvAt kAvyasya upAdeyatvaM sUcayitum nirdiSTaH praNAmaH / yadAhuH- "kAntAsaMmitatayA upadezayuje'' iti / kiMviziSTam ? asiH khaGgaH nandanAkhyaH, gadA kaumodakI, satyo prazaste asi-gade yasya tam / kIdRzam ? 'tatza'bdasya prakrAntAdyarthAbhAvena sAkAhatvAd asAdhAraNavyApAroktidvArA vizinaSTi-yaH caidhaM cedirAjaM zizupAlam ahan amArayat / sadasi yudhiSThiraM rAjasUyasamAje apriyANi paruSavAkyAni gadantaM bhASamANam / kiJca, yaH rukmiNa rukmiNIbhrAtaraM amucat muktavAn / kIdRzam ! cUrNitAni dhvaMsinA(dhvastA)ni cakre rathAGge turaMgAH ca yasya [taM] bhagnarathaM vidhAya yuktidhi (bhiH") jIvanAhaM gRhItvA rukmiNIprItyai mumoca ityarthaH / api ca, kRSNasya yajJaH aGga zarIram "yajJo vai viSNuH" iti zruteH / asmin pAdAntayamakaM zabdAlaGkAraH / skandhakAparanAmnI AryAgItizchandaH / 1. tulanIyam- kAvyaprakAze, 1. 2. 2. pu0 pratau tu "yasya yuktidhiHbhagnaratha vidhAya jIvaprAha" bhasti /

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zivabhadrakRta "gurvantASTamagaNabhAgAryA pUrvArdhasadRzazakaladvitayA [jayadevacchandaH 4-14] iti etallakSaNam / cedizabdAt "vRdvetkosalA jAdAbhya' [pA. 4. 1. 169.*] / ahan iti hateH laG / amucat iti muceH luG / luGi cAd a // 1 // muragaNasAdhyamahA yaH kAlindIhadamupetya sAdhvasahAyaH / ghoraM nAgamadantaM mamarda yasyezvaro'pi nAgamadantam // 2 // zAM0 / sura0 yazca hari. nAgaM sarpa kAliyAkhyaM mamarda cUrNitavAn / kIdRzam ! ghoraM gaidram / kiM kurvannam ! adantaM bhakSayantam / athavA nAgamadaM kAliyasarpadarSa mamarda / kiM kRtvA ? upetya gatvA / kathaM sAdhu zobhanam / kam ? kAlindAhadam / yamunAzoNam / kIdRzaH hariH ? asahAyaH ekaakii| tathA suragaNasAdhvasahA yaH devavRndabhayahantA asuravinAzitvAt / yasya nAgasya nAgamadasya vA Izvaro'pi garuDo'pi pakSIzvaratvAta na agamat na gataH / kam ? antaM vinAzam / yad vA yasya hareH IzvaraH api antam paryantam na bhagamat na prAptavAn // 2 // pu0 / yaH kRSNaH ghoraM bhayaMkaraM nAgaM bhujaGga kAliyAkhyaM sAdhu samyak mamarda cukSoda / kiM kurvantam adantaM khAdantam / yamunAidaM prApya / kiMbhUtaH ? asahAya ekaakii| tathA suragaNasya devasaMghasya sAdhvasaM bhayaM hanti iti suragaNasAdhvasahA / ki ca yasya kRSNasya antam IzvaraH api zaMbhuH api na agamat na prApat / bANayuddhe yaM jetuM na zaktaH ityarthaH / yasya antaM pAra zivaH api na agamat na ajJAsIda iti vA // 2 // abhRta yaH surataruja seyaM dayitAmanorathaM suratarujam / yazca parAM bhojAnAM khyAti cakre zazI parAmbhojAnAm // 3 // zAM0 / abhRta0 yazca abhRta pUritavAn / kam ? dayitAmanorathaM satyA, bhi(tyabhA)mApriyAbhilASam / kIdRzam ? suratarujaM pArijAtadrumapuSpaprabhavam / tathA *In numbering the suti as, I have followed the Astadhy ayi-sutrapatha of Niruaya sagara Press, Bombay 1954). 1. lukhi ca // 10 2. 4. 43 // ityasmAt sUtrAd aG / 2. ma0 "kAliyasarpadavam / 3 sura+ta+ja athavA surata+rujam / 4. ma0 bharitavAn /

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zivabhadrakAvyam maratarujaM sadratabhaGgakaram / seya'm IAyuktam / yazca hariH khyAti prasiddhi parAma utkRSTa cakre kRtavAn / keSAm ? bhojAnAM bhojavaMzajAnAM rAjJAm tadguNavistAraNAt / kIdRzaH hariH ? zazI candraH saMkocakAritvAt / keSAm ? parAmbhojAnAM zatrupadmAnAm // 3 // pu0 / api ca yaH kRSNaH surataruja surataruSu nandanadrumeSu jAtaM pArijAtaM ahata' hRtavAn / kIdRzam 1 dayitAyAH satyabhAmAyAH manorathaM icchAviSayaM tathA surataM rujati anakti iti surataruk tam AptakAle saH bhogaprativandhakaH yataH / seSya IrSyAyuktam / harivaMze nAradAnItapArijAtakusume kRSNena rukmiNyai datte, tadIkipAyitAM satyabhAmAmanunayatA tena devalokAt pArijAtaH ca AnItaH iti / yaH ca kRSNaH bhojAnAM yAdavavizeSANAM parAM khyAti utkRSTAM kIrti cakre bhagavadutpattyA tatkulasya mahatI kIrtiH jAtA / kIdRzaH ? parAmbhojAnAM zatrupanAnAM zazI candraH saMkocakatvAt / ahRta iti huJaH luGi "jhalo jhAla [pA08. 2. 26]" iti sicaH lopaH "parAmbhojAnAM zazI" ityatra paraMparitarUpakAlaGkAraH / idAnI kaviH kIrtipradaM ityathai rAjasvapitRvarNananAmapUrvakaM AtmIyanAmakathanaM ca nirdizati // 3 // pu0 / evamiSTadevatAstavaM kRtvA sAmprataM rAjJaH janakasya ca varNanamAha-' asti satAmatimAnyaH khyAto rAjA prabhajano matimAnyaH / pracyutiranyAyasya zrotrasukhA kAvyayuktiranyA yasya // 4 // zAM0 / asti0 asti vidyate / kaH asau ? rAjA nRpaH / kIdRzaH ? atimAnyaH atizayapUjyaH / keSAm ? satAM mahatAm / tathA khyAtaH prasiddhaH / tathA matimAn buddhiyuktaH / kiMnAmA ? prabhajanaH prabhaJjanAkhyo yo rAjA / pracyutiH vinAzakaH / kasya ? anyAyasya anIteH avinayasya vA / tathA yasya prabhaJjanasya kAvyayuktiH kAvyaracanA / kIdRzI ? zrotramukhA karNasukhadAyinI / tathA anyA asAdhAraNA ananyasamA // 4 // 1. pu0 ahRta iti pAThaH svIkRtaH / 2. ma0-pratau idaM vAkyaM nAsti / 3. satAm+atimAnyaH / 4. matimAnyaH / 5, ma. pratau "avinayasya vA" nAsti //

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zivabhadrakRtam pu.| prabhajananAmA khyAtaH prathitaH rAjA asti / kAvyakaraNasamaye vartamAnatvAt asti iti nirdazaH / kIdRzaH ? satAM viduSAm atimAnyaH suSTu mAnanIyaH yaH rAjA matimAn prazamnavuddhiH tathA anyAyasya adharmasya pracyutirUpaH dhvaMsa ityarthaH / yasya kAvyayuktiH kAvya viSayo vyApAraH lokottaraH / kIdRzI ? zrotrANAM sukhA susvayAta ityarthaH 'yat' zabdasya uttaravAkyasthatvAt na 'tat'zabdApekSA // 4 // raNazirasi kSaNahitA' yasya na tiSThanti bhUzca rkssnnmhitaa'| sarvakalApAramaterambhonidhimekhalAkalApA ramate // 5 // zAM0 / raNa. yasya prabhaJjanasya / raNazirasi saMgrAmamastake / ahitAH zatravaH na tiSThanti na Asate / katham kSaNam api muhUrtamapi / yasya bhUH ca pRthivI" ca ramate krIDati krIDAparam(ga) AbabhUva ityarthaH / kIdRzI satI ? rakSaNamahitA trANapUjitA / tathA ambhonidhimekhalAkalApA samudarasanAsamUhA / kiMbhUtasya rAjJaH ! sarvakalApAramateH sarvakalAgItAdivijJAnAtizayaparyantavuddheH // 5 // pu0 / yasya raNazirasi yuddhamastake ahitAH kSaNamapi na tiSThanti / yasya rakSaNena pAlanena mahitA pUjitA bhUzca ramate khelati / kIdRzI bhUH ? ambhonidhayaH samudrAH eva mekhalA kAJcoguNaH yasyAH / kodazasya rAjJaH ? sakalAH kalA gItanRtya-mbaGga-gaja-turagAdividyAH [tAH] piparti rakSati iti sakalakalApArI tAdRzI] matiH buddhiH yasya iti puMvabhAvAt IkAravRittiH / sarvakalAnAM pAre matiH yasya iti vA // 5 // brahma kalI satyavatastasyAcAyasya sUnunA satyavataH / neyamanAmnAyamitA rAmakatheti zivabhadranAmnA yamitA // 6 // zAM0 / brahma na iyaM na asau rAmakathA rAmadevAkhyAyikA ityarthaH [kA] vakSyamANA / anAmnAyam gurupAramparyazUnyaM yathA bhavati tathA eva itA prAptA satI / yamitA yamakaiH racitA kintu sAmnAyaM prAptA satI yamakaiH racitA ityarthaH / kena ? sununA putreNa / kasya ! AcAryasya guroH / kinAmnaH ? satyavataH 'satyavAn' iti nAmnaH / kasya guroH ? tasya prabhajananRpasya / kIdazasya AcAryasya ? avataH rakSataH / kiM tat ! brahma jJAnam / ka ! kalau kalikAle / kodRze ! sati vidyamAne / kinAmnA putreNa zivabhadranAmnA zivabhadrAbhidhAnena / evaM rAjJaH guNAH varNitAH pituH ca / adhunA rAmakathA prastUyate // 6 // 1. kSaNam+ahitA / 2. rakSaNa mahitA / 3. ma. pratau nAsti / 1. kSA. sakalagItAdi0 /

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zivabhadrakAvyam ' pU0 / tasya rAjJaH yaH AcAryaH tatsununA zivabhadranAmnA kavinA vakSyamANakathA yamitA yamakAlaGkAreNa racitA / kutaH punaH anyAH kathAH tyaktvA 'iyameva AdatA iti ata AhaH-iyam anAmnAyaM zruti na itA prAptA kintu zrutimUlA eva rAmaviSayA ca iyaM kathA iti / yad AhuH vedavAkye pare puMsi jAte dazarathAtmaje vedaH prAcetasAt AsIt sAkSAt rAmAtmanA iti / kIdRzasya AcAryasya ?.... // 6 // zAM0 evaM rAjJaH guNAH varNitAH pituH ca / adhunA rAmakathA prastUyate / . atha kRtasaGgatyAge sthitavati rAme kpiindrsnggtyaa'ge| . . proSitanIrajanikarA' varSA yayurabhrarodhanIrajanikarAH // 7 // zAM0 / atha0 atha asmin antare / varSAH meghakAlAH yayuH gatAH / kIdRzyaH proSitanIrajanikarAH bhraSTapanasaMghAtAH / tathA abhrarodhanIrajanikarAH abhrarodhena meghAvaraNena nirnaSTaH rajanikaraH cadramA yAsu tAH tathoktAH / va sati ? rAme rAmadeve sthitavati AsIne sati / ka ? age girau / kayA ? kapIndrasaGgatyA sugrIvamaitryA / kIdRze rAme ? kRtasaGgatyAge viyogini // 7 // pu0| sugrIvasya saMgatyA hetubhUtayA age parvate mAlyavati [rAme] sthitavati sati varSAH yayuH prAvRD gatA / kIdRze rAme ! kRtaH saMgatyAgaH sugrIvAdimelakavisarjanaM yena / sugrIvAdIn visRjya prAvRDantaraM tatsaMgatyartha mAlyavati sthitaH ityarthaH / kIdRzAH varSAH ! proSitAH pranaSTAH nIrajAnAM pAnAM nikarAH vRndAH yAsu tathA abhrarodhena nIrajanikarAH adRSTacandrAH ityarthaH "ap-sumanas-samA-sikatA-varSANAM bahutvaM ca" (pANinIya liGgAnuzAsanastryadhikAre 29] iti varSAzabdo nityaM bahutve // 7 // virahe hariNA kSINAM tanumanukampyeva nAma hariNAkSINAm / . svadhanurvizadabhrAnta saMjahe vidyutAM ca vizadabhrAntam // 8 // . zAM0 / vira0 hariNA indreNa svadhanuH svIyaM cApaM saMjaha saMdatam / kiM kurvat ? vizat / kiM tat ? abhrAntaM meghamadhyam / kiM kRtvA eva ? anukampyeva anugRhyeva / kAm ? tanuM zarIram / kiMbhUtAm ! kSINAM kRzAm / ka ? virahe viyoge| 1. nIrajanikarAH / 2. nira+rajanikarAH / 3. svadhanura+vizat+abhrAntam / 1. vizada+bhrAntam /

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zivabhadrakRtam kAsAm ! hariNAkSINAM mRganetrANAm / katham ? anukampyeva nAma avyaktam / tathA vidyutAM taDitAM ca vizadabhrAntaM spaSTakramaNaM saMjare // 8 // pu0 / atha dazabhiH varNayati zaradaM kaviH / hariNA zakreNa svadhanuH svarka yaM cApaM saMjahe saMhRtam / vidyutAM vizadabhrAnta nirmala bhramaNaM sajahe saMhRtam / kIdRzaM dhanuH ? abhrAntaM meghAntikam / vizata pravizat / utprekSate / virahe priyavirahe hariNAkSINAM kSINAM] kRzAM tanuM gAtraM manukampyeva yitvA iva kRpAviSayIkRtya iva iti / nAma saMbhAvanAyAm / sNjhe'| karmaNi liT / bhrAntam iti bhAve ktaH // 8 // na taDit sA bhramatItaH kAlamasau dinakarazca sAbhramatItaH / ityekarasaM kAzAH sphuTamiva jahasuH zazAGkakarasaMkAzAH // 9 // zAM0 / na taDi0 kAzAH tRNajAtayaH / sphuTamiva vyaktamiva / jahamuH hasitavantaH / kIdRzAH zazAGkakarasaMkAzAH candrarazmitulyAH / katham ? ekarasam atyantam / kasmAt ! iti hetoH / sA taDit vidyut na bhramati [na] vilasati / ka ! itaH asmin pradeze / tathA asau dinakaraH ca raviH / sAbhraM sameghakAlaM varSAkAlam atItaH atikrAntaH // 9 // pu0 / kiJca, kAzAH sphuTaM prakaTaM ekarasaM ekaH rasaH hAsaraso yatra tat tathA jahasaH / kIdRzAH kAzAH ! candrakiraNa sadRzAH / hAsaM cakruH iva iti utprekSA / hAmahetum Aha-sA taDit itaH asmin samaye na bhramati / dinakaraH ca sUryaH ca sAna sameghakAlaM atIte atikAnte iti / 'itaH' iti AdyAditvAt saptamyarthe tasiH // 9 // iMsepvadhikAntaravaH zAradikAM kAntimUhuradhikA taravaH / kuTajA hA samayogAtsva itIva jahuzca puSpahAsamayogAt // 10 // 1. ma0 "ma bahe na hatam / 2 draSTavyam-"pratiyoge paJcamyAH tamiH" (pA.5. 1, 45) ityasminsUtre vArtikam "tasi prakaraNe mAdyAdibhya upasaMkhyAnam iti / / 3. samaya: bhagAt / 5. pumahAsam ayogAt /

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zivabhadrakAvyam 11 zAM0 / haMseSu0 haMseSu cakrAGgeSu / adhikAntaravo adhikakamanIyaH zabdaH abhUt / taravaH vRkSAH zAradikAM zaratkAlaprabhavAM kAnti zobhAm adhikAm anargalAm kaH bhRtavantaH / tathA kuTajAH vRkSavizeSAH puSpahAsaM puSpANi eva hArsa puSpairvA hAsaM hasitaM jahuH tatyajuH / kasmAt ? ayogAt asaMbandhAt ayuktatvAt tasyAm avasthAyAM hAsasya / kasmAt jahuH ? iti iva asmAd eva hetoH / hA kaSTaM svaH' svakIyaH samayaH kAlaH asmAkam agAt gataH iti // 10 // 2 pu0 / kAntaravaH ramyaH dhvaniH haMseSu aghi haMsAnAM svabhUtaH AyattaH jAtaH / taravaH drumAH ca zAradikAM zaradi bhavAM kAnti zobhAM kahuH vibharAMbabhUvuH / kuTajAH vazakAkhyAH vRkSAH ca puSpahAsaM puSparUpaM hAsaM ayogyatvAt ayuktatvAt iva jahuH tatyajuH / iti zabdaH utprekSAyAm / hetumAha-svaH samaya AtmIyaH kAlaH varSAtuH agAt gatA (taH) iti hA iti viSAde / haMseSu adhi iti " yasmAdadhikaM yasya vezvaravacanam [ tatra saptamI]" [pA. 2 39 ] iti svAmyarthAt tatra saptamI adhi brahmadatte pAJcAlAH itivat / zaradi bhavA zAradI [sA eva zAradikA ] svArthe kaH / "ke'gaH" [pA. 7. 4. 13 ] iti hrasvaH / UhuH iti vaheH liT / agAt iti iNaH luGgAdezaH sicaH luk // 10 // T gataghanapaTalAbhogaiH prApto'zanavANakusumapaTalAbho'gaiH / * amucat kaM paGkamalaM praNanartevA'lijanitakampaM kamalam // 11 // zAM0 / gataghana0 agaiH parvataiH prAptaH labdhaH / kaH asI ? azanabANakusumapaTalAbhaH bIjakanavaprasUnavastraprAptiH / kIdRza: ? gtghnpttlaabhoge| naSTameghavRndavistAraiH raiH / tathA amucat tatyAja / kiM tat ? ke jalam ? paGkamalaM paGka eva kardamaH eva malaH taM yadvA pakardamaM alam atyartham amucat tathA kamalaM pa prakrarSeNa narta iva nRtyati sma iva / kIdRzam ? alijanitakampaM bhramarotpAdita kampanam / pu0 / azanAnAM sarjakAnAM bANAnAM jhiNTInAM ca yAni kusumAni tAni eva paTa : aMzukaM kusumapaTaH kusumavistAraH iva vistAro yeSAM taiH / kiJca, kaM pAnIyam ! 1. kSA0 " babhUvuH " / 2. ma0 pratau nAsti / 3. amuJcat ke paGkamalam / 4. alianita kampaM kamalam / 5. kSA0 pratau "bIjavAriMdIpuSpavastrAya" asti / 6, ma0 pratau " kartRkaM kamalam" asti /

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12 zivabhadrakRtam pakkamalaM kardamarUpaM malaM amucat tatyAja | agastyodayAt prasannamityarthaH / kamalaM paca praNanarta iva nRttaM cakAra iva yataH alibhiH janitaH kampaH calanaM yasya tat // 11 // kumudanavarddhitatApA:' vApyaH zuSkA mahInavarddhitatApA / caprANAM kalamavatAM bhadraM gItaM ca zuzrave kalamavatAs // 12 // zAM0 / kumu0 vApyaH dIrghikAH vartante / kIdRzyaH ? kumudanavarddhitatApAH / mahI ca zuSkA ko inavarddhitatApA sUryasphIta saMtApA / tathA prANAM kedArANAm avatArakSakANAM saMbandhi kalaM madhuraM bhadraM cAru gItaM gAnaM AkarNyate sma / kIdRzAM vaprANAM kalamavatAM zAdiyuktAnAm // 12 // pu0 / vApyaH dIrghikAH kumudAnAM navA nUtanA RddhiH saMpattiH tathA tatAH vyAptAH vyApa: ambhasi yAsu tathAbhUtAH jAtAH / mahI bhUmiH zuSkA niHpakA jAtA yataH inena sUryeNa vardhitaH tApaH yasyAH sA / kiM ca kalamavatAM kalamAkhyazAlinAM vaprANAM kedArANAm avatAM rakSakANAM kalaM madhuraM bhadraM gItaM zuzruve zrutaM kalamarakSakANAM gAnaM zrutam / caprANAM iti karmaNi zeSe SaSThI na kUrmasyAznIyAt itivat / vaprANAM bhadramathavA kSemaM kurvatAmiti vA tatApA iti " RkpUrabdhUH pathAmAnakSe" [pA. 5.4. 74 ] iti samAsAntaH // 12 // bhramarAH kAdambamadastyajanti madhu vardhate ca kAdambamadaH / varSAH sadyo gamitA itIva bahulA nizAzca sadyogamitAH // 13 // zAM0 / bhrama0 bhramarA bhRGgAH / ada etat / madhu puSparasam / kIdRzam ? kAdambaM kadambam | tyajanti muJcanti / tathA vardhate vRddhiM prApnoti / kaH asau ? kAdambamadH haMsaharSaH / tathA bahulAH kRttikAH nizAH ca rAtrayaH sadyogaM zobhanasaMyogam itAH prAptAH / kasmAt iti iva hetoH / varSAH prAvRT sadyo jhaTiti eva asmAbhi gamitA nItA' iti iva asmAt hetoH // 13 // E 1. kumuda +nava + Rddhi + tata+ApAH 2. zuSkA mahI+ina+vardhita+tApAH / 3-3. kSA0 pratau nAsti / 4. jhA0 "zuzrAva AkarNayAmAsa " asti / 5. kSA0 pratau 'kadaMbabha vaM' asti / 6. ma0 prato nAsti. 7. ma0 pratau 'asmAbhiH Apti gaM vasti / 8. ma0 pratau nAsti /

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zivabhadra kAvyam pu0 / bhramarAH SaTpadAH adaH tat kAdambaM kadambapuSpabhavaM madhu makaranda tyajanti tucchatvAt / kAdambamadaH kalahaMsAnAM madaH ca vardhate / utprekSate / varSAH sadyaH sapadi gamitAH daivena apanItAH iti hetoH iva / bahulAH nizAH tamisrAH rAtrayaH ca sadyogaM nakSatra saMgatim itAH ||13|| prANasamAH svAdayitA yastyajati janaH zucaM samAsvAdayitA / taM khalu divasa nAhaM kSama iti madano'yamabhajadava saMnAham ||14|| zAM0 / prANa0 madanaH kAmaH / saMnAhaM kavacam | abhajadiva gRhItavAniva / kasmAt hetoH prANasamAH jIvitakalpAH svAH svakIyA dayitAH bhAryAH yaH janaH lokaH tyajati muJcati / kIdRzaH san ? zucaM zokaM samAsvAdayitA anubhavatA / taM janaM khalu nizcayena divasaM dinamabhivyApya na kSame na marpayAmi iti hetoH // 14 // 13 pu0 / iti hetoH madanaH kAmaH ayyam utkRSTaM sajjatvam abhajat iva zritavAn iva / kim iti janaH lokaH prANatulyAH svAH AtmIyAH dayitAH kAntAH saMtyajati / kIdRgaH ? zucaM samAsvAdayitA zokamanubhavitA / taM divasaM priyazUnyaM dinaM na khalu sahe kSame / samAsvAdayitA iti tRn, ataH zucam iti dvitIyA // 14 // vyabhre khe dayamAnaH kumudAnAM proSitAMzca khedayamAnaH / dhAkSon mA''nandayitA zazIti mumucuH priyeSu mAnaM dayitAH || 15 || zAM0 / vyadhre0 priyeSu bhartRSu viSaye dayitAH vallabhAH iti ' kAraNAt mAnam ahaMkAraM mumucuH muktavatyaH / kasmAt iva ? zazI candraH kIdRzaH kumudAnAM kairavANAm AnandayitA vikAsakaH tathA dayamAnaH vardhayamAnaH udayamAnaH vA khe AkAze kIdRze vya vigatameghe / tathA khedayamAnaH kAn proSitAn pravAsitAn yadvA tadbhAryAH dhAkSIt mA bhasmasAt akArSIt asmAditi hetoH || 15 || 1. ma0 'jIvita tulyAH / 2. ma0 'dinAgramavyApya' asti / 3- 3. ma0 pratau nAsti / 4 - 4. kSA0 pratau nAsti /

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zivabhadrakRtam pu0 / dayitAH priyA priyeSu kAnteSu mAnam IrSyA kopaM mumucuH tatyajuH / kutaH iti cet zazI mA dhAkSIt iti dhakSyati iti aashngkyaa| kIdRk sakhI: mAnandayitA asi vallabhAnAM sukhayitA / vyabhre nirmeghe khe vyomni sthitaH kamadAnAM dayamAnaH kairavANi anugRhNan tathA proSitAn pravAsinaH khedayamAnaH kliznan iti / kumudAnAM "adhIgarthadayeSAm [karmaNi]" [pA02. 3. 52] iti paSThI / dhAkSIta iti dahateH luG / "na mAGyoge" [pA. 6. 4. 74] aDabhAvaH / mAG AzaMsAyAm // 15 // 'AnandasamAjagataH jyotsneti janaH papau madhu smaajgtH| dhairyavinAmA navatAM prayayuranuzayAH priyA vinA mAnavatAm // 16 // zAM0 / Ana0 janA lokaH samAjagataH goSThIprAptaH / madhu madyaM papau dhayati sma / tasmAt AnandasamAva harSatulyAt jagataH bhuvanasya / jyotsnA candrakAntiH iti hetoH / tathA mAnavatAM sAhaMkArANAm / anuzayAH pazcAttApAH navatA prayayuH pragatAH / kIdRzAH ! dhairyavinAmAH dhIratAnAzakAH / kathaM vinA antareNa / kAH priyAH vallabhAH // 16 // pu0 / janaH madhu madyaM papau pItavAn / kIdRzaH ? samAjagataH goSThIprAptaH / hetum Aha / jyotsnA candrikA jagataH sarvasya api AnandasamA sukhena tulyA iti / kizva, mAnavatAM mAninA anuzayAH pazcAttApAH navatAM nUtanatvaM prayayuH prApnuyuH / kIdRzAH ? dharya vinamayanti nyak kurvanti dhairyavinAmAH dhRtinAzakAH iti antarbhAviNyAdvinameH "karmaNyaN" [pA. 3. 2. 1] // 16 // khamapi satAraM jayatAM kumudaizceto'mbhasA satA rabjayatAm / sarasAM zriyaM viSahate dAzarathina sma manasi madanaviSahate // 17 // zAM0 / khamapi0 dAzarathI rAmo na viSahate sma na soDhavAn / kAm ! zriyaM zobhAm / keSAm ! sarasAM taDAgAnAm / kiM kurvatAm ? jayatAM abhibhavatAm / kiM tat ? khamapi AkAzamapi / kIdRzam ! satAraM tArakAyuktam / kaiH ? kumudaiH kairavaiH, zobhAdhikyAt / tathA rabjayatAM harSayatAm / kiM tat ? cetaH manaH / kena ambhasA jalena, kIdRzena ? satA zobhanena / kva sati na viSahate sma ? manasi citte sati / koze ? madanaviSahate kAmagaraladagdhe // 17 // 1. mAnandasamAjagataH iti zaoN0 sammataH pAThaH // 2. ma 'sAnuvato' / 3. ma0 dhIryavinAzAH /

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zivabhadrakAvyam pu0 / dAzarathI rAmaH sarasAM zItalAnAM zriyaM zobhA manasi na vipahate sma na soDhavAn / yataH madanaH eva viSaM bhramamULadikAritvAt / tena hataM manaH / kIdRzAM sarasom ? kumudaiH satAraM sanakSatraM khaM vyoma jayatAM tiraskurvatAM tathA satA prasannena ambhasA cetaH rajjayatAM sarAgaM kurvatAm iti / viSahate iti smayogAt atra ante laT 'pairinivibhyaH" iti Satvam / sa sthirakAntArAgazcittapratikUlaphullakAntArAgaH / zaradaM caturasrAM tAM vilokya vAcaM jagAda caturaH sAntAm // 18 // shaaN0| sa sthi0 sa rAmaH tAM pUrvavarNitAM zaradaM vilokya dRSTvA vAcaM vacanaM jagAda uvAca / kIdRzIm ? zrAntAM khinnAM zaradam / kIdRzam / caturasrAM saMpUrNAm / kIdRzaH rAmaH ? sthirakAntArAgaH acalasItAnugagaH / tathA cittapratikUlaphullakAntArAgaH cittasya manasaH pratikUlAH apriyAH phullAH vikasitAH kAntArAgAH araNyavRkSAH yasya sa tathoktaH / tathA caturaH dakSaH // 18 // pu0 / canura: nipuNaH saH rAmaH zrAntAM khinnAM vANI jagAda / manasaH khinnatvAt vAg api khinnA iti upacaryate / vizeSaNArthaM vANI iti padam / kiM kRtvA ! caturasrA ramyAM tAM prakRtAM zaradaM vilokya / kodazaH ? sthiraH dRDhaH kAntArAgaH sItAviSayaH rAgaH yasya tathA cittapratikUlA puSpitAH kAntAreSu mahAvaneSu vRkSAH / yasya viraha citte ramyatA api pratikUlobhavati iti // 18 // yogaM hArasitAnAM ghaTA dhanAnAM jahAti hA! rasitAnAm / dUre yA mama ceSTA tanuriyamapi saMdhriyeta yAmamaceSTA // 19 // zAM0 / yogaM0 hArasitAnAM muktAkalApadhavalAnAm / dhanAnAM meghAnAm / ghaTA paGktiH / yogaM sambandhaM jahAti tyajati / keSAm ? rasitAnAM garjitAnAm / hA khede vartate / kA asau ! yA mama iSTA vallabhA sItA ataH kiM saMdhiyeta saMdhArayituM zakayeta / kiM ? yAmaM praharam api abhivyApya / kA asau ! tanuH zarIram / kIdRzI ? aceSTA nizceSTaparA acetanA vA tathA iyaM pratyakSA na evaM sandhriyeta ityarthaH // 19 // 1. parinivibhyaH sevasita mayasivusahasuTastusvaJjAm (pA. 8. 3. 70) / 2-2. ma0 mAsti / 3. ma0 'vidagdhaH' / 4. kSA0 "tyajati tyajati' bhsti| 5-5. kSA0 prato nAsti / i. kSA0 "pratyakSatayaiva" asti /

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ziSabhadrakRtam pu0 / kiM jagAda ? iti Aha / hArasitAnAM muktAphalazubhrANAM ghanAnAM ghaTA patiH rasitAnAM yoga garjitasaMyogaM jahAti / hA iti viSAde / mama yA izA priyA sA ca dUre yAmam api praharamAtram api na dhriyeta na jIvet yataH kRzA aceSTA ceSTitum api akSamA iti / 'dhRG anava sthAne" saMbhAvane liGa // 19 // utkaNThamadabhramaraM janayati kumudaM vijRmbhitamadabhramaram / mattAH zaradA haMsA vipaheta kathaM nu madanazaradAha sA // 20 // zAM0 / utkaNTha0 sA sItA / kathaM nu vitarke / viSaheta zaknuyAt, naiva sahate ityarthaH / kam ? madanazaradAhaM kAmabANapIDAm / yataH kumudaM kairavaM janayati kroti| kam ? utkaNTham autsukyam ? kIdRzam ? adabhraM bRhattaram / kIdRzam ? kumuda 'vijRmbhitamadabhramaram' vijRmbhitamadAH prasRtaharSA madotkaTA vA bhramarAH bhRGgAH yasmin tad tathoktam / tathA mattAH madotkaTAH / ke ? haMsAzcakrAGgAH / kayA ! zaradA zaratkAlena / zokavihvalaH tu rAmaH lakSmaNAgre idai pralapati sma // 20 // pu0 / kumudaM kartR adabhraM utkaNThaM mahatIM utkaNThAm araM zIghaM janayati / kIdRk ? viz2ambhitamadAH pravRddhagarvA bhramarAH SaTpadAH yatra / kiM ca, haMsA: zaradA hetunA mattAH ataH sA sItA madanazaradAhaM kAmavANakRtaM tApaM kathaM nu viSadeta kSameta iti 'utkaNTha' zabdo ghaJpratyayAntaH puMlliGgaH / nu zabda: vitarke // 20 // mUlaM hI nAzAnAM bandhUkaM kAminAM hi hInAzAnAm / adharaM kAntyA jayati prANAn virahe striyaM na kAM tyAjayati // 21 // zAM0 / mUlam * hi vyaktam / bandhukaM bandhujIvakam / kAntyA dIlyA / adharam oSTham / jayati abhibhavati anukaroti vA / kIdRzam ? mUlaM kAraNam / keSAm ! nAzAnAm / keSAm ? kAminAM bhoginAm / kIdRzAm / hInAzAnAM bhraSTakAntAprAptinAm / hI khede / tathA kAM striyaM mahilA virahe viyoge prANAn jIvitaM na tyAjayati mocaryAta sarvamapi mocayati ityartha // 21 // pu0 / kizca bandhUkaM bandhupuSpaM kAminAM nAzAnAM kAmukamaraNAnAM mUlaM nidAnam / kIdRzAM kAminAm ? naSTA hInA priyAsaMgatyabhilASA yeSAm / hI iti khede / kathamiti yataH kAntyA zobhayA adharaM jayati anukaroti / virahe kAM striya prANAn na tyAjayati mocayati ataH priyAdharasmArakatvAt priyAprANatyAjakatvAt 1-1 kSA0 prato nAsti / 2-2 kSA0 prato nAsti /

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zivabhadrakAvyam ca bandhUkam eva sarvaprANinAM sarvAnarthabIjam iti karmatvaM kathamapi samarthanIyam tyAjitaiH phalam utkhAtaiH iti ' atra // 21 // 17 kusumitabANAsanayA zaradA smaragarvakRSTabANAsanayA / sthitazikhikekAsvanayA na niyujyante priyAsu ke kAsvanayA ||22|| zAM0 // kusu0 ke ? narAH ? kAsu ? priyAsu vallabhAsu / na niyujyante vyApAryante api tu sarva eva sarvAsu niyujyante ityarthaH / kayA ? anayA pratyakSatayA / zaradA zaratkAlena / kIdRzyA ! kusumitabANAsanayA puSpitabIjavRkSayA tathA smaragarvakRSTavANAsanayA smareNa kAmena garveNa darpeNa kRSTam aJcitaM bANAsanaM dhanuryasyAM sA tathoktA tayA / tathA sthitazikhikekAsvanayA uparatamayUrazabdayA || pu0|| anayA zaradA ke puruSAH kAsu priyAsu na niyujyante na pravartante sAparAdhA api gADhamAnA hi api pravartante ityarthaH / kIdRzyA ? kusumitAH puSpitAH bANAH asanAH ca yasyAM tathA smareNa garvAtkRSTam ahaMkAreNa AkRSTaM bANAsanaM dhanuH yasyAM tathA sthitaH zikhikekAsvanaH mayUrakUjitaM yatra [ tAdRzyA ] / zaradante api kekAsvanAnuvRttiH asti iti vizeSaNatrayaM hetugarbham // 22 // dainyaM bhUri sadbhiH saptapalAzaiH karoti bhUriha sadbhiH / zailakucA'paGkA me vadhAya karSati zaThe kucApa kAme ||23|| 1 shaaN0|| dainya0 bhUH pRthvI / iha zaradi me mama dainyaM dInatAM karoti vidadhAti / kIdRzam ? bhUri pracuram | kaiH kRtvA : saptapalAzaiH saptacchadaiH / kIdRzaiH isadbhiH vikasadbhiH tathA sadbhiH zobhanaiH / kIdRzI bhUH ? zailakucA giristanI, tathA paGkA akardamA / ka sati / kAme madane / kiM kurvati karSati / zaThe durAtmani / kucApaM kutsitadhanuH / kimartham ! vadhAya ghAtAye / kasya ? me mama | 23 || | pu0|| [bhUH] pRthvI iha sadbhiH atra sthitaiH hasadbhiH puSyadbhiH sapta palAzaiH saptaparNAyaiH vRkSaiH (me) mAM bhUri bahu dainyaM karoti / kIdRzI bhUH ? zailakucA parvatastanI tathA apakkA niSkardamA / kva sati zaThe aniSTakAriNi kAme kucApaM kutsitaM dhanuH mama vadhAya karSati ||23|| dRSTiviSa dIprANAM nalinAnAM zrIH kathaM viSAdI prANAn / farai fha sarogatayA kamalinyA kSata ivAmalasarogatayA // 24 // 1. iti atra - itivAkyavad atra karmatvaM samarthanIyam ityevam bhAzayaH pratibhAti / 2 kSA0 'vighAtAya ' / 3 sarogatayA rogasahitatathA iti ekaM padam / 4 saraH gatayA - sarogatayA iti padadvayam / 3

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zivabhadrakRtam shaaN0|| dRSTi0 yato dRSTiviSA dRSTiH darzanameva viSaM yasyAH sA dRSTiviSA mAraNAtmakatvAt / kA ? zrIH zobhA / keSAm ? kamalAnAM padmAnAm / kIdRzAnAm ! dIpANAM dIpanasvabhAvAnAm' / ataH kathaM viSAdI viSaNNaH san prANAn asUn vibhyAm dhArayeyam aham / hi sphuTam / kim iva aham / kSataH iva hataH iva / kayA sarogatayA duHkhitatayA darzane duHkhotpatteH, tathA kamalinyA ca pagrinyA [ca] kSata iva / kiM viziSTayA ? amalasarogatayA nirmalataDAgotpannayA // 24 // pu0|| hi yasmAt / dIprANAM bhrAjiSNUnAM kamalAnAM padmAnAM zrI: samRddhiH dRSTiviSA darzanamAtreNa / yA vyAlI viSaM saMkramayati sA dRSTiviSA ucyate / ataH tadAropaH kriyate / ataH amalasarogatayA nirmalasaraHprAptayA kamalinyA kSataH iva hata iva mahaM sarogatayA sajvaratayA viSAdI zokAkrAntaH / kathaM prANAn vibhRyAm dhArayeyam ! dIprANAm iti "namikampi" (pA. 3. 2. 167) ityAdinA tAnchIlyAdhaNe 'ra' pratyayaH // 24 // tyajati na dInAnto'yaM krauJcagaNo nirmalaM nadInAM toyam / virutairavazaM sIte ! kurvan mAM kAJcidAmaravazaMsI te // 25 / / zAMnA tya0 he sIte ! maithili !' krauJcagaNaH sArasasaMghAtaH ayam pratyakSaH / na tyati na muJcati / ki tat ? nadInAM saritAM toyaM jalam / kIdRzam ! nirmalaM vimalam / kIdRzaH ayam 1 dInAntaH dainyayuktaH vinAzaH / kiM kurvan ! kurvan vidadhat mAm kIdRzaM ! avazaM parAdhInam / kiMbhUtaH ? kAJcidAmaravazaMsI rasanAguNazabdasUcakaH" / kasyAH te tava / kaiH kRtvA ! virutaiH zabditaiH // 25 // ___ ayaM krauThacAkhyaH pakSigaNaH nirmalaM prasannaM nadInAM toyaM na tyajati / kodazaH ! dInAnAM virahiNAm antaH mRtyubhUtaH / kiM kurvan ? virutairnAdaiH mAm bhayo nizceSTaM kurvan / he sIte ! yataH te kAJcIdAmnaH kAJcIguNasya ravazaMsI simitasUcakaH sadRzatvena smRtihetuH iti arthaH / cittAnItatvena pratyakSasItAyAH saMbodhanam // 25 // 1. ma0 dIptasvabhAvAnAm / 6. ma0 'krauJcapakSivizeSAH' / 2. ma0 nAsti / 7. ma0 "tyajatipariha rati" / 3. kSA0 'saduHkha tayA / 8. ma0 "akaluSaM" / 4-4. kSA0 naasti| 9. kSA0 'dInatAvimAzakaH' / 5. ma. he sIte maithili nAsti / 10. kSA0 "rsnaashbdkthkaa"|

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zivabhadrakAvyam pazya dhanastani tena kSapitaM dhRtihAriNA ghanastanitena / nayati zucaM drohI mAM vahan tvadAsyarucam Azu candro hI mAm // 26 // shaaN0|| pazya0 / he ghanastani ! nIrandhrakuce ! sIte ! mAM candraH himAMzuH / zucaM zokam / Azu zIdhram / nayati prApayati / hI khede| pazya vilokaya / kIdRzaH ? drohI ghAtakaH / kiM kurvan ? vahan bibhrat / kAm ? tvadAsyarucaM bhavatyAH mukhazobhAm / kIdRzaM mAm kSapitaM pIDitaM kRzIkRtam / tena ghanastanitena meghazabditena / kiMbhUtena ? dhRtihAriNA asaMtoSamukhena // 26 // pu0|| dhanaH kaThinaH nirantaraH stanaH yasyAH tasyAH saMbodhanam / he ghanastani sIte ! pazya / varSAsu anubhUtena meghadhvaninA kSapitaM kSapaNaM glapanaM kRtaM / kIdRzA ? dhRtihAriNA dhairyanAzakena / idAnIM drohI jighAMsuH ca mAm Azu zucaM zokaM nayati / kiM kurvan ? imAM tvadAsyarucaM tvanmukhakAnti vahan iti zatRpratyayaH / hI zabdaH khede / kSapitam iti bhAve ktaH // 26 // zokasamudre kAnte ! patitasya mameha ratisamudrakAnte / zAntiH kA mizritayA smareNa zaradA sakAntakAmizritayA // 27 // shaaN0|| zokasa0 / he kAnte ! sIte / me mama zAntiH zamaH iha asmin kAle / kA ? api tu na kA api / kIdRzasya ? patitasya Agatasya / ka ! zokasamudre zugarNave zokArNave / kIdRze ! ratisamudrekAnte prItyAdhika(kaya)nAzake / kayA kRtvA ! patitasya zaradA zaratkAlena / kIdRzyA ? mizritayA saMyuktayA / kena ? smareNa kAmena / tathA sakAntakAmizritayA priyAsahitabhogijanAzritayA // 27 pu0 // he kAnte ! iha zokasamudre patitasya mama zaradA kA zAntiH svAsthyam ? na kA api iti / kIdRze zokasamudre ? ratisamudrekasya prItiprAcuryasya ante nAzabhUte / kIdRzA zaradA ? smareNa mizritayA milityaa| tathA sakAntaH priyAsahitaiH kAmibhiH zritayA sevitayA // 27 // zobhAmAzvasanAnAM vidarya kiM mAM smarAhamAzvasanAnAm / zikhinA sama dahasi tayA rahitaM cittAnukUlasamadahasitayA // 28 // 1. kSA0 'bhavatI' / 2. ma0 mAsti / 3. kSA0 'meghagajitena' 1. kSA 'kIdazena' /

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zivabhadrakRtam 1 shaa0|| zobhA 0 | he smara ! kAma ! kim kimartham mAM dahasi ? saMtApayasi ? kIdRza ? sama ! tulya ! kena ? zikhinA agninA / kiM kRtvA : vidarya prakAzya / kAma ? zobhAM zriyam / katham ? Azu zIghram / keSAm ? azanAnAM bIjaka - tarUNAm / kIdRzam ? arhaM yogym / keSAm ? AzvasanAnAm AzvAsanAnAm' / tathA tayA sItayA / rahitaM hInam' / kIdRzyA ! cittAnukUlasamadahasitayA cittAnukUlaM manoraJjakaM samadaM saharSaM hasitaM hAso yasyAH sA tayA // 28 // 20 pu0 / / idAnIM skandhakadvayena smaramupAlabhate / he smara ! zikhinA sama ! agnitulya / kimiti mAm Azu dahasi tapasi / ki kRtvA ? asanAnAM sarjakapuSpANAM zobhAM pra (vi)darya prakaTIkRtya / kIdRzaM mAm ? cittAnukUlaM hRdayaM samadaM hasitaM ca yasyA: tayA sItayA ca rahitaM ataH ca AzvasanAnAM sAntvanAnAm ahaM yogyam iti // 28 // yacchantaM jyAnigadaM na saheta tava mattaSaTpadajyAnigadam / kimAmutkaM payasi sthitvA kamaleSubhistvamutkampayasi // 29 // shaaN0|| yacchan0 / na sahe ahaM na marSayAmi / kam ? mattaSaTpadajyAnigadam kSIbabhramaramaurbIzabdam" | kasya ! tava te / kiM kurvantam ? yacchantaM dadatam / kam ? jyAnigadaM hAnirogam / kiM kimartham ? | AmutkaM utkaNThitam / he smara ! utkampayasa trAsayasi / kaiH kamaleSubhiH padmabANaiH / kiM kRtvA ? sthitvA / ka ? payasi jale / rAmaH virahAturaH lakSmaNasya agre evaM uktavAn / sAmprataM lakSmaNena so'bhidhIyate sma ||29|| pu0 || he smara | tava te mattAH ye SaTpadAH eva jyA maurvI tasyAH nigadaM dhvani na sahe na mRSyAbhi / kIdRzam ? jyAni: jIrNanA (tA) gadaH jvarazca samAhArekaravastadubhayaM yacchantaM dadatam / kiM ca tvaM payasi vAriNi sthitvA kamalarUpaiH iSubhiH utkaNThaM unmanasaM mAM kimutkampayasi / puSpavANaH hi smaraH / yacchantam iti "dANa dAne" ityasya " pAtrAmAsthAmnAdANa " [pA. 7.3,78] ityAdinA chAdezaH // 29 // 1. kSA0 'AzvAsAnAM / 2. ma0 dInam / 3. atra saheta ityasya takAro na kamapi artha bhajati ataH takAraH anarthako bodhyaH / 4. ma0 " mataM kSI bhramaramaurvIzabdam / " 5. kSA0 "lakSmaNe raso"

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zivabhadrakAvyam atha rAmaH smaratAnteH kanIyasA gadyate dviSAM sma ratAntaH / vAkyaM samadaM tena pravikIrNa zazAGka kiraNasamadantena ||30|| H 3 zAM0 // atha rAma * | atha anantaram / kena ? kanIyasA laghutareNa lakSmaNene rAmaH jyebhrAtA gadyate sma uktaH / kIdRzaH rAmaH smaratAntaH kAmapIDitaH / tathA dviSAM zatrUNAM ratAntaH suratanAzakaH / kiM tat gadyate sma ? vAkyaM vacanam / kIdRzam ? samadaM saharSam / kIdRzena tena ? pravikIrNazazAGka kiraNasamadantena vikSipta candrAMzutulyadarzanena ||30|| pu0 // atha anantaraM rAmaH tena kanIyasA lakSmaNena vAkyaM samadaM sarva nyagata abhihitaH / kIdRzaH [ smaratAntaH ] smareNa tAntaH zrAntaH / kIdRzena ? anta manasi AgaH aparAdhaM smaratA reviNasugrIvAdyAgaH iti arthAt labhyate / tathA pravikIrNAH prasRtAH ye zazinaH viraNAH taiH samAH dantAH yasya iti / "bruvi pazyati (pRcchati )" ityatra arthaparatvAta gadeH api dvikarmatA // 30 // zAmyatvazru tavedaM dainyaM hyabhibhavati mUDhamazrutavedam / zokAtiH kAtaratAM parApamAnArNavaM visRja kAtaratAm ||31|| 21 shaaN0|| zAmya0 / zAmyatu upazamaM gacchatu / ki tata ! azru netrajalam | kasya ? te tava / idaM pratyakSam / hi yasmAt / mUDhaM "mandaM" janam kIdRzam azrutavedaM anAkarNitasiddhAntam / abhibhavati jayati / kiM tat ? dainyaM vimanaskatA / kA ca zokAtiH zukpIDA ? naiva / keSAm ? taratAM plavamAnAnAm / kama ? parApamAnArNavaM zatrujanitam avajJAsamudram ataH visRja muzca kAtaratAM vihvalatAm ||31|| pu0 // kiM nijagAda iti Aha / bhobhrAtaH tava idam azru netrajalaM zAmyatu zAntam astu / hi yataH dainyaM dInatA azrutavedaM bhazAstrajJa abhibhavati na tu tvAM zrutapAragam / kAtaratAM bhIrutvaM visRja parApamAnArNavaM zatrukRtAbhibhavasAgaraM taratAM laGghayatAM bhavAdRzAnAM kA zokArttiH ? na kA api / zoke 1. smaratAntaH athavA sma ratAntaH / 2. ma0 'saumitriNA' 1 3. ma0 pratau nAsti / 4. kSA0 ' yAtu' 5-5. ma0 pratau nAsti /

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22 zivabhadrakRtam api iti / zrutaM zAstraM . vetti iti zrutavedaH / "karmaNi aNa (pA. 3. 2. 1) iti aN // 31 // haraNaM sahate nAryA' dviSatA ko mRgyatAM hi saha tenA''ryA" / kuru vuddhiM satvaratAM draSTuM vaivasvataM ripuH sa tvaratAm // 32 // shaaN0|| hara0 / hi yasmAt / kaH sahate kSamate / kiM tat / haraNaM apahAram / kena ! dviSatA zatruNA / kasyAH ? nAryAH striyaH tena kAraNena tena ariNA saha sArdham / AryA satI sItA'thavA (aryA) svAminI / mRgyatAM gaveSyatAm / tathA kuru vidhehi / kAm ? buddhiM matim / kIdRzIm ? satvaratAM upaSTambhasatkAm / tathA sa rAvaNaH ripuH ariH tava tvaratAm utsukaH bhavatu / kiM. kartum ! draSTuM avalokayitum / kiM caivasvataM yamam / 32 // pu0|| dviSatA zatruNA nAryAH striyAH haraNaM kaH sahate kSamate / hi ataH tena hA saha AryA niSpApA sItA mRgyatAm anviSyatAm / ubhau api manviSyetAm iti arthaH / yad vA tena hi tena hetunA AryA sItA sA srve| militvA mRgyatAm iti / AryA iti uktam parigrAhyatvArtham / he rAma buddhi satvaratAM adhyavasAyaparAM kuru / sa ripuH vaivasvataM yamaM draSTuM tvaratAM saMbhrAmyatu / tvayogAnantarameva zatruH mriyate iti arthaH // 32 // siddhiM bhavadAzAnAM nairmalyaM kathayatIva bhavadAzAnAm / sphuTavikasatkamalAbhaM jalaM ca bhUyo'bhimanyase kamalAbham // 33 // shaaN0|| siddhiM / AzAnAM dizAnAm bhavat jAyamAnam naimalyaM nirmalatvam / kathayatIva AkhyAtIva / kAm ? siddhiM kAryaniSpattim / kAsAm ? bhavadAzAnAm tvanmanorathAnAm / tathA jalaM vAri ca kathayati iva / kIdRzam ? sphuTavikanna satkamalAbhaM sphuTA vyaktA vikasatkamalAnAM puSpyatpadmAnAM AbhA kAntiH yatra sAI tathoktam / ataH bhUyaH punaH bAhulyena vA / kamalAbhaM param abhimanyase jAnAsi svam ! sarva eva lAbha ityarthaH // 33 // pu0|| samayaH api ayaM udyogayogyaH ityarthaH / AzAnAM dizA nairmalyaM vaimayA bhavat jAyamAnaM bhavadAzAnAM tvanmanorathAnAM siddhiM kathayati iva / kIdRzam ? sphuTA 1. bahate nAryAH / 2. maha tena AryA athavA aryA / 3. bhavat bhAzAnAm athavA bhavadAzAnAm 1. kSA pratau "malyam" pAThaH svIkRtaH 5. kamalAbham athaSA kA bhalAbham /

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zivabhadrakAvyam spaSTA vikasatAM kamalAnAM padmAnAM AbhA kAntiH yatra tat tathA kama alAbha asiddhiM bhUyaH punarapi vaktum abhimanyate' bhavAn iti zeSaH / zaradA dizAM nairmalye jAte kaH api alAbhaH vaktuM na zakyate iti arthaH // 33 // iti vikramavadanena krameNa gadatA'bhramuktazazivadanena / jyeSThaH zukklezamitaH pramRzya netre nitAntazukkle zamitaH // 34 // shaaN0|| iti / anena lakSmaNena jyeSThaH rAmaH zamitaH upazamaM nItaH / kiM kRtvA ! pramRjya saMspRzya / ke ? netre nayane / kIdRze ! nitAntazukkale atizubhre / kIdRzaH jyeSThaH ? zukklezaM zuvA zokena klezaH duHkha zuklezaH / taM itaH prAptaH / kiM kurvatA ! anena gadatA bruvatA ! kena ? krameNa AnupUrvyA / katham ? vikramavat sAvaSTambham / tathA abhramuktaza zivadanena megharahitacandravadanena kiM gaditaM iti pUrvoktam // 34 // pu0|| iti vikramavat vikramayukta vadatA anena lakSmaNena jyeSThaH rAmaH zamitaH zAntiM prApitaH / kiM kRtvA ! netre pramRjya bASpaklinne netre apamRjya iti arthaH / kIdRzena ? abhramuktazazivadanena meghAnAvRtacandratulyavaktreNa / kIdRzaH jyeSThaH ? zukklezaM zokajanitaM duHkham itaH prAptaH / kIdRzeH netro ? nitAntazukkale dhavale // 34 // gacchatyavadhAvantaM samIkSamANaH svamarthamavadhAvantam / nikRtaH sakhyA tanayaH kauzalyAyA jagAda sa khyAtanayaH // 35 // shaaN0|| gaccha0 / sa rAmaH kauzalyAyAH tanayaH putraH" jagAda uktavAn / kIdRzaH ? nikRtaH viprlbdhH| kena ! sakhyA mitroNa sugrIveNa / tathA khyAtanayaH prasiddhanItiH / *kiM kurvANaH samIkSamANaH avalokayat / kam / svamarthaM svakIya 1. TIkAkAraH mUle 'abhimanyate' iti pAThaM svIkaroti / 2. vikramavad anena / 3. zuSalezam itaH / 4. zu[kkle zamitaH 5-5. ma. nAsti / 6. ma0 'vikRtaH /

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zivabhadrakRtam prayojanaM kIdRzaM avadhAvantam apagacchantam pariyAtaM vA / kka sati ? avadhau *maryAdAyAM gacchati sati / kam ? antam avasAnam // 35 // itthaM lakSmaNena zamitaH / kauzalyAyAH tanayaH rAmaH jagAda babhASe / kIdRzam ? svam artha AtmIyaM prayojanam avadhAvantaM apagacchantaM nazyantam / samIkSamANaH paryAlocayan / ka sati ! avadhau sugrIvaparibhASitamaryAdAyAm / anta samApti gacchati sati / sugrIveNa varSAnantaram eva Agamyate iti hi paribhASitam / ataH eva sakhyA sugrIveNa nikRtaH viprakRtaH / tathA khyAtaH prasiddha nayaH nItiH asya iti / yugmakam // 35 / / kuTajaiH sAkamalAsyA' dInAH zikhino mayA ca sA kamalAsyA / ramate samprani patyA tArA kevalamihartusaMpratipattyA // 36 // shaaN0|| kuTa0 / iha asmin kAle / dInAH gataharSAH / ke ? zikhinaH mayUrAH / kIdRzAH alAsyAH nartanarahitAH kaiH saha ? kuTajaiH sAkam / tathA ca mayA ca saha sA sItA / kIdRzI? kamalAsyA padmamukhI dInA vartate iti / vacana[vi]pariNAmena sambandhaH / kevalaM param / saMprati adhunA / patyA bharnA saha / tArA sugrIvabhAryA ramate krIDati nAnyA ramate / kayA kRtvA ? RtusaMpratipattyA RtoH prAptyA aviparItapravRtyA vA // 36 // pu0|| kiM jagAda iti Aha / zikhinaH mayUrAH kuTajaiH sAkaM dInAH zocyAH jAtAH yataH alAsyAH lIlAnRtyazUnyAH / kamalAsyA panamukhI sItA ca mayA saha diinaa| samprati idAnIm tArA kevalaM sugrIvajAyA eva patyA sugrIveNa saha RtusaMpratipattyA zaratsaMmatyA ramate krIDati iti // 36 / / duSkaramadhunA mattaH zriyamadhigamyopabhogamadhunA mattaH / rogamimaM zvAsamayaM nAvaiti gataM ca vAnarazvA samayam // 37 // shaaN0|| duSka0 vAnarazvA plavagakukkuro nAvaiti nAvagacchati / kim ? rogamimaM duSkaramimaM upabhogalakSaNam kathaMbhUtam ? zvAsamayaM zvAsahetukam / tathA duSkara *-* ma. nAsti / 1. sAkam alAsyA athavA sA kamalAsyA 2. citrakAvyatvena vidyamAno'pi visoM na gaNyate / 3. 'dImAH' evaM zikhino ityasya vizeSaNam ataH dInA iti bahuvacanam / yadAca dInA ityeva sItAvizeSaNa kriyate tadA ekavacanam vacanavipariNAmena sambandhaH / 1. ma. 'viparItavatyA' / 5. kSA0 prato nAsti /

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zivabhadrakRtam 25 ? duHshm| tathA samayaM kAlaM vA avadhikRtam / kIdRzam ? gatam atikrAntam / na avaiti / kathaMbhUto vAnarazvA mattaH pramAdI / kene ? upabhogamadhunA viSayAnubhavanamadyena / kiM kRtvA ? adhigamya prApya / kAm ? zriyaM lakSmIm / kasmAt ? / mattaH matsakAzAt / kva ? adhunA idAnImeva || 37 // pu0 // kiM ca ayaM vAnarazvA kapikukkuraH imaM pratyakSam api vartamAnaH zvAsamayaM vizvAsapracuraM rogaM na avaiti na jAnAti samayaM varSAMrAtraM ca gatam atItaM nAvaiti / adhunA sAmprataM duSkaraM yathA syAt zriyaM rAjalakSmIM mattaH matsakAzAt adhigamya prApya upabhogamadhunA sambhogarUpeNa madhena mattaH hRSTaH iti ajJAnahetuH / mattaH hi kiJcid api na cintayate / vAnarazvA iti " kutsitAni kutsanaiH " [pA. 2, 1. 53] iti samAsaH ||37|| visRjannahama tayA priyayA rahitaH kA tiSThatItyazrutayA / nalinamavazyAyena plutamiva sIdAmi tanuravazyA yena // 38 // zAM0 / visR0 yena kAraNena " tanuH " zarIra avazyA asvasthA' mama tena kAraNena sIdAmi viSaNNaH asmi zIrNavAn / kam iva ? nalinamiva padmavat / kIdRzam ? plutaM vyAptam / kena ! avazyAyena / kiM kurvan aham ? visRjan muJcan / kiM tad ? azru netravAri / kathaMbhUtaH aham ' rahitaH hInaH / kayA ? tayA priyayA sItayA / kIdRzyA ? azrutayA anAkarNitayA / katham ? kva tiSThati iti kasmin deze Aste iti // 38 // pu0 kiM vA ahaM tayA priyayA sItayA rahitaH azru bASpaM vimuJcana sIdAmi adya yena avasAdena tanuH gAtram api avazyA anAyattA / kim iva avazyAyena himena plutaM nalinam iva / kIdRzyA ! priyayA / ka tiSThati iti azrutayA anAkarNitayA azrutavArtayA / nalinam iti upamAyAM liGgabhedaH na dUSaNam / mAvi - TaliGgatvAt / yathA vidyA dhanamiva arjitA iti / avazyA iti vazaM na gatA avazyA vazaM gata iti yatpratyayena samAsaH ||38|| 1. ma0 'keneti' / 2. ma0 ' avasthA 3. ma0 pratau nAsti / 4

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zivabhadrakRtam yuvatisamAyoge'haM rata iti na jahAti yaH samAyo geham // 2 // bANesya madastasya sparzana vinAzameSyati madastasya // 39 // shaaN0|| yuva / tasya sugrIvasya madaH api vinAzam eSyati gamiSyati / kena ! sparzena maGagena / kasya ? bANasya zarasya / kIdazasya ? 'madastasyai mayAkSiptasya / yo na jahAti na muJcati / kiM tat ? geham ! gRham / kIdRzaH ? samAyaH / vacanarataH vacanabhanaH naH / kathaM yuvatisamAyoge strIsaMparke aham rataH mAsaktaH iti hetoH // 39 // pu0 / yasya sugrIvasya madaH darpaH madastasya mayA astasya kSiptasya bANasya sparzena vinAzaM bhraMzam eSyati praNazyati tasya / kasya ? yaH sugrIvaH samAyo mAyAvI gehaM gRhaM na jahAti / kutaH yuvatInAM samAyoge saMgame rataH ahamiti // 39 // parupaM vada saumitre bhAvaM na karoti sAdhuvadasau mitre / vraja matimannavadhau taM skhalitaM zaradAbhivIkSya khaM navadhautam // 40 // zAM0 / vrj0| he saumitre ! lakSmaNa ! kIdRzaH ? matimAn buddhiyuktaH / braja gaccha / kiM karomi ? yada brUhi / kathaM paruSaM niSThuram / kam ? taM sugrIvam / kIdRzam ! skhalitam cyutam / ka ? avadhau maryAdAyAm viSaye / kiM kRtvA ? abhivIkSya avalokya / kiM tat ? kham AkAzaM navadhItaM pratyagranirmalam / kayA kRtvA ? zaradA zaratkAlena / yataH asau sugrovaH bhAvaM cittAbhiprAyaM na karoti / kasmin ? mitre mayi / kaH iva ? sAdhuvat ziSTaH "iva" // 40 // pu0| yata evaM tasmAt he matiman ! subuddhe ! saumitre ! lakSmaNa ! vraja gaccha gatvA ca taM suprIvaM paruSaM vad niSThuraM brUhi / yataH saH [asau] sugrIvaH mitre suhRdi mayi sAdhu 1. samAyoge aham bhathavA samAyo geham / 2. ma0 mAsti / 3. ma0 samayo paMcanaparaH / 1. kSA0 nAsti / 5. kSA0 nAsti / 6. yada saumitra athavA sAdhuvad asau mitre / 7. zA0 'matimata 8, kSA0 nAsti / 9. kSA0 "cttN'| 10. ma. sAdhu iva / 11. ma0 nAsti /

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zivabhadrakAvyam bhAva sAvarDamabhipAyaM na karoti / kIdRzam ? tam avadhau skhalitaM paribhApinamaryAdAyAH skhalinam aparAddham / kiM kRtvA ? kham akAzaM navadhItaM sadyonimalIkRtam abhivIkSya dRSTvA api / sAdhuvaditi tadahati' pA.5.1.117] iti vatiH // 40 // nityamukhin nAzaM sA vRSTiryAtA vayaM mukhinnaa''shmaaH| candramapazyAma ! tvaM nAvaipi gatAzca kathamApaH zyAmanyam // 11 // zAM0 / nitya0 // he nityamukhin ! sadA muvAmajha ! vRSTiH varSA nAzam abhAvaM yAtA prAptA / vayaM candra zazinaM apazyAma dRSTavantaH / kohagAH santaH ! sukhinnAzaMsA atIvagatamanorathAH / tvaM ca kathaM na avaipi na jAnAsi / kAH ApaH pAnIyAni / kathaMbhUtAH 1 gatAH prAptAH / ki tat ! zyAmatvaM zyAmalatAm // 41 // pu0 / kiM ca he nityasukhin ! abhokSNaM mukhin ! vRSTiH nAzaM yAtA gatA / vayaM ca sukhinnA AzaMsA yeSAM te candram AzyAma dRSTavantaH vaM apazyAma apagatakAmani(liman !) durdinasamayaM kathaM nA vaiSi] ... // 41 // vidhane khe dambhavata kathameSyati vA mano'dha khedaM bhavataH / avirata ! zaradApi tayA priyayA ramase mayaikazaradApitayA // 42 // zAM0 / vidha0 // vA athavA / katham eSyati / mamiSyati / adha adhunA / kam ? khedaM klezam / kiM tat ? manaH cittam / kasya ? dambhavataH mAyAvinaH / ka sati ? khe AkAze / vidhane dhanarahite / he avirata ! anupazAnta / sugrIva ! yato ramase krIDase / kayA ? priyayA ? bhAryayA tayA tArayA / kayA kRtvA ? zaradA api na kevalaM prAvRpA / kodRzyA priyathA ? mayA ekazaradApitayA ekabANasamarpitayA ? maidekazaradApitayA // 42 // pu0 kiM kRtvA paruSa vaktavyam iti cet tad Aha / he sugrIva ! khe vighane] tryabhre nirmedhe / gatAyAmapi prAvRSi dambhavataH mAyAvinaH bhavataH tava manaH kathaM khedaM zrAntim eSyati / dAmbhikatvAt tava mano na khetsyate ityarthaH / api ca uyA tArAnAmnyA priyayA saha ramase / sA kIdRzI ? yA ratena saMbhogena rahitA veratA na viratA aviratA zaradi(d) yasyAH tayA ratavyApAraNa evaM nIyamAnazaradA ityarthaH / tathA mayA evaM ekena zareNa dApitayA sAdhitayA // 42 // 1. "tadaham" [pA. 5. 1. 117] 2. ma0 nAsti /

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chUTa zivabhadrakRtam vivRNotyavataMsamayaM kAlacandrApadezamavataM samayam / mAgAstvaM patitanayastaM dezaM yaM jagAma surapatitanayaH // // 43 // zAM0 / vi0 / vivRNoti prakAzayati / kaH asau ? ayaM kAlaH zaratkAlaH kam ? avataMsaM zekharam' / kIdRzam ? candrApadeza zazichadmAnam / ataH ava taM rakSatam samayaM tamavadham / sugrIva mA gAH mA gaccha tvam / kIdRzaH patitanayaH gatanItiH / kam taM dezaM yaM jagAma gatavAn / kaH asau surapatitanayaH indrasUnuH vAliH ityarthaH / 43 // pu0 / ayaM kAlaH zaradrUpaH candrApadezaM candrayAjaM avataMsaM zekharaM vivRNoti / ataH taM samayaM mayA saha kRtAM saMvidam aba / arakSaNe daNDamAha / surapatitanayaH indraputraH vAlI yaM dezaM jagAma tam mA gAH paralopaH (kaM) mA gamaH / saMvillaGghane tvamapi ghAtiSyase ityarthaH / yataH patitaH nayaH notiH saMvitpAlanaM yasya // 42 // vAkyaM mAnavadevaM nigadantaM lakSmaNo'tha mAnavadevam / UMce vAsavasattvaM svastha ihaiko guNAdhivAsa vasa tvam // // 44 // shaaN0| vAkya0 / atha anantaram / lakSmaNo mAnavadevaM rAmamUce uktavAn / kiM kurvantam idaM nigadantaM bruvantam / kiM tat vAkyaM svavacanam / kIdRzaM mAnavat sAhaMkAram / katham ? evam uktaprakAreNa / kIdRzam ? mAnavadevaM bAsavasattvaM indrasamasattvam' kiM Uce ? he guNAdhivAsa ! zauryAdiguNanivAsa ! "vasa tvaM tiSTha tvaM kIdRzaH ? svasthaH nirudvignaH iha girau / kIdRza eva ? eka: advitIyaH ||44|| 6 y pu0 1 atha anantaraM lakSmaNaH mAnavadevaM manuSyadevaM rAmam Uce babhASe / kIdRzam ! evamuktarItyA mAnavat cittasamunnatiyuktaM prAmANikaM vA vAkyaM nigadataM tathA vAsavasattvaM indra samasatvaM tulyasattvaM Apadi avikAra sattvam / kim Uce ? he guNAdhivAsa ! gAmbhIryAdiguNanitrya ! iha tvamekaH svasthaH nizcitaH vasa / ahaM sugrIvam upAlabdhuM gamiSyAmi iti ataH Aha || 44 // 1. ma0 "avataM saMzekharaM " 4. ma0 " tAmavadhi" 2. ma0 "candrapadezaM " 5. ma0 "indramattvaM // 44 // 3. ma0 "candrajhAnaM " 6. ma0 "zauryAdvitIya" / 7-7 ma0 pratau nAsti tatsthAne ma0 pratau iha asmin sthAne svasthaH san tvameko vasati" asti /

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zivabhadrakAvyam samaye gate dhanAnAM pAtitavArINAM yo'pratipattyA prANAn pAti tavArINAm / na vigaNitaH zazitilako yAminyA yena paruSANi tamabhidhAtuM yAmi nyAyena / / shaaN0| sama0 taM sugrIvam / abhidhAtuM vaktum / kAni ? paruSANi niSThurANi vacanAnIti gamyate / yAmi ahaM gacchAmi / yaH pAti parirakSati kAn prANAn asUna / keSAm ? taba bhavataH arINAM' zatrUNAm / kayA kRtvA ? apratipattyA anudhamena kAryasya anArambheNa vA / tathA yena na gaNitaH / kaH asau zazitilakaH candravizeSakaH / kasyAH ! yAminyAH rAtreH / ka sati ! samaye kAle gate atikAnte / keSAm ? medhAnAm / kIdRzAnAm pAtitavArINAM muktajalAnAm / kena abhidhAtum 'yAmi ? nyAyena nItyA // 45 // pu0|| taM sugrIva nyAyena yuktyA paruSANi abhidhAtuM vaktuM yAmi gamiSyAmi / taM kam ? yaH sugrIvaH ghanAnAM samaye kAle gate api apratipattyA mUDhatvena tava arINAM rAkSasAnAM prANAn pAti rakSati tanmAraNenApi(Ne'pi) vilamba karoti ityarthaH / kIdRzAnAM dhanAnAm ! pAtitavArINAM nirmuktapAnIyAnAm kiM ca yena sugrIveNa yAminyA zazitilaka candraH eva tilaka na gaNitaH na vicAritaH / pravRttA zarad na paryAlocitA iti arthaH // 45 // tArAbharaNepyadhunA khedayitA matto vadhamarhati bhavato'sau khe dayitAmattaH / kriyate pratyupakAraH kadA zayAnena mithyA vilobhitastvaM kadAzayAnena // 46 // shaaN0| taaraa0| asau sugrIvaH bhavataH tava khedayitA klezayitA / mattaH matsakAzAt vadha nAzamahati / kIdRzaH dayitAmattaH priyAgarvitaH / kasmin sve AkAze sati / kIdRze ? tArAbharaNe taarkaavibhuussnne| adhunA api na kevalaM varSIkAle ityapi zabdArthaH / pratyupakAraH kadA kasmin kAle kriyate vidhIyate / kena ? zayAnena ajAgratA anudyamavatA-ityarthaH / he rAma mithyA alIkam / tvaM 1. ma0 "bhvaariinnaaN"| 2-2. kSA. nAsti / 3. kSA0 "niyagarvitaH 1. kSA0 "pratyupakArAca" 5. ma0 'bhAsti

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zivabhadrakRtam vilobhitaH vipratAritaH / kena ? anena sugroveNa / kayA kRtvA ? kadAzayA kutsitAyA zokavAJchayA vA // 46 // 30 pu0| kiM ca asau sugrIvaH mattaH matsakAzAt vadhamarhati / yataH bhavataH khedayitA khedakArI / katham ? vyomni tArAbharaNe nakSatrabhUpite api adhunA zaradi saH dayitAmattaH vallabhAbhihRSTaH / anena sugrIveNa zayAnena alasena kadA pratyupakAraH kriyate / svatkRtopakAraniSkrayaH kadAcit api na kariSyate ityarthaH / ataH tva kadAzayA asau pratyupakariSyate iti durAzayA mithyA pralobhitaH vaJcitaH / kriyate iti "vibhASA kadAkaryo : " [pA. 3.3.5 ] iti bhaviSyati laT / kadAzayA iti "koH kattatpurupesci" [pA.6.3.201] nAtirka ( iti kadbhAvaH / 46 / na smarati kiM tvadIritazarabhAsuratAnAM aTavISu vogre kesaritharabhAsu ratAnAm / athavA antakasya sRSTayA nizAtadantasya prAptA bodhAya zarannizA tadantasya // zAM0 / nasmara0 / kiM na smarati cintayati sugrIvaH / keSAm ? tvadIritazarabhAcaratAnAm bhavatkSiptabANadIptinAM karmaNi SaSThI / tathA ratAnAm AsaktAnAm / kAsu ? aTavISu bharaNyeSu / kIdRzISu : ugrakesarizarabhAsu bhayAnakasiMhazarabhA / kiM na smarati / athavA yad vA prAptA gatA / kA asau ? zarannizA zaratkAlarAtriH / kimartham ? bodhAya avagamArtham / kasya : [ tadantasya ] sugrIvavinAzasya / atra api karmaNi SaSThI / kayA ? sRSTyA sargeNa / kasya ? antakasya yamasya / kIdRzasya ? nizAtadantasya tIkSNadazanasya // 47 // pu0 // kiM ca tvadIritazarANAM tvatkSiptakANDAnAM yA bhAsuratA dIptayaH tAH saH na smarati kim / kIdRzAnAm ? aTavISu ye ugrA: kesariNaH siMhAH zarabhAH aSTApadAH teSAm apu ratAnAm anuraktAnAm tatprANAnAm iti arthaH / athavA kiM bahunA uktena ? nizAtadantasya tIkSNadazanasya antakasya yamasya / bodhAya pravasya mRtyuM jJApayituM zarannizA zarad eva nizA rAtriH diSTyA prAptA 1. kSA0 'kutsitavAnyA' 2. ma0 'raudra' iti pAThaH svIkRtaH / 3-3. ma0 nAsti / 4. ma0 nAsti / 5. ma0 " nizitasya' / 6. ma0 'tIkSNadantasya' /

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zivabhadrakAvyam diSTacA iti Anande avyayam / vodhAya iti NyantAt bhAvavacanaH [bhAvavacanAzva pA. 3 - 3-11] iti ghaJ / "tumatha cci "" iti caturthI* // 47 // ityuktavAn visRSTo vizeSakAntena jyeSThenAripramadAvizeSakAntena / ravisutamabhisartumanAH sannAgamanaM taM haririva harimadhizayitaM sannAgamanantam // shaaN0|| ityu0 / jyeSThena rAmeNa lakSmaNaH visRSTaH preSitaH / kIdRzaH san ? uktavAn / kim iti pUrvoktam / kIdRzena ? vizeSakAntena atizayakamanIyena / tathA aripramadAvizeSakAntena zatrusImantinItilakanAzakenai / kIdRzaH lakSmaNaH ! abhisartumanAH gantumanAH / kam ? ravisrutaM sugrIvam / kIdRzam ? sannAgamanaM saMjAtAgamanaGga' vilambitayAtam / kaH iva hariH indraH iva / yathA indraH hariM viSNum abhisarati kIdRze viSNum ? adhizayitam / kam ? sannAgam kimabhidheyam ? anantaM zeSam // 48 // iti zvetAmbara zrI zAntisUriviracitAyAM zivabhadra kAvyavRttau prathamaH AzvAsakaH // pu0 || iti ukta 0 ittham uktavAn lakSmaNa: jyeSThena rAmeNa visRSTaH prasthApitaH / kIdazena ? vizeSakAntena atizaya ramaNIyena tathA aripramadAnAM zatrustrINAM yaH vizeSakaH teSAm antena nAzakena zatrustrI vaidhavyakAriNA ityarthaH / kIdRk lakSmaNaH taM ravisutaM sugrIvaM abhisartumanAH abhigantum abhilASukaH / kIdRzaM tam ? sannAgamanaM vilambitam AgamanaM yasya tam / hariH viSNuH phaNI iva abhisartuM gantuM manaH asya iti catrAhiH / kAmamanasaH api (sorapi ) iti malopaH // 48 // iti prathamaH AzvAsaH || 1. tumarthAcca bhAvavacanAt (pA. 2.3.15 ) 2. pu0 'saptamI' iti pAThaH / 31 3 kSA0 "zatruvilAsinI tilakanAzena' / 4. ma0 nAsti / 5. ma0 nAsti / 6. kSA0 " tamanantasaMjJam' /

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Other Rules ourral is primarily Intended to Ste researches in Medieval Indian ire. Hence emphasis will naturally the languages, literature and fal sources of that period. But it atso give sufficient space to other les which throw light on Ancient Culture. (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 the authors. FASR hs of Contributions ubutions embodying original Iches; abstracts of theses accepted le University; critical editions of the blished Sanskrit, Prakrit, bramsa, Old Hindi, Old Gujarati appreciations and summaries of mi and medieval important original notices of manuscripts and textual isms will be published in the dal. (2) It is presumed that contributions forwarded for publication in the Journal are not submitted elsewhere. (3) The copyright of all the contributlons published in the Jourpal will vest jointly in the L. D. Institute of Indology and the authors. (4) Ten offprints will be given to the contributors free of charge. (5) Titles of books and Journals should be indicated by single underline. Sanskrit, Prakrit, Hindi, Gujarati terms occurring in the articles written in English should be underlined. The standard system of transliteration should be followed. (6) Those who want their wroks to be reviewed in the Journal should send two coples of the same. tum of Articles should be written in any one of following four languages: Sanskrit, Gujarati and English. fles written in language other than Ish should be accompanied by a mary in English. funeration LD. Institute of Indology will pay Starium to the authors whose Fibutions are accepted. All contributions and correspondence may please be addressed to tual Subscription Rs. 20/Sh. 30 Dollar 5.00 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 34. adhyAtma binduH harSa vardhanopAdhyAyanivaddhaH svopajJavRttyA yutaH ; saM0 munizrI mitrAnandavijayajI - nagIna jI. zAha 35. nyAyamaJjarIgranthibhaGgaH - DIVYA cakradharakRtaH, 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. T. G. Kalghatgi (1973) 41. Collection of Jaina Philosophical Tracts * Ed. Nagin J. Shah

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1 SAMBODHI 19.4.14 12.6242 (QUARTERLY) VOL. 2 OCTOBER 1973 NO. 3 EDITORS DALSUKH MALVANIA DR. H. C. BHAYANI L. D. INSTITUTE OF INDOLOGY AHMEDABAD 9

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CONTENTS Problems of Ethics and Karma Doctrine as Treated in Bhagavatisutra K. K. Dixit Iconography of Sixteen Jaina Mahavidyas as Represented in the Ceiling of the S'antinatha Temple at Kumbharia Maruti Nandan Prasad Tiwari A Recent Study of Indian Kavya Literature - Reviewed N. M. Kansara Collection of Jaina Philosophical Tracts - Reviewed E. A. Solomon prAcIna upaniSadoM kI dArzanika carcA kRSNakumAra dIkSita kuvalayamAlA-mahAkathA kI avAntarakathAe~ aura unakA vargIkaraNa ke. riSabhacandra karpUramaJjarI ane svAmIbhakta sevakanu kathAbimba hasu yAzika zivabhadrakRtaM zivabhadrakAvyam (TokAdvayasametam ) saM. zrImatI nIlAJjanA su. zAha jambUkavikRtaM candradUtakAvyam (vRttisametam ) saM. paMDita harizaMkara a. zAstrI

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19.4.7 : 26.74 THE PROBLEMS OF ETHICS AND KARMA DOCTRINE-fwmiram TREATED IN THE BHAGAVATI SUTRA K. K. Dixit The Bhagavati Sutra is a collection of miscellaneous dialogues composed at different periods of time by different authors. And what it offers us is a treatment of what these Jaina authors consider to be the theoretical problems of a fundamental importance. As such the text is of extreme value for those seeking to undertake a historical study of the fundamental theoretical positions evolved by the Jaina authors in the course of time. In the following we intend to corroborate this contention of ours through a study of the problems of ethics and Karma-doctrine as treated in the relevant portions of the Bhagavail Satra. It is revealing that a good majority of Bhagavati djalogues concerned with the problems of ethics take up for consideration the question of violence, and the impression is unmistakable that with the authors concerned non-violence constitutes the basic moral virtue. Most noteworthy in this connection is the doctrine of kriya.- As here understood kriya stands for an act of violence exhibiting five aspects, viz. (i) bodily exertion on the part of the agent of violence--called kayiki kriya, (ii) employment of the needed implements on the part of this agent called adhikaraniki kriya, (iii) the feeling of ill-will harboured by this agent against his prospec. tive victim--called pradvesiki kriya, (iv) the bodily torture caused to this victim by this agent-called paritapaniki kriya and (v) the killing of this victim at the hands of this agent--called pranasipariki kriya. The position is almost self-explanatory, but some of its ramifications are rather curious and two deserve special attention : (1) Thus in view of the common Jaina notion that the particles of earth, water, fire and air, ordinarily considered to be inanimate, are in fact animate beings the doctrine of kriya is only too often applled to the alleged cases of violence practised against such particles. For example, It is once asked as to who is guilty of greater yiolence-the person who lights Sambodhi 2.3

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K. K. Dixit fire or the one who extinguishes it. The answer is based on the consi. deration that one who lights fire causes the death of the fuel-particles, the spot of earth where fire burns, and the like while preserving the life or fire. particles, whereas one who extinguishes fire does just the opposite. And the understanding is that the former person is guilty of greater violence than the latter, (2) Similarly, in view of the notion that implements of violence like bow and arrow, ordinarily considered to be inanimate, are in fact animate beings the question is too often asked as to whether and bow far these are coparticipant in the act of violence in which they happen to be employed, For example, in case a person shoots at an animal an arrow from his bow and thus kills it then the understanding is that this person is guilty of all the above mentioned five types of kriya but his bow and arrow are guilty of all of them minus the last; on the other hand, 10 case an arrow set on his bow by a person accidentally falls on some animal and thus kills it the arrow is guilty of all the five types of kriya while the person and his bow are guilty of all of them minus the last, [[n this connection a bow or an arrow is treated not as one body inhabited by one soul but as a colony of bodies each inhabited by a distinct soul but that is a matter of details whose significance will become apparent in a moment. 1 All this throws considerable light on the specific Saina understanding of the phenomenon of violence. That the particles of earth, water, fire and air are animate beings and hence a possible victim of violence ever remained a distinct, and conspicious Jaina position. But the position that things like bop and arrow are animate beings and hence a possible agent of violence gradually receded into background-so much so that Abhayadeva, the late medieval commentator of Bhagavatt flods considerable difficulty in explaining the passages setting forth the position. And yet this latter position too is not a freak appearance within the body of Bhagavati. For it can easily be recognised as what the modern anthropologists call a primitive animist position and the likelihood is most strong that the common Jaina notion that the particles of earth, water, fire and air are animate beings was a refined outcome of the primitive animist potions prevalent among certain circles of Indian populace. Thus instead of straightaway saying as would a primitive animist that a bow or an arrow is an animate being the Jaina authors of Bhagavatt would maintain that this bow or this arrow is a colony of ensouled bodies of the form of earth, water, fire or air. Something like this explains why the so cominon Indian doctrine of four or five bhutas or physical elements was never accepted as such by the Jainas in whose eyes the particles of earth, water, fire and air were not sheer physical entities but ensouled bodies. So what these Jaidas in effect

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The Problems of Ethics and Karma did was to adapt the doctrine of bhutas to the animist ideas that they had inherited from a primitive past. Be that as it may, Bhagavari does contain pieces of genuinely old Jaina speculation on the question of violence, speculation so old that it at times appeared rather enigmatic to the later generations, Certaioly, the oldest Jaina authors had been arguing that acquisitiveness and violence are two basic moral vices which an ideal monk seeks to get rid of through a strict observance of the prescribed monastic code of discipline. In Bhagavati too the dialogues dealing with the problems of monastic conduct either emphasise that an ideal monk seeks to overcome the spirit of acquisitiveness or that he seeks to avoid the occasions for violence. In view of what was already been said before regarding it nothing requires to be added so far as the question of violence is concerned. Then there remajn to be noted only the passages where it is laid down that an ideal monk strictly observes the monastic rules that have been prescribed in connection with the procurement of his daily requirements and the impression is unmistakable that it is thus that the monk conducts his fight against the spirit of acquisitiveness; at one place we are told so in 80 many words. Even so, the fight against the spirit of violence is deemed to be the major fight. This becomes evident even from the words usually employed to denote an ideal monk (they all tend to connote one up against violence); to take the major important examples, such words are samyrta, samyata, virata, pratyakhyanin. Of course, the words in question also tend to imply that the person denoted by them is free from all moral vices and the tendency is deliberate. For it was the crux of the old Jaina argument that violence is the spring of all moral vices so that one who is free from violence is free from all moral vices. At one placo Bhagavalt even says it in so many words that one who follows the prescribed monastic code of conducts, one who moves about cautiously (1.e. is vigilant against the occasions for violence) is free from anger, pride, deceit, and greed the four basic vices designated 'kasaya' by the latter theoreticians, But the point is that Bhagayat does not deem it necessary to augment the list of basic vices by adding items other than violence (and acquisitiveness). Hence it is that one or two dialogues where note is taken of what the later Jainas call mulavratas or basic vows inust be of a relatively late origin.8 As a matter of fact there is something intriguing about the Bhagavatt treatment of these basic vows. As has been just noted, these are the subject proper of no more than one or two rather later dialogues. But there is a list of 18 moral vices which makes its appearance. - mechanically so to say - in all sorts of contexts. This list includes the five contraries of the basic vows, the kasayas and the following nine vlces

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K. K Dixit (which, however, have played no significant role in the subsequent develop ment of the Jaina ethical discussion): attachment preyas dvesa aversion kalaha quarrel abhyakhyana calumny pallunyameanness parapairvada slander rati-arati love-hate maya-mosa deception mithya-darsana =false faith What is still more anomalous is that this list of 18 vices is the standard such list in Prajnapana though in no text of classical Jainism (certainly not in Umasvati's Tattvartha). It seems that it was only later on that the Jaina authors started to attach a special value not only to the list of four kasayas, but also to that of five basic vows. The idea is somewhat disturbing but seems to be well based. Perhaps Acaranga-II.3 is the first Jaina taxt to have taken up a detailed treatment of the five basic vows along with the five accessories each (called bhavana) superadded to them. And to add 'renunciation of nightly eating' as a sixth item in this list, as is done in Datavaikalika 4, was a still later phenomenon; (in all probability the passage concerned was a later interpolation in Datavaikalika it being a solitary prose passage in a text otherwise composed in verse). Be that as it may, the Bhagavatt passages dealing with ethical problems raise to the status of a basic vice nothing except violence (and acquisitiveness)-this again being an evidence of the relatively early origin of these passages. Another evidence of the relatively early origin of the Bhagavatt passages dealing with ethical problems is the relative absence in them of a treatment of the householder's duties; (in the oldest Jalna texts such treatment is conspicious by its absence.) Thus only in a few passages is the question raised as to what merit accrues to a householder who feeds a monk well and what demerit to one who feeds him ill.10 About two passages speak of a householder performing samayika, one speaks of the pratyakhyana (meaning 'renunciation of violence') on his part. All these passages must be relatively late and the latest must be one which speaks of what the later authors call the twelve vows of a householder'. These twelve vows include those 'five basic vows' as observed on a gross level and seven others called 'additional Vows', but the anomaly about this passage is that even in the case of a monk's vows it speaks of 'five basic vows'-as observed on a full-fledged

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The Problems of Ethics and Karma level-and ten additional vows',12 These 'ten additional vows of a monk' do not occur in the classical Jaina authors' treatment of the problem (certainly not in Umasvati's treatment of it). This perhaps suggests that the passage, though late, is not too much so. 5 Lastly, one more aspect of the Bhagavatt dialogues dealing wih ethical problems deserves consideration. The oldest Jaina authors discussed the problem of world-renunciation in the background of concrete social conditions. Thus they would argue that a life of worldly success is a life of all sinfulness from which the corollary emerged that a life free from all sin can only be a life of world-renunciation. To employ their own technical terminology, parigraha or acquisitiveness stood for all wordly attachment, arambha or violence for all sinfulness. In the Bhagavati discussion of ethical problems, however, such wakefulness to the social side of the situation is conspicuous by its almost total absence. Thus here vlolence always means violence practised by a man against an animal-or against the particles of earth, water, fire and air, but never that practised by a man against another man. It is only once that we hear of a man killing another man but the circumstance is somewhat odd-at least unusual 13 For we are here asked that if at the same time when a person shoots arrow at an animal and kills it another person kills this person himself then who is guilty of violence in relation to whom; the answer obviously is that the first person is guilty of violence in relation to the animal, the second person guilty of violence in relation to the first person. But it is equally obvious that such a discussion throws no light on the social question of man's violence against man. The classical Jaina authors undertook some sort of discussion of the social side of ethical problems when they took up for consideration the householder's twelve dutles, but Bhagavatt has not yet reached this historical stage of evolution and it has already crossed that oldest historical stage when social questions were discussed in connection with a treatment of the monk's duties and when the question of the householder's duties had not at all appeared on the thought-horizon of the Jaina authors. The Bhagavatt treatment of the problems of karma-doctrine has Its own value. In this connection a peculiar verbal usage of the text deserves notice. Thus when it intends to say that a person commits a kriya (kriyani karoti) it sometimes says that this person is touched by this kriya (kriyaya Sprstah).14 Certainly, the phrase 'touched by kriya' used here is somewhat odd but it sems to have been patterned after a popular phrase of those times. For in the dialogue considering the case of one person killing an animal and another person killing this person himself we are told that the first person is touched by the enmity of the animal (mrgavairena sprstah),

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K. K. Dixit the second person touched by the enmity of the first person (purusavaiten sprstah).16 Now the modern anthropologists tell us of the primitive Deanla who believe that when a person commits a crime agaist another person this crime hounds the first person as long as it does not bring upon him an appropriate disaster. And in all probability such a belief was prevalent among that circle of Indian populace which was accustumed to the phrase 'touched by the enmity of so and so. This in turn became the starting point for the Jaina authors developiog their doctrine of karma which in its essense is but a refined verson of the belief in question. The first step in this connection must have been to speak of the technical concept "kriya' instead of the popular concept vaira'. Then the idea must have occurred to those Jainas that if kriya is to touch a person it must be something tangible, and thus came into existence the concept of hriya treated as a physical entity. Soon, however, kriya qua a physical entity came to be desiggated karma and one began to speak of a person comrniting a karma (karma karoti) or a person being touched by a karina (karmana sprstah) Lastly, the search was made for an active voice usage expressing the same idea as "karmana sprstah', and the phrase "karma badhnali' (biods down a karma) was the outcome. Here we reach the stage represented by the classical Jaina authors who in this connection exclusively employed the pbrase karma badhnati'. But the noteworthy thing is that iu Bhagavati the phrase "karma badhnati' is a relatively rare occurrence; for here the moral usual phrase is karma (or kriyam) karoti (or prakaroti), occasionally karmana (or kriyaya) sprstah.?All this makes it sufficientiy clear that in Bhagavati what we are here having before our eyes are the beginnings of the specific Jaina version of the doctrine of karma-of which version there was little trace in the oldest texts. Not that these texts do not speak of one's evil acts involving on in the whirlpool of transmigration, but they are innocent of the notion that these one's evil acts give rise to the karmic physical particles which remain attached to one's soul as long as one has not reaped the due consequence of these acts. It is this notion that is adumbrated in Bhagavart and it is this that constitutes the kernel of the Jaiga karma-doctrine. The Jaioa karma-doctrine in its classical version posits eight types of karmas, each having more or less numerous sub-types. Of the elght types four are exclusively evil but four are equally divided into good and evil sub-types. The classical authors also lay down about the different good and evil types and sub-types of karmas as to which of them are earned as a result of what good and evil acts. In Bhagavati too there Is one dialogue (reminiscent of Tattvartha 6.11-25) which details these good and evil acts18 and there is one dialogue 20 which offers two simple

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The Problems of Ethics and Karma illustrations by way of explaining as to how a good karma yields a good fruit an evil karma an evil fruit. Besides, here there are also other stray references to good karmas by the side of evil ones 20. Nevertheless, the fact remains that a good majority of the Bhagayant dialogues dealing with the karma-doctrine makes plainer sepse if the notion is set aside that there are good karmas by the side of evil ones. And in view of what we have above said about the probable origin of the Jaina karma-doctrine it should be normal to expect that originally it posited only evil karmas. Certainly, if it is kriya (meaning in a narrow sense an act of violence, in a broad sense ad evil act as such) that gives rise to karma karma must be something necessarily evil. Two striking examples should make it clear how the concept of karma as something necessarily evil makes for a better com. prehension of the relevant Bhagavatt passages. Thus we are told that a well-behaved monk reduces the number of the constituent-particles of his karmas, their intensity, their duration, their tightness while an evil-acting monk augments all these four;21 this statement is much easy to follow if it is presupposed that all karmas are necessarily evil. Similarly, we are told that a particular amount of experiencing of karmic fruit on the part of a hellish being annihilates a smaller number of karmas than the same on the part of a well-behaved monk;22 this statement too is much easy to follow if it is presupposed that all karmas are necessarily evil. Even the latter-day commentators tell us that in these statements the word 'karma' should stand for evil karma ; in all probability these statements originated at a period when the concept of good karma had not been posited at all. Perbaps, the concept of good karma was first posited in connection with a treatment of the ideal monk's conduct. For it seems to have been realized that since all actions give rise to karma the ideal monk's conduct too must give rise to karma. But the difficulty is that a worldly being's action gives rise to karmas which yield fruit at a more or less distant future while it is the very essence of a monk's being that he accumulates no karmas which might yield fruit in future ; so the thesis was propounded hat the karmas generated by an ideal monk's action are got rid of as soon Is they are generated. And since a worldly being's action giving rise to arma was technically called kriya an ideal monk's action giving rise to arma too was called kriya-though of a new type technically termed tryzathikt kriya, 28 This was certainly a radical amendment introduced in the loctrine of kriya ; for uptil now a kriya was understood to be necessarily for a n evil act. Even so, the fact that no third type of kriya standing ordly being's good action--and supposed to generate good karmas-was osited tends to confirm the surmise that the concept of tryapat hikr kriya as formulated at a time when the doctrine of kriya was yet open to mendment while the concept of good karma generated by a worldly being's Dod action was formulated at a later period when the doctrine of kriya

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K. K. Dixit had already been rounded off. Be that as it may, the concept of good action, though a most conspicuous constituent of the classical Jaina doctrine of karma, makes its appearance in Bhagavatt only in stray passages which must on that very account be declared to be relatively late. R The relative antiquity of the Bhagavatt passages dealing with the karmadoctrine is demonstrated on two further gounds, viz., (i) the utter simplicity of the questions raised in many of them, and (ii) the formulation in some of them of certain positions in a form different from their later classical version. Let these be considered by turn (1) Thus good many passages bring to light some aspect of the simple thesis that karmas are of the form of certain physical entities which penetrate a soul from all sides and occupy it thoroughly.24 Similarly, good many passages bring to light some aspects of the simple thesis that a soul which has karmas attached to itself some time experiences the fruit of these karmas and then expels them out,25 A student who is conversant with these problems as they have been dealt with by the classical Jaina authors might be struck by the naivete which characterizes their treatment in the passages in question of Bhagavat, but he has to realize that what he is here face to face is the historically earliest available treatment of these problems. (ii) The same circumstance explains why certain positions which were also formulated by the classical Jaina authors appear in Bhagavatt in a different form, a form usually different only verbally but at times also different materially. For example, here so many passages speak of a karma-type kanksamohaniya26 and only the context explains that what is meant is the karma-type later designated darsanamohaniya. Similarly, one passage distinguishes between the experiencing of pradesakarma and that of anubhaga-karma and only the context explains that what are meant to be distinguished are the experiencing of the pradesa-ofkarma and that of the anubhaga-of-karma. Again, it is at times laid down that the pratyaya of karmic bondage is pramada, its nimitta yoga.28 The classical authors do not thus distinguish between the pratyaya of karmic, bondage and its nimitta, for they simply speak of the cause of karmic bondage which are enumurated to be two, four or five; when two they are yoga and kasaya, when four yoga, kasaya, mithyatva and avirati when five yoga, kasaya, mithyatva, avirati and pramada. Lastly, a fairly long passage seeks to describe the person who is on the eve of attaining moksa and as such is getting rid of his accumulated mass of karmas. The description of the performance undertaken by such a person is favourite of the classical authors but the noteworthy point is that the corresponding Bhagavatt description exhibits marked points of variance. Even the commentator notices the discrepancy but has no explanation for the same; the fact of the matter is that the two descriptions are respectively a later stage and an earlier one of the same process of Ideological evolution,

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The Problems of Ethics and Karma The above discussion of the Bhagavart treatment of the problems of ethics and karma-doctrine is based on the passages directly and expressly dealing with these two sets of problems. But some further and indirect light is thrown on the same by the passages dealing with the problems of mythology and those narrating stories. The classical Jaina authors came to develop an elaborate and well-rounded system of mythology with a cosmographic and a bistorical sector. The cosmographic sector spoke of the supposed numerous heavens and hells, the supposed numerous world-continents and world-oceans of those places themselves as also of the residents thereof The historical sector spoke of the mighty personages ---belonging to the spheres spiritual as well as temporal-supposed to have appeared on the scene of history since time immemorial. Bhagavati does not exbibit acquaintance with this entire developments because much of this development is a comparatively late phenomenon. But the treatment of heavens and heavenly beingsappearing in the purely theoretical passages, as also in those narrating stories are detailed enough and instructive enough. Thus we are given ample information not only about the number of the different types and sub-types of gods and goddesses but also about their prosperity, their super-ordinary capacities, their weakenesses of character. In Its essence the life of a god and goddesses is the life of a successful worldly human being writ large (and minus its toils). Now the impression is definitely and deliberately Coreated that one becomes god as a result of bis meritorious career as a human being either as a monk or as a pious householder, and the question naturally arises as to why the authors of Bhagavati posed before human beings-particularly before monks--the prospect of a future life essentially akin to that of a prosperous worldly human belng. The question bocomes particularly pressing when it is remembered that the oldest Jaina authors bad Anothing but disdain for one hankering after worldly success. These authors placed before a monk the prospect of moksa and they would denounce the life of a householder precisely because it was supposed to be a hlodrance in the path of realizing such a prospect. Thus with them there was no question of placing before anybody the prospect of a future life as & god. not before a householder who was considered to be a doomed being any. way, not before a monk who was considered to be an aspirant after nothing But molsa, These authors might well threaten a worldling with the prospect of a horrible future life in some hell, but they would never seek to tempt ?him through the prospect of a joyous future life in some heaven. All the same, with the passage of time the Jaina authors did begin to tempt not only a householder but even a monk through the prospect of a joyous future life in some heaven, and the Bhagayati passages under consideration constitute a powerful testimony to this change of outlook. Of course, the idea was Sambodhi 2.3

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10 K. K. Dixit never given up that a monk aspires after moksa, and it ever remained positive conviction that only a monk is entitled to attain moksa. But it began to be conceded that a monk falling short of the ideal would attain so far as the householders are not moksa but birth in some heaven. And concerned even the most pious of them had a right to hope for just birth in some heaven - moksa being denied to them ex-hypothesi. The crux of the situation graphically flashes before the reader's mind when he learns from a passage about the inner cogitation of a monk who has committed a sin but is afraid of confessing and atoning for the same; thus this monk is made to say to himself, "What is the harm if I do not confess and atono for my sin? When even the householders can possibly be born as a god I must in any case hope to be born at least among the lowest grade of gods, " It is in this background that we have to appreciate the fact that in almost all Bhagavan storles a common motif is how a dedicated and devoted disciple of Mahavira (or of another tirthankara) - mostly a monk, rarely a house bolder earns through his meritorious acts the right to be next born among a particular grade of gods. These stories are symptomatic of profound change introduced in the character of Jainism as a monastic religious sect. The social conditions responsible for this change remain be determined, The oldest Jaina authors advocated a religion of world-renunciation under the plea that the life of worldly success is a life of sinfulness. Now from independent sources we know that the dominant religious trend of the contemporary Vedic society-a trend that has found expression in the Brahmana texts - stood for the pursuit of worldly success of all sorts through a performance of all sorts of yajnas. Viewed thus the contrast between this religious trend on the one hand and that represented by a monastic sect like Jainism on the other was too unmistakable to be missed, However the social message of a religious trend has of necessity to be couched ing language that speaks of things and processes supramundane. Thus the Brahamana texts spoke of a yajha meticulously performed by the Brahmin priest bringing about wordly fortune to the client concerned while the Jaina spoke of a well-pursued ascetic life putting an end to the transgmigratory cycle of the monk concerned. And as thus conceived a yajnic performance is as mysterious an exercise as an ascetic performance. But that is no the vital point so far as it concerns evaluating the social message of the religious trends in question. For in this connection the thing to noted is that one trend extols the life of worldly success, the other condemns It. As things stood, it could mean only one thing. The gu between the possessing class and the dispossessed emergent within the fold of Vedic society must have become visibly large at the time whe the protestant religious trend took its rise, so large that it began to distur

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The Problems of Ethics and Karma the sensitive souls like Buddha and Mahavira. The stories about the mighty prosperity of the families of Buddha and Mahavira themselves are to a large extent pious concoctions of the later generations, but even if they are not there is nothing incongruous about the idea that certain high-souled members of the affluent class should rise against the misdeeds of their own class, Be that as it may, the monastic religious sects of India were in their earliest phase a genuine protestant movement seeking under supramundane slogans a redressal of the socio-economic injustice vitiating the mundane life. This turbulant phase of India's socio-economic as well as religious - history came to an end by the time of Asoka who recognised it to be a foremost task of the state to see to it that the downtrodden masses - the dasabhrtakas of his inscriptions - are subjected to no undue socio-economic strain, It was then that all religious sects of the time - Brahminical as well as monastic were reduced to the status of an exclusively religious phenomenon -that is, to the status of movements exclusively devoted to the supramundane interests of their respective followers; and it was then that the original social message of the monastic religious sects became largely obsolete. Now too these monastic sects would emphasize the virtues of a monk's life, but they would now also sing the praise of such householders as chose to follow the code of conduct prescribed for them by these sects. True, these plous householders were promised not moksa but birth in some heaven, but it was added that a monk too would attain not moksa but birth lo Some heaven unless his conduct was absolutely in conformity to the ideal set for him. Such were the conditions under which the Jalna authors became so much pre-occupied with the problems of a householder's duties and mythology in the first place, mythology concerning gods and goddesses; and then it was that they become so enthusiastic about narrating stories that were primarily meant to edify the pious but semi-educated householder, A perusal of the Bhagavati stories undertaken from this whole point of view should prove highly instructive. In any case, to judge from the simplicity of their form as also from certain cliches common to them all these stories broadly belong to the same category and same chronological stratum as those collected in the five Anga texts that are of the form of collection of stories. These five Anga-texts (as also Prasnavyakarana) find no mention in the catalogue of texts which the old disciplinary text Vyavahara-sutra prescribes for a monk. This catalogue includes the remaining six Anga-texts (presumably, Acaranga under the designation Acaraprakalpa) together with 80 many other texts that are otherwise unknown, and the conclusion is inescapable that the five Anga texts collecting stories (as also PrasnavyaKarana) are a fairy late composition. This in its turn means that the thesis current since very long that the twelve Anga texts were composed by the direct disciples of Mahavira must be a fairly late adoption and a part and - Sambodhi 2,3 11

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K. K. Dixit parcel of the historical sector of Jalna mythology that so fast developed to the post-Asokan era. It is a good indication of the mythological atmosphere permeating the story-texts in question (as also the Bhagayati stories) that do qualms are here felt when a character is described as a student of eleven Anga texts, a clear case of a text referring to itself. It was perhaps felt that since Jainism along with its twelve Anga texts is an eternal phenomenon no difficulty should arise if the present version of an Anga text refers to celeven Anga texts' ! Be that as it may, much goes to confirm the gurmise that its stories are a fairly late constituent of Bhagayati. That explalos why the social outlook and social atmosphere characteristic of them are strikingly different from those characteristic of the oldest Jaida texts. References : 1. 181 a (the commentary for elucidation). 2. 926 b. 3. 229 b (cf, 697a, 720b). 4. The commentary on 229b touching on the point. 5. All references to one-sensed souls which include the earth-bodied, fire-bodied, at bodied, plant-bodied souls. E.g. 110a making enquiry whether the one-sensed souls too breathe as do the two-sensed, three-sensed, four-senged, five-senged ones, 6. Against acquisitiveness 97b; Against violence 490a, 723a, 754a; Against both 237, 379a. 7. 291 a. B. 295b (the most exhaustive enumeration). 9, 95(the first mention which names eacb). 10, 140b, 373a. 11. For Samayika 288b, 367a, For Pratyakhyana 368b. 12. 295b, 13. 91b. 14,81b. 15, 91b. 16, prakaroti : 61b. karoti : 52a, 52b, 63b, 79a. 17, 91b. 18. 410b, 19, 825a, 20. E.g. 225b, 304a. 21. st. 22. 250A, 704a. 23. 1062, 291a. 24. 132, 246, 256, 26a, 52a, 82b.

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The Problems of Ethics and Karma 25. 182a, 224b, 250a, 301a, 314a. 26.54a, 56b,59b, 60a [The first and the last give an idea of what is meant]. 27. 65a. 28. 56b, 182a. 29. iha ca kSaNAkramaH.........graMthAntaraprasiddho ma cAyamihAzrito yathAkathaMcita kSapaNAmAtrasyeva vivakSitatvAta-436a [The whole passage 490a-38a]. 30. 86a, 155a-60a, 168a. 169b, 180b. 247b, 488b, 50la, 644b, 650b. 31. 497b. 32. 123a [The first mention where the commentator feels perplexed).

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THE ICONOGRAPHY OF THE SIXTEEN JAINA MAHAVIDYAS AS REPRESENTED IN THE CEILING OF THE SANTINATHA TEMPLE AT KUMBHARIA, NORTH GUJARAT Maruti Nandan Prasad Tlwarl The Sixteen Jaina Mahavidyasi forming a group of Tantric goddeases were accorded the most favoured position among both the Svetambara and Digambar Jaina sects. Almost all the iconographic works from c. eighth century onwards treat of the individual iconographic forms of the Sixteen Jalna Mahavidyas. Unlike the case in the Svetambara sect's vestiges in Rajasthan and Gujarat, wherein depiction of Mabavldyas invariably occurs, no sculpture or painting of the Digambara affiliation has so far been reported by scholars to depict them. At Khajurabo, however, on the mandovara of the Digambara Jaina temple of Adinalba (eleventh century), a series of Sixteen Jaina goddesses was noticed by the author, which may be identified with a group of Sixteen Mabavidyas (All the goddesses crowned by tiny Jina figures and possessing four to eight hands are sculptured either seated in lalitasana or standing in tribhanga. The goddesses carrying varying attributes are shown with respective conveyances. All the figures are badly damaged with very few attributes extant, rendering their proper identification very much difficult. However, yahanas have sucvlved with several of them. In respect of the surviving attributes and the vahanas the goddesses, in some cases, partially correspond to iconographic prescriptions for Mahavidhyas, enunciated in the Digambara texts. Under these circumstances, the possibility of this representation being a unique Digambara instance of collective rendering of the Sixteen Jaina Mahavidyas may no! denied). The carliest known representations of the Svetambara Jaina Mahavidyas, as temple decorations, are found at the Mahavira temple at Osia (Rajasthan), built by the Pratibara Vatsaraja at the close of the eight century. (These Mahavidya figures almost fully correspond to the iconographic forms enjoined by the Caturvinsatika (of Bappabhatu Sari 743-838) tho earliest known iconographic text dealing with the individual iconography of the Jaina Mabavidyas. However, Prajnapti, Naradata, Gandhary, Mabavala and Madavi are not represented at the temple, while Rohini, Apraticakra, Vairotya and Mabamanasi enjoyed more favoured position). The author is thankful to his friend Shri P.P.P. Sharma for going trough the manu. script. He is also thankful to the University Grant's Commissson for providing the monetary assistance in the form of both ways fare, which enabled him to visit the site in connection with his research work.

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16 Maruti Nandan Prasad Tiwari Against this background the author proposes to discuss, in detail, the iconography of the set of Sixteen Mahavidyus as portrayed in the bhramika ceiling of the Santinatha temple (1077) at Kumbharia, District Banas Kantha (North Gujarai). The celling containing the figures of the Sixteen All the Mahavidyas is close to the Rangamandapa of the temple on east five Jaina temples at Kumbharia (constructed between eleventh to the first half of the thirteenth century) are of the Svetambara affiliation. This, it may be noted, is the earliest known set of the Sixteen Jalna Mahavidyas'. Other subsequent sets of the Mahavidyas are known from the Vimala Vasahi (two sets: one in the Rangamandapa ceiling - 1148-50; and the other set in the corridor ceiling infront of the Cell No 41 latter half of the twelfth century), the Luna Vasahr (one set - 1232) and the Kharatara Vasabi (two sets sixteen century), all lying at Mt. Abu (Rajasthan) 10 - On the strength of the author's own study of the set of Mahavidyas under discussion, it may be stated that eleven of these correspond, fully or partially, to the injuctions of Catorvimsatika and more so to those of the Nirvanakalika (of Padalipta Sari - c. eleventh century). However, in representations of two other Mahavidyas, namely, Mahajvala and Acchuyta, the prescriptions of the Acaradinakara (of Vardhmana Suri 1411) have been followed. On other Vidyadevi, Kali, not conforming to any known dhyanas, has been identified on the testimony of khatvanga symbol. A firm, individual identification of the remaining two Mahavidyas - Manasi and Mahamanasi could not be possible inasmuch as they do not correspond even the least to any of the known dhyanas. In the present study the author, wherever necessary, has reinforced his identifications by representations of Mahavidyas with vehicles in the Santinatha temple and other known sets of their collective renderings. The present group of the Sixteen Mahavidyas is shown all around the central figure of the Jina Suparsvanatha, seated as he is in the usual dhyana-mudra. Suparsvanath with a five-hooded cobra overhead is rendered on a simhasana with two flanking camardhara attendants and the usual cortege of assessory symbols. All the four-armed Mahavidyas are seated in the lalitasana on bhadrasana with right leg hanging and left tucked up. (The only other set representing Vidyadevis in seated posture is known from the Kharatara Vasabr.) The Mahavidyas wearing the karanda-mukuta are bejewelled in dhott, necklaces, stanaharas, armlets, bracelets and anklets. However, the respective vahanas of the Mahavidyas have not been carved in the set, which consequently makes the identification in some cases difficult or confusing. The other difficulty in regard to their identification, at least in two cases, is that they are not represented in the order as prescribed

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20 PA W . VERT 4: K 2 WA NE ras .: - 1 22 ove . 32 Jaina Malavidyas in the ceiling of the S'antipatha Temple, Kumbharia ( See foot pote 9).

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The Iconography of the Sixteen Jaina Mahavidyas 17 by the iconographic texts.13 Had the order been maintained, the individual identification of Manasi and Mahamadast could also be firmly established even without other aids. It may be noted that the prescribed order was followed to a great extent in subsequent collective representations. Thus, in absence of the order, we shall begin arbitrarily with Apraticakra thence to proceed to the left. (1) Apraticakra (or Cakresvari) - 5th Vidyadevi. She bears the varadamudra (beon-conferring gesture), a cakra (disc), a cukra and a sankha (conch) (l'hg attributes of the Mahavidyas of the present set are reckoned clockwise starting from the lower right hand.) Although almost all the iconographic works describe Apraticakra as carrying discs in all her arms,14 excepting a few instances, 15 she is invariably shown with discs in two or one of her hands only. (2) Mahakali - the 8th Vidyadevi She holds the varalaksa (varada-cumrosary), a vajra (thunderbolt), a ghanta (bell) with top designed like a trident, and a matulinga (fruit). The attributes fully correspond to the description of Mahakali in the Caturvimsatika.16 The Nirvarakalika, how. ever, differs in respect of the fruit symbol and prescribes in its place the abhayamudra (safety-bestowing gesture).17 (3) Purusadatta (or Naradatta) - the 6th Vidyadevi. She carries a khadga (sword), a karmuka (?) (bow), a khelaka (shield) and a fruit. Except for the bow the figure agrees with the description of Purusadatta occurring in the Nirvanakalika where bow has been substituted by the varada-mudra.18 (The figure's identification with Mahamanasi, however, is not unlikely inasmuch as the sword and shield symbols have also been invariable attributes of Mabamanasi both in literature and concrete representations). (1) Manavi - the 12th Vidyadevi. She betrays the yaradahsa, a pasa (noose), a tree plant and a fruit. The figure agrees with the description of the Virvanakalika, wherein she is associated with the varada, a noose, a rosary and a tree.19. As it is apparent, fruit has not been prescribed by the Nirvanakalika. It may be noted here that in almost all other known instances of Manavi at Kumbharia and everywhere else she has been rendered as carrying leaves of some tree in both of her upper hands. (5) Praj na pti - the 2nd Vidyadevi. She shows the varadaksa, a fakti (spear), a kukkuta (cock), and a fruit. Although in no Svetambara dhyana Prajnapti is visualized as carrying kukkuta, in art the representation of kukkuta was undoubtedly in vogue. The figure of Prajiapti in the set of Sixteen Mahavidyas from the Rangamandapa of tbe Vimala Vasahi also shows a kukkuta and a fakti in her upper pair of arms. The association of the kukkuta simultaneously with sakti and the peakock mount renders the Sambodhi 2.3

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Maruti Nandan Prasad Tiwari bearing of the iconography of the Hindu deity Karttikeya on Prayar doubtless. Barring the representation of kulkuta, the figure tallies with the description of Prajaapti in the Nirvanakalika, which enjoins the vara... bakti, a sakti and a fruit in her arms,20 (6) Acchupia - the 14th Vidyadevy. She betrays a sword, a sara (artis, a shield and a bow. The figures agrees with the description of the thing Nirvanahalika which prescribes a snake in place of a bow.91 However, a ne work--the lcaradinakara - envisages depiction of bow. 22 (1) Gauri - the 9th Vidyadevi She holds the varadaksa, a gada (mace may be musala even), a sanala-palma (long-stalked lotus) and a fruit. The figure, if the second attribute in this list is accepted as a musala, alia mpa fully corresponds to the details about Gauri in the Nirvanakalika w a prescribes the varada, a musala, a rosary and a lotus.23 (8) Gandhari - the 10th Vidyadevi. She shows the varadaksa, a thunder bolt. A musala and a fruit. The figure agrees with the description ufalme Nirvanakalika except substituting the abhaya for fruit, 24 It may be me that in other instances at Kumbharia also Gandbars carries a thunderbixwe and a pestle in two upper hands. (9) Vairofya - the 13th Vidyadevi. She holds a sword, a snake (uragd, * shield and a snake (looking like a purse). The figure is fully guided but injunction of the Nirvanakalika prescribing the same set of symbol fx Vairotya.85 It may be poted that soake simulta teously associated with and and shield symbols has always remained the distinguishing emblent Vairotya iu art and literature both. (10) Kall - the 7th Vidyadevi. She bears the varadaksa, a noose, a khat (the osseous shaft of the forearm capped by a skull) and a fruit. On acco? of the khafpanga symbol the most plausible ideatification of the precem goddess would be with Kali. An influence of the Hindu goddess Ca mula2* -also another appellation of Kali, over this figure is here discernible. may be noted that the present figure does not correspond the least to any of the known Svetambara dhyanas which generally prescribe for ka a rosary, a mace, & vajra and the abhaya. Any parallel showing Kale with khatvanga is not known to the author. The fact that on olles Mahavidya in the series is associated with kha/yanga, an invariabte attu bute of the Hindu goddess Camunda or Kali, suggests a Hints influence on the present figure of Jaina Vidyadevi with the identical news Kali Such trans sectarian influences are, however, not unknowo. We have already discussed in the previous pages how, violating the canonica in junctions, under the Hindu influence kukkuta was associated with out Mabavidya Prajnapti. (The occurreace of khafvanga, fames of fire and human head fike fury symbols with the Jaina goddess at once suster

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The Iconography of the Sixteen Jaina Mahavidyas 19 that the Tantric influence was gradually increasing in the Jaina pantheon. For example, an instance is known to the auther from the Temple No. 12 at Deogarh (862) where in the series of the 24-Taksis, the Yakst associated with Kunthunatha (the 17th Jina) carries a human head beld by its hair in one of her hands ) (11) Rohint - the 1st Vidyadevi. She carries the varadaksa, an arrow a, bow and a fruit. As against the prescriptions of the Caturvimfatika a7 and Nirvanakalika (p. 37). She does not show the conch symbol. The texts prescribe a rosary, an arrow, a conch and a bow. In the sets of the Vimala Vasahi (Rangamandapa) and the Kharatara Vasabi, however, Rohini exhibits conch in one of her hands. At Kumbharia, also in other instances of Rohmi the association of conch was not popular, (12) Vajrunhusa - the 4th Vidyadavi. She bears the varadaksa an ankusa (goad); a vajra and a fruit, which fully conforms to the description of the goddess available in the Nirvanakahika.23 It may be noted that she, in conformity with her name, has invariably been incarnated with an ankusa and a vajra. (13) Mahajvala (ox Sarvaitra-Malajvala) - the Ilth Vidyadevi. She holds the varad aksa, a jvala-patra (pot with flanes coming out), a jvala-patra and a citron. It may be noted here that the Nirvanakalika and the Mantradhiraja. kalpa (of Sagaracandra Suri--c. twelfth-thirteenth century) do not mention fames as her characteristic atrtibute. The Mantradhirajakalpa, however, prescribe snakes in all her four arms. The Caturvimsatika associates burbing het, as a distinguishing symbol, with Manass (...jvalajjvalanchetika haratu manasi...56.14) while this attribute is invariably associated with Mabajvala, specially in art representations. It is to be noted that in the Caturvimsatika the iconographic traits of the two Vidyadevis - Manasi and Mabajvala - have been conceived in one Vidyadevi, that is Mansi and hence Mahajvala finds no separate mention in the text. The Acaradinakara, however, describes Jvala Devi as possessing two arms and carrying flames in both of them 29 Almost all the known instances depict Mahajvala as carrying two jvala-patra (placed on the open palms and held with fingers) in upper pair of hands, and bare flames of fire are only rarely represented. (14) Manasi (?) - the 15th Vidjadevi Sbe shows the varadaksa, a sula, a Sula and a fruit. As no available dhyana makes any provision for the rendering of the sula in the hands of Manasi, and all the iconographic texts unanimously prescribe Sakti (Fala) as a distinguishing attribute of Prajnapti, already identified with definite emblems akin to her, the present goddess should represent some other Vidyadevi. Since except Manasi and Mahamanasi, all other Vidyadevis in the sel are identified with certainty,

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Maruti Nandan Prasad Tiwari the present figure and the following one would automatically represent Manasi and Mahamanasi. In all the iconographic works Manasi is said to have carried thunderbolts in upper pair of arms, and it may be the case that, by mistake, sulas have replaced thunderbolts. It may be noted that a goddess showing sulas in two upper arms was much popular In the Santinatha and other temples at Kumbharia, but nowhere her vahana bas been carved, thus leaving the problem of her identification as it is. 20 (15) Malamunasi (?)-the 16th Vidyadevi. She betrays the vaadaksa, a long-stalked lotus, a long-stalked lotus and a fruit,30 As has already been mentioned, the figure does not conform the least to any of the known dhyanas prescribed for Mahamanasi, which generally describe the latter with the varada, a sword, a pitcher and a shield (the Nirvanakalika p. 37). It may be noted that the goddess with long-stalked lotus in each of the two upper hands was represented in a number of sculptures in the Santinatha and other temples at Kumbharia and eleswhere but nowhere her vehicle is rendered. Hence the problem of her identification remains unsolved, The goddess with long-stalked lotus in the upper hands is generally identifiable either with Santidevi or with Nirvant (the 16th Yaksi). As the context here is precisely different, we are forced to identify her with Mahamanasi,31 (16) Feirasrnkhala-the 3rd Vidyadevi. She holds the varada-mudra, a chain sukhala) in two upper hands (passing from behind the neck) and a fruit, The figure corresponds to the description of the Nirvanakalika, except for showing a fruit against the lotus of the text. It is to be noted that all the four-armed figures of Vajrasnikhala throughout the subsequent ages have been depicted as carrying chainin two upper arms. Foot-notes: (1) The final list of the Sixteen Jaina Mahavidyas supplied by the later traditions of both the sects includes the following names: (1) Rohini, (2) Prajnapti, (3) Vajrasrnkhala, (4) Vajranhusa, (5) Cakresvari or Apraticakra (Svet.) and Janibunada (Dig,), (6) Naradatta or Purusadatta, (7) Kali Kalika, (8) Mahahali, (9) Gauri, (10) Gandhati, (11) Sarvastra-mahajvala or Jvala (Svet.) & Jyklamahni (Dig.), (12) Manavi, (12) Vairotya (Svet.) & Vairoti (Dig.), (14) Acchupta (Svet) & Acyuta (Dig), (15) Manasi, (16) Mahamanasi, (The present list is preparep from the huts occurring in the different iconographic texts ranging in date between eighth to the sixteenth centuries.) (2) For detailed study consult, Shah, U P., 'Iconography of the Sixteen Jaina Mahavidyas' Jour. Indian Society of Oriental Art, Vol. XV, 1947, pp. 114-177. (3) Ibid,, Shah writes, "As yet no sculpture or painting of a Digambar Mahavidya is brought to light...." (4) The prolific Digambar Jaina site at Khajuraho was visited by the present author in pursuance of his research work. Hence, the reaults are based on his own studies of the Jaina iconic data at the site.

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The Iconography of the Sixteen Jaina Mahavidyas 21 (5) However, U.P. Shah in his paper on the Jaing Mahavidyas has not quoted any example of the Mahavidya figure from the Mahavira temple at Osia, (6) Consult, Dhaky, M A., 'Some Early Jaina Temples in Western India'. Shri Malavira Jalna Vidyalaya Golden Jubilee Volume, PL, I, Bombay 1968, pp. 325-26. (7) Sonpura, Kantilal 1'., The Sluctural Temples of Gujarat, Ahmedabad 1963, pp. 129. According to Somputa, "The earliest four inscriptions on the pedestals of images are dated V.S. 1133 (= 1077 A.D.). However, the present author during his visit to the Kumbharja temples has noticed even an earlier inscription of the Samvat 1110 (=1053) in the Cell No. 9 of the Santinatha temple. (12) The Vimala Vasali's two sets of the Mahavidyas collective representation were held to be the earliest examples of the collective rendering of these goddesses till the author found a still remote instance of the kind of Kumbharia, (B) for the iconographic data at Kumbharia consult, Tiwari, Maruti Nandan Prasad, 'A Brief Survey of the Iconographic Datant Kumbharia, North Gujarat', Sambodhi, (Publ. from the LD, Institute, Ahmedabad) Vol. 2, No 1, Apni 1973, pp. 7-14. (9) However, UP, Shah in his paper on the Jama Mahavidyas does not refer to this cailtest known set, which is for the first time published liete. It is to be noted that It is not only the solitary instance of the collective representation of the Sixteen Mahavidyas at the site lul also perhaps in Gujarat. The author regrets that he is unable to illustrate the ceiling fully and the accoinpaying photograph, however, shows only ten of the Vidyadevis, namely, Gauri, Gandhari, Vairogya, Kali, Rohini, Vajran. kuga, Mahajvala, Minasi (?), Mahamanasi (TM), and Vajrairtiklala. (10) Shal, U.P., Jaina Mahavidyas ... Pp. 120-21. (11) The rendering of the Sixteen Mahavidyas cncircling the central figure of Jina Supar avanatha (the 7th Jina) may suggest some affiliatiou of the Tantic group of Maha. Vidyas with the Jina, which perhaps is not known in the literature. However, this is the only known set which iepresents the Sixteen Mahavidyas around a Jina figure, (12) It includes trichatra topped by a disembodied figure and a pair of elephants, mala dhara, and divine musicians at top sides. (13) For example Rohini, instead of Prajnapti, 13 followed by Vajrankusa and Cakresvari, instead of Vajiankusa, is preceded by Vaji asrnkhala. (14) Shali, U.P, Jaina Mahavidyas ... Pp. 132-133, (15) At Osia on the Mabavira temple and 90 also on the Devakulikas (eleventh century), she is carved with discs in all her four hands. A few other identical instances have also ben noticed by the author at the Paravanatha temple at Sadri and the Mahavira temple at Ghaner av, both located in the Pal District (Rajasthan) and constructed in c. tenth-eleventh century. However, in the scries of the 24-Yakses at Deogarh (Temple No. 12 - 863) also Cakresvari shows discs in all her four hands. (16) ghaNTendrazastra saphalakSamAlaM nRsthA vahanto vimalA kSamA'lam / Caturvimsutika. 63 17. (with Gurjara translation. Bombay 1926, p. 119). (17) See No vanakalilca Ed. by Mohanlal Bhagavandas, Muni Sri Mohanlal Ji Jaina Granthamala : 5, Bombay (1926, p. 37). (18) puruSadattAM kanakAvadAtAM mahiSIcAhanAM caturbhujAM varazasiyuktadakSiNakarAM mAtuliMgakheTakayutavAmahastAM ceti / /

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Maruti Nandan Prasad Tiwari Nirvanakalika, p. 37. (12) mA nayoM zyAmavarNA kamalAsanAM caturbhujAM varadapAzAlaMkRtadakSiNakarAM akSasUtraviTapAlaMkRtavAmahastAM ceti // Nirvanakalika, p. 37. (21) prApti zvetavarNA mayUravAhanAM caturbhujAM gharadazaktiyuktadakSiNakarAM mAnuliMgazaktiyuktavAmahastAM ceti // Nuvanakalika, p. 37. (21) acchuptA taDidvarNA turagavAhanAM caturbhujAM khaDgavANayutadakSiNakarAM kheukAhiyutavAmakarAM ceti // Nirvanakalika, p. 37. (22) sadhyapANidhRtakArmukaspharAnyasphuradvizikha khaDgadhAriNo / Hearadunakara, Pt. II, Pratus thadhikara, 34.14. (Editor unknown, Bombay, 1923, p. 162). (23) goroM devoM kanakagorI godhAvAhanAM caturbhujAM varadamulalayunadakSiNakarAmakSamAlAkughalayAlaMkRtavAmahastAM ceti / Nirvanakalika, p. 37, (24) gAndhAroM devIM nIlavarNA kamalAsanAM caturbhujAM varadamunalayunadakSiNakarAM amayakulizayutavAmahastAM ceti // No varakalika, p 37. (25) berAyAM zyAmavarNA ajagaravAhanAM caturbhujAM khaDgoragAlaMkRtadakSiNakarAM kheTakAhiyutavAmakarAM ceti // Nirvanakkaliki, p. 37. (25) See, Benerjea, I.N., The Development of Hindu Iconography, Calcutta, 1956, p. 274. (27) zarAkSadhanuzaMkhabhRnnijayazovala kSamatA... ___Caturvimbatika. 12.3. (Ibhd, p. 25) (23) vajrAMkuzAM kanakavarNA gajavAhanAM caturbhujAM varadavajrayutadakSiNakarAM mAtuliMgAMkuzayuktavAmahastAM ceti / / Nirvanakalika, p. 37. (29) mArjAravAhanA nityaM jyAlodbhAsikaradvayA / zazAMkadhavalA jvAlAdevo bhadraM dadAtu naH // Acaradanakara, Pt. II, Pratisthadhikara, 34.11, (Ibid. p. 162.) (301 However, in the Virmala Vasahl set of the Rangamandapa agoddess with mount bullo (of Purusadatta) is rendered with long-stalked lotuses in two upper hands. (31) As the previous figure has already been identificd with Manasi, the present figure rray be identified with Mahamanasi, bajrakhalAM zaMkhAvadAtAM padmavAhanAM caturbhujAM varadakhalAnvitadakSiNakarA pAyakhalAdhiSThitavAmakarAM ceti // Nirvanakalika, p. 37. (31) As ils (of Purusadata)Vasahl set of the Ibid. p. 162.)

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A RECENT STUDY OF INDIAN KAVYA LITERATURE* -REVIEWED N. M. Kansara With Maxmuller's History of Sanskrit Literature (1860) regular works on the subject began to be written in English and other European langu. ages, the most notable among them being those by Weber, Schroeder, Frezer, Macdonell, Oldenberg, V. Henry, Winteraitz, Keith and Windisch, The death of Professor Winternitz before the completion of the English translation of the third volume of his History of Indian Literature (in German) prompted the Calcutta University to supplement in English the work of Winternitz by undertaking to write out afresh the portion dealing with Kavya, Alamkara and other technical sciences. The works of the European scholars were more or less of the nature of surveys uptodate of the Sanskrit studies of the times and naturally devoted more space for chronological controversies than for the details of the works they were supposed to survey. The real history of Sanskrit literature came to be written on a grand scale by M, Krishnamachariar (1936) who took extraordinary pains to reach, and enter in the references, all that had been said about any author or work anywhere in books, journals or papers. And his monumental work though confined to the Classical Sanskrit literature has remained unsurpassed in its design, depth and coverage. The earlier European scholars tried to cover the entire tradition but their treatment of the classical literature was very sketchy. Winternitz attempted to instruct the German reader as far as possible in the contents of the literary productions by means of quotations and summaries of the contents. Keith left out the entire mass of the Vedic literature as well as the epic histories and epic legends. De followed Keith as a model. Of course they have written not for specialists only but also in the first place for educated laymen too. There are about half a dozen smaller books meant mainly for students to prepare for the examination. For most of these writers, civilization of man is supposed to have started only with the Greeks, and the realistic and practical outlook, as also the proper sense of values, are completely overlooked in the present day judgment about the ancient Indian culture. In the histories of Sanskrit literature there is no * INDIAN KAVYA LITERATURE Vol. One, Literary Criticism, by A, K. Warder. publ. Motilal Banarasidass, Delhi, 1972. (Ist Edn.) Rs. 40/-,

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24 N, M. Kansara consideration given to the people in the country among whom the litera. ture developed. This has been pointed out in different contexts by C. V. Vaidya, Ananda Coomaraswami, Kunhan Raja and Krishna Chaitanya, and now by Warder. Dr. A. K Warder, Professor of Sanskrit at the University of Toronto in his work strikes a rather new note, unexpectedly discordant with the fashionable view-point of the established veterans in the field. The plan of his work meant to be the proper evaluation and survey of Indian Kayva Literature," is a sort of a fresh history of Classical Sanskrit literature. though with a difference. His scope is well-defined and the purpose of his work is literary criticism meant to evalute a great literary tradition, practically unknown to all but a few specialists in Sanskrit. The title of his work would seem to be too wide of the scope but the author seems to feel that the real essential 'India', and her 'Kavya' are basically rooted In Sanskrit literature, perhaps the same feeling which inspired Winternitz to choose the word "Indian" in preference to "Sanskrit" in the title of his work on bistory of the Sanskrit literature. In his preface he has laid bare the cultural arrogance in some of the Western wiiters whose still persisting anachronistic standards of literary evaluations of ancient Sanskrit literature rule the day. He has exposed the scholars who tried to supply information on Indian literature by applying whatever critical ideas they had picked up from their environment, accordingly taking western models as the only possible standard of good literature, Like Kunban Raja and Krisboa Chaitanya, Warder felt that a new evaluation of Indian literature was long overdue, and in bis attempt at carrying out the mission he has planned bis Indian Kavya Literature in three volumes. He has accepted it as axiomatic that the literature studied should be presented on its own terms. He seeks guidance from its own creators and from the long and ancient Indian traditions of literary criticism which it developed with it. His sense of better judgment has prevailed in separating the chronological problems, the discussion whereof has been kept to the minimum in order not to interfere with the main purpose; he has attempted the chronological aspect in a separate work entitled 'An Introduction to Indian Historiography.' As for the present work, it has been an important part of the author's purpose, here proposed, to study the positions of Kavya composers 10 the social and cultural history of India, a form of literary criticism that has not been seriously attempted before in the case of India. The present writer has set bis panorama in his vision of Indian history as a whole. Kavya for him is literary as a form of art, cxcluding scriptures or religious writings and all technical writings on philosophy, science, arts and etc.; it includes. poetry, drama and the novel, and history and biography, when presented aesthetically,

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A Recent Study of Indian Kavya Literature Volume One, recently issued, consists of first eight chapters meant to be an introduction, presenting the Indian aesthetic and critical theorles and also the social milieu of the literature, so as to suggest to the readers, especially Western or Westernized readers, how the literature was meant to be enjoyed. The author is inspired as well as led by the work of Dr, M. Krishnamachariar in whom for once he found a sympathetic pioneer and an extremely persistent and devoted one. In a sense Dr. Warder's work is simply a commentary on Dr. Krishnamacharar's work as it uses the rich matter the latter has assembled as the basis for an exercise in literary criticisin on the originals. Though the work is a secondary source, the writer has done his best to make it authentic and embody his subject in his work without interposing his own personality. Chapter One (pp. 1-8), elucidates the scope of the term Kavya as distinguished from scriplures or canonical works (agama), tradition or history (itihasa) and systematic treatises on any subject (sastra), and gives an account of various languages such as Samskyta and Praktta, the latter being outlined in their origin and development individually under seperate heads like Magadht, Paisaci, Maharastri and Apabhramsa. The author points out, after Rajasekhara, that Kavya was not restricted in practice to any group of languages and besides the Indo-Aryan languages, Karyas appear in the Dravidian languages, especially Tamil, and in languages as remote as Javanese. Although Dr. Warder feels that to follow the main line of development of Kavya in India we must include samsksta, Prukyta and Apabhramsa on an equal footing and we must also notice the developments in the modern languages and in the Dravidian languages, he is equally aware that the plan of a general study cannot conveniently embraco such a manifold history. He has, therefore decided that though he concentrates mainly on Sanskrit he should observe those trends in the modern Indian languages which are related to his theme, and he thinks it desirable in the latter period to refer to Kavyas in Tamil, Telugu, Kannada and Malayalam. In Chapter Two (pp. 9-53) the author considers the dramatic theory of the aesthetic experience and matters related to it. He traces the history of the theory of aesthetics to the existence of parallel streams of the practice of Kavya and critical observation, of the theory of pleasure. The sociologi. cal background depicted in the Kamasutra is outlined with special reference to Nagaraka, Gosthi, festival, the three careers of Vita, Vidusaka and Puthamarda open to people in the service of a Nagaraka. The fundamentally secular outlook of Kayya is emphasized with reference to its functions Sambodhi 2.3

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26 N. M, Kansara traced right from Bharata's Natyasastra to the exposition of Rasa. and to the number of Rasas. The special devices and methods of art with refe rence to its aim of realism are discussed with profound insight into the inajor movements in Indian thought, viz., Buddhism, orthodox Brabanism. monistic saivism and Jainism. The idea of literary and dramatic appreciation is elaborately explained from the developmental points of view right from Bharata to Rapagoswami and Kavikarna pura and his commentator Lokanatha. 2., Buda, profons of arresa, an Chapter Three (pp. 54-76) outlines the elements of objective, livrtta Arthaprakrii, Samdhis, the five rhetorical devices, the twenty one Sandhyan. taras, the theory of the ten stages of love, the four varieties of injection of subsidiary matter (Patakasthanaka), the Sandhyangas, the use of these limbs, the arrangement by acts and the total length of a play, duration of full length plays, various considerations its brings to bear, some additional recommendations as to the tinie of performance, structural theories of Bharata, Sabandhu, Matrgupta, Dhananjaya, Abbioavagupta, Saradatanaya, singabhupala, Vidyanatha, Ramacandra and Gunacandra, Udbhata and Sankuka, Then follows the interesting discussion about the new device of Garbhanka, application of dramatic structure to other forms of Kavya, consideration of scenery and props, stage and conventions of time, space, and of gradually shifting scene. The origin of the main classical tradition of drama is, then, traced from Mathura, the home both of the dialect Saurasent and the company of the actors of the Sailalaka school. The chapter concludes with passing references of the theory of types of hero and heroine, the underlying principles of the drama, the acting of four kinds and its relation to various Rasas as also its combination in five classes of Nafaka. In Chapter Four (pp. 77-121), follows the consideration of the theory of figurative language, stylistics and nature of poetic suggestion as distinct from that of the techniques and theory of dramatury, Dr, Warder is aware that the two studies overlap, however, and that the separation represents a tendency on the part of critics and theorists to specialise in different aspects of the aesthetics and critical field relating to literature. The theory of characteristics (Laksanas) or modifications, the figures of speech (Alankaras), and the faults (Dosas) are traced from Bharata, through Bbamaha, Dandin, Vamana, Anandavardhana, Udbhata, Rudrata, Raja. sekbara, to Kuntaka. The author has outlined at length the contribution of Bhamaba and that of Kuntaka in view of the latter's systematic dise cussion of the whole range of poetic activity basing all the topics on a single concept of figurative expression at six levels of expression, such as phonetic, lexical, grammatical, sentential, contexual and composition as 4

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A Recent Study of Indian Kavya Literature whole. The contributions of Mahimabhatta. Markha, Jayadeva, Appayya Diksita are also noticed in passiog.. The chapter closes with the indications of the main directions of Indian criticism and their effects on the creative writers. Chapter Five (pp. 122-168) begins with the discussion about the origin of the drama and characteristic features of each of the ten main types of drama in their order of evaluation from Bhana, through Vithi, Prahasana, V yayoga, Utsrstkanka, Samavakara, Dima, Thamrga, to Nataka and Prakarana all in their historical perspective. Beside the main types, the secondary type like Nauka and minor types of performance such as Totaka Sattaka Prakaran, Sallapa, Vara, silpaka, Durmallika, Gosthi, Preksanaka, Prerana, Mallika, Kalpavalli, Parijataka, Rasaka, Natayarasaka, Tandava, Lasya (with all the twelve limbs), Nartanaka, Chalika, Hallisaka, Samya, Dvi padakhanda, Skandhaka, Dombika, Srigadita, BhanakaBhanika, Bhana, Prasthana, sidgaka, Ramakrida, Ullapyaka and Silpaka are similarly discussed in their bistorical evolution. This chapter is taken by the author as the best place to collect all information available uptodate about these obscure forms. At the close of the chapter our attention is drawn to the fact that the secondary dramas and Nityas found are essential part of the literary scene when Kavya flourished freely as a literature of the whole society, but that part of the heritage has for the most part accidently perislied, and that social criticism in literature was not impotent. Chapter Six (pp. 169-180) is devoted to the historical evolution of the literary forms like epic, its manner of telling the story, the separate category of Citrakavya, the change of certain formal characteristics of the epics written in Maharastri or Apabhramba, the lyrics, anthology of lyrics and a few examples of vernacular lyrics called Rasas, Similarly, Chapter Seven (pp. 181-139) outlines in historical evolution the nature of literary forms like Akhyayika, Akhyana, Campu, Katha, Byhatkatha, Parikatha, Sakalakatha, Khandakatha, Nidarsana, Matallika, Manikulya and Pravahlika. The effect of the ravages of time on the novel, the real formal construction of the novel, belief in transmigration, dramatic effects in plot-construction and the prose style of the novel are also considered towards the close of the chapter. Lastly, in Chapter Eight (pp 200-218) the author has discused the function of the Samaja of audience, the performance of the plays and recitation of the Kayyas therein, two aspects of Kavya as a literature of the people as a whole and as having a strong bias towards the ruling classes, the patronage by kings, ruling classes, merchants, Nagaraka and 'gaisbas', the royal poets, the education of Kavi, autobiographic fragments left in their works by poets like Bana, Rajasekhara, Dandin and Puspadanta.

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28 N. M. Kansara The author refers also to the variety of opportunities to the Kavi, the decentralisation of poetic talent and poetic works as a factor contributing to poetic cultivation during the periods of political upheavels and foreign rule, the pure poctic fancies with regard to Aboka tree. Cakor the systems of the seasons, the jasmine and etc., the interplay of the sentient and the insentient aspects of the universe. The chapter closes with an appreciation of the ideals of Indian civilisation which are deemed not only simply fine, but also in great part still desirable indeed necessary for humanity. Dr. Warder rejects the suggestion that Kavya is merely the literature of a class and not of India or of humanity. He further emphasises that Kavya was a national literature, or more correctly the literature of a civilisation, and that in the darkest days it kept the Indian tradition alive. and handed over the best ideals and rospired the struggle to expel the tyrannical invaders and realize these ideals. Finally he exhorts that in the present fusion of world civilisations it is necessary, if we value happiness or our very existence, that this inheritance should be appropriated by the whole human race. The utility of the work is enhanced by a fairly large bibliography (pp. 219-260) for volumes one to three and by Index (pp. 263-281) to volume one. Throughout the work Dr. Warder gives ample proof of his firsthand acquaintance, and minute reading of, original Sanskit sources, of a com. prehensive and thoroughly synthetic outlook encompassing the whole field of literary criticism in Sanskrit, and of a rare insight into the proper perspective of the topics discussed in the Sanskrit works on poetics. Rarely has a writer of a history of Sanskrit literatuse taken so much paids to verify the facts with reference to their sources, to set himself free from the cobwebs. of established and indeed tyrannically biased opinions of westerners or westernised Indian veterans, and to correct the bearings of our literary sight and to guard our critical literary judgment from mis. firing or totally miss the literary targets. The novel typographical devices adopted by the author, viz., the system of using + (plus) for A.D. and ' (minus) for B.C., of cross-references, Sanskrit and other Indian words utilised in origioal, footnotes and bibliography need some comment. The system of using plus and minus for A.D. and B.C. respectively is supposed to be both convenient and secular. Apart from convenience which is but a subjective factor, it cannot be truly secular since the basic reference still remains to be to the Christian Era. It would have been more desirable, and seculiar too, as also in keeping with the spirit of the work, if the corresponding figures of both the Vikrama (or Salivahana) and the Christian Eras were given side by side ! One cannot have any grivance against dividing the entire work into numbered paragraphs

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A Recent Study of Indian Kavya Literature 29 so as to avoid unnecessary duplications of explanations and examples. But in a few cases the paragraphing is awkward, e.g. in ch. V, paras 32011., where the topics and sub-topics have to be separated, in which case paragraphing can run parallel or in subordination to the topics as might be necessary to maintain clarity of treatment. Stil more awkward and rather inconvenient is the system of italicizing the English translation of Sanskrit and other Indian worlds to avoid the use of brackets, which latter are knowa to clearly indicate that the bracketed term is given as the original of its equivalent English translation. The author endeavours to cure the reader of this normal expectation by introducing unnecessarily inconvenient innovation which necessiates him to remember his note on the device every time such word occurs ! The author's flair for novelty, and perhaps for falling in line with the current fashion, has inspired him to regard footnotes as intolerable interruption and hence undesirable. He has sought to include all essential information and references to sources in the text of the work itself. So far so good. But that does not by itself disprove the necessity of footnotes. The system of footnotes-if not at the bottom of the page in question, at least at the end of the chapter or of the last one - has proved most useful and readily referable. As a result of the author's innovation, the bracketed information fit to be consigoed to the footnotes sonetimes Intrudes in the middle of a sentence and soinetimes it runs to the extent of five lines, as in para 174. That the bibliography of all the three volumes has been given in the very first one rather than in the last one, would constrain one to conclude that the author has closed his doors against utilizing and including a few useful works in original or translation, that might become available to lani during the interval between the publication of the first and the last volumes. And incidentally this might also imply that he has shut himself up against any necessary revision in the statements finalised so far. His bibligraphy would surely suffer for lack of information about many a better edition of some of the Sanskrit works and the English translations recently done by Indian or Non-Indian scholars like Giuseppe Giovanni Leonardi and others. Inspite of these minor aberrations, the work is indeed a highly valuable contribution to Indological studies and affords a fresh and thorough insight into the socio-literary forces that have gone into the making of the Sanskrit literature. The scholarly enthusiasm and profound integrity, along with the rare insight, barnessed by Dr. Warder, a genuine Sahrdaya, in preparing such an authentic work would have surely mitigated Bhasa's dis-appointment that appreciators are but rare".

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COLLECTION OF JAINA PHILOSOPHICAL TRACTS REVIEWED E. A. Solomon In this Collection', Shri N .J. Shah has edited ten bitherto unpublished Jaina philosophical tracts. (i) Saddarsana-nirnaya of Merutungasari (15th cent, VS.) (pp. 1-11). At the outset the author gives a very broad-minded definition of true Brahmana. hood (-paraM tad brAhmaNya satya-tapodayendriyadamAdirUpabrahmAtmakaM mukhyalakSaNam...satyAdirUpaM ca brahma faraha agar saft qolg za va- p. 1.). Then he gives a brief idea of the relevant six systems of philosophy--Bauddha, Mimams (along with Vedanta), Samkhya, Nyaya, Vaisesika and Jaina. The author has pointedly criticised the Buddhist doctrine of momentariness, the denial of sarvajnata in Mimamsa, as also the apauruceyala of the Veda and the element of himsa and raga in sacrificial rites, the Sankhya concept of praksti-purusa with special reference to their rejation, the Nyaya concep. tion of God, and the Vaisesika concept of moksa. He seems to approve of the Jaina emphasis on austerity and spiritual discipline, and on darsana, Jaana and caritra as leading to moksa. What the author seems to emphasise Is that in spite of inetaphysical differences all the systems of Indian thought agree with regard to their values of life and discipline. He substantiates his view by quotations from works of different schools. The author has distinguished between the Nyaya and the Vaisesika concepts of moksa. See [area] facanda yen faltelefant surfacin: GGUFT FTA: 1 (p. 5) and [asrusaa] 29191 fa-y-gazere 9-934-cafettsaMskArarUpavizeSaNAnAmatyantocchede mokSaH / (p. 6). The style of this tract is simple. Certain expressions are noteworthy, e.g., farafa aga hafa fara acai fe 717 FIT (p. 6), (ii) Pancadarsana-khandana (pp. 12-19)-author not known, but undoubtedly a Jaina writer (The date of the M.S. 13 V.S. 1503), Here we find the refutation of four philosophical systems (-Nyaya, Vaisesika, Samkhya and Bauddha-) though the title is Panca'. The author's stand-point is that of a Jaioa and he tries to show that the principles recognised by the other systems could be easily accomodated in jiva and ajiva recognised by the Jainas. He criticises very briefly the philosophical views of the other systems, Collection of Jaina Philosophical Tracts - Edited by Nagin J. Shah (May, 1973-L.D, Institute of Indology, Ahmedabad, 9; pages 14+164; Price Rs, 16).

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L. A. Solomon (iii) Vividhamalasthapakotrhapakanumanasangraha (pp. 20-30) by a Jaina author-name not known (The MS was written in V.S. 1600). This is a hand-book meant to serve as a guide for those indulging in debates. The author gives syllogisins for and against some important much-debated philosophical views, though in the very first instance he does not give any syllogism to disprove the reality of a sarvajna - perhaps there was not much likelihood of there ever being the necessity to disprove his reality even by way of intellectual gymnastics. There are arguments for and against Tsvara-jagathartrtra-rada, Prapanca-mithyatva, Citrajnana (i.e. the Vijnada. Vada view), Sabdabrahma-vada and sabdasya apaud galikalva. In the section on Pramina-ruda, the autbor bas first lucidly explained the Carvaka position that anumang is not a pramana, and then established that it is. The author is undoubtedly a Jaina as he recognises sabda as paud galika (-a mode of matter) (1v) The editor has given the name Vada-catuskam to this tract (pp. 31-48) as it contains four vadasthalas ; writer not known, but undoubtedly a Jaina. The date of the MS is c. 1960 V.S. The four discussions are (a) Agni. Sitatva-sthapana-vada, (b) sarvajna-sthapaka-stholam (C) civara-sthapakaSthalain, (d) Isvarotthapaka sthalam. The first establishes futatva (coolness) as a quality of fire; the second establishes the reality of a sarvajna; the third proves that putting on garments does not disqualify a person from attaining liberation, and the fourth refutes the position that God is the creator of the world. The editor rightly connents that it is strange to find the author proving that fire is cold. His conjecture is that it is meant to answer the question put to him, who is a believer in Anekantayada, viz. "If your Anekantarada be true, then fire should be cold. But is it cold p" This is quite feasible. But it could also be that such discussions were meant to be Illustrations of intellectual and argumentative or dialectical exercise, showing that one need not feel nervous; it is certainly possible to defeat the opponent under any circumstance; even fire could be proved to be cold. This is supported by the fact that the author has throughout given very interesting illustrations and the language is highly artihcial aud ornate (see any yataH hemantasamayavAsara mukhyavyajyamAnArdIkRtatAlavRntaprAntaprocchalatazItazIkarAsArazizire vaizvAnare 30017919afecafaa...p. 31); gggafa faqafq a nqafa, p. 35; faFragrafnin fatagungafa-p. 36; Aaafa marafe 15 Tiffa--p. 38). (v) Parabrahmottha panasthala (pp. 49-58) ot Bhuvanasundarasuri (13th cent, V S.), whose other works are Mahavidyayidambana-vyakhyana, Mahayidyavivarana-lippana, Laghu-mahavidya-vidambana and Vyakhyana-dipika. As expected Bhuvanasundarasuri is a past master in the art of refutation, Here he refutes a number of arguments advanced by the Sankara Vedantins to

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Collection of Jaina Philosophical Tracts 33 establish the falsity of the world from the ultimate point of view. The style is highly ornate and artificial in the first few pages before the author settles down to serious ratiocination. (vi) Hetuvidambanasthala (pp. 59-75) of Jioamandana (latter balf of 15th cent. V.S) is again an exercise in dialectics where the Jaina author almost like a sceptic urges that anumana could never be a pramana and shows the untenability of the sadhya, the hetu and the vapni in a syllogism. The style is throughout ornate and even verbose. The author concludes by saying: ga fagfarzfaati ufe argarafa gratulaat afada tadA prasapodadhura paravAdinA kiMcinmAtrasAdhayaMvaidhayopayuktahetumAtrabalA'valambanena kartha samujjambhate 9 fra fazuzahl: 1 (p. 75). This shows that be is inclined to give hints for the refutation of rival systems, whose position, according to him, is not quite sound. (vii) Helukhandana-panditya or Vadiajar a-praharana (rr 76-106) of Sadhuvijayayani (1550 V S.) This tract is divided into live sections with what could be called an appendix at the end. The first section on Trividhahetukliandana demonstrates the flaws in aprayojakohetu, mahand vahetu and yakracchayanuumanahel. In the second section, Upadhevvela the author explains with illustrations a definition of upadhi, viz. 'sadhanavyapakotre sati sadhyasamavyaptir upadhih'. The third section, Upadhi prakasa explains another definition of upadhi, viz. 'sadhyayinabhave sa paksasadharanadharmayan upadhih'. The author points out that the faults of asiddha, viruddha and the like are present when the upadhi is present. The fourth section, Pralyup adhi pradipa gives an exposition of pratyupadhi, which is defined as 'upadhyaharanumananugrahaku'. In the ffih section called Upadhikhandanakanksaliksa, the author points out various drawbacks in the definition of upad hi and pronounces the opinion that upadhi is nothing over and above hervabhasa. The appendix gives practical suggestions as to how the opponent could be over-powered by discouraging hints as also by tricky arguments, some suggestions for which are given (see pp. 101-105). At the outset the author explains the namaskara stanza in different ways, according as it is meant to be addressed to Vardhamana, Visnu, Siva, Sumati Sadbu (bis teacher's teacher-) and his own udyaguru Sinuharsa. The style is throughout ornate and verbose. (viii) Prananasara (pp. 107-126) of Munisvara latter half of the 15th cent, V.S) is divided into three Paricchedas- (a) Pramanasvaripa-praiupaha, (6) Pramanasankhya-visaya-phala- u pratipati-vyased haka and (c) Darsana vyavasthiasvarupa prarupaka. This tract shows that pramana-praryti is not possible in the case of Brahmadvanta, Jnanadvaiti and Sanyavada and refutes the Carvaka position that pratz aksa is the only pramana. In a way it is a good manual of Jaina logic, It gives also an exposition of the cause of kevalajnana and very boldly says that the eating of food does not come in

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34 E. A. Solomon the way of kepalajnana; similarly, woman-hood is no bar to the attainment of kevalajnana; nor does the wearing of garments binder it. In the last section the author gives briefly the main tenets of the Jaina, Nyaya, Bauddha, Samkhya, Vaisesika and Mimamsa systems of philosophy and briefly refers to the case with which the Brahmavivartavadin and the Carvaka could be refuted. (1x) Pramanasundara (pp. 127-160) of Padmasundara, who was bonoured by Emperor Akbar and was the author of Akabarasahtitngaradarpana, Hayanasundara, Sundaraprakasasabd arnava, Yadusundaramahakavya, Parivanathamahakavya, Rayamallabhyudayamahakavya, etc, besides this work. Pramanasundara is a work on Jaina logic. A novel feature of this work is that parok a pramana is classified into anumana and agama; anumana is further divided into gauna and mukhya; and smarana, pratyabhijna and tai ka are brought under the fold of gauna anumana. It seems to be an attempt to bring Jaina logic in line with the logic of other systems. The author has moreover refuted the logical views of other systems. (X? Syadvadasiddhi (pp 161-164) - (author not known; the M.S. belongs to c. 1930 S.V )-In this tract the author has forcefully explained the significance of syaduada and ably defended it against the attacks of its opponents. The author has pointed out instances where the Nyaya-Vaisesika concepts also involve the principle of Syadvada. Most of these tracts, as seen above, are meant to serve as manuals for the practical training of dialecticians, and a number of ready-made syllogisms are provided on each topic of discussion so as to be easily available for use. Neverthless, these tracts reveal a clear understanding of the opponent's view and the tenets of the different pbilosophical systems, These tracts though not very original are nevertheless bighly jastructive and illustrative of the intellectual exercises prevalent round about the 14th-15th centuries. These tracts have been carefully edited-mostly from single manu. scripts-by Dr. N. J. Shah. Except for a few misprints the book is well printed. Dr. Shah's emendations are generally acceptable. Yet we could suggest alternative emendations at places, e.8. p. 32. I. 28 FE# la rafa (sila sfa) 417974196FMC-darasla might have been intended by the author, p. 37, 1, 28 fat maraftarlarra: should be 414747199914a: p. 41. 1. 8 f ortgripilaileg - some emendation seems to be necessary - PER *9179afgy (?). Dr. N. J. Shah has rendered much service to the world of Sanskrit learning by editiaz these tracts and we eargely await many more publicacations of his.

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prAcIna upaniSadoM kI dArzanika carcA kRSNakumAra dIkSita upaniSadoM ke bIca prAcIna arvAcIna kA bheda kiyA jAnA eka atyaMta mahattva kI AvazyakatA hai kyoMki isake AdhAra para jAnA jA sakegA ki bhAratIya darzana ke itihAsa ke usa prAcInatama yuga meM jisameM racita granthabaddha sAmagrI hameM Aja upalabdha hai dArzanika UhApoha brAhmaNa paramparA meM kina dhArAoM meM hotA huA pravAhita huA thA / niHsandeha yaha kahanA bhUla hogI ki uma yuga meM brAhmaNa paramparA meM huA samUcA dArzanika uhApoha hamAre ina upinaSadoM meM A gayA hai aura yaha kahanA bhI kadAcit bhUla hogI ki usa yuga meM samUcA dArzanika UhApoha brAhmaNa-paramparA meM hI huA thA / lekina ina upaniSadoM meM a-samAviSTa tatkAlIna brAhmaNa-darzana tathA tatkAlIna zrAhmaNa-darzana kA svarUpa kyA thA yaha jAnane kA sIdhA sAdhana hamAre pAsa nahIM / kyoMki prastuta yuga se hameM prApta ekamAtra dArzanika kRtiyAM hamAre ye upaniSada ho haiM / saubhAgya se zeSa vaidika sAhitya kI bhAMti hamAre ina aniSadoM ke sambandha meM bhI pATha-doSa kI zikAyata atyanta kama uThanI hai kyoMki brAhmaNa-paramparA kI yaha vizeSatA rahI hai ki usane vaidika sAhitya ke pATha ko usake mUlarUpa meM smRtibaddha karane kI dizA meM bhagIratha prayatna kiyA hai| lekina spaSTa hai ki vaidika sAhitya ke jisa pATha ko isa paramparAne smRtibadva karake surakSita rakhA hai vaha kisI samaya vizeSa meM hI prAmANika-ataH smRtibaddha karake surakSita rakhe jAne yogya ghoSita kiyA gayA hogaa| vaidika sAhitya ke prastuta pATha ko prAmANika ghoSita karane ko paristhitiyAM ThIka kyA rahI hoMgI isakI kalpanA karanA hamAre lie kadAcit Aja saMbhava nahIM / lekina isa sAhitya kA antaHsAkSya spaSTa siddha kara detA hai ki vaha vibhinna vyaktiyoM dvArA vibhinna samayoM para racita kRtiyoM kA eka saMkalana hai aura aisI dazA meM prazna uThanA anivArya hai ki isa saMkalana ko jo rUpa diyA gayA vaha kyoM; upaniSadoM ko dRSTAnta banAkara prazna kiyA jAnA hai ki ve itane aura ye-ye kyoM tathA usa-usa upaniSad kI viSaya-vastu vaha-vaha kyoM / lagatA aisA hai ki vaidika sAhitya ke usa-usa bhAgameM saMkalita sAmagro vaidika samAja ke-kadAcit kaha sakate haiM brAhmaNa samAja ke-usa-usa bhAga ko paraMparA se prApta thI aura jaba

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kRSNakumAra dokSita samAja ke karNadhAroM ne isa samUcI sAmagrI rAzi ke saMkalana kA nirNaya kiyA taba isa rAzi ke usa-usa bhAga kA saMkalana samAja ke usa-usa bhAga ke hAthoM haa| isa saMbaMdha meM yaha spaSTa hai ki jo sAmagnI jitanI hI prAcIna rahI hogI vaha utane hI adhika samAja bhAga meM pracalita rahI hogI jisakA artha yaha huA ki mUla veda-maMtra to avazya hI samUce vaidika samAja kI virAsata rahe hoMge; (ye mUla veda-maMtra kauna se haiM yaha nizcaya karanA sarala nahIM lekina prastuta prasaMga meM hameM isa prazna ko uThAnA bhI nahIM) / isakA artha yaha huA ki vibhinna upaniSad, kyoMki ve vaidika sAhitya kA arvAcInatama bhAga haiM, jisa sAmagrI ko apane meM saMjoe hue haiM vaha prAyaH nizcaya vaidika samAja ke vibhinna bhAgoM meM pracalita rahI sAmagrI hai; jo sAmagrI ekAdhika upaniSadoMmeM saMkalita hai vaha apekSAkRta prAcIna ho yaha bhI paryApta saMbhava hai (kisI sAmagrI kA eka hI upaniSad meM ekAdhika bAra saMkalita ho jAnA-udAharaNa ke lie bRhadAraNyakopaniSad meM prakhyAta yAjJavalkya-maitreyI saMvAda kA do bAra AnAlAparavAhI kA hI sUcaka ho sakatA hai)| aba prazna hai ki vaidika sAhitya kI sAmagrI-rAzi ke kisI bhAga ko eka upaniSad meM samAviSTa karane kI kasauTI kyA rahI hogI aura yaha ki eka upaniSad meM samAviSTa sAmagrI ke krama-vyavasthApana kI kasauTI kyA rahI hogI / lagatA yaha hai ki jar3a-cetana jagat ke maulika svarUpa sambandhI uhApohoM ko-arthAt dArzanika UhApohoM ko-upaniSadoM kA rUpa dene kI ceSTA kI gaI hai, aura isakA artha yaha huA ki yadi kisI upaniSad meM samAviSTa sAmagrI kA sambandha kinhIM dArzanika praznoM se nahIM to vaha bhrAMtivaza vahAM A gaI mAnI jAnI cAhie; (kucha sAmagrI ke sambandha meM kadAcit yaha bhI kahanA par3egA ki vaha upaniSadoM meM Ane yogya hote hue bhI bhrAMtivaza kahIM anyatraudAharaNa ke lie, kisI brAhmaNa meM-calI gaI hai)| isa pRSThabhUmi meM yaha bAta dhyAna AkRSTa karatI hai ki kucha upaniSad apanI zailI tathA apanI viSaya-vastu donoM kI dRSTi se vizeSa prAcIna lagate haiM aura prAcIna upaniSadoM se hamArA Azaya inhIM granthoM se honA cAhie / inake nAma haiM : bRhadAraNyaka, chAMdogya, taittarIya, aitareya, tathA kauSItakI / kadAcit ye tathA ye hI ve kRtiyAM haiM jinheM vaidika sAhitya rAzikA saMkalana karate samaya upaniSad varga meM raravA gayA thA jisakA artha yaha huA ki 'upaniSad' nAmadhArI zepa kRtiyAM nyUnAdhika uttarakAla meM racI gaI kRtiyAM hai prAcIna sAmagrI kA saMkalana rUpa kRtiyAM nahIM / (apanI AgAmI carcA meM hama

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prAcIna upaniSadoM ko dArzanika carcA ina prAcIna upaniSadoM ke una bhAgoM kI upekSA kareMge jinakA sambandha dArzanika praznoM se nahIM, aise bhAga parimANa meM vizeSa adhika nahIM lekina unakI upasthiti kI bAta dhyAna meM banI rahanI cAhie |) prAcIna upaniSadoM meM praznoM kI carcA kI zailiyAM do haiM - eka varNanAtmaka, dUsarI saMvAdAtmaka aura eka choTe se aitareya ko choDa kara - jo pUrA varNanAtmaka zailI vAlA hai - sabhI meM donoM hI zailiyoM vAle bhAga haiM / una una saMvAdoM meM prakaTa honevAle vyakti aitihAsika vyakti haiM yaha siddha karane ke lie bhI kadAcit prayatna kI AvazyakatA par3egI, lekina yaha siddha karane ke lie to prayatna kI AvazyakatA par3egI hI ki ye saMvAda sacamuca tathA jyoM ke tyoM ghaTita hue haiM / yadi bhAratIya sAhitya kA samUcA uttarakAlIna itihAsa isa sambandha sAkSI ho sakatA hai taba to kahanA hogA ki ye sabhI saMvAda nyUnAdhika mAtrA meM kalpanAraMjita haiM (jina saMvAdoM meM indra tathA prajApati jaise devatA bhAga le rahe hoM unake aitihAsika hone kA to prazna hI nahIM uThatA ) | lekina spaSTa hI yaha paristhiti - jise anya kAraNoM se zocanIya mAne jAne kA apanA aucitya hai - prastuta saMvAdAtmaka grantha-bhAgoM meM bhAI carcAoM kA mUlyAMkana karane meM hamAre lie koI bAdhA khar3I nahIM karatI / isa sambandha meM sacamuca bAdhA khar3I karanevAlI paristhiti yaha hai ki saMvAdAtmaka tathA varNanAtmaka donoM hI zailiyoM vAle grantha-bhAgoM meM sAmagrI kisI niyama ke anusAra vyavasthita kI gaI nahIM pratIta hotI / hAM, vicAra karane para prastuta prAyaH pUrI sAmagrI ko nimnalikhita 6 bhAgoM meM bAMTA avazya jA sakatA hai : (1) ve carcAeM jahAM zarIra-zaktiyoM ke bIca prANa kI zreSThatA pratipAdita gaI hai| (2) ve carcAeM jahAM zarIra-zaktiyoM kI tulanA meM AtmA kI zreSThatA pratipAdita kI gaI hai / (3) ve carcAeM jahAM zarIrastarIya ghaTanAoM ko vizvastarIya ghaTanAoM ke samAnAMtara rakhane kA prayatna huA hai; (isa koTi kI carcAeM prAyaH sarvatra pUrvokta do meM se kisI eka koTi kI carcA ke sAtha avibhAjya rUpa se jur3a kara AtI haiM) / (4) ve carcAeM jahAM punarjanma tathA mokSa kI varNana haiM (athavA mokSa kI prakriyA kA svataMtra varNana hai ) / prakriyAo kA tulanAtmaka

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kRSNakumAra dIkSita (5) chAndogya meM uddAlaka ke mukha se karAI gaI carcAeM / (6) bRhadAraNyaka meM yAjJavalkya ke mukha se karAI gaI carcAeM / brAhmaNa darzana kI uttarakAlIna mAnyatAoM ko dhyAna meM rakhane para samajha meM AnA kaThina par3atA hai ki prAcIna upaniSadoM meM aisI carcAeM bAra bAra kyoM AtI haiM jinameM zarIra-zaktiyoM ke bIca prANa kI zreSThatA siddha karane kA prayatna kiyA gayA hai / vastutaH ye carcAe usa yuga kI smAraka hai jaba zarIra-zaktiyoM ke rUpa meM cakSu, zravaNa, mana, vANI tathA prANa kI hI parigaNanA kI gaI thI tathA dArzanika cintana isa prazna ke samAdhAna meM vyasta thA ki inameM se sarvazreSTha zarIra-zakti kaunasI hai / kAla-krama se eka ora * zarIra-zaktiyo kI saMkhyA meM ijAphA huA tathA hote hote ve saba zaktiyAM-sAtha hI kucha anya bhI-cintana kI paridhi meM A gaI jinheM uttarakAla meM pAMca jJAnendriya tathA pAMca karmendriya kahA gayA aura dUsarI ora zarIra-zaktiyoM ke Upara zAsaka zakti ke rUpa meM AtmA kI kalpanA kara DAlI gaI / prANa kI zreSThatA sambandhI carcAoM se AtmA kI zreSThatA sambandhI carcAoM kI dizA meM saMkramaNa kA eka acchA dRSTAnta kauSItakI kA indra-pratardana-saMvAda prastuta karatA hai jahAM hameM eka ora una UhApohoM ke darzana hote haiM jinheM prAraMbha kAla ke prANa-zreSThatAvAdI cintakagaNa-pallavita kiyA karate tathA dUsarI ora unake jinheM uttarakAla ke Atma-zreSThatAvAdI cintakagaNa aura jahAM bAra-bAra 'prANa' tathA 'AtmA' (vastutaH 'prajJAtmA') zabdoM kA ullekha eka hI sAMpsa meM aise kiyA gayA hai jaise mAnoM ye donoM paraspara paryAyavAcI zabda ho / lagatA aisA hai ki cakSu Adi pAMca zarIra-zaktiyoM se atirikta AtmA kI kalpanA karane kI AvazyakatA punarjanma tathA mokSa sambandhI mAnyatAoM ko svIkAra karane ke phalasvarUpa anubhava meM AI hai kyoMki prAraMbha meM itanA hI mAnA jAtA rahA hogA ki jyoMhI prANa eka zarIra ko chor3atA hai zeSa zaktiyAM bhI usa zarIra ko chor3a detI haiM, lekina jaba vizvAsa kiyA jAne lagA ki eka vyakti mRtyu ke samaya eka zarIra chor3akara dUsarA zarIra dhAraNa karatA hai taba AtmA jaise eka naye tattva kI kalpanA kI gaI hogI jo isa naye vizvAsa ko susaMgata banA sake / isI lie isa anumAna ke lie avakAza upasthita hotA hai ki eka ora punajenma tathA mokSa kI mAnyatAeM aura dUsarI ora mAtmA ko mAnyatA eka hI sAtha upaniSadakAroM kI cintana-paridhi meM samAviSTa huI haiN| punarjanma tathA mokSa. ko

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prAcIna upanipadoM ko dArzanika carcA mAnyatAmoM kA Adima rUpa unake uttarakAlIna rUpa se kitanA bhinna rahA hogA isakA eka acchA dRSTAnta 'paMcAgnividyA' nAma se prakhyAta vaha carcA hai jo prAyaH eka se zabdoM meM bRhadAraNyaka tathA chAMdogya donoM meM AI hai (bRha. 6. 2., ThAndo. 5, 3-10) aura ina mAnyatAoM ke isase bhI adhika Adima rUpa kA dRSTAnta hai kauSItako ke prArambha meM AI / etadviSayaka carcA ina tInoM hI sthaloM para mokSa kI kalpanA 'brahmaloka' meM jAkara sadA ke lie rahane kI kalpanA hai aura brahmaloka ke sukhabhoga Adi kA kauSItakI kA varNana to kadAcita sthUlatA kI parAkASThA hai| isI prakAra ina tIno ho sthalo para punarjanma kI carcA ke prasaMga meM kalpanA kI gaI hai ki eka AtmA candraloka se varSAjala ke rUpameM barasanA hai| kauSItakI meM to punarjanma prApta karane vAlI sabhI AtmAoM ke saMbaMdha meM eka vAna kaho gaI hai lekina 'paMcAgnividyA' vAle sthaloM meM eka anya-tathA nikRSTa prakAra ke punarjanma kA bhI nirdeza hai yadyapi isa sambandha meM vizeSa kucha nahIM kahA gayA hai aura spaSTa hI punarjanma ke isa Atarikta prakArako kalpanA kinhIM saiddhAntika kaTanAIyoM se bacane ke uddezya se kI gaI hai; (punarjanma-saMbaMdho uttarakAlIna mAnyanAmA ko dhyAna meM rakhane para yaha anumAna karanA kaThina nahIM ki ye saiddhAntika kaThinAiyAM kaunasI rahI hogo) / ina tIna mArake ke sthalo se atirikta sthalA para bhI prAcIna upaniSadoM meM punarjanma tathA mokSa ke prazna ko chuA gayA hai aura una sabhI kA apane sthAna para vizeSa adhyayana kiyA jAnA cAhie / aba do zabda una carcAo ke sambandha meM kaha die jAe~ jahAM zarIrastarIya ghaTanAoM ko vizvastarIya ghaTanAoM ke samAnAntara rakhane kA prayatna huA hai / prAcIna upaniSadoM meM pada-pada para ubhara kara Ane vAlA eka svara hai kinhIM zarIrastarIya ghaTanAoM kA varNana karake unhIM ke samAnAntara kinhIM vizvastarIya ghaTanAoM kA varNana karanA tathA ina meM se pahale varNana ko 'iti adhyAtmam' aura dUsare ko 'iti adhidaivatam' zabdoM dvArA sUcita karanA / aitareya ke prAraMbha me AtmA ke dvArA lokasRSTi kiye jAne kA varNana hai aura isa prasaMga meM kahA gayA hai ki AtmA ne pahale eka puruSa ko janma diyA, phira usa purupa kA mukha kholA taba mukha se vAk, vAkse agni kI utpatti huI, usako nAsikA kholI taba nAsika se prANa, prANa se vAyu kI utpatti huI, usakI akSi kholo tara azi se cakSu, cakSu se Aditya kI utpatti huI, Adi Adi / isa varNana ke byore vizeSa mahattva ke nahIM aura yaha

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6 kRSNakumAra dIkSita socane ke lie AdhAra hai ki yaha varNana apekSAkRta uttarakAlIna hai / lekina yaha acchA hai isa bAta kA ki upaniSadakAra eka zarIrAvayava, usakI zakti tathA bAhya vizva ke eka ghaTaka ko Amane sAmane rakhakara kaise dekhA karate / sAdhAraNataH eka zarIrAvayava tathA upI zakti ke coca bheda nahIM kiyA gayA hai aura isalie hameM Amane sAmane rakhakara die gae haiM eka zarIrAvayava (yA kaha liyA jAe, eka zarIra zakti) tathA vAdyavizva kA eka ghaTaka udAharaNa ke lie, bAra bAra hameM Amane sAmane rakhakara dikhalAe gae haiM vAk tathA agni, prANa tathA vAyu, cakSu tathA Aditya, Adi Adi / prazna uThatA hai ki isa saba kA kyA artha ? socane para lagatA hai ki isakA artha aura kucha nahIM upaniSadkAroM kA yaha vizvAsa haiM ki una una zarIrastarIya prakriyAoM ke lie jo kAraNa uttaradAyI haiM ve hI una-una vizvastarIya prakriyAoM ke lie bhI / kisa zarIrastarIya prakriyA ko kima vizvastarIya prakriyA ke samAnAntara rakhA jAe isa sambandha meM sabhI upaniSad - kAra ekamata nahIM lekina jahAM taka unake bIca athavA unameM se adhikAMza ka vAca isa sambandha meM aikamatya hai vahAM bhI hameM anumAna karanA sarala nahIM ki kyoM amuka zarIrastarIya prakriyA ko amuka vizvastarIya prakriyA ke samAnAntara rakhA gayA hai / udAharaNa ke lie, yaha kataI samajha meM nahIM AtA ki mana ko candramA ke samAnAntara rakhane kA kAraNa kyA rahA hogA / dhyAna dene kI bAta itanI ho ki jaba zarIrastarIya zaktiyoM ke Upara rahakara unapara zAsana karane vAle tatva rUpa meM 'AtmA' kI kalpanA kI gaI hogI tabho vizvastarIya zaktiyoM ke Upara rahakara unapara zAsana karanevAle tattva ke rUpa meM 'brahma' kI kalpanA kI gaI hogI aura kyoMki una una zarIrastarIya zaktiyoM ko kisI na kisI artha meM una una vizvastarIya zaktiyoM se ekarUpa mAnane kI paramparA thI 'AtmA' ko kisI na kisI artha meM 'brahma' se ekarUpa mAna liyA gayA / anta meM vicAra karane ke lie raha jAtI haiM chAndogya meM uddAlaka ke mukha se karAI gaI carcAeM tathA bRhadAraNyaka meM yAjJavalkya ke mukha se karAI gaI carcAeM | uddAlaka kI carcAoM meM dhyAna dene yogya bAta yaha hai ki vahAM vistAra se tathA prayogoM dvArA siddha karake dikhAyA gayA hai ki ve ve vizvastarIya zaktiyAM una una zarIrastarIya zaktiyoM ke rUpa meM parivartita kaise ho jAtI haiN| yahAM dUsarI dhyAna dene yogya bAta yaha hai ki vizvastarIya zaktiyoM ko uddAlaka ko sUcI unakI paramparAgata

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prAcIna upaniSadoM kI dArzanika carcA sUcI se bhinna hai; udAharaNa ke lie, jahAM paraMparA thI ki mana, vANI tathA prANa kA sambandha kramazaH candramA, agni tathA vAyu se jor3A jAe vahAM uddAlakane unakA sambandha kramazaH anna, agni tathA jala se jor3A / dUsare, uddAlakane kalpanA kI ki anna kA sUkSmatama bhAga mana banatA hai jabaki usakA apekSAkRta sthUla bhAga mAMsa banatA hai, sthUlatama bhAga mala, agni kA sUkSmatama bhAga vANI banatI hai jaba ki usakA apekSAkRta sthUla bhAga majjA banatA hai, sthUlatama bhAga asthi, anta meM jala kA sUkSmatama bhAga prANa banatA hai jabaki usakA apekSAkRta sthUla bhAga rakta banatA hai, sthUlatama bhAga mUtra / aura uddAlaka ko eka dUsarI naI kalpanA yaha thI ki anna kA janma jala se hotA hai, jala kA agni se tathA agni kA 'sat' se / isa prakAra uddAlakane mAnava zarIra kI sabhI jar3a-cetana prakriyAmoM kA udgama eka aise tattva meM dekhA hai jo pahale agnirUpa meM parivatita hotA hai, phira agena se jalarUpa meM, tathA anta meM jala se annarUpa meM arthAt eka aise tattva meM jise binA vizeSa saMkoca ke jaDa kahA jA sakatA hai / yahI kAraNa hai ki kucha vidvAn uddAlaka ke mata ko uttarakAlIna sAMkhya mata kA bIjarUpa mAnate haiM kyoMki isa sAMkhya mata meM bhI mAnava zarIra kI sabhI jar3a-cetana prakriyAoM kA udgama 'prakRti' nAmavAle eka jaDa tattva meM dekhA gayA hai / isanA avazya hai ki uddAlaka ne 'sat', agni, jala tathA anna ina cAroM hI tatvoM ko 'devatA' vizeSaNa diyA hai aura unake sambandha meM aise bAta kI hai jaise mAnoM ve sabhI cenana vyakti ho| lekina hameM nahIM bhUlanA hai ki uniSadakAla meM vizvastarIya zaktiyoM ko 'devatA' kahane kI paramparA thI-usI prakAra jaise zarIra ko 'AtmA' kahane kI; (yahI kAraNa hai ki vizvastarIya zaktiyoM se sambandhita carcAoM kA sUcana 'iti aghi daivatam' kahakara hotA tathA zarIrastarIya carcAoM kA sUcana 'iti adhyAtmam' kaha kara ) / isake bAvajUda mAnanA ho par3egA ki eka sarvathA jaDatattva kI kalpanA karane meM-arthAt eka aise jaDatattva kI kalpanA karane meM jo acetana ho-uddAlaka ko kucha kaThinAiyAM avazya rahI hoMgo-bhale hI hama Aja pakkA anubhava na kara sakeM ki ve kaThinAiyAM kyA thI / yAjJavalkya kI carcAoM kA mahattva dUsare ho prakAra kA hai| unakA mukhya prayatna yaha siddha karane ko dizA meM thA ki zarIrastarIya zaktiyoM ke Upara rahakara unapara zAsana karanevAlA tattva 'AtmA' tathA vizvastarIya zaktiyoM ke Upara rahakara unapara zAsana karanevAlA tattva 'brahma' eka dUsare se sarvathA

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kRSNakumAra dIkSita eka kaise / lekina hamArA dainaMdina anubhava yaha siddha karatA pratIta nahIM hotA ki koI eka hI tatva sabhI manuSyoM kI zarIra zaktiyoM ke Upara aura sAtha hI sabhI vizvastarIya zaktiyoM ke upara bhI zAsana karatA hai / isalie yAjJavalkyane yaha siddha karanA Avazyaka samajhA ki AtmA (brahma) ke svarUpa kA sAkSAtkAra hameM dainaMdina anubhava ke daurAna meM nahIM hotA balki supuptikAla meM hotA hai ( aura isa svarUpa kI halkI jhAMkI hameM prApta hotI hai svapnakAla meM ) / sAtha hI yAjJavalkyane isa zaMkA kA samAdhAna karanA bhI Avazyaka samajhA ki suSuptikAla meM to hameM kisI prakAra kA jJAna hotA pratIta nahIM hotA; unakA tarka hai ki AtmA sacamuca jJAna kA viSaya nahIM kyoMki jJAtA - jaisA ki AtmA hai - jJAna kA viSaya ho hI nahIM sakatA, lekina AtmA anubhUti kA viSaya avazya hai aura suSuptikAla meM hameM AtmA kI anubhUti hoto hI hai / yahI kAraNa hai ki prAyaH vidvAn yAjJavalkya ke mata ko uttarakAlIna AtmAdvaita (brahmAdvaita) kA - tathA unakI cintana praNAlI ko uttarakAlIna sabhI rahasyavAdI cintana praNAliyoM kA bIjarUpa mAnate hai / hAM, yadyapi yAjJavalkya ne isa siddhAnta kA pratipAdana kiyA hai ki pratyeka manuSya kI vyaktigata AtmA vizva AtmA se sarvathA ekAkAra hai unhoMne isa siddhAnta kA pratipAdana kadApi nahIM kiyA hai ki eka AtmA ke atirikta zeSa sabhI pratItiyAM bhrAntijanita pratItiyAM hai / lekina jaba ve eka manuSya kI vyaktigata AtmA ke vyaktitva ko eka bhrAntijanita pratoti mAnane ke lie bAdhya haiM taba ve isa prakAra kI tarkaNA ke lie bhI dvAra khola hI dete haiM ki hamAre dainaMdina anubhava kI sabhI jar3a-cetana pratItiyAM bhrAnti-janita pratItiyAM hai aura uttarakAlIna advaitavedAntiyoM ne jaba isa prakAra kI tarkaNA ko sacamuca prastuta kiyA tathA apane mata ke samarthana meM yAjJavalkya ke vacanoM ko uddhRta kiyA taba tattvataH ve kadAcit galatI para na the bhale hI apane UhApoha ke daurAna meM ve ina vacanoM meM Ae ina una zabdoM kA artha tor3ane maror3ane para jaba taba bAdhya hue /

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kuvalayamAlA - mahAkathA kI avAntara kathA aura unakA vargIkaraNa DaoN. ke. riSabhacandra kuvalayamAlA kI mahAkathA meM aneka avAntara kathAe~ upalabdha hotI haiM / aneka pAtroM ke devaloka meM utpanna hone aura vahA~ para apanA jIvana vyatIta karane ke prAsaMgika ullekhoM ko svatantra kathAnaka kI dRSTi se anupayogI samajha kara unheM chor3a dene para anya avAntara kathAoM kI saMkhyA paccIsa ke karIba hotI hai jinake nAma nIce die jA rahe haiM / avAntara kathAoM ke nAma (1) caMDasoma, (2) mAnabhaTa, (3) mAyAditya, (4) lobhadeva, (5) mohadatta, (6) kAkodumbarI ( kAuMbarI ke phala ), (7) tArAcaMda kA nidAna, (8) raNyabhUSaka, (9) muni sAgaradatta, (10) zeTha mahAdhana kI putrI, (11) brAhmaNa yajJasoma, (12) yakSa jinazekhara evaM kanakaprabhA, (13) rAja - popaTa, (14) zrImatI aura siMha, (15) vanasundarI eNikA, (16) bhillAdhipati dRDhaparigha, (17) muni bhAnu, (18) kulamitra - ghanamitra, (19) rAjakumAra pRthvIsAra, (20) maNiratha kumAra, (21) suMdarI aura gajendra, (23) vajragupta, (24) svayaMbhUdeva aura vibhinna pahaluoM aura dRSTiyoM ke AdhAra para ina nimna vargoM meM kiyA jA sakatA hai, priyaMkara, (22) kAma (25) mahAratha kumAra / kathAoM kA vibhAjana jaise (1) sampUrNa athavA AMzika jIvana : pUrNakathA, khaMDakathA aura kathA. (2) sahAyaka aura upajIvya kathA upakathA, dRSTAnta kathA, pUrva-bhava kathA aura AgAmI -bhavakathA. (3) pAtrAnusAra : mAnuSIkathA, divyakathA, divyamAnuSIkathA aura pazupakSI kathA. (4) kathanakAra svayaM kathAkAra - kathita aura pAtroM dvArA kathita (Atma1 kathA) athavA anya pAtra (vyakti) kathA. saMbodhi 23

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ke. riSabhacandra (5) puruSArtha : arthakathA, kAmakathA, aura dharmakathA... (6) a. pAtroM kA sAmAjika stara : brAhmaNa, kSatriya, vaizya, zUdra, jaMgalIjAti aura anya jAti. (7) ba. aneka dhandhe, kAryakalApa, saMgharSa aura anya vizeSatAe~. (1) pUrNakathA, khaMDakathA aura kathAMza jina kathAoM meM nAyaka kA karIba karIba sampUrNa jIvana-carita prApta hotA hai unheM 'pUrNakathA' kI koTi meM rakhA gayA hai / unakI saMkhyA 6 ke karIba hai aura isa koTi meM kathA nambara (1), (2), (3), (4), (5) aura (9) rakhI jA sakatI hai / nAyaka ke jIvana ke kucha bhAga athavA adhikAMza bhAga kA jisameM pratipAdana huA hai unheM khaMDakathA ko koTi meM sthAna diyA gayA hai| isa koTi meM 13 kathAoM kA samAveza hotA hai jinakA nambara (7), (10), (11), (13), (14), (15), (16), (18), (20), (21), (22), (23) aura (24) hai / aisI kathAe~ jinameM AMzika jIvana ke darzana hote haiM athavA jo bahuta hI saMkSipta rUpameM pUrI kI gaI haiM unheM kathAMza kI saMjJA dI gaI hai / aisI kathAoM kI saMkhyA 6 hai aura unakA nambara (6), (8) (12), (17), (19) aura (25) hai / (2) pUrva-bhavakathA, AgAmI-bhavakathA, upakathA aura dRSTAntakathA pAtroM ke pUrvabhava se saMbaMdha rakhane vAlI kathAoM kI saMkhyA 10 hai jinakA nambara (1), (2), (3), (4), (5), (7), (11), (14), (18) aura (21) haiM / AgAmo-bhava kI 6 kathAe~ haiM jinakA nambara (19), (20) (22), (23), (24) aura (25) hai / upakathAoM kI saMkhyA 7 hai jo mukhya kathA kI upajIvya kathAoM ke rUpa meM AtI haiM / unakA nambara (9) (10), (12), (13), (15), (16), aura (17) hai / do kathAe~ naMbara (6) aura (8) dRSTAnta kathAe~ haiM jo kramazaH 'bhavyatva' aura 'nidAna' ko samajhAne ke lie kahI gaI haiN| (3) mAnupI, divya, divyamAnuSI aura pazu-pakSIkathA ___ mAnuSI kathAoM kI saMkhyA 15 hai / unakA nambara (1), (2), (3), (4), (5), (6), (7), (11), (14), (16), (18), (20), (21), (24)

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kuvalayamAlA-mahAkathA aura (25) hai / 3 kathAoM meM kiJcit divyatattva hai / unakA nambara hai 19), (15) aura (19) / 4 divyamAnuSo kathAe~ haiM unakA nambara hai (10) (17), (22) aura (23) / (11) nambara kI kathA mAtra 1 divyakathA hai| (8) aura (13) nambara kI 2 kathAe~ pakSI-kathAe~ haiM / (4) svayaM kathAkAra kathita aura pAtroM dvArA kathita a. kuvalayamAlA aura kuvalayacaMdra kI mukhya kathA kA kathana kathAkAra ke mukha se huA hai / usI prakAra avAntara kathA nambara (19), (20) aura (25) bhI unake dvArA kahI gaI haiN| A. uparyuka tIna kathAoM ke atirikta bAkI ko 22 kathAoM kA kathana anya pAtroM ke mukha se huA hai / unake tIna vibhAga kiye jA sakate haiM : [1] kuvalayacaMdra ke samparka meM Ane vAle pAtroM dvArA, [2] ina pAtroM ke samparka meM Ane vAle vyaktiyoM dvArA aura [3] anya vyaktiyoM dvArA / [1] kuvalayacaMdra ko jina gauNa pAtroM ne jisa jisa vyakti kI jo jo kathAe~ sunAI ve isa prakAra haiM : (a) AtmakathA ke rUpa meM : (9) munisAgaradatta, (12) yakSa jinazekhara evaM kanakaprabhA, (13) rAjapopaTa, (16) bhillAdhipati dRDhaparigha (17) muni bhAnu (A) apanI pUrva-bhavakathA ke rUpa meM : (18) muni bhAnu ( kulamitra-dhanamitra) (i) anya pAtra kI pUrva-bhavakathA ke rUpa meM : rAjapIpaTa dvArA vanasundarI eNikA kI (14) 'zrImatI aura siMha' nAma kI pUrva-bhavakathA (6) anya kathA : yakSakanyA kanakaprabhA dvArA kathita yakSa jinazekhara ke pUrva-bhava kI (11) brAhmaNa yajJasoma kI kathA [2] sAgaradatta ko apanI AtmakathA (10) zeTha mahAdhana kI putrIne kaha sunAI [3] (a) muni dharmanandana dvArA kathita 6 kathAe~ : azva dvArA apahRta hone ke pazcAt jaMgala meM muni sAgaradatta ke darzana hone para unake dvArA kuvalayacaMdra ko kahI gaI pA~ca kathAe~ :

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ke. RSabhacandra jinakA kathana muni dharmanandana vatsadeza ke rAjA purandaradatta aura unake amAtya vAsava ko apane pAsa meM dIkSita pA~ca muniyoM kI kathAoM ke rUpa meM karate haiM : (1) caNDasoma, (2) mAnabhaTa, (3) mAyAditya, (4) lobhadeva aura (5) mohadatta. ** muni dharmanandana dvArA apane pA~coM muni - ziSyoM ko sunAI gaI dRSTAntakathA naM. (6) kAkodumbarI ke phala (A) tIrthaMkara dharmanAtha dvArA apane gaNadhara ko deva padmasAra ( kuvalayacandra kA pUrva-bhava ) kI upasthiti meM kahI gaI kathAe~ : (7) tArAcanda kA nidAna, (8) raNyamUSaka zara * eka muni ( rAjA bhRgu ke pitA) ne do vidyAdharoM ko rAjA bhRgu aura rAja-popaTa kI upasthiti meM pUrvArdha kathA kahI aura rAja- popaTane kuvalayacandra ko uttarArdha kathA kahI : (15) vanasundarI eNikA (I) tIrthaMkara mahAvIra dvArA kahI gaI : * maNirathakumAra ko kahI gaI usakI pUrva-bhavakathA : (21) sundarI aura priyaMkara ** apane gaNadhara ko kahI gaI : (22) kAmagajendra aura : ( 23 ) vajragupta * * * (24) svayaMbhUdeva ko sunAI gaI usakI AtmakathA isa prakAra 'kathA meM kathA' kI dRSTi se dekhate hue isa mahAkathA meM hameM tRtIya stara taka kI upakathAe~ dekhane ko milatI haiM / jainakathAsAhityakAroM kI kathA meM kathA kahane kI yaha zailI bahuta prAcIna haiM / (5) arthakathA, kAmakathA aura dharmakathA ina prAraMbha meM svayaM kathAkAra ne jo nirdeza kiyA hai usake anusAra hI avAntara kathAoM ko tIna puruSArthoM meM se kisI eka meM sthAna diyA jA sakatA hai / inameM se aneka kathAoM kA paryavasAna pAtroM dvArA dIkSA grahaNa karane meM huA hai ataH pradhAnataH arthakathA athavA kAmakathA hote hue bhI kitanI hI kathAe~ dharmAnta ho gaI haiN| mAtra cAra kathAe~ aisI haiM jo dharmAnta nahIM haiM, jaise naM 0 (6), (10), (14) aura (21) / a. arthakathAoM meM naM0 (3), (4), (9), (16), (18), aura (24) ko samAviSTa kiyA jA sakatA hai /

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kughalayamAlA mahAkathA A. kAmakathAoM meM naM0 (1), (2), (5), (22) aura (23) ko sthAna milatA hai / i. dharma kathAoM meM na (7), (8), (11), (12), (13), (15), (17), (19), (20) aura (25) ko liyA A sakatA hai / (6) pAtroM kA sAmAjika stara aura kathA kI anya vizeSatAe avAntara kathAoM meM mAnava-samAja ora mAnavetara prANiyoM ke jina vibhinna staroM, jAtiyoM ityAdi se pAtroM kA cayana kiyA gayA hai tathA unake saMgharSa, dhandhe, kAryakalApa aura anya vizeSatAoM kA pratipAdana huA hai unakA vargIkaraNa saMkSipta vivaraNa ke sAtha nIce diyA jA rahA hai| a. brAhmaNa kulaH (1) naTakhaTa brAhmaNaH Iyo aura matsara kA pariNAma, sundara striyoM ke prati naujavAnoM kA AkarSaNa, strIsaundarya ke bhayasthAna, premI-yugaloM ke prati gairasamajha, naTamaMDalIkA tamAzA, krodhAveza kA phala, nirdoSa vyakti kI hatyA ityAdi / (11) brAhmaNa putraH duSkAla se sAre parivAra kA nAza, vipatti meM bhaTakanA / (24) garIba brAhmaNaH coro se jamIna meM chupA dhana khoda nikAlanA / A. kSatriya kula: (2) abhimAnI aura vilAsI ThAkuraH haThIlA svabhAva, tuccha bAtoM para jhagar3A, puliMda eka laDAkU jAti, haTha ke kAraNa nirdoSa logoM kI mRtyu / (5) svacchaMda rAjakumAraH vaNika-putrI se prema-vivAha, dIrgha kAla taka dUra deza meM pati dvArA patnI se alaga rahane ke pariNAma, pratikUla paristhiti aura mAtA dvArA apane zizu ko kho baiThanA, usake dvArA rAjakula meM dAsI banakara rahanA, kAmuka vyakti strI kI hatyA para utAru ityAdi / (14) udaMDI rAjakumAraH para-puruSa ke mAtra saMparka meM Ate hI strI-cAritrya para zaMkA, krodhAveza ke pariNAma, galataphahamI se sAle kI hatyA / (15) rAjakumArIH zaizavAvasthA meM hI apaharaNa, jaMgala meM mRgoM ke bIca meM pAlana-poSaNa, pazuoM ke sAtha hI rahanA, manuSya samAja se bhaya aura unako dekhate hI bhAga jaanaa|

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ke. RSabhacandra (16) rAjakumAraH raja-paDayantra, choTe bhAI ko rAjagaddI aura bar3e bhAI ko davAoM ke prayoga se pAgala banAkara jaMgala meM bhagA denA, paristhitivaza bhillo kA Adhipatya aura DakainI kA dhandhA karanA / / (17) rAjaputraH svarga aura naraka kI bAta sunakara saMsAra mAtra se vairAgya / (19) rAjakumAra: jAti-smaraNa aura saMsAra-tyAga / (20) rAjakumAraH zikAra kA vyasana, eka bAra eka hariNa para vAtsalyabhAva aura vairAgya / (22) kAmuka rAjakumAraH aneka kanyAo ke sAtha zAdI, vidyAdharo dvArA rUpa badalakara sundara strI kA rUpa dhAraNa kara use pratibuddha karanA, jAdU ke khela ke samAna A~gya mIMcate hI anya dezoM ke darzana honA / (23) sAhasI gajakumAraH vidyAdhara DAkU dvArA kanyAoM kA apaharaNa, jAdU kI golI kA prayoga jisase zArIrika zakti meM vRddhi, apane sAhasa ke bala para gajakumArane sabhI kanyAo ko mukta karavAyA aura vidyAdhara kA nAza kiyA / (25) rAjakumAraH svapna aura usakA phala aura vairAgya / i. vaizyakula: (3) daridra aura kapaTI vaizyaH vyApAra ke lie anya deza jAnA, lobha, dhokhebAz2I, ThagAI, kapaTapUrNa AcaraNa, jAlasAz2I, mitra ko kRpa meM pheMkanA, luTeroM se sAmanA karanA, unakI ImAnadArI aura sajjanatA / (6) vyApArI-putraH jahAja ke TUTane se sabhI vyApAriyoM kA eka dvIpa para milanA aura ghara lauTane kI pratIkSA aura upAya DhU~DhanA / (9) zreSThIputraH jAti-smaraNa aura dharmopadeza / (10) zreSThIputrIH vidyAdharoM dvArA kanyAoM kA apaharaNa, Apasa meM lar3AI aura apahRta kanyA ko jaMgala meM nissahAya chor3a denA, bhAgya se ghUmate hue vyApArI putra se milana aura shaadii| (18) zreSThIputra : vyApAra meM asaphala aura vairAgya / / (21) vaNikaputrIH ati gADha prema hone ke kAraNa ' pati kI mRtyu para usake zava ko lekara phiranA, yukti se isakA ilAz2a /

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kuvalayamAlA-mahAkathA I. zUdrakulaH (4) zUdra jAti kA lobhI aura cora sArthavAhaH azva-vyApAra, samudra-yAtrA, vyApAra meM sAhasa, samudrI tUphAna se yAna kA TUTa jAnA, mitra ko samudra meM pheMkanA, kImiyAgaroM dvArA manuSya-mA~sa ke prayoga se amUlya dhAtu banAnA / u. jaMgAlI jAtiH (7) parvatIya rAjA : anya rAjA kA AkramaNa, parvatIya rAjA kI hatyA, rAnI dvArA bhAga nikalanA aura rAjakumAra ke sAtha dIkSA / (16) bhilla-senApatiH isakA ullekha kSatriyakula ke nIce ho cukA hai| jaMgala meM sArthavAha ityAdi ko avasara pA kara lUTanA / U. vividhaH (8) raNyamUSakaH dharma-bodha, jAti-smaraNa / (12) yakSaH bhagavadbhakti, vidyAbala aura auSadhivalaya / (13) rAja-popaTaH tote ko rAjakumArI dvArA sabhI kalAoM meM prazikSaNa denA, punaH usake dvArA jaMgala meM rahane vAlI eka rAjakumArI ko prazikSaNa denA, eka jagaha se dUsarI jagaha saMdeza pahu~cAnA / isa vizleSaNa se kathAoM ke aneka prakAra aura samakAlIna sAmAjika jIvana ke vibhinna paheluoM kI jAnakArI prApta karane meM hameM paryApta sahAyatA milatI hai /

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karpUramaMjarI ane svAmibhakta sevakanuM kathAbiMba hasu yAjJika saMvata 1605mA matisAre racelI karpUramaMjarInI kathA, kAvyatva bhane kathAnirUpaNanI dRSTie sAmAnya kRti hovA chatAM lokakathA tarIke madhyakAlIna gujarAtI sAhityanI mahatvanI kRti cha / duhA ane copAInI kula 411 paMktiornu pUra dharAvatI matisAranI prastuta racanAne DA. bho. ja. sAMDesarAe i.sa. 1941mAM saMpAdita karI prakAzamAM ANI che| kathAnA aMtamAM A kRtino racayitA potAnI oLakha 'kavi paMDita matisAra' tarIke Ape che ane kAvyAraMbhana maMgalAcaraNa gaNapatinI stutitho kare che, ethI sva. zrI. ci. DA. dalAle matisArane jainetara kathAkAra mAnyo che / paraMtu jaina kavio mATe paNa gaNapati ane zAradAstavanathI kRtino maMgalAraMbha karavAno rivAja kacit svIkArAyo che tethI tathA jinazAsananu mAhAtmya matisAre Apyu cha ethI DaoN. sAMDesarA mAne che tema kavi jaina ja pratIta thAya che / saM. 1678mAM racAyela zAlibhadramunirAsa tathA saM. 1699mAM racAyela caMpakasenarAsanA kartA tarIke jinasiMhasuriziSya matisAgaranuM nAma maLe che / karpUramaMjarInI racanA saM. 1605mAM thayelI che tethI matisAra ane matisAgara spaSTataH bhinna kavio che / AthI karpUramaMjarInI racanA karanAra matisAra jaina hovAno saMbhava che tathA enI racelI eka kRti ja hAla upalabdha che,' ethI vizeSa kartA ane enI anya koI kRti hoya to te kRtinI vigata maLatI nathI / karpUramaMjarI nAmAbhidhAnavALI anya kRtiomA vizeSa dhyAna khecatI kRti che kanakasundarakRta karpUramaMjarI / hakIkate to e racanA prastuta kathAnakano ja bojo avatAra che ane enA kathAnakasAmyanI atre mAgaLa carcA karelo ch| anya kRtiomAM ela. DI. insTITayUTamA puNyavijayajI bhaMDAra parigrahaNa saMkhyA 3660mA karpUramaMjarI kathAnikA nATikA ane 6488 karamaMjarIrAsa nAmanI kRtio nodhAyelI che / matisArakRta karpUgmaM jarInA kathAnakane mukhya mALakhA rUpe svIkArIpa to ene maLatI kathAnAM mukhya traNa svarUpo maLe chaH 1. DaoN. bhAratI ye rAsa-sAhityamA ApelA TippaNamA guNadharmarAsa nAmanI matisAranI 1642mAM racAyelI kRti noMdhelI che. .

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hasu yAzika 1. matisArakRta karpUramaMjarI 2. kanakasundarakRta karpUramaMjarI 3. boTAda vistAramA pracalita lokakathA 1. matisArakRta karpUramaMjarI, kathAnaka siddharAja jayasiMhe rudramahAlaya baMdhAvyo / gaMgAdhara salATe emAM strIrAjyanI rANI karpUramaMjarInA dazAMgane AkarSaNavidyAthI harIne kaMDArelI mUrtirUpe mUkayuM / rudramahAlayamAM mUkelI A mUrtinI mohakatAnI vAta dezavidezamA prasarI / caMpAnagarIno rAjakumAra rUpasena bhane mitra sIMghalasI vaNajhArAveze siddhapuramA AvyA / mUrtine jotAM ja rUpasena enA premamA paDayo ane sAnabhAna bhUlI gayo / sIMghalasI zilpadRSTA suMdarInI bhALa meLavavA gaMgAdharane maLyo / zilpI gaMgAdhare sIMghalasIne aMgha guru goviMda pAse dakSiNamA mokalyo / aMdha guru goviMde sIpalasIne karpUramaMjarI para rUpasena sAthe lagna karavAnI bhalAmaNaciThI lastrI ApI / sIMghalasI strIrAjyamA aavyo| kapUramaMjarI lagna mATe saMmata thaI / siddhapura pAchA pharavA mATe AkAzamA uDe evA yAMtrika ghoDAnI jarUra par3I / e ghoDo banAvavA mATe batrIsa lakSaNovALo puruSa ja jaMgalamAMthI kASTha lAve e anivArya htu| sIMghalasI batrIsa lakSaNo dharAvato hoI kASTha lAvavAmA bhane UDato ghoDo banAvavAmA saphaLa thayo / sIMghalasI ane karpUramaMjarI UDatA ghoDA para besI siddhapura AvyAM / siddhapura pahoMcatAM ja karpUramaMjarIne potAno hAra rahI gayA yAda Avyu / sAta divasamA ja pote pAchI pharaze evaM kahI karpUramaMjarI ekalI strIrAjyamA gii| mudata vItyA chatAM karpUramaMjarI pAchI na pharatAM strIjAtinA vacanabhaMgane zApato sIMghalasI pAcho khIrAjyamA gayo ane kapa maMjarIne maLyo / yAMtrika ghoDAno eka bhAga akasmAt Agatho baLelo hovAthI karpUramaMjarI pAchI pharI zakI na hatI / sA~ghalasI pAcho vanamA gayo, viziSTa kASTha lAgyo, ghoDo banAnyo ane banne siddhapura AvyAM / nagaramA pravezatAM ja karpUramajarIne apazukana thayA / karpUramaMjarI rUpasena sAthe lagna kare to rUpasenane cAra ghAta naDe ema hatuM / avajogamAM thayelAM Agamana ane e pachInA lagnathI rUpasenanu vaDanI DALa bhAMgatAM, ghoDethI paDatA, mAtAe mokalelA viSavALA lADu khAtAM ane e traNethI bace to chevaTe cothI vakhat sarpadaMzathI mRtyu thAya evI ghAta hato / sIMghalasoe karpUramaMjarIne jaNAvyu ke rUpasenane ghAta viSe sAvaceta banAvI ugArI

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karpUramaMjarI ane svAmibhakta sevakanu kathAbiMba levAmAM Avaze / paraMtu karpUramaMjagae jaNAvyu ke A dhAta vipe rUpasenane vAta karanAra paththarano mUrti banI jAya evaM che / sauMghalasIe jaNAnyu ke rUpase nane kazu jaNAvyA vagara paNa pote ghAtamAMtho ugArI leze / mAthI aMte karamaMjarI rUpasena sAthe lagna karavA taiyAra thaI / paththaranI mUrtine jIvatI-jAgatI jotA ja rUpasenanAM sAnabhAna pAchAM AvyAM ane kapUramaMjarI-rUpasenanAM lagna thayAM / vaphAdAra mitra sIMghalasIe rUpasenane ghAtamAMtho zaurya ane kuzaLatAthI bacAvI lIdho / sarpadaMzanI maMtima ghAtathI mitrane ugArI levA mATe sIghalasI rAtre mitranA zayanAgAramA jAgato chupAI rahyo / rAtre daMpatI UMghatAM hatA tyAM sarpa Avyo / sIMghalasIe talavArathI sarpanuM DokuM uDAvI dIrcha / paNa sarpanI lALa karpUramaMjarInI khullI chAtI para par3I / sarpa, viSa na caDe ethI sIMghalasI lUchavA gayo e kSaNe ja rUpasena jAgI gayo / mitranI zaMkAnuM samAdhAna karavA mATe majabUra sIdhalasIne cAra ghAtanI bAta kahevI paDI ane ethI enuM zarIra paththaranuM banI gayu / rUpasena-kapUramaMjarInA vilApathI karuNAmayI pArvatIe bhagavAna zaMkarane vinaMtI karo bhane sIMghalasI sajIvana thayo / 2. kanakasuMdarakRta karpUramaMjarI saM. 1662mAM jaina kavi vidyAratnanA ziSya kanakasuMdare cAra adhikAranI maLI kula 7323 kaDImAM kamaMjarInI kathA lakhI che / matisAre ApelI kathAne jaM kanakasundare halAvI-malAvI keTalAka umeraNa sAthe vadhAre sArI rIte kahI cha / kanakasundaranI racanAnuM kathAnaka A pramANe che: ___ aNahilapura pATaNanA rAjAe pUrvabhavanA pApaMnivAraNa mATe sahasraliMga taLAva bhane rudramALa baMdhAvyAM / A samaye baMgAla dezanA kAntinagaramA madanabhrama nAmino rAjA rAjya karato hato, siddharAjanI ANaM svIkArato na hato / mAthI siddharAje kAntinagarane ghero ghAlyo / madanabhrame rAjasabhAmAM siddharAjane jovatI pakaDI lAvavAnuM boDu pheravyuM / sAtaso vArAMganAoe bII upADyu ane siddharAjanI lazkarI chAvaNI AgaLa jai nRtya karavA lAgI / siddharAja ane enuM lazkara bhAna bhUlI vArAMganAonI pAchaLa pAchaLa javA lAgyA ane catura vArAMganAo bAMne nagaramAM laI AvI, nagaranA daravAjA devAI gayA ane badhA keda thayA / madanabhrame siddharAjanI AgatAsvAgatA karI paNa tene najarakeda karyo / madanabhrama rAjAnA pradhAna buddhisAgarane karpUramaMjarI nAmanI sudara putrI hato bhane enA

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hasu yAzika zarIramAthI kapUranI suvAsa AvatI hatI / middharAjanA pAsavAna eka hajAmane karpUramaMjarI jovAnI icchA thatAM buddhisAgaranA AvAsamAM Avyo ane kaparamaMjarInA nakha kApI eka potAnI pAse rAkhyo / thoDA samaya pachI siddharAja ane parnu lazkara mukta banyAM ane badhAM pATaNa AvyAM / hajAme pelo nakha zilpi gaMgAdharane Apyo / zilpi gaMgAdhare kevaLa nakhane AdhAre karpUramaMjarInA samagra dehanI kalpanA karI ane AbehUca mUrti banAvI / A mUrtine rudramALamAM mUkavAmAM Avo / ujjayinImAM mohasAra ane guNasAra nAmanA be bhAIo hatA / mohasAra vastranI poTha bharI siddhapura Avyo ane mUrti rUpa karpUramaMjarIne jotA ja premamAM paDayo tathA sAnabhAna gumAvI beTho / lokoe ghaNo samajAvyo chatAM sAnabhAna pAchA na AvyAM / ujjayinI pAchA pharelA sAthenA mANaso dvArA A samAcAra mohasAranI patnI matizrIne malyA / eNe diyara guNasArane tapAsa mATe siddhapura mokalyo / guNasAranA aneka prayatno chartA mohasAranAM sAnabhAna pAchA na AvyAMthI eNe mUrtinA zilpinI zodha karI karpUramaMjarI vipenI hakIkata jaannii| siddharAjano patra laI guNasAra kAntinagara Avyo bhane pradhAna buddhisAgarano paricaya keLavI karpUramaMjarIne maLyo / karpUramaMjarI guNasAra para moha pAmI / guNasAre mohasAranI dazAnI vAta karI ane e vara tarIke pasaMda na paDe to potAno samRddhimA bhAga ApavAnuM vacana Apyu / kamaMjarI pATaNa AvavA taiyAra thaI / guNasAra ane karpUramaMjarI pATaNa bhAvyA bhane karpUramaMjaro-mohasAranAM lagna thayAM / 3. boTAdavistAramA pracalita lokakathAH 'cAlone pUtaLo ApaNe ghera' boTAdanA rAmajI maMdiramA unALAnI bapore sutaranAM rAMDhavA vaNavAnuM ane evaM paracUraNa kAma karatA vRddha puruSo 'cAlone pataLI ApaNe ghera' nI vArtA A pramANe kahe che : koI eka dezanA rAjA bhane pradhAna pravAse nokaLyA / kharA bapore eka vAva pAsenA vaDA nIce ArAma karavA beThA / pradhAna vAvamAM pANI levA UtayoM / vAvamA eka muMdara pUtaLI jotAM pradhAna maMtramugdha banI gayo / pUtaLI eTalI badhI suMdara hatI ke ene joyA pachI jonArane eka DagalaM paNa AgaLa-pAchaLa bharavAnI icchA na thAya / eTalAmA pradhAnano najare pUtaLI nIcenI ta kato caDho / e takatImA lakhyu hatuM /

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karpUramaMjarI ane svAmibhakta sevaka kathAviva 21 A mUrtine jotAM bhalabhalA mohI paDyA che ane sAnabhAna gumAvI jIva gumAvI beThA che / aneka rAjAo ahI AvyA bhane pUtaLIne jotA ja rada hetA bolavA lAgyAH cAlone pUtaLI ApaNe ghera, tame rAMgho ne ame jamIe; paNa pUtaLI cAlatI nathI, pUtaLI bolatI nathI ane raDha lenAra annajala tajI mRtyu pAme cha / takatImA pUtaLonI rar3ha laI mRtyu pAmelA rAjAonAM nAma hatAM / cakAra pradhAna tarata ja sAvadha banI gayo / ene lAgyu ke mAro rAjA jo vAvamAM Avaze ane A pUtaLI joze to ene paNa pUtaLonI raDha lAgaze ane jIva gumAvaze / AthI pradhAne vAvamAthI gAro laI pUtaLIne chAMdI dodhI / pANI bharI pradhAna rAjA pAse Avyo / rAjAe pradhAnane pUchayu: 'ATalI badhI vAra kema lAgI ! vAvamAM zu hatu?' pradhAne ghaTato javAba Apyo paNa rAjAne gaLe na Utaryo / rAjA vAvamAM Utaryo / tAju chAMdelu jotA rAjAne zaMkA gii| pradhAnanI aneka vinavaNI satAM rAjA na mAnyo pANIthI gAro sApha karyo / mUrti jotAM ja rAjA maMtramugdha banI bolavA lAgyoH cAlone pUtaLI ApaNe ghera, tame rAMdho ne ame jamIe. pradhAne rAjAne khUbakhUna samajAvyA paNa rAjAe raDha nA muukii| pradhAnane lAgyu ke A pUtaLImAM kAIka rahasya lAge che / AthI eNe tapAsa karI ane jene AdhAre murti ghaDavAmAM AvI hatI te rAjakumArI sAthe rAjAnAM lAna karAvI ApyA ' / matisAra ane kanakasundaranI racanAo tathA maukhika paraMparAnI lokakathAmAM jIvita pAtrane AdhAre thayelu mUrtividhAna, zilpadRSTA suMdarI pratye prema ane mitranA prApti mATenA prayatno-evaM kathAnaka samAna che / matisAranI racanAthI kanakasundaranI racanAnuM kathAnaka keTalIka rIte juIM paDe che / matisAre lakhelI kathAthI kanakasundaranI racanAmA kathAnakanI dRSTie mahattvanI gaNAya evo bhinnatA A pramANe chaH 1. A kathA mATe prA0 bhAnajIbhAI mAMDaNakAno AbhArI chu'.

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hasu yAjJika kanakasundaranI racanAmAM 1. kaparamaMjarInA nakhanI prApti ane tene AdhAre gaMgAdhara ghaDelI mUrti evaM navu kathAnaka umerAyu che / 2. guNasAra siddharAjanI ciTThI laI karpUramaMjarIno saMparka sAdhe che / aMdha guru goviMdanI vAtano kanakamundare upayoga karyo nathI / 3 bhAI mATe zilpadRSTAnI prAptinA prayatno karatA guNasAra para kapUramaMjarI moha pAme che ane guNasAra ene mohasAra sAthe lagna karavA jaNAve che / 4. aDanA yAMtrika ghoDAnA ghaTakano upayoga karyo nathI / 5. cAra ghAta bhane svAmibhakta sevakanA kathAnakano upayoga thayo nthii| mULa kathAnaka: .....matisAra ane kanakasundaranI racanAnA kathAnako vacceno A bheda kapUramaMjarInI kathAnA mULabhUta mALakhAno vicAra karavAmAM khUba ja upayogI bane ema che / sAmAnya rIte to samayanI dRSTie je racanA pahelI hoya emAM kathAnaka prAcInatama mUlabhUta mALakhaM jaLavAtuM hoya, evu' bane cha / enuM kAraNa e che ke pracalita kathAmAM jyAre koI navu kathAnaka umerAtuM hoya che tyAre e nbu umerAtuM kathAnaka pracalita jUnI kathAne vizeSa rocaka banAve to anugAmIo svIkArI lenA hoya che / AthI samayanA pravAhanI sAthe sAthe AgaLa vadhatI vArtAnI racanAomAM kALakrame avanavAM kathAnako umerAtAM mULabhUta mALakhu mAtra aMzarUpa banI jatuM hoya che / kanakasundaranI racanA matisAranI racanA thayA pachInA sattAvana varSe thaI che, chatAM emAM kapUramaMjarI, mULabhUta mALa jaLavAyelaM che / UDato yAMtrika ghoDo ane cAra ghAta zilpadRSTAsuMdarInA kathAvibo parasparathI svataMtra ane bhinna che / matisAranI racanAmAM svataMtra gaNI zakAya evA be ke traNa kathAnako saMkaLAyelAM chaH 1. jIvita pAtrane AdhAre thatu mUrti vidhAna, zilpadRSTA sundarInI zodha bhane prApti / 2. ve pravAsI bhAIo ke mitro, ekanuM koI mUrti ke jIvita pratyernu mAkarSaNa bhane anyanI prApti mATenI sahAya ane milana / 3. cAra ghAta ane svAmibhakta sevaka / / kanakasundaranI racanA pahelA prakAranA bibarnu kathAnaka Ape che ane bojA prakAranA bi sAthe paNa saMbaMdha dharAve che / matisAranI racanAmAM vraNe

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karpUramaMjarI ane svAmibhakta sevakanu kathAbiMdha ___ 23 prakAranAM viMbanAM kathAnako prayojAyAM che| karpUramaMjarI evA pAtranAma sAye muLabhUta rIte saMkaLAyelaM biMba kayu hoI zake, enuM cokkasa anumAna kI zajhAya ema nathI / zilpadRSTA suMdarInI lokaparaMparAnI kathAne matisAre ke e pahelo koI madhyakAlIna vArtAkAre karpUramaMjarI sAthe sAMkaLI hovAnI saMbhAvanA cha / zilpadRSTAsuMdarInI lokaparaMparAnI kathA to atre carcelA boTAda vistAranI 'cAlone pataLo ApaNe ghera' vALI lokakathAmAM akabaMdha jaLavAyelI che / kathAsaritsAgaramAM rAjyadhara ane prANadhara nAmanA yAMtrika sAdhano banAvavAmAM kuzaLa evA bhAIonI vAta che ane tyAM pAtranAma karpUrikA che / AthI saMbhava evo che ke kara kA sAthe saMkaLAyelA yAMtrika haMsa ane sutAranI kuzaLatAnA kathAnako karamaMjarInA nAme matisAre ke e pahelAMnA koI vArtAkAre sAthe sAMkaLone tathA emAM cAra ghAtavALA kathAnakane umerIne eka vizeSa rocaka kathAnaka ghaDyu hoya / be pravAsI mitro ane ekano moha ane bIjAno prayatna / kathAbiMba madhyakAlIna gujarAtI kathAsAhityamAM jANItuM che / zivadAse haMsAvalInI kathAmA (ra.saM. 1670) uttara ane somanI vAta lakhI che / kAMtapuramA pradhAnanI putrI pratye uttarane moha thayo / some khUba samajAvyo paNa na mAnyo ane viyogamA bhRtyu pAmyo / A sAMbhaLIne pradhAnaputrI paNa mRtyu pAmI / ahI pratyakSa darzana che jyAre e ghaTanA zilpadRSTA sAthe sAMkaLIne emAMthI rocaka kathAnaka ghaDAyu che / karpUramaMjarInA kathAnakanI sAmagrInI carcA karatAM DaoN. bhI. ja. sAMDesarAe kathAsaritsAgaranI karpUrikAnA kathAnakanI paNa carcA karelI che / kathAsaritsAgaranA ratnaprabhAraMbhakanA AThamA ane navamA taraMgamAM A pramANe kathA che : naravAhanadatta ane gomukha daDe ramatA hatA / daDo eka tApasIne vaagyo| tApasI bolI ke atyAre tuM Avo che ne emAM jo karpUrikA jevI patnI maLe to to zuM na kare ? naravAhanane kapUrikA vipe utkaMThA thatAM tApasInI kSamA yAcI pRcchA karI / tApasIe kahayuM ke dUra dUra dariyApAranA karasaMbhava nagaramAM karpUraka rAjAne karpUrikA nAmanI suMdara putrI che / e puruSadveSiNI che etho koI sAye lAna karatI nathI / A sAMbhaLI naravAhana ane gomukha dakSiNa tarapha ravAnA thayA / banne samudra kinAre AvelA jIvita mAnavI vagaranA kASThayantranA pataLAMvALA vicitra nagara suvarNapuramA AvyA / rAjabhavanamA kASThanA pratihArIvaDe rakSAgalo eka bhavya puruSa beTho hto| e puruSe potAnI vAna A pramANe kaho :

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24 hasu yAzika 'huM rAjyadhara nAmano sutAra chu / huM mArA bhAI prANadhara sAdhe kAMcInagaramA rato hato | ame banne bhAIo yantrakalAmAM pAraMgata chIe / prANadhara vezyAgAmI hRto ane yAntrika haMsa dvArA rAjabhaMDAramAthI corI karato / yAMtrika haMsa corI karI Avato to tene rAjasevakoe pakaDIne toDI nAkhyo / AvI kalA mAtra ame ja jANatA hoI pakaDAI javAnI zakyatA hatI eTale ame yAntrika vimAnamAM besI judA judA sthaLe nAsI gayA / A nagaramA Ayo / nagara nirjana hoI yAntrika mAnavo banAvyA / rAjyadhare naravAhana mATe vimAna banAvyaM / emAM besI naravAhana ane gomukha karpUra saMbhava nagaramA AvyA / eka vRddha khIne tyAM banne rahyA ane e karpUrikAnI sakhI hoI ja NyuM ke pUrvabhavanI smRtinA kAraNe puruSadveSiNI hatI / pUrvajanmamAM naravAhana haMsa ane karpUrikA haMsI hatAM / baccAM mRtyu pAmatAM haMse rahatI haMsane AzvAsana ApatAM kAM ke ApaNe jIvAzuM to cIjAM paNa baccAM thaze / puruSanI svArthI vRtti para haMsAne tiraskAra AvatAM samudramAM paDI AtmahatyA karI ane karpUrikarUpe janmI / pUrvajanmano smRtithI haju paNa e puruSone vikAratI hatI / A sAMbhaLIne naravAhana - ' hA haMsI ! hA haMsI' bolato pasAra thayo / A joI-sAMbhaLI karpUrikAno dvepa dUra thayo bhane bannenAM lagna thayAM / kathAsaritsAgaranA prastuta kathAnaka ane karpUramaMjarInI kathAne kathAnakagata koI saMbaMdha-sagapaNa nathI, che te kevaLa UDatA yAMtrika sAdhananA ghaTaka pUratu / karpUramaMjarInA UDatA yAntrika ghoDAnA ghaTakano A karatAM vizeSa sAmyasaMbaMdha to rAjA citramukuTa ane rANI caMdrakiraNAnI vArtA sAthe che / citramukuTa ane caMdrakiraNAnI vArtAH rAjA citramukuTe eka sAmAnya rANInA rUpanI prazaMsA karatAM kahu~; 'huM chu tAro dAsa / ' A sAMbhaLI rAjAnA popaTane hasavu manyuM / rAjAe hAsyanuM kAraNa pUchyu~ / popaTe jaNAnyuM ke 'AvA sAmAnya saundaryanA dAsa banI gayA cho emAM caMdrakiraNA jevI rANI maLe to to zuM dhAya ? rAjAe caMdrakiraNAnI bhALa meLavI ane lagna karyA / keTaloka vasata caMdrakiraNAnA rAjyamA rahyA ane rANI sagarbhA banatAM Ur3atA ghoDA para beso potAne deza javA upaDyA / rastA mAM rANIne pIDA thaI / eka dvIpamA Utara paDyuM / putrano janma thayo / rAjA UDatA ghoDA para beso sUMTha, ghI ane ani levA gayo / pAchA pharatAM havA

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karpUra maMjarI ane svAmibhakta sevakanuM kathAbiya ghI ane agni bhegAM thatAM Aga lAgI ane ghoDo baLI gayo / Ama pati-patnI vikhUTA paDyAM zeSa kathA pati-patnI - putranA viyoga bhane punarmilananI che / 25 traNa ke cAra ghAta ane mitra ke sevakanI vaphAdArI: matisAranI karpUrama jarImAM zilpadRSTA suMdarInA kathAnaka sAthai saMkaLAlaM uttarArdhanuM bIjuM kathAnaka che te cAra ghAta ane svAmibhakta sevakanA kathAcitranuM / madhyakAlIna gujarAtInA kathA sAhityamA matisAranI racanA A biMcane kAraNe ja atyaMta mahattvapUrNa banI rahe che / sTitha thomasane 'phaoNka TeIla' mAM kathAvica kramAMka 516 mAM Faithful John nAma taLe A kathAvivanA vividha rUpAMtaro nodhyAM che / bhAratanA vividha prAMto tathA vizvanA vividha dezomAM A kathAbiMba pracalita che / svAmibhakta sevakano aMza grimasaMpAdita jarmana lokakathAonA saMgrahamAM tathA barnArDa skinditanA saMpAdanamAM paNa maLe che / 'pheIthaphUla jonasana'nA nAma taLe 'sTAnDarDa DiksanerI A~va phokalora mAM A vino vistRta noMdha apAyelI che / bhAratIya lokakathAnAM vividha saMpAdano jevAM ke preDesAnuM 'portugIja phokaTeIllasa' pherekRta 'olDa Dekkana Dejha' naTeza zAstrIkRta 'DraviDiyana nAITsa' ane 'phoka TeIlsa ova baMgAla'mAM AvatI phakIracaMdanI kathAmAM A kathAnA rUpAMtaro maLe che / kathAsaritsAgaranuM brahmadattanuM kathAnaka ghAta bhane mitrano vaphAdArInA kathAnakonuM mULa 'kathAsaritsAgara' nA 'madanamaMcakA laMbaka' nA chaTTA khaMDanI aThyAvIsamA taraMganI brahmadattanI kathAmAM maLe cheH puSkarAvatInA rAjakumArane brahmadatta nAmano mitra hato / banne lagna karavA mATe paradeza javA upaDyA | bacce nadI AvatAM rAtavAsoM karavA vRkSa nIce sUtA / rAta khuTADavA rAjakumAre vArtA kahevAnuM zarU kartuM paNa UMgha caDatAM vArtA adhUrI rAkhI 1. mitra brahmadatta jAgato besI rahyo / vRkSa para thatI koInI chupI bAta dvArA brahmadatte jAyuM ke rAjakumAranI sAthe hAre paheratAM, kerI khAtAM, lama vakhate bArasAkha paDatAM ane emAMthI bace to aMte zayanAgAramAM so vakhata chIMka svAtAM mRtyunI ghAta che / A vAta sAMbhaLanAra ghAta viSe rAjakumArane bAta kare to paththarano banI jAya / brahmadatte ghAtanI vAta rAjakumArathI chupAvI rAkhI ane

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hasu yAjJika traNa ghAtathI bacAva karyo / cothI ghAtamAthI rAjakumArane bacAvavA zayanAgAramAM chupAyelA brahmadatte choMka khAtA rAjakumArane chIke chIke bhagavAna tArI rakSA kare' ko / chello choMke rAjakumAra ene bolato mAMbhaLI gayo ane brahmadatta pakaDAI gayo / brahmadattane majabUra banI ghAtanI vAta kahevI paDo / A kathAnakano bIjo mahattvano avatAra rAjavallabhakRta 'padmAvatI caritra' che / padmAvatI caritra : kaliMganA rAjakumAra citrasena ane pradhAnaputra ratnasAra bacce gaDha maitrI hatI / citrasenanI suMdaratAthI nagaranI strIo vihvaLa bane che evI phariyAda thatAM rAjAe citrasenane dezavaTo Apyo / citrasena ane ratnasAra paradeza javA ravAnA thayA / rastAmAM maMdira Avyu / maMdiramA mUrti jotAM citrasena premamA paDyo / eka tapasvI dvArA jANavA maLyuM ke e mUrti padmapuranI rAjakumArI padmAvatInI cha / ratnasAra ane citrasena pApura AvyA / padmAvatI pUrvajanma-smRtinA kAraNe puruSadveSiNI hoI lagmanI nA kahetI hatI / snasAranI madadathI 'hAya haMsinI ! hAya haMsinI !' bolatA citrasene padmAvatIno puruSadveSa naSTa karyo ane lagna karyA / ghara tarapha pAchA pharatAM ratnasAre yakSa-yakSiNInA vArtAlApa dvArA citrasena para AcI paDanArI dhAta vize jANyu / ghAtanI bAta kahevAthI paththaramA parivatana pAmabAno bhaya hato / citrasenane ratnasAre aparamAtAe mokalAvelA duSTa ghoDA parathI paDatAM, bAra' paDatAM, viSavALA lADDu khAvA jatAM AvelI traNa ghAtathI bacAvI lIdho / rAte zayanAgAramA sarpane mAryo ane enuM lohI padmAvatInI jAMgha para paDelu te luchvA jatI hato tyAre citrasena jAgI gayo / vAta kahevA vivaza banelo ratnasAra paththaramAM pheravAI gyo| citrasena yakSa vasatA hatA e vRkSa nIce AvIne suuto| yakSonI vAtacIta dvArA citrasene jANyu ke saptI potAnA bAlkane khoLAmAM laI pattharane sparze to ratnasAra sajIvana bane / padmAvatIe putrane khoLAgA rAkhI ratnasArane sparza karyo ane ratnasAra navajIvana paamyo| citrasena-padmAvatInuM prastuta kathAnaka spaSTa rIte zilpadRSTA suMdarI, pUrvabhavano jAtismRtinA kAraNe puruSadveSa ane eno lopa thatAM pUrvabhavanA premIbhornu milana tathA cAra ghAta ane mitranI vaphAdArInAM kathAnakone eka sAthe sAMkaLIne nirUpe cha /

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karpUramaMjarI ane svAmibhakta sevana kathAvidha citrasena-pamAvatInI kathA jaina sAhityamA atyanta lokapriya rahelI cha / vividharAsonI racanA madhyakAlIna gujarAtImAM A kathAnakane AdhAre thayelI che / vinayasamadra (i. sa. 1547) bhaktivijaya (i. sa. nI soLamI sadI), kalyANacaMdra (i. sa. 1562) hastiruci (i. sa. 1660), vinayasAgara (sattaramI sadI), vRddhivijaya (i. sa. 1752) rAmavijaya-rUpacaMda (i. sa. 1757), ityAdi jaina kavikathAkAroe rAsarUpe citrasena-padmAvatInI vArtA lakhI che / AthI spaSTa thAya che ke matisAre enA jamAnAnI pUtaLI paranA premanI lokakathA ane UDatA ghoDAnI kathAne sAMkaLIne 'karpUramaMjarI'nI kathA AlekhI che / kathAsaritsAgaranA ratnaprabhAlaMbhakanA AThamA ane navamA taraMganI ka rikA-kathAno puruSadveSiNo nAyikA ane 'hAya-haMsI' kahI dveSalopano nAyaka bhane mitrano pratyupAya e aMza tathA 'kathAsaritsAgara' nA madanamaMcUkAlaMcakanA chaTThA khaMDanI aThyAvIsamA taraMganA brahmadattanA kathAnakanA cAra ghAtanA aMzanI sAthe zilpadRSTA sudarI paranA premana kathAnaka pUrvAzarUpe sAMkaLone 'citrasena-padmAvatIno kathA'nuM ghaDatara thayu che ane e mALakhAmA puruSadveSiNIno aMza bAda karI kapUrikAkathAnA ja eka bIjA UDatA yaMtronA aMzano upayoga karI matisAranI kasmiMjarInuM ghaDatara thayu che / Ama matisAra kRta 'karpUramaMjarI' zilpadRSTAsudarI tathA svAmibhakta sevakanA kathAbinA abhyAsamAM asAdhAraNa mahatva dharAvatI vArtAkRti cha / saMdarbha granthoH 1. zrI phA. gu. sabhA traimAsika aM1. 4. hiMdI sAhityakA lokatAttvika adhya pu. 6. aMka 1 mAMthI uddhRta matisAra- yana (hiMdI) DaoN. satyendra kRta karpUramaMjarI. saM. DaoN. bho. ja. 5. mosana oNva sTorIjha-TonI ane penjhera sAMDesarA muMbaI, i sa. 1911 (aMgrejI) 2. rAsasAhitya DaoN. bhAratI vaidya 6. phoka TeIlsa sTitha thomasana (aMgrejI) 3. jaina gurjara kaviyo. zrI. ci. DA. 7. sTenDarDa DiksanarI oNva phokalora-lIca dalAla (aMgrejI)

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dvitIya AzvAsakaH atha zubhacApaguNeSu sthiradhI:rye parasya cApaguNeSu / bibhradagacchamAnaM stanaM vihAyAvaneragacchadAnam // 49 // shaaN0|| ath0| atha rAmapreSaNAnantaraM lakSmaNaH agacchat gatavAn / kIdRzaH ! zubhacApaguNeSu cArudhanumauMrvIbANastathA sthiradhIH acalabuddhiH / ka ? vIrye vikrame / kiM kurvan ? bibhrata dhArayan / kaM ? mAnam ahaMkAram / kepu ! apaguNeSu aparAdhiSu / kasya ? parasya zatroH / caH samuccaye / kiM kRtvA agacchat ? vihAya tyaktvA / kam ? stanamiva stanam girim RSyamUkam / kIdRzam ! agacchadmAnam agA vRkSAH chamAnaH AcchAdakA yasya sa tthoktstm| yad vA agacchanmAnaM girivyAjam / kasyAH stanam ? avaneH bhuvaH // 49 // pu0 // atha rAmavisarjanAnantaraM lakSmaNaH agacchat / agacchamAnam parvatavyapadezabhAjam avaneH stanaM bhuvaH kucaM vihAya iti upamAlaMkAraH bhUstanopamaM mAlyavantaM tyaktvA ityarthaH / zubhAH cApaguNeSavaH dhanurmIIMzarAH yasya / tathA vIrye sthiradhIH nizcitabuddhiH tathA parasya ca sugrIvasya apaguNeSu durguNeSu mAnaM krodhaM bibhrat dhArayan / cakAraH vizeSaNAnAM samuccaye / bibhrat iti / "nAbhyastAcchatuH" [pA. 7. 1. 78] iti na numAgamaH / agacchaditi "manunAsikasya vikalpitatvAt tadabhAve jaztvameva // 49 / / bhrakuTiviSamaM nyasya prasRtamasA saropaviSamanyasya / trAsakarIcchAyA taM bheje krodheddhamadakarIcchAyAtam // 50 // shaaN0|| bhUka 0 / taM lakSmaNam / chAyA zobhA kAntiH / / kIdRzI ! trAsakarI bhayakArikA / kasya ? anyasya ripoH bheje si peve / kiM kRtvA ? nyasya racayitvA / kam ? bhrakuTIviSamaM bhrakuTikauTilyam / bhAvapradhAnatvAt nirdezasya / 1. ma0 'apaNaguNeSu' / 2. ma0 mAsti / 3. ma0 'chadakAH' 4. ma0 'tathoktaH' / 5. yaro'nunAsike'nunAsiko vA [8.4.45] iti vAnunAsikaH / 6. ma. nAsti /

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zivabhadrakRtam kIdRzam / prasRtaM' visRtam / asA asahanIyam / kasya ? anyasya zatroH tathA saroSaviSa kopaviSasahitam / kIdRzaM tam ? krodheddhamadakarIcchAyAtaM krodhedvasya kopadItasya madakariNa iva gandhahastinaH iva icchayA svecchayA yAtaM gamanaM yasya sa tathoktaH tam / yathA kodhadIptaH mattaH hastI vRkSAdIn bhaJjan gacchati tathA ayamapi ityarthaH sakopatvAt / / 50 // pu0|| taM lakSmaNaM anyasya trAsakarI bhaGgakarI chAyA kAntiH bheje prApa / kIdazam ? bhRkuTiviSama yathA syAt / nyasya vikSipya prasRtaM pracalitam / tathA asA soDhuM abhibhavitum azakyam / ropaH eva vipaM tena saha vartamAnam / krodhena iddhaH dIptaH yo madapradhAnaH karI hastI tasya iva icchAyAtaM svairagamanaM yasya tam / dhruvaH kuTiH kauTilyam "iko hUskho'Gyo" iti hU~svaH / 50 // tvaritaM ca krAntasya pramukhAyAtojitAricakrAntasya vego jaghorasyaH sphuTamarujad tadvanamadUraja ghorasya // 51 // zAM0 // tvari / tvaritaM zIghram / krAntasya calitasya kRtapAdavikSepasya lakSmaNasya saMbandhI vegaH javaH arujat bhagnavAn / kim ? tadanaM taruvRndam / kohazam ! adarajaM AsannajAtam / kIdRzaH vegaH ? jayorasyaH jaGkhorasoH bhavaH / katham arujat ? sphuTaM prakaTam / kIdRzasya lakSmaNasya ? pramukhAyAtojitAricakrAntasya sammukhAgatabaliSThazatruvRndanAzakasya / tathA ghorasya bhayAnakasya / pu0|| ghorasya / raudrasya lakSmaNasya jaghorasyaH / jaGghorasi bhavaH javaH vegaH adarajaM nikaTavartinaM vanaM kAnanaM sphuTa nizcitaM arujat babhaJja / cakAraH pUrvakriyAsamuccaye / kIdRzasya ? tvaritaM zIghra krAntasya calitasya / tathA pramukhena sammukhena AyAtasya [A]gatasya arjitasya prabalasya aricakrasya zatru[saMghAtasya / 51 // 1. kSA0 'prabhRti' / 2. iko isvo'cyo gAlavasya / pA. 6. 3.61 / 3. ma0 'vlitsy'| 1. ma 'kRtapAdAvikSepasya' / 5. ma0 'bhavam " / 6. kSA0 saimukhAgativalajyazavRndanAzakasya /

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zivabhadrakAvyam vyAghrAstatrasurabhayaH siMho'bhyanadata javAcca . tatra surbhyH| kusumaiH sAkaM pavanAH saritazcakruH kSaNena sAkampavanAH // 52 // shaaN0|| vyaaghraa0| tathA vyAghrAH puNDarIkAH tatrasuH bhItAH / tathA siMhaH abhayaH bhayarahitaH abhyanadat bhRzaM naditavAn / tathA tatra pradeze javAta vegAt pavanAH cakraH kRtavantaH / kIdRzAH ? surabhayaH sugandhayaH / tathA sAkaM sahitAH / kaiH ? kusumaiH puSpaiH / kAH cakruH ? saritaH nadIH / kIdRzaH ? sAkampavanAH sAkampAni kampayuktAni vanAni taruvRndAni yAsa tAH / kena ? kSaNena muhUrtena // 52 // pu0|| tatra vane vyAghrAH zArdUlAH tatrasuH bhItA iva UcuH / siMhaH bhayazUnyaH abhyanadata jagaje / pavanAH vAyavaH ca javAt rabhasena(sAt) hetoH / kSaNena zIghra sarvAH [saritaH] sAkaM yugapad eva sAkampavanAH cakruH / saha A samantAt kampena varttate iti sAkampaM tAdRzaM] vanaM toravanaM jalaM vA payaH yAsAM tAH / tathA kIdRzAH pavanAH ? kusumaiH surabhayaH sugandhayaH // 52 // nalinI drutakurarA'gAt kSobhaM ciratA mRgAstRNAGkurarAgAt / ' dadRze sannAgAnAM krodhAgniH koTareSu sannA'gAnAm // 53 // shaaN0|| nli0| agAt jagAma | kam ! kSobhaM calanan / kA asau ! nalinI padminI / kIdRzI ! drutakurarA calitapakSivizeSA lakSmaNagamanena / tathA viratAH nivRttAH / ke ? mRgAH hariNAH kasmAt ? tRNAkurarAgAt tRNaprarohAbhilApAt / tathA dadRze dRSTaH / kaH asau ! krodhAgniH kopavahniH / keSAm ! sannAgAnAm zobhanasarpANAm / keSu ? koTareSu chidreSu / keSAm ! sannAgAnAm sannAH bhagnAH agA vRkSAH teSAm // 53 // pu0|| kiM ca nalinI padminI kSobhamagAt gatA / kodazI ! drutakuzrA:(kurarAH) palAyitAH kutrAH(kurarA) utkrozA yasyAH sA tathA mRgA hariNAdayaH ca 1. sa+AkampavanAH sAkampAni vamAni yAsAm taaH| 2. ma0 "saha" asti / 3. kSA0 "nikampanayuktAni" asti / 4. dutakurarA'gAt / 5. tRNAMkurarAgAt / 6. sannAgAnAm athavA san mAgAnAm / 7. sannA'gAnAm / 8. pu0 "drutakutrAH" iti pAThaH sviikRtH|

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zivabhadrakRtam tRNAkurarAgAdviratAH zaSpAbhilApanivRttAH / tathA nAgAnAM krodhAgniH koTareSu san vidyamAnaH lAnaH dadRze / kIdRzAm ? sannA veSTitAH agAH vRkSAH yaiH teSAm // 53 // udabhUtataraGgatvAdabhajattIrANi vihalataraM gatvA / nipatitacitrastavakaM bhrAntakrauJcaM jalaM kvacittrastavakam // 54 // shaaN0|| udbhU / jalam udakam / abhajat sipeve / kAni ? tIrANi taTAni / kutaH udbhUtataraGgatvAt ucchalitakallolatvAt / kiM kRtvA ? gatvA prApya / katham ? vihalataraM caJcalataram / kIdRzam jalam ? nipatitacitrastabakaM nipatitAH srastAH citrA nAnArUpAH stavakAH puSpagucchAH yasmin tat tathoktam / tathA bhrAntakrauJcaM calitakrauzcam / tathA trastavaka bhItabakoTam / kva ? kvacit pradeze // 54 // pu0|| udvegena jalaM tIrANi abhajat / kiM kRtvA ? vihvalataraGgatvAt / vyAkulataraGgatvena vihvalataraM yathA syAt tathA [gatvA] / kITak jalam nipatitacitrastabakaM nipatitAH vicitrAH stabakAH puSpapallavagucchA yatra / tathA bhrAntakraucaM bhrAntAH kroccAkhyAH pakSigaNAH yatra / kyadhicca trastAH bakAH bakoTAH yatra // 54 // bhagnaM sAlaM balataH so'nyapatacchuceva saalmbltH| vIkSya tamAlolatayA sabhayamivAliGgitastamAlolatayA // 55 // shaaN0|| bhgnN| zucA iva zokena iva apatat patitaH / kaH asau ? sarja: kSavizeSaH / katham ? anu lakSIkRtya pazcAd vA / kam ? zA(sA)lam / kIdRzam ? bhagnam / kena ! balataH lakSmaNazaktayA / kIdRzaH sAlambalataH / sahAlambAbhiH AlambinobhiH latAbhiH vartate yaH saH tathA / taM sarja vIkSya vilokya / kayA ? katayA azokacampAdikayA vratatyA vA AliGgitaH AzliSTaH / kaH asau ! tamAlaH vRkSavizeSaH / kayA ? AlolatayA caJcalatayA / kathamiva ? samayamiva satrAsamiva utprekSA / pu0|| balataH balena / bhagnaM sAlaM asanakam anu / saH asanakavRkSaH 1. pu0 'vihvalasaramatvAt pAThaH svIkRtaH 2. kSA0 'calita kukkuTa' 3. kSA0 'balayo (to) 1. kSA0 'satoktaH' ! 5, kSA0 'satrAsamiSotprekSya' /

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39 zivabhadrakAvyam zucA zokena ca apatat / kIdRzaH ? AlambalatayA AzritayA vallyA sahitaH / tathA taM lakSmaNaM sarja vA vIkSya AlolatayA vyAkulatvena latayA tamAlaH sabhayam iva AliGgitaH / abalA hi bhayena puruSaM gADhamAliGgati ityutprekSA // 55 // trasto mattaruto'yaM vihagagaNastyajati kAntimattarutoyam / iti vAnAnilayo'gaH prAkrozadivA''ptapRthuguhAnilayogaH / / 16 // shaaN0|| trasta0 / kiM ca tyajati muJcati / kaH amau ? ayaM pratyakSaH / vigagaNaH pakSivRndam / kIdRzaH trastaH bhItaH / mattarunaH madhurasvaraH / kiM tad' tyajati ? kAntimattarutoyaM zobhAyuktaM vRkSapAnIyaM yadvA [kAntimantaH taravaH kAntimattaravaH teSAM toyaM kAntimat ] tarutoyam / kIdRzam ? kAntiman zobhAvat iti pUrvokaprakAreNa / prAkrozat iva paruSeNa cukroza iva / kaH aso ? agaH giriH / kIdRzaH vAnaranilayaH. plavagAzrayaH / kiMbhUtam ? AptapRthuguhAnilayogaH prAptavistorNadarIkaH anilayogaH vAyusaMbandhaH yasya saH / .56 // pu0|| iti hetoH / vAnaranilayaH kapInAm samayaH AgaH zanaH kiSkindhaH prAkrozat Akrandat iva / kIdRzaH ? AptaH prAptaH / pRthuH mahAn guhAmu anilena vAyunA yogaH saMgamaH yasya saH / vAyupUrNaguhatvAt / prAkrozat iva iti utprekSA / kimiti mattarutaH madanena zabdAyamAnaH vihagagaNaH pakSisaMdhaH / trastaH san kAntimat zobhanam / taratoyaM vRkSAH pAnIyam ca / tyajati / iti zabdaH hetau / tarutoyam iti samAhAre ekatvam // 56 // prekSya ca lAkSArasataH tAmratarAsyA nagAccalAkSA rstH| eSa marunnivaharayaH kiMzciditi tadvanamabhUSayannivaharayaH // 57 // shaaN0|| prekSya / harayaH vAnarAH tadvanaM tasya gireH vanaM vRkSavRndaM yadvA vanamaraNyamabhUSayan iva alaMkRtavanta iva kiMciditi / yataH,"kim epa: pratyakSaH / marunnivaharayaH vAyusaMghAtavegaH / " tatkim anyat ? kimapi iti / ki kRtvA ! 1 ma0 'n'| 2, kSA0 kAntimattara' 3. kSA. 'vRkSa" / 1. kSA* 'pUrva prkaarenn'| 5. kSA0 'prakarSeNa' / 6. kSA0 'vaayusNghaa'| 7. kSA. 'kisviditi' pAThaH svIkRtaH / 8. ma. nAsti / 9. kSA. 'abhUSan' / 10. kSA. 'kivikI' / 11. ma0 mAsti / 12. kSA0 marunnivaharayo / 13. ma0 'vAyusaMghAtamedaH' / 14, kSA0 'svikiMvA /

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zivabhadrakRtam prekSya avalokya / 'ca' samuccaye / kim ? pUrvoktamiti gamyate / kasmAt pekSya ? nagAt parvatAt / kiM kurvataH rasataH zabdAyamAnAn / kIdRzAH harayaH ? tAmratarAsyA rkttraannaaH| tathA calAkSAH caJcalanetrAH' / kasmAt " ? lAkSArasata' lAkSArAgAt // 5 // pu0|| prekSya lakSmaNaM dRSTvA ca harayaH kapayaH nagAt parvataM parityajya yadvA nagAt prekSya ityanvayaH / iti tadvanaM abhUSayan iva / iti kim ? marunnivaharayo vAtyAkalpaH eSaH ko nu iti / nu zabdaH vitarke / kIdRzAH kapayaH ? lAkSArasataH alaktadravAt api tAmratarAsyA raktataramuravAH / tathA rasataH krodhAt vA calAkSAH taraladRSTayaH / nagAt iti lyablope karmaNi paJcamI // 57 // kiMca vegaM he turagANAM jayannasAveti bhaGgaheturagAnAm / dhanuSA saha sAdhvaMsaH iti tanmanasAmabhUcca sahasA dhvaMsaH // 58 // shaaN0|| vegN0| abhUt babhUva / 'caH' samuccaye / kaH asau ? dhvaMsaH bhayam katham ? sahasA zIghram / keSAm ? tanmanasAm vAnaracetasAM yadvA vAnarANAm / kIdRzAm tanmanasAM tasmin lakSmaNe manaH cetaH yeSAm te tathoktAH teSAm / kathaM dhvaMsa: abhUt / 'he vAnarA asau ayaM kazcit eti Agacchati' [iti / kIdRzaH ? bhaGgahetuH bhaGgajananaH / keSAm ? agAnAM vRkSANAm / kiM kurvan ? jayan abhibhavan / kam ? vegaM javam / keSAm ? turagANAm hayAnAm / tathA dhanuSA saha cApena yuktaH / tathA sAdhvaMsaH prazastaH skandhaH iti anena prakAreNa // pu0 // iti itthaM tanmanasAM lakSmaNagatacittAnAM sahasA zIghra dhvaMsa: dhairyabhraMzaH abhUt / cakAraH pUrvakriyAsamuccayArthaH iti / kathaM bhoH turagasya ghoTakasya vegaM kSipan nyakkurvan asau dhanuSA saha patati Agacchati agasya vRkSasya bhaGgahetuH vegena vRkSAna bhaJjan ityarthaH tathA sAdhvaMsaH sAdhU unnatakaThinau aMsau yasya sa tathA he iti parasya AmantraNam // 58 // yAtaizca svAdarataH so'ntasthaH kapipatiH sukhAsvAdarataH / dayitavadhUtantrastaiH prokta idaM saMbhramAvadhUtaM trastaiH // 59 // 1. ma0 'caJcalAvezaH / 2. kSA0 'kasmAtsakAzAt ca' 3. tyablope karmaNyadhikaraNe ca [vA. 1574-1475] 1. ma0 'cittam' 5. ma0 nAsti / 6. ma0 'saha' 7. pa0 'prItezca' iti pAThaH svIkRtaH /

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zidhabhadrakAvyam shaaN0|| yaat0| saH kapipatiH sugrIvaH idaM vakSyamANaM vacaH'proktaH prakarSaNa bhaNitaH / kaiH ? taiH vAnaraiH / kIdRzaiH ? yAtaiH / 'ca' samuccaye / kathaM proktaH ! svAdarataH svAdareNa 'jaya'-'jIva'-ityAdipUrvakam' / kIdRzaH ? antasthaH nikaTavartI madhyavartI vA / tathA sukhAsvAdarataH sukhAnubhavAsaktaH / dayitavadhUtantraH priyadayitAparigrahaH priyadayitAdhInaH vA / kathaM proktaH ! saMbhramAvadhRtam / kaiH ? bhayakampitaiH taiH / kIdRzaiH ? jastaiH bhItaiH // pu0 // sa kapipatiH / sugrIvaH kapibhiH trastaiH bhItaiH idaM vakSyamANaM vacaH proktaH / 'ca' [iti] cakAraH pUrvakriyAsamuccaye / katham ? saMbhrameNa yad avadhUta kampaH - bhAvektaH - tena sahitaH sapaMbhramAvadhRtaM yathA syAt / kIdRzaH prIteH prItyA / svAdarata: suSTu AdarAt ca / antasthaH antaHpurasthaH / tathA sukhAsvAde rataH / AsaktaH dayitA vadhUH eva tantram ca paricchadaH pradhAnaM vA yasya sa tathA // 59 // tyajati na yo gAmbhIrya vyajahAdyasmin dhRtirnayo gAmbhIryam / so'dya vanajanetraste purameti kimAsyate vanajane traste // 30 // shaaN0|| tyj0| saH lakSmaNaH / adya asmin ahani / te tava / puraM nagaram eti Agacchati, he sugrova ! kIdRzaH ? vanajanetraH patnalocanaH / ataH kim Asyate sthIyate bhavatA ? ke sati ? vanajane vAnarajane sati / kIdRze ! traste bhIte / yo lakSmaNaH gAM vAcaM na tyajati, mRSA na bhASaNAt / satyaM vadati ityarthaH / tathA yaM bhIH bhayaM vyajahAt tyaktavatI / yasmin dhRtiH saMtoSaH, nayaH nItiH, gAmbhIrya ca gambhIratA" ca, viyate iti trastAH vAnarAH sugrIvaM proktadantaH ityarthaH // 6 // pu0 // ki proktaH iti Aha / sa tAdRzaH puruSaH / te tava puram adya idAnIm eti Agacchati / vanajane vanasthitakapiloke traste sati / kimAsyeta kim 1. kSA0 / 2. ma. 'bhASitaH / 3. ma0 'piite| 4. kSA0 'musvAdareNa' / 5. kSA0 nAsti 6. ma0 nAsti / 7. ma. 'padmanetraH padmalocana' / 8. ma0 nAsti / 1. kSA0 'mRSAbhASaNAmadhyaM' / 10. ma0 gambhIreNa /

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zivabhadrakRtam iti tUSNIM sthIyate / saH kIdRzaH ? yaH gAM bhUmi na tyajati / kasmAt cit api na apamarati iti arthaH yad vA gAM vAcaM na tyajati / vAci sthira iti arthaH / yaM ca bhIH bhayaM vyajahAt tatyAja / yasmina puruSa dhRtiH dhairya nayaH nItiH gAmbhIryaM ca tiSThati iti zeSaH / vikArAH sahasA yatra harSazokabhayAdayaH / / prakAzaM nAdhigacchanti tad gAmbhIryamudAhRtam" // ] tathA vanajanetra: abhbhojAkSaH // 6 // prItezcApetasya vyaktikare bhrUbhaGgacApe tasya / asti hi kopitavAn yaH zatruH saumitrimadya ko'pi tavA'nyaH // 61 // shaaN0|| priite| ataH asti vidyate / kaH api kazcid api / he kapipate ! bhavataH zatruH ariH| kiMbhUtaH ? anyaH aparaH / saH yaH adya adhunA saumitri lakSmaNaM kopitavAn ropitavAn / hi yasmAt / tasya lakSmaNasya bhramaGgacApe bhrukuTidhanuSI vidya(ye)te / kIdRze ? vyaktikare prAkaTacakare / kasya ? tasya eva / kIdRzasya ? apetasya bhraSTasya / kasyAH ? prIteH harSAt // 61 / / pu0||kiN ca tasya puruSasya bhrUbhaGgacApe bhravibhaGgo eva dhanuSI kIdRze ? vyatiSikte milite krodhAt / prIteH snehAt apetasya tava anyaH kaH api zatruH asti yaH zatruH saumitraM lakSmaNaM kopitavAn / nUnam anyena tava zatruNA kopitaH lakSmaNaH atra AyAti ityarthaH / // 61 // atha ca savitrA sAkSAnnirmitadehaH kapIn savitrAsAkSAn / praNigadataH samanasaH pratibubudhe saMbhramAgatAn sama na saH // 62 // shaaN0|| atha / atha vacanAnantaram 'ca' smuccye| sugrIvaH na bubudhe na jJAtavAn / kAn kapIn vAnarAn / kIdRzAn ? savitrAsAkSAn savitrAsAni sabhayAni akSINi netrANi yeSAM te tathoktAH tAn / sAnasaH zobhanacittAna / kiM kurvataH ? praNigadataH truvataH / tathA saMbhramAgatAn bhayayAtAnu / kiM tat ? sama gRha sugrIvasya / kathaMbhUtaH saH ? nirmita dehaH nimAditazaroraH / kena ? savitrA ravigA 1. pu0 "vyatiSikte" iti pAThaH svIkRtaH / 2. ma0 nAsti / 3. ma0 nAsti /

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zivabhadrakAvyam AdityasutatvAt / kathaM sAkSAt Abhimukhyena // 62 // // atha kapivacanAnantaraM ca sugrIvaH praNigadataH prakarSaNa nizcitaM bravANAn kapon na pratibubudhe na pratibuddhavAn / sAkSAt savitrA sUryeNa nirmitadehaH utpAditazarIraH sAkSAt sUryaputraH iti arthaH / kIdRzAn kapIn ? savitrAsAni viziSTatrAsasahitAni akSINi yeSAM te tAn / tathA sat prazastaM manaH yeSAM te / tathA sama gRhaM saMbhrameNa jatAn saMbhrameNa gRhAgatAn iti artha. / savitrAsAzAn iti "bahuvrIho sakthyakSNoH svAGgAt pac" [pA. 5. 4. 113] praNigadataH iti 'nargada' [pA. 8. 4. 17] ityAdinA Natvam / samanasaH iti anunAsikasya vikalpitatvAt jaztvameva // 62 // nibhRtamatimAghantaM bhaktAH kapayo'pyajasramatimAdyantam / dadRzurna vadhUpetaM vAsagRhe labdhasIdhunavadhUpe tam // 63 // __shaaN0|| nibhR0 / [taM] sugrIvaM kapayo vAnarAH kIdRzAH bhaktAH bhaktiparAH / api tu na dadRzuH na dRSTavantaH / katham ? bhaktAH AdhantaM sarvakAlam / kIdRzam ? nibhRtam atisvasthacittam / kiM kurvantam ? atimAdyantam atizayena mattatAM gacchantam / katham ? ajasram anavaratam / tathA vadhUpetaM bhAryAyuktam / ka ? vAsagRhe zayanabhavane / kIdRze ? labdhasIdhunavadhUpe labdhau prAptau madyanavadhUpau tatsugandhidravyasaMyogau yatra tat tasmin madyanavadhUpayukte iti arthaH // 63 // pu0 // na kevalaM sugrIvaH etAn na jJAtavAn / bhaktAH sevakAH kapayaH api taM sugrIvaM na dadRzuH na dRSTavantaH / yataH vAsagRhe ajasra anavarataM atimAdhantaM atIva hRSyantaM tathA AdyantaM AG prazleSe patra jJeyaH / Ayanta paryantaM nibhRtamatiM sukhitamatim / yataH vadhRbhiH upetH| kIdRze vAsagRhe ? tathA sIdhavaH AsavAH navadhUpAH ca anaGgazarAdayaH yasmin // 63 // mAsAMzcaturo'pi hi tAn prApya sukha dhanapaTena caturo'pihitAn / tatyAja na bhogamanAH priyAH murastrIrivojjhitanabhogamanAH // 6 // shaaN0|| maasaa| saH na tatyAna na mumoca / kAH priyAH bhAryAH / kIdRzI: iva ? surastrIriva devakAntA iva / kIdRzIH ujjhitanabhogamanAH tyaktakAmagatIH 1. kSA0 naasti| 2. kSA0 'sa tathoktaM' /

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42 zivabhadrakRtam utprekSA / kIdRzaH sugrIvaH ? bhogamanAH viSayAsaktacittaH tathA caturaH dakSaH / ki kRtvA ? prApya labdhvA / hi vyaktam / kiM tat sukhaM zarma / kiyantaM kAlaM yAvat ? mAsAn / kiyataH ? caturo'pi naikam hau ityapi zabdArthaH / tathA tu varSAsatkAn "kAlAdhvanoratyantasaMyoge" iti karmatvam / tathA pihitAn AcchAditAna ghanapaTena mehAvastreNa // 64 // pu0|| kasmAt vAsagRhamatta(dhya)sthita iti cet tadA Aha-hi yasmAt caturaH suratakuzalaH sugrIvaH caturaH mAsAn mAsacatuSTayamapi sukhaM prApya anubhUya priyAH vallabhAH na tatyAja yataH bhoge manaH yasya sa tathA / sukhAsaGgena zaradi api kAntA na tyaktavAn iti arthaH / kIdRzAn mAsAn ? ghanapaTena megharUpavastroNa meghavistAraNa vA apihitAn AcchAditAn / kIdRzIH priyAH ? ujjhitanabhogamanAH tyaktAntarikSagatIH murastrIH apsarasaH iva / dhanapaTena iti 'vistAre paTac / iti paTac pratyayaH // 64 // upaguhya ca lAlasayA rurudhuI STayAganA madacalAlasayA / kalazasamastanyastaM prathayantyaH prema hRdi samastanyastam // 65 // shaaN0|| upa0 / taM sugrIvam aGganAH dayitAH rurudhuH rodhyntyH| kayA ! dRSTyA cakSuSA darzanena vA / kiM kRtvA ? upaguhya AliGgaya / kIdRzyA ? lAlasayA lampaTatayA tathA madacalAlasayA kSovatAcaJcalamadayA / kIdRzyaH aGganAH ! kalazasamastanyaH kumbhatulyakucAH / kiM kurvantyaH ? prathayantyaH / kiM tat prema sneham / kIdRzam ? samastanyastaM samastaM ca tat nyasataM ca / kva ? hRdi manasi / hRdaye sarva nikSiptam iti arthaH // 65 // pu0|| na kevalaM saH priyAH na tatyAja aGganAH api lAlasayA autsukyena tam upaguhya AliGgaya dRSTayA rurudhuH / kIdRzyA dRSTyA rurudhuH arudhan ? madena caJcalA alasA ca tayA / kIdRzyaH aGganAH ? [kalazasamastanyaH] kalazasamau kumbhapRthulo stanau yAsAM taaH| tathA hRdi nyastaM citte sthApitam / samasta samagraM prema prathayantyaH prakaTIkurvANAH // 65 // ramayan sa sma rahasi tAH priyAvilAsAvataMsa sasmarahasitAH / indriyasukhamanu paramaM rAga kAmI babandha ciramanuparamam // 66 // 1. Varttika on 5 / 2 / 29 / kSAM0 dvAvetyavizeSArthaH / 2. kalazasamastanyaH tam /

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zivabhadrakAvyam shaaN0|| rm0| saH sugrIvaH kAmI bhogI rAgaM raktatAM vavandha baddhavAn / kIdRzam ! indriyamukha indriyANAM cakSuHprabhRtInAM sukhaM yasmin saH tathoktaH tam / tathA anuparamam agativicchedaM tathA paramamutkRSTam / katham ? ciraM bahukAlam / anu pazcAt / kiM kAritavAn ! ramayan sma ramitavAn / kAH ! tAH pUrvoktAH bhAryAH / kIdRzIH vilAsAvataMsasasmarahasitAH vilAsAvataMsaM vidhokazekhara sasmaraM sakAmaM hasitaM hAso yAsAM tAH / ka ramayan sma ? rahasi ekAnte // 66 // pu0|| itthaM parasparAnurAgAt pravRtte [ta] prabandhe kAmI sugrIvaH indriyasukham anu lakSIkRtya paramaM mahAntaM rAgaM abhilASaM ciraM babandha kRtavAn iti arthaH / kIdRzam ? avidyamAnaH uparamaH virAmaH yatra / kiM kurvan rahasi ekAnte tAH priyA ramayan / kIdRzIH ? 'vilAsAvataMsAni vilAsabhUSitAni smarahasitAni manmathahAsAH yAsAM tAH / 'smara' [sma] zabdaH pAdapUraNaH yamakArthatyAt [iti] na anarthakatvadoSaH / yathA 'gAtramujjvalatayA na khallanam' iti / nipAtanAt uparamazabdaH sAdhuH // 66 // zayanairazanai rucitaiH priyAgaNairlambihemarazanai rucitaiH / adhika iva surA'surataH sasmAra na rAghavaM priyAsurAsu rataH // 67 // shaaN0|| shy0| sugrIvaH na sasmAra na smRtavAn / kam ? rAghavaM rAmam / kIdRzaH san ? rataH AsaktaH / kAsu ! priyAsurAsu priyA vallabhA surA madirA yAsAM strINAM tAH tAsu / yadvA priyAH ca tAH surAH ca priyAsurAH [sAsu] / kathaMbhUtaH iva ? adhikaH iva utkRSTaH iva / kaiH ? zayanaiH zayanIyaiH azanaiH bhojanaiH / kIdRzaiH / rucitaiH yogyaiH tathA priyAgaNaiH kAntAvRndaiH kIdRzaH lambihemarazanaiH kAJcIkalApaiH tathA rucitaiH abhipretaiH dIptimadbhiH iva / kebhyaH adhika iva ? surA. surataH devadAnavebhyaH // 67|| pu0|| sugrIvaH rAghavaM na sasmAra na smRtavAn / kIdRzaH ! zayanaiH zayyAbhiH ucitaiH yogyaiH azanaiH bhojanaiH tathA rucitaiH abhilaSitaiH vA lambinI] hemarazanA kanakamayI kAJcI yeSAM taiH priyAgaNaiH dIpyamAnaiH kAntAvRndaiH ca / surAsurataH devadAnavebhyaH api adhikaH iva sthitaH / tathA priyA surAsurate madyamadhunI yasya sa tathA tasmin na pratibuddhaH // 67 // kiM kiM cakruH iti Aha 1. ma0 vilAsazekharANi 2. ma0 nvhebhrsnaiH| 3. ma. vimalasvarNakAJcIkalApaiH // 4. kSA0 nAsti /

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zivabhadrakRtam te'pi sadAnA nAgA yeSAmativallabhAH' sadA naanaagaaH| niragurmanujAnantaH zaravipa etIti yuddhamanujAnantaH // 68 // shaaN0|| te'pi0 te'pi vAnarAH kIdRzAH ? nAgA iva kariNaH iva nAgAH kiMbhUtAH ? sadAnAH samadajalA mattAH ityarthaH / niraguH / nirgatAH kepAm ? kapInAM sadA sarvakAlaM ativallabhAH atipriyAH / ke ? nAnAgAH nAnAprakAra vRkSAH kiM kurvantaH / anujAnantaH abhyupagacchantaH / kim ? suddhaM saMgrAmam / kasmAd ? manujAnantaH zaraviSaH eti iti / manujaH yadvA manuSyaH eva anantaH nAgaH manujAnantaH / kIdRza. ? zaravipaH zA eva bANa evaM vipaM garaH yasya saH tathAktaH eti Agachati iti hetoH // 68 / / pu0|| te api kapayaH yuddham anujAnantaH aGgIkurvantaH niraguH nirgatAH / kim iti manujAnantaH martyarUpaH zeSanAgaH eti Agacchati / lakSmaNaH hi zepasya saMkarSaNAvatAraH / kIdRzaH ? zarAH eva vipaM yasya saH / tathA kIdRzAH te ? sadAnA nAgAH iva mattahastitulyAH dAnaM madaH tathA yeSAM sadA sarvadA nAnAgAH nAgAH parvatAH [bhati vallabhAH priyAH // 68 // RkSaH sAkaM jayanai vilamvitAsyacchavizva sA kajavanaiH / senA vizvA samaraM kartu prasRtA vihAya vizvAsamaram // 69 // shaaN0|| RkSa0 / sA senA sA patAkinI vizvA samagrA prasRtA pravRttA / katham ? araM zIghram / ki kartum ? kartum / kam ? samaraM saMgrAmam / kiM kRtvA ? vihAya tyaktvA / kam ? vizvAsa pramAdam / kathaM prasRtA ? sAkaM saha / kaiH ? RkSabalaiH bhallukasainyaiH / kIdRzaiH ? javanaiH zItraiH vegvtiH| kathaMbhUtA senA ? vilambitAsyacchaviH vilambitA anukRtA AsyacchaviH mukhakAntiH yasyaH sA tathoktAH kaiH kaJjavanaiH padmakhaNDaiH // 69 // pu0|| sA vizvA senA sarvA vAhinI araM zoghaM samaraM kartuM prasRtA prvRttaa| javanaiH vegavadbhiH akSaH bhallukaiH sAkaM saha / kiM kRtvA ? vizvAsaM vihAya pratyayaM tyaktvA / kodRzo ! kamjavanaiH pamA karaiH viDambitA anukRtA Asyacchavi: mukhakAntiH yasyAH sA / tathA javanaiH iti mumluce kAmyati mluc / prasRtA iti AdikarmaNi ktaH // 69 // prekSya ca taM grasamAnaM vapuSA cetAMsi suranagA'grasamAnam harazaramiva tamamoghaM raghuvRSabhaM gAGgamiva mahattamamogham // 70 // 1. ma0 "0mivavallabhAH" pAThaH svIkRtaH / 2. ma0 'mapi vallabhAH"

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zivabhadrakAvyam zAM0 // ki kRtvA ? iti kRtvA prekSya avalokya / kam taM lakSmaNam | 'ca' samucaye kIdRzam ? grasamAnaM khAdantam / kena ? vapuSA dehena / kAni ? cetAMsi manAMsi / tathA suranagAgrasamAnaM merugirizikhara tulyaM suvarNavarNIyAt ucchritatvAt ca / tathA amo saphalam / kam iva ? harazaramiva zaMkaracANamiva tathA raghuvRpamaM raghuvaMzam maha tamamarcayati / tathA dattam atimahAntam kam iva viprA / kiMbhUtam ? gAGgaM gaGgAsatkam / tribhirvizeSakam // 77 // 2 pa pu0 // prekSya ca iti kimayamiti jana iti triH kurum (m) | lakSmaNaM prekSya darzanAnantarameva vA kavibhiH iti matiH kRtA iti saMvandhaH / kITa tam ! cetAMsi picittAni vapuSA grasamAnaM gilantaM AkAraNa iva tadabuddhAH nArAyantamini arthaH / tathA suranagAgrasamAna meruzRGgatulyam / tathA harazaravad taM pri gAGgaM gaGgAsaMbandhinaM odhaM pravAhamiva / mahattamam / moghamiti muhe: nyacUkAdityAna kutvam / odhazabdo'pi hanteH pRSodarAditvAt siddhaH ||70 || kimayamajaH saMsitayA bhUtyomAliGganAdajasraM sitayA / prAptaH somarasamayaM vinigRhyAkSi zazinaM ca so'parasamayam // 71 // shaaN0|| tameva matiM darzayati / kim ayam : hayamAnaH yaH haraH sitayA dhanyA bhUtyA bhasmanA kIdRzyA ? sitayA apagatayA kasmAt ? atram anavaranam umAliGganAt gauryA zleSAt / kIdRzaH : amarasamayaM devaviniyoga prAyaH gataH / kiM kRtvA : vinigu gopayitvA / kim ? akSi tRtIyaH zazinaM ca candrava kIdRzam ? somarasamayas amRtarasadeham || 71 || 0 // kIdRzI matiH kRtA iti Aha / ayam ajaH prabhiddhaH ajaH zambhuH prAptaH zambhuH cet bhasmoddhUlanAdikaM ka gatam iti tad Ai ajasram umAliGganAta gaurIpariSvaGgAt sitayA bhraMzitayA sitayA bhUtyA manA upalakSitaH bhanya 1. ma0 'raghuvaMzaH zreSTha / 2. ma0 nAsti / 3. kSA0 nAsti / 4. 'avadya bhiva' / 5. sa0 nAsti / 6. nyakvAdInAM ca pA. 7. 3. 53 ] 7. ma0 'nAsti' /

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zivabhadrakRtam nasanena upalakSitaH iti arthaH / tathA amarasamayaM devacihnam animeSatvAdikam akSi tRtIyaM netraM zazinaM candraM ca viniguhya saMgoSya / kIdRzaM zazinam ? somarasamayaM momalatAra pariNAmabhUnam / "candraH hi somavallorasasya pariNatiH" iti zrutismRticAdaH / saMsitayA iti NyannAt niSThA // 71 // iti javasaMgamabhItaiH kRtA matiH kaSibhirAjisaMgamabhItaiH / tasmin samaraM hasitaiH kadathe yati vainateyaM samarahasi taiH // 72 // zA0 // kimiti taiH kapibhiH vAnaraiH matiH buddhiH kRtA vihitA / katham / iti evaM pUrvoktaprakAreNa / kodRzaiH ? javasaMgamabhItaiH vegasaMbandhamabhItaiH prAptaiH vegena jabena ini arthH| tathA AjisaMgamabhotaiH saMgrAmasaiharSatrastaiH / kasmin asmin lakSmaNe ki kurvani kadatheyati nistejayati / kam ? samaraM saMgrAmam kaiH ? hasitaiH haasaiH| tathA vaina leyena samaraMhasi vainateyena garuDe samaM samAnaM raMhaH vegaH yasya saH tathoktastasmin // 72 // pu0|| iti 0 / kapibhiH iti itthaM tasmin lakSmaNe vipaye matiH kRtaa|kaa kIdRzaiH taiH ? javasaMgaM vegavibhAtaM abhItaiH abhitaH prAptaiH tathA bhAjisaMgamabhItaiH yuddhasaMgamabhItaiH tathA hasinaH lakSmaNena hAsaviSayIkRtaiH / kIdRze tasmin ? samaraM kadarthayati kadarthanaM kurvANe alpatvena yuddhe niSphalIkriyamANe tathA vainateyena garutmatA samaM raha jabaH yasya tathAbhUte / / 72 / / / hanmi bihAyasametAn plabamAnAnapi dayAM vihAya sametAn / iti kRtamabhiyAtena prabhuNA'pi manaH saroSamabhiyA tena // 73 // shaaN0|| hanmi0 tena api lakSmaNena api saropaM sakopaM manaH kRtaM vihitam / kIdRzena ? abhiyAtena prAptena kalahAya tathA svAminA / tathA abhiyA bhayarahitena / kathaM garopaM manaH kRtam ? hanmi mArayAmi kAn ? etAn kapIn kiM kurvANAn ! api plavamAnAn api gacchataH / kam ? vihAyasaM kham / apizabdAt bhuvi sthitAn / tathA sametAn yuklAn kiM kRtvA ? vihAya tyaktvA dayAM karuNAmiti anena prakAreNa // 73 // pu0|| tribhiH kulakam (vizeSa kam) / tena lakSmaNena api iti manaH kRtam / kim iti etAn kapIn sametAn saMbhUya AgatAn hanmi mArayiSyAmi kIdRzAn / 1. ma0 saMgrAmasarvaprestaiH / 2. ma. nAsti /

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zivabhadra kAvyam vihAyasam kham AkAzaM plavamAnAn api / kiM kRtvA dayAM vihAya karaNA tyaktvA kIdRzena tena abhiyA nirbhayena tathA prabhuNA samarthana tathA saropaM yathA syAt evam abhiyAna tAn lakSIkRtya gatena / saroSam iti manovizeSaNaM va // 73 // atha sainyamabhinadantaH pravizya kapayospAsya tamabhinadantaH / zuH saha mAnena kSiptA na padaM parasya sahamAnena ||74|| zAM0 // atha0 | atha anantaram | lakSmaNaH abhinat bhinnavAn kiM tat ? sainyam / kiM kRtvA : pravizya pravezaM vidhAya / ka ? antaH madhye | kasya ? sainyasya / na na kevalaM abhinat / kapayaH vAnarA api nezuH naSTAH / kiM kurvantaH ! abhinadantaH zabdAyamAnAH / kiM kRtvA ? apAsya tyaktvA / kam ? taM lakSmaNam / kIdRzAH mantaH : kSiptAH tiraskRtAH / katham : saha samam / kena ? mAnena ahaMkAreNa ahaMkAraH api kSiptaH ityarthaH / kathaMbhUtena ? na sahamAnena na kSamatA' kiM tat padam avasthAnam | kasya ? parasya zatroH // 74 // 47 pu0 // atha evaM nizcayAnantaraM lakSmaNaH antaH pravizya sainyam abhinat vibheda / kapayaH api tam apAsya tyaktvA abhinadantaH sarvanaH nadantaH sarvataH militvA nezuH palAyitAH / kIdazAH ! kSiptA. kodaNDena preritaH / kena ! arthAt lakSmaNena eva / kIdRzena ? mAnena cittasamunnatyA parasya zatroH padaM vyavasAyam | na sahamAnena amRSyamANena - padaM vyavasiti - trANam" iti amara: [ 3.3.100 ] // 74 // nAsti purI sa ca rAvaH kSaNAditIva bruvan paTuH sacarA vaH / vyApa nivAsavarAgaM pramadAnAmAkSipannivA''savarAgam // 75 // shaaN0|| naasti| sa ca rAvaH zabdaH vyApa vyAnaze / kodRza: ? paTuH pATavopetaH kiM kurvanniva bruvanniva AbhApamANa iva / kim ? na asti / na vidyate / kasmAt ! kSaNAt kSaNamAtreNa / kA asau purI nagarI kiMnUnA ! sacarA sajaGgamA | keSAm ? vaH yuSmAkam / iti evaM prakAram / kaM vyApa : nivAsavarAgaM nivAmazreSThaparvatam / kiM kurvan ? nivAsam AkSipan iva vyapanayan iva / kam ? AsavarAgaM maraktatAm madyAbhilASaM vA / kAsAm pramadAnAM tacchravaNenarUpotpannaH // 75 || 1. ma0 nAsti / 1. ma0 taruNena bhAvema patreH /

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zivabhadrakRtam pu0|| saH kapInAM rAvaH nivAsabhUtaM varAgaM zreSThaM parvataM vyApa vyAptavAn / kiM kurvan iva - sacarA sajaGgamabhAvA purI yuSmannagarI kSaNAt na asti na bhaviSyati ile bruvan iva tathA pramadAnAM yoSitAM AlavarAga madhumadaM AkSipan iva pratiSedhayan iva iti utprekSA / rAvaH iti ghan pratyayaH cintyaH / Nyantasya iti kazcit // 71 / / cenobhiH stananamitaiH zvAsacalaicodaraiH striyaH stananamitaiH / samadairAzu klAntai trezca bhayaM zazasurAzuklAntaH // 76 // shaa0|| ceto0 / Azu zIvram striyaH vanitAH bhayaM bhIti zazaMsuH kathitavatyaH / kaiH cetobhiH mAnasaiH / kIdRzaiH itaiH / kim ? stanana zabdaM rodanam / tathA udaraiH / kIdRzai ? zvAsacalaiH nizvAsacaJcalaiH / tathA stananamitaH kucananaiH / tathA netraiH nayanaiH / kIdRzaiH ? samadaiH mattanAyuktaiH samanmathaiH vaa| tathA AzuklAntaiH IpaddhavalaparyantaiH / tathA klAntaiH khinnaiH glAnaiH // 7 // pu0|| striyaH bhayaM bhItiM zazaMsuH sUcayAsAsuH / kaiH kaiH ? cetobhiH udaraiH netraiH ca / kIdRzaH cetobhiH stananamitaiH glAnim itaH prAptaiH anekArthatvAt dhAtUnAM slaniglInau draSTavyaH / kIdRzaiH udaraiH ? zvAsacalaiH zvAsena nizvAsena calaiH kampanaiH tathA stananamitaiH stanAbhyAM namitaiH prahvIkRtaiH / netraiH kIdRzaiH ? samadaiH pUrvamadasahitaiH / anantaram Azu zIghraM klAntaH zrAntaiH tathA binnaiH / tathA AzuklaH IpacchubhraH antaH yeSAM taiH // 76 // paGkajadalakAnteSu pravRddhavASpAIvigaladalakAnteSu / kAsAJcittatrA''sa sphuTatara iva locaneSu 'cittatrAsaH // 77 // zAM0 // paGka0 / cittatrAsaH manobhayam Asa babhUva / kIdRzaH iva ? sphuTataraH iva vyaktataraH iva / kIdRzeSu ? paGkajadalakAnteSu padmapatrakamanIyeSu tathA pravRddhavAppAIvigaladalakAntepu vRddhigatAzrutimitazravaHkuTilakezaparyanteSu // 77|| ' pu0 // ki ca nAgarikANAM nagare bhavAnAM nipuNAnAM strINAM nayaneSu kajalaM bhraSTaM vASpodgamavazAt aJjanaM naSTam ityarthaH / kIdRzeSu ? apagata priyA''nayanaM priyAkarSaNaM yaH teSu kaTAkSanikSepAdivilAsazUnyeSu iti arthaH / tathA 1-2. ma. nAsti 3. kSA "rodanaMtevata / 4. kAsAMcit tatra Asa 1 5. cittatrAsaH -

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zivabhadrakAvyam paDajadalakAnteSu kamalapatravat ramaNoyeSu tathA pravRddhaH yaH bASpaH azrajalaM tena ArdA vigalantaH ata eva tajjalA alakAntAH yeSu tepu] nAgariketi "nagarAt kutsana-prAvINyayoH" (pA. 4-2-128) iti prAvINye vuJ // 77|| hapitakucasamudtayA romNAM rAjyA ca bhIvazasamudgatayA / karamitamadhyAsitayA zuzubhe'nyA trivalibhaGgamadhyAsitayA // 77 // shaaN0|| hRpi0| anyA aparA strI / zuzubhe babhau / kayA hRpitakucasamudgatayA romAJcitastanavartulatayA / tathA romNAM rAjyA ca paGktyA / kIdRzyA ? bhIvazasamudagatayA bhayahetusamutthitayA / tathA AsitayA A ISat zuklatayA / asitayA vA kRSNayA / tathA trivalibhaGgamadhyAsitayA vlitrybhnggmdhyaaruuddhtyaa| kIdRzI ? anyA karamitamadhyA hastaparicchinnamadhyamA // 78 // pu0|| anyA kAcit zuzubhe rarAja / kayA ? hRSitakucasamudgatayA hRSitaH romAJcitaH kucasamudgaH stanamaNDalaM yasyAH sA hRSitakucasamudgA tasyAH bhAvaH "tvaitalorguNasya" iti puMvadbhAvaH sAmAnyavivakSayA napuMsakAGgAt tala pratyayaH / na kevalaM tayA romNAM rAjyA ca kIdRzyA ? bhIvazataH bhayavazAt samudatayA prAdurbhUtayA yad vA asitayA kRSNayA tathA trivalibhaGga-valitrayavicchedam adhyAsitayA adhiSTitavatyA / kIdRzI stro? karamitamadhyA muSTisaMmitamadhyabhAgA ityarthaH / trivalibhaGga miti "adhizIthAsAM karma" (pA. 1.4. 46) iti karmatvAt dvitIyA / / 78 // atha raNasAhasadakSaM dayita madavibhrameNa sA hasadakSam / rahitAmelapadmA'nyA zrIriva tArA saMbASpamalapad mAnyA // 79 // zAM0 // atha0 // atha anantaram / sA tArA sugrIvabhAryA / dayitaM priyaM alapat uktavatI / katham ? sabASpaM sAzru / kIdRzam ! raNasAisadakSaM saMgrAmAdabhutakarmapaTum / tathA hasadakSa hasantI vA akSiNI netre yasya sa tathoktaH 1. ma0 romAJcitastanavartulAyAH' 2. tvataloguNavacanasya" Varttika on 63 // 35 // 3. sAhasadakSam / 4. sA hasadakSam athavA sA ahasadakSam / 5. malapamA'nyA / 6. sapApam alapad mAnyA /

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zivabhadrakRtam tam / kena ! madavibhrameNa madavilAsena / kIdRzI ca ? anyA zrIH iva aparA lakSmIH iva / kiMbhUtA zrIH rahitAmalapadmA tyaktojjvalakamalA / kozI sA ? mAnyA pUjyA agramahiSItvAt // 79 // pu0|| atha purA vyAkulA anantaraM sA prasiddhA tArAnAmnI priyA sabAppaM yathA syAt evaM dayitaM priyaM sugrIvam alapat abhASata / kIdRza dayitam ? raNasAhase dakSa raNarUpe sAhase dakSaM caturam / bhayAnapekSaM karma sAhasam / tathA madavibhrameNa surApAnajanitamadavilAsena ahasadakSaM vikalam / kAdazI tArA ! rahitAmalapamA tyaktasitakamalA anyA zrIH iva aparA lakSmIH iva / mAnyA mAninI yA alapad mAnyA iti atra anunAsikAbhAve pakSe jaztvameva // 79 // nidhiriva yo dhairyasya kriyate na prArthanA'pi yAdhairyasya / saumitrimavadhyantaM rupitaM nAvaiSi amuM ca kimabadhyantam // 8 // zAM 0 // nidhi 0 // taM saumitriM lakSmaNam / na avaiSi na jAnAsi / kiMbhUtam ? rupitaM kupitam / tathA avadhyaM avinAzaM(zyaM) tathA avadhyantaM ca maryAdA'vasAnam / kiM na avaipi / lakSmaNo nidhiH iva nidhAnamiva / kasya ? dhairyasya sattvasya / tathA yasya prArthanA api yAcyA api yuddhAya' yodhaiH bhaTaiH' na kriyate na vidhIyate // 8 // pu0 // taM saumitri na avaipi na jAnAsi / kIdRzaM tam ? avadhyantaM prAptaM tvatkRtamaryAdAntena samAgatamityarthaH / kIdRzam ? ujjhitaM tvayA upekSitamathavA saumitriM nAvaiSi svApekSitaM maryAdAtvaM ca nAvai Si iti yojanIyam / kIdRzaM tam ? yaH dhairyasya dhIratvasya nidhiH iva / yasya ca prArthanApi na kriyate / prArthanA yuyutsA abhidhyAnaM vA / yathAvatprArthanaH jAtu na vA Ajigatena iti prArthanA api na kriyate kim iti yuddhamiti apizabdArthaH yataH avadhyaM hantumazakyam iti arthaH // 8 // vahati na romAJcetaH kAyo muSNAti sa hi naro mAM cetH| tadarivinAzaH kramate sthAtuM tadanunayaM vinA zakramate ! // 8 // 1. ma0 'yajJaya' masti / 2. ma. nAsti / 3. ma0 kimarivinAzaH pAThaH svIkRtaH /

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zivabhadrakAvyam zAM0 vaha // tasmAt kiM kramate'yujyate / kiM kartum ! sthAnam / Asitum / kaH asau ? arivinAzaH zatruvadhaH / katham / vinA antaraNa / kim ? tadanunayaM lakSmaNAnugraham / he zakramane ! indratulyamate ! zakatulyabu ! sugrIvaH hi yasmAt na vahati na ceptttetrkH| amau ? kAyaH zarIram / kIdRzaH ? romAJcetaH romodgataH / tathA itaH asmAt mdhAnAta mAM muSNAti / apaharati / kaH asau ? saH naraH sa lakSmaNaH / / 81 // pu0|| he zakramate ! zatamakhaprajJa ! indratulyaprajJa ! abhivinAza ! zatrudhAnaka ! tadanujJayA vinA lakSmaNasya anujJayA vinA vinAzaH sthAna kramate / hi yasmAt kAraNAt saH naraH naranArAyaNayogAta yaH mAM ca ita: muSNAti madIyaM cittamapaharati / mupeH dvikarmakatvAt mAmiti karmaNi dvitIyA / cittasya muSitatvAt kAyaH zarIraM cetaH na vahati na dhAgyati / kIdRzaH kAyaH ! romAJcena bhayajapulakena itaH prAptaH / arIn vinAzayati iti arivinAzaH karmaNi ann| kramate iti apratibandhane Atmanepadam // 81 // ityAptasatIvratayA hitamuktaH kAraNasya ca sa tIvratayA / Asa samantrastAntAM priyAM vihAya madhunA samaM trastAM tAm // 82 // shaaN0|| ityA0 // 2 sugrIvaH Asa babhUva / kIdRzaH samantraH mantravAn / kiMbhUtaH san ?7" uktaH bhaNitaH san / kayA ! tayA taaryaa| kIdRzyA ! AptasatIvratayA prAptasatIsAvItratayA / kimuktaH hitaM pathyam / kiMbhUtAmiti pUrvoktam / kayA ? hetubhUtayA uktaH tIvratayA amandatvena / kasya ! kAraNasya hetoH / cakAraH samuccayArthaH kiM kRtvA ! samantra Ama vihAya tyaktvA / kAm priyAM vallabhAM tAntAM khinnAM tathA trastAM bhItAM katham ? samaM saha / kena ? madhunA madhena to mayaM ca tyaktvA ityarthaH // 82" 1. ma0 kriyate' asti / 2. ma0 7 nAsti / 3. ma. 'ata' bhasti / 4. kSA. asya zlokasya aparAdhaH nAsti / 5. kSA0 / 7 nAsti / 6. kSA. 'samaMtrastAsa' bhasti / 7. kSA0 nAsti / 8.ma0 nAsti /

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zivabhadrakRtam pu0 // sa sugrIvaH samantraH Asa savikAraH babhUva / kena hetunA ? kAraNasya lakSmaNAgamanarUpasya / tIvratayA duHsahatvena / kIdRzaH ? patiH / AptasatIvratayA prAptapAtivratyatArayA hitam uktaH bhApitaH / kiM kRtvA ? madhunA surayA samam / tAM priyAM vihAya sugaM priyAM ca tyavatvA iti arthaH / kIdRzIm ? vallabhAM tAm ataH eva tAntAM glAnAm // 82 // rAge vidvAnarataH' tata upadhAzodhitorthavidvAnarataH / hanumAna sAmAtyaM taM hitaM parIkSyA'bhyuvAca sAmA'tyantam // 83 // zAM0 // ge0 // hanumAna vAnaravizeSaH abhyuvAca uktavAn sAma sAntvaM priyavacanam / kodRzam ? atyantaM hitam atizayena hitam anukUlam / kiM kRtvA ? parIkSya paryAlocya samuvAca / taM sugrIvam / kIdRzam ? sAmAtya samantriNam / kIdRzaH hanumAn vidvAn paNDitaH / kebhyaH sakAzAt 1 tataH vAnarataH" tebhyaH vAnarabhyaH tathA arataH anAsaktaH / kva ? rAge rAgotpAdake pu viSayeSu / tathA upadhAzodhitaH dharmArthakAmabhayAkhyopadhAparIkSitaH / tathA arthavita arthazAstrajJaH prayojanavedI ca // 83 / / pu0 // tasmina iva Ayati hanUmAn sAmAtyaM mantrisahitaM sugrIvamabhyuvAca / abhimurU: babhApe / ki kRtvA ? vAnarataH sugrIvAt sAma sAntva atyanta hitaM suSTu pathyaM parIkSya sugrIvakartRkaM lakSmaNavipaya sAmaprayogaM hitasvena paryAlocya iti arthaH kIdRzaH hanUmAn ? rAge bhogasAdhanaviSaye arataH asaktaH vidvAn jJAnI tathA catura upadhAzodhitaM upadhAcatuSTayazodhitaM artha kAryatatvaM vetti iti / "upadhA amAtyaparIkSAprakArAH tAH catasna: bhavanti dharmArthakAmabhayAnAM viSayANAM catuSTayAt tatra dharmopadhAzuddhAn dharme niyuJjIta, arthoMpadhAzuddhAn artha, kAmopadhAzuddhAna antaHpure, bhayopadhAzuddhAn AtmarakSaNe" ityAdi daNDanItividbhyaH jJeyam // 83 // 1. vidvAn bharataH / 2. arthavid vAnarataH / 3. ma. 'ityuvAca / 1. kSA0 nAsti / 5. ma 'vAnarau' bhasti /

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himchujjaay' sadRzo hi sa dasyUnAM nItimupekSeta yaH kila sadasyUnAm / yo mArgaH so'dya mayA vAcyo buddhayA bhavadvidhe sodyamayA ||8|| shaaN0|| sa 0 // hi yasmAt / saH dasyUnAM zatraNAM caugaNAM vA sadRzaH tulyaH / yaH kileyo(letyA?)gamastave / na puruSaH upekSeta avagaNayet tAM caNayogAt kAma ! nIti nayam / kIdRzIm ? UnAm asaMpUrNAm / kva ? sadasi sabhAyAm / tasmAt yaH mArgaH saH adya adhunA mayA vAcyaH bhASaNoyaH ka ! bhavadvidhe yuSmatprakAre / kayA buddhayA ? matyA / kIdRzyA ! sodyamayA udyamayuktayA / 846 pu0 / kimuvAca iti Aha-yaH mantrI sapadi (madami) mabhAyAM UnAM ninditA nIti apanIti upekSeta jJAtvA na brUyAt sa kila dasyUnAM sadRzaH hi AtunyaH ityarthaH / kila iti mantritvasya mithyaatvdyotnyaa(naay)| hi ini prasiddhI hai hA iti prasiddhau hetau vA / yasmAt evaM ataH eva adya mayA yaH mArgaH panthAH saH bhavadvidhe yuSmAdRze rAjani viSaye sodhamayA udyogahi tayA buddhacA vAcyaH vaktavyaH buddhi pUrvakatvAt cAnyaH vaktavyaH iti uktam / / 84 // nanu mantrivAzyazravaNena ki prayojanam iti Aha --- nItiH kA mantribhyaH zrutA na saMpAdayeta kAmaM tribhyaH / paridRSTanayApanayA kriyAtyayaktI tu sidhyati na yApanayA ||85 // zAM0 // nIti0 // kA? nItiH nayaH na saMpAdayeta api tu marvA nItiH saMpAdayeta pUrayeta / kam kAmam inThA[m] / kebhyaH tribhyaH dharmArthakAmebhyaH dharmArthakAmArtham kIdRzI ? zrutA AkarNitA / kebhyaH mantribhyaH amAtyebhyaH / paridRSTanayApanayA paridRSTaH avalokitaH nayasya nIteH apanayaH vinAzaH yasyAM sA tathoktA tu punaH kriyA na sidhyati na niSpadyate / kIdRzI ? atyayavatI atikramavatI vinAzayuktA vA / kayA ? yApanayA kAlaharaNena // 85 // pu0 // tribhyaH mantribhyaH amAtyebhyaH zrutA nItiH kA vA kAmamabhilaSitaM na saMpAdayet na kuryAt sarvapi manorathaM pUrayet ityarthaH / yataH paridRSTau sarva 1 ma. nAsti / 2. kSA0 nAsti / 3. kSA0 'bhaNanIyaH' / 4. ma0 'sodhamayoktAya' / 5. zA. ma0 nAsti / 6-7. ma0 nAsti /

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zivabhadrakRtam jJAnI nayApana yo nAnI yasyAM sA kriyA sidhyati pralaM prasUyate yA apanayA apaganaH nayaH nItiH panyAM sA ataH eva atyayavatI atyayaH nItiH sA yasyAM pA tathA mA / nunapalAntinA ekasya nirNatRtvAbhAvAt vayoH aikamatye kAryanAzasya api saMgave vA trinyaH iti uktam // 85 / / kuru mAmnA tamaparupa nigadantamapi plavaMgamottama parupam / Ado sAmnA yasya kriyA sa vecA nayasya sAmnAyasya // 86 // zAM0 / / kuru0 // taM laHmaNam aparupaM apagataropaM kuru vidhehi / kena ! sAmnA priyvcn| he 'lavaMgottama ! vAnarapradhAna ! sugrIva ! kiM kurvantam ! nigaDhantaM bruvantam / katham ! parupamapi niSThuramapi yataH sa vettA sa jJAtA nayamya nAnaH / kIdRgasya ! sAmnAyasya sugurupAraparyasya sAgamasya vA yasya kriyopakramaH AdI prAk sAmnA sAntvena bhavati // 86 // pu0 // kaH asau upAyaH ? tam Aha-he plavagottama ! kapizreSTha ! taM lammaNaM sAmnA priyavAkyAdinA aparupaM apagatakopaM kuru / kodRzam ! parupaM niSThuram / api nigadantam uccaiH bhApamANam / yastha puruparaya Adau prathamaM sAmnA kriyA sAmapUrvaM ArambhaH ma nayasya jetA jaitraH bhavati / kIdRzasya ? sAmnAyasya AmnAyaH vRddhopadezaH tayuktasya iti / "Adau sAma(ma) prayuJjIta sAmnA siddhiH vyavasthitA" iti // 86 // daNDena eva ripuH jetavyaH ki sAmnA iti AharAgAdapadezaM kaH kuryAdhuddhasya nayavipade'zaGkaH / sarvatra nayo jati pradhanaM tena balavAnapi na yojayati // 87 // zAM0 rAgA0 // apadezaM vyAja chavA / kaH kuryAt ? na eva kaH api vidadhyAt / kasmAt ? rAgAt ajJAnAt / kasya ? yuddhasya saMgrAmasya / kibhUtaH ! jayavid nItizAgyajJaH kva ? apade asthAne akAle vaa| tathA azaGka: nirbhayaH / yataH samarimA prayojane nayaH nItiH jayati / tena kAraNena balavAn api zaktiyuktaH api pradhanaM saMgrAmaM na yojayati na karoti // 87|| pu0 // nayayit notijJa ko vA azaGkaH zaGkArahitaH san rAmaM jigISayA apadeze apasthAne api yuddhasya AdezaM nAmoktiM kuryAt ? kaH api na nItijJaH yuddhastha nAma api na gRhNAti ityarthaH / sarvatra kArye nayaH nItiH eva jayati / tena hetunA balavAnapi samarthaH api pradhanaM yudaM na yojayati na karoti ityarthaH /

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zivabhadrakAvyam uktaM hi "puSpaiH api na yaH addhA varaM (yoddhavyaM) kiM punaH nizinaiH zo' iti / yadA lavAnapi na yudhyeta durbalasya tava kA AzaGkA iha ! // 8 // dRSTA vAnarahariNA ke te sthAsyanti vIravAnara ! hariNA' / gupti kAM tava puyo pazyasi ca sa nAbhihanti kAntavapuryAm // 88 // shaaN0|| dRSTA0 // he vIra ! cArabhaTa ! ke te bAnarahariNAH markaTamRgAH sthAsyanti / kIdRzAH santaH dRSTA avalokitAH / vA athavA / kena ! tena hariNA puruSasiMhena lakSmaNena / tathA te tava puyA~ nagayA~ gupti rakSAm pazyasi nirIkSase / tAM yAM sa lakSmaNaH na abhihanti na tiraskaroti / kIdRzaH ! kAntavapuH kamanIyazaroraH ||88 // pu0 // vAzabdaH pakSavyAvRttau / narahariNA puruSasiMhena lakSmaNena dRSTAH te tava vAnarahariNAH kapihariNA mRgAH sthAsyanti api tu na kapimRgAH sthAsyanti / yathA siMhena dRSTAH hariNAH satvaraM palAyante tadvat tena dRSTAH kapayaH api ityarthaH / tava puyA kAM gupti rakSAM pazyasi yAM gupti kAntavapuH manohagAtraH lakSmaNaH tarasA balena kRtvA abhihanti / tAdRzI kApi tava puMra na asti ityarthaH / aba rAdhe viSaye trikoTyo'pi ca syuH / trisaMkhyAkAH koTyo bhaveyuH / saMbhAvanAyo liG // 8 // praNayairaparAdheyAH satAM bhRkuTayo'pi ca syuraparAne yAH / tA hi nadhairasyante sAntvaistasmAtkSamaM na vairasyaM te // 8 // zAM0 ||prnn|| apica kiMca / hi tasmAt / navaiH pratyapraiH / sAntvaiH sAmaprayogaiH / tAH bhrakuTayaH asyante nirAkriyante yAH satAM satpuruSANAM / aparAdhe syuH / kIdRzyaH aparAdheyAH anAropaNIyAH / kaH praNayaiH snehaiH kRtvA / tasmAt na kSamaM na yuktam / vairasyaM vaimu7 khyam kasya te tava / yena ca rasena prItiH tena eva rasena vardhanIyA na vairasya kAryam ityarthaH // 89 // pu0 // kIdRzyaH satAM sAdhUnAM praNayaiH prArthanAbhiH aparAdheyAH samAdhAtumazakyAH te aparAdhAH koTayo'pinA navaiH nUtanaiH / sAntvaiH sAmaprayogaiH / 1. vAnara ! hariNA athavA vA narahariNA / 2. kAM tava puryAm / 3. kAntavapur yAm / 4. navaiH asyante / 5, ma nAsti /

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zivabhadrakRtam asyante kSipyAse nirAkriyante / hizabdaH avadhAraNe tau eva ityarthaH tasmAta hetoH tena vairasyaM neSTurya na kSamaM na yuktam / pAruSyaM parityajya lakSmaNaM sAntvaya iti bhAvaH // 89 // atha sasmitamidamukto nayazobhI nena plavagezvareNa hanumAnayazobhItena / dRiSTyA ramase sAmani parame vacasAM tvaM muno hi vadati mitraM parameva ca sAntvam // 10 // shaaN0|| adh0|| atha anantaraM hanumAn tena plavagezvareNa vAnaraprabhuNA sugrIveNa / kIdRzena ? ayazobhInena akIrtitrastena idamuktaH api bhaNitaH / katham ? sasmitaM sahAsyam' / kIdRzaH hanumAn / nayazobhI nItirAjitaH / kiM bhaNitaH ? diSTayA puNyena tvaM ramase ratiM karopi / hi samaJjasatvena (1) / kIdRze ? parage pradhAne / keSAm ? vacasA vAcAma / hi yasmAta / sujanaH satpuruSaH mitraM sakhAyaM sAMtvamA(m ! ) vacasAmeva ca badati / k| sasyapuSTikAlopetasya upakAra kasya nayasya vA kAlopetasya // 90 // pu0 // atha hanumadvacanAntaraM plavagezvareNa sugrIveNa hanUmAn sasmitam idaM vakSyamANam uktaH / kIdRzaH hanUmAn ? nayena nItyA zobhate tacchIla itinayazobhI / kIdRzena plavagezvareNa / ayazobhItena ayazasaH akIrteH sakAzAt bhItena trastena / kim uktaH iti Aha-tvaM diSTayA vacasAM parame utkarSe vartase iti zeSaH / diSTayA iti harSadyotakaH nipAtaH / tathA hi sa janaH api atra sakhAyaM sAntvam eva vadati cazabdaH nirvAhArthaH / yathA gAtraM na khaLUnam iti atra khaluzabdaH / nayazobhI iti "zubha daMtau" 'suSyajAtau NinistAcchIlye' (pA.3.2.78) iti NiniH // 9 // saumya na hAsyati buddhiH sAmodA rAme sauhArdabaddhamUlA sAmodArAme / syAnmAdRzasya tuSTiH kA lope tasya upakArasya nayasya vA kAlopetasya // 91 // zA0 saumy0|| he saumya ! hanumAn / me mama buddhiH matiH na hAsyati / na bhrazaM yAsyati / kIdRzI ? sAmodArA sAmnA sAmaprayogeNa sAmi codArAreM 1. ma0 'sahAsa' asti / 2. kSA0 svAdazamanimAMsatve' asti / 3 ma0 'tu sakhA yasya tvameva vacasAmaM ca vadati' asti / 1, ma. "sAgmiIyasa' asti /

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zivabhadrakAvyam pravarA sAmodArA / tathA sauhArdabaddhamUlA sauhArdameva mitratvameve vaddhaM dRdaM mUlaM yasyAH sA tathA sAmodA saharSA / kasmin ? rAme rAmaviSaye / kA tuSTiH saMtoSaH syAt bhavet naiva bhavet ? ityarthaH / kasya ? mAdRzasya / ka sati ? lope vinAze sati / kasya ? upakArasya upaSTambhasya / kIdRzasya ? kAlopetasya samayaprAptasya / ca tathA nItezca / kasya saMbandhinaH ? tasya rAmasya // 91 // nAhaM kSaNamapi sainye sannetrasyeyaM zrIryadi na tasya vIryAtsanne trasyeyam / yata eti suhRtkupitaH sa maharSabhayAto dolAyate matiriya samaharSabhayA'taH // 92 / / / zAM0 naah0|| yadi tasya rAmasya / kIdRzasya ! sannetrasya zobhanalocanasya / vIryAt pratApAt / iyam eSA zrIH lakSmIH na bhavet tadA na aI trasyeyaM trAsaM bhajeyam / katham 1 kSaNamapi muhUrtamapi / ka sati ? sainye kapisenAyAM sanne traste sati / yataH ca eti yasmAt Agacchati / kaH asau : sahada mitram / kIdRzaH saH ? kupitaH ruSTaH san / tathA maharpabhayAtaH mahAvRSabhagamanaH ataH asmAt hetoH iyaM matiH buddhiH mama dolAyate saMzayArUDhA bhavati na jAne kiM kariSyati iti / kIdRzI ! samahabhayA tulyatuSTinAsA suhRdAgamanakopAbhyAm // 12 // pu0 kiM ca ahaM sainye kapibale sanne avasAdaM prApte api na asyeyaM na bhItaH bhaveyam / iyaM zrI lakSmIH sannetrasya zobhanalocanasya tasya lakSmaNasya saMbandhinaH vIryAta sAmarthyAt yadi na bhavet zaMpradA iyaM rAjyasamRddhiH jAtA iti bhItiH kriyate iti bhAvaH suhRd mitrabhUtaH saH lakSmaNaH kupitaH san yataH eti yasmAt Agacchati / ataH mama matiH velA maryAdAM avalambate / kIdRzI matiH ! samaharSabhayA same harSebhaye yasyAM sA tathA / muhRd AyAti iti haSaH / kupitaH sana AyAti iti bhiitiH| kIdRzaH saH ? maharSabhayAtaH mahokSasya iva yAtaM gamanaM [yasyasa tathA / dolAyati iti kaNDvAdipAThAt yak iti zivabhaTIkA samAptA // 92 // 1. 'mitrameva' asti / 2. asya lokasya pu. TIkA nAsti / 3. sannetrasya zyam / 1. sanne trasyeyam /

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58 zivabhadrakRtam jyotsnAM zukaparidhAnA AzAyattasya janayanti zokamatulamAzA yattasya / adyApi yacca kapayaH samAhiyante na skhalitamupanetumarhati samA hiyaM tena // 93 // zAM0 jyo0 // tena kAraNena va lakSmaNo mama hiyaM lajjAM skhalitaM kSaNamupanetuM Dhokayitum arhati yogyaH bhavati yat yasmAt tasya rAmasya ( AzAH dizaH zokaM zucaM duHkhaM janayanti / kIdRzam atulam apramANam / kIdRzasya ? tasya) AzAyattasya manorathAdhInasya / kIdRzyaH AzAH ? jyotsnAMzukraparidhAnA candrakAntavastracchAdanAH / yataH tathA yacca yasmAt ca adya api adhunA api kapayaH vAnarAH na samAhiyante na mIlyante // 93 // 4 vIkSya zaranmukhamuDupativizeSakopetaM praNayena vartamAna vizeSakope tam / kRta upakAraH sakhyaM na vaJcanAmeti asmadvidhamanugamayannavaM ca nAmeti // 94 // zAM* // vIkSya // sa lakSmaNaH na vaJcanAM skhalanam eti gacchati / kiM kArayan ? anugamayan yojayan / katham ? asmadvidhaM mAdRzam / kam anugamayan ? taM rAmam / katham kRta upakAraH sakhyaM na vaJcanAmeti / kRtaH vihitaH asmAbhiH bhavatAmupakAraH tArAsamarpaNaH (1Nam) lakSmaNa ! tathA sakhyaM mitratvaM ca navaM nUtanaM kRtaM bhavadbhiH saha asmAbhiH / kathaM nAma vyakta iti anena prakAreNa / kIdRzam lam ? vartamAnaM tiSThantam ka vizeSako adhikakodhe / kiM kRtvA ? vIkSya avalokya / ki tat ! zaranmukhaM zaratkAlaprArambhaH / kIdRzam ? uDupativizeSakopetaM candratilakayuktam : kena vIkSya : praNayena prItyA // 94 // 1. kSA0 'mAmadbhiyaM' asti / 2. ma0 nAsti / 3. ma0 'manorathAdhArasya' asti / 4. asya zlokasya pu0 TIkA nAsti / 5. kSA0 mAM saha asti / 6. kSA0 nAsti / 7. asya zlokasya pu0 TIkA nAsti /

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zivabhadrakAvyam 52 zAM0 // (mA0 prati) iti pUrNatallagacchasaMbandhizvetAmbarazrIzAntisUriviracitAyAM zivabhadrakAvyavRttau dvitIyaH AzvAsakaH smaaptH| samAptA iyaM zivabhadAyakAvyavRttiH / vRndAvanAdikAvyAnAM paJcAnAM vRttim ujjvalAM kRtvA / arjitaM mayA puNyaM tena yAntu zivaM janAH / zrIH astu / saMvat 1653 varSe kArtika sudi 8 dinasomavA[sa] re paNDitapurandarapaNDitazrI zrI zrI zrI zrI zrI zrIkamalavijayaziSyagaNikIrtivijayapaThanArtham / muhUrtAdeva likhitaM nirjarArthe / zrIjAloranagare // shaaN0|| (ma0 prti)| zrI pUrNatallagacchasaMbandhizvetAmbarazrIzAntiriviracitAyAM zivabhadrakAvyavRttau dvitIyaH AzvAsakaH samAptaH / ba / saMvat 1951 miti bhAdaravA vada 10 zubhaM bhavatu / zrIrastu / kalyANamastu / zrIH zrIH zrIH zrI zrI zrIH //

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zivabhadrakAvyam pravarA sAmodArA / tathA sauhArdavaddhamalA sauhArdameva mitratvameva vaddhaM dRDhaM mUlaM yasyAH sA tathA sAmodA saharSA / kasmin ! rAme rAmaviSaye / kA tuSTiH saMtoSaH syAt bhavet naiva bhavet ? ityarthaH / kasya ? mAdRzasya / ka sati ? lope vinAze sati / kasya ? upakArasya upaSTambhasya / kIdRzasya ? kAlopetasya samayaprAptasya / ca tathA nItezca / kasya saMbandhinaH ? tasya rAmasya // 91 // nAhaM kSaNamapi sainye sannetrasyeyaM zrIryadi na tasya vIryAtsanne trasyeyam / yata eti suhRtkupitaH sa maharSabhayAto dolAyate matiriyaM samaharpabhayA'taH // 12 // zAM0 naah0|| yadi tasya rAmasya / kIdRzasya ? sannetrasya zobhanalocanasya / vIryAt pratApAt / iyam eSA zrIH lakSmIH na bhavet tadA na ahaM trasyeyaM trAsaM bhajeyam / katham ? kSaNamapi muhUrtamapi / ka sati ! sainye kapisenAyAM sanne traste sati / yataH ca eti yasmAt Agacchati / kaH asau ! muhada mitram / kIdRzaH saH 1 kupitaH ruSTaH san / tathA maharpabhayAtaH mahAvRSabhagamanaH ataH asmAt hetoH iyaM matiH buddhiH mama dolAyate saMzayArUDhA bhavati na jAne kiM kariSyati iti / kIdRzI ? samaha bhayA tulyatuSTitrAsA muhRdAgamanakopAbhyAm // 92 // pu0| kiM ca ahaM sainye kapibale sanne avasAda prApte api na asyeyaM na bhItaH bhaveyam / iyaM zrI lakSmIH sannetrasya zobhanalocanasya tasya lakSmaNasya saMbandhinaH vIryAt sAmarthyAt yadi na bhavet zaMpradA iyaM rAjyasamRddhiH jAtA iti bhItiH kriyate iti bhAvaH suhRd mitrabhUtaH saH lakSmaNaH kupitaH san yataH eti yasmAt Agacchati / ataH mama matiH velAM maryAdA avalambate / kodazI matiH ! samaharSabhayA same harSamaye yasyAM sA tathA / muhada AyAti iti hapaH / kupitaH sana AyAti iti bhotiH| kIdRzaH saH ! maharSabhayAtaH mahokSasya iva yAtaM gamanaM [yasya] sa tathA / dolAyati iti kaNDavAdipAThAta yA iti zivabhaTIkA samAptA / / 92 // 1. "mitrameva' asti / 2. bhasya lokasya pu. TIkA mAsti / 3. sannetrasya iyam / 1. sanne trasyeyam /

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58 zivabhadrakRtam jyotsnA zukaparidhAnA AzAyattasya janayanti zokamatulamAzA yattasya / adyApi yacca kapayaH samAhiyante na skhalitamupanetumarhati samA hiyaM tena // 93 / / zAM0 jyo0 // tena mAraNena ca lakSmaNo mama hiyaM lajjA skhalita kSaNamupanetuM daukayitum arhati yogyaH bhavati yat yasmAt tasya rAmasya (AzAH dizaH zokaM zucaM duHkha janayanti / kodazam / atulam apramANam / kIdRzasya ? tasya) AzAyattasya manorathAdhInasya / kIdRzyaH AzAH ? jyotsnAMzukaparidhAnA candrakAntavatracchAdanAH / yataH tathA yacca yasmAt ca adya api adhunA api kapayaH vAnarAH na samAhiyanne na mIlyante // 13 // vIkSya zaranmukhamuDupativizeSakopetaM praNayena vartamAna vizeSakope tam / kRta upakAraH sakhyaM na vaJcanAmeti asmadvidhamanugamayannavaM ca nAmeti // 94 // zAM0 // vIkSya / / sa lakSmaNaH na vaJcanAM skhalanam eti gacchati / kiM kArayan ? anugamayan yojayan / katham ? asmadvidhaM mAdRzam / kam anu. gamayan ! taM rAmam / katham ! kRta upakAraH sakhyaM na vacanAmeti / kRtaH vihitaH asmAbhiH bhavatAmupakAraH tArAsamarpaNaH (?Nam) lakSmaNa ! tathA sakhyaM mitratvaM ca navaM nUtanaM kRtaM bhavadbhiH saha asmAbhiH / kathaM nAma vyakta iti anena prakAreNa / kIdRzam tam ! yatemAnaM tiSThantam ka ! vizeSakope adhikakrodhe / kiM kRtvA ! vIkSya avalokya / kiM tat ! zaranmukha zaratkAlaprArambhaH / kIdRzam ? uDDapativizeSakopetaM candratilakayuktam ? kena vIkSya ? praNayena prItyA // 9 // 1. kSA0 'mAmadviyaM' asti / 2. ma. mAsti / 3. ma. 'manorathAdhArasya' asti / 1. asya lokasya pu0 TIkA nAsti / 5. kSA0 mA mahaza asti / 6. kSA0 naasti| 7. asya zlokasya pu0 TIkA nAsti /

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zivabhadrakAvyam zAM0 // (kSA0 prati) iti pUrNatallagacchasaMbandhizvetAmbarazrIzAntisUriviracitAyAM zivabhadrakAnyavRttau dvitIyaH AzvAsakaH smaaptH| samAtA iyaM zivabhadrAkhyakAvyavRttiH / vRndAvanAdikAvyAnAM paJcAnAM vRttim ujjvalAM kRtvA / bharjitaM mayA puNyaM tena yAntu zivaM janAH / zrIH astu / saMvat 1653 varSe kArtika sudi 8 dinasomavA sAra paNDitapurandarapaNDitazrI zrI zrI zrI zrI zrI zrIkamalavijayaziSyagaNikItivijayapaThanArtham / muhUrtAdeva likhitaM nirjarArthe / zrIjAloranagare // shaaN0|| (ma0 prati) / zrI pUrNatallagacchasaMbandhizvetAmbarazrIzAntisUriviracitAyAM zivabhadrakAvyavRttau dvitIyaH AzvAsakaH samAptaH / ba / saMvat 1951 miti bhAdaravA vada 10 zubhaM bhavatu / zrIrastu / kalyANamastu / zrIH zrIH zrIH zrI zrIH zrIH //

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jambUkavikRtam candradRtakAvyam saMpAdakaH paM0 harizaMkara a0 zAstrI candradRtanAmakamidaM kAvyaM gogarthakam yamakAlataM ramanadaM ca / jambUnAmnA kavinA vyaraci idam kAvyam mAndinIya chandoninAm / anyopAra zrIzAnti sUrikRtA vRttirvidyate / asya kaverjambUnAmnaH paricayo na kazcitapamupAlanyane / nikArasya zrIzAntisUrestu paricayo matsampAditasya meghAyudayakAvyasyA''mugvAdeva samavameyaH / asya kAvyasya hastalikhite he pranA lamdhe / ekA lA. da. bhA. saM. vi. mandirasurakSitazrImahendra vimalasa igRhItabhANDAgArasya DA0naM-20 kramAka 1143 aGkitA / asyAH paricayastu meghAbhyudaya kAyAdammAmamyAdinA jJAtavya. / anyA tu lA. da. bhA. saM. vi. sambandhinI sU0 7225 kramAkA AyAmadhutvayoH 28413 senTImiTarapramANA patraSadkamitA ca / natra pratipatraM poDaza paGktayaH santi pratipaGkti ca prAyaH catuzcatvAriMzadakSarANi santi / asyAH prAnta puSpikA vidyate / tathAhi candradUtasya kAvyasya vRttiM kRtvA munimalAm / yadarjitaM mayA puNyaM tena nirvAntu dehinaH // anayoH hastapratyoH dvitIyA kena kutra likhinA iti tu na nirdiSTam / prathamAyA ante iyaM puSpikA vidyate candradUtasya kAvyasya yathAbodhaM kRtA mayA / vRttirjanAvabodhAya zodhanIyAH supaNDitaiH / / asyAH pratiparicayastu meghAbhyudayakAvyasya lA. da. vi. meM, prakAzitasya matsampAditapratito'vagantavyaH / ime pratI prAyaH zuddhe samIcIne ca / prathamAyAH praterante anyA api puSpikA evaM vidyate-- vRndAvanAdikAvyAnAM paJcAnAM vRttimujjvalAm / kRtvA'rjitaM mayA puNyaM tena yAntu zivaM janAH // zrIrastu /

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candradUtakAvyam saMvat 1653 varSe kArtikasudi 8 dinasomavA[sa]ra paNDitapurandarapaNDitazrIzrIzrIzrIzrIzrIzrIkamalavijayagaNiziSya gaNikIrtivijayapaThanArthaM muMhatAdevAlikhitaM nirjarArthe jAloranagare // etAdazi yamakAnvitAni kAvyAni zliSTAni ataH teSAmartho na saralatayA syAt / ataH prAsAdaguNasya hAniH sajAyate parantu camatkRtipradAni tu avazyameva bhavanti ataH vAcakAnAM rucikarANi jAyante / yadyapi kliSTatvAdrasakSatistu avazyameva bhavati tathApi yamakatvAtpaThane padAnAM chedate ca Anando'pi bhavati viduSAm / gacchataH skhalanaM kApi bhavatyeva pramAdataH isanti durjanAstatra samAdadhati paNDitAH // iti zam / candradUtakAvyasya vastunirUpaNam / jambUkavizcandradUtakaraNe pravartamAna Adau maGgalArthamiSTadevatAM smarati / varSAkAle candrajyotsnayA pIDyamAnA ahaMkArAt gatabuddhiH satI yA strI priya lasIkRtya Uce / yA mayA saha pracala iti vinayaM dhArayantaM priyaM na jagAma | tAM priyahitAM mAM he zizirakiraNa ! tvaM rakSa / tava candrikA priyayuktAyAM vadhvAmantaHkaraNavikRtaye bhavatu / api ca he candra ! aparamapi tvaM zRNu / yadi kathamapi kAntaH dRkpathaM gacchet tadA sasmitaM kSaNamidamabhidheyaH / he zaThahRdaya | virahadahanadAghA vanmahelA khidyate tathApi tvayA kimAsyate / viyati haMsA haMsIyuktA ratyA bhramanti he tyaktadAra ! rAgayuktaM mama cetaH sara upAnte sarati / he pathika ! tvAM vinA mama ziraH zobhArahitam , vakSaH mukArahitaM, zaM ca vinAzaM prAptam / adhunA taruNo manmathAdhonadehAM nijastrImiva kalamaH nalinI praNamati / dhavalakairavakhaNDaH, kamalamapi mama vinAzAya prabhavataH / madhukaraH api madhuramadhurasADhayaM padminInAyikAyA ambhoruhAsyam Apoyate / kAmapulindaH madhuparAjIjyAjaTaGkArataH nirmalAkAlajalamArUDhaH imaM janaM vinAzaM nayati / mayUrI ca bhA yuktA sukhaM bhuGkte ahaM tu ekAkinI ataH na sukhamanu bhavAmi / gacchatA bhavatA upavanam , ratyagAraM upA ca na vyagaNi / he zaTha ! iyaM tava bhAryA kathaM smRtipathaM nopayAti ? yadvA jJAtaM tava preyasI anyA ato'haM tvayA na smarye / taba anyA nArI ratavaradA jAtA tarhi abalAyA me maraNameva ceSTA bhavatu / he anRtavAdin / tvameva mama valla bhA'si iti vacanam tava ka gatam ! puruSo bhayena asatyaM bhASate parantu nAI

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jambUkavikRtam tabhyaM pitA ato nAsti mattaH kiJcitte bhayam / tathApi bhaI tvAM vinA taba vimvena dinaM rAtriM ca zonaM gamayAmi / tava mAryAyAH kucakalazavidhA mukAkalApotpAdyA nayanaviMgaladanaiH janyate / tvadAryA bhAsamAnA poH vimalasaraH bIca hasataH / tava bhAryA kathitabhavadudantAya janAya dravyaM bhojanaM ca dadAti / se tu punaH aviditatadavasthaH Asse / ataH niHsnehalAd bhavataH kiM vAyam / he priya ! mama sarvA mud gacchati / tathA svayi utkaNThA bhavati iha zakAle vihAyaHniyam dRSTvA, tathApi tvaM kimartham Asse priyavaM vihAya / iti sandiSTazcandraH udayAcale astAcale vA prItim akulA pravAsa kathayitumiva ambarAdhvani sarati iti /

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candradUtakAvyam sphuradamalazilAyAM vartikAntena sAraM yadabhilapati bimvaM tAvakaM tena sA'ram / nayati dinamupAM ca tvatkRtAnIha mAnA hitavirahitacetAssadratAnIhamAnA // 17 // sphura0 / sA teva bhAryA araM zInaM nayati gamayati / kiM nada? dinaM divasaM tathoSAM ca rAtriM ca / kena nayati ! te tava bigvena / yada bimbama abhilapati / kIdRzam ? sAraM pradhAnam / tathA tAvakam bhavadIyama / kamyAm / sphuradamalazilAyAm / dedIpyamAnanirmalapadi / kena limnim ! vartikAnena kRrcikAparyantena / kIdRzI ? IhamAnA abhilssntii| kAni ! sadratAni zabhinasuratAni / kIdRzAni ? tvatkRtAni bhavadvihitAni ! ka ! iha zaratkAle / kathaMbhUnA ! mAnAhitavirahita cetAH mAnAhitam aha kArayuktam / mAnena yA kRtvA mahinaM.mI. nAnanukUlaM, virahitaM-tyaktaM ceto-mano yayA sA'haMkAratyaktacittA ||1|| kucakalazavibhUSA janyate hA rajanyA mahani ca nanu tasyAH santataM jhArajanyA / nayanavigaladaumauktikairvA matAyAH subhaga ! tava natAGgayAH satkhanervAmatAyAH // 18 // kuca0 / he subhaga ! tava te / natAzayAH tanvaGgAyAH kRzadehAyAH tasyAH bhAryAyAH / nanu nizcitaM santataM nirantaraM janyate kriyate / kA'sau ! kucakalacavibhUSA stanakumbhAlaDkRtiH / kIdRzI ! hArajanyA muktAkalApotpAdyA / kaiH / nayanavigaladauH netrapatadazrubhiH / kIdRzairiva mauktikairvA / muktAphalaracitAni iva / vA ivAtheM / kasyAM janyate ? rajanyAM rAtrau tathA ahani dine ca / hA kaSTam / tasyAH kathaMbhUtAyAH ? [matAyAH] abhISTAyAH / tathA satkhaneH zobhanAkarasya / kasyAH ? vAmatAyAH cArutAyAH / rAtrau divA sA roditi ityarthaH // 18 // nizi nizi hasati dhaurbhAsamAnAM varAM tA muDubhiriva sitAbhirbhAsamAnAmbarAntA / api vimalasara zrIH kaumudA''bhAsitA'pA mavapurighuviSAgneH ko mudA''bhAsitApA // 19 // 1. bhavad sU0 / 2. mAnAnukUlitaM de0|| 3. muktAphalairiva m|| 1. 10 pravau vA idArthe iti bhadhikam 5. cAruvasya suu0||

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jambUkavikRtam nidizA / nAM tvadgAryA vagaM zreSTAm / tathA bhAsamAnA bhA dIptistayA'samAnA ananyanulyA tAM yauH va hasana'va / kIdRzo dyauH ? bhAsamAnAmbarAntA bhAsamAnama(noDa)mbarAnta(to) yasyAM yayA vA zobhamAnavambamamaparyantA / sA / kAbhiH kRtvA uDubhigya nakSatraiH / kIdRzIbhiH ? sitAbhiH zubhrAbhiH / kva nizi rAtrau / na kevala ghohamati / vimalasara zrIrapi nirmalata DAgalakSmIrapi hasatIva / sA kAdazI kaumudA''bhAsitA kaira paNDamaNDitA / kayA hasati ? mudA harpaNa / kanyAma ? ko pRthivyAm / kIdRzI saraHzrIH ! AbhAsitApA / AbhAsI prabhAsamAnastApaH santApo yasyAH sA tthoktaa| kasya avapuriSuviSAgneH avapuSaH kAmasya / ipugva viSAgniH tasya / kAsAM sambandhinI yA sara:zrI: apAM jalAnAm // 19 // kathitabhavadudantA yonmudA cetasA'dAta pratidinamabalA svaM bhojanaM cetasAdA / aviditatadavasthastiSThasi tvaM gadAGga dhutita! kimiti vAcyaM sattvaraM tvaGgadAGga ! // 20 // abalA bhAryA tadA'dAdattavatI / katham ? pratidinam dinaM dinaM prati / kiM tat ! svaM dravyam / na kevalaM svaM bhojanam ca / kasmai ? kathita bhavadudantAya kathita ukto bhavatastavodanto vArtA yena sa tathoktaH tasmai / kenA'dAt ? cetasA manasA / kIdRzena ! unmudA saharSeNa / kIdRzI abalA ? itasAdA gatazramA / tvaM tu punaH tiSThasi bhAsse / kIdRzaH san ! aviditatavasthaH ajJAtatatsvarUpI(po) he gadAgadyutita ! gadApraharaNamahaM yasya sa gadAGgo hariH / tasyeva ghutitaM dotiryasya sa tathoktaH tasya AmantraNam / tathA'gadAGga! / aGgaderAbharaNavizeSaiH upalakSitamaDgaM bAhuryasya sa tathoktastasyAmantraNam / iti hetoH kiM vAcyam ? kiM vaktavyam ? / kathaM satvaraM savegam / na kimapi vaktavyam / niHsnehatvAdbhavata ityarthaH / bhavati kRtamatenaiti vadhvA na mutkA bahirabhipatato'nyasyApi nidhyAnamutkA / bhavati nizamayantyAstAM priyatvaM vihAya: zriyamiha kimavekSyAsse priyatvaM vihAya // 21 // he priya ! iSTa ! kAmin ! kA mud / ko 'harSaH 1 me mama vadhvAH mana eti / api tu sarvA mud gacchati / kIdRzyAH / kRtamarvihitabuddheH / 1. sa0pratAdhikam / 2. idamapi adhikam /

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candradRtakAvyam kva ? bhavati tvayi / tathoktA utkaNThA mama bhavati / kiM kurvatyAH ! nizama yantyA AkarNayantyAH / kam nidhvAnaM zabdam / kasya ? anyasyApi / kiM kurvataH ! abhipatataH AgacchataH / kva ? bahiH gRhAditi gamyate / tathA vihAya:zriyam AkAzalakSmI tAm avekSya dRSTvA / kva ? iha zaratkAle kim ! kimartham tvamAsse tvaM tiSThasi / kiM kRtvA ? vihAya tyaktvA / kiM tat ? 'priyatvam banlabhavam / pAThAntaram vikRtamateriti / atra ca vyAkhyA / iti pUrvaprakAreNa vikatamanevikArApannabuddhemama kA mut ? ko harSo naiva kAcida ityartho najadayasya prakRtArthatvAt // 21 // katipayadinamadhye saMjane'kSAmatanvA yadi nipatitaktyA santataM kSAmatanvA / saha yadi na tayA te kartumicchA tato'yaM se nu sapadi sakhA'han zrIguNAcchAtatoyam // 22 // iti vividhavacobhizcandramA yAmavatyAM gadita udayamAno dInamAyAmavatyAm / kathayitumiva tasmai tUrNamadhvanyabadhvA sarati ratimilAbhRtyambarAdhvanyabadhvA ||23||yugmm / / candramAH zaizI sarati / kiM kartumiva ! kathayitumiva / kasmai ! tasmai priyAya / kva ? ambarAdhvani AkAzamAgeM / kiM kRtvA ! abadhvA akRtvA kAm ? rati protim / kva ? ilAbhRti parvate astAcale udayAcale bA / kathaM sarati ? tUrNam zIghram / kathambhUtazcandramAH ! gadita uktaH / kayA ! adhyanyavadhyA pathikamAyeMyA / kasyAm ? yAmavatyA rAtrau / kIdRzyAm ? AyAmavatyAma dIrghAyAm ? kIdRzaH ? udayamAna: udayaM gacchan / katham gaditaH ! dInama dainyayuktam yathA bhavati / kairgaditaH ! vividhavacobhiH nAnAvacanaH / katham ? iti pUrvoktaiH he zrIguNAcchAta ! zrIguNaiH zobhAguNairdAkSiNyAdibhiH acchAtaH akRzaH zrIguNA cchAtastasyAmantraNam / sapadi jhaTiti tatastasmAt so'yaM samdhA nu nizcitaM toyaM jalaM ahan agacchat gato yadi te tava necchA na vAJchA / ki kartum ! kartum vidhAtum / kva ? sanane saGke / kayA saha ! tayA saha | ! 1. vAllabhyam sU0 // 2. nanu de0 // 3. candraH sU0 //

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jambUkacikRtam katipaya dinamadhye katicidivasAbhyantare / kIdRzyA tayA ? kSAmatanvA kRzatanvA kRzakAyayA tathA nipatitavatyA patitayA / katham : santatam nirantaram / kva ? akSAmatanvA yadi / akSANi locanAni Amayati rujatIti akSAmA / sA cAmAvatatvA ca paJca mahA biyarvakAmA paadAsI tathoktA tasyAM so'karodanAdinA jAtAkSirogAyetyarthaH / bhinno vA prathamaH loko vyAkhyeyaH / tadyathA 16 he zrIguNAcchAta ! toyaM jalaM tataH sapadi so'yaM sakhA mitram | tu nizcitam an gato yadi tathA saJjane necchA'sti tava kartum / zeSaM pUrvavat // dvitIyasya vyAkhyAnam / kathayitumiva tUrNa candramAH ambarAdhvani sarati gacchati / kIdRzaH ? adhvanyavadhvA gaditaH uktaH / kaiH ? vividhavacobhiH / kathamiti AdikAvyaprabhRtipUrvoktavacanaiH / zeSaM pUrvavat / candadUtasya kAvyasya vRttiM kRtvA sunirmalAm / yadarjitaM mayA puNyaM tena nirvAntu dehinaH // 1 // candrasya kAvyasya yathAbodhaM kRtA mayA / vRttirjanAvabodhAya zodhanIyA supaNDitaiH ||2|| 1-1 aspaSTamidam Printed by-Mahanth Tribhuvandas Shastry, Ramananda Printing Press, Ahmedabad Published by ---Dalsukh Malvania, Director, L. D. Institute of Indology, Ahmedaba

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Other Rules jourcal is primarily intended to note researches in Medieval Indian fare. Hence emphasis will naturally on the languages, literature and aral sources of that period. But it also give sufficient space to other les which throw light on Ancient Culture. (1) Contributions iniended for publication in the Journal siiould be type-written (with double spacing) or legibly written on one side only oi the paper. Copies should be retained by the authors. Sms of Contributions Tributions embodying original orches; abstracts of theses accepted de Unirersity; critical editions of the Mished Sanskrit, Prakrit, bramsa, Old Hindi, Old Gujarati appreciations and summaries of it and medieval inportant original notices of manuscripts and textual sms will be published in the (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 ot Indology and the authors, (4) Ten oliprints will be given to the contributors (ree of charge. (5) Titles of books and Journals should be indicated by single underline, Sanskrit, Prakrit, Hindi, Gujarati terms occurring in the arlicles written in English should be underlined. The standard system of translteration should be followed. (6) Those who want their wrots to be reviewed in the Journal should send two copies of the same. lum of Articles should be written in any one of Wollowing four languages: Sanskrit, Gujarati and English. les written in language other than Dish should be accompanied by a Bhary in English uneration PLD, Institute of Indology will pay Srarium to the authors whose Mabutions are accepted. Toal Subscription All contributions and correspondence may please be addressed to Rs. 201Sh. 30 Dollar 500 Director, L. D. Institute of Indology, Ahmedabad-9

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OUR LATEST PUBLICATIONS ( 1972 ) Rs. 30 Rs. Rs. 6 36 Rs. 40 32. Philosophy of Shri Svaminarayana by Dr. J. A. Yajnik 34. TETAFOFF: vaatgretigfa: Falsafar ga:; ma. munizrI miyAnandavijayajI - nagIna jI. zAha. 35. nyAyamaJjarIpranthimaGgaH - cakradharakRtaH; saM0 nagIna jI zAha 36. New Catalogue of Sanskrit and Prakrit Mss. JESALMER COLLECTION - Compiled by Muniraja Punyavijayaji 37. Prakrit Proper Names Pt. II Compiled by Mohan lal Mehta and K. Rishabh Chandra 38. Karma and Rebirth by Dr. T. G. Kalghatgi (1973) 41. Collection of Jaina Philosophical Tracts Ed. Nagin J. Shah Rs. 35 Rs. 6 Rs. 1EUR

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SAMBODHI (QUARTERLY) VOL. 2 JANUARY 1974 NO. 4 EDITORS DALSUKH MALVANIA DR. H. C. BHAYANI LD. INSTITUTE OF INDOLOGY AHMEDABAD 9

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CONTENTS Notices on Buddhist Architecture in Western Indiau Vastusastras M. A. Dhanky History and Culture of Gujarat of the First Four Centuries after Christ Rasesh Jamindar Seminar on Jainisin-A Report Nandisuttam and Anuogaddaraim---Reviewed V. M. Kulkarni mAjika rana phrezvara , 6 arvAcIna tattvajJAnamAM bhASAvicAra ha, cU, bhAyANI levala : bhAratanA nagarasaMskRtinuM agraNa bAda kendra raseza jamInadAra ajJAtakartRka nemijina caritra paM. bAbubhAI sapacada zAha

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NOTICES ON BUDDHIST ARCHITECTURE IN WESTERN INDIAN VASTUSASTRAS M. A. Dhanky After the close of the seventh century, Buddhism progres sively dwindled in strength in Western Jodia. It speedily decayed in the subsequent century, and, by the ninth, died out even in the last pockets where it had lingered on for some time. Not only that; just before the medieval epoch, Buddhism's place was fully and decisively taken over by the resurgent Jainism The first three centuries after the tenth was the period of Jainism's highest expansion as well as the high water-mark of its glory and influence in Rajasthan and Gujarat. The early Western Indian Vastusastras copiously but also reverentially refer to the Jina image and Jaina secred architecture : For the Jainas accorded the major and continuous patronage to the Maru-Gurjara art and architecture. In those days of ascendency and glory of Jainism, and the total eclipse of the Buddhist creed, a notice apropos Buddhist architecture inside Western Indian Vastusastras is hardly to be expected. And yet, sur prisingly enough, there at least are two brief but significant allusions to Buddhist structures, one to the vihara and the other to a prasada, which, by the associated details, seenis in that context to imply stupa. The reference to the vilara or Buddhist monastery is found in the Vastuividya or Visvakarma, a Maru-Gurjaru vastu manual of about the first quarter of the twelfth century. The second notice which concerns with stupa was encountered in the Viksarnaya, a rastu work of a period as late as the mid fifteenth century The Vasti vidu sandwitches the vilara description IN between the jagati-s allilated to Brahmanical shrine and the

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M. A. Dhanky jagilli of the Jaina sacred building The original verse I shall first cite, followed by its translation: [ Visvakarm-ovaca ) Vibarami jaddisam piohtam taddi sam kathajamyaliani Madhye sthapyali Budhas=siiman agie citiena bbusitam i Taraliarmya samopetam yaksa-vinda-gan =anvitam !! eka bhaumam dvi-bhaumam va tri-bli-urdhvam na karayeti Citrasala samopetam upavarnaka-sankulam ---Vasturdya, Jagatilaksanadhyaya, 72"-73". (And Visvakarma said : 1 "I am (now) telling (You, Jaya! - ] about the vihara in the way it bas been (earlier) said. In the centie (i,e. central cell ), install the auspicious (image of) Budha (i.e. Buddha): And above (the image, i.e. the ceiling) be ornamented with painting. (Let the vihara] have a chapal of Tala,' with yok sa-spirits and gana-goblins. [The vihara can be) one storeyed, or two storeyed; but it must not (in any case) be over three storeyed. Let the vihara have a painted hall,5 articulated with upavarnaka (subsidiary shrines ? aisles ? columns ?)" The vilara's description invokes the memories of the rock-cut vihara-s at Ajanta, Ellona and Aurarigabad: The painted hall, of Ajanta, the Tara-chapel, of Aurangabad; and the storeyed character, of the Dothal and Tinthal Buddhist caves of Elloia. Tastuvidha's description is seemingly based on some earlier souice on whara architecture. The opening line apparently supports this conjecture. We may next consider the reference in the Vrk sarnava. The passage referring to a Buddha's shrine is an follows: dvara-bioam ca prasadam Buddhadeva = sya ( karitah ? kirtitah ) Dvara-sthane krta alas = caturdiksu vyavasthitali brahmasthane ca samsthapyam yogadhyana (pravartate) pravartitam ) 1 - Vyksarnava, 145/9"-10"

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Notices of Buddhist Architecture... 3 "Lord Buddha's shrine is constructed without doors. In (the customary) door-positions, niches are to be made along the cardinal directions. In the central position may be set up the image lost in contemplation." The doorless Buddhist shrine with niches (implied to bear Buddha figures ?) is very probably the stupa, of the type that became popular from the seventh century onwards. The two references here discussed, are, though succinct, valuable since notices on Buddhist sacred art and architecture in vastu manuals are rare to encounter. NOTES AND REFERENCES 1 Vide Umakant Premanand Shab, Svadhyaya, Vol. I, No. 3, May 1964. Gujarat-man Bauddha-dharma ", 2 The destruction of Valabhi in about 784 was a set-back to Jainism in Gujarat. But fresh waves probably emanating from Mathura inVigorated Jaina movement in Wastern India as a whole. 3 The work is being edited at present by Shri Prabhashankar Q. Sompura and myself. 25 Jaya is the first of the four mind-born sons of Visvakarma. The Vastuvidya is in a dialogue form between Visvakarma and Jaya, 4 Tara-harmya, as the text so refers. 5 Called citrusala in the citation. 6 This work, too, is being edited by Sompura and myself. 7 The text uses the term ala for the niche. Alaka and ala for niche are known from the fifteenth century epigraphical and literary sources in Western India. Brahmasthane as the text enjoins. 8

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An Abstract of the Thesis of Dr. Jamindar entitled HISTORY AND CULTURE OF GUJARAT OR THE FIRST FOUR CENTURIES AFTER CHRIST Rasesh Jamindar T It is proved that ihe Western Kshatrapas here in. dependent kings and not thic Viceroy's of the Kushans: (1) thu firdspols of epigraphic records and coins of the Kuhants de not include Gujarat, where the Western Kshatraps ruled for more than tbree centuries. (b) Kaniska's epigraphs also do not include the nanie of Bbumaka and Nahapana as Vicero:', as in the case with Kharapallana, Liaka etc. (c) The Western Kshatrapas always styled themselves as "Raja Kshatsapa" and "Raja Mahakshatrapa" wbicli show their independent sattus. (d) The meaning of the word .Ksbatlirapata' is Bhiimipula iu Bhupala, according to which Western Kshatrapas seem to be Bhupala. The name Bhumaka assumes a new significance if we consider it to be identical with Bhumipala, 2 It is also interpreted here that the meaning of the word 'Kshatrapa' is not Viceroy but King according to the literary meaning of the Iranian word "Kshathrapata' and Indian word * Kshatrapa ? 3 Almost all the scholars have unanimously taken it to be granted that Vimalasuri's "Paumacariyunn" chronologically stands first. But in this thesis it is argued against this wellestablished theory and tried to put forth one now argument. Scholars do not agree with the date of this work of Vimale, though tliey do agree with the view that it is the first work of its kiod. But according to recent studies the correct date of the composition of this work shoul! come io 5.:11 V.E. i.e. 473 A.D. In this thesis with t!!c help of this dat it is shown that it was Mallayadisziri who wrote the first big poem

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Rasesh Jamindar meyPadmacalita" based on Rama story. This Mallava. disuri lived sometime between 317 & 397 A.D. He wiote Padmacarita" consisting of 24000 veises. Thus Mallavadi. *uti is carlier than Vimalasuri and therefore the ciedit of Jaina version of Ramayana goes to Mallavadi and none other. 4 Scholars generally opined that the Kshatrapa rule endcd in oi after Saka Era 310 i.e. 388 A D., the date which is published by Prof Rapson. Then in 1960), K. V. Soundararajan published two lead coins of Swami Rudrasimha 3rd, bearing the date Saka year 3/4 i.e. 392 AD But here in this thesis the writer has cited and published onc Kshatrapa coin found from a private collection of S. M. Shukla of Bombay, which is dated in Saka year 320 i.e. 398 A.D. Till today this is the last known date of the Kshatrapa chronology. Conclusion is that the end of the rule of Western Kshatrapas may be placed sometime after the Saka year 320 ie. 398 AD. 5 It is welknown fact that coins do help a lot to know the Historical Geography of a King or Dynasty. But this writer in this thesis has questioned this very popular belief and tried to show some limitations which do come in the way : The modern places of coin-hoards may well fall within King's territory who issued them is rather exaggerated. Sometimes it so happens that a king, who issued coins, may be a fudatory chief of some great king, giving latter the rich tribute in currency of his own normally every year. In this condition it is quite possible to find a coin-hoard of that fudatory chief within the boundaries of his overlord. So from this one cannot casily fix up the historical geography of any king or dynasty just with the help of coins. Likewise, the question comes in our way while using the coin boards either from public places, hill resorts or places of religious impor. tance. In the same way circulation of currency from one state to another in the absence of exchange system is also possible. In such circumstances it is very difficult to fix boundaries just from coin-hoards.

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History and Culture of Gujarat.... 6 It has been elaborately shown in this thesis import ince of political and cultural significance of the three known pigraphs inscribed on Ashokan Rock of Junagath with special l'eference to the epigraph of Kshatrapa hing Rodradar, for the first time, throwing a good deal of new light on : (a) the development of the Brahmi script and the status of Sanskrit language during the period, (h) the specific system of keeping and preserving the records of previous events. 10) the system of administration, (d) the irrigation oriented agri. culture and the necessary importance of building water reservoirs, (e) the reservoir based culture of Gujarat, 5) thie benevolent activities of the kings for the better of the subject, and (g) religious condition of the area. 7 It is very welknown fact of history that the Gupla Emperor Candragupta-Vikramaditya conquered and ruled over Gujarat defeating the Saka ruler. But it is positively proved here with the help of the literary and archaeological evidences that the Candragupta, the second, had never conquered Gujarat and ruled over it. No epigraphical records have beco found from Gujarat to establish Candragupta's sway over Gujarat. The Guptas ruled over Gujarat only after 415 A.D. And it was Kumargupta who ruled over Gujarat and none of his predecessors. 8 For the first time the geographical history of the Kshabaratas has been decided in this thesis and also comprehensively discussed the political geography of the Kardamahas alongwith the precise identification of the places mentioned in their inscriptions. 9 Examining the script and the execution of the coins of both Bhumaka and Nahapana, a new inference has been derived regarding the proper relationship between them and found that they were related as father and son respectively. 10 Nabapana has used different royal titles for bimself in his inscriptions. It is clearly proved here that all those different titles are nothing but synonymous. IV

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Rasesh Jamindar 11 Broach was the capital city of the Kshaharatas is mentioned here for the first time, refuting other theories. 12 There is a dispute regarding the exact position of the three Kardamaka kings in geneology of the dynasty. Those thive kings are Damajadasri 1st, Rudrasimha 1st and Jivadama, Examining the coins in all respect of these three kings it has been proved here that l'amajadasri was the oldest son of the king Rudradama 1st, while Rudrasin:ha the youngest. Jivadama's place in the gencology is also fixed for the first time. 13 It is established here that the tradition of joint rule ceases since the Saka year 226 j.e. 304 A.D., and the one king rule, either that of Mahalshatrapa or Kshatrapa, continues till the end of the Western Kshatrapas. This is proved with the help of coins. 14 The extermination of the Western Kshatrapa rule from Gujarat is credited to one General named Sarva Bhattaraka and not to Candragupta-Vikramaditya. Between the cnd of the Western Kshatrapas and the beginning of the sway of Gupta kings over Gujarat the abovementioned General ruled for nearly fifteen yealis. 15 The cultural history of the region under the Western Kshatrapas has been depicted here with all details for the first time, which covers almost 300 typed pages. In no book of Indian history this aspect is being given proper mention, excepting a para or two. This 2/3 portion of the thesis in itself is a valuable contribution to the subject. 16. The difference between the " Raja Kshatrapa " and "Raja Mahakshatrapa " has been shown clearly alongwith their capacity of issuing coins simultaneously having a clear cut difference of degree of assuming powers. This original way of administration of the Kshatrapas has been brought to the light. 17 After Prof. Rapson this writer of the thesis has for the firsi time exhaustively and elaborately dealt with Kshatrapa coins with the lielp of some more unearthed coin-lioards after that work was published. Over and above many new points

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History and Culture of Gujarat.. have been discussed and highlighted with special referens all the details regarding obverse and reverse of the coins execution and craftmanship, system of depicting king's tradition of giving father's name of the issuer with royal originality of mentioning date on the coins year-wise, intei tation of symbols and significance of the Greek leger.ds 18 A complete catalogue of Kshatrapa coins have 1 prepared painstakingly for the first time, which includes y wise Saka date, name of the issuer either in the Kshatrap Mahakshatrapa capacity, its reference plus wherever poss its registered numbers as well as Rapson numbers. 19 It is for the first time here that this writer has p tively pointed out with the help of literary and archeolog sources that the famous temple of SOMANATHA was origin built during 2nd or 3rd century A.D., and not in the 5th 6th century AD, as has been so established 20 The name of the currency, prevalent during this per as KAHAPANA is definitely determined here discard other names like Kushanamule, Suvarna, Rudradama Khattapaka etc. 21 After Burgess the detailed and very minute but co prehensive account of the caves particulary Bawa Pyara a Uparkot caves has been elaborately given for the first ti throwing more light on: (a) presence of two Lion heads on ea side of the entrance which no doubt helps us in fixing 1 date of this caves, (b) existence of eight sacred symbols Jaina religion on two of the door-frames, (c) regarding exi measurement of some rooms and water tank etc. The date the caves has also been fixed very precisely. 22 Dates of Talaja caves and Boria stupa have also be mentioned very precisely. 23 A detailed account of Iconography of Gujarat has rece ed proper attention and many new things have been highligh alongwith a good deal of discussion on handicrafts of Gujai

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10 Rascsh Jamindar 24 Dates of Siddhasenasuri, Mallavadisuri and Sthii amatiGunamati have been established with all preciseness and their works have given due respect. 25 For the first time it has been stated here that Angavijja was written in Gujarat by one unknown Jaina Muni and during the reign of the Kshatrapas 26 A flood of light has been thrown on the system of Education during this period and seats of learning have been mentioned. Valabhi, Broach, Devni Mori, and Junagadh were famous centres of education, while Somanatha, Talaja, Dhank and Intwa were also known. Yuddha-vidya, Sabda-vidya, ArthaVidya. Gandharva-vidya, Nyaya-vidya etc. were the subjects tiught then, 27 The date and name of newly found Era from the excavation of Devni Mori have also been discussed in length. 28 The exact place of one Abhira king Isvaradatta in the Kshatrapa Geneology has been fixed here very precisely. 29 Three Kshatrapa inscriptions, hitherto unknown, have been brought to light here, 30 Discussion about contemporary neighbouring kingdonis has also been accounted, viz. Satavabanas, Guptas, Abhiras, Traikutakas. Kathikas etc. The mooted question of identifying the "Satakarni" mentioned in the Rock Edict inscription of Kshatrapa king Rudradama has been given proper attentionand derived the conclusion that that Sa takarni was none other than Gautamiputra Satakarni. 31. The different facets of the life of the people of Gujaiat have been highlighted for the first time throwing more light on : Geographical environment, Rivers, Mountains, Reservoirs, types of settlements, Business, use of currency, System of interest and giving loans, Agriculture, Food. Ornaments, Auspicious occasions, Beliefs, Castes etc.

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SEMINAR ON JAINISM A Report Under the auspices of the Eastern Zone Committee of Bhagwan Mahavira 2500th Nirvana Mahotsav Samiti,' a Seminar on JAINISM was held on Sunday, the 16th December, 1973 in Calcutta. 1 Professor Mrityun joya Banerjee, Minister of Education, Government of West Bengal presided over the First Session and Dr S. N. Sen, Vice Chancellor, Calcutta University presided over the second Session. Sahu Shri Shanti Prasad Jai Working President of the National Committee welcomed the President and the participants in the morning Session and Shree Bijoy Singh Nahar, Chairman, Bihar State Committee and Convenor, West Bengal State Committee welcomed the President and the participants in the afternoon Session Shri Jain laid stress on importance of the Nirvana Cele. brations falling next year and pleaded for practical approach to them. He felt that much can be done on this occasion to preach and practise the lessons and teachings of Bhagwan Mahavir in the present times, when man is steeped deep in violence and hatred. Mr. Jain maintained that we can give a more creative and constructive approach to this occasion by recasting the obsolete and obscure chapters of the Indian History. Shri Jain urged upon scholars to bring out a true and objective history of Jainism in its various aspects, which has enriched and influenced Indian culture. Shri Nahar gave details of the various Eastern States Committees that are planning to hold these celebrations and maintained that this occasion is a touch-stone for all of us, 1 BHAGWAN MAHAVIR 2500TH NIRVANA MAHOTSAV SAMITI, 2, Old Court House Street, Calcutta-700001.

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12 Seminar on Jainism who have inherited Jainism as now is the time to prove worthy of our great tradition. Mr. Nahar strongly pleaded that this great and most auspicious occasion should not be counted as u mere festivity but should be taken as a rare opportunity to ameliorate the teeming millions out of the present tu moil and to guide them to a path of Dharma, Samyama and Tyaga, - to imbibe and practise Samyak Jnana and Darsana to make us ohtain Samyak caritra. In the morning session Dr. D. C. Sarkar, the noted historian and scholar read his paper on "JAIN ART". Prof. Sarhar dealt at length on the contribution the Jain Art has made and said that it is outstanding both from the point of quality and quantity He said that in all spheres of creative art, Jains were supreme. Jain temples are found in Bangla Desh also as in the Soutli, North and West of our country. Its influence on the cultural pattern of our country is very great and deep. Dr. Sarkar unequivocally subscribed to the view that variety with deep insight, richness with supreme quality and ethos combined with unparallel artistic grace are some of the basic characteristics of the Jain Art. Di. Sarkar dealt elaborately with these qualities and concluded that time is come, when we must make serious and creative efforts to preserve these noblest achievements of our ancestors, who gave some of the finest and noblest specimen of human art couched in divinity. Professor S. K. Saraswati, U. G. C. Professor, Calcutta University read his learned paper on JAIN MOTIF IN INDIAN AND EASTERN ARCHITECTURE'. Professor Saraswati dilated upon the 'sarvatobhadrika' style of the Jain Art and enphasised the enormous and valuable contribution, it has made to Indian architecture. Professor Saraswati strongly supported the view that a thorough and scholarly study and research should be undertaken to study the Jain architecture, which is not only historically inportant but is one of the greatest art styles in the world. Professor Saraswati gave details of the survatobl.alrika style and said that a distinctive Jain

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Seminar on Jainism iconographic motif, however, seems to have been responsible for inspiring a rare type of Indian temple, a type that may be found to have significant reverberations in South us Asia. A foui -faced image, usually known as charurmuh har (chaumukha) has been a very popular Jain iconographic thetic from fairly easly times." Prof. Saraswati went on to maintain " Indian literature on art frequently refers to a type of temple called 'sarvatobhadra'. There are variations in th: descriptions of the type in the different texts All the texts, however, are agreed that the fundamental design of a sarraiobhadra temple is that of a square shrine with four entrances i'r the four cardinal directions A four entrances in the four entranced sarvatobhadra temple admirably suits the needs of a four-faced Jain image, pratima sarvatohhadrika, and it is not without significance that the term sariatobhadra has been used as a qualifying designation in each case. The iconographic theme and the architectural design seem to go together, one being complementary to the other, Dr. Saras. wati proved that the number of Jaio sarvatubhadrika images of the early centuri:s of the Christian era is not small From Eastern India have been discovered also a fairly substantial number of such images of the early mediaeval epoch. Elaborating this point further, the great scholar said: It will be useful to mention in this context a few early temples of Burma consecrated for Buddhist usage They repeat not only the iconographic motif of sarvatobhadrika images but also the architecture-design of sarvatobhadra temples in a clear and explicit manner. In such shrines the icorographic motif in each case occupies the position of the alter, The earliest of these temples seems to have been the Lemeythna at Hmawza (Thayetkhettaya-old kshetra ). The exact date of this structure is not known'. Prof. Saraswati continued : In the Nat Hlaung Kyaung temple at Pagan in Burma, consecrated to the worship of Vishnu, the Jain motif is seem to have been followed, and in this context it may be useful to enquire - whether the scheme finds ex.

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14 Seminar on Jainism piession in any Brahmanical temple in India or elsewhere.' His conclusion was equally important for in his opinion Jain niotif in ai chitecture as is apparent from the above survey, 'is seem to have extended its impact beyond sectarian confines and to have interesting reverberations among the votaries of other faiths, namely Buddhism and Brahmanism and in territories outside. This survey, more or less in outline, illustrates the need for a fuller investigation in this regard.' The third Scholar, who followed was Professor K. C. Lalwani, of the I.I.T., Kharagpur. He read his paper on the Principles of Motion & Rest as propounded in the Bhagavati Sutra. Professor Lalwani was as original as impressive and he dealt at length on this uncommon metaphysical principle made out by Bhagwan Mahavir to his diciple, Gautam Defining Matter, Prof. Lalwani said : matter is said to be that which undergoes modifications by combinations and dissociations. This is the earliest conception of Matter as 'real' and 'dynamic on which the atomists, Descartes and Leibnitz have written at length in European philosophy and Force, Prof Lalwani described, is constant in quantity. There is no substance that does not act. There is no substance that is not the expression of force What does not act does not exist; what acts is real. Hence force is the essential attribute of the body. Hence the Law of Conservation of Motion was replaced by Leibnitz by the Law of Conservation of Force of Energy. According to the learned Professor, another proof that extension is not an essential attribute of the body is that Extension is of composite nature, and anything which is made of parts (Cf. pradesas or space-points ) cannot be the primary principle. Elaborating his point further Prof. Lalwani said that in a sense : 'a monad is a universe in miniature, a microcosm. It is a living mirror of the Universe' a concentratod world, a world for itself. But each monad represents the universe in its own way, from its unique point of view, with its chara

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Seminar on Jainism 15 cteristic degree or clearness. The higher the monad, the more clearly and distinctly it perceives, expresses or represents the world'. Prof. Lalwani compared the metaphysical theory on light with that of Bhagwan Mahavir and maintained that Mahavir's construction from this aspect is unparallel in human thought and history. Views held by Prof Lalwani were thought-provoking and his exposition was very lucid, logical and spalding. He asserted that the idea of Motion and Rest is an original contribution by the Jains. Some have compared these with rajas and tamas in the Sarkhya view, but the comparison is wrong. The Jainas have considered dharma and adharma to be responsible for the systematic character of the universe. Without these, there would be only chaos in the cosmos. Dr. Govinda Gopal Mukhopadhyaya, Professor & Head of the Department of Sanskrit, Burdwan University read his paper on JAIN CONCEPTION OF SELF' In the words of Dr. Mukhopadhyaya, 'to the Jains there is a scale of consciousness at the top of which is Paramatman or Sarvajia, the omniscient Being, who is like an ideal which man should try to attain or aim at. But the Paramatman is not God, who creates, preserves and destroys the world. The Jain view denies God and extols man, than whom there is no higher power to be worshipped or adored. No other system of philosophy does uphold the dignity of man in such a manner as we find in the Jain system. This view seems to be a vindication of that famous utterance in the Bhagwad Gita. Uddhared atmanatmanam natmanam avasadayet atmaiva hyatmano bandhur atmaiva ripuratmanali # But the Jains will assert that even after liberation there is infinite progression for the individual soul This Jain view of the self being as big as the body it inhabits naturally leads one to conclude that the Jainas take the self in the sense of the soul. As Dr. Jacobi suggests, the Jains arrived at their concept of soul, not through the search after the Self, the Self existing unchangeable principle in the everchanging world

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16 Seminar on Jainism of phenomena, but through the perception of life For the most general Jain terin for soul is life (liva ), which is identical with self (aya atman) Dr. Mukhopadhyaya was forthright and meaningful when he clearly maintained that if we take the root meaning of the word atman which is derived from the verb 'ai' with the suffix nanin', then everyone will have to own that the Jain view is the truest of all which conforms to the original sense of the word. The root 'at' implies constant movement (satat ya ganiana) and the Jain theory of the infinite progression of the self brings out this basic characteristic of the atman and that is why we affirmed at the outset that the Jains aie atmavadins in the truest sense of the term Dr. Mukhopadliyaya was of the opinion that a philosophical analysis ar d approach of Upanishads was very very close to Jainism--the most ancient religious faith in India. Dr. Mukho. padhyaya strongly felt that the concept of Atma as propounded in Jainism is one of the best and most cogent and logical approaches to it, which enormously impresses and influences the suceeding philosophies and religions. Dr. Mukherjee, who is regarded as a foremost authority on the Upanishads brought the theory of Self in Jainism very close to that of the Upanishads and gave a new interpretation to the whole concept by stressing that it would be wrong and fallacious to regard these two approaches as wholly contradictory. In many respects one complements the other, thus, clearly signifying their coninonness on many points. Shri K. K. Jain, Convenoi of the Seminar Sub-Committee proposed a vote of thanks and expressed gratitude for the kind co-operation and participation by the great scholars. The House then adjourned for the afternoon session. The afternoon session, was presided over by Dr. S. N. Sen, Vice-Chancellor, Calcutta University. The famous Hindi poet Dr. Ramdhari Singh Dinkar" inaugurated it. Dr. Dinkar said that the historical link of Jain Thirthankaras is the oldest in human history and if one could obtain a full, and authentic account of them, it would much clear the mist and

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Semiar on Jainism render a most valuable contribution to the annals of human history by opening new vistas and dimensions. Dr Dinkar wanted that the Nirvana Celebrations should be utilised this way too. Dr S. N Sen said that the canons of Bhagian Mahasia should be fully followed and practised to make cur du mera a great success. In his opinion, democracy can only flourish successfully and substantially by promoting a non-violent society. Mabavit, in his opinion, foresaw the modern prin ciples of socialism in his great principle of Non possession. Dr. Sen said that the ethical concept of Jainism is very im. portant and practicable. It has the highest value and social pattern. Dr. Sen felt that such Seers as Mahavirard Buddha were, are the beacon light for all ages, all men and as nations as they not only give faith and conviction to man but also enable him to obtain the Summum Bonum of our existence Sri Bejoy Singh Nahar, Chairman, Bihar State Committee of Bhagwan Mahavir 2500th Nirvana Mahotsav gave a warm welcome to all the participants and outlined the importance of the ensuing Celebrations. He rightly said that the present Seminar is a prelude to these celebrations and is meant to give a good start but the work as an impetus also. Prof. Vivekananda Mukherjee of the Cuttack University, Orissa read his paper on JAINISM AND UPANISHADS. He said that we must propagate the humanitarian outlook of Jainism amongst non-Jains and the world at large should know more and more of the fundamentals of this religion and philosophy. In his opinion Jainism is a versatile religion has. ing a most practical and humanly benefiical philosophy to be practised. Jainism disciplines life in its full sense and it wa follow the principles of Jainism, much of the present evil would not be there. He underlined the common appro.ch and affinity between Jainism and Upanishads. Citing profusaly and abundantly from scriptures, Prof. Mukherjee said that the thought and content of the Upanishads as run parallel to Jainisin

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Seminar on Jainism - both may have followed different paths but obtain and arrive at a common end- an end of complete Bliss Prof. Mukherjee interpreted the Samyak jnana, Samyak Darshan and Samyak Carita and said that these are also the ultimate objectives of the Upanishads. In his opinion, Jainisni, the oldest religion in human history, should be fully 're-discovered' now - so as to establish a great leeway between the modern and the ancient times. Dr. S. P. Benerjee, of the Department of Philosophy, Calcutta University read his paper on the "THEORY OF MOKSA in JAINISM". Introducing his subject he said that 'every existent must be either a Jiva or an Ajiva or a resultant of the two. The concept of moksa is relevant only in the context of jiva. ie:, it is pointless to speek of moksa of the ajiva. So, our main discussion will centre round the jiva. Jiva has been characterized by upayoga amrtitva (formlessness), karlstva (agency), svadeha parimanatya (extension same as its own body), bhoga (enjoyment of the fruits of karma) existence in Samsara, Siddhatva and urdhvagatitva (characteristic upward motion). These characteristics of Jiva sharply points out the distinction of the Jain view. Prof. Banerjee went on saying that it is certain that the jiva has consciousness whatever else it might have, consciousness or soul may not, however, be the exact translation of jiva. Niscaya Naya emphasises consciousness as essential for jiva while Vyavahara maintains that the Jiva is possessed of four primes viz. Indriya (senses), bala (force), ayu (life) and anaprana (respiration). Vyavahara Naya, however, does not contradict the existence of consciousness; it is essential through upayoga. The Jiva has been characterized both as formless and as of the same extension as its body. This appears paradoxical-but the paradox might be solved if one considers Jiva both from the baddha and the mukta points of view. The baddha jiva must have a body but mukta jiva is formless through it has madhyamapariniana. The Jain theory of moksa strongly suggests the possibility of continuance of individuality after liberation. This

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Semioar on fainita 19 may throw new light on the highly interesting problem of immortality. If the theory of person and personal identity is construcd in a fashion in which bodily criterian 0.179 he dispensed with, some form of insluit./ eri well appear plausible in Jainism. Jain criticis? Of New concept of moksa on this particular point is illuminating Jainism tries to avoid the paradox of multiplicity without distinction on the one hand and to non-dualism which is the logical completion of the other Prof. Banerjee dealt at loisih on his subject aud made a remarkable sur cy of the concept of Moksa in Jainism. Dr. Adhir Chakravorty, Professor and Head of the Department of History, Jhargram College, red his per * SOME ASPECTS OF SOCIO-ECONOMIC LIFE FROM THE JAIN CANONICAL LITERATURE'. He made a comprehensive and thorough analysis of the socio-economic life as available in the Jain canonical literature In his opinion, both 'Jainisin and Buddhism were successful protests against the formalistic and lifeless theology and rituals of Brahmanism which involved wanton violence in the form of bloody sacrifices. Further the Lord Mahayira and Buddha hailed from more or less the same region of the country viz. North Eastern India and were close contemporaries. Hence the socio-economic background of early Jainism and early Buddhism was the same. This fact has given rise to a tendency amongst scholars to gloss over facts gleaned from the early Jain texts Instead after stating the Buddhist point on any aspect of society and economy, one says that the same may be said from the Jain texts as well. It is however, conveniently forgotton that the geographical horizon of early Jainism was much wider. It comprised the Ladha country with its sub divisions, Subma. bhumi (Burdwan and Birbhum districts), Vrajabhumi (possibly Midnapore dist. ), Tanalitti (Tamralipti, modern Tamluk) and Vangi and Sauviradesa (Sovira of the Buddhist texts. Lower Indus Valley ) and Sauripura, the birth-place of Aristanemi in Gujarat in the west. According to tradition,

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Seminar on Jajoism Rsabha, the first of the Tirthankaras visited, among other countries, forkan, and southern Karnataka. This is why the social and economic condition of India reflected in the early Jain texts is likely to be more varied. Hence a study of the socio-economic data contained in these will not be mere repetitions of what is known from the Buddhist sources. However such a study suffers from two inherent limitations in the first place, the Jain canonical literature primarily refers to the Svetambara scriptures since the position of the texts of the Digambara sect still iemains to be determined. This literature was composed and compiled in different parts of the country at different times and by different persons. Hence without a rigid stratification according to chronology and region of composition of the data contained in these texts by means of comparative and critical method there will always be the possibility of projecting a condition prevalent at a later date as valid for an earliei epoch It is indeed not unlikely that some institution prevalent in west India in the fifth century A.D. may be interpreted as true of Magadha in the sixth and fifth centuries B.C. In the second place, there is no systematic discussion in our texts of the social and economic organisation or condition of India. What information regarding these can be had is from casual references many of which are unique of their kind with the result that our knowledge of the socio. economic life from these texts is necessarily incomplete and any deduction from these will be, to say the least, hypothetical. In this small paper no attempt can be made at stratification of our terts. We shall remain content only with the presentation of certain informations which, according to persistant tradition, are associated with the Tirthankaras and their con. temporaries, religieux and laic. As for social organisation, the system of castes is nowhere denied in the Jain texts. On the other hand, th: Sitrakstanga clearly mentions it as the very first of the eight objects of pride. The Avasyaka Sutra equally enjoins that a real monk should not take pride ia cast distinction. However, the order

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Seminar on Jainism 21 of precedence in the social hierarchy did not correspond with that of the castes. Such at least the picture we get from the Prasna-Vjakaiona which mentiora the tran giesmys of the law of brahmacarya in the following order : kings.otcrlor chan. lains, high officers of the state. The same text has 3 mare detailed enumeration with regard to the violations of the fifth vow of aparigrala : emperors, Vasudevas, Vandlalihas, chic tains, Talavaras, commonders-in-chief, millionaires, hinkein, Rasyrikas, purohitas and the like in neither case ite 'ul caste names are to be found. It is likely that people mentioned in these two lists were the wielders of rouer where the 43110 distinction was indicative of prestige only. This might have been the case in the early centuries of the Christianer wher, viewed from the use of such ternis of Turas, Man laikas Rastrikas etc, the Prasauarrakarana was compileu Dr. Chakravorty maintained that the Sadros : a caste existed only in theory. Even then like the term Brahmana it came to signify a mode of conduct or a state of attitude in the Uttaradhyayana Sutra it is stated that the possessor of good qualities is Brahmana and the reverse, Sudra. The same text contracts the Brahmanas and Katrivas with the Canlalas. It will, thus, appear that in the early Jain texts, there is a ten. dency to use the terms Sudra and Candala as synonymous Sri A. K. Bhattacharya, Director, Indian Museum and a wellknown scholar gave his discourse supported with slides He made a brief survey of the JAIN ICONOGRAPHY and stated that the relaxed torso from the Indus Valley Civili. tion pertains to any of the Jain Tirthanlara figures in their Kayotsarga pose, existence of Jain images in that remolage can only be guessed. The Gupta dorestals of Tirthankara figures show a variety of arrangements of the figures and symbols on them. Sometimes, the Central Jurnuakru is flanked by the particular symbols or emblein 21tached to the particular Thirtharkaras; sometimes, again the symbol occupies the central position flanked often by lions signifying the

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22 Seminar on Jainism sinhasana or the lion-throne. One more feature in Jain iconography is its depiction of the patrons of the Tirthankaras, and scenes from the life of the Pontiffs. Dr. Bhattacharya gave varied description of the Jain images and explained their artistic and symbolic implications. It was, though short, a very vivid and panoramic reproduction of our iconography and its exquisitness. Sri K. K. Jain again thanked the participants and the audience.

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NANDISUTTAM AND ANUOGADDIRINIS-Reviewed V, M, Kulkarni The agamas are invaluable as religicu's silloite Jains. But, in addition, they are a valuable source for she history of religious institutions in Irdia ard a complete ricture of the composite Indian Culture. A very rich linguistic. socio-cultural and historical material lies embedded in them Neglect of these texts leaves incomplete the picture of Indian culture portrayed only on the basis of the Pali canon and Sanskrit literature. One of the reasons for their neglect hy modern scholars is the absence of a critical edition of all Jain agamas based on modern, scientific methods of research. Such a critical edition is a desideratum. The tash of preparing it, the text of which could lay claim to finality is highly complicated and really tough. The basic stra texts of the Jain agama reveal inter-relations and cross contamination. The Prakrit languages present dialectal variations and the MSS, in hundreds, variant readings. The Jain thaviras, when writing the sutra, cirni, tika, iriti etc , extensively quote passages from the old sutras and from their commentaries. Natural ly, one comes across almost similar or completely identical passages in hundreds pertaining to the same subject. These pass ages reveal difference in interpretation of certain words due to different traditions of interpretation. Ancient and modern 1 Nandi sutrari and Anuogaddarain (cdited by Munt Pau , Pt. Dalsukh Malvania and Pt. Amrit'al Mohanlal Bhojak i ritlisted as Jaina-Agama-Series No. 1 by Shri Mahavir Jaina Vidyalaya, Rumbay --26, 1968, pp. 1-53 +1-70 (in Gujaratii + 1-12" (19 English + 1 - 4" ( List of Abbriviations, Tables of Contents, Tends and AppNAN) Price: Rs. 40/

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V. M. Kulkarni scholars have emended the readings without consulting MSS helonging to different groups and without taking into account the different traditions of interpretation. Copyists, not fully conversant with the old script, committed mistakes in copying the MSS written in old script and thus corrupted the text. Sometimes sectarian zeal is responsible for expunging passages from the text without MS evidence. Muni Punyavijaya, one of the three editors of the present edition, who devoted his entire life to the study of the Jain agamas and commentaries on them such as niruktis, curnis, tikas, avacurnis, tippanakas, Wilis and tha5?os ard possessed long experierce in the field of critically editing Jain agama texts evolved principles of textual criticism to be followed in critically editing the tests in the Jaina-Agama-Series. These principles are : (1) Use of old palm-leaf MSS. (ii) Use of critically corrected commentaries on agamas such as cirni, tika, aractiri, tipranaka etc. (iii) Use of quotations from the agamas and also from their commentaries, (iv) Comparison with the sutra-patha found in the other agamas. (w) Discerning wrong emendations made by commentators and'or by modern scholars. (vi) Discerning mistakes made by copyists. The editors, judiciously applying these principles present in this volume the critical text of Nandi and Anuyogadvara suras which form the culika, as it were, to the entire sruta. It would scen sirange that the editors begin with the end. But their explanation is quite convincing and satisfactory. The Nandi falls in the anga-bahya class. Normally, it should occupy a place subsequent to the aigas. But on account of its extraordinary position in the whole body of the agama texts, it is placed first. It has secured the place of margalacarana in the beginning of the study of agamas. So the editors too accord it the first place not only in this volume but in the entire

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Nandisuttarn and Anuogaddaraim series of the project. If the Nandi serves as a mangala, the Anuyogadvarasiitra serves as a key to the understanding of the agamas. Naturally, these two texts form a pair; and rightly the editors open the series with them. The text of the Nandisatru is mainly based <Page #345
26 V. M. Kulkarni Ghasilalji and insist on the editoi's prior equipment such as knowledge of tradition and history ofagamas. They fully discuss (Intro p. 107)some important readings such as tesiyam terasium (foresion or vesitcom, SK Tuisilam) in the Namdisnitia (p. 29, 1.8) and Kiropanam or Kanotanam (for Kayanam - Kajn or kura is a desa word, meaning Kavadivahaka, or 171cdhatahuka in Sk.) in the nurogudvarasitra (p. 73, 1.10) und they also throw fresh light on what is posattha Javana and what is crusatha Mavin rightly criticising the corrupt read ings in the printed editions of the Amyogadvarasitra, and conclude how the preparation of a truly critical edition demands of its editor such qualities as tremendous patience, preseverance, heenness for exactitude, vigilance and sincerity in scrutinising different MSS, in collating variants and in understanding the textual explanations given by commentators, The cuirical editions is prefaced with a learned and masterly intioduction treating of various topics such as the Jain ugumus and the l'edas, sources of the argas, the Geographical Region of their composition, Language, Number, Classification, and Age of the agamas, Author of NandisatraDevavacaka, his Date, Amyoga (Exposition), the Method of Exposition as demonstrated in the Anuyogadvara, the Jain, the Buddhistic and the Vedic Methods of Exposition, Life and Date of the author and the Date of the Anu yogadvard and, last but not the least, they treat of the rich socio-cultural material found in the two texts. In their Introduction the editors clearly point out the difference between the l'elas on the one hand and the Buddhist Tripitakas and the Jain Agamas on the other. The former are Srxla-pradhana whereas the latter are artha-pradhana. The Brahuanis have preserved not only the original words of the Vedas but their correct pronunciation also. The Jains have tried to preserve the ineaning of the words concerned and not the original words of their Tirtharikaras. This is a fact none can deny. It would not, however, be correct to belittle the importance of words. If words are to be depreciated there

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Nandisuttam and Abuogaddaram is hardly any sense in undertaking a project like the present one and discussing the principles to be followed in critically editing the agama texts and collating scores and scores of copies of text and recording variant readings It wou'd only mean much ado about nothing." 27 On p. 39 the Anuyogadvarasutra is referred to as the earliest among the commentaries on the rasyaka, but on p. 45 we are told that it does not provide us with an exposition of the Avasyaka-sutra. The suggestion of the editors that 'Ghodamuham' and 'Nagasuhumam' stand for as:a-avtra and hasti-sastra respectively deserves consideration. In his paper "Identification of a Few Sastras mentioned in the Jaina Sutras" (JOI, Baroda, Vol. XVIII, 1968) Shri Anantial Thakur identifies these two Sastras with a work on erotics by Ghotakamukha and a work on the Science of Logic (Suksmo nyayah) respectively. The English rendering of the Gujarati Introduction is quite satisfactory. It covers the entire Introduction except the topic entitled "Nandisutra-Anuyogadvarasutrantargata Sanskrtic Samagri" (Gujarati Introduction, pp. 52-70) which is summarised under the heading "Discussion on Certain Secondary Subjects" (pp. 72-76). The editors fight shy of discussing the example of Vridanaka-rasa as it refers to the ancient custom (prevalent in some parts of India) of taking the bridal garment' (Vahu-poti-vadhu-nivasana= anandapata) from house to house with a view to declaring the bride's virginity and its being saluted to by the bride's fatherin-law and mother-in-law. Acarya Haribhadra and Maladhari Hemacandra, do not, however, hesitate to explain fully this gatha in their commentaries. We come across reference to such a 'bridal garment being carried from house to house in the Gatha-Sapta-Satz (V. 57) also. The editors understand the verse illustrating hasya-rasa somewhat differently from the commentators referred to above. It is also possible to take the gatha as referring to the illicit love between the radhi and her devara, especially in view of some githas in the Gathasaptasati portraying such love between them. The editors rightly

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28 V. M. Kulkarni point out that the list of nine rasas in the Anuyogadvara-sutra substitutes pridanaka in place of the bhayanaka in the traditional lis:. Here it may further be pointed out that the Anuyogadrara-sutra gives the pride of place to the vira and not to the sigara asa as found in almost all the Sanskrit texts de:ling with poetics. The explanation for this change by the author probably lies in the fact that the present work deals with the highest end of human life, viz., moksa, and that it is attainable through heroic efforts in conquoring the internal enemies (such as kama, krodha, etc). The definitions and the verses illustrating these nine rusas are such as are not to be met with in the treatises on the science of dramaturgy or poetics. Still further it may be pointed out here that the Anuyogadvarasitra (3rd century A.D.) is the first among the available texts that speak of Santa-asa. It is, indeed, extra-ordinary that none of the Jain writers on dramaturgy/poetics cares to take note of these significant changes in their treatment of the topic of rasa. Incidentally, we may refer here to a few errors/misprints, although they are very minor, that have crept in through inadvertance: on p. 26, 1.12 (from below) we should read 'We'for 'I' as the Introduction is contributed by the three editors. On p. 35.1.11 (from below.) we should read destroys. for destroy. On p. 49, 1.4 we should read refuted and on the same page (L. 12) Sthavira. On p. 50, L. 16 we should read papat for parat. On p. 59. 1.10 We should read partially. On p. 71 f.n 59a the Kanagasattari is referred to as 'this Sanskrit work.' Strictly speaking, it is not erroneous. But the Prakrit title is apt to mislead. On p. 92, 1.12 (from below) we should read ucyante. In the English translation of the Gujarati Introduction (p. 107) Vaisesikam is given as the Sanskrit equivalent of vesiyan. It ought to have been Vaisikan. The appendices at the end meticulously record all the words in the texts as well as the foot-notes. But rare omissions could be detected. For instance, mugundassa (p. 63, l. 17) is not included in the Appendix (p. 415). Further, the Sanskrit meanings of a few words given in the Appendixes hardly add to

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Nandisuttam and Avuogaddaraim our knowledge. Sastra-visesa', 'vrati-visesa, sutra-bheda,* 'Silpi-visesa', 'dhanya-mana-visesa,' 'Kalamana-visesa,' etc, are some such instances. The reviewer ventures to suggest that a critical edition of an agama text should invariably be accom pained by its Sanskrit commentary. For even to an advanced student of Prakrit the glossary of Prakrit words along with their Sanskrit meanings would not prove quite useful. In it absence an English translation or into Modern Indian Langages with detailed notes is an absolute must for the understanding of the text. Another suggestion the reviewer would e to make: There should be separate volumes of the critically edited text accompanied by Introduction, Translation. Notes, etc., in English and in Modern Indian Languages-adding English translation of Sampadukiya (Editors' Note) and of Prastavan (Introduction) to the Gujarati preface, as is done here-although considerations of resources at hand and of economy might have influenced this decision of bringing out the present edition in its present form does not appeal t one's aesthetic sense. Finally, the volumes of critically edited texts of the Jaina agamas, should be, as far as practicable, brought out on uniform pattern. - 29 These suggestions apart, it is superfluous to add that the prssent edition is simply superb. Its printing is pleasing to the eye and get up excellent. The editors deserve warmest congratulations for presenting to the world of scholars, especally scholars of Jainology, this splendid critical edition.

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nyAyavaizeSika darzana meM Izvara nagIna jI. zAha (1) kaNAda aura Izvara ' kaNAda ke vaizeSika sUtroM meM IzvarakA spaSTa ullekha nahIM hai| mIha me dIpikAkAra mAnate haiM ki kaNAda ke mata meM Izvara nahIM haiM / ' aura gA jaise Adhunika vidvAna bhI aisA hI mata pradarzita karate haiM / kintu uttarakAlIna nyAyavaizeSika saMpradAya meM Izvarane jo mahattva kA sthAna prApta kiyA hai use meM rakhane hue TIkAkAroM ne evaM katipaya vidvAnoM ne vaizeSika sUtroM meM Izvara kA saMketa yojane kA prayatna kiyA hai / to'bhyuyaniHzreyasasiddhiH sa dharma annadanya prAmANyam ' vai. sU 1.1. 2-3- ina do sUtroM kA sIdhA artha hai ' jisase abhyudaya aura niHzreyasa prApta hotA hai vaha dharma hai / usakA (-dharma kA) nirUpaNa karanevAlA hone se veda pramANa hai / kintu TIkAkAra aura katipaya vidvAn 'tadvacanAta ' kA 'IzvaravacanAt ' ( Izvara kA vacana hone se ) aisA artha karate haiM / yaha kathana ucita nahIM lagatA / * saMjJAkarma tvasmadaviziSTAnAM liMgam ' ( ve. sU. 2.1.18 ) isa sUtra meM AyA huA (asmadaviziSTAnAm ' kA artha TIkAkAra aura kaI vidvAn 'mahezvarasya ' aisA karate haiM / isa taraha se vaizeSika sUtro meM Izvara ko khoja nikAlane kA kArya kaThina hai / hai hI nahIM to kaise prApta ho sakatA hai ? uttarakAlIna nyAyavaizeSikoM kA IzvaraviSayaka yaha mahattva kA siddhAnta hai ki paramANuoM kA Adya karma (= gati ) IzvarakArina hai / kintu kaNAda to kahate haiM ki paramANuoM kA Adya karma aSTakArita hai / tathA uttarakAlIna nyAya-vaizepikoM kA Izvaravipayaka dUsarA mahattva kA siddhAMta yaha hai ki veda IzvarakRta hai / kaNAda itanA hI kahate haiM ki veda ke vAkya buddhimAna ke dvArA liye hue hone cAhie / isakA sIdhA artha yaha nikalatA haiM ki veda ke racayitA mAbhAtkRtadharmA RSi the / mere isa nibandha ko paM. dalasukhabhAI mAlavaNiyA jI ne dhyAna se par3hakara mujhe pakRta kiyA hai, ataH maiM unake prati merA kRtajJabhAva pragaTa karatA hU~ / mere ina vicAroM ko hindI bhASA meM rakhane meM mere bhitra paspe mujhe sahAyatA milI hai, mataH maiM unakA AbhArI hU~

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nagIna jI. gAha (2) nyAyasUtrakAra gautama aura Izvara gauna ke nyAnasUtra meM IzvaraviSayaka tIna sUtra haiN| ina tIna sUtroM meM purupakarma aura usake phala ke viSaya meM Izvara kA nayA kArya hai vaha batAyA gayA hai| prama dosana vidhiyoM ko matoM ko dekara tIsare satra meM gautama ne apanA vihAM kAma kiyA hai| jaja rAtroM ko kramazaH samajhane para gauna kI IzvaraviSayaka mAnyatA cilkula spaSTa ho jAtI hai| 12.ekAphilA rzanAt ('. 1. 19.) pumpa ke kAkA caipAnya digbAi dena se phala kA kAraNa Izvara hai| karmaphala kA kAraNa karma nahIM kinnu Izvara hai| karma aura karmaphala ke bIca niyana manbandha nahIM hai| phaTa varma para AdhAra nahIM rakhatA kintu Izvara para AdhAra rakhanA damA mAnanA cAhie, kyoM ki karma karane para nI bahuta vAra puruSa ko umakA phala milatA huA nahIM dikhAI detaa| Izvara hI hameM alaga alaga paristhitiyoM meM rakhatA hai. vaha hameM sukha-duHgya davA hai, vahIM hame bandhana me DAlatA hai aura vahI muna karanA hai| yaha saba apane kA kA pariNAma nahIM kintu Izvara kI icchA kA pariNAma hai| hamAre karmA kA ina manake sAtha koI sambandha nhiiN| krasiddhAnta jhUThA hai| IzvaralA hai| saccI hai / valIcI jhavalamI barecchA // na. purapakrapabhi va phAni,te. (1.1.20) . uparAnta nidAna amanya hai kyoMki vantunaH karSaphala kA kAraNa karma nahIM kintu Izvara hI hA to karma na karane para bhI hameM icchita phala milanA caahie| kintu kahIM bhI karma kiye binA usakA phala milatA huA dRSTigocara nahIM hotaa| cale binA niyata sthAna para pahu~cA nahIM jA sktaa| bhikSATana kiye vinA zikSA nahIM milatI / davA liye binA roga nahIM mitttaa| yadi phala karma para AdhAra na rakhatA ho aura Izvara para AdhAra ranyanA ho to karma kiye binA phala milanA caahie| kintu pamA nahIM hotaa| ataH phala Iyara para nahIM kintu karma para hI AdhAra rakhatA hai| Izvara kI koI AvazyakatA nhiiN| karma kiyA ataH usakA phala honevAlA hI hai| vaTavIja boyA to vaTavRkSa uganevAlA hI hai| usameM kisI mAdhyama (agency) kI AvazyakatA nahIM / kArya-kAraNa kA niyama hI aimA hai| kAraNa ke hone para kArya hotA hI hai| jahara khAo to mRtyu hogI hii| phira jahara ko apane kArya karane meM kisI para AdhAra nahIM rakhanA par3atA hai| karma karo to usakA phala milegA hii| isameM Izvara kI jarUrata hI kyA hai ? tatkAritatvAdahetuH (1.1.21) karma IzvarakArita hone se (krama se) ukta donoM siddhAnta tarkahIna haiM, asatya haiN| ima sUtrama' gautama apanA siddhAnta, upasthita kara rahe haiN| vaha isa prakAra haiupara ke donoM siddhAnta galata hai| eka karma-phala ke niyata sambandha kI avagaNanA karatA hai

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hai. aura dUsarA Izvara kI avagaNanA karatA hai / vastutaH to karma-phala ke bIca niyana sambandha hai hii| amuka karma karo aura vaha apanA phala degA hI, kRna karma kA phalane ke lie gavara kI AvazyakatA nahIM yaha bAta saca hai phira bhI inchina phala prApta karane ke lie kaunasA karma kiyA jAya yaha jAnanA jarUrI hai| isa karma kA nA phala hai yaha mAna to usa phala kI prApti cAhane vAle ko honA hI caahie| jA avazya nATA hai yaha bAta saca hai kintu marane kI icchA karanevAle ko usakA mAnanA hai hai ki amuka padArtha prANaghAtaka hai| vaha jJAna na ho to yaha jina padAthoM konA hai vaha usake prANoM kA ghAta na bhI kreN| amuka aupani ke dene se amuka aMga miTanA hai| usa auSadhi ko apanA kArya karane ke lie kara AkArakatA nA.. rhtii| vaidya kI AvazyakatA no rogI ke jJAna ke lie kamaroga. use kaunasI davA lenI caahie| rogI roga miTAnA cAhanA hai kinnu ma.in kaunasA karma yogya hai usakA use jJAna nahIM hai| yaha jJAna se vaidynaa| aura vaha usa jJAnapUrvaka java usa karma ko karatA hai taba use unakA inchina phara milnA hai| ajJAna se jaisI cAhe davA le usase umakA roga miTanA nahIM kintu UlTI huI davA anya takalIpha paidA kara detI hai| arthAta icchita phala prApta karane ke lie usa phala ke anurUpa kArya kyA hai usakA jJAna karma karanevAle ko hAnA jamI hai| yaha jJAna laukika vipaya meM to usa usa viSaya ke jAnakAra dene kina gaga Agda dApoM se mukta hone ke lie kisa kalA meM kaunasA karma karanA. kamI mAdhanA karanI cAhie isakA jJAna to (rAgAdi deApamukta sarvajJa) Izvara hI karA sakatA hai / ma nagare karma aura usake phala ke bIca niyata sambandha hai, kintu usa niyana sambandha ko jAnane ke lie hameM (sarvajJa) Izvara kI AvazyakatA hai aisA mata phalina hotA hai| Izvara kevala upadepTA hai, mArgadarzaka hai, karma-phala ke niyata sambandha kA jJAna karAnevAlA hai| usa artha meM hI vaha karmakArayitA hai| vaha balyana kinI meM karma nahI karavAtA hai / vaidya kevala dayA batAtA hai kintu hama aisA hI kahate haiM ki baMdhane roga miTAyA hai| usI taraha se Izvara bhI rAga Adi roga kA IlAja batAtA hai phira bhI hama kahate haiM ki Izvara ne yaha roga miTAyA-Izvara ne phala diyA, Ibarane anugraha kiyaa| usa artha meM hI Izvara phalakArayitA yA phalasaMpAdayitA hai| isa prakAra Izvara jIva ko icchita phala (mokSa) ke anurUpa karma kaunamA unakA jJAna karAkara usake prayatna ko, usakI sAdhanA ko saphala banAtA hai| yadi usako yaha jJona na karAyA jAya to use icchita phala kI prApti nahIM hogii|| ___ karma-phala ke bIca niyata sambandha hai| icchita phala ke icchuka ko ma phala, aura usake anurUpa karma ke bIca ke niyata sambandha ko jAnanA caahie| jAnapUrvaka yadi vaha karma karatA hai, to use icchita phala milatA hai| usa jAna ko denevAlA Izvara hai| udAharaNArtha, dhUma aura agni ke bIca kAryakAraNabhAvakA niyana sambandha hai, kintu jaba taka isa sambandhakA jJAna vyakti ko na ho taba taka vaha hama parase agnikA anumAna nahIM kara sktaa| dhUma aura agni ke bIca ke niyana

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nagIna jI. jAha sambandhakA mAna hone para hI vaha ma sa ani kA anumAna kara sakatA hai| usI nagada cikana phala kI prApti ke lie usa phala aura usake karma ke bIca ke niyata sambandha ko jAnanA jarA ima jJAna ko denevAlA Izvara hai| kAnoM meM paTa mala, muktikA mAnA hai| garmI mubita (duHkhamuni) cAhate haiN| usa inchina phaTa ke kA kaunasA karma karanA cAhie aura kaisI sAdhanA karanI cAhie, kina kamase karanI cAhie isakA jJAna sAdhanA kara duHkhamukta hue jIvanmukta dete haiN| jIvanmukta upadeSTA hai, pathapradarzaka hai| isa taraha saMbhava hai ki gaunama ke mana meM jIvanmuvana hI Ibara ho| (3) vAtsyAyana aura Izvara hamane dekhA hai ki karma-phala ke niyata sambandha kA jJAna karAnevAle ke rUpa meM Izvara kA vakAra gaunamane kiyA hai| usa Izvara kA svarUpa kyA hai isakI spaSTatA vAtsyAyanane apane bhAgya meM (1.1.21) kI hai| vaha isa prakAra hai (a) guNaniTAlAtarI nAvAtmakarAta kalpAntarAnupatiH / dharmanipyAbAna mahAnyA mala nayanAnisammamA camimiSTAnmAnnaramIzvaraH / tasya ca dharmasapAdhiphalamaNimA naSTavidhamezvaryam / Izvara AtmA hI hai| AtmA se atirikta koI nayA dravya nahIM hai| Izvara anya AtmA kI taraha hI hai, kintu anya AtmA aura usameM bheda itanA hI hai ki anya AtmAoM meM jo guNa hote haiM ve hI guNa usameM hote haiM kintu usake guNoM meM ziSTaya hotA hai| vaha vaiziSTaya kyA hai ?--anya AtmAoM meM mithyAjJAna, adharma (adharmapravRtti, balezayukta pravRtti, rAgadvepayukta pravRtti) aura pramAda hotA hai| Izvarane unakA nAza kiyA hai| usase usameM jJAna (samyaka jJAna, vivekajJAna), varga (dharsapa prani, klezahita pravRtti) aura samAdhirUpa sampatti hotI hai, jaba ki anya AnmAo meM vaha nahIM hotii| usa ke andara dharma ke (dharma pravRtti, klezarohana pravRti) aura samAdhi ke phala rUpa AgamA Ade rUpa pazcarya hotA hai, jabaki anya AtmAoM meM vaha nahIM honaa| isa taraha anya arthAt saMsArI AtmAoM se usakA bheda hai| vAtsyAyanane mukta AtmAoM se Izvara kA bheda kahA na hone para bhI spaSTa hai| mukta AtmA meM koI AtmavizeSaguNa hotA nahIM jaba ki Izvara meM dharma (dharmapravRtti), jJAna, samAdhi aura aizcarya hotA haiN| isa prakAra Izvara AtmA hI hai, isalie saMsArI aura mukta AtmAoM se usakA bheda nahIM hai| Izvara, saMsArI aura mukta ye tIna alA jAtiyAM nahIM kintu eka hI jAti hai| jisa prakAra saMsArI aura mukta AlA AtmA hI haiM usI prakAra Izvara bhI AtmA hI hai|

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ha'vara isa prakAra jo AmA anI adharmapravRtti bA, 7.pane minAhAna kA aura apane pramAda kA nAza karake dharmapravRtti, samyavajJAna aura samAdhi saMpAdana karanA hai vaha vAtsyAyana ke mata meM Izvara hai| Izvara nityamukta nahIM / ima artha meM pratyeka jIra meM Izvara banane kI zakyatA rahI huI hai aura Izvara aneka bhI ho sakate hai| hama se yaha sUcita hotA hai ki vAtsyAyana kA Izvara vivekI aura balagargahata jIvanmukta hI hai| (b) saGkalpAnuvidhAyI cAraya dharmaH pratyAtmavanIna dharmamancayAna pani pravartayati / evaM ca skakRtasyAbhyAgamasyAlopana nirmANamAkAnya mya ramaka, vaditavyam / saMkalpa hote hI usake anurUpa usakA dharma (=pUrvakRta vAma prakAra kA kama) Atmagata (=pratyAtmavRtti, prati AbhimukhyArtha) pUrvakRta dharmAdharma ke saMcayoM ko (saMcita ka ko) vipAkonmukha karatA hai aura pRthvI Adi bhUtoM ko (nimAMgakAya banAne meM dvayaNukAdikrama se) pravartita karatA hai| (aura ina nirmANakAcoM kI sahAyatA se vaha antima janma meM pUrvakRta karmoM ke phaloM ko bhoga letA hai| apane kiye hue karmA ke phaloM kA bhoge vinA lopa hotA nahIM aimA niyama hone se nirmANakAya ke lie usake saMkalpa kA avyAghAta (arthAta sakalpa se hI nirmANakAya banAne kA usakA sAmarthya) usake apane pUrvakRta karma kA hI phala hai sA mAnanA caahie| isase yaha phalita hotA hai ki vAtsyAyana kA Izvara yaha jIvanmukta vivekI (c) AptakalpazcAyam / yathA pitA apatyAnA tathA pitRbhUta Izvaro bhUtAnAma / dharmapravRttivAlA, samyakrUjJAnavAlA, aura samAdhisampanna Izvara Aptakalpa haijisa ke vacana meM vizvAsa rakha sake aisA hai| jaise pitA putra ke lie Apa hai usI prakAra Izvara saba bhUtoM ke kie Apta hai / pitA putrakA mArgadarzaka hai, Izvara maba bhUnA kA mArgadarzaka hai| pitA putra ke hita-sukha ke lie use upadeza detA hai, Izvara saba bhUtoM ko duHkhamukti ke lie upadeza detA hai| vAlyAyana kaMvala AphnatA ke viSaya meM hI pitA-putra aura Izvara-jIva ke sambandhoM ke bIca sAmya batAnA cAhA hai| isa dRSTAnta (analogy) ko isase adhika laMbA karanA vAtsyAyana ko 5Ta nahIM / udAharaNArtha, jaise putra ko pitA paidA karatA hai vaise jIva ko Izvara padA karanA hai, athavA jaise putra pitA kA aMza hai vaise jIva Izvara kA aMga hai. ityAdi / mA Izvara vAtsyAyana ko mAnya nhiiN| vAtsyAyana ke mata meM Izvara mA vyakti hai jisake upadeza meM vizvAsa rakhA jA sakatA hai: Izvara upadeSTA hai, pathapradarzaka hai, mokSamArga kA netA hai| isa para se yaha spaSTa hotA hai ki klezahita aura vivekajJAnadhArI jIvanmuka hI Izcara hai|

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nagIna jI. zAha (d) nAmakanyanyaH kama sambhavati / na tAvadamya buddhi vinA kazciddhamA libhatA kara apAdAginuma / AgalAca draSTA bodhA sarvajJAtA Izvara ini| zyAdibhidhA saliganimpA cyamIvara patyakSAnu nAnAganaviSayAtIta kaH zakta upapAdayitum / muzvara AtmA hI hai, tattvAntara nahIM kyoMki usameM aisA koI dharma nahIM jo use navAnnara mida kare / umameM vRddhi hai aura buddhi AtmA kA hI dharma hai| Agama meM bhI usakA yahI dharma batAyA gayA hai| Agama usakA dRgyA, yodvA aura sarvajJAtA kempa meM bana karatA hai| isa taraha Agarane bhI aisA koI dharma nahIM batAyA jo ise nanyAnnara, siddha kre| yadi vaha AtmaliMga dhuddhi Adi se rahina ho to vaha nimpAkhya bana jAyagA, usakA vidhyAtmaka varNana hI azakya bana jAyagA, usa jAnA hI nahIM jA sakatAH yaha pratyakSa, Agama yA anumAna se agocara hI rhegaa| isa prakAra Izvara AtmA hI hone se vaha saguNa hai| hama jAnate haiM ki sAMgya-yoga ke anusAra jIvanmukta vivekI purupa sarvajJa hotA hai| 10) svakRtAyA gamalopana ca pravarta pAnagya yadukta pratipaMdhajAnaprakarmaninine zarIrasarga tatsarva pragamyate iti / nirmANakAryoM ko utpanna karane ke lie pravRtta honevAlA apane pUrvakRta karma ke pariNAma se hI usameM pravRtta hotA hai aisA yadi na mAnA jAya to usake nirmANa jagArI kI utpatti meM usake pUrvakRta karma nimitta nahIM haiM aisA artha hogA; aura gamA myAkAra karane meM to apane apane sAmAnya prakAra ke zarIra kI utpatti meM pratyeka jIva ke apane apane karmo ko nimitta kAraNa na mAnane meM jo dopa Ate haiM ve saba dApa yahAM mI aavNg| ___ Upara ke arthaghaTana ke viSaya meM kaI zaMkAeM aura usakA samAdhAna--(1) 'pratyAtmavRtIna dharmAdharmasaJcayAn' kA artha Upara ke arthaghaTana meM 'AtmasannikRSTa dharmAdharmasaMcayoM aisA kiyA hai, arthAta 'prati' kA artha yahAM abhimukha yA sannikRSTa gosA liyA hai| 'prati' kA aisA artha hotA hai ? hA, 'pratyakSa 'zabdagata 'prati' kA atha 'mannikRSTa' yA 'abhimukha' aisA kiyA jAtA hai / 'pratyAtmavRttIn ' kA vigraha isa prakAra ho sakatA hai-AtmAnaM prati pratyAtmama, pratyAtmaM vRttiH yeSAM tAna pratyAtmavRttIna / isakA artha hotA hai 'AtmAnaM prati Abhimukhyena samavAyasambandhena yeSAM vRttiH ne, nAna pratyAtmavRttIn / ' arthAt, Izvara apanI AtmA meM samavAyasambandha se rahe hue saMcita karyA ko vipAkonmukha karatA hai| anya AtmAoM meM samavAyasambandha se rahe hue saMcita karmoM ko vaha vipAkonmukha nahIM karatA hai| TIkAkAra 'pati' kA artha 'pratyeka' karate haiN| aisA artha lene para 'Izvara' kA pUrvakRta karma (dharma) pratyeka jIvoM ke saMcita karmA ko vipAkonmukha karatA hai-sA vAkyArtha hogA, jisameM virodha spaSTa hai / 'prati' kA 'pratyeka' artha vAtsyAyana ke samagra vicAra ke jo aMza hai, usameM visaMvAda lAtA hai jaba ki 'prati' kA 'abhibhukha' yA 'sannikRSTa' artha usameM saMvAda lAnA hai| imI dRSTi se hI 'prati' kA TIkAkAra sammata artha yahA~ choDa diyA gayA hai|

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T (2) yadi aisA artha kiyA jAyagA to ' prayAnta meM Izvara va jIvo ke dharmAdharma ko eka sAtha vipAkonmukha karanA hai' aisI jo mAnyatA uttarakAlIna nyAyavaizeSikoM meM pracalita hai usakA kyA hogA ? isa sAnyatA ko vatsyAyana svIkAra karate ho aisA bhASya meM kahIM bhI mAlUma nahIM paDanA / taduparAnta bhASyakara marga pralaya kI mAnyatA ko svIkAra hI nahIM karate ho aisA hI saMbhava vizeSa hai| niyAyika sarga ko svIkAra hI nahIM krte| ve saMsAra ko anAdi-ananta mAnate hai / yaha bAta vArtikakAra udyotakara ne eka sthAna para kahI hai| arthAta saMgopana kela sagarambha paramANu ke Adyakarma ke lie aura pratyAna meM sajIva ke kama kI vipAkonmukha karane ke lie naiyAyikoM ko Izvara kI AvazyakatA nahIM / (3) yahAM Izvara yaha jIvanmukta hI hai aura jIvanmukta AnA apane sacina karmo ko antima janmane bhoga lene ke lie nirmANakArya ko utpanna karanA hai aisA phalita kiyA hai to prazna haiM- (a) vAtsyAyana jIvanmukta ko mAnate hai ? (b) use antima janma meM saMcita karmoM ko bhoga lenA cAhie aisA ve mAnate hai ? (c) ke nirmANa. kAya kI kalpanA ko mAnate haiM ? inakA uttara hai vAtsyAyana jIvanmukta kI mAnyatA kA svIkAra karate haiN| unake apane hai bahizca vivicito viharanmukta ityucyate / nyAyabhA. 4.2.2 / jIvanmukta ko antima janma meM apane sabhI pUrvakRta karmoM kA bhAga denA cAhie aisA vAtsyAyana svIkAra karate hai / unake apane zabda hai i hayantaM janmani vipacyanta iti / nyAyamA 41.65 / vAtsyAyana nirmANakAya kI kalpanA kA svIkAra karate haiN| inake apane haiM--yogI khalu dhau prAdurbhUtAyAM vikaraNadharnA nirmAya mandriyANi zarIrAnnarAi jJeyAnyupalabhate / 3.2,19 / jayanta kI nyAyamaJjarI meM nirmANakAya kI prakriyA kA ullegya hai / isa darbha meM yaha dhyAna meM rakhanA hogA ki vAtsyAyana svayaM yoga kI sAdhanA prakriyA se pUrNa paricita haiM aura tattvajJAna kI utpatti ke lie yoga ke sabhI aMgo kA abhyAsa Avazyaka mAnate haiM / (4) vAtsyAyana ne Izvara ko sarvajJAtA ke rUpa meM svIkAra kiyA hai / kyA jIvanmukta ko vAtsyAyana sarvajJa mAnate haiM ? C sabhI dravyoM kA usakI sabhI paryAyoM (avasthAoM) ke sAtha jJAna rakhanevAnya ' aisA sarvajJa kA artha sAMkhyayogadarzana ko abhiprate hai / sAMkhyayoga kA jIvanmuna anantajJAna ( = tArakajJAna - vizokA siddhi) rakhatA hai aura sabhI yoM ko jAnatA hai| vAtsyAyana ko 'sarvajJa' kA aisA artha yahAM abhimata hai yA nahIM yaha nizcitarUpa se nahIM kahA jA sakanA / kintu itanA to spaSTa hai ki vAtsyAyana saMdarbha ke anusAra 'sarvajJa' kA alaga alaga artha karate haiM / indriya apane apane niyata viSaya ko grahaNa karatI hai jaba ki AtmA rUpa, rasa, gaMdha, sparza aura zabda ina pAMcoM ko mhaNa

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nagIna jI. gAha karatA hai| ataH AtmA sarvajJa hai aura isa kAraNa se vaha indriyoM se bhinna hai aisA bAlyAyana ne eka sthala para kahA hai 10 / yahA~ saMdarbha karma-phala kA hai ata eva karma-phala ke niyata sambandha ko jAnanevAlA--duHkhamukti (phala) aura usake upAyAM (sAdhanAkarma)ko jAnanevAlA-esA 'sarvajJa' zabda kA artha hogA / 'sarvajJa' zabda ke artha kA isase adhika vistAra prastuta saMdarbha meM jarUrI nhiiN| isa artha meM jIvanmukta sarvajJa hai hii| vizeSa meM nyAya kA jIvanmukta sarva jJeyAM ko jAnanevAle ke artha meM 'sarvajJa' hotA ho to bhI vaha artha prastuta saMdarbha meM se phalita nahIM hotaa| sAdhaka kA, athavA sarva bhUtoM kA upakAraka to rAga Adi klezoM se mukta, karma-phala ke niyata sambandha ko jAnanevAlA vyakti hai| dRsr| bAta yaha bhI hai ki karma-phala ke siddhAMta ke sAtha sarva dravyoM komarva avasthAA ke sAtha-jAnanevAle 'sarvajJa' vyakti kI mAnyatA kA mela nahIM khAtA / karma siddhAMta aura sA sarvajJa eka dUsare ke virodhi hai / ataeva isa saMdarbha meM to kisa karma kA kasA phala hotA hai vaha jAnanevAlA hI sarvajJa hai| vAstava meM yoga kI sAdhanA kA aura yoga kI nirmANakAya kI prakriyA kA vAtsyAyanane svIkAra kiyA hai to jIvanamuktakI yogalAnya sarvajJatA kA bhI ve svIkAra karate hoM aisA vizepa saMbhava hai| isa taraha vAtsyAyana ke mata meM mokSamArga kA upadezaka, sarvajJa, vivekI, valezamukta, jIvanmukta purupa hI Izvara hai aisA spaSTarUpa se phalita hotA hai| (4) prazastapAda aura Izvara nRSTi aura pralaya kI kalpanA aura Izvara jagata kA kartA hai. ye donoM sAnyatA nyAya-vaizepika ke upalabdha granthoM meM sarvaprathama hame' prazastapAda ke padArthadharmasaMgraha meM milatI haiN| ve Izvara ke lie 'mahezvara' zabda kA prayoga karate haiN| jIva apane karmoM ke phaloM kA bhoga kara sake usake lie mahezvara ko sRSTi karane kI icchA hotI hai| usake pariNAma svarUpa AtmAoM ke adRSTa apane apane kArya karane ke lie unmukha banate haiN| AtmA evaM aise adRSToM ke saMyoga se pavana paramANuoM meM kAryArabhaka gati utpanna honI hai| pavanaparamANuoM meM yaha gati utpanna hone para una paramANuoM kA kAryAraMbhaka saMyoga hotA hai jisa ke pariNAma svarUpa dvathaNukAdikrama se pavanamahAbhUta utpanna hotA hai| isI krama se binA tejamahAbhUta ke cAra mahAbhUtoM kI utpatti hotI hai| ina cAra mahAbhUtoM kI utpatti hone ke bAda mahezvara ke saMkalpamAtra se pArthiva paramANu se saMyukta taijasa paramANuoM meM se baDA aMDA utpanna hotA hai / usa aMDe meM se sarvalokapitAmaha brahmA ko sakala bhuvanoM (caudaha bhuvanAM) ke sAtha utpanna kara mahezvara use prajA kI smRSTi karane kA kArya sauMpate haiN| brahmA jJAna, vairAgya aura aizvarya se yukta hai| vaha jIvoM ke karmoM ke vipAka ko jAnakara karma ke anurUpa jJAna, bhoga aura AyuvAle prajApatiyoM, manuAM, devA bhIpioM, brAmago, kSAtreyoM, vaizyoM, zUdrI evaM choTe bar3e prANiyoM kA sarjana karanA hai, aura unheM apane apane karma ke anurUpa dharma, jJAna, vairAgya aura aizvarya se

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joDatA hai11 / jaba brahmA ke mokSa kA samaya AnA hai nA manAra ~~unmamara bhramaga se-thake hue prANiya ke vizrAma ke lie mahezvara naMhAra kama karane / saMhArecchA ke sAtha hI sabhI kArya kramase paramAgama viTana dAna / ma malaya hotA hai| prAlaya meM pravibhakna paramANu aura dharma-adharmamagyAMgana AlmAe hI hotI haiM12) isa prakAra prazastapAda ke anusAra mahezvara ke kavara makarama manTanara mahAra hotA hai / mahezvara kI icchA pavanaparamANuoM meM:-panna hAnI gAMbhaka kA kA sAkSAt kAraNa nhiiN| unakI icchA to mAToM ko kAryAnmunya karatI hai| saMyukta se adRSTa pacana paramANuoM meM AraMbhaka gAna -panna karane hai| tathA mahAra saGkalpa se brahmA ko aura sakala bhuvanoM ko utpanna kara jIyanapaTakamA brahmA / niyukta karatA hai| brahmA jIvoM ko karmAnutpa nAna, bhAga. Aya ra yona! banAtA hai| mahezvara sarjanecchA se pAMca bhUnAM kA. zarIrabAriyoM ke rahane ra yAnI kA (tribhuvanoM kA) aura brahmA kA sarjana karatA hai| jIvaSTi kA marjana yA karanA hai aura brahmA hI jIvoM ko unake karmA ke anusAra nAna, zrama, baiMganya, bhAga, aura agara detA hai| usI vajaha se brahmA ko lokapitAmaha kahA hai| brahmA kA mAma hAnA hai| brahUmA pratisarga bhinna hai jaba ki mahezvara to eka aura ninya hai| mahezvara meM kendra icchA hai, jaba ki brahUmA meM jJAna (-karma-phalajJAna), vairAgya aura zcarya hai| mahezvara sRSTi utpanna karatA hai kintu nRSTi kI utpatti se usake vinAza ke darzamayAna usakA saMcAlana brahamA karatA hai| pralaya meM to karma ke anurUpa phaladAna kI kriyA kaka jAtI hai, virAma ko prApta hotI hai| isalie pralaya meM jamA kI AvazyakatA nhiiN| mahezvara kA yA bahUmA kA upadezaka yA veda kartA ke rUpa meM varNana karane meM nahIM AyA hai| uttarakAlIna nyAya-vaizepika anyoM ne brahamA ko dUra kara usake kArya ko nI Izvara ko hI sauMpA hai| Izvara hI karma ke vipAka ko jAnakara usake anurUpa phala usake kartA ko dete haiN| tathA uttarakAlIna nyAya-vaizapika anyoM meM Izvara amana aura icchA donoM guNoM kA dhAraka hai sA mAnA gayA hai| yaha yantu isake AnanI carcA se sphuTa hogii| (5) udyotakara aura Izvara prazastapAda ne jagata ke karnA (nimi nakAraNa) ke sapane Izvara ko svIkAra kiyA hai| kintu usakA vyavasthita vicAra sonakara ke nyAyavAnika meM hameM mana meM pahale milatA hai| udyotakara kahatA hai ki jagana kA dAnakAraNa paramANu hai| aura jIvoM ke kro' kI sahAyatA se Izvara paramANuoM meM se nAba kAya kI utpanna karatA hai14| Izvara hI sRSTi kI sthiti ke kAla meM jaya jima jIva ke jisa krama kA vipAka kAla AtA hai taba usa jIva ko usa karma ke anamAra phala detA hai|

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10 nagIna jI. zAha yaha Izvara kA anugnaha hai15| Izvara kA aizvarya nitya hai| vaha dharma kA (=pUrvakRta karma kA) phanTa nhiiN| Izvara meM dharma hai hI nahIM 19 | Izvara meM saMkhyA, parimANa, pRthakanca, maMdhoga, vibhAga aura buddhi ce cha hI guNa hai:1" / eka sthala para udyotakara kahate hai ki usama' aliSTa aura avyAhata icchA bhI hai 15 / Izvara ko zarIra nhiiN| Izvara ko mAnane kI kyA AvazyakatA hai ? jIvoM ke dharmAdharma hI paramANuAM ko kAryAtyati meM pravartita karate haiM aisA kyoM nahIM mAnane ? isake uttara meM udyotakara kahate hai ki dharmAdharma acetana haiM aura acetana svataMtra rUpa se kisI ko kAryAtpAMca meM pravartina nahIM kara sktaa| mAna lo ki dharmAdharma paramANuoM ko kAryo-pati meM pravartita karatA hai--arthAta paramANuoM meM kAryArambhaka gati utpanna karatA hai| dharmAdharma to karaNakAraka hai| kevala karaNakAraka se kriyA utpanna nahIM hotii| anaH kevala dharmAdharma se paramANuoM meM AraMbhaka kriyA utpanna nahIM ho sktii| yadi kaho ki paramANuoM kI sahAyatA se dharmAdharma paramANuoM meM AraMbhaka kriyA utpanna karatA hai to yaha bhI ThIka nhiiN| paramANa to karmakAraka hai| karmakAraka aura karaNakAraka ye donoM milakara bhI AraMbhaka kriyA utpanna nahIM kara sakate / miTTI (karma) aura daMDa-caka (karaNa) ina dAnoM se hI ghaTAraMbhaka kriyA utpanna hotI huI kisIna nahIM dekhii| isa prakAra AraMbhaka kriyA kI utpatti ke lie karmakAraka aura karaNakAraka ke sAtha kartRkAraka (=kartA) kA honA Avazyaka hai| yadi kaho ki kartA jIva hai aura vaha apane karmI (dharyAdharma) ke dvArA paramANuoM meM AraMbhaka gati paidA karatA hai to yaha bhI ThIka nahIM, kyoMki jIva ajJAnI hone se paramANuoM meM se jo jo kArya jisa jisa rItise honevAle haiM usakA use jJAna nahIM, aura usI vajaha se una una kAryo ko utpanna karane ke lie AraMbhaka gati paraNumAoM meM utpanna karane ke lie vaha zaktimAna nhiiN| yadi kaho ki paramANuoM meM AraMbhaka gati kI utpatti kA koI kAraNa hI nahIM to yaha bhI anucita hai, kyoM phi hamane kabhI kAraNa ke binA kisI kI bhI utpatti dekhI nhiiN| ataH buddhimAna arthAta sarvajJa Izvara se hI paramANu tathA karma (dharmAdharma) kAryonmukha hote haiM aisA mAnanA caahie| arthAt, Izvara hI paramANuoM meM Adyakarma utpanna karatA hai aura Izvara hI adRSTa ko vipAkonmukha karatA hai|19 koI zaMkA karatA hai ki Izvara jagata kA kartA nahIM kyoMki vaha kisI bhI prakAra se jagata kA kartA nahIM bana sakatA hai| Izvara ko jagata kA kartA mAnane meM do vikalpa saMbhavita-hai-vaha yA to dUsare kI sahAyatA se jagata ko utpanna karatA hai yA dUsare kI sahAyatA ke binA hI jagata ko utpanna karatA hai| yadi vaha anya kI sahAyatA se jagata kA kartA banatA ho to jisakI sahAyatA se vaha jagata kA kartA huA usakA vaha kartA nahIM mAnA jaaygaa| yadi kaho ki jisakI sahAyatA se vaha jagata kA kartA banatA hai use vaha anya kisI kI sahAyatA se utpanna karatA hai to aba usane jisakI sahAyatA lI usakA no vaha akartA hI rhegaa| yadi kaho ki

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Izvara 11 usakA kartA bhI vaha koI tIsare kI sahAyatA se banegA to vahI ki vahI Apati A ke khar3I hogI aura isase kabhI mukti hogI hI nahIM / yadi kaho ki yaha kisI kI bhI sahAyatA ke vinA hI apanI svecchA se jagana ke kAryo ko karatA haijagata ke kAryoM ko nirapekSa rUpa se apanI icchA se hI utpanna karatA hai to puruSa ke karma niSphala vana jAyeMge, usakI sAdhanA vyartha ho jAyagI aura mokSa puruSArtha nahIM rahegA, athavA usakI icchA kA anusaraNa kara muktoM ko bhI vApasa saMsAra meM praveza karanA paDegA / ina zaMkAoM kA samAdhAna karate hue udyotakara kahate haiM ki Izvara kA nirapekSa kartRtva to nyAya-vaizeSika svIkRta hI nahIM karate / ataH dharmAdharma ke vaiphalya kA doSa nahIM AtA / jisakI sahAyatA se vaha jagata ke kAyoM kA kartA banatA hai usakA bhI vaha kartA bana sakatA hai, kyoM ki vaha jagata ke sabhI kAryoM ko cugapad (eka sAtha ) nahIM karatA kintu krama se karatA hai / udAharaNArtha, manuSya amuka karaNa (sAvana) se basUlA banAtA hai, usake bAda vasUle se daMDa banAnA hai usake bAda banAtA hai, ityAdi / usI prakAra Izvara jIva ke dharmAdharma kI sahAyatA meM jIva ke zarIra, sukha, duHkha ityAdi kA kartA hai| jIva ke AnananaH saMyoga aura azuddha abhisandhi kI sahAyatA se jIva ke adharma kA kartA hai: jIva ke AsamanaHsaMyoga aura zuddha abhisandhi kI sahAyatA se jIva ke dharma kA kartA hai: jIva ke sukha, duHkha aura smRtikI tathA unake sAdhanoM kI sahAyatA se jIva kI zuddha yA azuddha abhisandhi kA kartA hai| jaba vaha amuka kAryo ko karanA hai taba vaha jisakI sahAyatA se use karatA hai usakA vaha akartA rahatA hai aisA karane vAle ko udyotakara pUchatA hai ki isase kyA Apa aisA kahanA cAhate haiM ki jaba vaha jagata meM dikhanevAlA koI kArya karatA hai taba vaha jisakI sahAyatA se kArya karatA hai usakA vaha akartA rahatA hai ? udyotakara zaMkA ko spaSTa kara aba uttara detA hai ki yaha zaMkA nirmUla hai kyoMki vaha jagata ke sabhI kAryoM ko yugapada nahIM banAnA kintu krama se banAtA hai aura krama se use jagana ke sabhI kAryoM kA kartA mAna sakate haiM, ataH nirdiSTa doSa nahIM AtA / virodhI pUchate haiM ki saba se pahalearthAt prathama sarga kI Adi meM jaba pahalI bAra Izvara ne jIvoM ke lie Adi banAye hoMge taba to jIvoM ke pUrvakRta karma (= dharmAdharma) ke hone kI zakayatA nahIM, to phira usa samaya usane kisakI sahAyatA se zarIra Adi banAye hoMge? isa prazna ke uttara meM udyotakara kahate haiM ki saMsAra anAdi hai ataH prathama sarga kI yAta karanA nirarthaka hai / pralayAntarita sarge kI paramparA kA Adi nahIM " " | Izvara ko jagata banAne kA kyA prayojana hai ? jagata meM loga jo kArya karane haiM vaha kisI na kisI uddeza se hI karate haiM- amuka yastu ko prApta karane ke lie karate haiM yA amuka vastu ko dUra karane ke lie karate haiN| Izvara ko dUra karane jaisA kucha bhI nahIM hai kyoMki usameM duHkha nahIM aura duHkha ko hI dUra karanA hotA hai| use prApta karane kA kucha nahIM kyoMki vaha vazI hai, tRSNArahita hai, pUrNakAma hai /

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12 nagIna jI zAha kucha dArzanika mAnate haiM ki Izvara krIDA karane ke prayojana se jagata ko utpanna karatA hai| yaha mAnyatA bhI barAbara nahIM / krIDA to AnaMda pAne ke lie hotI hai, aura Ananda prApta karane kA prayatna to vahI karatA hai jo duHkhI hotA hai kintu Izvara meM to duHkha kA abhAva hai, ataH vaha krIDA karane ke lie to jagata utpanna nahIM karanA / kucha dArzanika kahate hai ki Izvara apanI vibhUti kA pradarzana karane ke liga vicitra aura virATa jagata utpanna karatA hai| kintu yaha mata bhI barAbara nhiiN| vaha kina lie apanI vibhUti kA pradarzana karanA cAhatA hai ? aise vibhUtipradarzana se kyA usake nitya rovarya meM vRddhi hotI hai ? nahIM, vilakula nhiiN| vaha aisA pradarzana karane kA banda kare to bhI usake nitya aizvarya meM koI nyUnatA AnevAlI nhiiN| to phira Izvara jagata kisa lie banAtA hai ? udyotakara kA uttara hai ki vaha usakA svabhAva hai isalie / pRthvI vastuoM ko dhAraNa karatI hai kyoMki vaha usakA svabhAva hai| usI taraha Izvara jagata ko utpanna karatA hai kyoMki jagata ko utpanna karanA yaha usakA svabhAva hai| yahAM udyonakarane yaha uttara nahIM diyA ki jIva apane karmoM ke phala bhoga sake isalie Izvara jagata ko utpanna karatA hai| yaha khAsa dhyAna dene yogya hai| ____ yAda jagata ke kAryo kA utpanna karane kA hI svabhAva rakhatA ho to vaha nirantara kAryoM ko utpanna karatA hI rahegA, kabhI bhI virAma ko prApta nahIM hogaa| yadi a-kAryako utpanna karane kA usakA svabhAva ho, ba-kArya ko utpanna karane kA usakA svabhAva ho, ka-kArya ko utpanna karane kA usakA svabhAva ho, to usakA vaha svabhAva hara eka kSaNa rahegA hI aura pariNAma svarUpa use a, ba, ka...n kArya eka hI kSaNa meM eka hI sAtha meM karane cAhie, arthAta vaha sabhI kAryoM ko kama se karatA hai yaha mata ghaTita nahIM hotaa| ___ uparokta zaMkA kA samAdhAna karate hue udyotakara kahate haiM ki nirdiSTa doSa Ate nahIM kyoM ke kartA buddhimAna hai aura usakA kartRtva sApekSa hai| vaha buddhimAna aura sApekSa kartA hone se sabhI kAryoM ko eka sAtha utpanna nahIM karatA / jisakI kAraNamAmagrI upasthita nahIM usako vaha utpanna nahIM krtaa| jagata ke sabhI kAryo ko utpanna karane kA svabhAva hone para bhI una sabhI kAryoM ko eka sAtha utpanna nahI karatA kyoM ki usa usa kArya ko tabhI utpanna karatA hai jaba usa kAryarUpa phala jisa jIva ko bhAganA hotA hai usa jIyakA usa phala ke anurUpa karma kA vipAkakAla ho| buddhimattA ke binA Izvara jagatakA kartA nahIM ho sktaa| isalie Izvara meM buddhiguNa to mAnanA hI caahie| usakI buddhi atIta, anAgata, aura vartamAna sabhI vipayoM ko (artho ko) pratyakSa jAnatI hai| usakI buddhi parokSajJAnarUpa nhiiN| usakI buddhi nitya hai| buddhi ke nitya hone se usameM saMskAraguNa nahIM ho sktaa| sarakAra ke na hone se usameM smRti bhI nahIM

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hotii| usameM duHkha nahIM, kyoMki duHkha kA kAraNa hai. adharma jimakA mana abhAva hai| usameM duHkha na hone se usameM pairAgya bhI saMbhAvana nhiiN| use dama na hone se usameM dvepa bhI nhiiN| hA usameM akliSTa aura marya viSayoM meM anyAhana (=phalIbhUta honevAlI) icchA hai| jaise usakI buddhi bilATa nahIM meM usakI hA bhI kliSTa nahIM / jaise usakI buddhi sabhI viSayoM ko jAnanI hai usakI TA sabhI padArtho ko banAne meM samartha hai| jisa taraha usakI buddhi pana kArya meM avyAhata hai-kisI bhI viSaya ko jAnane ke usake kArya meM koI vAraka nahI hai| sakatA, ThIka usI taraha usakI icchA apane kArya meM avyAhata hai-arthAnA ke anurUpa phala (kArya) turata hI utpanna hote haiM / Izvara baddha hai yA mukta ? vaha baddha nahIM kyoM ki usameM madaiva duHya kA abhaya hone se vaha abaddha hI hai| vaha mukta bhI nahIM kyoMki jo baddha hotA hai. usameM hI muktatA saMbhava hai| Izvara ko kabhI bandhana thA hI nahIM. imarmAlA yaha mukta bhI nahIM / koI zaMkA karatA hai ki Izvara kA jIvAtmAoM ke mAtha kAI sambandha ghaTina nahIM ho sakatA, ataH Izvara ko unakA preraka yA adhiSThAnA mAnA nahIM jA sakatA / arthana jIvAtmAoM meM samavAyasambandha se rahanevAle dharmAdharma kA Izvara ke sAtha na to sAkSAt sambandha hai aura na paramparA se aura jisake sAtha Izvara kA koI sambandha nahIM aise dharmAdharma ko Izvara kisa prakAra prerita kara sakate haiM, aura aprerita ke acetana hone se apane yogya kArya karane meM pravRtta kisa prakAra ho sakate haiM! upara kI zaMkA kA samAdhAna karate hue udyotakara kahate haiM ki Izvara aura jIvAtmA kA sambandha hai| kaunasA sambandha hai ? saMyogasambandha / "vaizeSika matAnusAra saMyoga guNa hai aura vaha karmajanya hone se anitya hotA hai| do vibhu dravyoM ke bIca saMyogasambandha ghaTita nahIM ho sktaa| Izvara aura jIvAtmA binu haiM, ataH unake bIca saMyogasambandha nahIM ho sakatA "mI zaMkA ke usara meM udyotakara kahate haiM ki hama (=naiyAyika) to aja (nitya) saMyoga kA svIkAra karane haiN| Izvara aura jIvAtmA ke bIca saMyogasambandha hai2 | jo loga (cazeSika) ajJa saMyoga nahIM mAnate ve mana ke mAdhyama se Izvara aura jIvAtmA ke bIca sambAdha sthApita karate haiN| mana kA Izvara ke sAtha saMyogasambandha hai aura Izvara ke mAtha saMyukta mana kA jIvAtmA ke sAtha sambandha hai| isI prakAra ve AtmA aura jIvAtmA ke sAtha sambandha ghaTAte haiN| Izvara aura jIvAtmA ke bIca kA aja saMyogasambandha vyApaka hai yA avyApaka arthAta vaha sambandha usake pratyeka sambandhI ko vyApta karake rahatA hai athavA pratyeka sambandhI ke amuka bhAga meM hI rahatA hai ? yaha prazna avyAkaraNIya hai. arthAta AtmA aura Izvara ke bIca aja saMyogasambandha hai itanA hI kahA jA sakatA hai, imase adhika kucha bhI kahA nahIM jA sktaa|

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nagIna jI. zAha 14 Izvara meM kriyA hai yA nahIM ? Izvara meM prareNA rUpa kriyA hai, ceSTA rUpa kriyA nhiiN| vaha anya kAraNoM ko kAryotpatti meM prerita karatA hai| vaha kisI se prerita nahIM hotaa| yaha svataMtra hai| arthAt usameM parispaMdanarUpa yA ceSTArUpa kriyA nhiiN| use zarIra hI nahIM, anaH usameM parispandanarUpa yA cepTArUpa kriyA asaMbhavita hI hai / jayaMta bhaTTa aura Izvara udyotakara na Izvara ke jagatakartRtva kI sthApanA kI hai aura usa saMdarbha meM uThanevAle aneka mahattva ke praznoM kI carcA bhI kI hai| aba hama jayanta bhaTTa kI Izvara vipayaka mAnyatA kA vicAra kreNge| sarva prathama ve Izvara kA astitva isa prakAra siddha karate haiN| pRthvI Adi kArya hai kyoMki ve anitya haiM aura sannivezavAle haiM (-racanAvAle haiM, sAvayava haiN)| ve kArya hone se unakA bhI koI na koI kartA honA cAhie / kAryakA kartA hotA hI hai| kartA ke binA kArya utpanna hotA hI nhiiN| udAharaNArtha, ghaTa kArya hai aura usakA katoM kumhAra hai| kartA ke binA ghaTa nahIM ho sktaa| isa prakAra pRthvI Adi kAryo kA kartA siddha hotA hai aura vahI Izvara hai / isake sAmane koI tarka karatA hai ki kaI kAryA kA kartA dikhAI nahIM detaa| vejonI bhUmi meM paudhe uga Ate haiN| unakA koI kartA najara nahIM aataa| ___isa tarka kA khaNDana karate hue jayanta kahate haiM ki jo vastu dikhane yogya hone para bhI yAda dikhAI nahIM detI ho to vaha nahIM hai| aisA nizcaya kiyA jA sakatA hai kintu Izvara ke azarIrI hone se vaha dikhane yogya hI nhiiN| ataH dikhAI nahIM paDatA isalie usakA astitva nahIM aisA nizcaya kiyA nahIM jA sktaa| ___ yahAM punaH koI Apatti uThAtA hai ki dRSTa pRthvI, pAnI Adi se hI akRSTajAta paudhe kI utpatti mAnanI caahie| adRpTa Izvara ko usakA kartA mAnanA anucita hai| isakA uttara dete hue jayanta kahate haiM ki yaha Apatti ayogya hai| sabhI paralokavATI ana karmoM kI kalpanA kyoM karate haiM? karma kI kalpanA isilie kI jAtI hai ki jisase jagata ke vaicitrya kA spaSTIkaraNa ho ske| isI taraha se acetana kAraka cetana se prarita na ho to kAryo kI utpatti kA spaSTIkaraNa nahIM ho sktaa| ataH jahAM kartA dRSTigocara nahIM hotA hai vahAM bhI kartA kI kalpanA kI gaI hai / koI zaMkA karatA hai ki kArya se to sAmAnyataH kartA kA anumAna hotA hai kintu vizeSa prakAra ke kartA-AtmavizeSa Izvara kA anumAna nahIM ho sakatA / isa zaMkA kA samAdhAna karate hue jayanta kahate haiM ki Agama se vizeSa prakAra ke kartA kA jJAna hotA hai| yadi kaho ki Agana se usakA jJAna mAnane se itaretarAlaya doSa AyegA kyoMki Izvara Agama se siddha hogA aura AgamaprAmANya IzvarakartRtva

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Izvara 15 se siddha hogA, to aisA kathana bhI yogya nahIM kyoMki Izvara anya pramANoM se bhI siddha hotA hai 55 / tathA kArya kI vizeSatA se hI kartA kI vizeSatA kA anumAna ho sakatA hai| ghUma kI vizeSatA ko pratyakSa kara ke usa para se anumAna kiyA jA sakatA hai ki usakA kAraNa candana kI agni hai, ghAsa-patroM kI Ama nhiiN| isa taraha aparimita ananta prANiyoM ke vicitra sukhadukha ke mAdhanampa bhuvana Adi ananta kArya atizaya rahita puruSa nahIM kara sakatA / ataH inakA atizayavAn viziSTa kartA hI honA cAhie aisA hama anumAna se jAna sakate hai / 37 tInoM loka ke niravadhi prANiyoM ke sukha-duHkha ke sAdhanoM ko kisa taraha utpanna karanA, unameM pratyeka sAdhana kA prayojana kyA hai, una saba sAdhanoM kA kisa prakAra nAza karanA --- ina sabako jAnanevAlA hI una saba kAryoM ko kara sakatA hai| isase siddha hotA hai ki Izvara sarvajJa hai " / jisa prakAra niyana viSaya ko grahaNa karanevAlI indriyoM kI apekSA indriyoM kA preraka jIva sarvajJa hai usI taraha jIvoM ke karmo ko anurUpa phala ke sAtha joDanevAlA zaktimAna Izvara paisA karane meM azakta jIvoM kI apekSA sarvajJa hai " / asarvajJatA kA kAraNa rAga Adi doSa hai| ve doSa Izvara meM nhiiN| isIlie vaha sarvajJa hai 10 | 9 yaha to iSTa Izvara kA jJAna nitya hai| sRSTi kI sthiti kI avasthA meM yadi vaha jJAnarahita ho jAya to karmAdhIna vividha prakAra kA vyavahAra hI jAyagA kyoki karma Izvara kI preraNA se hI kArya meM pravRtta hote haiN| nahIM / ataH sRSTi kI sthiti kI avasthA meM to usakA vinAza nahIM, yaha nitya hai / pralaya ke samaya usake nAza kA koI kAraNa na hone se usakA nAza nahIM hotA / sargakAla meM usakI utpatti kA koI kAraNa na hone se usakA utpAda nahIM hotA / isa prakAra vaha nitya hai 141 eka kSaNa bhI duniyA meM ska usakA jJAna eka hI hai| usake jJAna meM koI antara bheda nahIM AtA kyoMki usakA jJAna atIla, anAgata, sUkSma, vyavahita sabhI vastuoM ko jAnatA hai| vaha sabhI jJeyoM ko vipayoM ko yugapad jAnatA hai ataH usake jJAna meM bheda nahIM paDanA / yadi kaho ki vaha sabhI viSayoM ko krama se jAnatA hai ataH usake jJAna meM bheda saMbhava hai. to yaha kathana ThIka nahIM kyoMki ananta viSayoM ko krama se jAnA hI nahIM jA sakatA, ataH yadi krama ke mana ko mAna liyA jAyagA to usameM ajJAtRtva AyegA aura pariNAmasvarUpa karmaphaladAnarUpa vyavahAra kA lopa ho jAyegA * * / Izvara kA jJAna pratyakSa jaisA hone se pratyakSa kahalAtA hai| vaha pratyakSa kI taraha indrasannikarSa se utpanna nahIM hotA / artha Izvara jJAna ko utpanna nahIM krte| jitane AtmaguNa Izvara meM haiM ve saba nitya haiM kyoMki ve guNa mattaHsaMyoga se utpAna nahIM; unheM' manaHsaMyoga kI apekSA nahIM / duHkha aura dvepa use hai hI nahIM / saMskAra ( bhAvanA) kA bhI use koI prayojana nahIM, kyoMki vaha sarvadA sarvArthadazI

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1.6 nagIna jI. gAha hone se use smRti bhI nhiiN| use AnusAnika yA parokSajJAna hai hI nhiiN| vaha bhUtAnugrahavAlA hone se usameM dharma svAbhAvika hI hai-janya nhiiN| usa dharma kA phala parArtha jagannirmANa hai| usameM nitya sukhkha hai, kyoMki Agama meM usakA vaisA varNana hai| jo mukhI nahIM hotA vaha aise kArya karane kI yogyatA nahIM rakha sktaa| Izvara kI IcchA bhI nitya hai| yahAM koI zaMkA karatA hai ki icchA ko nitya mAnane se sarvadA jagata kI utpatti hotI hI rahegI aura usakA kabhI bhI aMta nahIM aayegaa| sargecchA nitya hone se saMhAra hogA hI nahIM, athavA saMhArecchA nitya hone se pralaya kI dhArA bhI ruka nahIM sktii| yaha zaMkA ThIka nhiiN| Izvara kI icchA nitya hai. isakA artha yaha hai ki vaha svarUpa se nitya hai, vaha AtmamanaHsaMyoga se utpAya nahIM; kintu usa icchA kA viSaya kabhI sarga hotA hai aura kabhI saMhAra hotA hai| marga-saMhAra ke bIca arthAta jagata kI sthiti kI avasthA meM isa varsa kA yaha phala ise mile aisI icchA Izvara ko hotI hai| umakA prayatna graha vizeSa prakAra kA saMkalpa hI hai| isa prakAra nau AtmaguNoM meM se Izvara meM ye pAMca guNa hai --- jJAna, sukha, icchA, prayatna aura dharma / usameM duHkha, dveSa, adharma aura saMskAra ke cAra Atmavizapa guga nahIM / ataH vaha eka viziSTa prakAra kA AtmA hI hai, AtmA se bhinna dravya nhiiN'| Izvara ke vipaya meM eka prazna uThAyA jAtA hai-kriyAvAna hI kartA hotA hai| Izvara to azarIrI hai. ataH usa meM kriyA saMbhava nhiiN| ataH azarIrI kartA nahIM ho sktaa| azarIrI kartA ho aisA eka bhI udAharaNa duniyA meM dekhane yA jAnane meM nahIM aayaa| isa prazna ke uttara meM jayanta kahate haiM ki Izvara ke vipaya meM kartRtva kA artha hai jJAna, cikIrpA aura prayatna (voliticnal effort) kA yoga (=sNbNdh)| vaha Izvara meM haiM hii| azarIrarUpa jIvAtmA apane zarIra ko preraNA karatA hI hai| ata: preraNA karane rUpa kartRtva ke lie zarIrarUpa honA Avazyaka nhiiN| icchAmAtrarUpa usakA vyApAra hone se anantakAryo ko vaha kara sakatA hai aura use kisI bhI prakAra kA kleza honA hI nahIM / icchAmAtra se hI vaha paramANuoM ko svakAryotpatti meM prerita karatA hai aisA nahIM mAna sakate kyoMki jaDa paramANu usakI icchA nahIM jAna sakate aura icchA ko jAne binA pravRtti kaise kara sako hai? isa prazna ke uttara meM ve kahate haiM ki jIva kA acetana zarIra jIva kI icchAnusAra bartAva karatA hai to phira acetana paramANuoM ko Izvara kI icchAnusAra calane meM kyA bAdhA A sakanI hai ? Izvara sRSTi kyoM karatA hai ? aisA usakA svabhAva hI hai| kabhI vaha vizva kA sarjana karatA hai aura kabhI usakA saMhAra karanA hai| kintu amuka niyata kAla meM hI

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muSTi karane kA aura amuka niyata kAla meM hI saMhAra karane kA unakA ra hai ? uttara ne jayanta kahate haiM ki sUrya ko hI dekha lIjiga: unakA ni udaya hone kA aura niyatakAla meM asta hone kA kyA myabhAra nahIM ? bamA meM prazna karanA ayogya hai| athavA I. vara krIDA ke lie jagana kevala duHkhI hI krIDA karate haiM aisA nahIM kintu jo dAvI nahIM hai ve karate haiN| 1 / athavA anukampA se Izvara sarga-saMhAra karatA hai| vahAM ko sakatA hai ki pralaya meM jIva duHkhI na hone se anukampA ke pAtra nahIM. 5 prati anukampA se Izvara sRSTi karatA hai aimA mAnanA yogya nhiiN| kA samAdhAna karate hue jayanna kahate haiM ki pralaya meM bhI jIva dharmAdharma se anuviddha hotA hai| dharmAdharma kI jaMjIra meM jakaDA hAna meM jIva : praveza nahIM kara sakatA / kyA ye jIva anukaMpA ke pAtra nahIM ? hai hii| jara kA phala nahIM bhoga liyA jAtA taba taka karma kA kSaya azakya hai| marga ke ke phaloM kA bhoga azakya hai| isIlie dharma ke zubha phaloM ke bhoga ke| Izvara svarga Adi kA nirmANa karatA hai aura adharma ke agubha phaloM ko lie Izvara naraka Adi ko banAtA hai| karmoM ko bhoga kara parizra nna hA ArAma ke lie bhuvanoM kA saMhAra bhI Izvara karatA hai| isa prakAra vaha matra kRpA kA pariNAma hai| Izvara jagata ke sabhI kAryoM kA saMhAra eka sAtha karatA hai yaha bAta utaratI kyoMki avinAzI ( naSTa nahIM hue.) karmA ke phaloM ke upabhoga pratibandha upasthita nahIM hotaa| isa zaMkA ke uttara meM jayanta kahate haiM / karmoM kI vipAkazakti IzvarecchA se kuNThita ho jAtI hai| usakI icchA karma hI phala dete haiN| usakI icchA se kuNThita hue karma phala denA banda ka esA kyoM ? isakA kAraNa yaha hai ki karma acenana hai, ataH cetana se preri karma svakArya meM pravRtta hote haiM / ___ yadi sarga-pralaya aura sRSTi-kI-sthitidazA meM kArya bhI IzvarecchA ho to IzvarecchA ko hI mAno, karmI (dharmAdharma) ko kyoM mAnane ho ? ke uttara meM jayanta kahate haiM ki karma ke binA jagata ke vaicacya kI TA hotii| ataH karma ko mAnanA hI paDegA / vizeSa meM ve kahate haiM ki agara IzvarecchA ko hI sarga Adi kA kAraNa mAnA jAyagA to usameM tIna doSa (1) Izvara meM nirdayatA kA dopa AtA hai athaoNna binA kAraga dAmaNa ma karanevAlA Izvara nirdaya hI nAnA jaaygaa| (2.) veda ke vidhi-niSedha / jaayeNge| arthAt Izvara kI icchA se hI- karma ke binA - zubhAzubha phalA ho sakate haiM to veda ke vidhi-niSedha vyartha ho jaayeNge| aura (3) mu IccaracchA se punaH saMsAra meM praveza karanA par3egA, arthAt animokSadopa isIlie hI nyAya-vaizepika karmasApekSa IzvarecchA ko sarga Adi mAnate haiN|

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18 nagIna jI sAha veda kA kartA Izvara hai.77 / nitya jJAna Adi kA dhAraka nityamukta, jagatkartA eka Izvara veda kA kartA hai sA spaSTa ullekha sarva prathama jahAM taka maiM samajhatA hU~ jayanta kI nyAyamaMjarI meM miTatA hai| kaNAda na to itanA hI kahA hai ki vedavAkyoM kI racanA buddhipUrvaka hai| gaunasa Apta vacanoM ko zabdapramANa mAnatA hai-Agama sAnatA hai aura usakA prAmANya bhI Ayurveda Adi zAstro ke prAmANya kI taraha hI nirNita hotA hai gayA vaha kahatA hai| prazastapAda ne mahezvara kA bedakartA ke rUpa meM varNana nahIM kiyA hai| vAtsyAyana spaSTa rUpa se sAkSAtkRtadharmA RpiyoM ko hI veda kA draSTA aura pravaktA mAnatA hai55 / draSTA aura pravaktA ina do zabdoM kA prayoga bahuvacana meM huA hai, yaha dhyAna dene yogya hai| vAtsyAyana ke mata meM koI eka nitya Izvara veda kA kartA nahIM kyoMki unhoMne vaise Izvara ko mAnA hI nahIM hai / udyotakara ne eka nitya jagatkartA Izvara kI kalpanA ko to svIkRta kiyA hai kintu Izvara kA vedakartA ke rUpa meM spaSTa ullekha nahIM kiyaa| aura yaha bhI sAkSAtkRtadharmA RpiyoM ko hI veda ke kartA mAnatA ho aisA lAtA hai| isa prakAra vedoM ko paurupeya-puruSakRta-mAnane kA siddhAnna nyAyavaizeSikoM meM pahale se hI arthAt kaNAda ke samaya se hI pracalita hone para bhI vaha purupa, jayanta ke samaya taka, eka nitya jagatkartA Izvara nahIM kintu sAkSAtkRtadharmA aneka purupa hai, arthAt Rpimuni haiN| sarva prathama jayanta hI eka nitya jagatkartA Izvara ko hI veda kA kartA mAnatA hai| jayanta ne Izvara meM Ananda ko spaSTa rUpa se sarva prathama svIkAra kiyA hai| aura usake mana meM yaha Ananda kevala duHkhAbhAvarUpa nahIM kintu vidhyAtmaka (positive) hai aisA unake kathana se phalita hotA hai| (7) zrIdhara aura Izvara Izvara meM karuNA hai isalie vaha jIvoM ke lie sRSTi utpanna karatA hai| yadi Izvara meM jIvoM ke prati karuNA hai to vaha kevala sukhamayI sRSTi ko kyoM nahIM banAtA? isake uttara meM zrIdhara kahatA hai ki vaha jIvoM ke dharmAdharma kI sahAyatA se sRSTi utpanna karatA hai, ataH vaha kevala sukhamayI sRSTi kaise banA sakatA hai ? isase unakI karuNA meM koI bAdhA nahIM AtI, kyoMki smRSTigata duHkha jIvoM meM vairAgya utpanna kara unake mokSa kA kAraNa banatA hai / yadi sRSTi kI utpatti karane meM Izvara ko jIvoM ke dharmAdharma kA anusaraNa karanA par3atA ho to usakA Izvaratva kahAM rahA? usakA svAtantrya kahAM rahA ! isake uttara meM zrIdhara kahatA hai ki Izvara jIvoM ko unake karmAnusAra phala detA hai isase usake Izvaratva meM yA svAdhInatA meM koI bAdhA nahIM AtI, balki usakA Izvaratva hI siddha hotA hai| seTha usake sevakAM kI yogyatA ko lana meM rakhakara usake anurUpa unheM phala detA hai to imase usakA zreSThatva naSTa nahIM hotaa| Izvara pratyeka jIva ke samakSa usake karma ke anurUpa bhogasAmagrI upasthita karatA hai| usake karma ke vipAkakAla meM usa karma kA yogya phala utpanna karake jIva ke sAmane use upasthita karatA hai| ...

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Izvara ke vipaya meM koI isa prakAra kI bAdhA upagthina karatA hai jagana meM bada. paTa Adi kAryoM kA kartA jo hameM dimyAI danA hai, vA Ahe. ana jaga kartA ko bhI zarIrI mAnanA cAhie / ghaTa kArya kA kartA kumhAra hI pahale pahala nA usa kArya ko utpanna karane ke lie kina kAraNoM kI AcaTayAnA hai yaha jAnanA hai, phira kAraNoM kI sahAyatA se kArya ko utpanna karanA cAhatA hai. para anana prayatna (= utsAha, Lolitional effort) kAnA hai. usake bAragara se anarapa vyApAra karatA hai, usake bAda anya kAraNoM ko kAryApAna meM pradhuna karatA hai. phira kArya utpanna karatA hai nA hI loka meM dekhA jAtA hai| anavAnI yAda jagata kA kartA hai taba vaha zI hI honA caahie| yadi kahI kArya ke atizayoM ke kAraNa Izvara zarIra ke binA hI jagata kapanna karatA hai to vaha kathana bhI ThIka nahIM, kyoMki isI tarka ko bar3hA kara pRchA jA matratA hai ki buddhi ke binA hI (arthAta kevala icchA se hI) apane aniThAya se vaha jagana ko kyoM nahIM banAnA' yadi kaho ki jagata meM ghaTa. paTa Adi kArya kA kartA buddhimAna I ana. jagana kya kartA bhI buddhimAna honA cAhie to irmA narka ke AdhAra se yaha bhI bocara karanA cAhie ki jagata kA kartA zarArI hai kyoMki ghaTa, paTa Adi kA varmA irga hai| zrIdhara isakA vistRta uttara detA hai| vaha yaha hai-kartRtva kise kahane ho / sthA 'zarIra ke sAtha sambandha honA' ise kartRtva kahane ho ! yA 'jina kAraNoM meM parya utpanna karane kA sAmarthya pratIta huA ho una kAraNoM ko kAryAnpati meM prerana karanA ise kartRtva kahate ho ? yadi zarIra ke sAtha sambandha honA' ise kada kahane ho nA supupta vyakti meM aura kArya karane meM udAsIna vyakti meM bhI kartatva mAnanA pNddgaa| ataH 'yogya kAraNoM ko kAryAnpatti meM prarita karanA' hI daH-hai gaMmA mAnanA cAhie kintu 'zarIra ke sAtha sambandha honA' vaha kartRtva nhiiN| isa prakAra kA kartavya zarIrasambandha ke binA bhI zakya hai| udAharaNArtha, jIvAtmA ko apane zarIra ko prAgna karane ke lie kisI anya zarIra ke sAtha sambandha jarUrI nahIM-jIva svataH hI apane zarIra ko prerita karatA hai| yadi kaho ki jIca kA pUrvakarmArjita zarIra ke sAtha jI saMbaMdha hai vahI usako usa zarIra kI preraNA karane meM sahAyaka kAraNa hai to yaha TIka nahIM. kyoMki usakA apane zarIra ke sAtha sambandha hone para bhI yaha apane zarIra meM apane zarIra ko prerita karatA hai aisA nahIM mAnA A sktaa| cAhe jitanA bhI muzAya naTa kyoM na ho vaha apane kandhe para car3ha nahIM sakatA aura cAI jimanI bhInIyA chUrI kyoM na ho vaha apane Apako kATa nahIM sakatI, usI taraha catana kI sahAyatA se bhI zarIra svayaM ko prerita nahIM kara sktaa| yadi kaho ki jisa prakAra jIva ke dvArA kI gaI preraNA kA Azya zarIra hai arthAt jIva zarIra ko preraNA kAnA hai, usI prakAra Izvara dvArA kI gaI preraNA kA Azraya bhI usakA zarIra hI kyoM nahIM ho ? usakA uttara yaha hai ki Izvara ke dvArA kI gaI preraNA kA Apraya paramANu hai| Izvara kI preraNA se paramANu svakArya meM pravRta hAna hai| yahAM virodha punaH zaMkA uThAte haiM ki jIva svazarIra ko icchA aura prayatna se prerita karatA hai aura

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20 nagIna jI. zAha icchA-prayanna kA kAraNa zarIra hai, ataH icchA-prayatna ke janana dvArA zarIra svayaM hI apane Apako prarita kara sakatA hai sA nAnanA cAhi"; isa prakAra jaise svazarIra ko prArata karane ke lie jIva kA svazarIra ke sAtha sambandha jarUrI hai vaise hI paramANuAM ko prerita karane ke lie Izvara kA bhI zarIra ke sAtha sambandha jarUrI hai| isa zaMkA kA samAdhAna yaha hai ki jIva ke viSaya meM isakI ichA aura prayatna kA kAraNa zarIra hai kintu utpanna huI icchA aura prayala jaba zarIra ko prerita karate haiM taba preraNA kA kAraNa zarIra nahIM-usa samaya to zarIra preraNA kA karma hai arthAt preraNArUpa kriyA ThArIra para hI honI hai| isa prakAra kArakoM ko kAryAtpatti meM prerita karane rUpa katava meM zarIra kI apekSA hai hI ainA niyama asatya hai, kAraNa ki zarIravyApAra ke vinA kavala inchA (will) aura prayatna (volitional effort) se hI cetana (yogI) jaDa vastuoM ko prerita karatA huA dikhAI detA hai| yadi koI kahe ki icchA aura prayatna kI utpatti ke lie to zarIra kI apekSA hai hI-to usakA uttara itanA hI hai ki utpatizIla (=anitya) icchA aura prayatna ke lie zarIra kI apekSA bhale hI ho kintu jahAM icchA aura prayatna nitya aura svAsAvika ho vahAM una denA ko zarIra kI apekSA hai sA mAnanA anucita hai, vyartha hai| Izvara meM buddhi, icchA aura prayatna nitya haiM, jIva meM ve anitya haiN| donoM hI AtmAeM haiM to eka meM nitya aura dUsare meM ve anitya aisA kyoM ? Azraya ke bheda se eka hI guNa nitya aura anitya jagata meM dekhane meM AtA hai| udAharaNArtha, jalIya aura tejasa paramANuoM meM rUpa nitya (=apAkaja) hai jaba ki pArthiva paramANuoM meM rUpa anitya (=pAkaja) hai| jIva paramANuoM ko kAryAtpatti meM prerita nahIM kara sakate kAraNa ki jIva svakarmApAjita indriyoM ke dvArA hI vipayAM ko jAnane vAle hone se unako zarIrotpatti ke pUrva vipayoM kA jJAna honA hI nahIM to phira sarva vipayoM kA jJAna kaise ho sakatA hai ? aura sarva viSayoM ke jJAna ke binA sRSTi jaise kArya ko utpanna karanA azakya hai| ataH asarvajJa jIvoM se bhinna sarvajJa Izvara kI kalpanA kI gaI hai| aisA Izvara hI sRSTi kA karnA hai aura jaDa' paramANu tathA karmoM kA adhiSThAtA hai / Izvara eka hai yA aneka ? isake uttara meM zrIdhara kahatA hai ki vaha eka hai, kyAMki yadi Izvara aneka hAM aura asarvajJa hoM to jIvoM kI taraha ve sRSTi kArya karane meM asamartha hI hoNge| yadi Izvara ko aneka mAna kara sabhI ko sarvajJa mAnane meM AvegA to eka se adhika Izvara mAnane kA koI prayojana bhI nahIM rahatA kyAki eka sarvajJa Izvara se hI sRSTi kArya ho jAtA hai| tathA sabhI Izvara sarvajJa hoMge to bhI ve samakakSa hone se unake vIca sadA rokamatya to rahegA hI nhiiN| ataH aneka sarvajJa Izvara mAnane kI apekSA eka sarvajJa Izvara hI mAnanA caahie| yadi aneka sarvajJa Izvara mAnakara bhI unameM eka ke hI abhiprAya kA zepa sabhI sarvajJa Izvara svIkAra karake tadanusAra calate haiM aisA sAnane meM Ave to bhI vaha hI vAstavika Izvara kahalAne ke lAyaka hai anya sarvajJa nhiiN| yadi kahAM ki sarvajJa

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Izvara meM vyaktigata matabheda hone para bhI unakI pharapaTa dvArA mAMTa krte| lie kiye gaye nirNaya kA anusaraNa kara sabha Izvara kamare kA viMga vinA tRpTikArya karate hai to usakA artha yA hogA ki ina nm| isase yaha siddha hotA hai ki Izvara eka hI hai| Izvara sarvatra hai ataH koI bhI viSaya kA koI bhI vizeSa smaanaa| isI vajaha se hai| aise ajJAna ko lekara utpanna honevA-yama-yAlAnana mameM nA hai| isalie mithyAjJAnamUlaka rAga-dveSa bhI umameM nhiiN| rAga mA na hone se pravRtti bhI usameM nahIM / pravRtti na hone se nAdhama bhI isameM nAmAka prathA hI dharmAdharma kA kAraNa hai| dharmAdharma usameM na hone se samba-dunyamA mn| sabhI viSayoM kA anumaya usameM manA rahane ke kAraNa umameM muni bhIDA sambara bhI nhiiN| ataH kucha nyAya-vaizapika ghara meM maMnyA, pAramA pRthakadha, mayoga, vibhAga, jJAna, icchA aura prayatna ye ATha guNa mAnate haiN| aura anya mI bAda meM hI avyAhata kriyAzakti kA samAveza kara ke icchA aura prayAna kA maMda meM hI antarbhAva karate haiN| isa prakAra ve inchA aura prayAna ko yuddha meM alaga nahI mAnA ataH unake mata meM Izvara meM chaha hI guNa hai| Izvara ra baddha hai aura na mun| use nitya mukta kaha sakate haiN|" (8) udayanAcArya aura Izvara nyAya-vaizepika paraMparA meM Izvara viSayaka nirUpaNa kI parAkASThA udayanAcArya kula 'nyAyakusumAMjali' aura 'Atmatattvaviveka'maSTigocara honI hai| mIlie dayanAcArya svayaM hI Izvara ko uddeza kara kahate hai ki terA astitva mere adhIna hai (R tara sthitiH)| udayanAcArya Izvara ke astitva ko siddha karane ke nyiA nimna taka apAMcana karate haiM : (1) kAryAt 17-jagata meM pRthvI Adi haiN| ve vinAzI, sAvayava aura ayAnnara parimANavAle (arthAta aNuparimANa aura paramamahAparimANa ke dIva ke parimANavAle haiN| ataH ye sabhI kArya haiN| unakA kartA najara nahIM aataa| kintu kArya kurmA ke binA asaMbhava hai| ataH unakA koI na koI kartA to honA hI caahie| paTa kA kartA kumhAra hai| usI prakAra puvI Adi kA bhI koI phartA hehii| vaha kabhI Izvara hI hai| (2) AyojanA 7 - pralaya meM paramANuoM meM karma (=gati, Motion) hanA hai kintu una karmoM se paramANuoM kA kAryArambhaka maMyoga nahIM honA. pariNAmambara 5 mA oM meM se dvayaNukAdi krama se kArya nahIM hon| anaH pralaya meM paramANu meM jo karna hotA hai use anAraMbhaka (berelt of causal efficiency) rma kahA gayA hai| paramANa AM meM se kArya banane ke lie paramANuoM kA kAryArambhaka saMyoga honA cAhie, aura paramANuoM kA aisA saMyoga hone ke lie paramANuoM meM' AraMbha karma utpanna hone vA

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nagIna jI. zAha paramANAM ke Arambhaka saMyoga kA kAraNa AraMbhaka karma hai / isa AraMbhaka karma ko paramANu meM utpanna kara ke usake dvArA paramANuoM kA saMyojana karanevAlA koI na koI honA cAhie aura vahI Izvara hai| Izvara ko bhAne vinA anAraMbhaka karma ke sthAna para AraMbhaka karma hone kI koI upapatti nahIM miltii| ataH paramANuoM meM AraMbhaka karma utpanna karanegA aura paramANuoM ke Arambhaka saMyogoM kA prayojaka-Ayojaka-kisI na kisI ko mAnanA hI caahie| aura vahIM Izvara hai|| (3) nyAda 07--(a) gurutvavAlI vastu nIcI giratI hai| gurutvavAlI vantuAM ke patanako gakanA cetana ke prayatna se hotA hai| hamArA prayatna hamAre zarIra ko nIce girane se rokatA hai| uDane hue pakSI kA prayatna usake zarIra ko nIce girane se rokane kA hai| uDate pakSI kI cAMca se pakaDI huI jaDa vastu usa pakSI ke prayatna se nIce nahIM giratI kyoMki prayatnavAle pakSIne use dhAraNa kI hai| gurutvavAlI jaDa vastu ko kisI prayatnavAla vetana vyakti ne dhAraNa kI ho to vaha nIce nahIM giratI / graha, upagraha. Adi acetana hone para bhI ve nIce nahIM girate-apanI kakSA se cyuta nahIM hote, ataH mAnanA par3egA ki kisI prayatnavAle cetana vyakti ne use dhAraNa kara salA hogaa| yaha vyakti hI Izvara hai| isa prakAra Izvara samagra brahmANDa kA dhAraka hai / (ba) vRtyAda : zabda meM 'Adi' pada hai / usa 'Adi' pada se nAza abhiprena hai| narka isa prakAra hai-jisa prakAra kArya kI utpatti ke lie nimittakAraNa ( =utpAdakarnA) Avazyaka hai usI prakAra kArya ke nAza ke lie bhI nimittakAraNa (nAzakartA) Avazyaka hai| nyAya-vaizapika mata ke anusAra vastu svabhAva se hI naSTa nahIM hotii| vastu kA vinAza niheM tuka nhiiN| yadi vastu kA nAza nirhetuka mAnA jAyagA to vastu kSaNika vana jAyagI aura sthAyI dravya jaisI koI vastu hI nahIM rhegii| isalie nyAya-vaizeSika vastu ke nAza ko sahetuka mAnate haiN| ghaDe ko lakaDI se jhaTakA mArane meM AtA hai taba hI ghaDA AghAta se phUTatA hai| yahAM jhaTakA mArane cAlA-AghAta karanevAlA ghaTanAzakA ko hai / usI taraha jagata ke jina kAryoM kA nAzakartA mAlUma nahIM hotA usakA bhI nAzakartA honA hI cAhie; vaha hai Izvara / tathA samagra vizva ke nAzakartA ke rUpa meM Izvara ko mAnanA caahie| Izvara kI icchA se sargAnta meM vizva ko jabaradasta AghAta lagatA hai aura sabhI kArya paramANuoM meM vighaTita ho jAte haiN| yahAM AghAta paramANuoM meM anAraMbhaka gati aura vega paidA karate haiN| AghAta se utpanna huA vega anAraMbhaka karma ko pralayAnta taka cAlU rakhatA hai| ataH vizva ke nAzakartA ke rUpameM cetana vyakti ko mAne binA chUTakArA nhiiN| vaha cetana vyakti hI Izvara hai| (4) paDhAn-(a) amuka artha (=vastu) ke lie amuka pada kA prayoga hotA hai| 'amuka zabda kA amuka artha hai' aisA zabda-artha kA saMketa hai| isa saMketa kA jJAna hameM gurujana dete hai, kintu 'amuka vastu amuka zabdavAcya hai' aisA saketa saba se

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pahale kisane kiyA ? sa maMkata kA jA pravartaka hai vahI IzAra hai| pralayakAla meM vizva ke nAza ke sAtha mamI saMketoM kA nAza ho jAnA hai aura muSTi kI upAna ke sAtha Izvara naye saMketoM ko utpanna karatA hai-ramaka lie yaha parva manapara AdhAra nahIM rkhtaa| (4) (va) STi kI utpani ke sAtha vaha na gamana banAnA hI nahI kintu kalAoM ko bhI vahIM prAraMbha karatA hai| pAtra banAne kI ko, vAma na / kalA, lipikalA, lagyanakalA, ityAdi kanyAoM ko muSTi ke Arambha meM ma na jIvoM ko sikhAnA hai| guru-ziSya paramparA DAga kA hamAra mamaya naka kI AnI haiM. yaha paramparA kahIM na kahIM se prAraMbha huI hogii| arthAta Rlya kA aga pravartaka-AviSkAraka-Adi guru-koI honA hI caahie| vahI Izvara hai / yahAM koI zaMkA karatA hai ki Izvara ani hAla meM kisa prakAra kI kA kauzala jIvoM ko batAkara kAoM ko milA sakatA hai| isakA prabhA do ." udayanAcArya spaSTa zabdoM meM kahate hai ki Izvara bhI kAryavAna panaca meM ra dhAraNa karatA hai aura vibhUti batAnA hai| udayana kA yaha uttara sanakara koI Apatti mAnA hai ki nyAya ki hama ko bhAMgAyatana mAnatA hai| yadi I-vara meM dharma nahA hai. no bhogAyana meM ho sakatA hai| Izvara meM dharma mAnanA no iSTa nahIM hai| TIkAkAra vardhamAna isa asaMgani ko dUra karane kA pragAna karatA hai| vaha kahanA hai ki Izvara kA dharma usake zarIra kA kAraNa nahIM kintu jIvoM kA dharma usake zarIra kA kAraNa hai / (5) pratyayata:07-veda meM viSayavastu kA yathArtha nimpaNa hai| beda meM kahA huA saba satya hai| veda pramANa hai| veda kA prAmANya nipi vyakti ko cita karatA hai| rAgAdi dopavAle vyakti ke vacana apramAgabhUna hote hai-ayathArtha hote haiM jabaki gaga Adi doparahita vyakti ke vacana yathArtha hI hone haiN| rAgAdi doparahina purUpa hI vastu ko yathArtha jAna sakatA hai| aura jaisA vaha usa vastu ko jAnanA hai vaimA hI usakA nirUpaNa bhI kara sakatA hai: rAga Adi doSarahita vyakta garva hotA hai| veTa aise rAgAdi doparahita sarvajJa vyakti ke vacana rUpa hone se unakA prAmANya hai| isa prakAra veda kA prAmANya rAga Adi dopahita sarvanna vyakti ko arthAta ImAko siddha karatA hai| (6) zruta: 07-veda ke prAmANya se nirdoSa Izvara ko upara mita kiyA hai| kintu mImAMsaka prA karate haiM ki veda ke prAmANya se usakA koI kAhIhI mA kyoM nahIM mAnate ho ? nyAya vaizepika uttara dete haiM ki Ayurveda Adara hima prakAra purupakRta hai, usI prakAra veda bhI purupakRta hone caahie| beSTa kA vahI Izvara hai|

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nagIna jI. vAha (7) vAkyA? veda vAkyarUpa hai / veda vAkyoM para se yaha siddha hotA hai ki beda kA koI kartA honA hI caahie| mahAbhAratagata vAkyoM kA kartA jisa prakAra vyAsa hai usI prakAra veda vAkyoM kA kartA bhI honA cAhie aura vaha Izvara hI hai / 24 (8) sarvyAvizedhAt ? - sRSTi ke AraMbha meM do aNuoM kA saMyoga ho kara ka banatA hai / yaha yaka kA parimANa aNuparimANajanya nahIM kyoMki yadi usake parimANa ko aNuparimANajanya mAnA jAyagA to usakA ( dvyaNuka kA ) parimANa aNutara banane kA prasaMga AyagA / vaha mahatparimANajanya bhI nahIM kyoMki aNuoM meM mahataparimANa nahIM hotA / tathA dvadyaNuka ke parimANa ko mahatparimANa nyAya-vaizeSika nahIM mAnate / dvaNuka kA parimANa mI aNuparimANa hI hai, kintu aNu ke aNuparimANa aura yaka ke aNuparimANa ke vIca thoDA bheda hai, dvayaNuka kA aNuparimANa thoDA alpa aNuparimANa hai / arthAt aNu ke parimANa kI apekSA hrayaNuka kA parimANa thoDA sthUla hai| aisI avasthA meM dvaNuka kA parimANa kisase utpanna hotA hai yaha prazna uThatA hai / isa ulajhana ko sulajhAne ke lie nyAya-vaizepika ne yaha siddhAnta mAnA hai ki saMkhyA se bhI parimANa utpanna ho sakatA hai / drayaNuka kA parimANa do paramANuoM meM rahI huI dvitva saMkhyA se utpanna hotA hai; kintu nyAya-vaizepika ke mata meM dvitya, Adi saMkhyA kI utpatti ke lie apekSAbuddhi Avazyaka hai| apekSA buddhi yaha to cetana kA dharma hai, aura jIvoM ne to abhItaka zarIra, indriyA~ Adi prApta hI nahIM kiiN| ataH jIvoM kI apekSAbuddhi isa dvitva saMkhyA kI utpatti meM bhUta nahIM ho sktii| isalie jisa cetana kI apekSAbuddhi sRSTi ke prAraMbha meM do paramANuoM meM dvitva saMkhyA utpanna karatI hai vahI Izvara hai " " / jIva kA prayatna jisa ko sAkSAt prerita karatA hai vaha usakA zarIra hai / usI taraha Izvara jisako sAkSAta prerita karatA hai vaha usakA zarIra mAnA jAyagA " 1 Izvaraprayatna paramANuoM ko sAkSAt prerita karatA hai, ataH isa artha meM paramANuoM ko Izvara kA zarIra mAnA jA sakatA hai / udayanAcArya isI artha meM' paramANuoM ko Izvara kA zarIra mAnatA hai" / tathA udayanAcArya ne AdyakalApravartaka ke rUpa meM Izvara ko siddha karate samaya jisake dvArA kalAkauzala batAyA jAtA hai-sikhAyA jAtA hai aisA zarIra bhI Izvara dhAraNa karatA hai aisA kahA hai| itanA hone para bhI Izvara azarIrI hai isa nyAya-vaizepikoM kI paramparA ke sthApita mata kA vaha virodha nahIM krtaa| ve Izvara meM Ananda guNa ko mAnate hue najara Ate haiM / unhoMne Izvara ko dard bhI mAnA hai / ina do bAtoM meM ve jayanta kA anusaraNa karate haiM / ve buddhi, rea aura prayatna ina tInoM ko Izvara meM mAnate haiM / udayanAcArya eka mahattva ke prazna kI carcA karate haiM / vaha yaha hai--zarIra ke binA buddhi nahIM aura zarIra ke dUra hone se buddhi dUra ho jAtI hai yaha bAta anitya buddhi ke lie hai / kintu nitya buddhi ke lie zarIra kI koI upayogitA nahIM / ataH nitya buvA Izvara azarIrI hai, aisA nyAya-vaizeSikoM kA kathana hai| isI tarka ko baDhA

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I kara kahA jA sakatA hai ki yadi Izvara kA prayatna free hai to use bhI kI koI upayogitA nahIM honI caahie| aura icchA ko kyoM mAnate ho ? 25 nitya prayatna ke tarapha Izvara meM vRddhi isa prazna kA udayanAcArya dvArA diyA gayA uttara vicAraNIya hai| vaha kahatA hai ki anitya prayatna meM do dharma haiM - (1) vaha jJAnajanya hai, (2) jJAna kA jo viSaya hotA hai vahI prayatna kA viSaya hotA hai" / prayatna nitya hone se Atmanyama ( svotpatti ) ke lie jJAna kI AvazyakatA nahIM kintu viSaya ke si ko use jJAna kI AvazyakatA hai" / prayatna svarUpa se hI ferrer nahIM hotA / yadi use svarUpa se hI vipayatraNa mAnA jAyagA to prayatna aura jJAna meM koI bheda hI hogaa| prayatna aura jJAna ke bIca yahI bheda hai ki prayatna svarUpa se nahIM jaba ki jJAna svarUpa se arthapraNa hai| yadi Izvara ke nitya prayatna ko nirviSaya mAnA jApAno aisA nirviSaya prayatna viSayoM kA (= paramANuoM kA) preraka kaise bana sakatA hai? ka prayatna ko saviSaya hI mAnanA caahie| aura use viSaya mAnA jAyagA to mAnanA hI par3egA kyoMki vaha jJAna ke dvArA hI saviSaya banatA hai"| vahAM koI uThA sakatA hai ki nyAyavaizeSikoM dvArA muSuptAvasthA meM mAnA huA jIvanapUrvaka prak to jJAnecchApUrvaka na hone para bhI savipaya hai to phira usa Izvara ke nitya prana ko bhI jJAna icchA nirapekSa savipaya kyoM nahIM mAnate ho ? udayana isakA uttara dete hue kahate haiM ki jIvanapUrvaka prayatna jJAnecchApUrvaka prayatna se bhinna jAti kA hai ataH jIvanapUrvaka prayatnake AdhAra se jo prayatna jIvanapUrvaka nahIM aise Izvara ke vizva viSaya meM aisA nizcaya nahIM kiyA jA sakatA / " ko ke ( 9 ) samApama isa IzvaraviSayaka carcA kA samApana do mahatva kI bAtoM kA vicAra kara ke kreNge| ve do bAteM ye haiM - (a) nyAya-vaizeSikoM kI IzvarakalpanA kA AdhAra (model) aura (ba) Izvara meM buddhi, icchA aura prayatna mAnane ke viSaya meM nyAya-vaizeSikavicArakoM ke matabheda kA tArkika mUla / (a) nyAya-vaizeSika kI IzvarakalpanA kA AdhAra akartA Izvara kI nya AdhAra nirmANakAyakartA yogI hai| isakA sUcana vAtsyAyana bhAva meM hameM milA hai| vAtsyAyana to usa yogI ko hI Izvara mAnatA hai aisA jAtA hai| nirmANakAya kI prakriyA ke aMga : (1) yogI kevala saMkalpa se hI nirmANakAya banA hai, usameM zarIra kI apekSA nahIM rahatI / (2) yogI ke saMkalpamAtra se hI paramANuoM meM pyAraMbhaka karma (motion) kalpana hotA hai|

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26 nagIna jI. zAha (3) uma karma (motion ) ke dvArA paramANu saMyukta hokara hayaNukAdikrama se nirmANakAya utpanna karate haiM / (4) paramANu nirmANakAya ke upAdAnakAraNa haiM / (5) yogI nirmANakAya kA kartA (= nimittakAraNa) hai| (6) yogI apane pUrvakarmo (saMcita karmoM) ko antima janma meM bhoga lene ke lie nirmANakA banAtA hai / (5) apane pUrvakRta eka vizeSa karma ke phalasvarUpa yogI kA nirmANakAya kA saMkalpa vyAghAna ko prApta nahIM hotA / jagannirmANaprakriyA ke aMga : (1) Izvara saMkalpanAtra se hI jagata kA sarjana karatA hai, usameM zarIraceSTA kI apekSA nahIM rahatI - zarIra kI apekSA nahIM rahatI / Izvara azarIrI hai / (2) Izvara ke saMkalpamAtra se paramANuoM meM AraMbhaka karma ( motion ) utpanna hotA hai / (3) usa karma (motion ) ke dvArA paramANu saMyukta hokara dvayaNukAdi krama se jagata ke sabhI kAryo ko utpanna karate haiM / (4) paramANu jagata ke upAdAnakAraNa haiM / (5.) Izvara jagata kA kartA hai / (6) jIva apane pUrvakarmoM kA phala bhoga sake isake lie Izvara jagata utpanna karatA hai / nirmANakAya kI prakriyA ke sAtave aMga kA jagannirmANa kI prakriyA ke aMga ke sAtha mela nahIM baiThane se prAyaH kara ke nyAya vaizeSika cintakoM ne use choDa diyA hai| Izvara meM apane pUrvakRta karmajanya dharma nahIM hotA isalie Izvara meM dharmakA abhAva mAnA gayA hai| isa prakAra nirmANakA nirmANa kI prakriyA mAmUlI parivartana ke sAtha jaganirmANa kI prakriyA bana jAtI hai / isase spaSTa hotA hai ki jagatkartA Izvara kI mAnyatA kA AdhAra (model) nirmANakAyakartA yogI hai / (ba) Izvara meM buddhi, icchA aura prayatna kI mAnyatA ke viSaya meM nyAyavaizeSika vicAroM ke matabheda kA tArkika mUla prayatna kA kAraNa icchA hai, icchA kA kAraNa buddhi haiM / jJAna ke bAda icchA hotI hai / icchA ke bAda prayatna hotA hai / yadi prayatna nitya hai to buddhi aura icchA ko mAnane kA koI prayojana nahIM rahatA / jo loga Izvara meM prayatna nahIM mAnate kintu buddhi aura icchA ko mAnate haiM aura icchA ko nitya mAnate haiM buddhi ko mAnane kI AvazyakatA nahIM rahatI / jo loga icchA aura prayatna ko na

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mAna kara kevala buddhi ko hI Izvara meM mAnate haiM unake viruddha isa dRSTi se isa mI nahIM kahA jA sktaa| isa dRSTi se ve sacce lAte haiN| zrIdhara Izvara meM kevaLa ati ko hI mAnatA hai| kintu Izvara meM kevala jJAna hI hai to vaha jagannirmANa kaise kara sakatA hai ? a. icchA ko to Izvara meM mAnanA hI caahie| Izvara meM icchA mAnI Aya to use nitya hI mAnanI paDegI aura aisI nitya icchA jJAna ko nirarthaka to nahIM banA degI? nahIM, mana nirarthaka nahIM bnegaa| Izvara kI icchA svarUpa se nitya hai-arthAt vaha manaHsaMyogasApeca nhiiN| kintu usakA viSaya kabhI yaha hotA hai to kabhI vaha hotA hai| usake viSaya cha niyAmaka jJAna hai / Izvara kA jJAna to yugapad sarvavipayaka hai to usakI icchA yugapara sarvavipayaka kyoM nahIM ? jIva bhI jina viSayoM ko jAnatA hotA hai una sabakI icchA nahIM karatA kintu jo bhogayogya hai usako hI cAhatA hai| usI taraha yA yA sabhI viSayoM ko jAnatA hai phira bhI jo viSaya usa usa samaya usa usa jIva ke bhogane yogya hote haiM usIkI icchA karatA hai / Izvara yaha bhogayogyatA jJAna se jAnatA hai| jIva bhI amuka vastu use sukhakara hai yA duHkhakara hai yaha jhAna se jAnatA haiN| isa apekSA se Izvara meM jJAna aura icchA donoM ko mAnanevAle sacce lagate haiM, udyotakara Izvara meM jJAna aura icchA donoM mAnate haiN| kintu yahAM koI prazna kara sakatA hai ki icchA meM hI aisA atikAya kyoM nahIM mAna lete ki Izvara jisa samaya jisake lie jo yogya phaLa hotA hai usa samaya usake lie vahI phala caaheN| Izvara kI icchA kabhI. ayogya hotI hI nahIM, svataH koca hI hotI hai aisA kyoM na mAnA jAya? aura ise hI usakI icchA kA mahattva kA masikkhayoM nahIM mAna liyA jAya? aisI icchA mAnane para sarvavizyaka niyama kI koI AvazyakatA nahIM rhtii| ataH Izvara meM kevala icchA mAnanevAle kA matamora sakatA hai| prazastapAda mahezvara meM kevala saMkalpa ko hI mAmalA hai| mahera saMpa ko. jJAnakI koI AvazyakatA nahIM rahatI / / sAMdI - 1 tanmAt sUtrakAramanteH nAstIzvaraH / yuriktadIpikA, kA 2 " The Vallesika Sutras....originally did not accept the existence of God.'" Garbe, Philosophy of Ancient India, P.23. 3 ...aNU nA manasacAdyaM karmAdRSTakAritam / vai. sUraH 5.1.13 / / 4 buddhipUrva vaakykRtivve| vaiH sI. -615 ..

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28 nagIna jI zAha , vAMgI hi yogaddhisiyA vihitanikhilanijadharmAdharmakarmA niya tadupabhogayogyAni neSu namanimma nepa nAni dAni mandriyANi jamagi nyAnna.ya.gNAni ca muvanegamabhirUpa anAni gRhItvA saphalapharmaphanTa anubhavani prAptakarya inAnthamupabhogata varmaNAM kSayaH / nyAyama., bhA.. pR. 88 / : ni grahaNena ca indriyaarthsnnikrssmcnaai...| sAM. na. kau. . / pratirAbhimuvyena vrtn...| nyAyamaM.bhA. 1, pR. " / 5 margAdau kamiti cet / madiranabhyupagamAt anazyametat / anAdiH sasAra iti pUrvAbhyasta sUtre pratipAditamatata / nyAyavA. : 2.67 / 8 daliya nyAyabhAgya 5.2.38,2.4 / 2. nAmavaraNa manta vya jJAnayAnantyAzepa malpam / yoga sUtra 3.31 / nAraka matra viSaya ___garvadhAviSayamApa ceti vivekaja jAnama / yogamUtra ..4 / 1. ma-11 vyAmpiApiyAmIdavAmi namAnepyAyacenanaH satraH samayamAhI viSaya vyavapisina nAtInIyate / nyAyamA..13 nanaH punaH mAginA bhogabhanaya mahezvarasimakSAnantara sanmigatayunilabdhA-pTA pakSamyaratanmayogabhyaH pavanaparamAga kamenpanI nAdAM paramparamayAMganyo ghaNakAdiprakramaNa mahAna bAyaH samutpanno nabhasi DhAdhyamAnastini / ... evaM samutpannaSu caturyu mahAbhUteSu mahezvarasyAbhidhyAnamAvAna taijamebhyo'gumya: pArthivasaramANusahitebhyo mahAmArabhyate / tasmiMzcaturvanakamala sarvalokapitAmahaM pramANa mAlabhavanasahitamanyAya panAmage viniyukt| sa ca brahmA atigayajJAnavairAgyaizvaryasampanna: prANinAM karmavipAka vivinyA karmAnujAnabhogAyuSa: mutAn prajApatIna ..sRndavA AzayAnu spardharmajJAnagamya bhaya : gayA jayatIti / padArthadharmasaM. pR. 127-131 / 12 ...... brahmagA'navavargakAle masArastinAnAM sarvAginAM nizi vizrAmArtha sakalabhuvanapatermahezvarasya sajihI ma kAlaM ..AparamAvannI vinAgaH |...ttH pravibhaktAH paranANavo'vatiSThante dharmAdharmamamkA nuviddhA mAnAnastAvantameva kAlan / padArthadharmasa'. pR. 122-126 / IcajagatA nibhinna jagata. sAkSAdAganakAraNa kim / ukta - pRthivyAdi para pasUkSma para. mANamajita miti / nyAyavA. 4.121 / 14 na brUpaH karmAdyatapakSa I2: kAraNaniti / nyAyavA. 4.1.21 / 15 ko'nugrahArthaH / yad yathAbhUtaM rasya ca yadA viSAkakAlaH tan tathA tadA viniyukta iti / nyAyavA. 41.2.1 / 16 bhaya nityama vayaM dharmaveyarthyam, na tA dharmA bhavatIti / nityamiti bamaH |......n cezvare dho'stIyacodyametat / nyAyavA0 4 1 29 / 17 sanyA-parimANa-pRthaktva-saMyoga-vibhAga-buddhaya eva tasya guNAH / nyAyavA. 4.1.21 / 18 icchA nu vidyate'kkiA'vyAhatA sArthaSu yathA buddhiriti / nyAyavA. 1.1.21 /

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19 yadi punardhapadhirmAbhyAmevAdhiSThitAH paramAgavaH pravattAn ma buktagatalavAra, AR kizcidacetana svatantramadhiSThAyakaM dRzTimiti / anupagamyArikAyo: sAni sAmarthyam, na, karaNasya kevalasya kriyAniSattAvasAmAn, vahikA kiyA nila. yadupalabhyate / atha paramANyapekSAbhyAM dharmAdharmAbhyAM kiyate, tara ma kucha mamAra, hi karmakaraNAbhyAM kriyA janyamAnAM kvacidati pazyAma iti / bhAtmA kA avinAni, tA. zatvAditi / akAraNotpattirbhaviSyatIti, na yukta dRSTavArini / na bhAyA matiranti / tasmAd vuddhimatkAraNAdhiSThitAH paramANavaH karmANi ca pravartanta iti / myAyA. .1.21 // na kAraNabhizvaraH vikalpAnupapatteH-kA cedIzvaraH, kiM sAkSaH aafar hati / ki cAtaH ? yadi sApekSaH yena karoti tasyAkA, ebamanyamAdi prasArikA ra karoti tsyaakrteti| athAyaM kicidanapekSya ta karoti sammAsisamaya karoti, evamani puruSakarmAphala' bhavet anirmokSazca prasadhyata / myAkyA. 5.1.17 // 21 nirapekSakartRtvasyAnabhyupagamAt dhamAdharmaviphalavAdinIyo pArita, na zakamamiyo ko zeSa iti / yena karoti tasyAkarneti cet , nAnekAntAt , bAra mevAnto'smi yo kSetra - tanna karotIti. yathA'nekazilpaparyavadAtaH puruSaH karaNAntargapahAnI pAsyAroli, bAla pAdAno daNDAdi karoti, tadupAdAno ghaTAdi na ca pa yatatvaM santi asya satyam sh dharmAdharmApAdAnaH zarIrasukhaduHkhAdi, AtmamanaHsaMyogazuddhAzudAminisAna bharI sukhaduHkhasmRtyapekSaH tatsAdhanA dyapekSazca zuzamazuddha cAmisammimiti / sthA karoti saba manAyA cet-atha manyase yadA'yaM sAdhya kimciA dRSTaM nirvata yati ThA ca sAvapatimA prasajyata iti ? netadevam, na brUmaH sarvAnanayamekasmin kAle roira story paryAyakartRtve cAyamadoSaH / yadA karoti tasyAsAdhabolparidhari abI kI zarIrAdikartRtvaM dharmAdharmAdyapekSasya, atha yadAdau karoti kathaM sara ! A mAlAanAdiH sasAra iti, pratipAditametat, dharmAdharmasAphalya sampati zAsana kartA, evaM prANyantarasamavAyinA dharmAdharmANoM sAphalyam / myAyavA, 1.9 22 athAyamIzvaraH kurvANaH kimartha karoti ! loke hi me yA we pravartante idamApsyAmi idaM hAsyAmi ceti, ca punarIdharasya hemati TARA, zeya vazitvAt / krIDApitye ke-aike tAbA bubate kodArthamIbA kii| hi nAma ratyartha bhavati, vinA kroDyA ratimavinammA manAti / duHkhinaca sukhopagamArtha phrIDanti / vibhUtijhyApamA misare kI devara sImitvako manyante / etadapi tAdRgeva-na hi vibhUtiyApana limite tyAlApAva kiJcidvIyata iti / kimartha tarhi karoti / tasyAmA pra khapu- bhUmyAdIni dhAraNAdiziyAM tatsvAbhAdhyAt kurvanti tayebho bAra prakala iti , pravimAnaka tattvamiti / nyAyavA, 4.1.21 / . . . 23 tatsvAbhAdhyAt satata pravRttiriti cet-ama sabase gari prANisvamA saya pratinitIna prApnutaH, na hi pravRttisvabhAvake valne mitimA pani meyota pramomI satvasthakarUpatvAt / nyAyavA. 4.1

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nagIna jI. zAha 25 neya. gopa. buddhi manvana vizapaNAna-buddhimattatvamiti pratipAditamH buddhimattayA ca viziSyamANaM sApa ca na gadA pravartate, na sarvamekasmin kAle utpAdayati, yagya kAraNasAnidhya nada bhavati, yamanihitakAraNaM tanna bhavati, na ca sarvasya yugapadUkAraNasAnnidhyamasti ataH marvaya yugapada pATo na prasaktaH, sa khalu pravartamAno dharmAdharmayAH paripAkakAlamapekSate / nyAyavA. 4.1.1 / 2, na ca dvipatayA vina baramya jagadutpAdaM ghaTata iti / sA ca buddhiH sarvArthA'tItAnAgata vartamAnaH vipayA palatA, nAnunAnikI nAgabhikI, na tavAnumAna nAgA iti| jJAnanityatvAcca na saMskAra:niya vikSAnamIvarAyeti na tatra saskAro vidyata iti, saskArAbhAvAt buddhinityatvAcca na smRtiH, nRtyabhAvAcca nAnapAnam / na duHkhamadharmagyAbhAvAn / ata eva na vairAgyabhiti-duHkhAbhAvAnna virajyata iti / ata eva na dvepo du:khAbhAvAditi / icchA tu vidyate'kliSTA'vyAhatA mArthaSu yathA buddhiriti / nyAyavA. 4 1.21 // 16 a kimayaM vado mukta iti / na badrI duHkhAbhA nAdava, abaddhatvAnna mukta iti-bandhavAna mucyana iti. na ca bhagavani bandhanamastIti ano na mukta iti / nyAyavA. 4.1.21 / 25 AtmAlagagAnamanvanyAdadhiSThAtRtvamanu spanna miti cet-atha manyama arthAntarasamavAyino ye dharmAdharmA: tena sAkSAdIcaraNa sambadhyante na pArambharyeNa; na cAsambaddhamanuSThAtu zakyate, na naye yo viyAH pratiyukA / nyAyavA. 1.1.21 / 28 taca na, ajamambandhArA / nyAyavA. 4.1.21 / 25 ya'nya sayoga ne uni teSAmapyaNumanaHsaMyogopapatorasti sambandha / nyAyavA. 4.1.21 / 30 sa punagatmedhAsambandhaH kiM vyApako'vyApako vA iti arthAbhAvAdavyAkaraNIyaH praznaH / Atma thAsambandho'ratItyetadeva zakyate vaktum / nyAyavA. 4.1.21 / 31 nyAyavA. 4.1.20 / 302 ...tasmAdhinAmitvenAni kAryatvAnumAnAt ..athavA sanivezaviziSTatvameya hetumabhidadhmahe... / nyAyama. bhA. 1, pR0 179 / 33 azyamya ca karnu !nupalabhito nAsti baniyamAnupAte. nAkRTajAta vanaspatI nAmakartutvamiti na vipakSatA / nyAyama. bhA. 1, pR. 18. / 34 paralokavAdibhiAdazyamAnAnAM karma gAmapi kAraNatvAbhyupagamAt / atha jagacitryaM karmavyati kaNa na ghaTata iti karma gAmadRzyamAnAnAmapi kAraNatvaM kalpyate tatra, yadyevamacetanebhyaH kArakemyazcetanAnadhiSThitebhyaH kAryAtpAdAnupapattoH kartA'pi cetanasteSAmadhiSThAtA kalpyatAm / nyAyama'. bhA. 1, pR. 180 / 35 na cataretarAzrayam AgamaikazaraNatvAbhAvAdIzvarAsidheH / nyAya bhA. 1, pR. 186 //

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Izvara 41 36 yayA cadanabhUpamitaraghUmavisaha rAmavalokya caMdana eva bahinumAne, vilAyana vilakSaNa evaM kartA'numAsyate / nyAyama. bhA. 1, 2. 183 / 17 na hITaga paridRzyamAnamanekA yamaparinitAntaprANigatavicitrasammamA suna mukhAtika yama anatizayena puMsA kartuM zakyapini / nyAyamaM. bhA. !, pR. 18 38 tathayatastrailokyasya niravadhiprAbhimukhaduHkhasAvanasya samihAmavidhAna ma... , ma jAnanneva sraSTA bhavitumarhati mahezvaraH / tAmAtsarvajJaH / nyAyama, bhA. 1, 2. 16 ! 39 api ca yayA niyataviSayavRttInAM cakSurAdIndriyANAmavilAsa na , ma . sakalakSetrakarmaviniyogeSu prabhavanIvaraH tapekSayA sarvajJaH / nyAyamaM. mA. . . / 40 pusAmasarvavitta hi rAgAmilabaMdhanam / na ca gagAdibhiH pRSTA bhagavAnaki masti / / nyAyama. bhA. 1, pR. 184 / nityaM tajjJAnaM kathamiti :-~-smina kSaNamapyAnaramA niyama paramazriImanAnaprakAravyavahAraviramaprasavAt / pralayavelAyAM tarhi kuna tamminyavaka pani cana- mevama- aApralayasidhe nityatve tadA vinAzakAraNAbhAvAn asya Anmana iva tajjJAnamya nimna punazca sargakAle tadutpattikAraNAbhAvAti nikha jJAnam / nyAyamaM. mA. 1, pR 18 / 42 evaJca tadatItAnAgatasUkSmavyavahitAdinamaratavaraviSaya, na bhinma, kApImA kisAnupama / kramAzrayaNe kvacidazAtRtva syAdini vyavahAralopaH / yaugayena sarvajJAtatva kutAtyA marA nyAyama. bhA. 1, pR. 184 / 43 pratyakSasAdhayAMcca tajjJAne pratyakSamucyate, na puiidrayArthasanikopana kamakAnti. bhazana nAmevArthAnAM savitRprakAzeneva tena grahaNAna / nyAyama. bhA. 1, 1. 184 / jJAnavadanye'pyAtmaguNA yajya santi, te nilA eva, mananmayogAnaM pakSajanmAcAra ! mapa'stasya tAvanna santyeva / bhAvanAkhyena saMskAraNAni na prayojanam : sarvakA savAravina smRtyabhAvAt / ata eva na tasyAnumAnika jnyaanmissyte| dharmastu bhUtAnugrahakamA - bA. bhAvyAbhavanna vAryate / tasya ca phalaM parArthaniSpacireva / mukha tyasya nityameva, nityAnanyA. nAgamAtpratIteH / amukhitaraya caivavidhakAryArambhayogyatA'bhAvAt / nyAyama. bhA. 1,518 / naiSa doSaH-anAtmamanara saMyogajatvAdicchA svarUpamAtreNa nityA kAzmiNa sAcinmahAraNa vA vissyennaanurjyte| sargasaMhAsyorantarAle nujagataH smityavasthAyAM ammAkAya saMpadyatAmitIcchA bhavati prajApateH / nyAyamaM. bhA. 1, pR. 185 / prayatnastasya saMkalpavizeSAtmaka eva / nyAyama. bhA. 5, pR 14 / 47 taMdavaM navabhya AtmaguNenyaH paJca jJAnamukhacchAprayatnadhAH santIzcare / canbhAgnu dubayA. dharmasaMskArA na santItyAtmavizeSa evezvarI na dravyAntaram / nyAyama. bhA 1, 5 / 48 ucyate-jJAnacikIrSAprayatnayogitvaM kartRtvamAcakSate / taccepare vidyata evetyuktameta / svArIrapreraNe ca damazarIrasyApyAnmanaH vartRtvam / islAmAdhaNa ca tasya kartabAra aneka. vyApAranirvartanopAttadurvahaklezakA muSyavikalpo'ni pratyuktaH / nyAyama. bhA. 1, pR. 18 / 45

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nagIna jI. jAha 22 ' para cenana. kAya gAnme yApanAte / navinA panAti tathA paramANA. // nyAyamaM. mA 1, pR. 18' / yastu prayojanavikalpa:-kipartha mujati jaganti bhagavAna / iti-so'pi na pezala / svabhAva pacaya bhagatA yana kAciA majani, kadAcica mahAni vicamiti / vatha punaniyatakAla poya svabhAva uni ceha-AdityaM pazyatu devAnAMgiya yo niyatakAlamudalyamnamati yA nyAyamaM. bhA. 1, pR. 186 / kI mAginya hIyA kRnArthanA / pravartamAna dRzyante na hi kIDAgu du khitAH / nyAyamaM, bhA. 1, pR 186 / ... adhanA anukampayava gargamahAgavAramanApIdhara / nyAyama. bhA. 1, pU 186 / 53 zubhAzumanaskAganuvidhA pAnnAnaH / te ca dhadhinigaisayatatvAdapavargapuradvArapravezamalabhamAnAH kathaM nAnukampyAH / anubhuktaphalAnA karmaNAM ne prakSaya / sargamantareNa ca tatphalopabhogAsamava iti zubhaphalopabhogAya svAdisargama azubhaphalopabhogAya narakADhimRSTimArabhate dayAurava bhagavAn / amogaprabandhana parizrAnlAnAmantaga'nnaga vidhAntaye jantUnA bhuvanopasaMhAramapi karotIti sarvamanaskRpAnivandhanameva / nyAyama bhA.. 1, pR 186 / .5 nanu ca yugadava sakala jagandhalayakaraNa nanu pannam, avinAzinAM karmaNAM phalopabhogapratibandhA. sambhavAniti coditam, na yuktamatan--IzvarecchAnivaddhAnAM karmaNAM stimitazaktInAmavasthAnAt / tadicchApreritAni karmANi phalamAdadhati / tadicchAprativaddhAni ca tatrodAsate / kasmAdevamiti ceta-aceta nAnAM cetanAnadhiSThitAnAM svakAryakaraNAnupalabdheH / nyAyamaM. bhA. 1, pR 186 / .. nanu eva tahi Izvagccheca bhavatu kI sahI, kiM karmabhiH ?-maivam-karmabhivinA jaga vaicitryAnu patteH / kamane pekSyapakSa'pi yo doSA darzitA aiva-Izvarasya nirdayatvaM, karmacodanAnarthakacam. animakSisAceti / tasmAt karmaNAmeva niyojane svAtantryaptIzvarasya, na tnnirpekssm| nyAyamaM. bhA. 1, pR. 187 / 56 vedasya puraSaH kA...lokavanirmANanipuNaH prmeshvrH| nyAyamaM. bhA. 1 pu 175 5.5 AnopadegaH gamaH / nyAyamU 1. 18 / sangayurve danA pANyavacca natrAmANyamAptaprAmANyAt / nyAyasa, 21.68 / 58 ya eSa ApnA vedArthAnAM dayAra prAktArazca te .. / nyAyabhA. 2.1 68 / ..9. pArtha pravRtto'pi na pugba gayImena kAti, vicitrakaziyasahAyasya kartRtyAdityarthaH / na caivaM sani karaNAvirodhaH, buHkhotpAdasya vairAgyajananadvAreNa paramapurupArthahetutvAt / kandalI pa. 132 / 5, ma hi sarvaprANinAM karmAnurUpa phala prayacchan kathamanIzvaraH syAditi bhAvaH / na hi yogyatA. nurUpye ga nRtyAnAM phalavizeSamaH prabhutprabhurbhavati / kandalI pR. 133 / / 31 mAMti kA kArakarayarUpamacAyati, tata icchatI paha manena nirvatayayAmIti, tataH prayatate, tadanu kAyaM vyApArayati, tata: kAraNAnyavidhiti, tataH karoti, anavadhArayannanicchanna prayatamAnaH kAmamAvAsyan na kagetItyanvamavyatirakAmyAM buddhivaccharIsApi kAryotpattAbhAyabhUtam / kandalI pR. 137 /

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62 prabhAvAtizayAdArIvabuddhinAnevAyamIvaraH krissyni| nImA milana zaknotIti cen ! kuta etat ? nathAnulambhAditi ceta? phalina mamA najara mayA / kandalI . 137 / 63 atra pratisamAdhiH-ki zarIritvameva parnatvamuna parimAmayakArakaravAjAma / na jAnA rIritvameva kartutyam, supuptasyogAsInasya ca kayAmatAta. kintu parimAmaya prayojakatvam , tasmin sati kAryAtpana. / nacAzanammyAti nihAni yathaH kina preraNAyAmAtmanaH / asti tathApyaraya svakammevAni deva nAmini ca manyAsa preraNopAyo na bhavati, svAtmani kriyAvirodhAt / preyanayAnIti na myAti prema paramANurasti / nanu svazara preraNAyA icyA prayatnAbhyAmakiDAprasanmayo mati ra bhAvAdasalyabhAvAd agni tamya vipregNAgAmindA prayatnajananAMgNapAyamiti sabhAmAprayatnayorupajananaM pratyeva kArakatvAt , randhAna kyAspiyatrayA premAnapAyabhUtameva zarIraM karmavAditi vyabhicAra, anaMpatimA vyApadanAmamADasyaiva cetanasya kadAcidacetanatryApAra prati mAmarthyavarjanAna , buddhiA apicArita kAryaka mitIzvarasiddhiH / icchAprayatnotpanAvapi zarIramaphekSaNIyamini ca apekSAnAM ca yogagana. katvam, yatra punarimau ra vAbhAvikAvAmAne tavAnyApakSaNa arthama / na 5 purvAsApramaNAnAM nityatve kazcid virodhH| dRSTA hi myAdInAM guNAnAmAzrayamaMdana yI gaNi. timilanA c| tathA vuddhayAdInAmapi bhaviSyanIti / saMyamIvaravAda vAvipratiyAginoM: pAkA : paraM prapaJcaH / kandalI pR. 138-140 / 64 AtmAdhiSThitAH paramANanaH pravartiSyanta iti canna, teSAM mbakammApArjinmiyAnavidA zarIrotpatteH prAkU marva viSayAvabodhavirahAta |...tmyH paraH savadhabhimAnamaH svabhAva: ko'pyadhiSTAtA kalpanIyaH, cetanamadhiSThAtAramantagNAcetanAnAM prnnmaamaan| antalI pR 140-141 / 65 sa kimeko'neko vA ? eka iti vdaamH| bahanAmasarvasatve'mmA divasAmadhyaMga, ye tvekasyaiva sAmadhyadipareSAmanupayogAt / na ca samapradhAnAnAM bhUksAM mI hetu ni kadAcidanutpattirapi kAryasya syAn, ekAbhiprAyAnurodhena sarveSAM prakalA yevara yeva nAgyama, maThapariSadAmiva kAryotpatyanurodhena sarveSAmavirodhe pratyekamanIzvaratvam / kandasI pR. 14 / / 66 sarvajJatvAnna kutracivastuni vizeSAnupalambhaH / anI na tannibandhana miyAjJAnam , mA. jJAnAbhAve ca na tammUlo rAgadveSau, tayorabhAvAt tasyorapi mubhA ayogabhAvaH, sabaka cAnubhavasabhAvAt smRtisaMskArAvapi nAsAte ityaSTagumAdhikarayo bhagavAnabhara imi ke kir| anye tu buddhireva tasyAvyAhatA kriyAzaktirityevaM badanta ingAyanAyanAMka: SaDguNAdhikaraNo'yamityA hu| ma ki baso mumato bA! nApA baDa dhanamAnA "R ndhanahetoH klezAdarasambhavAt / mukto'pi na bhavati, bandhavipayAMcavAnmane / muktasnu syAt / kandalI pR. 142 / / 67 kArya yojanAlAdeH padAta pradarataH zruteH // vAkyAta maMtra vibhAva mA ko vikasita nyAyakusumAali 5.1 /

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nagIna jI. zAha 68 nana yadi paramANugu karma gyAna tarhi mayogalyAvarjanIganyAda dvaSaNukAdikameNa tadAnImeva vizva jagadutpadyata, ata ukta pracaya iti / pracayAtyameva saMyogaM tadA kambhite na tu kAryArambhakam ...nyAyakusumAJjali bodhinI, 2.3 / taH khalvapi / vityAdibrahmA'N paryanta hi jagat sAkSAt paramparayA vA vidhArakaprayatnAviSTina gurutve galyatanamakalAda viyati bihAmanIravata tatmayuktadravyaca / nyAya kusumAJjali 5.5 / 50 maMhagAna gbandhani / brAhmANDAdidvayaNukaparyannaM jagata prayatnavadvinAzya vinAzyatvAta pATyamAnapaTavat / nyAyakusumAJjali 5.4 / 1 mahAbhUtamalayamaMkSobhalabdhasaMskArANA paramANUnA... ! nyAyakusumAJjali 2.3 / 72 pazabdanAtra padyate gamyate vyavahArAjhamarthA'neneti vRddhavyavahAra evocyate / ato'bhIzvarasiddhiH / tathAhi-paMdanan paTAdinirmANanepuNyaM kuvindAdInA, vAgvyavahAra'ca vyaktavAcAM, lipitatkrama vyavahAva ghAlAnAM, sa sarvaH svatantrapurupavidhAnto vyavahArayAt / nyAyakusumAJjali 5.5 / 73 gRhaNAti hi Izvaro'pi kAryavazAcchagaramantarAntarA, darzayati ca vibhuutimiti| nyAyakusu mAJjali ... / 74 IzvaramyAdRSTAnAva'pi tanchIrasAdhyahetukAsmadAdibhogasampAdakA'dRSTA devezvarasya zarIrohayani riti bhAvaH / nyAyakusumAJjali prakAza, 5.5 / sA apekSAyuddhijanyA, aneka vyAtvAt / na cAsmadAdInAmapekSAbuddhiH paraMmANupu sambhavati / tA yamyAmo sarvazaH / anyathA apekSAbuddharabhAvAt rAjyA'nutpattau tahataparimANAnutpAda'pari nitamya dravyasmAnArambhakatyAta tryaNukAnutpattau vizvAnutpattiprasa: / nyAyakusumAJjali 5.5 / 76 kimidaM paritvaM yat prasajyane ! yadi sAkSAt prayatnavadadhiSThyatva tadiSyata eva / nyAya kusumAMjali 5.2 / 75 paramAnanA...karmasatAnasyezvaraniHzvasitasya... / nyAyakusamAMjali 2.3 / paramANavo hIzvara zarIra mAkSAt prayatnAdhiSTheyatvAt , tena tadAzrayaM karma IzvaraniHzvasitaM bhavati / bodhanI ttiikaa| asmAka tu nisargamundara / cirAcceto nimagnaM tvayItyaddhA''nandanidhI tathApi taralaM nAdyApi sntRpyte| nyAyakusumAJjali, 5.19 / 78 prayatnaya dvivarmakatyAn / sa hi jJAnakAya jJAnaikaviSayazca / Atmatattvaviveka pR. 381 / 79 tatra kAryavAnivRtto kAraNatayA jJAnaM mA'pekSiSTha viSayArtha tu tadapekSA kana vAryate ? Atma tattvaviveka pR. 381 / / na ca tasya svayagaira viSayapravaNatvam, jJAnatvAsalAt / ayameva hi jJAnAt prayatnasya bhedoyama praga iti / na ca nirviSaya evAstviti vAcyam, akAraNatvaprasaGgAt / Atma tattvaviveka pR. 381 / 85 jIvanaparvakAyalA vimavyavasthA bhaviSyatIni ce, na, tasya jAtyantaratvAt / Atma tattvaviveka pR. 381 / hai

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mukhya saMdarbha grantha (1) Atmatattvaviveka, cogyamyA meM mi , 1950 / (2) nyAyadarzana (sUtra, bhAjya, vArtika, nAparyaTIkA mahina), kalikA-na- mana-mA-16, 3) nyAyakusumAJjali (bAdhanA Adi sahita), kAzI mAna-pranyamAlA-5000 (4) nyAyamantrI, kAzI-saMskRta siriz2a-106, 1934- / 1) prazastapAdabhASya (kandalI sahita), gahAnAhA granthamAlA, dhAramA ma kRta mahAvidyAlaya,

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arvAcIna tattvajJAnamAM bhASAvicAra (eka paricaya) ha. rR. bhAyANI mAtra eka rIte joI e tA tattvajJAtamAM AvatA dareka ne ane manana gyAne na te sthApavAnI mathAmaNa, bhathANA saphaLa thAya ke niSphaLa pa nIvaDe ane tattvajJAnanI dareka krAMti peAtAnuM lakSya sAdhavAmAM te niSphaLa ja nIvaDI che. kAma che te ke kA nt na zrI odhatI; vijJAna jJAna zodhe che ane pAme che; jyAre tattvajJAna jJAna vadhe che mata' ja pAme che. Ano artha evo nathI ke tattvajJAnamAM AAnA pazcitanA nakAmAM ya che. dareka parivartana nattvajJAnanI samasyAne davAnI kAIka na pati ne Ave che ane te pati dvArA te pUrva pracakita pakSanI prAntra pRdhANAne khullA pADe che. AthI tapArAnI navanavI ziAe baMdhAtI rahe che ane sasthAonAM aneka pAsAna' samaja vadhe che, bhASA manuSyane itara prANIgmAthI juduM pADanAruM eka pramukha tattva manAtuM hoI te manuSyanuM svarUpa samajavA mATe tene abhyAsa phADA rasathI canA byA che. bhAvijJAna uparAMta matAvijJAna, saMskRtivijJAna, sAhityamImAMsA tema ja tattvajJAna vaitapAnAnI rue bhASAnA vicAra kare che. prAcIna tema ja arvAcIna samayamAM, pUrvamAM tema ja pazcimanA kAI nahIM te koI svarUpe bhASA vize tattvavicAra cAlato rahyo che, prAcIna bhAratanA vaidika sAhityamAM, vaiyAkaraNa paraMparAmAM (bhartRhari vagere), mImAMsA, nyAya vagere nAma, tA grIka sAhityamAM herAliTasa, pleTA, eriTala vageree ane madhyakAlIna purepamAM dekA, lAyUbnisa, 'empirisijhama' mAM, phrenca eNngrAnTamenTamAM, vikA, kAmAna ane TuDera, hammeTa vageree bhASAne lAgatA tattvavicAra karelA che. ema tAM vIzanI satAbdInA bhASAkIya tattvaviyAranI viziSTatA e che ke te bhASAnA ayyana dvArA mAnava citta, jJAna, AcAranIti, prakRti, Izvara vagere jevA tAttvika viyAnI samaja pAmI AkA ena mAnIne cAle che. bhASA vizenI tAttvika vicAraNA sAthe tattvazAstra (meTiksa'), tarkazAya, pramAsa ma ('episTamAlAjI') vagere tattvajJAnanI vividha zAkhAe saMbaMdha dharAve che, paNa A uparAMta sAmAnya dRSTie paNa tattvajJAne bhASA vize vicAra karavA paDe che. vijJAna sIdhu haka tenI sAthe kAma pADe che, pratyakSaniSTha che, tyAre tattvajJAna Ne aMze mAtra zAbdika pravRtti che, sarakRti dyiAmaMdiranA sevA prka-94nA s : zrI lAlabhAI dalapatabhAI bhAratIya Apela yunivarsi TI-yAkhyAna.

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ha cU bhAyANI 1zAka carcA dArA pitAnA vicAronuM parIkSaNa karatA hoya che. AthI te bhASAne - pAnAnA pramukha sAdhananI---kacAza bAta vizeSa saciMta deya che. leTA'nasa ane basa ja vA anaHpratAne mahatta ! ApatA tavarAe bhADAne mULabhUta satye trita karavA mATe amama gaNI che. te bIjI bAju bIna keTalAka tattvajJA pAmAM evI kaI pAyAnI avAgyA hovAnuM mAratA nathI. teo bApAne khAmIvALI mAne che kharA, paNa temane mata kSatio dUra karI zakAya tema che. mudo e che ke aMta.prajJAvAdI to paNa vANI sane jU karavA asamartha hovAnuM tyAre te kahI zake jyAre bhASAnI prakRti kevI che te aMge temaNe pahelethI kaIka khyakSa banyA hoya, ane bhASAnI sudhAraNAnI ciMtA karatA navaMtAne te bhASA kare arthapUrNa hoya che ane potAnuM kArya barAbara kare che te nakakI karavA bhAlAnA svarUpa ane baMdhAraNane anivAryapaNe vicAra kare paDe. vaLI tattvajJAnanuM lava ke prayojana zuM che e vize je pAyAne daSTie ApaNuM samayamAM uge che tene kAraNe paNa bhASAnI tAttvika vicAraNAne abhUtapUrva mahattva maLyuM che. tattvanAnanuM mukhya kArya jagatanI mULabhUta racanA ke baMdhAraNa kevuM che te samajavAnuM ane te anusAra vyaktita Agara ane samAja vyavasthAnAM ucita dhoraNe kayAM che te nakkI karavAnuM che ena paraMparAthI manAtuM AvyuM che. paNa arvAcIna samayamAM ema lAgyuM ke uparyukta thAjana saMtAnanI pahoMcanI bahAra che, kAraNake nara jJAnanI tapAsa paddhati pratyakSa nirIkSaNa ane prayogavidhAnane Azraya na lenArI, kevaLa citanapravRtti ja che, ane AvI pahanithI jagatanI mULabhUta prakRti vize, athavA to sadAcAra-durAcAra vize kazA nakkara nirNaya prApta na thAya. AthI ekAramI zatAbdInI vimarzAtmaka navidyA-Speculative metaphysicsnA para gaNIzamI zatAbdImAM samIkSAtmaka navanAna-Critical philosophyno udaya thayo. te anusAra tattvajJAnanuM kharuM kArya che vibhAvanuM vizleSaNa karavuM te. jagata ane mAnavajIvana vizenI ApaNI vicAraNA je mULabhUta vibhAvone AdhAre cAle che te vibhAnI kUTatA ane vizadatA sAdhavI e ja tatvajJAnanuM prayojana che. svayaM vicAranuM svarUpa kevuM che tenI samAlocanA-eTale ke vicAranI ja vicAraNa e kenTanA samayathI tattvajJAnane mukhya viSaya banI, AvI vicAraNA be rIte thaI zake : vimA, vicAro ane vicArataMtrone tapAsa sAmagrI tarIke laI ne, athavA to zabdo, vAkya, vAtacIta vagere jevA bhAvika rUpone sAmagrI tarIke laIne. eTale ke te vibhAvavivecana hoya athavA te bhASAvivecana heya. keTanI AlocanA pahelA prakAranI sAmagrIne AdhAre cAle che, te vartamAna zatAbdImAM zarU thayela " bhAvaniSTha tattvajJAna " ke "tarka-vivaNIya' Adelana bIjA prakAranI sAmamIne AdhAre cAle che. bhAvaniSTha tattatAna vicAravivaNane sthAne bhASAvikSepa gune pAyAnI vastu gaNe che. A mAtra asAra nara nAnI sanasthAo-jevI ke citta, jJAna, vAva, kAraNa, prakRti, AcAranIti, Izvara vagerenI samasyAo e tattvataH bhASAne lagatI samasyAo ja che All questions of philosophy are questions of language. e viSayane lagatI vicAraNA hakIkatamAM jagatanI kaI lAkSaNikatAnI upara prakAza nathI nAkhI zakatI; te to mAtra "citta" vagere zabdo kaI rIte vaparAya

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arvAcIna tattvajJAnamAM bhASAvicAra Jiu 8 ApaNe temanA kaI rIte upayegakarIe chIe tenA upara prakAza nAkhatI hAya che. hakIkate vibhAvAnI tapAsane zabdonA vaparAzanI nAmathI turkI mukha zakAya tema nathI. paNa A pramANe jo tattvajJAnanuM mukhya kArya ktinA ane zabdanA thanA lAkSaNikatAo tAravAnuM hAya tema tetI pAse bhASApradhAgA ane temanA arthonA vakhate lagatI koI sarvasAmAnya pUrvadhAraNA vI--kAI kAnacalAu sadAMta yamaMta jarUrI che. * amuka uktine amuka artha che ema jyAre Apadhdha karIe chIe tya e ukti vize ApaNe zuM kIe chIe ? zabdane ' artha hovA ' eTale zU kA e ktimene ekAka gaLavI ~ AvI AvI lAkhAne lagatAM kAka sAmAnya ni svIkAryAM vinA tattvananI vicAraNA AgaLa vadhI na rAke ne eka udAharaNathI A vAta spaSTa karIe. jJAnanI nAmanAM ja maMtra la ga ma te aMge ApaNe kAM te ema kadI zakIe ke (1) ame nAna kevuM che te tapAsIne be, athavA te! (2) ame nAnanA vibhAva napAmIe chIe, athavA na ) jayAre ke ena khAve ke huM jANuM chuM ke bAmata Ama che ' tyAre te zuM karavA ya che ! ana spaSTatA karavA prayAsa karIe chIe. AmAMnA paDelA nijhma nirdezAne asi --referential theory of meaningne che. te AiMta pramANe anya amuka artha che ' eTale te zabda muka bAhya padArthane nirdeza kare che, mane huM prakSa padArthano nirdeza karatA zabdo (nAmeA ke sanA) pUrane A pakSa nanI zake, paNa parAga, sayejakI, nAyANI vagerene lagatu kazuM paNa AMgaLI cIdhIne anubhavagatamAMthI banAvI nathI zakAtuM. yuI gheADA jevA zabda vyaktinirdezaka che ke ninirdezaka tenI paNa meATI gUMca che, 'jJAna ' nAmanA kAI pArtha ApaNA vicAra ane vAtavyAnatha nirapekSapaNe prathama vidyamAna hoya to te pachI te kuvA che tenI tapAsa thAya; prabhu bhak padArtha kAI e zeAdhI batAvyA nathI ane 'tyAre', 'tarapha', 'aMdara', sAthe', 'ane' vagerene lagatuM' bAhya jagatamAM zu banAvI zakAze ? dareka zabdane artha prema che, paNa e vastunirdezaka hAvAnuM haMmezAM batAvavuM zaka nathI. Ama nirdezavAdI asiddhAMtana kacAze! udhADI che. uparyu kta khInne abhigama vicAravAdI artha siddhAMtatA che. te anusAra sajjana kSa eTale ApaNA cittamAM upasthita vicAra ke vibhAva. gAya' eTale te zabdanA vaparAza veLA vaktA ke zvetAnA cittamAMno gAya'nA khvAsa, 'jJAna'nI tapAsa karavI eMTale jJAna'no vibhAva tapAsavA. A abhigamamAM zabdane vaktAnA cittamAM rahelA vicAranA sIna tarI levAma che. paraMtu aneka zabdonA upayoga vai! ApaNA cittamAM phArma citra urjA taraMtu devA bAbata ApaNe saheja paNa sabhAna hetA nathI; ane aneka dakhkhAne lagatu kAI pitra cittamAM Utu hotu nathI, dAkhalA tarIke A vAkaya to : 'jyAM sudhI khAne tArika vicAraNAnuM svarUpa ta samaya...' A vAkaya kholatI veLA tenA dareka zabda dI! yu citra meTalanAranA manamAM heAAnuM kahI zakAze ? vANIvAramAM ApaNe vicArate abhivyakta

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ha. jI. mAcI karIne te gAmAne pacArIe chIe kharA, paNa vicAra ane arthane sIdhe tALe maLavavA jAM aneka muzkelI paDI jAya che. ane lagana nA abhigama ane vartanavAdI siddhAMta upara AdhAra rAkhe che. vANI vyavahAra veLAnI daya paristhiti uparathI arthanuM svarUpa samajavAnI te siddhAM AzA ra che, je paristhitimAM zabda prayojAya ane tethI zAtAnI je pratikriyA jovAmAM Ave te ja e zAne artha. A abhigamamAM paNa ghaNI muzkelI che. ekanA eka zabada maga vivitra pratikriyAo janmAvI zake cAthanA te kazI ja pratyakSa pratikriyA na janmAve. je prakAranA vananA saMdarbhamAM paga thAya che tene avAre arthanirNaya karavAnuM bahu A vAra zakaya che. tene have jJAna thayuM" ke "to sArI vAta jANI' ema belAya tyAre dhAtAnA pratibhAvane AdhAre nAnake "prANane artha kaI rIte nakakI thaI zake ? sAcI vAta e che ke jayAre I tAuparyukta abhigamathI ekeyano Adara kare che, tyAre hakIkatamAM to te jANavuM" zabdanA (ane tenA parathI sadhAyelA zabdonA) paganAM vividha pAsAMnI yAha karato ya che eTale jeTalA pramANamAM vibhAvonuM vidhinuM karyuM e tatvajJAnanuM mukhya kArya game teTalA pramANamAM te vipaga arthanI tapAsane AdhAre ja cAlI zakaze, ane arthanI tapAsa vALA vyavahAramAM te azu no vAcaka zabda kaI rIte vaparAya che-ka zarate nIce tenI vaparAza thatI hoya che-tenI tapAsane AdhAre ja thaI zakaze. paNa A rIte tapanAnanI samasyAone mULabhUta rIte bhASAnI samasyAo mAnanArA narvanAmAM paNa be pakSa che. eka pakSanA mata anusAra ApaNuM sAmAnya vyahAranI bhASA dhaLI, aspaSya, saMdigdha, nAnArtha, saMtati ane A kAraNe khoTe raste doranArI hevAthI tatvajJAnanA hetuo mATe te ayogya che. tenI A athatA ja badhI upAdhinuM mULa che. pariNAme tene barAbara sudhArIe ke samajIe te tattvajJAnanI samarayAe kAM te Ukalaze athavA to ogaLI jaze. A prakArano vicAra vaheto mUkI te anusAra tattvavicAra karanArAemAM kege ane rasa agraNI hatA. mUrano navavicAra paNa e dizAmAM puraskAraka banyo, paze ene sauthI vadhu prabhAvazALI puraskartA huM vinTAna. tenA prabhAva nIce tatvanAna tataH bhApati hovAne mata vanamAna briTiza-amerikI nA vicAramAM sarvopari banyo. tatAnanuM eka lakSa vAvanA svarUpane samajavAnuM che, ane bhASAnika tattvajJAnanA mate AnI cAvI ApaNane bhASAnI lANikatAonI tapAsa dvArA prApta thAya che. vidA nA AgalA (eTale ke " TrekaTeTasa ' mAne) na vicAra anusAra amuka vAkya vaDe amuka tathya nirdiSTa thAya che. eno artha e ke te vALanA baMdhAraNa ane tenA baMdhAraNa vacce kaLIka samAnatA che, jagata je tenuM baneluM che te dareka taba vastunI dapie amuka badhAraNa dharAvatuM hoya che. te ja pramANe, amuka tathane prastuta karatuM vAkaya .ne takaniSTha baMdhAraNu dharAvatuM hoya che, vAkapanA tarkaniSTha baMdhAraNa ane tayanA vAtunA miTha baMdhAraNanI vacce kazIka samAnatA hoya che. tenI tapAsa karavA karatAM tene prastuta karatA vAkyanI tapAsa karavI sahelI hovAthI vAstavanuM svarUpa samajavAne te ja

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arvAcIna tatvajJAnamAM bhAvicAra rAjamArga che, paraMtu vAkyanA badhAya dharmone te vAkaya kALa nirdi', ' ni nI laI zakAya tema nathI. tenA keTalAka dhame "AgaMtuka' ke vimAna dara dera kema che. temane AdhAre tArelAM jagatanA baMdhAraNa ne lagatAM anumAna saMgIna thI re eTale tatvajJAnanuM paheluM kArya eka kRtrima, tArdika bhASA ghaDI kADhavAnuM--adhara te nAnI bhUmikA racavAnuM-che. tarkasaMgata vAkayaracanA dharAvatI A kRtrima Adara ke bhASA dvArA ApaNe ravAbhAvika sAmAnya bhASAnI ukta badhI khAna ane te che ' sudhArI laI zakAze. A aMge evI zraddhA dharAvAya che ke enI mane te na ApaNe vAstavanA tAtvika baMdhAraNane lagatAM pAyAnAM tathA ukelI zakIza. vigeraka : pachI A paraMparAmAM kArnApa, kavAd, gumena vagere nA viziH kArya mAM che paNa bhASAniSTha tattvajJAnane tatvavicAnI sAcI dizA mAna ane te mATe sAmAnya bhASAvyavahAra para lakSa kendrita karo arvAcIna tatvajJAna boja eka ke "sAna bApAnA tatvo " tarIke oLakhAya che. teo evA mananA che ke sAmAnya kare : " jevI che tevI ja ThIka che, ane tatvajJAnanA hetu mATe paNa te "ba : : ke - che. tene sudhAravAnI ke kaI kRtrima tArdika bhAyA vaDI kADhavA mAmA karavAnI kaLI jarUra nathI. tattvavicAranI enAM mULa bhASAmAM che e vAta mara, paga, ma - ne nahIM, paNa tattvoe karelA bhASAnA durupayogane che. nandA kAna , " prathama kaMTAIne potAno vicAra calAve che, tethI ja muzkelIo mAda cheA prakAranI samajane AdhAre udaya pAmela tatvavicAra sAmAnya bhASAna'? te-nyatAna' 3 nAne oLakhAya che. enAM mULa vigezyAgnanA uttarakAlIna tatvavicAramAM (phimejika invesTigezanamAM prastuta tattvavicAramAM) che. te anusAra tattvajJAnanI badhI no te dhana kharI samasyAonA mULa tattvoe jANavuM', jevuM', "mukta', sAcuM', "sAma", "ka" vagere saMjJAone te sAmAnya rIte vaparAya che tenA karatAM jAdI ke TI rIte vAparI che, temAM rahelAM che. AthI tattva aneka aparivArya comA phasAyA che ane asAdhya karapraznonA-kRtaka praznonA-bega banyA che. jevA ke bIjA lokonA vicAra ke lAgaNI ApaNe jANI zakIe chIe kharA?' "ApaNe kharekhara ke bhautika padArtha kadI I e chIe kharA?" kadI koI mukatapaNe pravRtta thatuM hoya che kharuM?" "bhaviSyamAM gharanA kAma nahIM, paNa ema banaze evuM mAnavA ApaNI pAse kadI koI kAraNa hoya che kharuM ?' ItyAdi. taravAnI bhUla jANavuM". "jevu', 'mukta', "kAraNa vagere saMjJAo sAmA che je rIte vaparAya che tethI aLagA cAlavAmAM che. bhAjapane khakhara upavo ne che ane tattvajJo kayAM khoTA raste caDI gayA che tenI tapAsa karIe te 2. pra. * kRnakatA khullI paDI jAya. vilsananA mate navajJanuM kArya rimikanuM--vibhAvane 1 e che ke sA gUce dara karavAnuM che. A mATe zabdanA arthane barAbara tapAsa , bhAvaka amuka ne kaI rIte vApare che te tapAsavuM joIe. tattvavicAranI A paddhatine mAnya karanArAM be jUtha che: eka binanuM anu . ! jUtha. emAM viDama, bhAlakama, vAmana, enma keba vagerene thAya che ke -

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che. cU. bhAyANI kaphanA tattvajJAnuM jutha. temAM rAla, Tina tathA temanI pachInA TrAsana, hArTa, pazAyara, hera, umsa na vagerene samAveza thAya che. upara vigerAnanA bhASAviSayaka tattvavicAramAM pUrvakAlIna ane uttarakAlIna e. khUna bada pAne hAvAne ullekha karyo che. A dine thoDAka khyAla meLavavo e A vizvamAM Anika samayamAM AvelAM vaLAMkAne samajavA mATe jarUrI che. jema ke vicAranI sImAo AMkavAnuM kArya pitAne mAthe lIdheluM, tema vilhAne 1 .pAnI sImAo AMkavAnuM kArya potAne mAthe lIdheluM. 'TeTasamena taravavicAramAM tene jAta e hatI ke taniSTha vANI vyavahAra (factual discourse) nI maryAdAnI bahAra je kAMI che te bhASAmAM kahI zakAtuM nathI, paNa bhASA dvArA batAvI zakAya che. dharma ane AcAranItinAM satya anirvacanIya che : taniSTha bhASAnA mALakhAmAM te pakaDI zakAtAM nathI; temanuM tathalI vipaNa thaI zakatuM nathI. chatAM paNa bhASA mAraphata temanuM Akalana thaI zake che. vaLI tenuM bIjuM maMtavya evuM hatuM te vAstavanuM baMdhAraNa bhAvanA baMdhAraNanuM nirNAyaka hoya che, paNa pAyAnA A baneya vicAronI bAbatamAM philosophikala invedira. vAtamAM vigesTAnanA manamAM parivartana thayuM. temAM te vAratavane bhASAnuM nirNAyaka nahI paNa liTuM -bhApAne vAtavanI nirNAyaka--mAne che, kAraNake bhASA dvArA ja vastuo joI kAya che. jemAM pahelAM dhyaniSTha bhASAnuM ane dharma, nIti, kalAne lagatI bhASAnuM tArkika badhA ekasarakhuM hovAnuM ane pharaka uparaupara hoya topaNa tAtvika vileNuthI tenI ekanaH prakaTa karI zakAtI hovAnuM tenuM mAnavuM hatuM--uparanA bheda eka ja mULabhUta varatunA vividha paryAya hovAno tene mata hato. paNuM uttarakAlIna vicAraNAmAM bhASAnA vividha upane kazAka mULabhUta Atarika bhedonA AviSkAraka tarIke gaNavAno teno mata che. vividha prakAranA vyavahAranI bhASAonI vaccenI samAtanAe tAtvika nahIM, paNa vividha janatAnI vaccenI samAnatAnI jema spaSTapaNe na 5kaDI zakAya tevI che. AthI nirvacanIya ane anirvacanIyanI vacce sImArekhA doravAne badale bhASAnA vividha upayogo vacce sImArekhA deravAnuM kArya kendravartI bane che. A saMdarbhamAM vinAnanuM atyaMta prasiddha baneluM sa che : "artha nahIM, upaga pUche." Ama "artha eTale zuM ?' tenI tapAsanI sAcI dizA zabda kaI rIte vAparIe chIe, zabda vaDe ApaNe zuM karIe chIe tenI tapAsa hevAnuM svIkAravAmAM AvyuM. bhASAnA upayoganI A rItanI tapAsane tattvavicAranI sAcI dizA mAnanArA Adhunika tatAnAM be jUtha hovAne upara nirdeza karyo hato. temAMnuM eka jUtha- viTugenaTAnavAdI jaya amuka viziSTa tArika samasyAonA ukelamAM rasa dharAve che, jyAre bIjuM jUtha- AripharDanuM jUtha-sAmAnya bhASAnI pratyakSa vigatemAM ane temanA parathI sAmAnya tAtvika bapio bAMdhavAmAM vadhu rasa dharAve che. temanuM sutra che, tattvajJAna vAta karavAne nahIM, karavAno viSaya che." A paraMparAmAM thayelA osTine bhApA karI rIte kAma kare che te para UMDI jijJAsA dAkhavI che, tene te sAmAnya vANIvyavahAramAM eka zabda ane bIjA zabda vo, eka -

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arvAcIna navajJAnamAM bAthavicAra ukti ane bIjI ukti vacce je bheda hoya che tenI pAchaLa kaIka kAra hAya ja che. jo amuka zabdanA badhA prayogane lagatI hakIkata pUrepUrI bAnamAM laIne ja rahyAMka nAraNa kADhavAM joIe. bhASAnI prakRtimAM lAvavAno guNa le che : ne vadhumAM ja arthaviveka ochAmAM ochI sAmagrIthI sAdhatI hoya che. pariNAme che tevuM che. ' koI navatara bheda bahArathI dAkhala karavA jaze to tethI bhAlAnI karakasarata avasthA '. thaze-eka jagyAe karele pheraphAra keka bIjI jagyAnI Avazyaka che nava karaze. zabdabheda artha bhedane vAcaka hoya che. udAharaNa tarIke, aMgrejI look ke 1eem | taddana sAdA zabdone lagatA saghaLA rUDhiprayogo pitape tAnI sArthakatA dhakAve che bhASAnI tArkika sudhAraNA karavAnA taiAnA prayAsa niSphaLa javAnA. ma. : dhAma lAgatA avayavanuM chedana karavAthI samagra tatranI samatulA jokhamAze ane ne mATe - prANaghAtaka nIvaDaze sAmAnya bhASAniSTha tattavattAne taravivAranI je dRSTi ane paddhati = !. che to tenA viSaya ane vyApa ane keTalIka gaMbhIra samagyAo ubhI thaI chevibhAne tapAsa zabda kaI rIte vaparAya che tenI tapAsa dvArA karavAnI hoya, ane tenA e - kArya hoya to prazna e thAya ke tattvajJAna e bhAvijJAnane ja eka bhAga naI nI janma * jANavuM", "sAru, kAraNa, dhAravuM, sAcuM vagere zabdo je rIte para bhAra vaparAya che, je rIte vAkayomAM te prayojAya che tene lagatI kIkatonI tapAsa ane tA. e te bhASAvijJAnanuM kAryakSetra gaNAya. te pachI tattvajJAna ane bhAvitAna vacce che ! kayAM deravI ? vaLI arvAcIna bhASAvijJAne je A yaMta cAkasa nAsika vikAsa nigama vikasAvI che tenI sarakhAmaNImAM bhApAne tapAsavAnI tattvanI rIta ke navazikhAnI rIta hovAnI chApa nathI pADatI? A aMge atyAranA tavaMgAmAM ghaNe ume vAdavivAda pravata rahyo che, ane gherI kaTokaTInuM vAtAvaraNa dvAI gayuM che tattvajJAnI evI darzana che ke tattvajJAnanuM kArya koI paNa vidyAzAkhAnA viSayanI sAthe sIdhuM kAma pADavAnuM nahIM, paraMtu te te vidyAzAkhAnI viziSTa saMjJAone tapAsavAnuM che. AthI vijJAnanuM nannAna gaNitazAstranuM tattvajJAna, manovijJAnanuM tatvajJAna vagerenI jema bhASAvijJAnanuM tajajJAna e bhASAvijJAnathI alaga evo viya hoI zake, paraMtu A sAme vAMdho e levAya che ke saMjJAonI tapAsa-zabdone abhyAsa e te bhASAvijJAnane pitAne ja viSaya che, e jora tatvajJAna sajaja ke yogya hovAnuM zI rIte gaNavuM ? vaLI caTTInA Agamana pahelAnuM bhASAvijJAna-baMdhAraNIya bhASAvijJAna-bhASAne vani, rU5 ane vAtane svarUpa pUratuM maryAdita hatuM ane tethI arthatatvane vira tattanuM kSetra gaNIne ene vizAkhA vacce viSayavibhAga karI zakAya tema hatuM. paNa caMkInA uttarakAlIna bhArasiddhanamAM ne te pachInA "janereTiva semenTiphasarano puraskAra karatI vicAdazAmAM avicArI je 5 ne maLatuM thayuM che tenA pachI upayukata viSaSavibhAga mATe keTale avAi rahe che taka.Tha " siddhAMta ane custa paddhatithI sajaja evA bhASAvijJAnane ja have jApAnika - mArgadarzaka gaNavo joIe ane tenI patA. tapAsa paddhati lAyana thayelA ane A devI joIe evo keTalAkane mata che.

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ha cU. bhAyaNI bAjI dalIla evI karavAmAM Ave che ke bhASAprayogomAM baMnene rasa hevA chatAM bhASAvinAnI ane tatvajJAnInA kAryanuM lakSya juduM juduM che. bhASAvijJAnanuM kArya bhASake cittasAta karelA niyamAvalI ke je niyamAvalIne AdhAre te asaMkhya uktionuM nirmANa ane grahaNa karI zake che te niyamAvalInI purghaTanA karavAnuM che. vaLI te vyaktigata ane sAmAjika 14 na na bhAjapanA prabhAva, bhASAzikSaNa, yAtrika anuvAda vagere viSa agenI samaja ane riddhi pAmavA maLe che. sAmI bAju tatvajJAnanuM lakSya saMjJAonA arthanuM rapaSTIkaraNa karavAnuM ane bhASAnA upayogane samajavAnuM che. tattvajJAnane bhASAvijJAna taraphathI je AhavAna maLyuM che na nanA projana paratve nahIM paNa Adhunika bhASAvicAranI paddhani para che, bhASAvijJAne vAkayaracanA ane arthatattvane lagate je siddhAMta vikAsAvyo che te lakSamAM lIdhA vinA nara nAnane cAle tema nathI ema keTalAkanuM mAnavuM che. trIjI vAta evI karavAmAM Ave che ke tattvajJAnane bhASAnA upayoga(use)mA ke 'vANI'mAM sa che, jayAre bhASAvijJAnane bhASAnA prayoga( usage)mAM ke "bhASA ' mAM rasa che, nA bolanAro bhApAno upayoga kazuMka karavA mATe kare che : nivedana karavA, cetavavA, dAkI, cana vagere ApavA ke hukama, vinaMtI vagere karavA. tatvajJane zabadano amuka kArya mATe amuka zana nIce upaga tapAsavAno che, jyAre bhASAvijJAnIne te upayoga mATe kAmamAM AvatA zabada tapAsavAno che. paraMtu sTina prayogane tenA upayoga sAthe gaka saMbaMdha hovAnuM tathA bhASAvijJAnanA vikAsa sAthe tattvajJAna tenuM aMga banI javAnuM mAne che. zabdanA upayoganI jhINavaTabharI tapAsa mATe sTinanA nibaMdha "hAu Tu Du ziMjha vidha varDa' ane e paddhI phera eskayujhi' tathA rAlDa, kipha vagerenI volanTarI', yujha', guDa vagerenI carcA A daSTie ghAtaka che. velarane te sAmAnya bhASAnA tattvajJAthI riTana sudhInI paraMparAmAM je vilepazupaddhati vikasI tenuM ja svAbhAvika anusaMdhAna Adhunika bhASAvijJAnanI vizleSaNapaddhati pUruM pADe che. A uparAMta paNa sAmAnya bhASAniSTha tatvajJAnanI viSaya tema ja paddhatinI dRSTie bIjI keTalIka TIkA thaI che. e vicAradhArA dharAvatA tattvae paddhatimUlaka ke saiddhAMtika carcA sAmAnya rIte TALI hovAnuM temanA para doSAropaNa thayuM che, joke rAste tathA potAnA kArya dhArA oNsTine e TIkAono pratikAra karavA keTalAka prayAsa karyo che. mukhya muzkelI bhASAne sAmAnya kayAre gaNavA? "upayogane sAmAnya kyAre gaNavo ? artha karavAmAM matabheda paDe tyAM tene nikAla zene AdhAre karavo ? - e bAbatone lagatI che. kevele keTaleka bacAva karyo che. paNa tyAM te hamaNuM hamaNAM bhASAvijJAnIo taraphathI je uca ane jokhamI hale Avyo che tethI bhASAniSTha tattvajJomAM bhAre khaLabhaLATa ane phaphaDATa macI gayo che. - sAmAnya bhAniSTha jJAnanI paddhatinI je sauthI vadhu vajUdavALI khAmI che te e che ke vibhAvavizleSaNanA AdhAra tarIke temanI pAse koI vyApaka, susaMdhaTita bhASAsiddhAMta nathI, temanI pAse artha eTale upayoga" vagere jevAM thoDAMka sUtro ja che. uparyukta sUtranuM tAtparya ApaNe upara joyuM tema e che ke zabdano artha, tene lagatI keAI mAnasika pratimAnI. aMtaramAM tapAsa karavAthI nathI maLata; athavA to tene anurUpa keAI vAstavika tattanI

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vAMcIna tavAnamAM jAvAvicAra pachI te amUrta hoya ke mUrta, mAnasika hoya ke bhautika, viziSTa che ke sAmAnya-tana tapAsa karavAthI paNa nathI maLatuM; te mATe te bhASAmAM te zabda kharekhara ka rIte vaparAya che te sAvadhAnIthI tapAsavuM joIe. arthavicArane lagatA vijJAnavA idealist , pratyakSa anubhavavAdI ke TrekaTasamAM che te prakAranA pakSamAMthI chUTavA mATe A upavAsavAda siddhAMta ghaNe upANI hatuM. ane have jene bhopAni's tattvajJAnane prakALa javAnAM Ave che (eTale ke bIjA vizvayuddhathI 1963-64 sudhI mAM che te daramiyAna mAtAprayogonI sUkSma arthachAyAo ane artho para ghA jhINI najara kAma thayuM che. 1 paNa sAcI, paraMtu AvI tAravaNI dvArA prApta thayelI hakItina upayogamAM lai nAMnuM saiddhAMtika mALakhuM vikasAvavAnI dizAmAM bhAgye ja kazuM thayuM. eninuM, AraTananuM che hAusaholDaranuM kArya A dizAmAM AgaLa vadhavAnA cheka mulyavAna sakana ApavAthI vadhu AgaLa jatuM nathI. vizleSaNanA ojAra tarIke upayoga ne khyAla 14 de te tethI jAtajAtanA gUMcavADA ubhA thavA lAgyA. A saMjogomAM hamaNAM sahuM tenA ' pIca ephasamAM eka vyApaka siddhAMta rajU karavAnI dizAmAM je dhaDIka gati karI che, tethI sArI evI AzA janmI che. A bAbata ApaNe AgaLa joIzuM. te pahelA yAna mA - vijJAnamAM jenA vicArothI kAMti prakarI che te cokIne bhASAvicAra nar nAna mATe keTalI praratuta che te jarA ahIM joIe, cokIne mate bhASAvijJAna, manovijJAna ane tattvajJAna have judI judI nAma zAkhAo rahI nahIM zake. tava ane bhASAvijJAnIonI paddhatio tathA vicAro eTalAM badhAM samAna che ke ekanA viSayamAM kAma thayelI navanavI dariTAnI AjanA viSayamAM avagaNanA karavI paDe tema nathI. bhASAvinAzanA keTalAka vimA riNiya tattvajJAna mATe ThIkaThIka upayogI thaI zake tema che, te sAme pakSe artha ane vaparAza prazna paratve bhASAvijJAnIne tavA pAsethI ghaNuM jANuvAnuM maLe. bhASAvijJAnanI tavajJAna mATe keTalI prastutatA che tene nirNaya bhASAnI prati kevI che ? bhASA kaI rIte vaparAya che ane samajAya che ?" bhASAne prApta karavAne pA kare che?" vagere prazno tapAsIne temane AdhAre ja karI zakAya. coskI mAne che ke bhASAvijJAna ane taravajJAna ekabIjAnI najIka AvyAM hovA chatAM, ane keTalIka mahatnI nAbatamAM temanA navA nijha parasparane mATe dyotaka hevA ktAM, temanAM kSetro niranirALAM che. bhASAvijJAnIne amuka zabdamAM je rasa che te te zabdathI vyakta thatA vimA ke vaktavyane kANe nahIM, paNa bhASAnI prakRtine lagatI keTalIka dhAraNAo mATe te purA para pADe che te kAraNe. paNa tattvone "jANavuM', "kAraNa" vagere vibhAvane kAraNe bhASAmAM rasa che, A jAtanI tapAsamAM jene rasa hoya tene bhASAsiddhAMtane tapAsavAnA hetuthI ekaThI karelI sAmagrImAMthI bhAgye ja kazuM zIkhavAnuM maLe. paNa bIjI bAju, jJAna kaI rIte prApta thAya che, ane jJAnanuM ravarUpa cittanI keTalIka sarvasAmAnya lAkSaNikatAothI kaI rIte niyata thAya che te prazno pUtAM bhASAvijJAnanA tAraNo tane jarUra upayogI thAya caskInA bhASAsiddhAMtamAM anacittanA kAna

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1. 6. cuM. bhAyANI bApA vize je navA saMketa tarapha dhyAna doravAmAM AvyuM che, je " pasaMyuala moDela" ane 'laniMga moDela' prastuta karAyA che te nestanAne mATe ghaNA upayogI nIvaDe tema che, manuSyane cAkIne jela buddhivAdanI tarapheNa kare ane pratyakSavAdane virodhI che. pratyavAdIo manuSyanuM pAna ane vartana tenA parivArathI pUrNa paNe niyata thayeluM mAne che ane e daSTie teo mana tha ane itara prANI o vacce, athavA to prANIo ane yaMtro ka ja taphAvata hovAnuM mAnatA nathI. paraMtu cAkI manuSyamAM evI keTalIka viziSTa zanio (jemane " citta " evuM nAma ApI zakIe) hevAnuM mAne che-ene ja kAraNe manu mukta vatana karavAnuM sAmarthya dharAve che ane jJAna prApta karavAmAM paNa e pAyAne bhAga bhajave che. cAskInI vicAraNA pramANe bhASA e manuSyanI AgavI zakti che, ane vicAravyApAra mATe te anivArya che. te mAne che ke mAnavabhASAo vacce bhinnatA uparachalI ane samAnatA talagAmI che. bhASAomAM keTalAka varatugata tema ja svarUpagata sArvatrika dharmo che jene AdhAre ApaNe sArvatrika vyAkaraNa ke sarva bhASAonA keI sAmAnya vyAkaraNane khyAla meLavI zakIe. dharmonI A sArvatrikatAne khulAse manuSyamAM bhASAne lagatI AgavI zakti levAnuM mAnIe to ja ApI zakAya. bALakamAM sArvatrika siddhAMtonuM janmadatta jJAna hoya te ja pote sAMbhaLelAM gaNatara vAkya uparathI te asaMkhya navAM vAkya racI zake. A siddhAMte mAnavacittane ja eka aMza hovA joIe. A bAbatamAM cAlkI kartAnA janmasiddha vicAro nI, ane laTo sudhI pahoMcatI buddhitavavAdI paraMparAnI yAda Ape che coskInA bhASAsiddhAMtamAM A rIte bhASAprAptine lagatA tathA bhASAnA vastulakSI ane svarUpalakSI sArvatrika dhamene lagatA je niSkarSa tAravavAmAM AvyA che temanuM tAttvika vicAra mATe sAruM evuM mahattva che. paNa bhASika tarajJAnane lagato eka vyavasthita siddhAMta vikasAvavAnI dizAmAM hamaNAM eka madhavane prayAsa sarje karyo che. tenA prayAsanI pUrvabhUmikA ApaNe joI laIe. hegalanI paraMparA pramANenA tatvavicAthI-meTephijhiksathI-mukta thavAnI vRttine pariNAme veriphikezana upara pratyakSa saMvAditA upara) AdhAra rAkhato arthasiddhAMta arvAcIna tatvavicAramAM pracalita thayo. AthI vinAnanuM tatvajJAna ane gaNitazAstranA mULa AdhAramAtra e be kSetromAM karavAmAM AvAM vidhAnane ja arthavALAM vidhAno gaNavAmAM AvatAM. tatvavivA, dharma, soMdaryazAstra, AcAranIti, tema ja nityane vyavahAranAM kSetromAM thatAM vidhAnane arthahIna ke vyartha gaNavAmAM AvatAM. AvaDA jabara pradezane tattvavicAramAMthI bAtala karavAnI paristhiti aMge sauthI prathama saciMta bananAra tattvajJa vinsTana hato. pravakSa karIne AdhAre jemane dhyAnadhyanirNaya thaI zake tevAM vidhAne, "eneliTika' vidhAne athavA te vyApAtI vidhAna karavA uparAMta ApaNe anya kAryo karavA mATe paNa bhASA vAparatA hoIe chIe e bAbata tara-mAvAnA vividha upaga taraka-teNe ApaNuM dhyAna deyu.

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acI ta:vajJAnamAM ubhA pAvicAra R riTane A ja viSayanI vicAraNuM AgaLa calAve, sane "vA . upara.' ane "pAyane udgAra ("aransa') ene vacce baMda karelA. vidrAne ekane karavuM tarIke gaNI zakAya e vAta tarapha dhyAna deryuM hatuM. bolavAne bUka karatA kema na belavAmAM ke bolavA vaMDa paNa leke kazuMka karatA hovAnuM kahI zako. a ne e ja "hAu Tu Du ciMjha vidha varDajha ' A muddAne AdhAre cAle che, rakhacaMda ka , ghaNA ja maLatA AvatA je keTalAka zabda tattvacAnA udhane vira nA 1 nenanuM va hakIkatamAM rahelA baMdanI tapAsa oni hAtha dharI, ane aMgreja kanow, ke sure, be cctrain vagere vagaeNne baMda jhavaTathI prastuta karI. e manana mAnavuM hatuM ke zabdonA A prakAranA custa adhyayana vinA ke paga pake asidha na mAM ja AdhApITha nahIM pUruM pADI zakAya. bhASAno upayoga ApaNe AjJA karavA, zAsana calAvavA vinaMtI kA, vaca a.papa, AzA ke dhAraNA rAkhavA, cetavaNI ApavA vagere mATe karIe chIe, ane A kAma karavA mATe vaparAtAM vAkayone ApaNe nIyA dayanA dhoraNathI ke judA ja . nA chIe. aisTine AvAM vAkayAne prathama "takarma pAka pavi ) vA ke, kema ke je kArya vAkyanA mukhya kriyApadathI sucavAya che "vana ApavuM"mAga ne te kAnAM ja te vAko pate aMgabhUta che. tathAnadhyane ghaNe jemane pAmI zakAya vAkAne oNsTine kenTeTiva' kahI paNa pAchaLanA samayamAM tene lAgyuM ke A na karI tema nathI. tadhyAtathyaparaka vAkya paNa anya kArya karavA mATe vaparAtAM hoya che. artha orisTane besavuM eTale kazuMka karavuM e vAta upara bhAra mUkavA mATe uparyukta ane prakArane eka ja vargamAM samAvIne tene "ilekayuzanarI ephaTsa' evuM nAma ApyuM. kaI paNa vAya. prakRtithI "parphormeTiva' ke " Tiva nathI hatuM. eka artha te vAvanA nA upayoga AdhAra rAkhe che. aiTinanI A daSTimAMthI siddhAtanAM je kaTakATaka kha te upagamAM laIne sale potAne "vAkane siddhAMta' ghaDo. sa riTananI keTalIka saMna ane sUtrono upayoga kare che kharA, paNa sarjanuM prayojana judu che. jelavAna anuka aMzane je anivArya ane paryApta zarate nIce "ilekazanarI phara' (anivAdhika kama kahI zakAya te zaratene te tAravavA mAge che. AvI zaratone AdhAre sAluM saMbhavataH 'I paNa adhivAcika karmane caNiyArA samAM dareka kriyApada ke zabagurainA upavA mATe niyamo tAravavAnI AzA rAkhe che, ane chevaTe temane adhAre vAyukarmonA vyApaka siddha nuM nirmANa karavAnuM tenuM lakSya hoya tema lAge che. | sarvanA pustaka spica eNphanuM upazIrSaka che? bhASAnA taphAnane eka nibaMdha sarla bhASAniSTha tattarajJAna", "bhApAnuM tatvajJAna' ane 'bhASAvijJAna' e travane judAjudA viSaya gaNe che temanA mate bhASAniSTha tattvajJAna amuka bhADAmAM amuka zabda, uktio vagerenA sAmAnyapaNe thatA upayogane dhyAnamAM laIne viziSTa nAstika samaya e ukelavA prayAsa kare che. epharapharDa jUthanuM sAmAnya bhASAniSTha tatvajJAna A prakAranuM che, te eka viziSTa pAsapaddhati che. bIjI bAju bhASAnA tarajJAtanuM ja nide, azva, artha, AvazyaktA vagere jevAM pAnAM daTalAMka sAmAnya lAkSaNiko para prakAza paravAnuM

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ja. 1. bhAyANI che. te kharekhara thatA bhASAprayogA upara paNa dhyAna ApavAnI paddhati akhatyAra kare che kharuM, paNa e kArya tene mATe Anu gika che. bhASAnuM tattvajJAna eka viSaya che, ane riparA aM" e bhASAnA tatvajJAnanuM purataka che. bIjI bAju bhASAvijJAna -sargika mAnavIya bhASAonAM baMdhAraNone-vanibaMdhAraNa, vAkaLa dhAraNa ane ardhabaMdhAraNane varNave che. bhADAnA tatvajJAnane sAmagrI taisargika bhASAonI pAsethI prApta thAya che, paNa sAcuM eTale zuM ?" - nivedana eTale zu." "vacana eTale zuM vagerene lagatAM tenAM kAraNe koI paNa zakanI bhASA mATe hoya che. " spica ekaTsa ' bhASAone lagatA nahIM, paNa bhASAne lagata nibaMdha che garlane mate bhASA dvArA thatA sarva sa dezAvyavahAramAM vAdakarmo samAviSTa hoya che. bhASAvyavahArane ekama zabda ke vAkya nathI, paNa vAkarma karatAM amuka zarato nIce ugArAnuM vAkya che. bhASA bolavI eTale vANakarmo karavAM ane bhAyAvyavahAra e amuka Azaya ke prayojanathI thatuM eka niyamazAsita vartana hAIne A vAkakarmo bhASAsAmagrInA upayoga mATenA amuka niyamane adhIna rahIne thaI zakatA hoya che. vANI vyavahAramAM jyAre amukvAnya udagArAya che tyAre tenAthI vividha vAkarma karAtAM hoya che. vAkya bolavAmAM (1) zabdo uccArAyA che eTale ke uccAraNakarma thAya che; (2) kazAkanuM vidhAna karavAmAM Ave che-eTale ke vidhAnakarma thAya che; (3) kazuMka kahevAya che, prazna karAya che, AjJA karAya che, vacana apAya che vagere-adhivAcika karmo thAya che. uparAMta (4) amuka pariNAma ke prabhAva zrotA upara paDate heAya che-tene samajAvAya, khAtarI karAvAya, gabharAvAya, vagere : eTale ke vAyAprerita karmo (perlocutionary acts) thAya che. bhASA bolavI aTale niyamAdhIna karmo karavA ema upara kahyuM che. A niyamo niyaMtraka (regulative) nahIM, paNa saMvidhAyaka (constitutive) hoya che. koI paNa bhASAnuM arthabaMdhAraNa, eTale te bhASAnI bhItaranI saMvidhAyaka niyamAvalanuM rUDhi anusAra prakaTIkaraNa ke sAkSAtkAra (realization), ane vAka eTale A niyamane adhIna rahIne belAtI uktio dvArA karAtAM lAkSaNika karmo. A niyamAvalinI tAravaNI koI amuka ja bhASA bolavAmAM anusmRti viziSTa para parAonI sAthe saMbaddha na hovAthI A prakAranI gapaNa bhAvinAnathI judI paDe che, kAraNake bhASAne bhAvabhASAone pratyakSa baMdhAraNe tapAsavAnAM hoya che. AthI vAkayAne abhyAsa e vAphakanA abhyAsathI bhinna nathI yogya rIte jotAM baMne eka ja prakArano abhyAsa hevAnuM jaNAze. te be judAM judAM dRSTibiMduthI thatA eka ja abhyAsanAM be pAsAM che. samakAlIna bhASAtattvajJAnamAM be valaNa joI zakAya che. eka valaNa vANI vyavahAranI paristhitimAM prajAtI uktionA upayogane anulakSe che, to bIjuM vAkayonA arthane anulakSe che. paheluM valaNa vidrageTananA uttarakAlIna tatvavicAramAM ane bIjuM tenA pUrvakAlIna tatvavicAramAM joI zakAya che. paNa A be abhigamo paraspara visaMgata nahIM paNa pUraka che bIjA abhigamamAM lAkSaNika rIte puchAtA prazna che: vAkyanA ghaTakonA artha samagra vAkyanA arthane kaI rIte nirNAyaka hoya che? tyAre pahelA agimane lAkSaNika prazna che : "amuka ukti belAya tyAre vakatA yA vividha vAka

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arvAcIna tatvamAM bhAvimA karato hoya che? saMpUrNa bhASAnavajJAnane mATe A baMne praznonA uttara bhAvaka che, ane e baMne pakSo ekabIjA sAthe saMbaddha che. sarvane (ane erikana nA kAkA bIna vigesTAmbana) arthasihana bhAine eka saMsthAkIya taw institutional faci) gaNavA upara AdhArita che, ane tene prakRtivAdI arthasiddhAMta mA virala arvAcIna bhASAtatvazAne prApta karela eka mUlyavAna ni kaba e che ke sAmAnya pAribhASika vibhAthI e rIte judA paDe che ke te mukAbale ri iTela - 1 niyamane adhIne haitA nathI. je vividha mAM te vaparAya che temane varSa mAnA jevuM sAmya hoya che, paNa tene artha e nathI ke temanuM tAvika vizvanuM pradAna che. amuka vAkaya samajavuM eTale tene artha ja. vAkayane aniSathI bina thayeluM hoya che ane e niyama kaI te nIce vAkaya belAnuM ja che ane vALane zA tarIke levAnuM hoya che te darzAve che. huM vAkaya besuM chuM ane aneka arthamAM ne chuM tene artha e ke (1) amuka niyamathI rzAvAtI je amuka paristhiti pravarte che tenAthI zrotAne jANItA karavAne mAro Azaya che; (2) mAre A Azaya thavAne tenI jAva ! huM ukta bAbatamAM tene jANa karavA mAguM chuM: (3) vAvelA vAkaya mATenA vinA tenA jJAnanA baLe tene ukta bAbatamAM huM jAte karavA mAguM pU. A saMta zrotA ra amuka adhivAcika prabhAva utpana karavAnuM prayojana siddha karavA mATe vAka eka paraMparAnA sAdhana pUruM pADe che. paraMparAgata eTalA mATe ke artha e vakatAnA asayanI tema ja rUDhinI bAbata che. | sarlanA mate vAyukarmone tene siddhAMta e bhAvAsiddhAMta ane karmasihAMtanuM mizanarI, kemake belivuM e eka prakAranuM niyamazAsita vartana Ine bApAsiddhAMta e karmalitAna no ja eka bhAga gaNAya. vaLI vAkayenA ane abhyAsa ane karatAM vaphA anAma evA be prakAranA taddana alaga abhyAsakSetro nathI. "amuka vAkayanuM amuka saMdarbhamAM vAmamAM uccAraNa karavAthI amuka vArma thAya--e sarjana vADapArSanA bALakane eka rAga che, ane sAthosAtha "evuM vAkaya che je amuka saMdarbhamAM bolAtAM, te : ane zabda amuka vAkarma siddha kare che"e sarvanA vAyukarmanA khyAlane eka bhAga che. vA, uccArAtAM thatAM vArma vAkyAne laIne ja thAya che. je kahevAyuM che tenA karatAM vadhu abhipreta levAnuM bane, paNa siddhAMta pUratuM je kAMI abhipreta che te kI TakAnuM ni che. pUrNa vAkya e adhivAcika karmanuM vyAkaraNa svarUpa che-pachI e koya eka ravadanuM baneluM paNa hoya. vidhAnakarma alagapaNe nathI karI zakAtuM. avizi. kamane mAre che te thatuM hoya che. mAtra nirdeza ke vidhAna na karI zakAya tenI sAthosAya kazuM pratibiMba karAya, puchAya, vinaMtI karAya che evuM bIjuM adhivAcika karma jAya ja, nideza nuM vAkya kazuM kahetuM hoya te ja te nirdeza karatuM gaNAya. bIjI rIte kahIe, te adhivA ka ne temanI vidhAnasAmagrI hamezAM sahavartI heya che, paNa e to ApaNe temano ekabIjAthI alagapaNe vicAra jarUra karI zakIe.

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14 hu, yU bhAyANI ghaNAM vAkayamAM (1) vAkya dvArA je vidhAna thAya che te, ane (2) vAkyanuM kArya savanI yukti-ema be bhAge hoya che. kAryasUcaka yukti vAkyane kaI rIte levAnuM hoya che te darzAve che --eTale tenuM adhivAcaka tAtparya zuM che, athavA to e vAkaya balavAmAM bhApaka kapa ravivAdika karma kare che te darzAve che. zabdano krama, pAra, kApha, virAma, kriyApadane che.vaprakAra mood) ane nakarmaparakatA-darzaka kriyApade e AvI kAryasUcaka yuktio che. vI vyavahAramAM ghaNI vAra to kevaLa saMdarbha ja spaSTa karI Ape che ke vAkyanuM adhivAcika tApa zuM che, te mATe kazI judI kAryasUcaka yukitanI jarUra rahetI nathI. "mAru ama kahevuM che ke..", "mArI vinaMtI che ke..', "huM chuM chuM ke..", "hu vacana ApuM chuM ke..", "huM tamane cetavaNI Apu chuM ke...' vagere kAryasUcaka kriyApada dharAve che. - viTAna ane ausTinanI jema saluM ane saMsthAkIya tathyanA saMdarbhamAM tapAsavAnA matanA che, ane e kAraNe temano mata uttejanA-pratikriyA para AdhArita arthasiddhAMtathI judo paDe che. zrAe arthanA svarUpa vize je siddhAMta Apyo te ghaTatA pheraphAra sAthe svIkArIne le avivAcika karmonI pitAnI vizleSaNa paddhati vikasAvI che. e anusAra te aMgrejI zabda promisenA vaparAzane adhAre, vacana ApavAnA adhivAcika karmanuM savistara vikSepaNa karI batAve che, ane e ja rIte request, question, thank, advise, warn, greet vagere kaI zarato nIce vaparAya che te saMkSepamAM sUcave che. vidhAnakarmanuM svarUpa spaSTa karavA nirdeza ane vidhAnane vAyukarmo tarIke tapAse che. sanA mate samakAlIna bhASika tattvavicAranI khAmIonA mULamAM koI vyApaka risaratano abhAva hovAnI hakIkata rahelI che, ane spica eNphasamAM sarjano prayAsa Avo siddhAMta pUro pADavAnA zrIgaNeza mAMDavAne che. anI vicAraNAnuM mUlyAMkana karatA elisa kelara kahe che ke sarva pitAnA vizleSaNane pite prastuta karelA vyApaka siddhAMtanI sAthe joDI ApatA nathI. tenA mate sane vAkUkarmane khyAla kADhe che, ane "bhASA belavI eTale zuM " e samajavA mATe te bahu prastuta lAge tevo paNa nathI. sarla bhASAne siddhAMta e karmasiddhAMtane eka bhAga hovAnuM kahe che, kema ke vANI e vartanano ja eka bhAga che. paNa je vAphaka sarve jevA tAravI batAvyA che tevA niyamothI zAsita hoya to temane kA arthamAM vartananA prakAra tarIke lekhavA te samajAya tema nathI; ane UlaTuM, je vAka vartananA ja prakAra hoya, to sale tAravelA niyamo tenuM je rIte zAsana kare che te samajavuM muzkela che. traNa judAM judAM vAkukama gaNAvavAne badale sarSe udagArakarma ane vidhAnakarma e bene adhivAcikakarmanAM pAsAM gayAM hatA te vadhu spaSTatA thAta. artha kevaLa vidhAnAtmaka nathI, cetavaNI, prazna vagere darzAvatAM vAkaya paNa sArthaka vAkaye che ema mAnanAra mATe vidhAno jene eka prakAra hoya te vyApaka varga sthApa jarUrI bane che. osTine te mATe vAphakamene khyAla rajU karyo. sale te mATenuM saiddhAMtika mALakhuM UbhuM karavAnuM mAthe lIdhuM che. paNa "ka "mAM halanacalana ane Azaya apekSita hoya che. sarvAnA siddhAMtamAM mukelI e che ke adhivAcika karma ane vidhAnakarma AzayavALAM che, niyama

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avaoNcIna tarajJAnamAM bhASAvicAra zAsita che, paNa temanI sAthe halanacalane sAMkaLI zakAya tema nathI; te ja " ugArakarmamAM halanacalana che, paNa te niyamazAsita nathI. Azayukta " karma (act) vartana kathA arthamAM gaNavuM e eka moTo prazna che. kelarane mate "pica ekama mAM bhASAsiddhAMta vizenA eka rasaprada pustaka mATenI kAcI sAmagrI jarUra che jenAthI A ne kevaLa zabda vAparIne ja zuM karI zakIe ?' e prazna para mUlyavAna prakAra nI zake. * AdhArabhUta saMdarbhe E. Cassirer : The Philosophy Symbolic Forms, Vol. I, Language (aMgrejI anuvAda, 1956) P. Grice : Meaning, Philosophical Reviews and 19pa7, 57 377-388) K. Kunjunni Raja : Indian Theory of Meaning (1235; W. P. Alston : Philosophy of Language (746x) V.C. Chappell (Ed.): Ordinary Language (146x) M. Black (Ed.) : Philosophy in America (1965) N. Chomsky : Aspects of the Theory of Syntar (zesu) : Language and Mind (vistArita AvRtti, 1972) R. Rorty (Ed.) : The Linguistic Turn (1635) G. Pitcher (Ed.) : Wittgenstein (The Philosophical In vestigations) (1970nuM puna J. Lyons * Chomsky (166) J. R Searle : Speech Acts (nebeg yan ay) te pojhivijhama ane eliTikala' tatvajJAna-ta vicAranA e saMpadAne anu kSIne ja A paricaya apAya che. astivavAda, phinominala ke pIvAya navavicAranI paraMparA no bhASAvicAra ahIMnI viSayamayadAnI bahAra gaNe che,

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16 - ha. yU, bhAyANuM D. Pears A, Koller : Wittgenstein (1971) : Review of Searle's Speech Acts', Lan guage (46-1, mArca 1970, pR. 217-228) Philosophy and Linguistics (1971) : Review of Chomsky's "Language and Mind' Language (49-2, jUna 1973, pR. 453-464.) * C. Lyas (Ed.) G. Harman * yA yAna moTe bhAge te uparanA saMdarbhomAMthI keTalAkane khaDonA anuvAdane ke huM tane gUMthI laIne taiyAra kareluM che.'

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lethalaH bhAratanI nagara-saMskRtinuM agraNI Adi kendra rase jamInadAra prAstAvika IsunI vIsamI sadInI vIzI-trIzI daramiyAna aMgreja zodhanA prayane kAraNe bhAratanI Ada-aitihAsika sa kRtine Alekhana mATenI ati mahattavanI zodha thaI hatI. zodhake hatA sara jona mArzala, De. arnesTa meke, haragIjha vagere. sakriya bhAratIya purAvide hatA rA.ba. dayArAma sAhANI, ka.ne. dIkSita, mAdhe sarUpa vasa, zodha hatI siMdhu saMskRtinI. mukhya kendro hatAM haDappA ane mohejo-daDe. A zodhane pariNAme bhAratIya itihAsanA AlekhananI javAmAM AmUla pheraphAra thaye. AthI jagatanI prAcInatama saMskRtinA nirUpaNamAM bhAratanuM sthAna nizcita thayuM. vizva sarakRtinAM keTalAMka sarjanamAM te bhAratane phALo ananya rahyo : vastravATa, gaTarAjanA, bhaThThImAM pakavelAM mRtapAtro, lekazAhI paddhatinI vahIvaTI vyavasthA vagere. paraMtu 1947mAM bhAratIya upakhaMDanuM dizAkhana thatAM siMdhu khINa saMskRtinAM badhAM ja kendro bhaugolika dRSTie pAkistAnamAM gayAM. bhArata AdyaaitihAsika saMskRtiviheNuM banyuM. bhAratIya purAvidee A kSati dUra karavAnA prayatna AraMbhyA. Ama te, cheka 1931mAM te bAMdhavAnA kAraNasara surendranagara jillAnA raMgapura gAmethI citrita mRtpAtrone meTo ja hAtha lAgyo hato, tyAre ja siMdhu saMskRtinA dakSiNa vitaraNanI bhALa maLI gaI hatI, A mRtpAtro haDappA ane mohejo-daDenA prakAranAM jaNAyAM hatAM. Ane AdhAre "bhAratIya purAvatuM sarvekSaNanA adhikArIoe bhAratanA eka prAkRtika ekama gujarAtamAM siMdhu saMskRtinI vasAhata hovAne dAvo karyo hato, 1934mAM. vyavasthita utpanana dvArA prApta thayelI cIjonA parIkSaNane AdhAre raMgapura siMdhu khINa saMrakatinuM eka agraNI kendra jAhera thayuM hatuM. Ama bhAgalA pUrve jANe bhAvina sAMketika eMdhANa raMgapure pUruM pADavAM hatAM. ' che. paraMtu bhAratanA bhAgalAe bhAratIya purAvidezamAM siMdhu saMskRtinAM kendra gumAvatAM ajaMpa vadhAryo. A ajapo phaLadAyI nIvaDyo ane rathaLatapAsa vaDe ekalA gujarAtamAMthI se - jeTalAM siMdhu vasAhatanAM kendro zodhAyAM. AnuM zreya bhUtapUrva muMI rAjyanA purAtatva khAtAne phALe jAya che, jeNe 1954thI 1966 daramiyAna A kArya hAtha dhareluM. AmarI, lAkhAbAvaLa,, prabhAsa seminAtha, rojhaDI vagere mahattvanAM kendro hatAM, AmAM sauthI moTuM ane agatyanuM, mathaka hatuM, jethala. . .

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raseza jamInadAra lothalanI zodha A sthaLa amadAvAdathI Azare 90 ki.mI. dUra dhoLakA tAlukAnA sagavAlA gAmanI sImamAM Avela che. A kathAnI zodha thI zikArapura ganAya rAve (yAre bhAratIya purAvatu viga'nA pazcima- tuM ne vaDA ane hAla dvi-pazcima vartuLanA vaDA) 1954nA navembaramAM karI hatI. 1954 55thI 1961-6 daramiyAna A TIMbAnuM utakhanana kArya emane kahyuM hatuM. ukhanana kAryanI sAthe sAthe prApta thatI jatI cIjonA saMdarbhamAM chUTaka dUka mAhitI vRttapatronA, sAmayikomAM ane zodhapatramAM prasiddha thatI hatI hanI 1962 mAM ukhanana kArya pUru thatAM be-eka varSa mAM ene vistRta adhikRta ahevAla prasiddha thaze evI dhArA hatI. paraMtu sarakArI vahIvaTI taMtranI jaTilatAne kAraNe A mahAna zodhano vAla paNa abhaIbdha banI rahyo. zrI rAva paNa pitAnI te pachInI anya ukhanita ttimAM rokAyelA rahetA hoI enI prasiddhi vize dhyAna ApI zakyA nahIM hoya ema mAnavuM rahyuM. A zodha daramiyAna prApta IrI dIvAle bauddhika saMvAdane mokaLuM medAna puruM pADayuM. zrI rAvanA mate A I TarI dhakko baMdarano hatA. anya vidvAne ene taLAvanI pALa tarIke oLakhAvatA rahyA. AthI A gedhanA adhikRta ahevAlanI prasiddhi anivArya hatI graMthanI bAMdhaNI Akhare lAMbA samayanI mAMge mUrta varUpa dhAraNa karyuM ane zrI rAve eziyA pableiziganA sogathI ahevAla bahAra pADavo.* zrI rAvane A pustakamAM kula soLa prakaraNo che: (1) prastAvanA: (2) siMdhu khINa saMskRti-kendrIya vistAra(3) siMdhu khINa saMskRti-pUrvIya ane pazcimI vistAra (balucistAna, rAjasthAna, u pra. vagere); (4) siMdhukhINa saMskRti -- ivijJAra (gujarAta): (5) lothala; (6) khetI ane udyogo; (7) kalAkArIgarI ane gRha-udyoga: (8) samAjajIvana; (9) vepAra ane vAhanavyavahAra, (10) sidhu lipi; (1) dharma: (12) mRdaMDanI uttarakriyA, (13) siMdhu saMskRtinI prajA; (14) saMskRtino samaya: (15) siMdhu saMskRtine AraMbha; (16) siMdhu saMskRtino aMta ane vinAza. A pustakamAM be pariziSTa che : (1) haDappIya sthaLonI akArAdikame vipula sUca. A sthaLe kayA jillA-tAlukAmAM che ane enI mAhitI kayAM prApta che te paNa darzAvyuM che. (2) mejo-daDe, kAlibaMgana, lethala, rojhaDI, ADa, eraNa, takalakoTa ane paImapalInAM keTalAMka mahattvanAM kArbana-14 samayAMkano tulanAtmaka rIte ApyAM che. A baMne pariziSTamAMnI koThA paddhatie ApelI mAhitI khUba upayogI banI rahe che DemI kavATa kadanAM base paMdara pRSTha sudhI vistarelA A graMthamAM bAvana ArTapleTa dvArA nAnAmeTAM ekaso cevIsa citro che, jemAM 82 lethala vize che. uparAMta 41 rekhAMkita atio che, jemAM lothala aMgenI 22 che. lothala vize agrejImAM A paheluM pustaka che. gujarAtImAM De. umAkAnta zAhanI 'lethala nAmanI paricayAtmaka svarUpanI * Lothal and the Indus Civilisation' by S. R. Rao, Asia Publishing, 1973, Price Rs. 120/- Foreword by Sir Mortimer Wheeler.

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pustaka 1959mAM prasiddha thayelI. te pachI " gurAnane rAjA ane sAMjanika vidvAna ' graMtha 1 (1972)mAM zrI rAdhe sirara jeTalAM nuM ( 10 thI 11) rana kare che. pustakanuM mahatva zrI rAvatuM A pustaka aneka daSTie ma na 6 : 11 ; pAke na { } - 4 ', ahevAla raju karavA nimitta zo rAve A graMthamAM ane e ,i ma na + 1 ma lAghavayukta avAla sa pramavA Avyo che. tenA . . . 1, able to view the Indus civilisations when the pas the Lothal finds and traces the Hasupran uhraunheur. rently unrelated chalcolithic cultures of the second tullennium B.C. in India. Ama sama siMdha ane A aMge 1 saM - 2 nI nuM che. (2) haDapA-moha-daDanI che. tevA dara. . iva aa aa : A sanma ri rUDhicusta hatI, apajavI hatI, jemAM jamIna era thi 8nI ! ukamAM koI kALe dhAbe na dane vagere pra be thanA kare che" prakAza pheMkayo, jenI vigata lekhake ahIM prasAra apa che. ( sa na lai Akasmika AkramaNone kAraNe siMdhu saM-phaninAM zarIra nA o - e kApaka pracalita mAnyatAne A pustakamAM sau prathamavAra ene vakara thayA che. . vamana ane pAkistAnamAMnI prAka ha pIya, haDapIya ane anu-kApI nA "dhI vAta na * na ka abhyAsa adhI' lAvayukata zailImAM rajU thayA che. (papara . ena . ! bhArata-pAkanAM A saMskRtinAM badhAM ja kendronI akArAdikramanI muci na dhako mATe nara upayogI nIvaDe che. (6) sidhamAMthI pazcima bhAnamAM AvavA mAM A ati lekAe bhUmimArgane rathane dariyAI mArga pasaMda karyuM tenI nitI che ke yalanuM zodhanA AdhAre ahIM rajU karI che kema ke bhAla-naLakAMThAnAM vinAmAM ke sonA uttara-pazcima vistAromAMthI haDapAya kendro prApta thayuM nathI. ke ene mA je kA ci ane rekhAMka-nakazA vaDe A saMraphinine pratyakSa karavAmAM lekhake karelA parizrama ane pasaMdagI abhinaMdanIya che. lothalanI vizeSatA A vize zrI rAvanA za dhAe : Fortunately, the discovery of a Harappan port-city at Lothal in 1954 and the "ubsequent explorations in Gujarat have lit dark corners of Indian Prehistory by revealing the exuberance, decay and metamorphosty of the Indus civilisation in the third and second millenniuni B. C. (Preface, p. X. lothalanA lokonuM sauthI moTuM thAva to che vahANane laMgaravA mATenI mArIne bAMdhaNInuM. lokala anerAnuM vinara ane kanna karavAnA vikSe A natha da nuM pradAna hatuM. vahANamAMnA mAlane cAhavA-utAravA mATe A prakAranI A sauthI nArI

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raseza jamInadAra imArata bAMdhavAnuM zreya lethalanI prajAne phALe jAya che. pANInA pravAhanI dizA ane dabANana bhAnamAM rAkhIne karelI A godInI bAMNI anupama gaNAvI zakAya. A vize lekhakanA vicAro raja thAya e vadhAre ucita thaze : The Lothal dock is noted for its unique water-locking device introduced in the spill-way which could be closed or hept open according to necessity. It regulated the flow of water at high-tide and ensured floatation of ships at low tide without allowing the basin to be silted-up In design and execution the Lothal dock was far ahead of the Phoenician and Roman docks of the later days. It was built not in the main stream but away from it, to minimize the danger from silting and floods, ( 4 ) mATInI surakalAmAM paNa lethale ghaNuM ghaNuM ApyuM che : zetaraMjanI ramatanuM sAdhana (paTTa kahI); e mATenAM mahera (paTTa 38); cApaTa ramavAnA pAsA (paTTa 33sI) ; carakhe ane phikkI (paTa kara sI) vagere namUnAo puravAra kare che ke lothalanA loko keTalA pragatizIla hatA. A uparAMta paththaranAM telamA5 (paDha ra9); sonAne hAra (pada rahI kArneliyana maNakAne hAra (pada ra9); zaMkhamAMthI banAvela kaMpAsa (pada 32 bI) vagere namUnAo paNa lethalanI vizeSatA puravAra kare che. jaDiyAM zonI prAptithI satI thavAno rivAja lothalamAM hovAnuM anumAna thaI zake che. zuMgayukta devano abhAva (pR. 179), mAtRpujA ane zivapUjA vize gujarAtanI praja ajJAta hovAnI vAta (pR. 179), sUryapUjAnuM viziSTa mahAbhya (pa. 139), nadInI najIka smazAnagRha ane nAnanuM mahatta (146147) vagere bAbatomAM paNa lothalanI saMskRtinuM AgavApaNuM achatuM thayA vinA rahetuM nathI. paraMtu gedanA jevuM mahattvanuM pradAna lothalanuM che. vADhakApanI jANakArI bAbatamAM. ahIMthI prApta thayelI nava-dasa varSanA bALakanI khoparI trephination no ajoDa namUno pUro pADe che. tyAre bALake phepharuM-romane bhoga banatAM haze ane tasaMbaMdhI zastrakriyA thatI haze evuM anumAna lekhake karyuM che. lekhakanA mate zastrakriyAno A dAkhala saMbhavataH vizvane prAcInatama hevo joIe. (5, 149-150) siMdhu saMskRtinA prazno ane ukela siMdhu saMskRtinI vasAhatone sauthI muMjhavato je kaI prazna hoya to te che tenAM nagaranA vAraMvAra ane Akasmika vinAzana. A aMge vadhu pracalita mata e che ke A nA AkramaNethI A nagare nAza pAmyAM hatAM. A ane anya matonA pakSa-pratipakSanI carcA zrI rAve ahIM saMkalita karI che (pR 17-179) ane aMte gujarAtanI siMdhuvasAhatanA abhyAsathI zrI rAva spaSTa abhiprAya darzAve che ke A nagarane nAza pUra lIdhe tha hato (pR. 179). kArbana-14 parIkSaNathI lothalanAM be pUranuM samayAMkana

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lothala .. rAva I.pU. 2010 +115 ane I. 1900 +115 nedha che. tethI I. 2000nA bhAsapAsa tectonic aMtarAyane kAraNe sAbaramatImAM AvelA pracaMDa purakSA levala-nagarane nAtha thayo hato (pR. 180) evuM zrI rAva jaNAvI vadhumAMdhe che ke kukanI vinAza avA siMdhu ane sAbaramatInI khINanA leke salAmata jagyAe sthaLAMtara karI gayA hatA . 180). TUMkamAM zrI rAva nirbhayapaNe pitAnI mAnyatA raju kare che. zrI ravinA mana vize vivAda saMbhavI zake paNa ahIM te prastuta nathI. siMdhu saMskRtine bIjo mUMjhavatA prazna che piMpanA ukela. vImA radomAM vA triIzI daramyAna A saMskRtinI zodha thaI tyArathI Aja sudhI sa khAya e ja, bhAratIya, jarmana, phenca ane raziyana vidvAnoe A lipine ukelavAnA saMnika papA karI che, paNa koIne saMpUrNa saphaLatA maLI nathI. zrI rAva lothalane 51 jeTalI mAne abhyAsa karIne A lipi ukelI havAne vizvAsapUrvaka abhigrA rajU kare che " vinA A sakaLa prayana vize mahora mArI che kebrijanA "AdarAbeTa yama'nA -thApakanIka che. DeviDa DIrijare emanA eka patramAM : It is my firm opinion that you (i,e. Shri Rao) have deciphered the Indus Script That is the main thing (Preface, P. X), zrI rAva emanI A ajaDa siddhi badala aneka abhinaMdananA adhikArI banI rahe che. A pustakamAM zrI rAve A vize vivigata vistArathI ApI nathI; kema ke A aMge emane vataMtra nonograph 5.I che Ama zrI rAve siMdhu-saMskRtinA be vikaTa muddAo vize na saMgata vicAre. A pustakamAM sau prathamavAra rajU karIne Agha-etihAsika kSetre anupama pradAna karyuM che ema kahevuM joIe. lothala saMskRtine samaya tulanAtmaka abhyAsathI zrI rAve lothalanA vividha tabakkAonuM samayAMkana ahI rajU karyuM che. tadanusAra lothala saMskRtine AraMbha I.pU 2450 ke hevAne ane aMta pU. 1600mAM thayuM hovAne abhiprAya vyakta thayA che (5 16 ka). A pustakanA prakAranA zrI rAve siMdhu saMskRtinI saghaLI vasAhatanA samayAMkananI sAdhakabAdhaka carcA kare che. AthI lothalanA samayanI tulanAtmaka mAhitI paNa prApta thAya che. lothalanuM uttaradAyItva zrI rAvanA mate lothalanI prajAe vizvasaMskRtimAM ane mAnava vananA vikAsamAM dha phALo noMdhAvyo che : (1) lothala e siMdhu-saMskRtinI gujarAtamAMnI prathama vasAhata che. (2) susAthI tAMbu AyAta karanAra le thala sau prathama baMdara hatuM. (3) Carnalian mAthI rekhita mazakA sau prathama lothalanA kArIgaro banAvyA hatA. (4) satIe rivAja mAM sau prathama pracAramAM AvyuM. (5) anAja LavA mATenI ghaMTInI zodha sau prathama yAnI prajA e karI hatI. Ama zrI rAva claims that Lothal has several Firss to its credit.

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raseza jamInadAra vAha-prativAda zrI rAvanAM A nirbhika vidhAnae vivAdano vaMToLa jagAvyo che. Ane sau prathama paDadhe Do. haramukha sAMkaLiyAe A pustakanuM saMkSita avalokana karatAM Times WeeklynA 16mI Dimbara 1946nA aMkamAM pADyo che. che. sAMkaLiyAnA mate : (1) kaccha mAthI 19 jevAM A saMskRtinAM kendro hAtha lAgyAM I lothala gujarAtI mAMnI sau prathama vasAhata che nAnuM svIkArI zakAya nahIM. (ra) siMdhu khINanI vasAhatonA loko tAMbu vAparatA "nA, nathI lAla AyAta karyA mata sAbita thato nathI (3) lothala jatA pUrve siMdhu. nA lokoe canalin maNakA banAvavAnI kaLA vikasAvI hatI. (4) Anatomists A manaDAnI ti-sex vize ekamatI para AvI zakathA nathI, tethI satI thavAnA rivAjanuM anumAna thaI zake nahIM. (5) anAja daLavAnI ghaTI be hajAra varSa pachI astitvamAM AvI hoI levalanA loko tenAthI ajANa hoya. che. sAMkaLiyAnI zaMkAone zrI rAve Times weeklynA ra0mI jAnyuArI 19nA aMkamAM tarkasaMgata rIte radiye AyA hatA. zrI rAvatI dalIlo A pramANe hatI : (1) kevaLa kacchamAM 18 jeTalAM kendronI zodhathI-ativathI e te puravAra thatuM nathI ke te badhI vasAhato lothala purva sthapAI hatI. AmAMnA cha rathaLo te rAve pote zekhyAM hatAM. te tathA suzkeTane AraMbhika vasavATa tenA khodakAma karanAranA mate I pU. 10-190ne nimAyA haiI lela zaMkArahita A badhAMnI pUrvenuM ane tethI sau prathama vasAhatanuM ke gaNI zakAya. (2) lodha, susa ane mehajo-daDomAMthI prApta tAMbAkAMsAnA nakhanAonuM rAsAyagika pRthakkaraNa prastuta pustakamAM rajU thayuM che, je sAbita kare che ke meka-DenuM nAbu rathAnika upalabdhInuM hatuM ane alsenic yukta hatuM. jyAre lothalamAMthI prAtaingot spaSTataH AyAta kareluM hatuM. ane jenuM baMdhAraNa susAnA tAMbAnA baMdhAraNa sAthe maLatuM Ave che. (3) satI thavAnI prathA lethalamAM hatI. savAla eTalo rahe che ke A rivAja pharajiyAta hato ke marajiyAta ? (4) IsunI pahelI sadI sudhI kacchanuM raNa shallow sea jevuM hatuM. tethI I.pU. 2000 varSa pUrve harappI leke AvyA tyAre ahIM sUkI jamIna hovAnuM kahI zakAya tema nathI. A mAhitIne uparyukta naMbara 1nA saMdarbhamAM umerI zakAya (6) lipi ukela vizenI zaMkA paNa rahetI nathI. Disembara 1973mAM caMdIgaDhamAM bharAyelA akhila bhAratIya itihAsa pariSadanA adhivezanamAM "abhilekhavidyA vibhAganA pramukhe jaNAvyuM hatuM : Rao has quite succeeded in deciphering the writing of 500 seals...... This is an epochmaking discovery in the field of epigraphy. It sets at rest many speculative theories and controversial views advanced by various scholars on this subject. upasaMhAra lodhalI DaoN thI prApana keTalAM pariNAmo zrI rAva mate A pramANe che : (1) haDapA, mehajo-daDA ane lothalamAMthI prApta mAnava-hADapiMjaronA abhyAsathI spaSTa

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levala ,. thAya che ke siMdhu saMninI samagra praja Homogeneous nAnI. (2) siMdhanI vividha vasAhatenI prajAonI dhArmika mAnyatAmAM paNa keTaleka tAvata nA paDe che (e siMdhu lipimAM keTalAMka morphological modifications anivAmAM Avyo hatai (!'reface p. IX). () Partly-syllabic zxor partly-alphabetical fly lipimAM saraLatA lAvavAnI prakriyA A saMskRtinA aMtima vana mA kathA nI nI pariNAme purely alphabetic system I. 1500mAM amalamAM AvI gaI hatI (5) IrAnanA Yahya TepemAMthI prati 8 ka u ra siMha ana che, jene samaya I.pU. 23ra0 mukAya che. A saMdarbhamAM lAthamAMnI miM vamAjane na ko samaja I.pU. 2450 tArkika jaNAya che (preface, p. X. (6) gujarAtanA nAna mAmA ane nagarone vyavasthita abhyAsa karavAmAM AvyA che. tevA sAbita thAya che ke A amA ane nagaromAM haDappIya paraMparA hajIya pracAramAM che. i.na vacce khulA cAra ane pAsanuM eraDAonuM bAMdhakAma, dharamAM vAnI vyavasthA karavAthI vA mI sAthenuM bAMdhakAma vagere. (7) vahANavaTAnA udyoga ane dayA arajane kena, (8) Linear paddhatinA mApane pracAra karyo. aMtamAM zrI rAvanA sAta-ATha varSanA ekadhAryA pariNAmanuM phaLa dAda mAgI le tevuM che Agha_aitihAsika sthaLonAM ukhanamAM A zodha sImAcihna samAna banI gakAya tevA che, zrI rAvanI bhASA atyaMta pravAhI chanAM lAghavayukta ane arthasabhara che. tethI ame apama paNa temaNe ghaNuM ghaNuM upayogI evuM bhAthuM ApI dIdhuM che pustakane eka-bhAga ane chApakAma ubhaya suMdara che. AkRtio surekha ane sapATa che. A pustaka mujAro ane vAda thAya e jarUrI jaNAya che, jethI gujarAtanI vivivAdanA vivAyA ane A uttama saMskRtine sAMgopAMga paricaya thaI zake. pustakanI kiMmata ghaNA vadhAre che, jo te ochI rAkhI zakAI hota,

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nemijina caritra ajJAtakarDaka eka prAcIna garna kASya paM. bAvubhAI sapaMcad zAha prAstAvika --virATa vizvanA phalaka upara aneka vaMdanAya bimanamoI gaI bhane thAya che / teomA keTaloka evI anupama vibhUtibho hoya meM manna jIvana jagatamA kavio dvArA vaividhyapUrvaka varNavAtAM hAya ke / AnI 3 eka virala vibhUti jainonA bAvIsamA tIrthakara zrI nemijina cha / zrI. mijinanA jIvana upara zrRMgArika varNanovAlo temaja AdhyAtmikatA mabhara aneka kanimo maLe cha / prastuta kRti ajJAtakartRka cha / ArthI tenA kA viSe prakAza pADI zakAya tema nathI / A kRtinI puSpikAmAM iti nemicaritraM ApalaM cha / paraMtu mAgamaprabhAkara pU. munirAja zrI puNyavijayajI saMgrahamA mA kRtinuM nAma nemijina caritra nATaka e pramANe noMdheluM che bhane saMbhava che ke pUjya munijIe A kRninI racanA joine te pramANe nAma noMdhAvyu ho / kavie zarUmAtamA saMskRta zloka ane ase upasaMhAramA be saMskRta zloko mUkI 27 kaDInI nAnI racanA hovA chatAM prastuna kRtina nemibina caritra nATaka nAma sArthaka karI batAvyu che / zarUAtamAM dvArikA nagaranuM varNana karyu che / tyArabAda vasaMta RtunuM varNana, vividha vRkSonuM varNana bhane pachI rAjImatInuM varNana karela cha / laMkAulI jayaradesi bhAgi, jisi ghaDI aMgi anaMgarAgi zRMgAra zrRMgAra rasAvatAra, vakSoja vakSasthali tAra hAra // 12 // A ane AvI aneka kaDImothI rAjImatInA aMgopAMgarnu bhadabhuta varNana karela che / pachI nemikumAranA pAchA vaLyA vAda virahavarNanano tAdRza smiAra raz2a karela che / pratiparicaya-A kRtinI eka ja prati zrI lAlabhAI dalapatabhAI vidyAmaMdira amadAvAdanA AgamaprabhAkara pa. munirAja zrI puNyavijayajI saMgRhIta islAsa

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azAtakartRka graMthabhaMDAramAthI maLI mAvo che / teno naMbara 3466 cha / sAijha 25411 saM. mI. cha / patra eka ja che ane te jamaNI bAju uparathI phATelu cha / patranI eka bAju upara paMdara paMkti cha / eTale ve bAju : thaIne kula 30 paMkti che / dareka paMktimA 5. thI 51 akSaro cha / prati devanAgarI lipImAM lakhAyelo cha / pratino lekhana saMvata maLato nathI, paraMtu lip| uparatho ane lekhana paddhati pramANe prati sattaramI zatAbdonI hoya tema anumAna karI zakAya che / puSpikAmA boju kAI lakhANa nathI phakta // iti nemicaritraM || AralaM darzAvela che / graMthakAraH kRtimA prathakAranuM nAma nirdezela nathI AthI te saMbaMdhI nirNaya karavo muzkela ch| kRtinI racanA jotAM graMthakAra apUrva koTinA vidvAna jaNAya. che /

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zrInemijinacaritam nATakam / satprAkAravihAratoraNavatI saccitrazAlAlayA, saudhotsaGgagatadhvajAJcalakarairyA nRtyatIvonmadA / vApIkUpataDAgakautukavanairyA sarvata: sevitA, seyaM rAjati rAjaramya sakairdhanyA pura) dvArikA // 1 // yogIMdra je garbha lagai pradhAna, vijJAna-jJAna-taNa nidhAna / adhyAtmanai raMgi sadaiva jAgai, bovAhano vAna na citti lAgaH // lahalahaMti girinAri tarUyar3A, mahamahati sugaMdha masyaDA / gahagahaMti tarurAsi rUyaDA, vani vasaMtanaNA guNa rUyaDA // 3 // pani pani saMcaratai bhamari, dITho bahuvaNagai / / to i citti na vIsarai, na vi dekhai jAi // 4 // hAvabhAva karatI savi Avai, puSpa-AbharaNa aMgi caDAvai / oghasaI rasi hasaI daMtAlI, nemi pAkhali phirI harinAsI / / 5 / / mUMkI mUMkI mananA ati AmalA, svAmi muMdara mujANa mAmAlA / rUpayauvana sulAvana cagI, ANi eka ramaNo nAaMgI // 6 // vInavaI herakhi rukmiNi rArNa, deva deura karu mujha vANI / bhAmaNai tujha taNI prabhu gelo, ANi nAri jagamohaNadeli 17 // sarasvatI DAhiDi mUrtivaMtI, saubhAgyalakSmI sama bhAgyavanI / rAjImatI nAri kharI mujANi, navelaDI mohaNaveli jANi // 8 // poliI racyA oli suMda[ra] thaMbha, tihAM nivezyA maNipUrNa kuMbha / tu nitya nai toraNa bAri bAri, huI utsava dvAramatI mAri // 5 // kAminI mukhasarovara sohaI, kAMti nIralaharI mana mohaI / netrapadma bhamuhIvana dIpai, bhAli pAli trasa joi na chopai // 10 // guruDa caMca sama sohai nAsA, caMdramaMDala kapolavilAsA / svargatau pura Talai jiNi jotI, daMta dIpaI jisyAM mumba motI // 11 // laMkAulI Uyaradesi bhAgi, jisI baDI maMgi anNgraagi| zrRMgAra bhaMgAra rasAvatAra, vakSojavakSasthala tArahAra / / 12 / /

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4 azAtakartRka sumanapAnanaNA kari kuMDalI, kasamasaMtI aMgi paTolaDo / Ara hagavyA haMsa gatiI karo, ruNajhaNATa karaI maNineuro / / 13 / / sajjane nayanamArgamAgate, jAyate manasi yA mudabhutA / tatra naiva vacanaM pravartate, cetaso'nubhava eva kevalaH // 14 // uDDIya vAchitaM yAnti, varamete vihaGgamAH / na punaH pakSahInatvAt , pazuprAyaM kumAnupam // 15 // hariNa mora cakora hulAhiyA, sasaka sUkara jaMbUka sAhiyA / TalavalaI kuralaI virasasvariiM, pasUavADa tihAM mirakhyA valai // 16 // kAcaI ghaDai na sthira nIra thAi, kSaNi kSaNi Au galata jAi / e. jIva rAmArasi toi rAcai, AraMbhi mAcai navi dharma sAcai // 14 // giu valI vara rAjala sAMbhalI, mani ralI saghalI nasatAM TalI / bhaI paDI vilavaha jima mAchilo, Talavalai jala thoDai aakulii||18|| ugrasena kulavAlI joyatI Dusa jAlI, pahiraNi jasu phAlI sayaranI kAMti kAlI / nemikumara nihAlItA ratha giu.. vAlIi siddha puNa vicAlI mayaNa, mUMkai sarAlI // 19 // asukha caDiuM Dhoi ApavU zoka DhoDa, caDhaNa haNaSaNUM roi kAjala AMkhi lUhai / sahIyara mana mohaha, neminu mArga jor3a, sahI mayaNa vigoi cIta mAharUM viloi // 20 // kisyUM sarovara pAlo . . dha tumaI ji TAlI. ___ kai lahI vicAlI bAla lIyAM adaalii| muni rahaI doya gAlI Ala dai suddha bAlI, kisyUM dava parajAlI jIvaDA koDi bAlI // 21 // nija karama vakhoDai kAMkaNAM vegi phoDaI. tilaka kuMDala vichoDai hAra helo ji troDai / maNi neura moDai rAimai pAya reDai, pathithI kavi jeDai vesa bAlI vajeDai // 22 //

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nemijina caritra kusuma jima sUAlo rUpa pIyUSapANA, davadahani karAlI hoi jese marAlo / vila isa bAlI neminA neha TAlI, jaNaNi taI ji lAlA kAMI hUM tAna pAlI ||23|| vari suki virAdhI sApi kAlaI ji sAthI, vari visari dAdhI kaMThana kAMThavAvI / saya... viSaya virAdhI bhAlaDI peDhe sAMdhI, sakhi gamaina gAyUM cItA zAki kamAyUM, rui nahi nivAyuM tApa di phUlAcaM ! asukha uyari dhyAu hoyaDala DIMba jAyUM | kisiuM maI kamAyU~ eu jaM chaha amAyUM ||25|| iti vilApaM zrutvA yat kRtaM neminA tadAha dattvA dAnaM yayau nemijjayantAdvibhUSaNam / sahasrAmravanaM nAmopamAnaM nandanaM vanam ||26|| zrIneminaH paramasaMyama rAjyalabdhi rjJAnaM ca paJcamamabhUna zikhare yadIye / mAdyanmahodayamayA ca mahodaya zrIH, **** zrImAnmudestu girinAra girIzvaro'yaM ||27|| iti nemicaritram / // 24 //

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ope Other Rules Journal is primarily intended to mote researches in Medieval Indian Iture. Hence emphasis will naturally on the languages, literature and Atural sources of that period. But it also give suflicient space to other Icles which throw liglit on Ancient 1an Culture. il) Contributions interes for publication in the Journal should be type igen (with double spangius legibly written on one side only of the paper Copies she ai be retained by the authors. rms of Contributions btributions embodying original Rearches; abstracts of theses accepted {the University; critical editions of the published Sanskrit, Prakrit, Jabhramsa, Old Hiodi, Old Gujarati its; appreciations and summarles of fient and medieval important original irks; notices of manuscripts and textual ticisms will be published in the urnal. (2) It is fresumed that constitution lot Aarde for publicallus in the Journal ure col submitted eisenhere. 13. l'he copyright of all the contributions published so the Juuseal wil rest jointly 18 the L D. lastikute Indology and the actors (4) leg oliprints will be given to the contribuiors free of charge. (5) Titles of books and Joursals should be 10 celeu by single underline. Sanskrit, Prakrit, Hindi, Gujarati terms occurring in the articles written 10 English should be underlined. Tae standard system of transliteration should be followed. edium of Articles hey should be written in any one of e following four languages: Sanskrit, adi, Gujarati and Eoglish. rticles written in language other than wglish should be accompanied by a mmary in English. (6) Those who want their wrots to be reriewed in the Journal sbou send two copies of the sain. emuneration he L. D. Institute of Indology will pay bnorarium to the authors whose intributions are accepted. noual Subscription sland 20/urope Sb. 30 IS, A. Dollar 5.00 Rs. All contributops and correspondence may please be addressed to Director, L. , lustiiofe o! Indoogy, Ahmedabad-9

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